‘Dancing With the Stars,’ Season 13, Week 9, The Performances: TV Recap

By Lisa Reynolds

ABC
The final four: Hope Solo, Rob Kardashian, Ricki Lake, J.R. Martinez

“Dancing with the Stars” travels to Argentina for the semifinals – at least spiritually.

The four remaining couples have three dances to test their mettle. Each has a Latin dance and a part in a cha-cha relay, but most anticipated may be the Argentine tango. Carrie Ann has to relax in her role of lift police officer, as women’s feet can leave the dance floor. It’s the perfect blend of sex and sensuality, or as Len puts it, “The ballroom tango is the dance the husband does with his wife. The Argentine tango is the dance the husband does with his girlfriend.”

Round 1: Remaining Latin dances

It’s fitting Hope Solo and Maksim Chmerkovsky, not exactly the most mellow of couples, begin their evening with the intense paso doble. For once, their rehearsal footage doesn’t include fighting or passive-aggressive behavior. We do hear for the first time of Hope’s aches and pains, notably a torn labrum that requires shots she’d been saving for the Olympics. Hope’s hair and wardrobe “Can’t Be Tamed,” and neither can her technique. Much like when she did the tango to “You Give Love a Bad Name” earlier this season, Hope becomes more about the character elements than the dance ones. Maks is hurling and flinging her around the dance floor, and at times she doesn’t even have to dance. The judges all say basically the same thing: The attack was good, but in capturing that, control was lost. Score: 21 (Carrie Ann 7, Len 7, Bruno 7).

After their perfect night last week, J.R. Martinez and Karina Smirnoff have sky-high expectations. Their rehearsal footage also consists of an injury: J.R.’s twisted ankle. One has to wonder how much Karina tried to choreograph around it, based on the cape twirling at the start (more than usual for a paso) and her swirly dress sashaying in front of J.R. in such a way that the audience doesn’t see his footwork. When one does see the dance, something seems off, as if J.R. is favoring the weak ankle. Indeed he is: He confirms to host Tom Bergeron that he twisted it again during the dance. The judges are apologetic but say they must take his hunched-over posture into account when scoring. Score: 23 (Carrie Ann 8, Len 7, Bruno 8).

Rob Kardashian and Cheryl Burke start the sambas, and as Rob says, “Apparently my butt is a secret weapon in the samba.” They come out on a parade float, which seems like a Maks move to delay a mediocre dance, but once he’s on the floor, Rob has the emotional breakout he needs to make the finals. Sometimes, he smiles in a way that suggests he’s reminding himself to do so. This time, the happiness and joy flow from him. He and Cheryl are in sync, and he’s moving faster than he ever has. Yes, that butt is an asset. The arms remain floppy and lack crispness, though. Carrie Ann gushes – Rob is her boy toy this season. She and Len had concerns about the parade float, too, but the dancing eliminated that. Score: 28 (Carrie Ann 10, Len 9, Bruno 9).

“DWTS” clearly wants a redemptive arc for Ricki Lake and Derek Hough, sticking them in the finale spot. Derek is surprised at how easily the samba, considered the toughest of the Latin dances, is coming to Ricki. The moments are drama and neurosis free. (See the Argentine tango footage if you’re looking for that.) The live version of the dance follows through on that, as Ricki is sharp and clean. She’s trying, and succeeding, at following Carrie Ann’s advice about her shoulders and Len’s about her footwork. It’s not as punchy and fun as Rob’s, but it is tighter all the way around. The judges take note of Ricki’s hard work. Score: 30 (10s from everyone). The perfect score felt inevitable – the producers so very much want to have a J.R. vs. Ricki finale.

Round 2: Argentine tango for all, and family introductions

The best Argentine tango dancers in the world, Sandor and Parissa, choreograph an incredible routine. Yes, it has pros (Tony Dovolani, Kym Johnson, Anna Trebunskaya) and Troupe members, but it’s all about the world-renowned masters. The others are just the appetizer for complicated lifts, amazing leg extensions and heat.

Before the Argentine tangos, we go all Lifetime with our stars.

Hope grew up a tomboy in Washington; her talking heads include Mom, Grandma, Brother, Sister, two World Cup teammates and a man I’d enjoy seeing on “DWTS,” men’s soccer star Landon Donovan. The story doesn’t shy away from the difficult, both Hope’s controversial statements about goal-keeping during the 2007 World Cup and her relationship with her father, whom Hope adored despite his time in jail and on the streets. As for the Argentine tango, it begins with Hope writhing on the judges’ table for an extended period. The dance has ambition and lifts, but those lifts aren’t always pretty. Hope’s entrances and exits lack grace. Still, Maks does a fist pump afterward. The judges are pleased, though Carrie Ann expresses the same issues with the lifts. Score: 24 (all 8s).

From the emotional rumba of Week 3, we know about J.R.’s accident in Iraq and the 33 subsequent surgeries. This time, we hear from his mother, who gave him strength and support during his darkest days. She’s also the person who told him even as a child that he should just smile, despite what he’s going through. Other talking heads: his girlfriend, three former “All My Children” castmates (including former “DWTS”ers Cameron Mathison and Susan Lucci), a retired Army sergeant and an executive director of Operation Finally Home. J.R.’s Argentine tango with Karina has a smoky, back-street, forbidden taste. J.R. masks whatever pain he’s feeling during the potent lifts. He curses immediately afterward – the dance’s ending seemed off – but the judges are thrilled with what they saw. They especially like the mounts and dismounts (Carrie Ann) and the sexually charged nature of the Argentine tango (Bruno). Score: 27 (all 9s).

Rob’s “getting to know you footage” goes more in-depth with the relationship with his father. Poor Rob was tortured by his older sisters, as seen from a photo of him in a dress and makeup at their doing, but had his father as an escape and inspiration. Robert Kardashian Sr.’s quick death from cancer seemed to shake his son’s self-confidence at 16 and made him obsessed with fulfilling Dad’s wish of USC. But then what to do with life? “DWTS” has opened him up, according to Mama Kris, stepdad Bruce, sister Khloe and friend Jesse. (Where’s Season 12 contestant and fellow USC alum Romeo?)

The Argentine tango is Cheryl’s dance, she says, and viewers agree. She and Season 8’s Gilles Marini are responsible for the show’s second-most-popular dance of all time, according to voting tied to the 200th episode of “DWTS” last fall.

It seems once a night, the judges and I disagree, and so it goes with Rob’s Argentine tango. I thought he was disconnected and lacking energy; the judges felt passion and power. I will agree with Len that Rob is peaking at the right time. Score: 27 (9s across the board).

As one might expect, Ricki’s footage focuses a lot on her body-image journey, which began when she was molested as a child in her home. We also hear about her time as a talk-show host, her tough divorce and move to L.A., but, oddly, not her work in educating people about more-responsible childbirth. As one also might expect, Ricki has concerns about the lifts based on her former fat-girl self, and practice with Derek turns into a therapy session. Derek is selling the heck out of this Argentine tango. Ricki looks physically stronger than she has all season, though she’s breathless and worried afterward. (Carrie Ann later compliments her improving core strength.) She could use more passion – the coldness, which should appear as intensity, comes across more as “nervous.” Len says, “I don’t think you know how good that was.” Score: 29 (Carrie Ann 10, Len 9, Bruno 9).

Round 3: Cha-cha relay

From the ABC press release: “In the Cha Cha relay … all couples will dance to the same song. Their Cha Cha will not be scored, but it will be ranked by the judges: The couple who takes first place in the ranking will receive 10 points, the second-place couple will get 8 points, the third-place couple will get 6 points and the fourth-place couple will take 4 points.”

The couples draw numbers backstage, and Ricki and Derek go first. It’s a lot of dazzle from Derek, neat steps from Ricki. Hope and Maks follow with fringed pants and an inability to keep in time. J.R.’s hips look great, the steps ginger. (That ankle really is bothering him.) Rob and Cheryl finish with fun. The winner: Rob and Cheryl, who get the 10 points. Ricki and Derek get 8 points, J.R. and Karina 6, and Hope and Maks 4.

Final totals for the night: Ricki and Derek 67, Rob and Cheryl 65, J.R. and Karina 56, Hope and Maks 49.

Tuesday night: Design a Dance winners Derek and Anna paso to “Bad Romance,” the Muppets move, Anna’s partner Carson Kressley visits the wardrobe room (according to Twitter), and someone goes home. Unless Hope and Maks have the largest fan base of all, it looks as if they’re finally leaving.

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Music Video Showdown: Katy Perry, The Black Keys, REM top list of online hits

“The One That Got Away” — Katy Perry

The California Girl’s latest single “The One That Got Away” takes a heartrending look back to a lost love. The music video’s trailer — you know it’s going to be good when the four-minute video has its own trailer — opens with, “The past is like a handful of dust; it filters through your fingers, disappearing little by little.” The video, which premiered Friday, follows the on-screen high school love of Perry and Mexican actor/heartthrob Diego Luna. It begins with an elderly Perry, in heavy makeup, scoffing at her husband — not the one who got away. The video’s story plays through the lyrics of the “Teenage Dream” single, showing the story of “the summer after high school” and “matching tattoos” up until the truly depressing end that closes out with a faint “You Are My Sunshine” by Johnny Cash — another lyrical reference back to Perry’s June and Johnny Cash love.

“Lonely Boys” — The Black Keys

Ohio-born alternative rockers The Black Keys are gearing up for their seventh studio album El Camino, due in stores Dec. 6. Their first single of the record “Lonely Boy” has drummed up excitement for the upcoming release with its minimal and rather quirky approach to its music video. Directed by Jesse Dylan — the eldest son of legend Bob Dylan — the video showcases Derrick T. Tuggle’s one-of-a-kind dance moves. Who’s Tuggle, you ask? He is a 48-year-old actor, musician and part-time security guard, according to MTV.com. The video literally is one continuous look at Tuggle’s side-to-side hip swings and occasional fist pumps, intertwined with some light lyrical accompaniment and hand motions ­— like a look at his watch with “any old time to keep me waiting” and a cradling motion for “your mama kept you.” The video closes with Tuggle, one fist in the air and hip popped to the side in front of a motel office building. It’s just that great.

“We All Go Back to Where We Belong” — R.E.M.

We all go back to where we belong. R.E.M., which released its first album in 1983, is bringing its rock reign to an end with its final album “Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011.” The band’s final single — the lead from the closing compilation album of greatest hits — “We All Go Back to Where We Belong” sends a message in its title but only compounds the hidden meaning in its set of two music videos. The first video features actress Kirsten Dunst in one focused black-and-white shot. She’s sitting in one spot, in front of a white wall, nervously smiling and looking away from the pointed camera for the entirety of the low-key, lighthearted single. The second video takes the same approach, instead spotlighting poet and AIDS activist John Giorno. They’re awkward and unexpected but sweet and captivating all in the same chord.

“We Found Love” — Rihanna

It’s risqué and provocative and circles around a relationship turned bad, through the lens of drug abuse and domestic violence. Rihanna’s video for her hit track “We Found Love” is controversial. But in its passion and emotion, it outdoes its backing track with a powerful story told through a crashing romance with a Chris Brown — Rihanna’s ex — look-alike. The video tells a tale that amounts to a love-charged, devastating end, forcing flashbacks to the highly publicized end to Rihanna and Brown’s relationship. The song has found success on the top charts, but the video outdoes the repetitive “We found love in a hopeless place” chorus, adding to the sentiment in a much more powerful way. An English voice leads into the dramatics saying, “You always feel ashamed that someone could be that important, that without them you feel like nothing,” as images of the end — a defeated and hopeless Rihanna — paint a picture of an all-consuming love gone sour.

“Someone Like You” — Adele

She’s so classy. And it’s just one of those songs that doesn’t get old. “Someone Like You” brings the tears, and as was highlighted in a “Saturday Night Live” sketch this weekend, it pulls at the emotions of men and women alike — it’s the perfect track for a good pity party or full-out ugly cry. The video for the top track is understated in its elegance but manages that same broken and bitter yet completely love-struck sass the song is famous for. The camera stays centered on Adele’s face, bringing out the emotion of the song in her delivery. She shoots coy glances at the camera, seemingly looking directly into the eyes of the subject of the song. The five-minute video of pure emotion is shot in black and white in Paris as Adele walks through the city’s streets until the end, where the songstress is staring at her man walking away beside her own reflection in the mirror.

“Sing for Me” — Yellowcard

After a three-year hiatus, the “Ocean Avenue” band is back with its seventh studio release, March’s “When You’re Through Thinking, Say Yes.” The album’s third single “Sing for Me” debuted with an inspiring and experience-driven video Oct. 26. The video begins highlighting the stories of Kyle who lost his mother to cancer, Mercedes and her dad who are homeless and living out of their van, Ashley whose friend was killed by a drunk driver and others stricken by hardships. All of the tales come together with the message: “We all have a story. These are of survival and staying positive.” The different “survivors” share their stories through photos and written message in a very Post Secret–esque way, as the track shines through with, “I just hope you know the future in your heart is just about to start.” It’s a little cliché, but there’s always something special about the tie-in to real, personal experience.

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