Why we love The Joss Whedonverse

1:00 pm EDT, June 23, 2013

Here at Hypable it is no secret that we adore Joss Whedon. And we will use absolutely any excuse to celebrate him.

The first show featured on our Rewatchable podcast was Firefly and we did a Buffy-specific episode of Vampire Hype (and behind-the-scenes, it was a Battle Royale-style fight to determine which of the many Buffy fans would be on it).

More recently, we have extolled the virtues of Much Ado About Nothing and The Cabin in The Woods.

Whatever Whedon touches, turns to shiny fandom brilliance – whether or not network television agrees (we’re looking at you, Fox).

From cult television masterpieces like Firefly and Dollhouse, to the third highest grossing film of all time in The Avengers, it seems like Whedon has done a bit of everything.

And to have accomplished all this by the age of 49 (as of June 23) is no small feat. So happy birthday Joss Whedon. Here at Hypable, we love you – and this is why.

Why Marama loves…

‘Buffy the Vampire Slayer’

buffy the vampire slayer
Buffy found its way into our hearts and it has never left. Whether you watched the series when it aired, or have since marathon-ed the lot, there is something about these young adult vampire slayers, witches, vampires and demons that got under our skin. Plus, this had vampire romance way before it was cool.

The show is only dated by the hilarious 90s outfits (ahem, leather pants). The issues Whedon addresses are just as relevant, and the jokes still get us giggling. Even better, in an age of dumbed-down television, Buffy makes us think, with its casual subverting of common television tropes, and incorporation of various styles and genres.

As a character, Buffy herself demonstrates Whedon’s commitment to creating compelling and realistic women (well, as realistic as a vampire slayer who has died twice can be). From Cordelia to Buffy and Willow, Whedon made his women just as funny, complex and fallible as his men.

From the Emmy-nominated “Hush” to musical masterpiece “Once More With Feeling” (in which Whedon gives us a song about drycleaning – what more could you ask for?), the seven seasons of Buffy the Vampire Slayer encompass some of Whedon’s best work.

With writing that was equal parts hilarious and heartbreaking, it is nice to know that we can return to Sunnydale anytime we like.

Why Michal loves…

‘Dollhouse’

dollhouse
In the scope of its creator’s career, Dollhouse (or, as it is often known, “That Other Canceled Joss Whedon Show”) doesn’t cast a very long shadow. The show ran for two brief seasons and concluded quietly, with neither the vast cultural significance of Buffy the Vampire Slayer, or the magnetic devotion of Firefly.

The story of Echo, a young woman who lives without her memory in a “Dollhouse” full of rentable people, was eerie and complex, and the show faced the considerable challenge of bonding viewers to characters who were literally different people every time they appeared.

Dollhouse turned out to offer much more than just the week-to-week adventures of people with programmed memories, though as the show progressed, it became a story about an idea – the value of the self, and how that self is challenged by technology.

But even Joss’s most philosophical work offered a terrific line of characters to love (and love to hate!) sprinkled across a vast moral spectrum. From the resilient Echo/Caroline to the stoic Paul Ballard, and all the way to the fascinatingly repugnant Adelle and Topher, Dollhouse made us laugh and weep and feel as sharply as Whedon ever has.

In the end, like the best of fiction, Dollhouse was a metaphor – and not a static one. The questions it raised about morality and technology were challenging and painful, and defied easy resolution. As it continually raised the stakes (the show is not Whedon’s only work to threaten the existence of humanity within its workings) Dollhouse looked its viewers in the eye week after week and demanded “What would you do?”

Though we didn’t get much time to answer, we’re glad really Joss asked the question.

Why Laura loves…

‘Firefly’

Firefly
Two words: space cowboys, who else other than Joss could possibly make this concept work? Not only does he make it work, but he avoids most of the cliches associated with each genre. Inara isn’t just “the hooker with the heart of gold” and Book is anything but your typical preachy preacher.

The thing that really solidifies Firefly are the nuances to the characters. You feel as if you have known each of them for years. One of the series’ best scenes was in “Out of Gas” where the entire crew is sitting around the table chatting like old friends until disaster strikes. It’s hard to get that sense of camaraderie out of actors in the first season of any show; however, with Joss’ writing it’s believable and a breeze.

Probably, the best tribute that any writer can receive is for people to care about their work years after its debut. One of the more amazing things about Firefly, is that ten years after its untimely cancellation, it’s still gaining fans and the fandom is still as strong as ever. Name any other cancelled-after-one-season show that has achieved that.

In 2012, Firefly celebrated its tenth anniversary at Comic Con with an audience filled with Browncoats. There wasn’t a dry eye on the panel that included stars Nathan Fillion, Alan Tudyk, and Adam Baldwin along with Joss Whedon. The actors all gave Whedon full credit for the show launching their careers. More significantly, Whedon cites the show as the most important thing he ever did.

So, if you haven’t been converted yet, the next rainy Saturday you have, marathon the series. If it doesn’t make you want to take a trip around the ‘verse aboard Serenity, you’re probably sou-less and better off as reever fodder.

Why Karen loves…

‘The Avengers’

The Avengers
Making The Avengers was never going to be an easy task, no matter who took it on. It took five movies to prequel this film. There were several huge and well-loved characters and actors vying for the main spotlight. Not to mention the sheer scale of the story and the impact it would have on the Marvel universe.

In layman’s terms, it was a huge ass deal.

And let’s be real. If handed over to any number of other people, it probably would’ve still made tons of money. But would it have satisfied fans? Maybe not.

In the end, as we all know, it went to Joss “That Guy That Did Buffy And That One Show That Got Cancelled” Whedon, and he delivered everything the fans wanted and more.

He’s a genius with dialogue and a genius with characters. You would think it’d be easy to take already established characters and just keep writing them as they always have been. But it’s not. This project had unbreakable rules, and yet Whedon had to put his twist on it and make it his own.

And he handled it seamlessly. Tony was just as sarcastic, Cap was just as noble, and Thor was just as muscular godly.

He even made the Hulk cool again.

The Avengers appealed to fans of the comics, to fans of the characters, and to fans of the previous movies. Hell, it appealed to people who didn’t even know who Iron Man was before 2012. Needless to say, Whedon was in his element, and it came through in every single frame of the film.

We already knew Whedon was awesome, but now, thankfully, the rest of the world does too.

Why Caitlin loves…

‘Dr. Horrible’s Sing-Along Blog’


Written and produced during the 2008 Writers Guild of America strike, Dr. Horrible’s Sing-Along Blog was Whedon’s first attempt at getting web-savvy. Whedon self-funded the webseries, which stars Neil Patrick Harris, Nathan Fillion, and Felicia Day.

On its own, Dr. Horrible is over-the-top and full of heart (and, in true Whedon form, heartbreak). The tragicomedy makes us root for the character with a “Ph.D. in Horribleness.” The “hero” is a self-absorbed jerk, and the love interest remains clueless about who truly cares for her to the very end.

It’s both a parody of superheroes – which is even more fun in hindsight considering Whedon’s involvement in The Avengers – and a human story. And then there is the soundtrack, which includes quirky songs like “My Freeze Ray” and “Bad Horse Chorus” that make us laugh out loud.

But what’s truly remarkable about Dr. Horrible is the ground it broke for web entertainment. After being streamed for free, the series went to iTunes and topped the charts for five weeks.

The soundtrack followed the series at No. 2 and also entered the Billboard Top 200 at No. 39, impressive for a digital-only album. And Time magazine listed it in their Top 50 inventions of 2008 at No. 15, praising the success of the unconventional musical.

So, while we love Dr. Horrible, Captain Hammer, and Penny, we’ll forever remember the series for bringing digital entertainment into the mainstream.

Why Louie loves…

‘Toy Story’

toy story joss whedon

Wait, what?

While it won’t come as a surprise to his most hardcore fans, others may be surprised to learn that Joss Whedon was one of the writers on the original Pixar movie, Toy Story. Along with Andrew Stanton, Joel Cohen, and Alec Sokolow, Whedon wrote the screenplay for what would become one of the most influential movies of our generation at the very least.

When I think of Whedon, I think of near perfect characters and dialogue. Whedon only has a screenplay credit and not a story credit, so that means he didn’t create any of the characters. We did, however, likely shape the way those characters are brought to life, and Toy Story and the following sequels (which he didn’t work on) would have never been the same if he hadn’t shaped the characters and the dialogue they spoke.

Shifting to why we love Toy Story, I mean, come on, who doesn’t love Toy Story? It was a groundbreaking film in terms of both animation and story telling, and it works on different levels for audiences of different ages. Previously parents had to sit through movies for their kids, but Toy Story was beloved by parents and children equally.

Whedon had a big impact on Toy Story and consequently the Pixar productions since, but don’t ask him about it:

Nobody wrote Toy Story. Toy Story happened to some toys.

Why Selina loves…

‘Buffy the Vampire Slayer’ (the, er, movie)

Buffy the movie
Forget the TV show! Selina is all about the Buffy the Vampire Slayer movie, y’all.

Oh, who is Selina kidding?

Buffy: the Movie is legitimately one of the worst pieces of cinema, and had the TV show not followed, the world would never have known that Whedon was actually trying to create a strong, empowered female superhero (as opposed to one who sensed vampires via PMS).

It completely suits the, let’s face it, super campy title, and as many critics have noted, not even the actors seemed to believe in the story they were trying to tell.

Luckily though, Whedon did not give up on the story he’d created (and which, allegedly, the Kuzuis are to blame for butchering), and we all know what happened next: the Buffy the Vampire Slayer TV show was amazing, and we all lived happily ever after. Or something.

But the fact that such a terrible movie turned into such a fantastic show makes the movie worth watching, only because we can laugh and throw popcorn at the screen and count our lucky stars that this is not what people think about when they think about Buffy.

And this is why I do, legitimately, love Buffy: the Movie. It is hilarious, and never fails to cheer me up. Come on, that 10-minute long death scene? That was like something out of Monty Python, made even better by the fact that the rest of the cast was playing it totally straight.

I do think that the Buffy movie is an important part of Joss Whedon’s legacy, if only because it reminds us that even the best idea can suffer from horrible execution, and is worth mentioning when celebrating this man’s amazing career and accomplishments.

Plus, Dollhouse was already taken.

joss whedon

Revisiting the ‘Captain America’ movie from 1990: A lost masterpiece?

For a second there, Chris Evans almost tricked me into thinking Captain America was cool.

10:00 am EDT, May 6, 2016

Forget Captain America: Civil War. The 1990s straight-to-video version is where it’s at.

A week ago, I had the pleasure of watching Captain America: Civil War, the third movie in Marvel’s esteemed Captain America trilogy.

There is no denying that the Russo brothers have created a masterpiece. While I personally didn’t think it lived up to the expectations set by the phenomenal The Winter Soldier, the third installment of Cap’s story has everything you could ask for in a comic book movie: Beautiful people and special effects, great acting, incredible fight sequences, humor, conflict, and heart.

But enough about Civil War. We’re here to talk about another Captain America movie — a movie I wasn’t aware existed until earlier this week, when the Screen Junkies brought it to the attention of the world.

Related: 9 Bucky Barnes moments we want to see in future Marvel movies

Captain America was not a property that I, a little Danish girl whose closest thing to fandom growing up was Duck Tales, was ever exposed to. I certainly don’t remember seeing this American-Yugoslavian straight-to-VHS production at my local Blockbusters, if it even came out in Europe at all.

Honestly, this whole ‘Captain America’ thing would probably never have appealed to me if not for Avengers, in which I thought he was kind of funny (but not as funny as Thor), and later Captain America: The First Avenger, which genuinely moved me, and for a long time was the only comic book movie I had more than a passing interest in (Peggy Carter may have had something to do with that, too).

So color me surprised when, on a dare, I decided to give the 1990s version of Cap’s saga with a 0% rating on Rotten Tomatoes a whirl, and actually… maybe… possibly… liked it?

But wait, isn’t this the worst movie of all time?

Captain America 1990 sucks

Let’s get this straight: Cap ’90 sucks. It’s awful. It’s exactly what you’d expect a superhero movie made in the 90s with b-list actors would look like.

When The First Avenger came out, ’90s-Cap Matt Salinger (yup, that Salinger) did an interview with GQ in which he admitted that the new Marvel movie, “looks like what we had hoped ours would look like.” Heartbreakingly, Salinger went on to confess that he had asked Marvel for a cameo in the movie, which they didn’t grant him. (I feel like he’s my Steve now, so this hit me really hard. Love you Matt.)

But to be honest with you, I don’t really care that it’s objectively terrible. I sat down to watch this movie in an effort to educate myself on Captain America’s history (and to gain new appreciation for the MCU), and, maybe because I was expecting everything about it to be awful, I was honestly surprised by how much this movie got right.

All the moral ambiguity you want in a ‘Cap’ movie

Captain America 1990 Steve Rogers

After Age of Ultron, there was a lot of talk about Chris Evans’ Steve being too clean, too nice, too noble. ‘Real’ Steve Rogers fans recognized that the comics character has a dark side, that he can be selfish, that he’s human.

And, for all his buffoonery, Salinger’s Captain America actually, albeit possibly by accident, embodies a lot of the traits we look for in a flawed Steve. Twice he fakes carsickness (!), does a silly run (!), and steals an innocent person’s car (!), leaving them stranded on a deserted road because of some stubborn conviction that he doesn’t need their help (seriously, it’s so dumb and also hilarious).

He’s allegedly a patriotic soldier whose father died in the war, and who leaves his family to become America’s first supersoldier. In the movie’s first 20 minutes, he heads straight into battle with Red Skull and falls into a pile of snow before anyone even realizes he exists, then wakes up 50 years later and heads straight back into the same battle.

During their final confrontation, Red Skull tells him, “No one cares about you,” and Steve’s reply is, “I care.” The world isn’t aware of Captain America in this version of the story, and the values he’s supposedly upholding are irrelevant to everyone around him.

The movie may tell us otherwise, but in actuality, Captain America is just a guy with a grudge, a would-be hero who’d never make it round the block if everyone around him didn’t jump in to help him out. (This probably wasn’t the character flaws fans had hoped for, but it is a nice change to see a supposed superhero actually having to rely so heavily on his non-superhero allies.)

Captain America 1990 Red Skull

Meanwhile, the movie’s villain, Red Skull, is the one with the tragic past. This was back before Hollywood knew how to make interesting good guys, and so they poured all their characterization into the villain: The movie opens with him as an innocent child in the 1930s watching his entire family get murdered, and then he’s tortured and transformed into a monster.

Red Skull sees Steve as his ‘brother,’ and when we catch up with him in the 1990s, he’s gotten a plastic surgery overhaul, and is working with his daughter Valentina, who for all intents and purposes is his second-in-command. During WW2, Red Skull was working with the Nazis to bomb the White House (don’t worry, Steve rode that rocket all the way from Italy to Washington, and onward to Alaska!), but when that failed, he apparently decided to settle down in Rome and become a low-key Mafioso.

In 1993 (don’t ask why this movie takes place three years after it was made, that’s just part of its magic) he has this big plan to kidnap the President and implant him with some kind of control chip, and when that also fails, he decides to just blow up everyone.

Captain America 1990 piano

He stands by a piano — which is significant because he was playing the piano right before the Nazis made him watch as they killed his family — and tells Cap, “We are both tragedies. And now I send our two tired souls to rest.”

And Steve? He strikes a pose and declares, “Not if I have anything to say about it!” before using his shield to knock Red Skull off a cliff and possibly-very-likely slice the head off Valentina in the process. Subtle, this Steve is not.

But, intentionally or not, this actually leaves us with genuine Sympathy for the Devil, a depth which The First Avenger arguably didn’t allow for (Red Skull was pure, sadistic evil in that version).

It’s kind of feminist (no, really)

Captain America 1990 Erskine

I mean look, it’s the 90s and lead girl Sharon not-Carter totally gets locked in a cell, Ultron-style. But pretty astoundingly, none of the ladies in the movie — of which there are quite a few — are ever actually damsels.

The Erskine character played in the Marvel movies by Stanley Tucci is actually a woman in the movie, named Doctor Maria Vaselli. She starts out as a Nazi scientist working on the Red Skull serum, but when she sees what they do to the kid she rebels and, when they try to shoot her, escapes.

She begins working with the American government to improve the serum, and by the time Steve is all ready for his dose, she’s still around. She’s killed, of course, like Erskine is, but having a woman in such a position of authority in the 1930s, so matter-of-factly, just reminds me that the ’90s were a lot more chill about what we’d consider ‘progressive’ in 2016.

Captain America 1990 Bernie

Then there’s Peggy Bucky Bernie, Steve’s one true love who promises to wait for him “forever, and ever, and ever and ever.” You think she’s just a doe-eyed love interest until we catch back up with her 50 years later. Turns out Peggy Bucky Bernie did wait for Steve, but not forever.

When Steve finds her, she tells him she waited till she was 38, then basically said ‘f*** it’ and got married and had some kids, because she wasn’t actually gonna let her life pass her by. When she confesses that she feels old and ugly compared to him, he tells her she’s beautiful, which is also kind of neat, in this age of women being told they’re ‘too old’ to exist at age 26.

Later she dies, killed by Red Skull’s daughter, and we learn that even when her life was on the line, she never gave up any information about Steve — a hero, in her own, quiet way.

Captain America 1990 Sharon

And then there’s Bernie’s daughter Sharon. If you thought Civil War made it weird with Sharon being Peggy’s niece, oh boy — not only could this Sharon have been Steve’s daughter in another life, but the two women are also played by the same actress!

But Sharon, for all that she’s not the awesome, badass Agent 13-version of Sharon we meet in the MCU, is actually a pretty refreshing lead female character. For one, she’d never explicitly made Cap’s love interest, and she’s also got a very specific non-romance-related reason for tagging along with him.

Captain America 1990 women

“We get our orders from the Red Skull’s daughter”

When Bernie dies, Steve mourns for about 0.1 seconds, but Sharon is obviously devastated. She follows Steve to Rome in order to confront Red Skull, and learns that Valentina is the one who killed her mother. Sharon finds herself up against Red Skull’s daughter several times (and the two even have a few conversations that earns Cap ’90 a pass on the Bechdel Test), before she ultimately punches her in the face. Cap might be the one to kill Valentina, but Sharon definitely got her moment.

At one point, Sharon also pulls Steve’s own silly car stealing trick on him, basically sacrificing herself by letting Red Skull’s henchmen catch her so Steve can get away (if you’ve seen Civil War, this might ring a bell).

Okay but it’s still awful, right?

Captain America 1990 Red Skull 2

Oh don’t worry, it’s terrible.

For one, the movie does absolutely nothing to explain what the serum actually did to Steve, other than cure his limp. He’s stronger and can throw a frisbee with deadly accuracy, and that’s about it… but in fairness, I guess that’s kind of true for Evans’ Cap, too. The lack of a physical change — he’s a dopey dude and post-serum he’s still a dopey dude — really diminishes the effect of him, however, especially considering the dorky costume they make him wear.

Also, Cap freezes in the ice within the first 30 minutes, and beyond being mildly wary of tape recorders seems completely unperturbed by the world of 1993. There’s no Black Widow, or Bucky, or Howard Stark, or any of the other people the MCU have taught me to assume would of course be present in a Captain America movie.

Captain America 1990 kid

“Pictures don’t lie and neither do best friends”

There is however a President Kimball, a super sympathetic Al Gore-type environmentalist, who ends up helping out with the whole saving-the-day thing (this is a movie about Captain ‘Murica after all).

Tom Kimball actually saw the rocket-surfing Steve back in the ’40s, and the transition from the ’40s to the ’90s is done through newspaper clippings showing how Tom went from a boy who dreamed of being the president, to the actual president (that part was actually really cool, even if they made a really obvious spelling error — see below).

Captain America 1990 newspaper

He also keeps up with his childhood best friend Sam, and their friendship through the film actually feels genuine, amidst all the terrible stunt coordination and one-liners.

Sam, who helpfully drops a Human Torch reference (Chris Evans, it was meant to be), continues to believe in Tom’s Captain America, even after Cap leaves him stranded on a highway. And when Sam is killed, still in an effort to protect Cap — who gives no f***s — he leaves Tom some kind of decoder locket thing he’s had since they were kids. #ImagineYourOTP

Captain America suffers from spectacularly bad production value, and some misguided (and half-assed, to its benefit) attempt to make Captain America a stoic, square-jawed Superman rip-off. The punch sound effects are taken straight out of a cartoon, some of the backdrops are laughable, and Steve’s actual character arc is non-existent: He’s a good soldier who wants to be a good soldier and continues to be a good soldier — his only real personality trait is that he likes to pretend he’s gonna barf and then steal people’s cars.

Captain America 1990 woman

But around the epic fail of the hero himself, there’s actually a semblance of an interesting story. There’s a tragic villain ripped from his family and forced to become a monster, raising his daughter to be a leader in her own right. There’s a strong-willed girl who loses a parent and follows the one man who may bring her justice, and there’s a president whose faith in this mythical Captain America may be an expression of his faith in a better world — a faith which, if the desperation and ill-contained frustration of our contemporary Captain America is anything to go by, we’re collectively beginning to lose.

Am I giving this movie too much credit? Absolutely. It’s cheesy, badly made, and not very much fun. But it’s also dark — a child is tortured, a family is gunned down, and Red Skull’s daughter has to listen to a recording of her grandparents being killed — and, of course, there are cool chicks doing motorcycle stunts. At the end of the day, there’s a lot to enjoy about the 1990s version of Captain America.

As someone whose knowledge of Cap pretty much begins and ends with Chris Evans’ MCU version, I was actually pleasantly surprised by this supposedly-and-actually-awful, but still surprisingly solid, Captain America movie.

“Listen to me!”
“No time, Flyboy.”

With lines like that, what’s not to love?

Marvel’s Doctor Strange director Scott Derrickson has heard your concerns about the movie’s whitewashing.

Sometimes “complaining on the Internet” actually works — because sometimes you have intelligent arguments, that can’t be ignored.

This seems to be the case for fans voicing concerns about Doctor Strange, Marvel’s upcoming supernatural superhero film starring Benedict Cumberbatch as the titular doctor, and Tilda Swinton as the gender- and race-bent Ancient One.

When the trailer came out, it was followed by an immediate outcry of concerns over the movie’s seeming appropriation and erasure of Asian culture.

While everyone agrees that Tilda Swinton will do a fantastic job as the Ancient One, deciding to make the character of Celtic origin — while still placing her in Asia (decidedly not Tibet) — doesn’t sit well with fans and professionals in Hollywood who are tired of the lack of Asian representation on screen.

As our Donya Abramo argued in her brilliant article on the topic:

“By removing The Ancient One’s Tibetan origins, yet keeping the setting decidedly Asian, they have been erased from the narrative entirely, and the movie has shifted into more explicit Orientalist overtones. It makes it incredibly difficult to celebrate a female Ancient One at the expense of other, much needed representation — and there are certainly enough Asian and Asian American actors that both could have happened. It also sets a dangerous precedent that there are only two options for Asians in Hollywood: stereotype or invisible.”

The situation was only made worse when Marvel released a statement about the issue, claiming to have a “very strong record of diversity in its casting,” and that making the Ancient One’s origin Celtic is an example of how Marvel “regularly departs from stereotypes.”

Asian industry professionals Hollywood have been particularly outspoken about the issues with this, and now, Scott Derrickson has revealed via Twitter that he’s paying attention:

While the movie is done and dusted, it’s always wonderful to see directors acknowledge the backlash to their perpetuation of tropes or erasure (similarly, we’ve recently seen the Russo brothers call out the need for LGBT representation in Marvel movies), as opposed to insisting there isn’t a problem to begin with — and we can only hope that the studios are listening and learning, too!

‘Doctor Strange’ hits theaters on November 4, 2016

‘Center Stage’ gets a summer sequel on Lifetime

Nothing left for us to do but DANCE!

8:45 pm EDT, May 5, 2016

The first trailer for Center Stage: On Pointe is the latest addition to the long list of nostalgia-inducing films arriving this summer.

Forget that 2008 sequel, this is the Center Stage fans deserve. It seems that once every eight years the team from Center Stage needs to scratch an itch and dance out their feelings on screen. While we’d rather forget the failed straight-to-DVD attempt of the mid-aughts, Lifetime’s made for TV movie is just the right amount of nostalgia fans deserve.

Once again we are set in the throws of the audition process for The American Ballet Company. Wait. Does that mean? Yes! Both Peter Gallahger and Ethan Stiefel, Jonathan Reeves and Cooper Nielson respectively, are back for the film! Also joining the group is dancer-turned-choreographer, and the heartthrob of all twenty-something former dance camp attendees, Charlie (Sascha Radetsky).

We are not worthy.


Source

Watch the trailer for ‘Center Stage: On Pointe’

The synopsis of the film, from E!, reads: “Jonathan Reeves (Gallagher) is tasked with infusing more contemporary styles and modernism into the American Ballet Academy and enlists his top choreographers Charlie (Radestsky), Cooper (Stiefel) and Tommy (Kenny Wormald) to recruit dancers to compete at an intensive camp where the winners will be selected to join the Academy. Bella Parker (Nicole Munoz), who has always lived in the shadow of her hugely successful sister Kate, finally gets her chance to step into the limelight as one of the dancers selected for the camp. Chloe Lukasiak (Dance Moms) stars as Gwen, a talented dancer prodigy who competes at the camp.”

Because we know you want it…

Will you be tuning in to ‘Center Stage: On Pointe’ this summer?