According to reports, the judges of Dance Monster also see the same CGI creatures, just like the viewers do, rather than the performers themselves. However, Netflix has yet to confirm how the show actually works.
Dance Monsters is a unique dancing reality show on Netflix where performers dance while wearing monster costumes to hide their real identities. It could serve as a comparison for some people to FOX‘s The Masked Singer, in which participants perform while donning crazy outfits to conceal their actual identities. Although the competitors’ identities are kept a secret in both shows, their disguises function very differently.
While diversity choreographer Ashley Banjo, singer Ne-Yo, and YouTuber Lele Pons serve as the competition’s judges, Puss*cat Dolls member Ashley Roberts serves as the host of the show.
Only the CGI monsters performing on stage for the participants will be visible to viewers. However, what about the judges? What do they see? Many people are curious to know what they see. Do they see the real participants as well? Let’s find it out.
According to Reports, the Judges See the CGI Avatars Performed by the Contestants Rather Than the Performers Themselves, Just Like the Viewers!
Similar to Alter Ego, both viewers and judges of Dance Monsters are believed to view performances in real-time, although they do not actually witness each hologram perform on the stage, which was empty throughout filming. From what we’ve discovered so far, the judges also only see the CGI creatures rather than the real participants performing.
Netflix, however, has not verified this. The performers are backstage for the performance rather than on stage. During an interview on the BBC‘s The One Show, Ashley said that “there are humans there, but they are hooked up to CGI.”
On the screen, the holograms are visible to the audience. Each performance would only be broadcast live on the big screen, not on the actual stage, however, it is assumed that the audience and judges could see it in real-time.
Contestants dance while wearing their CGI equipment backstage at Dance Monsters. Additionally, it displays the backstage area where all the contenders are waiting for their time while dressed as CGI monster avatars. They are all blurred, much like in The Masked Singer. Additionally, we may watch the contenders’ on- and off-stage rehearsals. But once more, all we see are their CGI avatars doing each action.
On the other hand, viewers catch glimpses of some of the screens that the judges and crowd used to observe the performances in the Netflix show. One Reddit member expressed the following points:
The audience and the judges are seeing the dancers hooked up in that costume and the cameras (which we’re seeing) is seeing the AI. When the performer starts they show a quick side by side of them in a sound stage in the costume hooked up and make it seem like the dance was pre recorded.
When Will All the Episodes of Dance Monsters Arrive?
The first three episodes of Dance Monsters, which debuted on December 16, feature the 15 competitors, sometimes known as monsters, dancing it out for the top place. The monsters will get a $250,000 cash reward if they succeed in impressing the judges and the opposition. Apart from their dance abilities, they are not evaluated on the program based on their ages, appearances, or anything else.
Episodes 1-3 of Dance Monsters are now streaming on Netflix as of December 16. On Friday, December 23, the following batch of episodes—which will include Dance Monsters episode 4—will be made available. The episodes of the Netflix series will be released in three waves on December 16, 23, and 30, according to Radio Times. And there are eight episodes in total, according to The Review Geek.
There are 12 monsters remaining in the competition at the conclusion of episode 3. The ‘Ultimate Dance Monster’ won’t be unveiled until December 30, so there’s still time. Since the show’s debut on December 16, many fans have commented about it on Twitter.
Take a look at Blurred Reality for more engrossing topics of your favorite shows.
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