It's that time of year for high school seniors: early decision/early action season. Your guidance counselor at school might have already recommended these options to you—but just as the college admissions process is more complicated for dancers overall, you'll also need to think carefully before deciding whether or not you want to jump ahead of the regular admissions timeline. To help you decide, we enlisted the help of Dr. Elizabeth Stone (executive director of Campanile college admissions counseling) and Sara Pourghasemi (director of college counseling at the Professional Performing Arts School in NYC).

What Do "Early Decision" and "Early Action" Mean?

Note that schools are not kidding about "early": The most common deadlines for submitting an ED/EA application are November 1 or 15. The university then notifies you of your application status mid- to late December.

"The primary difference between early decision and early action is that ED is binding," Stone explains, "meaning that you sign a commitment to attend the school if admitted, and you formally withdraw all other applications in process." Early action, in contrast, allows you to apply to (and get a decision from) multiple colleges ahead of the normal application cycle, but without having to sign on with any one college before May. Some schools also offer early decision II, which follows the same January deadline as regular admission but gives you an answer in February. Just like with ED I, you absolutely must commit to attending that school if you're accepted.

None

What Should Dancers Consider? 

First of all, note that very few dance programs offer early auditions. Translation: "Just because you get in early academically doesn't mean you're getting in for dance," Pourghasemi says. If your heart is set on a specific BFA dance program (admission to which of course isn't guaranteed), you're better off applying on the normal timeline.

On the other hand, let's say that you've fallen completely in love with a BA dance program that doesn't require an audition. If academic admission to that college is competitive, it might actually work to your advantage to apply ED, Pourghasemi says: "Colleges—especially small liberal-arts schools—are moving to accept more and more students from the early-admission pool over the regular pool. That's not every college, but to be more competitive or to be part of the competition, applying early has its advantages."

Stone cautions that "generally, ED is not a great deal for dancers who are looking for a generous financial-aid package, because you don't know what other schools would have offered you." Because ED essentially tells a university that they've "got" you, you don't have much negotiating power should the financial-aid decision not meet your family's needs.

None

Making Your Decision

Pourghasemi recommends applying via early action to your top four to six choices, so you can adjust your January/February audition tour (and springtime campus visits, if possible) accordingly. "Early action is advantageous for any dancer who's prepared and motivated to submit everything earlier," Pourghasemi says. "That means you have a refined and well-spoken essay, at least one impressive standardized-test score, letters of recommendation that you know will be in on time, and dance-related materials fully prepped and rehearsed."

One caveat: Both counselors advise against applying early just for the sake of getting the whole application process over with. "You need to have done a lot of soul-searching junior year about what kind of dance career you want, and therefore what you want in a dance department," Stone says. "One of the biggest mistakes I see dancers making is adding a college last-minute because they just found out about it, or a friend is applying there," Pourghasemi adds. "It doesn't do you any service to rush an application when you're not prepared to present your best self academically and artistically."

It's been almost a full year since the last season of "Dancing with the Stars." And between the cryptic hints from ABC showrunners that this would be the biggest season yet and the countless clues from the "DWTS" Instagram, we have been on the edge of our seats to find out who the cast would feature this season. This morning, the full season 28 cast was announced on "Good Morning America," and it includes everyone from reality TV stars to athletes to models to...a former White House Press Secretary?

None

Let's start with the biggest names first: former Bachelorette Hannah Brown, "Queer Eye" guy Karamo Brown, former White House press secretary Sean Spicer, and supermodel (and recent Chicago star) Christie Brinkley.

Right off the bat, that has to be one of the most stacked "DWTS" casts we've ever seen. Most seasons, we're lucky to get one or two names we recognize, alongside a good number of "celebrities" we couldn't pick out of a lineup. But the stars this season are all for-real stars we know and love.

None

The cast continues with James Van Der Beek, aka Dawson from "Dawson's Creek;" Kate Flannery, aka Meredith from "The Office;" Lauren Alaina, country susperstar; Ally Brooke, former Fifth Harmony member; Kel Mitchell, co-star of the 90s hit TV show "Kenan and Kell;" and music legend Mary Wilson from the iconic 1960s girl group the Supremes.

And in case you're really missing the recent "DWTS: Athletes" season (or you want to give your dad a reason to watch this season with you), former NFL star Ray Lewis and former NBA champ Lamar Odom will be dancing into the ballroom as well.

None

The partnerships between stars and "DWTS" professionals won't be announced until the season premiere on September 16, but the eye-popping cast of celebrities will be joined with many well-loved and well-known pros, as well as two new dancers: Daniella Karagach and Pasha Pashkov, whom you might remember from season 2 of "World of Dance."

What do you think? Which stars are headed for ballroom glory and a shot at the Mirrorball Trophy? Let us know what you think in the comments!

We've always known that Madonna loves dance. After all, the "Queen of Pop" studied at the Martha Graham School in the 1970s. Nevertheless, we were still surprised (and thrilled) to see that she invited James Whiteside to perform at her 61st birthday party in The Hamptons last weekend.

None

The American Ballet Theatre principal performed the choreography (on pointe!) from the music video for his newest pop hit, WTF, which he released under the moniker, JbDubs in April. Whiteside was joined by four backup dancers: Matthew Poppe, Douane Gosa, Maxfield Haynes and Gianni Goffredo. Catch a clip of the performance below.

Madonna's party took place in the midst of rehearsals for her upcoming Madame X tour. According to Vulture, Madonna was give the name Madame X by Graham herself, after showing up to class each day with a different identity. And of course, we love Madonna's choice of JbDubs song. Of Whiteside's musical oeuvre, WTF most explicitly targets a ballet audience, with lyrics referring to George Balanchine, the Rose Adagio, former New York Times dance critic Alastair Macaulay, Sergei Polunin and much more. Whether or not Madonna's guests understood all of Whiteside's references doesn't seem to matter; we guess they were more than taken with the quintet's precision, attitude and impressive pointe work.

This appearance leaves us wondering if Madonna will give Whiteside and Co. bigger platforms on which to perform. After all, Whiteside is already besties with actress Jennifer Garner, and he toured with pop star Rozzi earlier this year. In the meantime, we're looking forward to seeing Whiteside back onstage at ABT this fall.

Happy Birthday, M!

In our Dear Katie series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

I really want to do dance competitions, but my teacher doesn't like them—she says they'll make me focus on the wrong things in my training. Is she right? What should I do?

Alessandra

None

Dear Alessandra,

I think there's a right way to approach dance competitions, and a wrong way. Your teacher is probably worried that you'll compete the wrong way—that you'll focus on perfecting a single solo, with winning as your only goal. When I judge competitions, I do see dancers get caught up in the horse race, and I also see them get lopsided from rehearsing their variations over and over.

For more of Katie's helpful tips and advice, click here.

What do Power Rangers, ballroom champions, and giant lobster goggles have in common? They all happen to be topics of discussion on the dance world's latest and greatest dive into podcasting, "The Dance Room."

Launched just last month on PodcastOne, the show is hosted by Heather Morris (who casually danced backup for Beyoncé before playing Brittany, our favorite cheerleader on "Glee") and Ava Bernstine-Mitchell (the bonafide hip-hop queen who's danced with the likes of Justin Timberlake, Britney Spears, and Miley Cyrus). The show has already garnered an impressive following affectionately referred to as "roomies," and we at Dance Spirit are part of the crew.

"I'd kept my eye on the podcast world, and noticed there weren't many dancer podcasts for me to listen to," Morris says. "There are so many sports recap shows, and it got me thinking about the lack of recap for all of the dance shows currently on air.

Having been on both "So You Think You Can Dance" and "Dancing With the Stars" herself, Morris is the perfect gal to fill this gap. Each week, she and Ava unpack the most popular dance shows (like "SYT," and, soon, "DWTS") and offer their often-hilarious, always spot-on analysis.

But "The Dance Room" doesn't just handle recaps. Drawing on their own crazy career experiences, Heather and Ava dish on what it's really like to be a dancer in the real industry. From wearing ridiculous costumes to navigating sets and stages, no topic is off limits, including the serious stuff. "We talk about psychological health in the dance world, dancing with your period, and other topics that can be harder to discuss for dancers," Morris says. "We have a segment at the end where we ask our viewers to send in questions on Instagram or the PodcastOne website, and we love to answer them."

The podcast's star-studded guest list includes Lauren Gottlieb, Hannahlei Cabanilla, and Amanda LaCount (all former DS cover models!), as well as Val and Jenna Chmerkovskiy and Nico Greetham."We just had Maddie Ziegler in the studio recording, and we're hoping to interview Harry Shum Jr. (Morris' "Glee" co-star) and Shelby Rabara soon," Morris says. "Personally, my dream guest would be Carmen Electra. I want to know all about when she was a dancer and working, even before me."

Brooke Lipton, Brian Friedman, Mark Meismer, and Mark Kanemura are also on Morris' wish list. "The list is endless," she says.

If you want even more dance awesomeness in your life (and who doesn't?) subscribe to "The Dance Room" here (or here.)

On August 20, pop goddess Lizzo tweeted, "Someone do a ballet routine to truth hurts pls," referring to the anthem that's been top on everyone's playlists this summer. Lizzo might not know it yet, but ballet dancers are not known for shying away from a challenge. In the past two days, the internet has exploded which responses, with dancers like Houston Ballet's Harper Watters and American Ballet Theatre's Erica Lall tagging the singer in submissions.

Below are a few of our favorites so far, but we're guessing that this is just the beginning. Ballet world, consider yourselves officially challenged! (Use #LizzoBalletChallenge so we know what you're up to.)

Harper Watters

Houston Ballet soloist Harper Watters incorporated a jazzy flair to his response. We know Lizzo asked for ballet, but next time we'd like to see him in heels...

Erica Lall

American Ballet Theatre's Erica Lall and James Whiteside took a break from rehearsal for this professionally filmed take. We love that Lall manages to flawlessly transition from a shoulder sit to twerking, all while lip synching.

Ballet Memphis

Ballet Memphis, we're looking at you. Will your new Lizzo ballet be ready for your 2019–20 season?

Little Swans

We're pretty sure that Lizzo asked for original choreography, but we'll let this one slide since this user synched the song to this Swan Lake excerpt so perfectly.

None

Who's next? Check out #LizzoBalletChallenge to find out!

When the news broke that Prince George, currently third in line for the British throne, would be continuing ballet classes as part of his school curriculum this year, we were as excited as anyone. (Okay, maybe more excited.)

This was not, it seems, a sentiment shared by "Good Morning America" host Lara Spencer.

On yesterday's episode, the conversation turned to what the 6-year-old has on the docket when he returns to school this fall. After joking about being glad that she didn't have to do homework anymore, Spencer said,

In addition to the usual first or second grade things, like math, science and history, the future King of England will be putting down the Play-Doh to take on religious studies, computer programming, poetry and ballet, among other things.

None

This could have been a joke about the young prince tackling subjects that seem way above grade level. (Which begs the question, why is advanced achievement considered a joke?) But things began to seriously sour when Spencer got to the word "ballet." The talk show host audibly held back a laugh as she said it, and followed it up with an expression that could kindly be called patronizing, provoking giggles and then full-on laughter from her co-hosts and the studio audience. And then it got worse.

As pictures of a smiling Prince George showed on screen, she sarcastically quipped, "I mean, he looks so happy about the ballet class!" She continued,

Prince William says Prince George absolutely loves ballet. I have news for you, Prince William: We'll see how long that lasts.

None

How, in the year 2019, is this considered even remotely acceptable?

I could extoll the numerous benefits that dance training has for any human being, not to mention one who is going to grow up to be a head of state. I could point to the physical upsides, the positive effects dancing has on mental and emotional health, the long-reaching benefits of the discipline and focus it requires, and, perhaps most significantly, the way dance training imparts the value of empathy.

But the thing is, I doubt that Spencer cares. What this is really about is bullying.

None

Because that's what we just watched: A grown woman bullying a 6-year-old child. On national television. To laughter and applause.

If that seems okay to you, I would recommend finding your nearest dance studio and enrolling in an open class, because your empathy could use a serious tune-up.

It is no secret that young boys who enroll in dance classes face bullying to an outstanding degree—according to the documentary DANSEUR, the number is 85% of male ballet students in the United States. We're all familiar with the hateful, illogical rhetoric that goes with it (ballet is effeminate, boys who do it are sissies, or worse, gasp!, gay), and one would like to think that if the adults in the room were aware of it, they would put a stop to it.

That's what makes this whole debacle so sickening. Sure, Prince George is largely going to be shielded from this, and is going to grow up with a thick skin from being the center of so much public scrutiny. But what message does this send to the young boys who enjoy dance classes, or maybe want to give it a shot, but don't want to be the subject of abuse? What does it say to the ones hurling the abuse? That the bullies, right or wrong, can get away with it, and even be praised for it. The woman on the television certainly seems to be doing well enough.

None

Spencer's remarks also reflect the unfortunately common attitude that dance (ballet in particular) is not something that anyone could or should take seriously, that it's something to be grown out of. It's not like public and governmental support of dance, and the arts in general, is in crisis, right?

None

If there's a bright spot in all of this, it's in watching the dance world's reaction. Ballet stars have flocked to social media to share their support for the young prince and their disgust at Spencer's comments—and to demand an apology. (There's even an online petition asking that "GMA" produce a segment about the benefits of ballet training for young men.) Just a handful of the many articulate responses, including from former New York City Ballet star Robbie Fairchild and The Washington Ballet, are below.

Because this isn't just about Prince George, and it isn't just about ballet classes. It's about the fact that no one should be bullied for what they enjoy doing. And we refuse to condone it.

What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.

Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!

The Lightning Thief: The Percy Jackson Musical

Opens: October 16

Choreography by: Patrick McCollum

The fantasy-book-sensation-turned-musical has been described as "one foot in Harry Potter and another in Dear Evan Hansen" by the Chicago Tribune (though diehard fans of the series might disagree with that assessment). McCollum, who's on hand for the choreography, including fight scenes, brings experience from shows like The Band's Visit, The Last Ship and Rocky.

David Byrne's American Utopia

Opens: October 20

Choreography by: Annie-B Parson

Though not technically a musical, dancers will want to check out Talking Heads' frontman David Byrne in his theatrical concert on Broadway. With moves courtesy postmodern icon Annie-B Parson, we're hoping it's a "once in a lifetime" occasion.

Tina: The Tina Turner Musical

Opens: November 7

Choreography by: Anthony Van Laast

Filled with hit after hit and produced in collaboration with the great Tina Turner, Tina can't be without a smattering of upbeat numbers—how could "Proud Mary" not be a fiery dance scene? And with Adrienne Warren (from Shuffle Along... and Bring It On) as Tina and Hamilton's Daniel J. Watts as the abusive Ike, the show is stuffed with talent to portray the triumphant rock diva's life.

Jagged Little Pill

Opens: December 5

Choreography by: Sidi Larbi Cherkaoui

Transferring an Alanis Morissette '90s pop record to a narrative musical without it being cheesy is a challenge we think Cherkaoui is up to. When Dance Magazine interviewed him prior to last year's American Repertory Theater premiere of Jagged Little Pill, he said,

This work is about daring to look at the complexity of life and see we are full of paradoxes. There is no easy answer, and it can be exciting to have a whole life to find those answers.

West Side Story

Opens: February 6

Choreography by: Anne Teresa De Keersmaeker

This Ivo van Hove–directed revival is putting a contemporary spin on the iconic West Side Story, and the cast is already stacked with recognizable dancers like Ricky Ubeda, Amar Ramasar and Jacob Guzman. While we're anxious to see van Hove and De Keersmaeker's interpretation, this pair remains an unconventional choice for the Jerome Robbins classic.

​Girl from the North Country

Opens: March 5

Movement direction by: Lucy Hind

Girl from the North Country revisits the songs of Bob Dylan, adapting them for the rolling stones who are passing through a guest house in 1934 Duluth, Minnesota.

SIX: The Musical

Opens: March 12

Choreography by: Carrie-Anne Ingrouille

Divorced, beheaded, died, divorced, beheaded, survived. Such were the fates of the wives of King Henry VIII, and now they're hitting Broadway to belt out their side of the story in the pop-infused SIX: The Musical—but not before it opens at sea.

Diana: A New Musical

Opens: March 31

Choreography by: Kelly Devine

The life of "the people's princess" will make its way to Broadway this spring. Still a topic of great intrigue two decades after her death, Princess Diana's life will be unpacked in Diana, shining a light on her compassion but also the darker aspects of her story. With movement by Devine, of Come From Away, the choreography should strike a balance between down-to-earth and regal.

Caroline, or Change

Opens: April 7

Choreographed by: Ann Yee

This revival returns from the West End, starring 2019 Olivier Award winner Sharon D Clarke, who played Caroline across the pond. Set in 1963 Louisiana, the shows revolves around an African-American maid who works for a Jewish family. The West End trailer alone (see below) is a quick testament to Clarke's powerful performance.

Flying Over Sunset

Opens: April 16

Choreographed by: Michelle Dorrance

The characters in this musical aren't tripping over their feet because of Michelle Dorrance's complex choreo (well, they might be). In Flying Over Sunset, Cary Grant, Aldous Huxley and Clare Boothe Luce are chiefly tripping because they're on LSD. Oh, the theater possibilities abound! Extra bonus: Debonair dancer Tony Yazbeck has been cast as Grant. Could this be the danciest show of the season? Here's hoping.

On this morning's edition of "Good Morning America," host Lara Spencer did what the dance community has been clamoring for since last Thursday, when her flippant comments about Prince George enjoying ballet lessons provoked widespread outrage: She apologized live on air.

None

"The comment I made about dance was insensitive, it was stupid, and I am deeply sorry," she said. "I have spoken with several members of the dance community over the past few days. I have listened. I have learned about the bravery it takes for a young boy to pursue a career in dance."

None

The show then cut to a pre-recorded segment in which Spencer sat down with former New York City Ballet principal and soon-to-be Cats star Robbie Fairchild, Emmy-winning choreographer Travis Wall, and longtime Joffrey Ballet dancer Fabrice Calmels. Fairchild spoke candidly about the bullying he faced growing up because of his dance training; Wall expressed pride at the number of boys who have begun dancing as a result of "So You Think You Can Dance"; Calmels called for more open-mindedness and empathy. "I teach young kids," Calmels said, "and boys just drop because of the social stigma around the form. Children should be entitled to experience things without being bullied."

Wall advised any young men watching the segment who wanted to dance to "avoid the noise. Use that as inspiration. Look at anybody who has been through it: It gets better." Fairchild added his thoughts on how important it is for them to have male role models, like Gene Kelly had been for him. (Kelly's widow released a public statement responding to Spencer's comments.) At the end of the segment, Spencer apologized again, and expressed gratitude that her insensitive comments had created an opportunity for learning.

None

The importance of this apology happening on the same national platform where her comments were originally made cannot be understated. Spencer had previously apologized in a post to her personal Instagram; while this meant that the members of the dance community who called out her remarks online might see it, it did not necessarily follow that the rest of the "GMA" audience would.

This is an issue that goes beyond the "insensitive comments" of one person. As the immediate outpouring of responses from the dance community showed, this incident struck a nerve because it spoke to an underlying attitude towards dance that is more common than we would like to believe. There are those who think, wrongly, that it is an inherently feminine art form. There are those who think that it is not an appropriate recreational activity for boys. There are those who think that it is not an acceptable career path for anyone, but especially young men.

None

My hope is that the same audience who heard Spencer's comments last Thursday heard her apology today. More than that, I hope that they heard what Wall, Fairchild and Calmels had to say. I hope that this moment is a teachable one, not just for Spencer, but for the people who did not think to question her "joke." I hope that maybe, just maybe, they'll stop to question the culturally ingrained assumptions they might have about dance, and hesitate before making boys who do ballet the butt of the joke—not out of fear of the backlash, but out of empathy.

None

The dance community rose to this occasion beautifully. This morning, Wall, Fairchild and Calmels led a ballet class outside "GMA" in Times Square. As Fairchild told Spencer on today's segment, "We are a community of love, and in order for us to move forward, we have to move forward together." When we band together and support one another, we are capable of incredible things. Let's keep going.

There's still an ongoing petition for "GMA" to produce a segment amplifying the benefits of ballet for young men. (Since Friday, it has gathered over 35,000 signatures.) There are still minds and hearts left to change. Let this be our rallying cry. We've got work to do.

Over the past few years, social media platforms have become launching pads for a new generation of choreographers. Many of these young artists grew up in front of the camera lens, dancing in the class videos of pioneers like Matt Steffanina and Tricia Miranda. Now, these familiar faces are flexing their choreographic muscles for huge YouTube and Instagram audiences, inviting subscribers to follow their journeys. Here are five up-and-coming dancemakers you should keep an eye on (literally).

Bailey Sok

None

Once one of the internet's favorite hip-hop littles, now–15-year-old Bailey Sok has been posting short freestyle videos to Instagram since age 8. "I was pretty insecure about my choreography at first," she says. "While I was used to online audiences seeing me dance, the thought of them viewing my own material hit me in a much more vulnerable place." But about a year ago, Sok garnered the confidence to share more of her choreographic journey—the highs and the lows—with her followers.

None

None

Like her mentors, Sok primarily posts class videos, and she interacts with her followers as much as possible. "I DM a lot of them, and they motivate me to push my limits as an artist," she says. Beyond her fans, Sok looks to music to inspire creativity, going on deep Spotify dives to find songs that spark feelings. Her channel's musicality caught the attention of singer Denim Nicole, who hired Sok to choreograph the music video for her song "Lemonade" in 2018.

Josh Killacky

None

As a young kid, Josh Killacky was more into tae kwon do and baseball than dance—but he did love watching dance videos on YouTube. At age 12, he started taking formal dance classes, and fell in love with the art form's creativity. He began filming and posting his material right away. "The best lighting in my house was at the top of my stairs, so I set up three shoeboxes in the doorway, draped a hoodie over them, and propped up my flip phone to film," he says. "Some of those early videos could be serious blackmail material, but I didn't care about how they looked. I studied them like a scientist, searching for ways to improve my freestyle."

Just two years after his first dance class, Killacky made the move to L.A., where he started taking class with influencers like Matt Steffanina. Eventually, he began collaborating with Steffanina and other artists, including singer Mike Posner. "I love the collaborative process because you get a different spark of creativity from each influencer," he says.

Ironically, this social media star tends to find inspiration when he disconnects. "Whenever I'm on an airplane, I like to turn off my phone and jot down 15 to 20 ideas," he says. "Some of the purest concepts come from being away from the world."

Julian DeGuzman

None

Well before 18-year-old Julian DeGuzman teamed up with Charlize Glass to become "World of Dance" Season 3's hip-hop power duo, he was a YouTube star. As a kid, he used his channel as a visual resumé, posting videos of himself dancing for everyone from ICONic Boyz to the Brooklyn Nets Kids. So once he began developing his freestyle into more structured choreography, he knew he wanted to share that process with his followers. "I grew up watching content from choreographers like Ian Eastwood and Brian Puspos, so it just made sense to me to post," he says.

None

None

DeGuzman sees social channels as vital tools for collecting feedback from fans. Encouragement and constructive critique from followers push him to post new material for them to see. "As a fan of other YouTube choreographers myself, I know what it is to be inspired, and I want to give that to my followers," he says. He also sees YouTube as a tool for self-reflection and gratitude. "I'm glad I've never been afraid to show myself, because it allows me to see my progress," he says.

Taylor Hatala

None

Fifteen-year-old Taylor Hatala has been a YouTube star since age 11, when videos of her in class with choreographers like Matt Steffanina and Laurence Kaiwai reached the eyes of a combined 100 million viewers. (None other than Ellen DeGeneres sanctioned the young dancer's fame when she invited Hatala to perform on her show.) So once Hatala started teaching and experimenting with choreography, she felt it made sense to chronicle her process on the platform.

Documenting it all has helped Hatala realize that she has a gift for teaching. "When I go back and watch my classes, I'm always pleasantly surprised that the positive energy I try to create for my students shines through," she says. "When I started, I didn't realize how hard it would be to teach a combination to a room with such a variety of dancers. I began really studying my own teachers in class, observing how my favorites would break things down for us." When she looks back through her class videos, she sees the benefit of that study as she gets more and more connected to her students over time.

Kaycee Rice

None

Sixteen-year-old Kaycee Rice also grew up as a viral dancer, standing out as a preteen in Tricia Miranda and WilldaBeast class videos, and appearing alongside Missy Elliott at the 2015 Super Bowl. Choreography seemed like a natural next step. "I want to expand my palette and discover more about who I am as an artist," she says. "I feel like the best way to do that is through choreography, exploring my own movement."

None

None

When Rice shares her work on YouTube, she hopes fans will see that she's still learning. "Your imperfections are what draw people into your journey," she says. "They help viewers realize that you're human." That attitude helps give her the courage to be experimental with her movement, in keeping with her signature "weirdo" brand. "Instead of trying to do the normal trending moves, I like to find something new and different that feels strange on my body," she says.

Eight dancers survived the first cuts last week. By the end of this episode, six remain. But first: two hours, two duets each, two group routines, and eight solos. Here's what went down.

The Opening Number

Oh this was fun and fancy! The Top 8 stepped out onstage in flashy feathers, fringe, neon, high heels, and higher ponytails. There were backflips. There were huge lifts. There were leaps, jumps, tricks, turns. There were glow sticks in the audience! So yeah, there was a lot, courtesy of choreographers Jonathan and Oksana Platero. Power to these eight dancers for keeping their energy up throughout what felt like a very long opening number! (Who caught your eye the most? Madison and Mariah were the scene stealers for us.) Welcome! To "So You Think You Can Dance!"

Anna & Benjamin, Tahitian with Tiana Liufau

First, how about a shout-out to "SYT" for really going above and beyond over the past 16 seasons to bring worldly dance forms to the small screen. Without this show, would mainstream audiences in the U.S. know about African Jazz, Tahitian, or Bollywood? As for this one, we're just going to say it: Benjamin totally out-danced Anna. He was lower, groovier, more hyped, just more. Anna looked lovely, but she was sweet and smiley where Benjamin was living. It just didn't feel like a balanced performance. Nigel said it didn't sit comfortably with him, Mary said something about calling the dance police (translation: she loved it), Dominic said their hips told him a great story, and Laurieann said a lot of stuff all indicating she was in favor of the performance. (Soooo none of the judges agreed with our assessment. All good!)

Sophie's Solo

Yay, solos, finally! A chance to see these dancers shine in their own styles and really go for it. Sophie's contemporary solo was sweet and stylized, with lots of quick spins. Stunning!

Madison & Ezra, Hip Hop with Randi and Hef

Fly me to the moon—but make it hip hop. Madison and Ezra were dancing astronauts in this piece, complete with spacesuits and a very cool descent down to the stage. Both of these dancers are fantastic, and they consistency excel at hitting every single beat in whatever choreography they're given. This was no exception. They were on point. But! Madison was super smiley, which seemed a bit out of place at times. Her dancing was so good! But a little too smiley! Mary was feeling some of it, but not all. Dominic noted that Madison is an awesome hip-hop dancer, and said she stood out for him. Laurieann dubbed it "out of this world." (Someone had to go there!) And Nigel said it was generally brilliant.

Gino's Solo

An Andra Day Hamilton cover ("Burn," specifically) and no fewer than 824 tricks in 30 seconds. Bravo, Gino. (Is anyone else really wishing Maddie Ziegler were a judge this season? #firstkiss #neverforget. But she was in the audience, so that's fun!)

Mariah & Bailey, Cha Cha with Dmitry Chaplin

These two have been dubbed the team to beat which, Mariah notes during rehearsal, adds a good amount of pressure. So why not throw them a challenging Cha Cha with a former "SYT" star to really see if they can stay on top? The rehearsal footage indicated that these two would be riding the struggle bus straight to elimination station. Instead, the pulled it OFF, trading a struggle bus for the Hot Tamale Train. Yes, Bailey is smaller than Mariah. Yes, he can still be a darn good partner and toss her around in some complicated lifts—and he proved it during this routine. These two are such dynamic performers and have so much chemistry. This wasn't their best performance to date, but it was solid. Dominic said Bailey struggled on those lifts, but said that was adorable, and that he fell in love with these two even more after that performance. Laurieann called it a "big girl, big boy" routine. Nigel used the words "greatness" and "brilliant" And Mary was all "CHOO CHOO," which means, yes of course, Hot Tamale time! (Also, Bailey gets Mariah flowers before every live show. Can we talk about that? LOVE THAT.)

Madison's Solo

Madison consistently dances with fluidity, with grace, with passion. She's a dynamic group performer and a strong partner, but it was a treat to see her do her own thing for 30 quick seconds. It wasn't anything particularly memorable, but 60-second solos usually aren't. This was strong and on par with everything we've grown to know, love, and expect from Madison.

Ezra's Solo

Conga! A bright red vest with matching pants and shoes! A shaking booty! Ezra is awesome, and this performance was fun and fabulous.

Sophie & Gino, Contemporary with KC Monnie

A new partnership! And wow. In this piece, Gino was telling new-to-"SYT" choreographer KC Monnie's story about coming out to his loved ones. And wow. Wow wow wow. This was really powerful and emotional, and the fact that it was set to "You Will Be Found" from Dear Evan Hansen almost felt cruel. Cue the waterworks, amirite? Sophie and Gino danced beautifully together. Their chemistry was immediate. This was just lovely. Laurieann called this pairing magical. (Agreed.) Nigel said their chemistry is magnificent. (Agreed.) Mary, through tears, said this routine will be remembered all season, and Dominic thanked Sophie and Gino for this performance.

Mariah's Solo

I want to be Mariah when I grow up. She used her half a minute to perform with life, passion, and purpose—as she always does.

Anna & Benjamin, Broadway with Al Blackstone

Did anyone else get The Notebook vibes from this performance? It was slow and sweet, with all the signature, stylized elements that make a piece distinctively Broadway, but without the flash, the jazz, the sparkles, the spotlights. It felt almost indulgent to linger in the moments of stillness, of quiet, of calm. Nigel called it gentle and beautiful, but said it wasn't what people are likely to vote for. Mary said it was played just right, with just the right amount of magic. Dominic used the word genius! And Laurieann said, "THAT WAS AMAZING." All caps implied.

Madison & Ezra, Argentine Tango with Leonardo and Miriam

This style is, historically, a potential death sentence on this show. (Fittingly, the choreographers explained, Ezra represents death in the piece.) Ezra, of course, is a bona fide ballroom babe. But, he admitted during rehearsals, this style is one in which he has zero training. And yet, they pulled it off. These two really do dance well together. They're so strong individually, that when it comes time to move in unison, it seems almost...easy? Nothing about this show is easy, but these two make it look that way every week. (Quick question: Can Madison get an Emmy for Best High-Kicking Legs? Holy cow.) Best Argentine Tango ever on "SYT?" No. It wasn't particularly remarkable or memorable, but it was good. And that last lift was excellent. Mary noted how difficult the choreography was, with all the complicated combinations, lifts, and tricks—and said they did it all beautifully. Dominic gave Ezra some love, which was nice to hear. Laurieann called it intense and cinematic, and Nigel said it was well done.

Benjamin's Solo

Shirtless with a skirt and slicked-back hair. You win, Benjamin, All the solos were good, but Benjamin really went for it. This was so energetic, so explosive, so much. It was the only solo of the night we were begging not to end!

Anna's Solo

Does anyone else keep forgetting that Anna is a hip hopper? Every week, she has proved that she can do other styles really, really well. This solo was a nice, if somewhat tame, reminder that she's an OG hip hopper.

Mariah & Bailey, Contemporary with Mandy and Elizabeth

"Being small, it's hard to find love." —Bailey, during rehearsals. Bailey! Could not possibly love this guy more. Meanwhile, Mariah said she was pumped to get to finally dance in her style. And OMG. These two. This piece. The rooftop prop was a lovely touch, and something the show, in its 16 seasons, has never seen. Mandy and Elizabeth really created something special here. And Bailey and Mariah danced it so beautifully, really giving into the choreography without letting the prop take over the routine. (This isn't easy!) It was reminiscent of Katee and tWitch's door routine. Remember? This was just really nice to watch. (And again, Bailey, crushing those lifts, proving HEIGHT AIN'T NO THANG!) Dominic said this was one of his favorite routines in all 16 seasons. (Wowowowow!) Laurieann called Bailey brilliant and said "Muffin" (Mariah) did well, too. Nigel said they are still the team to beat, and Mary told the world she wants Mariah and Bailey to be partners for the rest of their lives. NO PRESSURE, THOUGH.

Sophie & Gino, Jazz with Jonathan Redavid

In this piece, Gino and Sophie were tasked with, uh, being a new couple getting to know each other. Pretty fitting for the pair dancing together for the first week! And oh baby, was this a way to get to know each other! (I, personally, have never had a first date twirl me around quite like Gino twirled Sophie. Anyone else?) Sophie was sharp and sexy, and Gino was strong and swaggy. The first half was flirty, and the second half was high-energy. There was one lift that was a near-miss, but Gino salvaged it! Look, we were sad to say sayonara to Steph and Eddie, but it meant getting these two as partners, which is an absolute treat. What fun! Laurieann said it was soulful and called Sophie and Gino the new couple to beat. (!!!) Nigel agreed, saying Mariah and Bailey have "great opponents." Mary gave them tickets to board the Hot Tamale Train, and Dominic said it was the best performance of the season for each of them.

Bailey's Solo

OMG THE FUNNEST. Bailey for President. Bailey for everything. We said Benjamin's solo was the best of the night so far, but then Bailey came out and did this. So...yeah. Tough call. Loved 'em both.

Contemporary Group Routine by Talia Favia

Madison, Mariah, Benjamin, and Gino, clad in black hoodies and dancing to Billie Eilish's "Bad Guy," came out ready to throw down. They were serious, but alluringly kind of sexy. Mysterious and angsty. And by the end, Gino and Benjamin were shirtless. Mary called it strong, powerful, and tough. All the judges loved it, and notably loved the shirtless part. Dominic talked a lot about the abs. Everyone laughed a lot. But yeah, unanimous praise and loads of giggles.

Pause for results!

After last week's votes, Cat chimed in with an update: Gino was safe, meaning Benjamin was in danger. Mariah was also safe, putting Madison in danger of leaving. WE HATE THIS PART RIGHT HERE.

African Jazz Group Routine by Sean Cheesman

Sophie, Bailey, Anna, and Ezra's group routine had a totally different vibe than the contemporary crew. It was primal and exciting. It started slow, then built to a high-energy explosion of tricks and really, really, really fast choreography. This looked exhausting. Mary was feeling it, Dominic thanked the dancers, Laurieann welcomed them to the dream, and Nigel...praised Bailey's solo. Can't blame him!

More results!

Ezra and Anna found themselves in danger. Sophie and Bailey were sent to safety.

And finally...

Ultimately, the judges saved Madison and Ezra, which meant Anna and Benjamin were the next two voted off the island. And then there were six...

The MTV Video Music Awards are really a dancer's dream awards show. Think about it: we get to hear our favorite songs sung live, see the music industry's brightest stars decked out in ridiculous, over-the-top costumes, and watch some insanely full-out performances, courtesy of the dance world's most talented dancers and choreographers.

This year's VMAs were no exception. From start to finish, we saw act after act chock-full of some of the best dancing television has seen in a minute. In the (highly unlikely) event you missed the show, we gathered up all of the best dancing from last night.

Lil Nas X's First VMAs

None

We're all a little devastated that Lil Nas X didn't use the VMAs as a chance to release yet another life-changing remix of "Old Town Road" (or as a chance to show off his underratedly amazing square dancing skills). But watching him perform—and I mean perform— his hit single "Panini" was entirely enjoyable. And, important life update: Lil Nas X can seriously MOVE, and he was there hitting every single step alongside his talented crew of backup dancers. Welcome to the VMAs, Lil Nas.

Lizzo, Lizzo's Backup Dancers, and Queen Latifah in the Audience During Lizzo's Performance

None

Friendly reminder from diva extraordinaire and general queen Lizzo that even if it's starting to feel like fall, #HotGirlSummer is never really over. Lizzo's VMAs performance was exactly what we expected in all the right ways, full of self-love affirmations, legendary costume changes, big-booty worship, and, of course, some of the best dancing of the night. Lizzo was backed up by an all-black, all-women, all-sizes dance troupe that we will probably never stop talking about. Watching them get down to her two self-love anthems, "Truth Hurts" and "Good as Hell," was truly amazing. BRB, watching this performance any time we feel sad ever again.

Normani's "Motivation" Solo

None

While Normani's entire performance of her new hit single "Motivation" was completely full of to-die-for dancing, what we really can't get over was her breakout solo. We have no choice but to stan a queen who is able to overcome a wardrobe malfunction and perform the hottest combination of floorwork, twerking, acrobatics, and hip hop we've ever seen. "Motivation" is right—Normani is out here reminding us we need to hit the studio.

Missy Elliott. Full Stop. 

None

If you're sitting here wondering if Missy Elliott just gave the best VMAs performance of all time, you're not alone. Elliott performed all of her classic hits, from "Work It," "Get Ur Freak On," "Pass That Dutch," and even "Lose Control," the classic bop that soundtracked roughly 99% of all bad hip-hop routines at recitals across the country in the early 2000s. One of the highlights of the performance (and the night) was when Elliott brought out phenom Alyson Stoner who appeared in the original music video for "Work It." Top to bottom, Missy Elliott's necklace says it all: this performance was iconic.

In our Dear Katie series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

Whenever I raise my leg higher than 90 degrees in à la seconde, it moves diagonally in front of me—I can't keep it flat to the side. How can I fix this?

Lexi

None

Dear Lexi,

Fun fact: Most people are physically incapable of lifting their legs flat to the side! That requires perfect, 180-degree turnout, which almost nobody has.

When working in à la seconde, dancers usually move their working legs slightly in front of them in order to maintain their turnout, even in tendu. It's a widely accepted practice, viewed by most teachers and coaches as technically correct. I'd much rather see a dancer in proper alignment with a beautifully turned-out leg than a dancer losing her turnout in an effort to get her leg directly to the side.

Just make sure your weight stays over your supporting side, your hip is down, and you aren't lifting your shoulders. If you've got all that going for you, a little diagonal shift is nothing to worry about!

For more of Katie's helpful tips and advice, click here.

It's official: Alyson Stoner is Having A Moment.

We've been unable to stop thinking about the fabulous dancer since Monday, when she made her showstopping cameo in Missy Elliott's VMAs set. And we're in good company: Ellen DeGeneres—like most of the internet—is newly (re-)obsessed with Stoner, too. So much so that she dipped into the "Ellen" archives to pull a gem of a clip from 2003, when Stoner appeared on the show after her star-making turn in Elliott's "Work It" video.

None

Stoner is just 10 years old in the vid, a pigtailed baby b-girl. She gushes about Justin Timberlake, tries to teach Ellen a few dance moves, and shows off her six-step. (She also gives credit to Hi-Hat, the "Work It" choreographer, which, #BLESS.) It's all very sweet—and further evidence that Stoner's been the best from the beginning.

After days spent rallying against "Good Morning America" host Lara Spencer's flippant comments about boys doing ballet, the dance world triumphed on Monday. Not only did Spencer issue a lengthy on-air apology, complete with an interview with Robbie Fairchild, Travis Wall and Fabrice Calmels, but over 300 dancers gathered outside of the "GMA" studios for an impromptu ballet class.

The dance field seemed geared to press forward with positivity; a change.org petition urging "GMA" to cover the benefits of ballet for young men has gathered over 40,000 signatures, and many are examining the ways in which the #boysdancetoo movement can be made more inclusive. This made it all the more disheartening to open Instagram this morning and see that Fox News commentators Raymond Arroyo and Laura Ingraham took the bullying a step further last night, mocking Spencer's apology on a program called "The Ingraham Angle."

The segment starts with a "GMA" clip from Spencer's apology to Fairchild, Wall and Calmels. Arroyo jumps in, saying,

Can you believe this? This is what politicians do when they offend an ethnic group.

Arroyo and Ingraham both go on to say that they briefly took ballet; Ingraham says she took one class and got kicked out. Arroyo adds,

People harass you if you walk around in tights, they're going to harass you. It's not exactly, you know, an exemplar of a male...This ended, by the way, with 300 dancers, mostly boys, doing a class in Times Square.

Here, the show plays a clip from Alex Wong's Instagram account of the class doing port de bras. Ingraham interjects, saying,

They look like tai chi people.

Arroyo replies,

I hope she offends a mechanic next, so the boys know how to change the oil in a car.

Ingraham says that they have to move on, spurring Arroyo to turn to her in a bow with his hands in a prayer position, saying "Apologies" (an exact imitation of Calmel's movement from the initial clip). Ingraham, of course, laughs.

None

Spencer's initial comments struck such a deep nerve in people because they boiled down to bullying. Ingraham and Arroyo's response goes far beyond that.

First of all, Arroyo seems to condone harassment of male dancers. (Note his use of words; harass is far harsher than bully.) And while Spencer used innuendo to hint at the fact that ballet is not masculine, Arroyo says it straight out, that it's not an "exemplar of a male."

The commentators also detour into racism. In comparing Spencer's apology to a politician apologizing to an ethnic group, Arroyo is saying that he finds that practice laughable as well. But the most blatant example is Ingraham's comment that the ballet class looks like "tai chi people." While a comparison between ballet port de bras and tai chi could be an interesting topic for another time, with her phrasing, Ingraham manages to belittle Chinese culture, the ancient movement form of tai chi, ballet and the celebrated male dancers leading the class, all in one fell swoop.

While it's hard not to be wildly angry that this sort of hateful, ignorant rhetoric is appearing on national television, Fairchild's Instagram caption from earlier today is a reminder that the attention this story is getting is ultimately a win for ballet. "We riled those folks up @foxnews pretty good," he wrote. Fairchild later removed the post, writing in his Instagram story that it "felt gross and dirty after all the beauty and love from earlier this week" to repost the video clip. "Life's too short to bother with people who think apologies, forgiveness, and ballet are stupid," he writes, "Onward and upward."

None

And it's true; since last week, millions of people have taken to social media in response, and dozens of media outlets have provided coverage. (Even a Fox Business story says that despite the controversy, ballet has led to lucrative careers for several male dancers, going on to list Baryshnikov, Nureyev and Benjamin Millepied, a paltry attempt to delegitimize the issues at hand.) Dance Magazine's initial story on the controversy has quickly risen to our most read story of all time.

This issue is catapulting a conversation about ballet onto a national platform. We have faith that the dance world will continue to respond gracefully, and that this is only the start of much more discourse to come.

In today's culture, winning is everything—so much so that most dance competitions highlight trophies above all else and emphasize the importance of being on top. But before platinum and first place became top priority, competitions were a chance for dancers to be inspired, have an incredible experience, and grow, as both artists and people.

Some competitions, like National Dance Showcase, are committed to presenting a new model, in the hope that other comps follow suit. Instead of promoting a culture where only winning matters, NDS focuses on nurturing the whole dancer. That doesn't mean NDS or comps like it are any less competitive—it's just about striking the right balance and remembering what a dance competition should really be about:

1. Sportsmanship 

Learning to win—and, more importantly, lose—gracefully is a far more telling test of character than earning a trophy. At NDS, exceptional behavior is celebrated with a special honor: the Backstage Award. "It's given to a studio that exemplifies sportsmanship," says Christopher Jackson, NDS judge. "Who's being really nice to the other dancers in the hallway, who's clapping for the other dancers from the audience, who's really tidy in cleaning up their space, who's treating the backstage staff kindly."

None

2. The chance to perform 

At its core, a comp is an opportunity for dancers to get onstage and strut their stuff. "A lot of students only get an opportunity to perform in their studio's Christmas show and the spring/summer show, so that's just twice a year," points out Jackson. "It's great to come to a competition and perform—with lights, costumes, makeup, onstage—without even worrying about a trophy."

Competitions are also a way to build confidence and eliminate debilitating stage fright. "Especially if you're doing a solo," says Bria Walton, NDS judge. "Just the confidence to go onstage by yourself and do a routine, that's huge."

3. Community 

Dancers get to forge relationships and network with peers, teachers, and judges. "We try to build and foster a community of dancers that transcends their home studio," says Sonia Pennington, executive director of NDS.

None

4. Inspiration 

With the chance to take class from renowned teachers, observe the talent of their peers, and learn valuable life lessons about collaboration, competitions are an incredible springboard for young dancers. "Our push for this year at NDS is to inspire dancers," says Pennington. "We want them to see how wonderful they are—how much talent they have—and use that onstage and off. We want to support dancers in mind, body, and spirit."

5. Feedback 

Both in class and onstage, dancers receive valuable feedback from teachers and judges who see them and their routines with fresh eyes. And feedback doesn't mean untempered criticism, either. "With our judges, we emphasize that for every negative critique, there should be something positive," says Pennington. "We look for balance in our judges—although all have professional working experience, we also have seasoned teachers."

6. Personal growth 

"The dancers are developing personal relationships that allow them to grow as dancers and people—not just at NDS or their studio but outside the studio, as well," says Pennington.

None

7. Teamwork 

It's more than just making sure they dance together in careful unison—dancers who compete together develop problem-solving and team-building skills that will last a lifetime. "Teamwork is the foundation for everything," says NDS director of logistics Alan Donato. "No individual is more important than the other; all must work together to achieve the common goal."

8. Exposure 

For many students, a competition is a chance to see what else is out there—and for others to see them. Sometimes, says Walton, the best teachers are your peers. "You get to interact with other dancers and learn from watching them," she says.

9. Camaraderie 

Any competition worth its salt stays far away from drama and catfights. Comps should instead be about forming new friendships and strengthening existing ones. At NDS, for example, Pennington reports they have "zero tolerance for the 'dance moms' atmosphere."

10. Celebration of who you are

More than anything, a competition is a way to recognize the uniqueness and talent of every dancer. "At NDS, it really is all about creating an experience for celebrating what this dancer is doing and bringing to the table," says Walton. "It's embedded in the culture here, from the top down."

Summer is synonymous with "So You Think You Can Dance." For the past 15 seasons (because there was that rogue sixth season that aired in the fall, remember?), the onset of summer has signaled the start of the audition rounds. And Labor Day weekend has meant it's time to wind down.

But while we've reached that end-of-summer time, this year, it seems like the season should just be getting started. The live shows only began a few weeks ago! The chemistry is finally starting to heat up! Dominic has only cried, like, 12 times! Surely we can't already be down to the Top 4, can we?

We can. Last night, the Top 6 took to the live show stage for a partner routine, a solo, a mini group performance, and a duet with an All-Star. By the end, four remained—the four going on to compete in the grand finale. Here's what happened, and who's still in it to win it.

The Opening Number

If you watched this opening routine and thought to yourself, "Hmm, looks like there are more than six dancers underneath that magical sheet," you were correct—because the All-Stars were in the house last night! This Pharside and Phoenix routine delivered total "Ramalama (Bang Bang)" vibes, and was a fun, sensory-overloading way to open the evening. Love seeing that stage filled with dancers!

Bailey & All-Star Koine, Broadway with Al Blackstone

OK, so Bailey gets to dance with Mariah every week, and then he's paired with All-Star Koine?! Talk about hitting the duo jackpot. Bailey admitted he had never done Broadway before learning this Al Blackstone routine, but he was up for the challenge—and it paid off. As a very dapper waiter, Bailey was sweet, suave, and funny without being over the top. (Although that leap over Koine's head was over the top, literally and figuratively.) Dare ya to re-watch this one without smiling ear-to-ear! The judges gave it a standing ovation. Dominic said the performance was believable and not corny, Laurieann said "O-M-G," Nigel called Bailey outstanding, and Mary said he was the entertainer of the show.

Gino & All-Star Comfort, Hip Hop with Luther Brown

The last time Gino did a hip-hop routine, it wasn't the best. So this, he admitted, was his redemption round. And boy, did he ever redeem himself! Hip-hopping alongside Comfort is no easy feat for anyone ever—she just shines—but as the King Tut to her Cleopatra, Gino hit every move, every step, every mark. It was standing ovation-worthy! Laurieann called it amazing, Nigel said there was a lot of sauce on Gino's spaghetti (a good thing), Mary praised Gino for coming out fighting, and Dominic called Gino a star.

Madison & All-Star Lex, Jazz with Mandy Moore

DREAM. TEAM. ALERT. This sixties-inspired routine required a lot of acting, a lot of legs, and a lot of sass, which, check, check, check! Madison and Lex were perfectly in sync with their side-by-side leaps, their stylized walks, and every shoulder shimmy and hip shake in between. Nigel said Madison finally let her emotions go (a good thing), Mary loved the vibe and character, and Dominic called it Madison's best performance of the season, but Laurieann wanted Madison to let go a little bit more.

Sophie & All-Star Kiki, Samba with Pasha Kovalev

Sophie got All-Stars times two—a partner and a choreographer! And it was good to have that support system for this routine, because wow, the samba is hard. Sophie wore the heck out of that sparkly costume, and it's safe to say we'll never hear Ed Sheeran's "Shape of You" the same way again, but this routine felt a bit clunky, if we're being honest (which we always are). That said, the judges gave the routine a standing ovation, so they saw something else. Mary said Sophie looked like a professional ballroom dancer, Dominic said Sophie is blowing up at the right time in the competition, Laurieann called Sophie incredible, and Nigel was glad Sophie relaxed into the fun of the routine. Fair points!

Mariah & All-Star Fik-Shun, Hip Hop with Misha Gabriel

Look, we want Mariah and Bailey 2gether 4life, but we have to admit we were very into her vibe with Fik-Shun during this hip-hop routine. Mariah's hat fell off just a few counts in (#relatable), but she kept dancing like a pro. And then the canes came out, and they had some fun with those, and there were no cane casualties. Dominic said Mariah, a contemporary dancer, is one of his favorite hip-hop dancers this season—interesting! Laurieann called it magical, Nigel didn't feel it and said it wasn't his favorite Mariah performance, and Mary then disagreed with Nigel, saying Mariah is consistently magical.

Ezra & All-Star Gaby, Contemporary with Robert Roldan

Robert as choreographer?! LOVE THAT! Ezra really broke through during this performance; it felt like he finally let out the breath he's been holding all season. And the partnering in this piece was dynamite, especially after things picked up about halfway through. After that point, it was on—on fire, on point, on the mark. The judges gave it a standing ovation and Ezra collapsed into tears at the end, and this show! We are all always crying! Laurieann called it breathtaking and fantastic, Nigel praised Ezra for being honest with himself, Mary said this was Ezra's night, and Dominic called Ezra inspiring.

Sophie & Gino, Broadway with Warren Carlyle

These cuties just kicked off their partnership a week ago. But already they are [insert a million fire emojis]. And they dove right into Warren Carlyle's joyful choreography. Sophie called it the most fun dance she's ever done on the show, and we have to agree. It was sweet and cute and technical and challenging and truly the total package—sealed with a KISS! Swooooooon. Nigel loved that they used the entire stage, Mary compared Gino to Gene Kelly, Dominic wanted to know what's up with the kiss (SAME), and Laurienn gave it a "boomkack."

Mariah & Bailey, Jazz with Ray Leeper

Bailey is into Mariah. Mariah is leading him on. That was the story behind this sexy routine. The couple to beat was determined to stay on top, and boy did they dance. this. OUT. Honestly, it was kind of nice to just sit back and watch a classic jazz routine that wasn't packed to the brim with over-the-top tricks. The judges lost their minds for it. Mary called it an unbelievable masterpiece and said they were still the couple to beat. Dominic was blown away. Laurieann gave it a "well, well, well..." followed by a very dramatic laugh. And Nigel called Mariah and Bailey the most sensational couple.

Madison & Ezra, Disco with Doriana Sanchez

Disco: speed, accuracy, detail, and "a lot of challenging, acrobatic lifts," according to Doriana Sanchez—which is exactly what this routine was. And it was great! There was one clunky lift, but we'll let that slide, because the rest of it was great (and surely exhausting.) Dominic recalled how challenging disco was for him on the show, and therefore praised Madison and Ezra for their performance. Laurieann said Madison killed it and called Ezra amazing. Nigel was mad he didn't get the email to wear glitter, but appreciated the sparkle in the routine. And Mary said it gave everyone disco fever.

The Top 3 Girls, Group Routine with Ray Leeper

We always support head-to-toe pleather costuming! This legalicious routine felt very every-woman-for-herself. Sure, it would've been feel-goody to see some warm and fuzzy chemistry—but instead, each of the remaining ladies got a chance to dance her best. Lots of all-around strength here, and some exceptional technique. It brought the judges to their feet, with Laurieann calling it brilliant, and Nigel admitting it wouldn't be an easy task sending one of these three home. Mary delivered a very sweet "you're all winners" sentiment, and Dominic acknowledged what an honor it's been watching these three women throughout the competition.

The Top 3 Guys, Group Routine with Talia Favia

When does Talia Favia get her Emmy?! This piece for Bailey, Ezra, and Gino was simply beautiful. That stillness at the beginning (did you hold your breath the whole time?) was mesmerizing. And then, when the stillness broke, everything was explosive, wild, and intense. Biggest props to the Top 3 guys for bringing it all to life so perfectly. (And for the group hug at the end! Aw!) Nigel called out Gino specifically for standing out in the group. Mary said it was wonderful. Dominic praised all three men for living in the moment. And Laurieann said this was the power of dance—speaking without opening their mouths. So basically, we all loved this.

But now...the sad part. The hard goodbyes.

Your Season 16 Top 4

Ultimately, based off last week's votes (good job, America!) and the most recent round of performances, the judges sent Gino, Mariah, Bailey, and Sophie through to the finale. So that meant a difficult, tearful goodbye to Madison and Ezra.

Here we GO!

We did it! We made it to the live competition shows!

The "we" in question, of course, being the viewers and voters at home, the four hardworking judges, and—yay!—the Season 16 Top 10. Last night, the top five guys and the top five women took to the "So You Think You Can Dance" live stage for the first time, performing for viewer votes. Which is no small feat, as evidenced by the past 15 seasons.

And to kick off the live shows, we had a little something new! Gone are the days of the top dancers strutting onstage to perform a solo eight-count before coming together as a group for that sassy step-ball-change walk downstage and that final "here we are!" pose as Cat Deeley bellows, "Welcome! To So You Think You Can Dance!" Nope: Season 16 is all about that tech. The 10 finalists started onstage, performing those aforementioned eight-counts accompanied by crazy laser beams that were seemingly passed from one dancer to the next. Then the dancers united to perform a joyful routine to "This Is Me" from The Greatest Showman, choreographed by Mandy Moore. It was totally lovely and happy.

As for the rest of the episode: Each member of the Top 10 performed once with a partner and again as part of a mini group. Up for grabs this season are $250,000, the cover of Dance Spirit (!!!), and the title of America's Favorite Dancer. Here's who's most likely to take it all after last night's episode.

Mariah and Bailey, Jazz with Mandy Moore

Team small but mighty! During rehearsals, Mandy admitted she wanted to push b-boy Bailey and contemporary dancer Mariah—and oh, did she ever. Her routine, set to the B-52s classic "Love Shack," was seriously speedy and super fun, and it played to Mariah and Bailey's strengths as individuals and as an early front-running pair. The tiny duo delivered a larger-than-life performance. Bailey was a great partner, who held his own—and Mariah—in every single one of those lifts. Laurieann lost her voice screaming, she loved it so much ("boom kack, honey!"). Nigel noted that they were small in stature, but enormous in heart. Mary hopped on the love shack train and called Bailey "the biggest shock tonight." Dominic was blown away and said he was extremely jealous of their chemistry. Season 16 standard: set!

Stephanie and Gino, Hip Hop with Luther Brown

Is this partnership even fair? It seems unfair: It's too much talent! Stephanie and Gino are both highly-trained, dynamite ballroom performers. So how'd they fare in this swaggy Luther Brown hip-hop routine? They did...well...fine. It was good. It was solid. But ultimately, especially after Bailey and Mariah's high-energy routine, it fell somewhat flat—nicely done, but forgettable. Dominic said it was OK, Laurieann loved it, Nigel was #TeamDominic (and made a Frozen pun!), and Mary was in favor. A mixed bag all around.

Anna and Benjamin, Cha Cha with Emma and Sasha

Benjamin is a contemporary king. Anna is a hip hopper. So, they did ballroom, of course! (To be fair, Benjamin has done some ballroom training, so he's not a total novice here.) Despite plenty of drops and falls during rehearsal, these two pulled. it. off. Benjamin performed with confidence, ease, and personality. And for a hip-hop dancer, Anna did pretty well, though her footwork was sloppy at times. (Not surprising, maybe, given that this was only her second time in heels!) Mary said they looked like they were having the time of their lives. Dominic loved it. Laurieann called them "humble warriors." And Nigel said it was beautiful to watch.

Madison and Ezra, Contemporary with Talia Favia

The first emotional contemporary routine of the season, hooray! This number started off strong, with a huge lift, a series of jogs in place, slow and robotic movements, and a gorgeous penché from Madison that felt like it went on for six full minutes. Ezra is a stunning dancer, but it was hard not to watch Madison throughout the piece. Girl threw down. All four judges gave the pair a standing O. Nigel was proud of the performance, Mary called it pure, honest, and glorious, Dominic said it was his favorite routine of the night, and Laurieann called the pair powerful.

Sophie and Eddie, Jazz Funk with Brian Friedman

Sushi delivery, anyone? Sophie killed this super-fun routine, and Eddie definitely tried to kill it. Ultimately, though, he was out-danced, in terms of both technique and personality. Laurieann said it was well done. Nigel noted that the routine was based on personality, and that Sophie succeeded but Eddie made him uncomfortable. Mary agreed. Dominic thought it was a good time, but said Eddie looked weak.

The Top 5 Girls Group Routine, Choreographed by Travis Wall

Well, this was lovely! Travis Wall has many (SO MANY) incredible skills, and he really thrives creating these group routines. The sections when all five women were dancing in unison were beautiful, but Travis also gave each individual a chance to shine in small-yet-powerful moments throughout the piece.

The Top 5 Guys Group Routine, Choreographed by Luther Brown

And then, in pretty much the exact opposite of what we just saw: The Top 5 men donned Halloween-worthy firemen costumes and got down and dirty. They were somewhere between "about to start a fire" and "ready to extinguish a fire"—a fun line to walk (and pop, and lock). These men are all strong individually, but Brown's routine didn't have the same group chemistry that seemed to come so naturally to the Top 5 women.

Remember, your vote counts, so click and dial accordingly! See you back here next week for more dancing, and the first few eliminations.

Congratulations to the August Cover Model Search Editors' Choice video winner, Madison Goodman! Catch her solo below, and make sure to enter the Cover Model Search here.

Madison Goodman — "Regenerative Being"

Did you hear the news, dance friends? National Dance Day has moved! Rather than falling at the end of July (as it has since 2010), going forward the holiday will be held on the third Saturday in September—September 21st this year. And that means you still have a little more than two weeks to plan your celebrations.

NDD 2019 promises to be bigger and better than ever. Here are five reasons to get hyped about our favorite holiday.

1. There'll be super-fun (and super-FREE) events in both Orange County and Washington, DC.

If you're in or around either the O.C. or the nation's capital, you're in particular luck! The Segerstrom Center for the Arts, the official West Coast host of NDD, will be putting on a celebration featuring "So You Think You Can Dance" winner Hannahlei Cabanilla and "SYT" standout Jay Jay Dixonbey. East Coast host The Kennedy Center will present a full day of dance events, including classes and performances. And none of this will cost you a dime.

2. There are also oodles of other NDD parties happening all over the country.

Search the registry to see what's going on in your neck of the woods!

3. Or, you can host your very own NDD celebration.

A dance class? A dance performance? A dance movie marathon? A big ol' dance party? Yes, yes, yes, and yes PLEASE! Get planning, and be sure to register your event on the official site so others can find it, too.

4. This year's official NDD routine was choreographed by the most-followed dancer in the WORLD.

That'd be Mr. Matt Steffanina, who put together a fun little combo to Dua Lipa's "Electricity." Watch it, learn it, and post videos of your take on it using the hashtags #DanceWithADM, #NationalDanceDay, and #DanceMadeMeDoIt. And don't forget to donate to American Dance Movement after submitting your video. Speaking of which:

5. The whole shebang is a fundraiser for a really good cause.

All NDD-related fundraising events will benefit American Dance Movement, formerly known as the Dizzy Feet Foundation. ADM supports dance education programs for underserved students—and, through a new partnership with the American Heart Association, encourages the building of healthier communities through dance.