DTWS Analyzed in The New Yorker

The Dance Critic of The New Yorker, no less, Joan Acocella, reviewed our show, which she stopped short of calling sexist, simply saying it "believes in gender stereotypes with all its heart."
The men aren't expected to be able to dance, which is "the basis of what is good about the show, its portion of fun and sweetness."
The women have to worry about not being able to dance, witness Marissa's sobbing.
Acocella goes so far as to call it a Greek Tragedy. "The gender drama is even clearer in the human interest department" with "an obsession with disability and overcoming." Heather Mills (prosthetic), Marlee (deaf), Marissa ("not size 2"), Priscilla (age 62).
Joan Acocella won't go on watching the show because it is "a reality show, with all the sadism and sentimentality endemic to the genre."
The eliminations ("must be seen to be believed") are the part I can turn off, but I'll go on watching the rest. I need to be able to discuss the show with my students!
I'm even learning.
As Acocella says, "Contrary to popular belief, the main difference is not in the feet but in the upper body - the neck, the shoulders, the arms, which are stiff in the amateur and relaxed and eloquent in the professional."
Standing up straight and dancing. I'm still working on it.