Practice English Speaking&Listening with: I Really Thought You Were SMARTER THAN THAT! - AUDC (S1, E5) | Full Episode | Dance Moms

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Dance Competition"--

Asia just has to keep up with us.

WOMAN: Just take a deep breath.

You do not make a child cry.

You need to own it.

Own it!

RICHY JACKSON: Change your body, man!

Come on. It's corny.

You're corny.

I want to see these three dance it off.


One, two.

But when you do turns in second, like you just did them,

you're not going to get the job.

Zach, today is not your day.

We're looking for the best well-rounded dancer 13

and under.

She has no idea how big this is.

It will change my life, like, a lot.

Your name is known in the country.

But first, they'll have to go through us.

Choreographer for the Pussycat Dolls, Robin Antin.

You are beyond words special.

ABBY LEE MILLER (VOICEOVER): Lady Gaga's choreographer,

Richy Jackson.

Big job, little bit.

I'll have to give you that one.

ABBY LEE MILLER (VOICEOVER): And me, Abby Lee Miller.

I wanted to run up on that stage and break your ankle.

ABBY LEE MILLER (VOICEOVER): Coming up on my "Ultimate Dance


Part of survival is playing the game.

Get out!

You know what?

Hit me!

Hit me!

Bad habits.

Making a mistake.

Where was the partner work?

Where was the feeling of each other?

Tonight, by far, was the worst we've ever seen you perform.

I don't give a crap!


(SINGING) I'm ready to fly.

I'm ready to shine.

I'm gonna dance and catch my dreams.

There are eight dancers left in the competition,

and it's getting really, really tougher.

I'm glad we made it through.

I'm glad you saved yourself.

I am acutely aware that this week could

be Elisabeth's last week.

Because the last elimination, she had to dance for her life.

I will do whatever it takes to support her in winning.

I think my biggest competition here is Brianna and Madison.

I mean, both very technical dancers,

but the judges are looking for a well-rounded dancer.

So I could beat Brianna and Madison.

Hello, ladies.

Good morning!

Let's talk about today.

You are that close to winning $100,000 and a scholarship

to the Young Dancers program at the Joffrey Ballet

School in New York City.

Don't get too comfortable.

It's coming down to eight people,

but pretty soon, it's going to feel like the end of the world

around here.

And that is this week's theme.

And appropriately enough, this week's skill is survival.

Abby's got her bow and arrow.

Who is it going to be?

The survival of a dancer is all about your determination,

your passion, and your ability to adapt to changes quickly.

The skill this week is survival, which

is so appropriate, especially for Madison,

since she was in the bottom three last week.

So I'm really looking forward to Madison

showing her survival skills.

It's time for this week's group challenge dance.

I bet you're dying to know what the prize is.

You get to make all the assignments.

The winner will get to choose the style, the choreographer,

and who gets partnered with.

So I feel like, oh my gosh, I wish Lexine gets that.

Picking who gets what dance in the competition

is one of the most important things I do.

That's a lot of power, moms.

Lucky for you guys, we have an amazing choreographer,

one of the best in the business, Frank Gatson.

Put your hands together.

It's good to see you.

The guest choreographer is Frank Gatson.

He's worked with Michael Jackson, Janet Jackson,


So now the girls are really excited.

You know how you survive in life?

It's by being a good person.

That's the secret that I've learned.

You do good, good comes.

You do bad, bad comes.

He's not talking to the kids.

It felt like he's talking to the moms.


You're crazy!

You don't know me, so you better back off.

[laughs] KRISTIE: Watch out!

I hope they're all getting it, especially Kristie and Yvette.

Play it, please.


Double pirouette, 5, 6, 7, 8.


(SINGING) Warriors-- tell me where my girls at.

Warriors-- brothers need to step back.

Warriors-- battle ready, combat trained.

We ready, armed, and dangerous.

Warriors-- tell me where my girls at.

I see Amanda looks great, but wow, look at Madison.

Her inner diva's coming out. [MUSIC - WIZARDZ OF OZ FEAT.


(SINGING) We're ready, armed, and dangerous.



What's your name again?

- Asia. - Asia?


Are you the youngest?


Make sure all the counts are just like the older girls, OK?

So let's just go over the counts for you again.


It's really annoying having Asia holding back

the whole group dance.

She knew she had to strong in this competition

and pick up choreography well, and that hasn't really

been showing.

Let's take a water break, OK?

Good job.

Stay down at the floor.

All right?

They say you get your energy from the floor, so use that.

This your style. I love it.

This is your style.

I'm so excited.

I want him to take a break.

No, he's fine.

He's just waiting for you, baked bean.

You need to learn that last eight counts because you're


She needs to go out there and be a survivor out there

on the dance floor and be the last one standing.

So I'm hoping that she picks up the choreography.

I really feel at this point that Asia is not up to par

with the other dancers in this competition.

[music playing]

You've got to stop, you guys.

Time is up.

Frank, I'm sorry to interrupt.

Survival of the fittest, the smartest, the best.

It's not the end of the world yet, but who is going

to survive this challenge?

Who do you think wants it the most?

KEVIN MANNO: I think they all want it.

Maybe mommy wants it.

I'm gonna group you up a little bit, here.

Lexine, Amanda, Brianna, and Asia, group one.

[music playing]

[music ends]






Next to her, on the floor.

Elisabeth really wants to win this group dance challenge.

I'm really hoping for the best here.

[music playing]

Elisabeth, right through the heart.

In the group dance challenge, Elisabeth,

it wasn't her best day.

She could have nailed it.

She could have.

Jordyn, [clicks tongue] Tshh.

Hadley, you clearly are not the best technical dancer here.

Madison, I think today you were the technical master.

However, you never look me in the eye.

So the winner-- or should I say survivor--

of the group challenge dance is Hadley.

Since Hadley won the challenge,

I'm so excited, because we get to pick the assignments.

Part of survival is playing the game.

You've got some big choices to make for your fellow dancers.

Are you going to pair people by their strengths

or their weaknesses?

It's all about winning the game.

I'm a little nervous on what Yvette's going to pick.

Because we all know everyone's here to win the competition.


So we have a jazz duet, a jazz funk duet, contemporary solo,

and hip hop trio.

Do you want the solo?

Because she says she wants the best for everybody, right?

We'll see, right?

Oh, yes.

We'll see how much she wants the best.

I'm hoping that Yvette makes the best choices for all the kids

that are here.

So Hadley, if we had Elisabeth and Amanda doing hip hop, which

is not their strength, and we put you with them, which

you can do hip hop very well, it's

going to make you stand out.

The best strategy for Hadley and I

is to place the strongest dancers with their weakest


You're a great, great dancer, no matter

what she tries to do to you.

You're going to be fine.

You know that Elisabeth and Amanda really don't hip hop.

So you've got to kill it.

People forget, I have not shared anything

of Hadley's weaknesses.

But they've been putting it out on the table what dance style

they don't like.

I would pair Jordyn up with Brianna or Madison,

if I was her.

What are you thinking?

Asia the solo.

No, I'm totally thinking Asia the solo.

She can't always remember choreography.

Now that Yvette controls the dance assignment,

I'm definitely thinking she's going to sabotage Asia.

And you know what?

She's going to have to try real hard.

So do we have our groups?

Asia gets a solo.

Can Asia handle it?

I don't think so.

So Hadley wins a challenge, and I'm ecstatic,

because we're here for Hadley to win this competition.

So obviously, the best thing to do

is to place dancers where they're not very strong.


Let's go!

[interposing voices]

They're so excited.


I am concerned about some of the other mothers seeing

their child's dance assignment, but I'm definitely

going to survive this week.

Originally, I had Hadley in the trio, but at the last minute,

we took Asia off of the solo.

I mean, hey, it's an opportunity for Hadley to stand out.

Mommy, Mommy, Mommy!

Jazz Funk, by Anthony.

I knew they would put us together.

Machines Versus Humans.

Machines. (ROBOTIC VOICE) We are here, waiting.

I'm not surprised that Yvette paired Brianna with Asia.

I know she's trying to think that because Brianna is one

of the strongest dancers here, that she's just going to kill

Asia on stage as a duet.

But I think it's going to backfire on Yvette.

Oh my-- did you have Kitty before?


I think that Yvette, because of the assignments,

is going to see some of her clown posse

fall off the circus train.

I thought she was smarter than that.


I really thought you were smarter than that.

But the true colors came out.

YVETTE: That's right.

You got Cuba really hot.

You better be careful. - I know.

KRISTIE: You know what? - Keep it up, mama.

ERIN: You-- you better be careful.

Why hip hop?

Because she thinks Amanda is weak in hip hop?

I don't like people that are two-faced.

If I had a choice, Mayelin, I'd have picked tap.

Oh, so you're going there.

Be careful.

[laughs] We feel great.

We feel so great about that decision.


MAYELIN: You go for yours.

I think Mayelin wanted Amanda to have that solo.

Over my dead body would I ever put Amanda in that spot.

It's so funny, because after the last trio, Richy is like,

oh, we really want to see you bring it again.

Elisabeth said, she goes, I hope I get another chance at hip

hop, so that I can show them that I can bring it.

Go, girl. Third time's a charm.

You gave her exactly what she wanted, thank you.

We aim to please.

I'm really excited to see your solo.

We are so excited.

And having chosen that solo for her kid,

she better be able to put her money where her mouth is.

That thing, let me just tell you, that better come out 100%,

or she's going to look like a fool.

I think the choices made are very, very revealing.

But that's how it has to be.

This is why we're here, you know?

This is survival week. Whoever survives.

I know.

But you can-- you can still compete and not try

and embarrass people.

You know? I don't know.

That's just how I feel.

Connect it all, connect the dots.


We're together.

That's your challenge.

KELLY: Jordyn ended up getting put in a duet with Madison.

It is a jazz piece.

So I'm feeling pretty confident from a technical standpoint,

if my daughter listens to me, and if she corrects

that sickled foot that Abby keeps pointing her out on.

Look at her fingers.

Put them together.

Put your fingers together.

Kelly is constantly yelling about Jordyn and her feet,

you know, her placement.

I think she's a little worried about her technique

in this piece.


(SINGING) Sky like a rocket going zoom, zoom.

Everybody scream if you want to go faster.

Tighten your back leg.

(SINGING) To the sky like a rocket going zoom, zoom,

zoom, zoom, zoom.

It is frustrating when I know exactly what needs to be fixed,

and she's fighting me.

I'm leaving.

I'm-- seriously, I'm out of here.

I'm not doing this.

When you sit there, and you go,

hmm, let me see how I can defeat my rivals.


Well, especially when you put yourself out there,

like I'm a teacher.

I'm from the future.

Bull crap.

Six, seven, eight.

Mm, psh.

Mm, mm, mm, psh.

Wop, foo, bop.

I'm really excited for this because I feel like I'll

have another chance to show the judges hip hop

and show them that I can really rock it up this week.

Ah, ksh, wop, wop, wop.

I am acutely aware that this week could be Elisabeth's

last week, because she did land in the bottom three

in the last elimination.

She really has to bring it.

Right away.



You're, like, doing so many, like,

weird things right now, Elisabeth.

Go back.

The story I'm trying to portray in my solo

is that I'm the only person left on the planet.

And I have a chance to show the judges that I can shine.

[music playing]

(SINGING) I hear them say--



There's a couple moves in Hadley's routine

that concern me a little bit.

I want to make sure that she stays square in her pirouettes,

and that she nails and shows Abby

that she can turn many, many multiple times in a row.

If you do step out of it this way,

keep moving the way you need to go.

Take it out on the steps.

YVETTE: She is going to be stressed out.

Oh my gosh.

Kitty, so we're doing the same turn twice

in just a minute routine.

This solo is a make it or break it, so if she bobbles on that,

I think that we're done.

I think if I change it right now,

it's going to unravel the piece.

YVETTE: They will get her for it.

Well, that'll stress her out.

Five, six, seven, eight.

Asia and I are going to be dancing a Jazz Funk routine,

and the title is Machines Versus Humans.

That's got to be sharper.

Bop ump, bop ump, bop, yeah?

Mm bop.

I'm having just a little bit of trouble

of getting the choreography, because the song is extremely

fast. - One more time.

One more time.

Get those done.

Bop, bop, bop, bop, bop, bop, bop.


Two, three, four, bop, bop, bop, left foot.

Always the same leg.

Cross it.

Cross it, Asia.

Bop, bop, bop, bop, bop.

Stomp it.

Timing is crucial for Asia.

This is one thing that Abby's pointed out

that she needs to work on.

Guess how many rehearsals we have after this?

This is it.

This is it.



Step, four, one, two, ah.


And wop.

One, chalk, one--

Yvette comes into Brianna and Asia's rehearsal,

and she does not get along with Kristie, so

why would she try and start something, you know,

when they're rehearsing.

We only have so much time.

Well, take a--

take a break.

I'm just going to say it.

What are you here for?

I want to observe.

I'm so excited. - Really?

Well, you're not going to observe right now.

- Oh yes I am. - No you're not.

Because Asia's not going to dance in front of you.

Oh, that's-- well then, I'll get to see Brianna.

I'm so excited, Brianna.

She is not going to stay a second in that room

and observe our routine.

Move on. - I'm not going anywhere.

- Move on. - Nope.

- Move on. - Nope.

[laughs] - Move on.

Nope. [laughs]

Move on.


- Now. - No

Get out.


Way to go, Mom. - Get out.

- Way to go. - Get out.

- Way to go, Mom. - You little witch, go.

- Did you see what happened? - Go.

You did it.

You sat here, and she knows about you,

so get your ass out of here, now.

Come on.

You're two grown women.

Just pull it together and get through it.

Get out!

I did not-- [interposing voices]

Get out!

I am telling you.

Get out.

I am telling you.

I'm telling you to get out!

You know what? - No.

What. [interposing voices]

Hit me! Hit me!

- You hit me! - Hit me!

What. What.

You hit me.

Go. Go.



Get out.

Kristie's actions may cost her daughter this competition.

Don't cry.

She's not going to sit here and do that to you.

You're good. You're good.


For her coming in and trying to rattle us up, you know,

that's just [bleep] up.


Come on.

Bring it together.

You OK?

Oh, I'm fine.

They're going to have to handcuff me and take me away

next time, because I don't know what's going to happen.

She better just back off.

You better have a medic, next time.

So what happened?

She just showed up in there.

She's just a witch.

Oh my god, you guys crack me up.

But I will not forget Yvette did today during our practice.

You don't come into a rehearsal--

KELLY: Exactly.

And interrupt it.

Never disrespect any other dancer

by interrupting their rehearsal.

That's their time.

That's their time to train.

And now she's made Asia cry.

And my kid, too.

So now it's on.

I'm going to go up the stairs and find her.

You're going to find her?

And what are you going to do?

I'm going to take her outside.

You laugh at that. I'm going to take her outside--

I'm laughing at that because it's funny.

No, I don't think Kristie's serious.

As much as I think it's ridiculous that she says it,

I honestly don't think she would do anything.

I don't think you would take her outside.

I-- I wouldn't make that comment.

Yvette's going to eat [bleep].

She's gonna eat [bleep],, and-- and, you know,

I'm going to be laughing.


It's competition day.

Things are crazy.

Ready? March.

Louder. Ready!


Oh, OK.

YVETTE: Everyone's freaking out.

The moms are stressed.

We've got to get the kids ready.

It's just nuts.

Let the games begin.

Your toes at-- at--

Yeah, Mom, I know.

No, listen to me, because I will embarrass you right now.

You better chill out.

I know, Mom. I-- I--

Do your walk over right now.

I need to see your walk over.

Do it.

Do it.

Do it.

I'm nervous because she has to be perfect.

She has to nail it.

[music playing]

Welcome to the Los Angeles Theater.

This is Abby's Ultimate Dance competition.

She is not only the queen of dance moms,

but she's also a very talented choreographer.

It's Abby Lee Miller.

Next to Abby, the visual director and choreographer

for Lady Gaga, it's Richy Jackson.

On the end, the creator and choreographer of the world

renowned Pussycat Dolls, the beautiful Robin Antin.

Give it up.

Now, I know that each of you have very strong opinions

on what you like and dislike, and you don't always agree.

So Robin, we'll start with you.

What are you really looking for out of these kids tonight?

I look for dancers with confidence.

I look for a full package, the triple threat.

I need to see that today.

What about Richy?

Well, I'm looking for performance.

I'm looking for showmanship.

I'm looking for overall giving me a thousand percent of life

on stage.

And Abby, you've probably spent the most time

with young dancers, so what are you focusing on?



ABBY LEE MILLER: I need dancers with flawless technique.

But I also need a dancer who will show me that they can get

better and better every week.

All right.

I think Yvette has sorely underestimated my daughter

after getting the hip hop assignment,

because it's not her strong suit.

But she is in it to win it.

First up is a hip hop trio about a military nation.

Here's Lexine, Elisabeth, and Amanda.

[music playing]

[music ends]


Amanda, I'll tell you what.

I think you were right on target.

However, you let that weapon leave your hands for a moment.

And I think every soldier knows, your weapon

never leaves your side.


I have watched you dance, and I've

seen you do this dance today, and you can do better.

I'm just trying to figure out what's stopping you, what's not

making you go for it.

I-- I lost my voice, so bear with me.

I'm going to try to get it out. You have to be aggressive.


Because you want to be a star.

You want to be the one that stands out every single time.

Lexine, great job.

You're always very sharp in your movements.

Except on that shoulder stand.

You fell right out of that.

You didn't stick it.

You didn't lift your abdominal muscles up in the air.

You just, like, rolled up and forgot what you were doing

and came right back down.

Elisabeth, I-- I thought there were a few dumb mistakes,

things that you know better.

I didn't see good technique.

I think that you toe in a little bit.

You should walk in your everyday life turned out.

I'm going to turn it over to Richy.

Of course you feel like you're under the bus,

because you got put into a category

that you know is not your strong point.

But you were still off on the feet.

We're still watching you perform.

You have to start on the same foot.

The feet and knees have to go up the same height,

and you have to stop at the same time.

I think that there was a lot of things

that need to be worked on.

I hope it's enough to keep you in the competition.

KEVIN MANNO: Judges, thank you so much.

Thank you, judges.

I was very nervous.

Elisabeth likes things to be just right.

She knows when she messes up.

You did right.

I'm proud of you, Elisabeth.

You fought, and you did well.

I don't know what to tell her.

I'm not a-- I'm not a dancer.

I'm really pissed off about this.

No, no, no.

I want to see--

I want to see the arm.

Do it again.

Use the pli .

Use the pli .

I think the pressure that Yvette's going to put on Hadley

is going to sabotage that solo.

Try that section again.

This is an intense number.

I'm just praying that the audience gets the story.


Use the pli .


Don't do that.

OK, that looks good.

Your hair looks great.

Hadley's got her solo.

I think there's an extreme amount of pressure on Hadley.

Let's face it.

It's the make it or break it.

I think the moms are sitting back, waiting.

They're waiting to see what Hadley's going to do.

Our next performance is this week's challenge winner,


Let's see if her survival skills hold up.

[music playing]


(SINGING) Is it any wonder?

Is it any wonder to see anymore?

See there, a million hands reaching out.

I hear them say send down a rainbow and we'll shine away.


Abby, I'm reading your facial expression,

and you don't seem that happy.

Should I say roadkill?

[audience gasps]


Road kill?


Hadley, do you realize that you were laying there

on the stage with your feet completely sickled?

Then you proceeded to do a bridge

and come up with your arms not anywhere near your ears.

I didn't see good technique.

All that floor work, Hadley, not once

did you have your instep pressed down on the floor.

So why did you do it wrong?

It's just a habit that I'm trying to break.

Bad habit!

HADLEY: Right.

Make a new mistake.



Oh my gosh.


I just have one question.

What was the intent?

I'm just trying to figure out what I might have seen.

You tell me.

I was the only one left on Earth, but I didn't know that.

I was trying to reach out and believe that people were still

here with me.

I don't really understand what I just saw,

or I didn't really get you were reaching out or trying

to find anybody.

I just didn't know what I was looking at.

Go ahead, Robin.

All right.

I was looking at a completely different performance.

I thought you were beautiful in your delivery, in what you were

supposed to do.

You were living it, and you were breathing it,

and you were in it, and you were fighting.

Remember, survival of the strongest.

Well, on that note, troops.

Thank you, judges.

Hadley, great job. Thank you.

We'll see you back out here.

Oh my god.

Holy crap.

I know Yvette's freaking out right now.

Holy crap!

It's going to be amazing.

Don't worry about it.


I'm dreading walking back into the Green Room

with all the moms and other kids,

because I know that my daughter's pain is going

to be someone else's joy.

I'm proud of you.


I'm proud of you.


It was great.


Our next performance is a jazz duet

that deals with the frightening idea of our planet

running out of oxygen. Yikes.

Here are Madison and Jordyn.

Madison and Jordyn both know what's at stake.

They need to pull this routine off, or they're going home.

Especially where Jordyn's concerned,

because my kid's getting constantly

called out for a left sickled foot.


(SINGING) Come on, everybody, yeah.

To a sky like a rocket going.

Everybody scream if you want to go faster.

We're going on my spaceship, headed to the moon.

Scream if you want to go faster through the sky,

like a rocket going zoom, zoom, zoom, zoom.

Be free, let go, get wild, going up, up, up, and away.

Come on, everybody.

Scream if you want to go faster.

We're going on my spaceship, headed to the moon.

Scream if you want to go faster, through the sky,

like a rocket going zoom, zoom, zoom, zoom.

[music ends]

[sighs] Not thrilled.

[audience groans]

Nope, nope, nope, nope, nope, nope.

Jordyn, I wanted to run up on that stage

and break your ankle.

[audience groans]

You were definitely not letting out to the side,

and your foot was completely sickled.

I told her that.

Jordyn, little, big.

Dancing as one, dancing together like a unit,

so you guys look exactly the same.

It is synchronized.

I didn't see any definition of what was going on.

This was like you thought you were walking on lily pads.

Madison, I saw a fan kid with a distended neck forward.

You were hunching.

And your supporting foot wasn't turned out.


What was this ending?

Because every time you ended, you do this with your hands.

I'm just saying, detail.

I can-- I saw you, every time you're ending, say unh.

Remember, survival of the smartest.

KEVIN MANNO: Thank you, guys.

I'll see you back out here in a bit.

Give it up.

I wanted to leave that stage feeling confident.

And now in my head, going, oh my gosh,

we're frickin' going home.


OK, babe.

We said we wanted the beginning changed.

So she didn't like the hair.

She didn't like the costume.

I've had a horrendous week.

And the last thing that I want to do

is go sit and face those moms.

She said roadkill, wow.

ASIA: I wish that hadn't have happened.

Did you hear that?

That was the first word out of her mouth.

Our last performance of the night

is a Jazz Funk number about the battle between machines

and humans.

This is Asia and Brianna.

[music playing]

The choices Hadley and Yvette made were malicious.

Asia's got to keep up with Brianna.

Because Brianna is one of the strongest dancers here.



[music ends]

I think that Brianna is one of our top-notch dancers here,

in the end.

So I think Hadley and her mother were

trying to prove their point and put Asia up against Brianna.

Yes, yes.

And it backfired on them, because--


All right.

All right.

Whoa, whoa, whoa.

Don't get too happy.

The unfortunate thing is, Asia, you

didn't learn to point your feet.

Now, all the isolation work that you

did at the top of the number with the choreography,


Thank you.

I don't think technically you're anywhere near Brianna.

Performance-wise, it worked.

Whatever app you're selling, I'm buying.


Asia, yes.

You need to work on your technique.

But what I do love about you is that you still went for it.

Good job, little bit.

I'll have to give you that one.

Thank you.

Now, Asia, it's amazing that you

were able to have your leg up in the tilt, doing your turn,

and come down exactly at the same time

as Brianna, which is extremely hard to do.

You are beyond words special.

Brianna, you are such an amazing dancer.

You're one of the best dancers here.

So I think your challenge is, is that when you're

working with other great dancers,

that you have to stand out.

It's all about--

Ooh, good thing you said that.

Because I wanted to tell you that I think

you let Asia outdance you a little bit.


ABBY LEE MILLER: She upstaged you, and you let her do it.

This is war.

Good job, both of you guys, and we'll see what happens.

Thank you, judges.

Thank you guys.

Great job.

Go join your moms. Head down to the Green Room.

We'll see you in a bit.

Going into elimination, I think Yvette's plan totally

failed on sabotaging Asia.

I think they were strong together,

and they performed amazing.


Good job, you guys.


Good job, girls!

You look good.

You look beautiful.

It's OK.

We can go home.

You're not going home.

We can go home.

It's a great way to end a great week.

I took Hadley, my own daughter, to the slaughterhouse.

We could be going home this evening.

GIRL: It all comes down to numbers.


Like, mm, you make me-- you make me so upset.

You and Kristie, get the [bleep] away from Hadley.

Get away from her.

ROBIN ANTIN: Just the performance was just like,

no one was, like, amazing.

ABBY LEE MILLER: I think she proved this one and her mother


So for that, I--

I want to keep her. ROBIN ANTIN: I agree.

ABBY LEE MILLER: This one, tonight, I thought was good.

Up until now, no.

Just another pretty face. - Gotcha.

Exactly. - I can't get over the feet.

Are her feet fixable, though?

ABBY LEE MILLER: Just a little.

She should be smarter than that.

I like her.

Well, if she could pick up choreography that fast, then

she can turn her feet out.

I don't know, kids.

She didn't fix things that I've talked about.

So we're-- we're down to this.

I'll tell you this much.

I'm not interested to see her solo.

We already saw this one solo, and it sucked.

And then there were two.

Judges, have you decided who you're sending home tonight?

Yes, we have.

I can just feel my stress from my head into my feet.

I know there's a possibility of us being sent home because

of that left foot that Abby keeps calling her out on.

Dancers, the judges have made their decision.

One of you will be going home tonight.

When you hear your name, please step forward.





Hadley, please step forward.

ABBY LEE MILLER: To the three young dancers in the back row,


You three are moving forward in the competition.

I'm not sure what Yvette was trying to do,

but I'm so glad that her plan didn't work.

KEVIN MANNO: Can the five moms of these five dancers

please join them?

So they called the moms out to stand with the kids.

I'm not sure.

I'm not certain.

I'm hoping we're not going home.

Asia, Lexine.

ASIA: I don't know who's going home tonight,

but I hope it's not me.

Tonight you are the best of the best.


You will be moving on in the competition.

The skill was survival, and she told me

she is going to survive.

And I'm so proud of her right now.

Jordyn, please step forward.

I've been training my whole life for this.

I cannot go home now.

Jordyn, congratulations.

You will be moving on in the competition.

We're going back into the game,

and we're going for blood.

And Jordyn will start listening to me.

Guarantee it.

Elisabeth, tonight, by far, was the worst

we've ever seen you perform.

I feel as though we have given you

opportunity after opportunity to blow us away

with your technique.

Hadley, I'm very disappointed in you.

How do you think your casting job was?

You gave yourself a solo tonight,

and it backfired on you.

You would have been fabulous in that hip hop number.

The judges' comments were really harsh.

I might be eliminated tonight.

Were you really trying to challenge the dancers to do

better, or were you trying to sabotage some people?


They can rise to the occasion. - Really?

YVETTE: And some of them did.

Kristie is ecstatic.

She's so excited.

She's thinking that my plan has failed.

And she couldn't be any happier now.

ABBY LEE MILLER: Did you really pair the best, most suitable

dancers together?




Finally, they're seeing what I've seen previous weeks.

And everything that Abby said was right on.

Remember, everyone, all's fair in love and war.

Elisabeth, today is not your day.


Sweetheart, you are going home and on to much,

much, much more.

You did not survive tonight, but let's hope you'll win the war.

Thank you.


My heart's broken for Elizabeth.

You know, you win some, you learn some.

So I think for her, this was a learn some.

Hey, listen.

ELISABETH: This is not fair!

You're going to win the war, OK?

What I'll remember most about this experience

is the joy that it brought my daughter.

Listen to me, Elisabeth, you already won by being here.

I don't care.

[sobs] This meant the world to me.



Hadley should have been the one that left.

She was horrible!

There's going to be so many more things, so much more

this world has to offer you.

I don't give a crap!


Stop that right now.

ELISABETH: [sobbing]

ABBY LEE MILLER: Next on my ultimate dance competition--

She put them in in hip hop, and I still

don't understand why.

I will protect any child, whether it's mine or not.

If there was something wrong here, I'd let you know.

You'd better take this seriously!


I can't watch Asia anymore.


You need to dance like you are never going to dance again.

Because that's what's going to stop you from winning.

The Description of I Really Thought You Were SMARTER THAN THAT! - AUDC (S1, E5) | Full Episode | Dance Moms