Steve Pond's Blog, page 3
September 30, 2025
‘Anemone’ Review: The Only Thing Daniel Day-Lewis Can’t Do Is Retire
Daniel Day-Lewis is one of the most celebrated actors who ever lived. So it’s ironic that he keeps crying “wolf.” Sure, we can believe that he’s an 18th century action hero. We can believe that he’s a snooty dressmaker. We can even believe that he’s Abraham freakin’ Lincoln. But after all these years, after all these false alarms, we can no longer believe that Daniel Day-Lewis will ever retire. It’s the only performance he’s ever given that didn’t ring true.
It’s been eight years since Daniel Day-Lewis claimed, for the umpteenth time, he was taking his talent and going home. But now he’s back for more in “Anemone,” a film he co-wrote with his own son, Ronan Day-Lewis. The younger Day-Lewis also directed the film, so it’s tempting to read this as a generational supra-narrative. Especially since “Anemone” is about trying to drag a reclusive man back into the world he rejected, and for his son’s benefit no less. If these parallels between real life and the movie aren’t intentional, then what can we say, except the human subconscious strikes again.
“Anemone” stars Sean Bean as Jem Stoker, who leaves his home, his beleaguered wife, and his troubled teenage son to venture into the woods of Ireland. He’s tracking down his brother, Ray, who abandoned his family after a terrible tragedy. Maybe Ray is a murderer. Maybe he’s just a bad dad. “Anemone” doesn’t tip its hand too early, leaving Jem and Ray alone in an arboreal negative space for days, barely speaking except to avoid speaking, and occasionally getting drunk and letting all their baggage spill out.
Jem, we soon learn, has been raising Ray’s son Brian (Samuel Bottomley), who is in serious trouble. Jem married Ray’s old flame, Nessa (Samantha Morton), but Ray’s legacy is suffocating Brian, and Jem believes only Ray can clear the air. But to do that he needs Ray to leave his self-imposed exile, and that’s not something Ray can do.
Ronan Day-Lewis directs “Anemone” with a strange disinterest in narrative drive. It’s not that the film is mostly a two-hander in a cabin in the woods, giving the production an intimate, black box theater personality. It’s that he’s weirdly disinterested in watching these two characters talk, when that’s all the audience wants. We’ve got Daniel Day-Lewis back in theaters, acting opposite the excellent, often-underrated Sean Bean, in a familial drama about shame and regret, and yet these two men are laconic, and willing (if not eager) to belabor the point. Jem has an almost profound patience with Ray, since this whole weeklong sojourn down miserable memory lane could, if you think about it, have been 30 seconds long, if Ray wasn’t as stubborn as a mule.
When they do talk, Jem and Ray think back to their abusive father, their horrific experiences in the Catholic church and their harrowing memories of The Troubles. Ray has isolated himself because he cannot live in the present, and the past often comes to haunt him. Ronan Day-Lewis has a flare for moody hallucinations, which threaten to derail the film with their eerie suddenness, but it’s clear what we’re really seeing here. The uncontrollable urge to stay put, to live in the past, to avoid the present and deny the future. “Anemone” is a film about purgatory, maybe even literally. Ray is trapped between worlds and Jem has come to pull him out or, if need be, give him a heavy, bruising push. It’s not boring and slow. It’s mesmerizing and, fittingly for depressive episodes, it feels overwhelming and infinite.
I’m sure the distributor of “Anemone” would love to be able to declare “Daniel Day-Lewis is back, baby!” with fanfare and fireworks but this is a film about why he stays gone, and while he’ll probably leave us again. Living in the real world takes a lot out of Ray, and acting seems to take a lot out of this particular actor, so when we watch him give long, theatrical monologues about death and child abuse, it feels like we’re watching him torture himself. We’re all Jem, dragging a man out of limbo. Maybe we have good reasons but that doesn’t make it any easier for this poor, fascinating soul who keeps running through a ringer.
Then again, perhaps it’s impossible to understand the depths of “Anemone” without a comprehensive knowledge, or even firsthand experience with the Northern Ireland conflict. I am in no position to lecture, I admit it, but the humanity of “Anemone” is on full display in any context. Sean Bean and Samantha Morton have their own struggling souls, and their inexorable connection to a man who wants to sever all ties is a tragedy by any measure. It’s an impressive acting showcase for everyone involved, not just the actor whose appearance warrants headlines all by itself.
So Daniel Day-Lewis can cry “wolf” all he wants. We never believe him, except when he’s acting. And he’s acting his head off in “Anemone.” It may be odd and insular, but it’s very much intentional. Even the heavy-handedness feels genuine. He really is heavy. He’s our brother.
The post ‘Anemone’ Review: The Only Thing Daniel Day-Lewis Can’t Do Is Retire appeared first on TheWrap.
Jimmy Kimmel Calls Late Night Crossover With Stephen Colbert a ‘Fun Way to Drive the President Nuts’ | Video
Jimmy Kimmel and Stephen Colbert may’ve had an ulterior motive with their late night crossover Tuesday evening.
The comedian kicked off the second night of his “Brooklyn Week” by happily announcing that his late night peer from CBS would be joining him as a guest — and that he’d “simultaneously” be appearing on “The Late Show With Stephen Colbert.”
Why? Well, as Kimmel put it bluntly, “We thought it might be a fun way to drive the president nuts. So, I’m excited that Stephen is here.”
Kimmel further joked that with Colbert as a guest, Tuesday night’s episode was “the show the FCC doesn’t want you to see.”
Kimmel was, of course, referring to the recent drama plaguing late night television, including Colbert’s cancellation back in July and Kimmel’s multi-day suspension earlier this month. Trump has been vocal about his dislike for the hosts, calling both Colbert and Kimmel talentless on separate occasions.
Though “The Late Show” is set to end its run in May 2026, Kimmel said there was power in “public pressure,” sharing a photo of a California freeway with a banner that called for Colbert’s show to be saved.
He added, “The people of L.A. and New York have spoken.”
Before wrapping up his monologue, Kimmel had another late night legend appear on his show, as Seth Meyers did a cameo alongside brother Josh Meyers, who portrayed Calif. Governor Gavin Newsom in one bit.
Colbert also shouted out Kimmel in his opening monologue Tuesday night, where he shared, “We’ve got a great show for you tonight … When we come back, it’s our friend Jimmy Kimmel.”
Later on in the episodes, Colbert and Kimmel both gave their first in-depth interviews about their respective late night sagas, with Colbert opening up about how he broke the news to his staff and Kimmel sharing how he found out he was being pulled from the air. Watch the clips below.
View this post on InstagramA post shared by The Late Show (@colbertlateshow)
The crossover between Kimmel and Colbert, as well as Meyers, was teased earlier in the day on Instagram, when the trio posed for the picture and wrote, “Hi Donald!”
View this post on InstagramA post shared by Jimmy Kimmel Live (@jimmykimmellive)
“Jimmy Kimmel Live!” and “The Late Show With Stephen Colbert” air weeknights at 11:35 p.m. ET/PT on ABC and CBS, respectively.
The post Jimmy Kimmel Calls Late Night Crossover With Stephen Colbert a ‘Fun Way to Drive the President Nuts’ | Video appeared first on TheWrap.
NBCUniversal, YouTube TV Agree to Short Extension of Carriage Agreement as Negotiations Continue
NBCUniversal and YouTube TV extended negotiations to avoid a programming blackout for the latter’s roughly 10 million subscribers, as they continue negotiating for a new carriage deal.
“We’ve reached a short-term extension to avoid disruption to our service while we work toward a new agreement with NBCUniversal. We appreciate our subscribers’ patience while we negotiate on their behalf,” a YouTube spokesperson told TheWrap. A spokesperson for NBCU shared a similar statement. Neither party would comment on the duration of the extension.
Upcoming programming that would’ve been impacted by the blackout starting Wednesday include Sunday Night Football and new seasons of “The Voice” and “Saturday Night Live,” which is set to return on Saturday, Oct. 4.
The update comes after YouTube avoided a programming blackout of Fox’s content by hours after striking a new deal in August. The same cannot be said for TelevisaUnivision programming, which went dark on the service earlier on Tuesday after both parties failed to come to terms on a new agreement.
The extension comes less than a week after NBCUniversal first warned of a possible blackout of its programming on YouTube TV.
“Google, with its $3 trillion market cap, already controls what Americans see online through search and ads — now it wants to control what we watch. YouTube TV has refused the best rates and terms in the market, demanding preferential treatment and seeking an unfair advantage over competitors to dominate the video marketplace,” an NBCU spokesperson told TheWrap, “all under the false pretense of fighting for the consumer.”
A YouTube spokesperson said at the time that the Comcast-owned entertainment company was “asking us to pay more than what they charge consumers for the same content on Peacock, which would mean less flexibility and higher prices for our subscribers.”
Telemundo Enterprises chairman Luis Fernández also shared an open letter amid the dispute, signaling how a shutdown would leave Spanish-speaking YouTube TV users without access to both of the major networks for Spanish speakers in the U.S.
When asked about Fernandez’s letter, a YouTube TV spokesperson told TheWrap that its carriage renewal decisions are “based on viewer consumption and pricing, and any suggestion to the contrary is false.”
The post NBCUniversal, YouTube TV Agree to Short Extension of Carriage Agreement as Negotiations Continue appeared first on TheWrap.
Diddy Denied New Trial or Acquittal by Judge Ahead of Sentencing
Diddy, born Sean Combs, was denied his motions for a new trial or an acquittal on Tuesday, mere days before his scheduled sentencing.
While the Bad Boy Records founder’s legal team previously moved for an acquittal under Rule 29 — which argued there was insufficient evidence and misinterpretation of the term “prostitution” in his two convictions of violating the Mann Act — Judge Arun Subramanian ruled he was not persuaded by the arguments made in the motion.
Judge Subramanian, who oversaw the rapper’s eight-week trial, also denied counsel’s attempt at a new trial after they claimed jury prejudice from evidence on acquitted counts, including sex trafficking and racketeering.
This update comes three days before Diddy is set to be sentenced after being found guilty of transporting people to engage in prostitution back in July. Both convictions carry a maximum prison sentence of 10 years.
Diddy was arrested in New York City last September, months after his homes in Los Angeles and Miami were raided earlier in 2024.
Federal prosecutors then indicted him on Mann Act violations, as well as sex trafficking and racketeering conspiracy charges. They accused the hip hop mogul of forcing women and male escorts to participate in drug-fueled sexual encounters at events, called “freak-offs.”
Diddy maintained his innocence throughout the trial and pleaded not guilty to all the charges.
The Grammy winner has remained in prison since his July conviction. In a court filing earlier this month, Diddy’s attorney argued for the rapper to receive a prison sentence of no more than 14 months — which would essentially amount to time serve.
However, in an 189-page submission to the judge, prosecutors said they want Diddy to serve more than 11 years in prison.
Reps for Diddy did not immediately respond to TheWrap’s request for comment.
The post Diddy Denied New Trial or Acquittal by Judge Ahead of Sentencing appeared first on TheWrap.
Filmmakers Unpack the State of Indie Film and Shifting Value of Festivals
Indie films might not be what they once were. But they’re not dead yet. And a big part of the state of independent film is still film festivals, despite the financial and content struggles facing places like Sundance.
“I’m optimistic about it. Nothing will ever beat that experience of having a film premiere at Sundance and that night, no one’s going to sleep because they’re racing to buy from each other. Plus the high altitude! That makes people probably overspend too, which is great,” Sev Ohanian, founder of Proximity Media, said on Tuesday at TheWrap’s “State of Indie Film” panel presented by City National Bank at TheGrill conference.
But the Sundance experience has changed, as Topic Studios vice president Jasmine Daghighian pointed out when moderator Sharon Waxman, TheWrap’s founder and editor in chief, asked about the challenging landscape.
“I think that Sundance putting their programming online has affected the way people feel about the movies because instead of having to be in Park City and see the movies immediately in the first weekend, you can go home and watch it on Tuesday,” Daghighian said. “That’s one tiny thing, but I think it has negatively impacted [the experience].” Not that Sundance is the only festival that can generate buzz. Daghighian said that Cannes — where Topic’s “Splitsville” premiered earlier this year to positive reviews — feels “like a better market in some ways, for awards-y movies,” because of the increase of international members of the Academy.
“I feel like there’s a sense of splashiness and prestige,” Daghighian said. She pointed to buyers like Neon, who “bought six movies at Cannes.”
Not that things are exceptionally cheery. Tommy Oliver, CEO of Confluential Films, brought up the Lily Gladstone film he produced, “Fancy Dance,” which took a year to sell after premiering at Sundance to positive reviews.
“It was a movie that nobody wanted to finance. And it was an amazing script, Native American director, co-writer, Native American lead. We came in. We did 90% of it. Everybody loved the movie and everybody talked about the importance of supporting Indigenous cinema and doing all these things, except for when it came to buy or put up any money,” Oliver said.
The biggest offer they got in the first 11 months the movie was up for sale was $40,000.
“$40,000 doesn’t cover the paper deliverables on the movie,” Oliver said. “We said no, because we knew what the movie was. And part of the issue was that the people hadn’t seen her in the way.” Gladstone had yet to make their Academy Award-nominated debut in Martin Scorsese’s “Killers of the Flower Moon.”
Oliver said that Gladstone spoke about the movie at a big event, which was attended by Scorsese and DiCaprio and other studio bigwigs, ostensibly to promote “Killers of the Flower Moon” but she used the platform to call out the fact that no one would buy “Fancy Dance.”
“They sat in their power in that moment,” Oliver said. “We never would have done that deal with Apple had it not been for Lily, taking them to task.”
The post Filmmakers Unpack the State of Indie Film and Shifting Value of Festivals appeared first on TheWrap.
Aimee Lou Wood Doesn’t Regret Her ‘Saturday Night Live’ Call Out Over ‘Mean’ Sketch | Video
Aimee Lou Wood made it clear she doesn’t regret calling out “Saturday Night Live,” as she doubled down on her criticism in a new interview.
The actress, who is best known for her work on “Sex Education” and “The White Lotus,” addressed the controversy with BBC News and acknowledged that her reaction to the parody took off more than she intended it to.
Still, she stood by her initial reaction and explained why it was important for her to speak out.
“I don’t regret saying it because it was breaking a pattern, which is what I would usually do — what I did when I was younger and got bullied,” Wood shared, “is internalize it, try and make them like me.”
She continued, “I actually remember seeing that and thinking I have a choice here to go in and be embarrassed about it or just say, ‘I didn’t like that. It was mean.'”
The actress was portrayed by “SNL” star Sarah Sherman in an April sketch — called “The White Potus” — where the latter donned oversized teeth and spoke in an over-the-top British accent while playing a caricature of Wood’s “White Lotus” character.
@bbcnews Earlier this year, an SNL sketch impersonated Aimee using exaggerated prosthetic teeth. #AimeeLouWood #SNL #Sketch #Acting #TheWhiteLotus #News #BBCNews ♬ original sound – BBC News
At the time, Wood spoke out against the skit on social media and called the portrayal “mean and unfunny.”
Sherman later addressed her controversial portrayal of Wood and said she felt “terrible” about the whole thing.
“I was excited to play her because she’s so iconic, her character is so iconic,” she told Vanity Fair, at the time. “I f–king obviously never meant to hurt anyone’s feelings. Never in a million years did I get into comedy to make anyone upset.”
“Saturday Night Live” returns for its 51st season on Oct. 4 on NBC at 11:30 p.m. ET.
The post Aimee Lou Wood Doesn’t Regret Her ‘Saturday Night Live’ Call Out Over ‘Mean’ Sketch | Video appeared first on TheWrap.
TelevisaUnivision Programming Goes Dark on YouTube TV
TelevisaUnivision and YouTube TV have failed to reach a new carriage deal before their current contract’s expiration on Tuesday, resulting in a blackout of the network’s programming for the latter’s roughly 10 million subscribers.
“TelevisaUnivision has over 160 million subscribers and billions of views across YouTube, where they generate ad revenue from their content. On our paid live TV subscription service, YouTube TV, however, TelevisaUnivision only represents a tiny fraction of overall consumption,” a YouTube spokesperson said in a statement. “Since we have not reached a new agreement with them, their content is no longer available on YouTube TV.”
In addition to TelevisaUnivision’s ViX streaming service, the network’s content is available on YouTube’s main platform, where they have more than 10 million subscribers. On average, there were over 9 billion views of Spanish language content daily on the main YouTube app globally in June. YouTube TV also offers news content through its recent renewal with Fox and new agreements with C-SPAN and OANN.
TelevisaUnivision began warning viewers of a potential programming blackout earlier this month.
At the time, it said the Google-owned platform was attempting to remove Univision from its core line-up and move it to a Spanish-only add-on package. It argued the move would force millions of Hispanic households to pay 18% more for its local news, live sports and entertainment content, calling it “discriminatory” and an “abuse of its market power.”
YouTube TV has argued that its carriage decisions are based on viewer consumption and pricing and that it offered a renewal that was “in line with the performance of their channel and the value of this content to YouTube TV subscribers today.”
In a statement on Tuesday, a TelevisaUnivision spokesperson blasted the Google-owned platform’s decision, arguing it is “stripping millions of Hispanic viewers of the Spanish-language news, sports, and entertainment they rely on every day.”
“Google’s actions are especially tone-deaf and egregious on the eve of a potential government shutdown, disregarding the appeals of government officials and Hispanic organizations who urged them to keep Univision on the main bundle,” the company added. “To add insult to injury, YouTube TV chose to take this step during Hispanic Heritage Month — an act that is deeply insensitive and offensive.”
It added that the “unfortunate mistake” is “easily reversible” and that its “always open to finding constructive ways for Hispanics to regain access to their trusted and critical content.”
The company added: “We remain steadfast in advocating for our audience and ensuring that YouTube TV subscribers know they have many options to continue watching Univision’s programming through other providers.”
The latest dispute for YouTube TV comes as its carriage talks with NBCUniversal remain ongoing, with their contract also set to expire Tuesday evening.
The post TelevisaUnivision Programming Goes Dark on YouTube TV appeared first on TheWrap.
‘Doc’ Star Molly Parker Breaks Down Felicity Huffman’s ‘Fascinating’ Role, Amy’s Memory Flashes in Season 2
Note: This story contains spoilers from “Doc” Season 2, Episode 2.
“Doc” set the stage for big changes at Minneapolis’s Westside Hospital, starting with the hiring of an impressive new chief of internal medicine played by Felicity Huffman.
The Emmy-winning “Desperate Housewives” alum was introduced as Dr. Joan Ridley, a laser-focused surgeon who has a long history with Amy (Molly Parker), Michael (Omar Metwally) and more at the hospital. Her arrival proves convenient when Michael offers her the job left vacant by Richard’s (Scott Wolf) abrupt exit at the end of the season, and as Amy’s former teacher and mentor, she is perfectly equipped to keep an eye on our titular Doc — who’s still struggling with losing eight years of her memory.
But not all is rosy ahead for Amy, after Joan’s arrival sparks a flash of memory that reveals she played a part in Amy’s separation from Michael six years ago. And Gina (Amirah Vann) is visibly shaken when she learns Joan has accepted the leadership position at the hospital — and that’s before learning she intends to run things her way.
“The thing about these flashbacks is that they are confusing and potentially unreliable as truth,” Parker told TheWrap in an interview ahead of the episode. “Things could be taken out of context. It’s very tricky … what is definitely true is that Amy doesn’t know who she can trust.”
That’s especially true following the events of the Season 2 premiere, which saw Amy and Sonya (Anya Banerjee) caught in a hostage situation tied to an old patient of Amy’s she’d forgotten about due to her amnesia. And that’s on top of the fallout from Amy blowing up relationships with boyfriend Jake (Jon Ecker) and ex-husband Michael by the end of Season 1.
“As much as Amy spent Season 1 trying to be this better version of herself, by the end, she messes up and behaves in ways that show maybe there is no old Amy and new Amy. Maybe there’s just one complicated person,” Parker said. “She has a lot of bridges to mend and that’s going to take some time.”
Below, Parker discusses the latest episode of “Doc,” and celebrates the show resonating with new viewers after dropping Season 1 on Netflix.
Molly Parker in “Doc.”(John Medland/Fox)TheWrap: These first two episodes set up a lot of big shifts ahead for the show. What was your reaction when you learned where Amy’s story was going in Season 2?
Parker: I was intrigued. There’s some really interesting themes that the writers are delving into this year. Obviously, a new character, Dr. Joan Ridley, who Felicity is playing. She plays a really fascinating character, who is a great champion of Amy’s. She was her mentor and her teacher, but she’s also an obstacle, in her own way, so that’s a great and complicated relationship.
Amy has a long history with this woman and, as she remembers from eight years ago, was very close to her and they were friends. But of course, Amy doesn’t remember the last eight years, and we as the audience don’t know what went down. So there’s this new relationship with this mentor, which gives us the opportunity to really delve into this new area of Amy’s past, and then also how that affects the present.
I love that it also gives us the opportunity to look at themes around women with careers and their relationships to motherhood, their relationships to their ambition, their relationships to helping other women who are coming up — all that stuff is great.
I’m thrilled that the writers have developed a really great twist, too. Amy begins to get these odd memory flashes, but they have no context. It might just be an image of an object. They’re like dreams, almost. So she is trying to figure out what these are … There’s a lot of mystery in this season.
I love when the writers put Amy in a situation to be a detective in her own life. She’s very good at being a detective in a medical way as a diagnostician. Now she’s been given these clues throughout the first couple episodes about her life that she starts to need to pay attention to.
In Episode 2, titled “Delusions of Grandeur,” we see this with Joan. Amy has flashes of a dinner that, by the end of the episode, we learn was the moment Joan told Amy she should end her marriage. How does that set things up for Amy moving forward?
The thing about these flashbacks is that they are confusing, and potentially unreliable as truth. Things could be taken out of context. It’s very tricky.
What is definitely true for Amy is that she doesn’t know who she can trust. She certainly trusts Gina, and she trusts Michael. She trusts Jake. And yet, everyone in her life has an opinion about who she was, who she became and who she should be or shouldn’t be. One of the things about the Joan character is that Joan doesn’t think that Amy was a horrible person before the accident. Her feeling is that Amy did the best she could in a really difficult situation, and at the same time became an outstanding doctor because of her ability to be so singularly focused on work. That’s something that Joan really respects and I think, in some ways, that’s really nice for Amy to hear.
In Amy’s very long journey of reclaiming all these pieces of self and integrating them into her sense of who she is and who she wants to be going forward, not all the narrators are reliable 100% of the time. Everyone sees her and remembers her through their lens, as Joan does as well. So as Amy starts to reclaim her own memories it’s sort of empowering, because she’s no longer in the situation — at least in that one little moment — where she has to rely on other people to tell her what happened.
Joan accepts the chief job and seems to be a great fit. Then we see Gina’s reaction to the news and she’s far from happy about the hospital’s newest leader. What’s going on there?
Gina and Joan are very different people. Their approach to medicine, to their patients, to their work is very, very different. The thing they have in common is that they both really love Amy. They both are invested in how Amy moves forward in her life.
For Joan, Amy is just this one-in-a-million kind of doctor. She’s special in a way that Joan thinks is so rare and she really, really wants Amy to focus on being a physician. Gina is coming from a completely different place and wants Amy to be happy in her life, and with her relationships as a mother, as a partner, as all those things. So they’re just different people.
Omar Metwally in “Doc.”(John Medland/Fox)Michael just had a baby, Jake doesn’t think Amy will ever pick him over her old life. The dynamics are all changing very, very drastically for Amy. Where are we headed from here?
In the first couple of episodes Amy is dealing with the fallout from Season 1, with what Jake thinks he saw and the reality of Michael having a new child, and what that means for Amy’s future. She has dug herself into a bit of a hole by the end of Season 1.
As much as Amy spent Season 1 trying to be this better person, this better version of herself … by the end, she messes up and behaves in ways that show maybe there is no old Amy and new Amy. Maybe there’s one complicated person. She has a lot of bridges to mend and that’s going to take some time.
“Doc” is getting some serious attention after dropping Season 1 on Netflix. The show is currently at No. 2 on the Netflix TV chart. How does it feel to get a big spotlight for this project as Season 2 starts to roll out?
That was really wonderful news and exciting, because we all know Netflix just provides such an enormous platform for viewership. So given that there will be an opportunity for people who didn’t catch the show last year to catch up quickly and jump into Season 2. It’s fantastic. We’re incredibly fortunate.
This conversation was edited for length and clarity.
“Doc” airs Tuesdays at 9 p.m. ET/PT on Fox and streams the next day on Hulu. Season 1 is now streaming on Netflix.
The post ‘Doc’ Star Molly Parker Breaks Down Felicity Huffman’s ‘Fascinating’ Role, Amy’s Memory Flashes in Season 2 appeared first on TheWrap.
‘Dancing With the Stars’ Week 3: Jordan Chiles Cries After Stunning Tango to Doechii’s ‘Anxiety’
“Dancing With the Stars” paid homage to TikTok Tuesday night as they cha cha-ed and tangoed to viral hits from Katseye, Sabrina Carpenter and more.
The ABC competition show has gained a new audience of dedicated fans from its reach on TikTok. Season 31 winner and the second-most followed TikTok creator Charli D’Amelio returned to the ballroom to show off her skills and celebrate the app that changed her life. She performed the viral whisk challenge with her former partner Mark Ballas and opened the show with Charli XCX’s viral “Apple” dance.
Hosts Alfonso Ribeiro and Julianne Hough revealed that last week shattered the all-time voting record for “Dancing With the Stars.” The stars, several of which are TikTok creators in their own rite, brought their dancing centerstage, but one of the 12 couples had to go home. Lauren Jauregui and her partner Brandon Armstrong received the least amount of votes and judges scores and were sent home — an outcome that shocked the ballroom.
Jen Affleck and Jan Ravnik kicked off TikTok night with a tribute to the reality star’s own viral TikTok to “She’s a Bad Mama Jama (She’s Built, She’s Stacked),” in which she danced to the song just hours after she gave birth. The “Mormon Wives” star also referenced the viral “Mommy? Mamacita” sound from “Love Island USA” Season 7 in the beginning of the cha cha. The judges loved the concept but were not too impressed by her technique, though.
Fifth Harmony’s Jauregui danced to her own song from “Work From Home” for TikTok night. The standard cha cha also featured viral choreography from Sean Bankhead, who was in the audience. Fellow Fifth Harmony bandmates also made an appearance at the end of her performance. The judges wanted the singer to have more punch in her moves especially in the Latin dance style, but had hopes that Jauregui would make it far in the competition.
Sabrina Carpenter sent Danielle Fishel a special message of encouragement, saying she can’t wait to try and fail to recreate her dance, before the couple danced to her song “Manchild.” The “Boy Meets World” star said she considers Carpenter like a daughter to her, so it was a thrill to compete a foxtrot to her music. With her hamstring back in tact, Bruno Tonioli commended the actress for not letting the TikTok integration take away from the ballroom dancing.
Pasha Pashkov and Danielle Fishel in “Dancing With the Stars.”(Disney)Olympic gold medalist Jordan Chiles broke into tears after dancing a tango to Doechii’s “Anxiety.” The gymnast revealed that she has struggled with anxiety throughout her career. “Being able to express it in a dance, I finally feel relieved,” she said. “I feel like you know that was something I was able just to let go.” The judges praised the gymnast for her ability to be smooth yet fierce. Derek Hough said Chiles “turned anxiety into artistry” on the ballroom floor. The Olympian tied for the highest score of the night.
Dylan Efron wowed the judges with his fiery foxtrot to Justin Bieber’s “YUKON.” He and his partner Daniella Karagach wanted to prove to Derek Hough that the reality star is a leading man. Carrie Ann Inaba admitted that the reality star confused her in how to score because for a beginner his technique is impeccable. Hough and Tonioli echoed the sentiments saying that Efron delivered a foxtrot by the book.
Daniella Karagach and Dylan Efron in “Dancing With the Stars.” (Disney)Elaine Hendrix paid homage to her sassy “Parent Trap” character Meredith Blake in her fiery tango to KATSEYE’s “Gnarly.” The judges called the actress a real contender after her routine, but Hough wanted her to carry a wider frame. The 54-year-old actress said that she is proud of herself for moving in the way she is at her age, to which her best friend and biggest fan Lisa Ann Walter cheered on her feet from the audience.
Top contender Whitney Leavitt made it to the top of the leaderboard for the third week in a row with her samba to “Shake Ya Ass (Radio Edit)” by Mystikal. The “Mormon Wives” star admitted that the style had been particularly challenging for her, but Tonioli said she nailed the signature samba bounce. Hough called it “mesmerizing,” while Inaba liked that the reality star reigned in her wild side for the performance.
Pentatonix star Scott Hoying performed what the judges called his best dance of the season to “like JENNIE.” The a capella singer wanted to bring the love from his viral wedding dance for his husband to the ballroom. The jazz routine showcased his musicality, and his pro Riley Arnold’s versatility in choreography, which Tonioli called “delicious.” Hoying earned his highest scores of the season for the routine.
Hilaria Baldwin and Gleb Savchenko in “Dancing With the Stars.” (Disney)Hilaria Baldwin performed a samba to the viral sound “Shake It To The Max (FLY) [Remix]” with her partner Gleb Savchenko. Hough told the influencer and reality star that she is in a league of her own technically speaking, saying her samba rolls were the best he’s ever seen on the show. “Len would’ve loved that samba,” Inaba added, noting Baldwin is a fantastic dancer but needed to work on her musicality. Her husband Alec Baldwin and friend Kris Jenner appeared in the audience.
Andy Richter, who has consistently scored in the bottom of the competition, has won over the DWTS audience with his charm and joy. The comedian and his partner Emma Slater competed a foxtrot to “Northern Attitude” by Noah Kahan and Hozier. The viral Hozier’s yell trend inspired the uplifting dance that brought his partner and even Julianne Hough to tears. “My friend you are the heart,” Derek Hough said of his performance. The judges noted his dancing needed improvement, but his joy was evident. Richter said he’s not ready to go home.
The smolder in the beginning, the way he ripped off his shirt, the body rolls… it's really serious for Robert Irwin
— Johann (@johanntimkang) October 1, 2025#DWTS #DWTS34 pic.twitter.com/y8mPvXq891
Consistent frontrunner Robert Irwin did it again with his salsa to “Million Dollar Baby.” Notoriously one of the hardest styles of dance on the show, Hough noted that the wildlife conservationist was a little too rigid in his movement but commended him for his strength of movement. Inaba said seeing a shirtless young Irwin made her feel like a grandmother. Irwin later joked in the skybox that his partner Whitney Carson has been a pro at “extracting the rizz” from the zookeeper.
TikTok star Alix Earle closed out the night with her best dance of the season. She performed a quickstep to “Pop Muzik,” a song that was popularized by Molly Long’s competitive dance team this spring. She started off the routine with a reference to her “Get Ready With Me” videos before hopping into the quickstep. With her notes from partner Val Chmerkovskiy and Long, Inaba said the influencer pulled off her best dance yet.
LEADERBOARD: Week 3
Jordan Chiles & Ezra Sosa: 24Whitney Leavitt & Mark Ballas: 24Dylan Efron & Daniella Karagach: 23Alix Earle & Val Chmerkovskiy: 23Scott Hoying & Rylee Arnold: 22Hilaria Baldwin & Gleb Savchenko: 22Robert Irwin & Witney Carson: 22Elaine Hendrix & Alan Bersten: 21Danielle Fishel & Pasha Pashkov: 21Jen Affleck & Jan Ravnik: 19Andy Richter & Emma Slater: 18Lauren Jauregui & Brandon Armstrong: 18“Dancing With the Stars” airs live on Tuesdays on ABC and streams on Disney+ in local time zones and the next day on Hulu.
The post ‘Dancing With the Stars’ Week 3: Jordan Chiles Cries After Stunning Tango to Doechii’s ‘Anxiety’ appeared first on TheWrap.
Protesters Hit Brendan Carr’s First Open FCC Meeting Since Kimmel Suspension: ‘Censorship Czar!’ | Video
FCC Chairman Brendan Carr was blasted as a “censorship czar” by protesters, who disturbed the Federal Communications Commission’s open meeting in Washington D.C. on Tuesday — before being escorted out by security.
The open meeting was the FCC’s first one since the multi-day suspension of Jimmy Kimmel from his ABC late night show — which came about after Carr publicly condemned the comedian for his comments about Charlie Kirk’s alleged killer.
The suspension subsequently sparked First Amendment debates, with many accusing Carr of attacking free speech amid the drama. Tuesday’s protesters expressed a similar sentiment during their demonstration at the FCC meeting, as they repeatedly shouted in the middle of the assembly: “Fire Carr, the censorship czar.”
The incident was caught on a livestream of the meeting, which saw FCC Secretary Marlene Dortch looking uncomfortable after being interrupted by the protesters’ chants.
Carr, however, appeared to laugh off the outcry and smiled slightly amid the demonstrators’ calls. The livestream’s audio cut out after a few moments.
Our Revolution, a nonprofit organization founded by U.S. Senator Bernie Sanders, took credit for the protest and explained they were trying to hold the “FCC accountable” for going after content “critical of Trump.”
— Our Revolution (@OurRevolution) September 30, 2025
TODAY AT THE FCC
Our Revolution activists disrupted the @FCCmeeting to send a message: Fire Carr — Trump’s Censorship Czar.
Last week, Brendan Carr went after @jimmykimmel for speaking out. Today, we showed up to make clear: Trump and his cronies won’t silence our… pic.twitter.com/HnuqWSsgk8
“We’re here today at the FCC because Brendan Carr, the commissioner of the FCC, has been using threats to silence critics of the Trump administration, including Jimmy Kimmel,” the organization stated in a video on X. “So, we’re here to say that’s unacceptable. You need to fire Brendan Carr.”
Our Revolution further wrote online, “We showed up to make clear: Trump and his cronies won’t silence our dissent. Free speech means the right to call out corruption, oligarchy and authoritarianism.”
Carr did not immediately respond to TheWrap’s request for comment.
The post Protesters Hit Brendan Carr’s First Open FCC Meeting Since Kimmel Suspension: ‘Censorship Czar!’ | Video appeared first on TheWrap.
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