The Disney Channel's Descendants movies have been fan favorites since the original's premiere back in 2015, thanks to their huge musical numbers and powerful storylines. Following the lives of the children of four notorious Disney villains, the films are chock-full of talented dancers. (Those dancers include Cameron Boyce, whose untimely death last month devastated fans around the world.)

Ahead of the Descendants 3 premiere tonight, we talked to Booboo Stewart, who plays Jay—aka the son of Aladdin's Jafar—about growing up dancing with Boyce, what it's been like to get back to his dance roots, and his love for director/choreographer Kenny Ortega.

You studied dance pretty intensively, right?

Yes. When I first got the part in Descendants, I hadn't danced in a few years. But dancing was really my main thing for a while. I actually took classes with Cameron Boyce when we were really young, and competed at JUMP and did music videos. I recently started taking classes at Millennium Dance Complex again. Kenny Ortega is dance-world (not to mention Disney Channel) royalty.

What was it like to work with Ortega on "Descendants 3"?

Working with Kenny is probably my favorite thing about the Descendants films. He's such a magical person, and he has such a creative mind. He'll walk into the room and change one little thing, and you'll be like, "Oh, yep. That is so much better."

What's your favorite number from the movie, and which one was most challenging for you?

My favorite and most challenging are one and the same: "Good to Be Bad." That song is awesome! It was definitely the hardest dance piece to learn, and also probably took the longest to film because there are so many different sections of the song. But Jamal Sims, who choreographed the number with Kenny, is a groove master—he came up with the grooviest moves that made it all work.

None

Click here to donate to the Cameron Boyce Foundation, established in Boyce's memory to provide resources for young creatives.

We all know back-to-dance shopping is the best (okay, one of the best) parts about the new school year starting up. And we're about to make it even more fun—with a chance for you to win a $100 shopping spree to Discount Dance Supply!

Click here to enter by September 4th. We'll be choosing three lucky winners!

Normal human pregnant lady: *reaches the 6-month mark, can only tolerate the stretchiest of stretchy pants, decides walking from the bed to the couch counts as exercise*

Superhuman pregnant dancer: *reaches the 6-month mark, still looks super-cute in crop tops, decides to co-choreograph and then ABSOLUTELY DOMINATE a ridiculously intense hip-hop routine*

None

Chachi Gonzales, who is currently growing a small human, melted the internet this weekend with the pregnant-dancer video to end all pregnant-dancer videos. She and old friend Matt Steffanina got together to create an impressive (as ever) combo to the DJ Snake/J Balvin/Tyga collab "Loco Contigo," and then Steffanina posted footage of the two of them—or three of them, rather!—killing said combo. Friends: It's the best thing you'll watch today.

None

As Gonzales herself put it, "preggo women can GET DOWN!"

Congrats, Chachi! This baby is destined to come out dancing.

Ballet dancer Alina Taratorin has struggled to control her competitive nature for years. "When I was younger," the 17-year-old Bayer Ballet Academy student says, "I would get so intimidated by the other dancers at competitions. If someone made a nasty face at me or did intimidating stretches, I would actually shake and fall onstage because of it." Her desire to win was strong, but rather than channeling that desire in a productive way, she'd attack herself. "I tend to overanalyze everything," she says. "I had to learn to control my own mind."

These days, Alina uses an array of mental tricks to perform at her peak without getting psyched out by the competition. Are you struggling with overly competitive tendencies? Try these tips from the experts to bring balance to your dancing life.

Focus on YOU

Whenever you begin to fixate on out-performing the dancers around you, take a step back. "Remember why you're dancing," says Dr. Kate Hays, a performance psychologist based in Toronto. "What matters to you about dance? What do you love about it?" Articulating your strengths and your passions can help you stay calm and focused when a competition heats up.

If you're having a hard time concentrating on yourself in key moments, Alina recommends putting on your metaphorical—and literal!—blinders. "Before competitions, I put my headphones in, stand facing the wall, and go over things by myself until it's my turn to dance," she says. Tuning out the competition can help you perform without fretting about what's at stake.

Linda Holland, owner and artistic director of the Dance Institute in Austin, TX, points out that this self-focus starts in the classroom. "Take class for yourself," she says. "You have things you're working on—your feet, your extensions—that aren't the same as what your peers are working on." For big-picture goals, like competition titles or summer intensive slots, you can talk to your teachers to develop a personalized path. "Whatever the goal is, we can outline what you need to do to get there," Holland says. "If everyone is on their own path, it's not about competing with each other. It's about putting in the work."

None

Compare Without Criticism

One dancer's arabesque is higher than yours. Another has better feet. Comparing yourself to your fellow dancers is unavoidable, especially when you spend hours every day surrounded by mirrors. "But what are you doing with the comparisons you're making?" Hays asks. "Are you channeling those observations into your own growth?"

If seeing someone else's epic balances inspires you to build your core strength, that's a constructive use of competitive energy. If watching your peers succeed makes you cut yourself down—or if your instinct is to sabotage them, or to lash out so that they feel bad about themselves—that's not so healthy.

Turn to people you trust to help you reset. "When I would get competitive over every little thing, my teachers would remind me that there is no perfect dancer out there," Alina says. "Even the best professionals have qualities that aren't ideal, but they learn to hide them or control them. Also, dance is a subjective artform. One director might not like how I move, but another person might love it. We don't all have to be exactly alike."

None

Take It One Day at a Time

Changing your thought processes—let alone any unproductive behaviors associated with those thoughts—likely won't happen overnight. Be patient with yourself, and be willing to engage in some trial and error to determine what helps you most. Your goal is to feel as motivated as possible without crossing the line into harmful patterns.

Hays offers a strategy for learning to modulate your competitive spirit: "Do a self-rating from 0 to 100, where 0 is not at all competitive and 100 is absolutely cutthroat. Based on past experience, what is your optimal amount of competitiveness? Where are you now? If you've gone over your best number, how can you pull back?"

To decrease anxiety, she recommends diaphragmatic breathing, fully expanding the lungs and rib cage into the sides and the back. Visualization can also be useful. As an audition, competition, or other high-stress event draws near, picture how you want to present yourself and practice affirming your abilities. When the day arrives, you'll have tools at the ready to keep your competitiveness in check.

Finally, remember that even if a result isn't what you were hoping for, chances are it's not the end of your dance journey. "There are always lessons you can take back into the studio," Holland says. "You can always look ahead to what's next."

We almost don't dare to say it, but after last night's final, final, final Season 16 audition round, it appears to be true: Next week, IT'S TIME FOR THE LIVE SHOWS!

We're getting ahead of ourselves, though. First, we (as in Nigel, Mary, Dominic, and Laurieann) had to whittle down the top guys. Remember last week, when the Top 10 women became the Top 5? Last night, the "So You Think You Can Dance" judges made the same round of cuts for the remaining 10 men. Each remaining dude was paired with an All-Star and a choreographer to perform a routine outside his comfort zone. Here's what went down, and who made the final cut.

Bailey Munoz, Contemporary with All-Star Lauren

It's always a treat getting to see b-boys take on contemporary choreography, and Bailey really went all-in and full-out here. (Not that he let us forget he was a b-boy at heart—that side aerial into the handstand walk!) His performance was so sweet that it rendered Laurieann speechless. Nigel called Bailey's progression shocking (in a good way), Mary praised Bailey for laying his soul out on the dance floor, and Dominic said it was the best contemporary performance from a b-boy he's ever seen. CASUAL!

Ezra Sosa, Hip Hop with All-Star Comfort

Last week, Ezra's sister Stephanie solidified her spot in the Top 10—but Ezra reminded us all that while he might be following in his sister's footsteps, he doesn't intend to live in her shadow. Going from ballroom to hip hop can be a tricky transition, but if Ezra felt out of his element in this Luther Brown routine, he did his best to disguise it alongside Comfort. He was definitely a bit pulled up, a bit focused on the steps, but ultimately confident and, as Laurieann said, "stinky." (That's a compliment, BTW.)

Vlad Kvartin, Contemporary with All-Star Melanie

OK, real talk: Vlad didn't totally crush Academy week. But if you're going to stage a comeback, do it like Vlad just did: with a little help from the Moores. Paired with former winner Melanie and dancing contemporary choreography by award-winning Mandy, Vlad was set up for success last night. Admittedly, it was hard not to focus on Melanie, with her flawless-as-ever technique and star quality. But Vlad delivered a sweet, emotional performance, nailing moments of ease and moments of power. The judges were into it, though Nigel didn't totally buy into the connection between Vlad and Melanie.

Aleksandr Ostanin, Cha Cha with All-Star Lindsay

Tapper Aleksandr really wanted a spot in the Top 10—so much so that he took Nigel's suggestion to heart and, gasp, shaved his signature facial hair! Aleksandr was a bit of a wild card at the Academy, eventually earning a surprising standing ovation for his contemporary performance. How'd he fare doing the cha cha? Not stellar, but not bad—not bad at all. Nigel said it didn't feel super comfortable and Mary wasn't all-in, but Dominic thought it was great, and Laurieann was also a fan.

Benjamin Castro, Ballroom with All-Star Koine

(A quick PSA before we talk about the actual competitor: Koine is an All-Star now. We repeat: KOINE IS AN ALL-STAR NOW. HOORAY!) Benjamin has made his mark so far by being super charismatic, and oh boy was that on full display during this routine. It might not have been the smoothest or most technical performance, but it was fun. And in addition to being utterly charming, Benjamin is an excellent, strong partner—everything this show has historically loved. Mary said he "put the seasoning on Season 16." (LOL, Mary. Never change.) Nigel said it was "too forceful" at times, but solid overall.

Bryan "Clocks" Volozanin, Jazz with All-Star Jasmine

Clocks has been a favorite for several seasons now, and it seems safe to say that everyone wants to see this guy advance to the Top 10. But Spencer Liff's choreography didn't make it easy for him. There were lots of little, intricate moves for him to master, and a few technical elements that proved challenging. It wasn't the most remarkable performance, but the judges were mostly into it. Dominic empathized with Clocks' struggles, saying "the leaps were so bad," and flashing back to his own less-than-stellar technical moments on the show many moons ago.

Brandon Talbott, Ballroom with All-Star Lindsay

Choreographers Emma and Sasha tried to convince contemporary ballet babe Brandon to embrace an alter ego for this performance. So how did "Brando" fare at ballroom? Well, he definitely kept the energy level at an 11! Brandon—sorry, "Brando"—also proved his partnering prowess, easily guiding Lindsay through lift after lift, including a fun take on a double cartwheel at the end. Nigel didn't buy the chemistry, Dominic missed the spark, Mary liked the body rolls, and Laurieann said "it will only get better from here." Not the most encouraging feedback, but OK.

Nathan Cherry, Contemporary with All-Star Melanie

OK, first, can we get Talia Favia on the short list for next year's Emmy nominations? Because that needs to happen. As for this specific performance: Hip-hopper Nathan was everything. No further commentary. Just a big ol' WOW. Dominic admitted he hadn't been a big believer in Nathan up until this point, but he's officially #TeamNathan now. Laurieann said it was very well done, Nigel called it incredible and said Nathan is officially on his radar, and Mary called it intriguing. So we all agree: LOVE.

Gino Cosculluela, Jazz with All-Star Lauren

Gino has been a judge favorite since Day 1. (He's also, reminder, the one who once kissed Maddie Ziegler on "Dance Moms." NEVER FORGET.) This performance showed why everyone loves him: He's just that good. This routine was hot, steamy, sexy, technical, high-energy, controlled, mature—the total package. Laurieann said she wanted "more," which, IDK, Laurieann, maybe let's let him have this one. Nigel called him the best technical dancer this year, but also said he still wanted more. GUYS, HE JUST CRUSHED IT. LET HIM LIVE.

Eddie Hoyt, Hip Hop with All-Star Comfort

Tapper Eddie, who won the hearts of many fans in seasons past, has gotten a ton of screen time this season. He's wanted this for a long time, and last night, in his treadmill-themed routine by Randi and Hef, he lived. it. up. It was joyful, it was fun, it was quirky; it was sometimes silly, and sometimes good and low. Dominic said it was one of the best tap-to-hip-hop transitions he's seen on the show. Laurieann said Eddie was "the sauce in the pocket." Mary said something about bottling that sauce and selling it. Everyone seemed very happy about this performance—Eddie included.

The Top 5 Guys

At long, long, long, very long last, here are the five men rounding out the Top 10:

1. Ezra
2. Gino
3. Benjamin
4. Eddie
5. Bailey

In theory, partnered pirouettes should be easier than regular pirouettes, right? After all, there are not one, but two of you there to make lots of smooth, glorious rotations happen. But in practice, they can be…complicated. (Just ask Kristi Capps, ballet master at Kansas City Ballet, who once broke her ring finger on her partner's chest during a whip turn.)

Thankfully, partnered pirouettes can be exciting—and injury-free—if you and your partner work together to coordinate your timing and spacing. Here are a few simple rules to help you and your partner find common ground.

Advice for Women

Ladies should start by maintaining a strong supporting leg and a square passé position. "When I was younger, I tried to do too much, and my high passé caused problems with the pirouette," says Yuka Oba of Grand Rapids Ballet. "Don't get greedy and let your hip get too high." She recommends that girls engage their abdominals and backs from the beginning of class, so they don't have to think about it later. This strength and stability will help the guy keep you on your leg.

Take a good preparation, and do a smooth, consistent relevé each time—don't jump up to pointe, which can throw you off balance. To finish the pirouette gracefully, Oba will sometimes relax her spot a bit in the final rotations, so that her partner knows she's ready to stop. "When the girl tries to keep going but the partner stops her, it can be an 'ugh' moment," she says.

What can you do to prevent collisions? Move quickly. Get to passé as fast as you can, which will help your partner judge the correct distance and avoid getting hit by your arms or knee. And when your arms need to go to high fifth, they should get there right away. If it's an adagio pirouette and you want to bring your arms up slowly, make sure to cross them, to keep them away from your partner's face.

None

Advice for Men

If you're new to partnering, practice some balancing exercises with your partner first, so you can feel where her center is. Start with the girl standing in passé on pointe, and lean her forward, back, and side to side to find her balance point—because its location might surprise you. "It's not going to be straight down the middle of her back," says Seth Orza, principal at Pacific Northwest Ballet. "It'll be over her standing leg."

At the beginning of a partnered pirouette, some women like to feel a "snap" from their partner's hands to get into the turn, while others don't want any help. Talk to your partner to see what she prefers. Either way, "you have to react quickly," Orza says. "If you feel that she's off-balance, have your hands right there ready to correct it."

Yes, you want your partner to feel safe and supported, but try not to crowd her. "You should really be at least an arm's distance away," Orza says. That'll allow you to complete the woman's line in a more beautiful way, and also make collisions less likely. And Capps warns against partnering the girl on her ribs. "It's so uncomfortable if the boy has his hands too high," she says. "He should keep his hands down by her hips."

Avoid the Paddle

It's possible to achieve impressive pirouette feats with the support of a partner. But when the boy starts paddling the girl around to eke out more turns, it can cause obvious and uneven rotations. "It may be fun for the dancers, but it's not technique," Capps says.

If you and your partner are going for a showstopping number of pirouettes, the girl should spot quickly and come up to relevé with enough force to complete the rotations naturally. "When we get to five or six turns, that's when the guy can help slightly," Orza says. "But it shouldn't look like you and your partner are working too hard."

Having survived two consecutive decades as a dedicated ballet dad, I've collected some tidbits of wisdom over the years. With apologies to David Letterman, I've loosely organized these pearls of wisdom into roughly 10 simple—and not so simple—rules and guidelines of being a black-belt ballet dad. Some are obvious. Some are challenging. Others can be downright impossible. But that's the price you pay when you sign up for the emotionally charged position of ballet dad.

The first rule sounds easy: Be there. Always be there. They say that 80 percent of life is showing up. I love the simplicity of that sentence. Just show up. Sounds easy, right? Well, not so fast. Life gets in the way. I'm no billionaire, or even a millionaire (is thousandaire a thing?), so that means I work for the man—busy 80 hours a week busting my hump to keep a family of seven clothed, fed and educated. But all whining aside, I get it. It is crucial to show up; attend as many performances as humanly possible, especially the ones she specifically asks you to attend. I know from experience that it will haunt you forever if/when you miss a biggie, and watching it live-streaming doesn't count!

Another rule: Hold your breath while she's onstage. I've learned that doing so somehow magically imbues her with confidence, poise and grace. I have proof: The only time my daughter ever stumbled was when I was breathing, so I implore all you ballet dads out there, just say no to breathing. Oxygen is way overrated anyway.

And NEVER EVER forget to bring flowers, even when she tells you not to. Don't ever fall into that trap!

Another key rule: Always keep the dream alive. Do everything you can possibly do to invest in your daughter's dream of dancing. Never downplay the significance of dance or discourage her from advancing to the next level. Always be a pillar of support for her dream(s). Try to summon a perverse pride when you tell your friends you pay $100 for a single pair of ballet shoes that last less than two weeks!

OK, here's a tough one: As a father, your sworn and instinctual duty is to protect your little girl from experiencing pain—at all costs. Well, where ballet is concerned, you pretty much have to let this instinct go, 'cuz your little girl cannot avoid the pain of ballet. Can you imagine standing on your toes for eight hours a day, on purpose? The pain is sure to come raining down in several forms: physical, emotional and psychological.

First, the physical demands of ballet are simply unreal. Dancing on pointe just mangles the feet. You will stand helplessly by, hearing cries of pain and anguish as ankles swell, blisters burst and muscles ache. Your ballet-dad duty: Deliver an endless supply of foot massages, ice and sympathy. Rinse. Repeat. And learn all about the magical wonders of Second Skin and duct tape!

Beyond the physical challenges, perhaps even more daunting is the psychological stress of dance: Ballet is equally physical as it is psychological, maybe even more psychological at times, says my daughter. The world of ballet is a cacophony of callousness, nefarious nepotism, rejection, delicate egos, favoritism and egregious brown-nosing that would make even a hardened politician blush. I've seen this up close and personal: "Dad, I got a horrible part. Why do they hate me?!" "That girl is way better than me; I'll never be as good as her." "I feel fat." The internal psychological battle wages on, and it can be easy for her to slip into a chasm of negativity. It's your job, ballet dad, to throw her a lifeline and pull her out of that chasm. Often that can be achieved with a big warm smile, a reassuring comment or two and a prolonged hug. I've found lots of high-end sushi can be helpful, too.

As a rule, I never embroil myself in the politics of ballet. To me there's ZERO upside. I live by the simple rule: Let the coaches coach. I watch in horror those who do NOT follow this rule!

I saved the best rule for last: Always bask in the joy of watching your daughter dance. I will never be able to adequately express the depth of pure joy I experience when I watch my daughter perform. It truly is one of the most surreal and enjoyable experiences in my life. As a complete softy, I always don a pair of dark sunglasses to conceal the tears that well up in my otherwise macho, weathered face.

But all kidding aside, this is when ballet pays you back, BIG TIME. The joy of witnessing a ballet performance always FAR exceeds the financial and emotional investment you have made over the years. This is when you finally get to reap the rewards of being a ballet dad. Remember to always get great seats; bring an entourage of as many friends and family as you possibly can; shower her with hugs and flowers and praise after the performance; and always have dinner reservations immediately after the show because she is likely STARVING!

So to recap:

1. Just be there!

2. Hold your breath during her performance.

3. Bring flowers.

4. Support her dreams, or else!

5. Ice, foot massage and sympathy. Repeat as often as necessary.

6. Let the coaches coach.

7. Get great seats and bring an entourage.

8. Bring dark sunglasses in the event of spontaneous weeping.

9. Make post-performance dinner reservations nearby.

10. Relish in the moment of each performance—let ballet pay you back.

Pop quiz, dance friends! Select all that apply:

a) You love ballet.
b) You love ballet on TV.
c) You absolutely devoured Tiny Pretty Things, the 2016 YA novel described as "Black Swan meets 'Pretty Little Liars.'"
d) OK you haven't read the book yet but wooowwww does that description sound enticing.

We've got good news for those of you who ticked off literally any of those options: Netflix just ordered a new series based on Tiny Pretty Things, and it's slated to arrive next year. Get your popcorn ready!

None

In case you haven't yet read the book: Tiny Pretty Things, by Sona Charaipotra and Dhonielle Clayton, is a drama-filled portrait of a group of young dancers studying at a prestigious ballet school. While the novel sets the story in Manhattan, it looks like the Netflix show will move the action to Chicago. And the cast features a bevy of gifted dancers, including Daniela Norman (aka Demeter in the upcoming Cats film) and our friend Barton Cowperthwaite.

More info to come as we hear it, obviously!

Visit Autumn Miller's Instagram feed and you'll find a video of the 18-year-old practicing fouettés. "You'll never be able to do it until you try," the caption reads.

At first it looks ordinary enough. (How many fouetté videos are there online?). But once you watch it, you'll understand why Autumn has more than a million followers. The turns are flawless, showcasing phenomenal technique—extension, coordination, lift, all of it. And if you keep scrolling, you'll find snippets of her working her butt off in class, equally at home in contemporary and hip hop, attacking each combination with the kind of fearlessness and confidence one rarely sees in a teenager.

That full-bodied devotion to her craft—what one of her mentors calls her "soul-bleeding dance"—makes Autumn a rare breed: an Instagram dance sensation more focused on her art than her follower count.

None

None

The Early Years

Autumn started dancing at age 6, after a brief stint in gymnastics. Her mother, Krista Miller, was then a well-respected dance teacher, and knew the business well from her years of working professionally with everyone from Prince to Debbie Allen. "I didn't want her to feel pressure from me, so we tried gymnastics first, but she was undeniably going to dance," Krista says. Autumn began her training at Dance Precisions in Anaheim, CA, and then spent seven years at Mather Dance Company, where she started "training hardcore," she says, competing in up to 10 dances a year.

From a very young age, Autumn loved performing—even though she admits that before going onstage for the first time, at age 7, she "almost had a panic attack! But I let my emotions take over, and I loved it." She scored her first agent at age 8, and her first job, on "Dancing with the Stars," at age 10.

"She really connects with an audience," Krista says. "Now her technique sets her apart, but in the beginning, even if her dancing wasn't perfect, she could captivate an audience."

A Dancing Sisterhood

Autumn doesn't live the life of a typical 18-year-old. She's been homeschooled since the fourth grade, for starters. Three years ago, her parents opened a dance studio, The Brea Space, in Brea, CA, and started The Launch, a mentorship homeschooling program for dancers ages 14 to 22. (Right now, there are 21 girls and four boys in the program.) Many of the students moved to Southern California from out of state and are housed with local families, including the Millers. So right now, Autumn lives with her parents, her younger brother—and four other girls. "It's so much fun!" she says. "It's a built-in sisterhood. We do the L.A. thing together."

The Launch students at The Brea Space have an on-site tutor in the morning and dance 25 to 30 hours a week, with training in hip hop, jazz, contemporary, ballroom, ballet, acting, singing, and Pilates. They also do body conditioning, learn about nutrition, and travel into L.A. once a week to take class with teachers including Brian Friedman, Talia Favia, Dexter Carr, Derrick Schrader, and Erica Klein. "I'm trying to bridge the gap from the competition world to the real-life industry," Krista explains.

The opening of her family's studio was a big "aha" moment for Autumn. "Before, I was more of a competition dancer," she says. "When we opened the studio, my parents brought in choreographers. I didn't realize how much more was out there!"

"Autumn is magical," says choreographer and teacher Mark Meismer, who's known Autumn her whole life and now teaches master classes at The Brea Space. "She is the most well-rounded dancer I know. Most dancers are strong in one element, but she's unbelievably strong in everything."

Her work ethic helps. "She's very humble, not entitled," Meismer says. "She's in there out-dancing her own self. There's no ego or entitlement; instead, she has a vulnerable quality." He adds that she takes "full-out" to the next level: "The music comes on and she doesn't know how to hold back!"

None

None

Life Online

Autumn's Instagram success actually grew out of her YouTube channel, Autie Freestyle Friday. Her weekly video posts were initially snippets of her dancing in a room at home, and evolved into competition videos, interviews, her morning routine, and of course, those incredible clips from class at The Brea Space. It was her dad who thought she should move onto Instagram, where she grew her following "from the bottom up." She's now at an astonishing 1.2 million followers.

"People are drawn to her online because she shows herself training," says Meismer. "She's not showing 'Here I am with Beyoncé!' She's a normal dancer who goes to class every single day and is working on her craft. She's not shooting all this fake stuff. People want to watch someone going after her dream."

Her realness recently paid off: Imagine Dragons found her on Instagram and asked her to dance in their "Bad Liar" video—no audition required. The band loved what they'd seen of her online, and material from her Instagram account ended up informing the choreography in the video.

But all of this fame and glamour does have a dark side. "Social media is a blessing and a curse," Krista says. "You are everything you post. Fortunately and unfortunately, whatever you put out is your brand, and you want to choose your brands wisely." (Autumn is offered sponsorships regularly, and turns most of them down.) Along with all the accolades and admiration, Autumn can get a lot of hate. "Our philosophy is 'Block and delete, don't engage' " Krista explains. Autumn has taken that to heart. "Someone is always going to love it or hate it," she says. "Everyone has a bad turning day. Some days you are going to forget the whole dance, and you grow from that."

With so many followers, there's also added pressure on Autumn IRL. Since her videos are regularly viewed hundreds of thousands of times, when she walks into class in L.A—which she does at least once a week—people are expecting greatness. " 'Oh, there's Autumn Miller. Let's see what she'll do today,' " she imagines them saying. "It's hard not to be hard on yourself if you mess up."

That said, she loves the platform, especially because her account is so clearly centered on dance. Her guideline for posting is to always "be true to who I am."

Into the Future

Where do you go when, at 18, you already have over a million fans? "In my dream world, I'd have my own TV show," she says. "The story of me"—a docu-series about her life, her family, and The Brea Space. She also fantasizes about dancing with Marguerite Derricks, Derek Hough, Ariana Grande, and (of course) Beyoncé.

But her mom is making sure she doesn't rush into anything. "It's OK to say no to things that aren't the right fit and not sell out," she says. Meismer agrees. "I feel like people in the entertainment industry are waiting to snatch her up—not for a gig, or a moment, but for a career. She's such a unique dancer that she could do anything, but there's something special waiting for her."

None

None

Fast Facts

Favorite Instagram filter: "Paris. It's the only one I use!

Current phone case: Wildflower's "Break up with your girlfriend, I'm bored"

Favorite song right now: "OMG, so many! I guess 'Undecided,' by Chris Brown."

Favorite TV show: "I actually hate movies and I never watch TV."

Good-luck charms: "A stuffed frog that sits on the side of the stage."

Celebrity crush: Zac Efron

Biggest pet peeve: "When people don't turn on relevé"

Her personality in three words: "Fun, humble, sweet"

Her dancing in three (OK, four) words: "Full-out, technical, emotional"

Weirdest thing in her dance bag: "My toes split a lot, so I have a whole bag of toe cream and New-Skin."

Self-care rituals: "I go to a physical therapist and a chiropractor, and a massage therapist comes to my house. I go to the beach, and I get my nails and hair done."

Advice for Dance Spirit readers: "Stick to who you are, and put your whole heart and soul into whatever you do. Give it 100 percent. It never hurts to try. Believe in yourself—everyone's worth it!"

Pretty much every dancer grows up obsessed with dance films. They're endlessly entertaining, of course—who doesn't love a dance movie night?—but they're also endlessly inspiring. As an accessible way to see the work of some of the world's best dancers and choreographers, dance movies are often our first real exposure to the incredible power of this art form.

We asked six A-list dance pros to talk about the dance films they couldn't—and still can't—get enough of.

Jamal Sims

Choreographer Jamal Sims says he's seen The Wiz—the 1978 reimagining of The Wizard of Oz with an all-black cast—over 500 times. "I know every line. I know every step. I can even point out the dancers in the back who messed up!" he says, laughing.

Sims still remembers the first time he saw the movie, at age 8, sitting with his cousins at the Cinerama Dome in Hollywood. "I was terrified of it, but also so enamored," he says. "Everything was larger than life—the winged monkeys, the crows, the NYC subways. I just loved it." He loved it so much, in fact, that he later got a tattoo of the movie's characters on his arm.

Now a widely respected director and choreographer, Sims applied The Wiz's over-the-top mentality to his work on the Aladdin remake released earlier this year, emulating the feel of the big production numbers from The Wiz. "We had over 500 people in the parade scene, and I kept telling the dancers to remember that the joy has to pop through the screen," says Sims.

Charlize Glass

How did "World of Dance" competitor and Most Fierce Dancer Under 18 Industry Dance Award nominee Charlize Glass get to where she is today? With plenty of onscreen inspiration from the movies of the Step Up series—especially since they star a few familiar faces.

"Seeing friends that I've danced with and choreographers who've taught me in the past was really cool," says Glass, naming Adam Sevani ("Moose") and Dave Scott as two examples. She loves geeking out when her dance friends post clips from the films on Instagram.

While Glass' favorite scene is the "water dance" from Step Up 3D—in which Sevani and his hip-hop crew get wet and wild—she also admires the way the stars of the Step Up series can bring it across the board. "In the dance battle scenes, they're battling with breaking, contemporary, hip hop, and popping," says Glass. "Seeing all the different styles in the movie reminds me to stay versatile."

And most of all, her love of all things Step Up reminds Glass that though she's unlocked many dance goals, she's still hoping to hit the big screen. "It's always been a goal of mine to be part of a dance movie or in a movie in general—either dancing or acting," she says. "I'd love to manifest that for the future."

Mandy Moore

From slo-mo grands jetés to "strong, athletic jazz movement," the 1983 flick Staying Alive has it all for Mandy Moore, whose impressive choreography resumé includes the Oscar-nominated film La La Land. Moore has seen the movie close to a hundred times, and says she fell for it because of the central role jazz plays in the plot. "I loved that the main leads didn't look like actors trying to dance, but instead were amazing dancers themselves," she says.

The film opened Moore's eyes to the different ways jazz dance could be portrayed on camera, and sparked new possibilities for what she describes as her "young creative mind." She found the fast-paced editing an interesting departure from the slower cuts of old-fashioned MGM-era musicals.

For Moore, Staying Alive has a timeless appeal. "I think great dancing never goes out of style," she says. "It's a story about struggling artists, and that narrative never changes."

Comfort Fedoke

As a hip-hop pro and fixture on "So You Think You Can Dance," Comfort Fedoke has plenty of tricks up her sleeve. So in a way it's unsurprising that You Got Served—with its sick moves and trick-filled battles—is her top dance movie of all time.

Fedoke says the film captured her imagination as a teen coming up on the dance scene. "I remember Ivan 'Flipz' Velez doing this trick where he sits Indian-style and then flips backward onto his elbows," she says. "I must have re-watched that part a thousand times. It was awesome to see dancers creating art with their bodies."

The movie wasn't just an inspiration to Fedoke, but also a reflection of her own daily experiences. "You Got Served really captured the essence of battles and street dance," says Fedoke. "I was living that life already, and it helped encourage me to pursue a dance career."

Robert Roldan

For "SYTYCD" All-Star and all-around idol Robert Roldan, Grease is the word. "Every time my babysitter came over, we would do the hand jive together," he says, with a laugh. "Grease is so lighthearted and fun, and it gives me a lot of joy when I think about it."

Roldan says his favorite scene is the prom dance, when Danny Zuko and Cha-Cha DiGregorio steal the show. He thinks it's the perfect example of the movie's organic approach to choreography. "It doesn't feel overproduced," he says. "What choreographer Patricia Birch did was present the characters as their most raw, authentic selves. As a dancer, that's so freeing."

As for which T-Bird Roldan would be? That one's easy: "Danny Zuko, for sure. He's the coolest."

Chloe Arnold

It's all about the '80s for tapper Chloe Arnold, whom you likely know from her viral Syncopated Ladies videos. The 1989 film Tap—starring legends Gregory Hines, Sammy Davis Jr., and Savion Glover—is Arnold's favorite dance movie ever. And it ended up having a major impact on her career.

"It was wild, because after that movie came out, a lot of the dancers in the film started doing master classes in Washington, D.C., where I grew up," Arnold says. "Within a year or two of seeing Tap, I was meeting and getting to take class with the people in the movie. It was really invigorating to see something on the big screen and then have it become real life."

Arnold, who studied film at Columbia University, is currently shopping a few tap-centered movies around Hollywood. "What makes dance movies so important is that they reach people who might not ordinarily be able to see a show," she says. "If I hadn't seen Tap, I wouldn't have known it was possible to do everything I'm doing."

What do you get when you cross a 1920s jazz baby with an absurdly flexible alien life-form? Ten-year-old Gracyn French, who's taken the comp world by storm over the past two years. After she became KAR Miss Petite Dance America 2017, the 2018 Nationals season saw Gracyn break the Top 20 at Radix and the Top 10 at her very first Dance Awards (where she clinched the title of Mini Female Best Dancer this year). She's also danced in six Old Navy commercials, appeared on "Dancing with the Stars," and speaks Spanish thanks to her attendance at a dual-immersion school. A frequent muse for choreographers Easton Payne and Molly Long, Gracyn dreams of following in Long's footsteps one day: After a career as a "DWTS" pro, she wants to open her own studio with younger sisters Emmerson and Harlow.

"My mom and dad always tell me that I have the heart of a champion—which means that they don't care if I win, as long as I go out there and do my best. In dance, all you can do is try your best and have fun!" —Gracyn French

None

None

Fast Facts

Birthday: November 28, 2008

Hometown: Santa Monica, CA

Current city: Irvine, CA

Trains at: Project 21, Yorba Linda Academy of Ballet

Favorite foods: Mini corn dogs, salads with bacon and tomatoes

Currently watching on Netflix: "Liv and Maddie," "Bunk'd"

Non-dance hobbies: Tetherball, swimming, and relaxing with her family

Favorite dancers of all time: "My Project 21 teammates"

If she were a superhero, her power would be: "The power to help the world, especially to help homeless people"

What do you get when you mash up Mean Girls, High School Musical, and Fame, and then add in a cast of social media's top teen influencers? That'd be the upcoming film Next Level. And the movie's new trailer is, well, next-level stuff.

Next Level, set to hit theaters on September 6, follows teens at the prestigious Next Level performing arts summer program as they compete for the title of "Miss Next." Rivalries flare up, friendships blossom—and viewers get to enjoy 12 new tracks and tons of fun dance numbers.

Check out the trailer below, and see if you can spot "Dance Moms" alums Chloe Lukasiak and Ellarose Kaylor!

Imagine: It's your first year in a dance company and the artistic director is staging a new work. She works through a few phrases of choreography and then turns to you, asking you to come up with something of your own. Are you ready?

In many of today's most exciting companies, the choreographer/muse relationship is being disrupted in favor of collaboration. Many dancers also find that their own dancing improves after they have tried their hand at creating new work. "Choreographers want to work with performers who aren't afraid to take risks, make bold decisions, and contribute something that will ultimately make the work stronger," says Dean College professor of dance studies, Stephen Ursprung.

Make sure your dance degree is going to work for you in the real world. At Dean College in Franklin, Massachusetts, The Joan Phelps Palladino School of Dance is preparing their BFA and BA dancers for the changing professional world that awaits them with a special focus on dance composition. Whether you are in school with an ambition to be a professional dancer, a choreographer, or both, look for opportunities to deep dive into the process of creating dance.

Integrate choreography all semester long.

To reach your potential as a choreographer, you need to do more than check a box to fulfill an elective requirement. At Dean, the dance program offers three levels of composition in conjunction with improvisation, partnering, and creating a capstone project. Choreography is integrated throughout the training, not just in a one-off class or workshop. Ursprung says that as a result their graduates "embrace change, are quick to take initiative, and trust their creative minds." Choreographic works by Dean students have been chosen for the American College Dance Association gala at the Kennedy Center in Washington, DC.

None

Collaborate with peers.

Dancers and choreographers need to be able to work alongside their peers both onstage and off. Dean emphasizes the importance of teamwork in their New Dancer Showcase every year, which highlights freshman dancers performing choreography by older students. "The freshmen feel an immediate connection to our program, the school, and the upperclassmen," says Dean professor of dance, Todd Shanks, who produces the showcase. "In this way upperclassmen have an opportunity to work with an energetic, fresh group of students, a blank canvas." Shanks has watched students grow artistically and create lifelong friendships in the process.

None

Look for immersive opportunities.

Emerging choreographers should be looking for opportunities to see the world and try new styles of dance. The Dance Abroad Argentina program at Dean allows students the opportunity to continue their training for a full semester—earning as many as 15 credits—in the vibrant city of Buenos Aires.

None

Seek feedback.

The opportunity to receive real-time feedback from industry leaders on your choreography is invaluable, and being open to criticism will only strengthen your abilities as a choreographer and dancer. At Dean's Choreographers' Showcase, a panel of professionals provide feedback on students' work in front of a live audience. Past judges have included noted teachers and choreographers like Michael Vernon, Levi Marsman, James Boyd, Bill Hotaling, and "So You Think You Can Dance" star Kameron Bink.

None

Get comfortable being uncomfortable.

For many dancers, it feels foreign to be on the other side of the creative process, but according to Ursprung, working through that discomfort is what sets Dean graduates apart. "Choreography and compositional work forces students into uncomfortable situations," he says. "Oftentimes we impose limitations on what the students can or cannot do and this ignites their imaginations. At first it may be scary or overwhelming: Many dancers come from very rigorous technical training and get caught up in whether what they do is 'right' or 'wrong.' In a choreography class, these binaries do not exist."

When you think "improvisational dance," the image that comes to mind probably doesn't involve satin heels and a ballgown. But in the ballroom dance world, knowing how to improv is key to success as a social and competitive dancer.

Why? Because tons of unpredictable obstacles arise on the ballroom floor, where multiple couples dance at the same time. Knowing how to improvise helps ballroom dancers navigate traffic by changing direction, increasing or decreasing the length of their steps, or slowing down the speed of a dip until the next couple moves out of the way. Improvising alone is one thing, though; improvising with a partner is another entirely.

None

Much like contact improv, ballroom dance depends on the connection between two partners. In order to seamlessly camouflage mistakes, both leader and follower have to be on the same page when they're improvising. As four-time World Championship ShowDance finalists and nine-time Czech national champions, Katia Hrstkova Bartunek and Lukas Bartunek understand that firsthand. "When we dance we have to cooperate, feel each other, look at each other," Katia says. She often describes the couple's dancing as a game of questions and answers. "My partner is the leader and I follow him but, I can decide how."

None

Strong improv skills can come in handy outside of the competitive environment, too. Katia recalls one paso doble performance several years ago when she completely forgot her choreography. "My mind was empty, so I just started spinning like crazy," she says. Her decision to improvise simultaneously disguised her mistake and alerted her partner that something was wrong.

Improvisation can also help ballroom dancers create and develop routines. When Katia and Lukas choreograph together, they usually begin with a vague structure—what improvisers would call a score. They might decide on a general pathway, including a specific turn, and then allow themselves the flexibility to find other movements that work naturally with their two bodies. "I know where I want to go, but how I get there can be changed," Katia explains. "The best things often happen by accident."

None

Looking to improve your improv? Katia and Lukas learned to improvise while studying contemporary dance—a good route to take. But social dancing is also a great option for those hoping to get more comfortable improvising. Most ballroom studios offer social dances, where professionals and amateurs alike hone their improvisation skills by dancing with different partners.

Recently, there's been a noticeable push for more education and support surrounding mental illness. And while every industry can benefit from this shift, it's especially overdue in the dance world. "We need to get rid of the stigma," says Nadine Kaslow, a psychologist who works with the dancers of Atlanta Ballet. "The fact is, when you have an ankle injury, you go to a doctor; when you have anxiety, you should go to a therapist."

Kaslow emphasizes that most disorders are treatable and episodic, and if dancers get a proper diagnosis and therapy, they'll feel better—which in turn will improve their dancing. "There is no question that physical performance is linked to mental health," Kaslow says. "If your mental health is not in shape, you're at an increased risk for injury and won't perform optimally."

Steven Loch, Soloist with Pacific Northwest Ballet

None

Since age 11, Pacific Northwest Ballet soloist Steven Loch has struggled with obsessive compulsive disorder (OCD). "Dance saved my life," he says. "Performing allows me to process my experiences with mental illness through movement. The muscle memory distracts my brain and, for the most part, I'm able to leave my OCD in the wings.

"OCD is a disorder in which a person has uncontrollable, reoccurring thoughts (obsessions) and behaviors (compulsions) that they feel the urge to repeat over and over. Specialists generally divide OCD behaviors into six categories: checking, contamination, mental contamination, hoarding, ruminations, and intrusive thoughts. Loch likes to say he has every type except for contamination. "I've struggled with somatic OCD, which is a hyperawareness of bodily functions like blinking, swallowing, or breathing," he says. "I've had issues with numbers, and needing to do things a certain amount of times, but my main challenge is with intrusive thoughts."

In 2014, then–23-year-old Loch had a meltdown which led him to check into an OCD-specific hospital in Wisconsin for two months. "That was a turning point for me," he says. "PNB was so great about letting me take care of myself and my brain. I still struggle, but life is so much better than it used to be."

During treatment, Loch learned that the only scientifically proven form of therapy for OCD is exposure and response prevention (ERP). "You make a list of the things that give you anxiety, and then you expose yourself to them until your anxiety goes down by half. It trains the part of your brain that deals with fear, and teaches it that what you're experiencing is a false alarm." Loch says working on his mental health has changed his life. "Everyone should work on their mental health, not just those of us with severe disorders."

None

In April 2018, Loch opened up publicly about his mental illness in an article for The Seattle Times. "I chose to share my story because I knew it could help people," Loch says. "I have had more people thank me for my candor than I could've ever imagined. There's an aspect of shame in having a mental disorder. Many people hide it and let it fester. Getting it out in the open is freeing." Loch feels a desire to help the up-and-coming generation of male dancers. "I am a soloist with a major ballet company. I want young dancers to see me and think, 'If he can deal with this, and be successful, then what will stop me from doing that as well?' "

Ali Deucher

None

When she was 15, Ali Deucher realized the thing she used to love most in the world—dance—no longer gave her joy. Scared of being judged, she kept her feelings to herself for a year before finally reaching out to her mother for help. "It got to the point where I was in such a state of sadness that I didn't want to dance or go to school. I didn't even want to get out of bed," Deucher says.

That moment of vulnerability set Deucher on the path toward healing. "My mom took me to a therapist," Deucher says. "That helped me work through PTSD from some situational trauma, and it's been a huge relief for me. I learned skills to separate my depression and anxiety from my everyday experiences. Sometimes I get so overwhelmed it seems like there is not one enjoyable part of my life. I start to feel that dance is part of the problem. Therapy taught me that it can actually be my way to cope."

None

In 2018, Deucher choreographed a solo entitled "A Day in My Head." "It was cathartic for me," she says. "There were feelings I had that I couldn't figure out how to convey with words. They felt trapped inside of me, but when I created that piece I was finally able to accurately share what I was going through." Each time Deucher performed her piece, she was met with gratitude and a sense of camaraderie from dancers in the audience who also struggled with anxiety. In June 2018, she shared the piece on Instagram and was overwhelmed by the response. "Sometimes you think you're the only person in the room who feels the way you do," Deucher says. "But if you just reach out, you may find that the person sitting right next to you is fighting the same battle. My willingness to be open has given other people the confidence to be open and begin their own healing journeys."

Though Deucher says she has gained a lot of strength through diagnosis and treatment, she still struggles with severe anxiety. "It's not something that has gone away—I am continuously adapting to my struggles and finding ways to understand myself each day." Having just finished her freshman year at Pace University in NYC, Deucher has developed a set of coping mechanisms. "It's different for everyone, but alone time in the studio really helps me. I take Zoloft for my anxiety, and I write down my feelings when I'm struggling."

Luna Montana, YouTuber and Student at California Dance Theatre

None

In December 2018, after a long and grueling Nutcracker dress rehearsal, then-17-year-old Luna Montana returned home and reviewed the day's footage. As she watched herself dance, she broke into tears while comparing herself to the other dancers, feeling hatred toward her body. Montana, now 18, has been struggling with what she believes is body dysmorphia since the seventh grade, and she decided to open up about her experience with her 230,000 YouTube subscribers in a video titled "I hate my body." "I hate myself," she says into the camera as she brings her hand to her face before collapsing into shuddering sobs. "I hate that I look so fat in the video. I hate my feet. I hate my leg shape. I hate my arms—they're fat. I hate my hands—they're weird. I hate literally everything about myself."

None

She filmed the moment because she knew her viewers could relate and wanted to be open with them. "I feel most comfortable when I'm making a video diary, so I filmed, edited, and posted it, and it was terrifying, but sharing my story has done nothing but good," Montana says. "The kind words from my audience have really helped me cope with my body dysmorphia. This is a huge topic in the dance world, and I hadn't seen many other YouTubers take it on, so I decided it was the way I could make a difference."

Though posting her experience for her viewers was intimidating, she was more concerned about the opinions of her friends at school, her friends at dance, and her teachers. Thankfully, their reactions have been predominantly positive. "Most of my teachers have been really supportive," Montana says. "But some of the more old-school ones told me that I shouldn't share my weaknesses so publicly. They don't understand why our generation chooses to be so real on the internet." Montana understands why they're concerned—privacy is important, and the dance world has been built around hiding imperfections—but she is resolute in her decision. "I'm helping people. This is too important a topic to be afraid of."

None

By working through her struggles with body image and body dysmorphia, Montana has gained an even healthier relationship with dance. "For a while, dance was really bad for me mentally," she says. "But as I've been open and worked through things, I've found that dance is my therapy." Though Montana doesn't feel everyone needs to be as public about their experiences as she has, she recommends speaking up about body struggles to a close friend or loved one. "Reach out so you can get the help you need," Montana says.

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.

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'm a 14-year-old dancer, and my biggest dream is to become a professional. I have pretty good technique (though I'm still a work in progress, of course). My issue is my weight. I'm not overweight at all—in the regular world, I'm quite slim—but I'm bigger than the other dancers in my class. Should I work on losing weight if I want to become a professional? Or do you think I can find a company that will take me as I am?

Elizabeth

None

Dear Elizabeth,

First of all, at 14, your body is still changing. Your hormones are in flux. You and your classmates are probably in different places developmentally. None of you know yet what your adult bodies will look like.

Dieting at this age is not a good idea—it could lead to injury and/or developmental delays. Eat nutritious foods that provide adequate fuel for your dancing, and instead of worrying about your weight, focus your energy on your training. Hone your technique. Develop your artistry. Keep building your stamina.

Even if you don't grow up to have the "ideal" ballet body, you won't need to change yourself to find a place in the professional dance world. Troupes of all stripes, including larger ballet companies, are starting to accept more and more diverse body types. Smart directors know that a strong, healthy dancer is always a better hire than someone who's starving herself.

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

ABT besties Isabella Boylston and James Whiteside have a dream: To get the most dancers ever to go on pointe at the same time.

The pair, who go by the joint nickname "The Cindies," have teamed up with the morning talk show "Live with Kelly and Ryan" to try to dance into the record books on live TV. They're inviting anyone who can dance on pointe to join them outside the "Live" studio in New York City on Tuesday, September 10.

None

"This record breaking challenge is a great way to share our art form with a large audience and make everyone feel included. All are welcome to participate and all you have to do is stand en pointe!" they shared in a joint statement that they signed "xoxo #TheCindies."

None

None

The number they need to beat? 245.

Dr. Phillips High School Dance Magnet, Orlando Ballet and other Florida dance schools set the current record with that many dancers on pointe at the Orange County Convention Center in Orlando, Florida, on May 22, 2011. (250 dancers participated, but five didn't stay on pointe for the full minute it takes to count for the record.)

None

"Live" is a fitting setting for this latest attempt: Host Kelly Ripa trained in ballet for 13 years, and in past episodes has auditioned for The Nutcracker and gone backstage at New York City Ballet.

If you want to help the Cindies beat 245 (and possibly make an appearance on live TV), you can sign up here. You'll need to bring your own pointe shoes and dance clothes, and be ready starting at 7:30 am. Merde!

Twenty-two-year-old dancer and choreographer Easton Payne is an artist's artist: His movement is profoundly empathic, wholly original, and endlessly creative. That unique voice was honed through training at the Atlanta Ballet Centre for Dance Education and Dance Town in Doral, FL. Payne now choreographs for studios across the country, though you're probably most familiar with his work for Molly Long's Project 21. Read on to find out how he keeps making movement that's like nothing we've seen before. —Helen Rolfe

None

"Though I'm constantly imagining and conceptualizing, the magic happens for me in the studio. I always know what flavor I'm craving, but I try not to be too specific with my expectations of the components of a meal. I used to map the entirety of my pieces with pen and paper. I mostly left the studio feeling disappointed; the magic never happened because I was too busy deflecting 'error.' I've come to realize that error and magic go hand in hand. If our pieces were people, how could we expect any greatness or feeling without flaws? As artists, we must give our work the same amount of slack, forgiveness, and kindness we give our loved ones in life. Otherwise we create something inhuman."

None

"It's difficult for me to listen to music without envisioning movement, be it an ambient tune in an elevator or a pop song in a clothing store. I've always found positive, heartfelt music to have an underlying sense of sadness. As I grow older and heal from past trauma, my tendency to interpret music ironically has softened—but I still think 'Wake Me Up Before You Go Go' is one of the saddest songs of all time."

None

"I choreographed 'A Kind of Cruelty' at Project 21 on a whim. I'd always wanted to construct a work to Nat King Cole's version of 'Smile,' but the idea had been abandoned somewhere in the back of my skull. I selected the music in the first five minutes of rehearsal and we sailed through the choreographic process. I felt inadequate for my lack of 'preparation' ; I felt like without an intricate game plan I had a zero percent chance at a successful piece. But the preparation that I felt that I lacked was always there. 'A Kind of Cruelty' met the stage for the first time a couple weeks later, and I felt a satisfaction I'd never felt as a choreographer. There's no map to magic, no guide to genius. But there is a force within all artists that can instinctually fulfill every need we have."

None

"My favorite place to feel close to music is most definitely in my yellow-tile bathroom, getting ready for the day. Thanks to the Bluetooth speaker (the best invention since sliced bread), I'm always blaring something while simultaneously getting squeaky clean. This can really slow down the getting-ready process, but I gotta say I believe my skin-care routine to be much more effective when applied with Joni Mitchell's 'Hejira' at full volume. I tend to rely on my Spotify shuffle to queue up my morning soundscape. I also tend to empathize deeply with whatever mood the music being selected at random brings me—which can make for quite the emotional escapade of a morning. But you know what they say: It's best to feel at least a thousand feelings before breakfast."

Congratulations to the July Cover Model Search Editors' Choice video winner, Amy Palmer! Check out her solo below, and enter the Cover Model Search here.

Amy Palmer — "Surround Me"