After an Olympic-sized hiatus, SYTYCD came back with the top 14, who were then narrowed down to 10. They were judged by Nigel and Mary (of course), as well as the “BalletBoyz” Michael Nunn and Billy Trevitt. This week was a unique one: All seven pairs performed routines from previous seasons that had been choreographed by the show’s Emmy-award winning choreographer Mia Michaels. The group routine was one of hers as well: a dark and mystifying piece where each pair utilized a rope and harness while decked out in formal attire.

The first duo to perform was Eliana and Cyrus, taking on a routine from season four that revolved around a doorway. The piece, set to Duffy’s “Mercy” depicts a couple driven by frustration and sexual desire. I thought the piece was strong, but I was focused more on their passion than their moves. Nigel enjoyed it, but reminded them of the difficulty of competing against the memory of past performers. Mary told Cyrus he was “such an entertainer.” Michael complimented their use of props, and Billy talked about his excitement over the meshing of different dance styles.

After a video rehashing July 28th’s National Dance Day celebrations, George and Tiffany performed a season four number to Adele’s “Hometown Glory” where they began by walking and running backwards and forwards in sync. The piece was short, but I was immediately hooked and unable to look away as the pair used each other to run and flip off of. Mary couldn’t say enough good things, telling them they may have even improved upon the original execution. Michael said he loved it, but he felt like he was “watching two solos” at one point. Nigel said it was the best they’d seen yet from George.

Amelia and Will were next, doing a number from season five that Amelia called “the butt dance.” The piece was to a song titled “Koop Island Blues,” and everything about it, from the swing beat to the costumes that accompanied it, was classic 1930s. I thought the two embodied the style perfectly, and it wasn’t even awkward that the focus was constantly on Amelia’s behind. Nigel said he wished they had brought more of a “coquette-ish” character to the dance, especially Amelia. Mary said she felt like Will was “a little over-the-top,” but Amelia played “coy” well. Billy added that he felt the number was “endearing.”

Next up was Janelle and Dareian, who were given the task of recreating “the bed routine” from season four. The number was an almost literal translation of John Mayer’s “Dreaming With A Broken Heart,” as two individuals face the reality of a break-up. Michael took the lead, remarking on Dareian’s feet, which have been his biggest issue, and Janelle’s hair, which was a little distracting. Billy cut in, adding that Janelle had to work around Dareian’s movements, giving her more of a challenge. Nigel agreed, but Mary said it felt like she was overacting a little.

The task of one of Mia’s most heartbreaking routines was given to Audrey and Matthew. From season three, she choreographed it in memory of her father, and set it to “Time” by Billy Porter. I started tearing up during the audition footage, so needless to say, when the two appeared on a flower-covered stage across from each other, dressed in white, you knew it was going to be emotional. Audrey embodies a childlike spirit regardless, so it was easy to imagine Matthew as her dad she has met up with in heaven. Mary was choked up as well, but it wasn’t due to Matthew, who she felt didn’t have “the real passion and truth” necessary for the piece. Billy complimented Audrey’s moves, but told Matthew he needed to “disguise the effort” that he put in to avoid obstacles onstage. Nigel didn’t like the “little girl” quality Audrey brought, nor did he feel Matthew captured Mia’s father well.

Chehon and Witney took on “the bench number”, which both of them loved from when it was originally performed in season two. “Calling You” by Celine Dion was the song, and the pair was decked out in blue, while Witney clutched a sunflower. Nigel explained that the song was about when Mia fell in love with a man who was gay, and that it was most important to be telling the story, which he felt they accomplished. Mary added that she wished Chehon had “let go just a little bit more,” but told Witney she was “fearless” and “fabulous.” Michael told Chehon he should consider joining BalletBoyz.

Last, but not least were Lindsay and Cole, performing to Sara Barielles’ “Gravity,” and put on what I’m quite sure was the best number I’d ever seen. Billy spoke first, saying they both had “versatility in bucket loads.” Mary agreed with me, adding that it was “quirky, demented, and a little bit sinister…but it worked” and that Lindsay especially was “incredible.” Nigel added that it was “stunning” “psychotically mental” and “chilly.”

The bottom six consisted of George, Amelia, Janelle, Dareian, Matthew, and Lindsay, all of whom got to dance for their lives. Amelia performed a pretty – but not extraordinary – thirty seconds, followed by the belly dancer Janelle in her authentic garb. Lindsey then did some salsa, firing up the stage for George, who whipped out some fabulous extensions. Dareian was next, and showed off his always-impressive turns, before Matthew finished off the solos with some powerful emotions. When it came down to it, Lindsay and George were chosen to stay as part of the Top 10, who we’ll see narrowed down once again next week.