Entertainment
Maren Morris, Miranda Lambert Swapped Shoes at Swift Wedding
Maren Morris apparently walked away with an unexpected souvenir from Taylor Swift and Travis Kelce’s star-studded Madison Square Garden wedding.
“Miranda Lambert and I accidentally took each other’s shoes home,” Morris, 36, claimed during a recent radio interview. “We don’t wear the same shoe size, and the shoes did not look the same at all. They were both just, like, black heels.”
Morris and Lambert, 42, were among the many famous faces present when Swift and Kelce, both 36, said “I do” on July 3.
The bride and groom each wore bespoke, white creations from Christian Dior Haute Couture, while Morris and Lambert unintentionally coordinated in black. While the “Bones” singer donned a sheath dress with a midriff cutout, Lambert rocked a lacy halter gown to match their respective charcoal-colored shoes.
Upon returning home the next morning, Morris soon realized that she brought home a different pair of pumps than the ones she had arrived at MSG in.
“The next day I was, like, ‘Whose shoes are these?’” she recalled. “I had to wear them because I was, like, ‘I can’t walk out of this wedding barefoot, that’s crazy.’”
Morris further noted that Lambert, similarly, realized that she also left the NYC arena with someone else’s stilettos the following day.
“When we realized we had taken each other’s shoes home, of course I’m like dying laughing, but I’m also relieved,” Morris said. “I was like, ‘I don’t want whoever’s shoes I took to think that I stole them, but someone took mine.’ I guess [the] lesson is, don’t take your shoes off. At a wedding you need to commit to the bit.”
According to Morris, she only found out about the shoe swap with Lambert when the latter’s stylist shared that the “Little Red Wagon” songstress walked away with a pair of “size 6 shoes” that apparently didn’t fit.
“[So], I texted her,” Morris added, referring to the fellow country star. “I was like, ‘That has to be the sign of a really good time.’”
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It’s been 15 years since Shawn Levy and Hugh Jackman first teamed up for Real Steel, long before the pair reunited for Deadpool & Wolverine. The 2011 sci-fi boxing drama starred Jackman as former boxer turned robot trainer Charlie Kenton, who is forced to build a robot boxer with his son when automated machines replace the sport. While this might feel like an original concept, the film was an adaptation of a short story titled Steel, written by notable science-fiction and horror author Richard Matheson.
Of course, more well-known is The Twilight Zone episode of the same name that aired in October 1963, starring Lee Marvin as Tim “Steel” Kelly, a former boxer who decides to go a round in the ring with a robotic counterpart. Nearly five decades before Jackman stepped into the robot-boxing world, The Twilight Zone had already entered the ring. If you haven’t seen this original series episode, consider this your starting bell.
What Is Richard Matheson’s ‘Steel’ About?
Whether you prefer the short story or the television episode, both versions of Matheson’s “Steel” are incredibly similar. In each of them (set in the near future of 1974…), former boxer Tim “Steel” Kelly has resorted to becoming a boxing trainer/promoter after the sport was outlawed for humans. That might sound preposterous today, but that’s only because you weren’t living in the 1960s at the time. In 1963, the sport was filled with controversy after the death of not one, but two different boxers — Benny Paret and Davey Moore — one of whom died during a match on live television. Because of this, the massive weight of the sport was becoming clear to general audiences, and many believed that there could come a time when boxing itself was expunged from the record. This is the world of Richard Matheson’s story.
Matheson, who also penned the more iconic (and very next) Twilight Zone episode, “Nightmare at 20,000 Feet,” wrote this half-hour drama as the second to air during the fifth and final season of the show’s original run. With Lee Marvin (who had previously appeared in Season 3’s “The Grave”) in the leading role, there was no doubt that this one would thrive on its own merits, regardless of its Magazine of Fantasy & Science Fiction origins. While Matheson’s next Twilight Zone is infinitely more beloved, Steel has more than enough emotional draw, even if it’s a bit more understated about it. What starts as a story about a washed-up boxer trying to reclaim his glory days through the use of a machine (in this future, machines are the sole boxers of the day) slowly becomes a Rocky story that ends fairly similarly to the later Sylvester Stallone picture. After his B2 model boxing bot, “Battling Maxo” (Tipp McClure), sheds a spring, the robot is unable to fight. To make ends meet, “Steel” Kelly, himself a former boxer, decides to take on a superior B7 model himself.
Though Kelly gives a valiant effort, he doesn’t stand much of a chance in the ring. As Rod Serling‘s ending narration notes, “Portrait of a losing side, proof positive that you can’t outpunch machinery.” Despite that, the narrator also notes that “Steel” is a prime example of the courageous nature of the human spirit, and our willingness to rise to the challenge no matter how impossible the odds. One almost wonders if Stallone might’ve watched or read Steel before coming up with the plot of the first Rocky. It’s impeccable how familiar (and perhaps even relatable) the story still feels after all these years, which is a true testament to the lasting power of an author like Matheson. These days, we know him best for I Am Legend, Hell House, or Duel, which would later turn into a Steven Spielberg film of the same name.
This ‘Twilight Zone’ Episode Was Richard Matheson’s Favorite
According to The Twilight Zone Companion by Marc Scott Zicree, Steel was Matheson’s favorite of the 16 episodes bearing his name (“And When the Sky Was Opened” and “Third From the Sun” were based on his works but not written by him). More than that, the author noted that the short story/episode’s title had a double meaning of its own. “Steel was his nickname and that was his character, his backbone, that he was so determined,” Matheson explained. “When you have a monumental character like that, it’s easier to handle.” The author likened “Steel” Kelly to Captain Ahab from Moby Dick, who was so consumed with his own obsession to “win” against his opponent that it cost him everything. “He has no greys; he just wants to kill the whale.” In this case, Kelly just wants to beat the B7, Maynard Flash (Chuck Hicks), and secure the winnings he needs to continue his washed-up career. Unfortunately, he barely makes it out of the ring alive.
What makes Lee Marvin’s performance as Kelly especially notable is his clear commitment to the role. Matheson recalled watching the actor psyche himself up for the big sparring match, noting that Marvin went to great lengths to prepare himself for the role. “I saw the Lee Marvin character as the sort of man who never liked to ask anyone for help but chose, in the old-fashioned way, to take care of things for himself, however mad,” explained Matheson. We see this clearly through Kelly’s boisterous threats to his business partner and robot mechanic Pole (Joe Mantell), who tries unsuccessfully to pull Kelly away from his single-minded (and bullheaded) approach to, well, just about everything. “Even when he did get his brains beaten out and only a small percentage of the money, he did not give up,” the author concluded. “Not the brightest man in the world but, in many ways, pretty admirable, pretty brave.” The Twilight Zone was always a show that thrived in putting ordinary people in extraordinary circumstances, something “Steel” happens to do remarkably well.
But how does Matheson’s Steel compare to the 2011 blockbuster Real Steel? Well, there are similarities, of course. Robots have indeed replaced boxers in the sport, and Hugh Jackman’s Charlie Keaton is a clear stand-in for Lee Marvin’s “Steel” Kelly, albeit a slightly more level-headed (and likable) one. But much of the content has been changed for the more blockbuster style of modern Hollywood filmmaking. Instead of adapting “Steel” into a more Rocky-esque story about one man’s obsessive quest (though those elements partially remain), Real Steel is also a heartwarming story about the relationship between a father and his son (played by Dakota Goyo). The updated special effects make Real Steel feel like most action movies you remember from the 2010s, even if this one has more entertainment value than most. Real Steel earned nearly $300 million worldwide, and the movie’s enduring fan base has continued to call for the story to return in some form.
Shawn Levy Hadn’t Seen ‘Steel’ When He Signed on for ‘Real Steel’
Funny enough, director Shawn Levy didn’t know anything about Richard Matheson’s original material before signing on for the 2011 motion picture. “I knew of Matheson as a writer. I’d not read Steel or seen the episode,” the director told Complex in 2011. “So shortly after I met with [Steven] Spielberg and talked about doing the movie, I promptly educated myself, and it got me even more excited.” Though he didn’t adapt Matheson’s short story as faithfully as the author had for The Twilight Zone, Levy pulled from the desperation of the Kelly character and poured that idea into Hugh Jackman’s Charlie Keaton. From the time he was first involved in the film, there was always this father-son dynamic present within the story, with John Gatins ultimately writing the screenplay from a story credited to Dan Gilroy and Jeremy Leven. But the filmmaker wanted to lean further into that emotional aspect of the picture: “I felt that to occupy a unique space, Real Steel needed to be more about its underdog story, more of a father-son and sports movie than just a robots-wailing-on-each-other movie.”
By changing the themes from Matheson’s obsessive underdog into a father-son bonding narrative, Real Steel certainly adapts the Steel concept for a new age. While The Twilight Zone episode allowed the Lee Marvin character to take the place of his battling robot in the ring, that wasn’t possible in the world of Real Steel, where the robots were (1) clearly machines and (2) much taller than the average man. That’s where Levy’s idea for the “shadow mode” came in, which he used as a vehicle to adapt the Kelly character’s tenacity and courage to Jackman’s. “In this last fight, yes, it’s gotta be about our robot maybe having a shot at winning, but more importantly it’s gotta be about the Hugh Jackman character returning to grace,” the director explained. “And even more critically, it’s gotta be about the son witnessing the father’s return to grace.” While Real Steel is a much different production than the original Twilight Zone episode, it captures the same tenacity of the human spirit that exists in Marvin’s signature boxer.
Whether audiences will ever return to the world of Real Steel, however, is looking increasingly uncertain. A Disney+ series based on the movie entered development in 2022, but Levy offered a discouraging update in late 2025, saying the project’s status was “unclear” and admitting that he wished he felt it was more likely to happen than he currently did. Fifteen years after the movie’s release, then, Real Steel may still stand on its own. But its connection to Matheson’s Steel ensures that the story itself has already survived far longer than one movie — stretching all the way back to one of The Twilight Zone‘s most underrated hours.
The Twilight Zone is available for streaming on Paramount+.
Off Campus star Ella Bright is addressing speculation surrounding her costar Belmont Cameli’s social media feed.
Eagle-eyed fans recently noticed that Cameli, 28, appeared to delete or, at the very least archive, several promotional photos featuring Bright, 19, from his feed. Us can confirm that the Along for the Ride actor currently has other images with different Off Campus costars on his page. As fan chatter rose about a potential feud, the actress clapped back at speculation there’s tension between the pair.
“Everything is fine,” Bright reportedly wrote via Instagram comment, according to a fan’s screenshot shared via TikTok on Friday, August 28. “Just move along with your day.”
Neither Bright nor Cameli have further publicly addressed the speculation. Us reached out to reps for both actors for comment but did not hear back at the time of publication.
Prime Video isn’t messing around with its newest swoon-worthy hockey romance. Off Campus — the much-anticipated adaptation of Elle Kennedy’s BookTok-famous novels — received a second season order before its May 2026 premiere. Even better news for fans falling hard for the first season’s couple? Stars Ella Bright and Belmont Cameli are sticking around. Keep […]
Bright and Cameli star as Hannah Wells and Garrett Graham, respectively, in Prime Video’s Off Campus, which was adapted from author Elle Kennedy’s bestselling hockey romance series of the same name. The eight-episode season raised eyebrows for its racy sex scenes.
“Listen, I came into this job and during the chemistry reads — with more than enough information and knowledge and understanding of what this role required in the show — I just fell in love with Hannah and these scripts immediately,” Bright said on the “Not Skinny But Not Fat” podcast in May, addressing her character’s partial nudity. “There was never a question that I wouldn’t want to do this.”
Bright further acknowledged that some “people” were also allegedly concerned about her and Cameli’s 10-year age difference in the steamy scenes.
Ella Bright and Belmont Cameli Liane Hentscher/ Prime
“Not once did I feel one left out from being younger than everybody,” she said. “We’re all such a family, and like, everyone was just more than perfect. I couldn’t be more comfortable on the set with these people. So, it is funny when they said that.”
Bright and Cameli will pass the torch to Stephen Kalyn and Mika Abdalla for Off Campus season 2, currently in production. The new episodes will follow the third book in Kennedy’s hit series as Garrett’s teammate Dean Heyward-Di Laurentis falls in love with Hannah’s best friend, Allie Hayes.
The first season of Off Campus is focused on Hannah and Garrett’s love story — but will Ella Bright and Belmont Cameli return for future seasons of the show? “I totally understand your concern,” Cameli, 28, exclusively told Us Weekly about each season of the Prime Video show being focused on a different fictional couple. […]
“I’m just really looking forward to digging deeper into who Allie and Dean are. They both, kind of, have these fronts, these personas that are hard to kind of crack through,” Abdalla, 26, exclusively told Us in May, teasing season 2. “They are kind of stereotypes of themselves. But in the books, as we know, there’s so much beneath the surface of Dean, and there’s so much beneath the surface of Allie.”
She added at the time, “I’m excited to dig emotionally into that a little bit more, because, you know, we see Allie and Dean as their exteriors a lot in season 1. While that is fun, and they are super fun characters to play, I think as actors, selfishly, both of us are really excited to, kind of, like, get psychological.”
Off Campus also stars Antonio Cipriano and Jalen Thomas Brooks, who are expected to lead future seasons of the hit hockey drama.
Tim McGraw probably left a lasting charm on gravity that it could not resist pulling him closer!
The country singer had a slight tumble on stage as he wowed his audience in his Cincinnati show with great tunes, but he took all the bumps in giant strides, even making a joke out of it.
Tim McGraw is currently on his “Pawn Shop Guitar” tour across North America that started on July 9, 2026, and is scheduled to wrap up on September 29, 2026, after which his five-night residency in Las Vegas will run through October and November,
The musician took to his Instagram account to give his own version of the fall on the stage story, and it was laced with so much humor, which made the narration sound less concerning.
McGraw broke the ice with a smooth caption accompanying several snapshots of himself on stage, serving it hot to his teeming fans with his vocals and his wardrobe choice.
Right there in the middle of these scintillating views is a clip capturing the epic fall with the viral “yup, that’s me” voice-over. McGraw paused the clip to reveal his cowboy boot heel had caught on the stage floor, sending him tumbling backward with his arms flailing before landing on his butt.
Despite the unexpected fall, the famous vocalist proved his experience by holding firmly to his microphone and quickly gathering himself after the fall by flashing off a smile.
“Cincinnati, you started our weekend off on the right foot even if I couldn’t stay on mine. We appreciate you coming out and singing along! Detroit, you’re up!” the musician noted in the caption.
McGraw’s post and the way he gracefully portrayed his stage accident absolutely impressed his followers and fans who trooped under the post to share their thoughts. “He has such a great looking body, glad he didn’t get hurt and had a great sense of humor regarding his fall,” this commenter declared.
Another fan claimed it was very nice to finally see a public figure make the most of a very embarrassing situation and not treat it like the end of the world. This commenter urged the singer to take care of himself and not retire yet because attending his show is right atop their wish list.
One fan reassured the singer that his fall may not completely be his fault, as they observed that the stage floor may have a flaw, as another Instagram user charged his fall to his new shoes and their slick bottoms.
McGraw can take consolation in the words of his fan who described his Cincinnati show as a great one, and his reaction to his fall made it even better.
Tim McGraw’s Recent Fall Is Not His First Rodeo
Nearly four years ago, the 59-year-old sent his fans into a frenzy when he fell off during a stage performance at the Boots In The Park concert series in Arizona. As noted by The Blast, McGraw was deep into his performance of “I Like It, I Love It” when he tumbled off the stage as he walked towards the end.
He had attempted to give his guitarists his flowers with hands stretched out, but while it was a successful attempt at praising a member of his team, his balance getting back up paid the ultimate price. Due to his poor attempt at getting up, McGraw slipped off the stage and tumbled backward toward the audience.
Fortunately, the Grammy winner managed to catch himself before the fall resulted in any serious harm. McGraw then jumped down from the stage and landed safely on the lawn with help from attentive security guards.
Once back on his feet, the singer laughed off the mishap and greeted concerned fans standing behind the barricade; sources later confirmed that he left the show without any injury.
The Grammy Winner Previously Sounded Alarm Over A Disturbing Pattern With Concert Goers
In 2023, as he geared up for his “Standing Room Only Tour,” McGraw left a standing order for the attendees about the terrible trend of hurling dangerous objects at artists on stage.
The Blast shared that McGraw addressed the topic during a CNN interview where he described the behavior as dangerous and capable of destroying great events.
McGraw explained that the dislodged object can cause severe injuries to the performer or even accidentally strike an innocent member of the audience, leading to an abrupt end to the concert.
The singer added that he was a stranger to items being thrown at him on stage, but they have been harmless, lightweight objects which did not bother him.
McGraw was subsequently asked if he would flip out if he encountered such an uncomfortable situation himself, to which he responded that he would try his best to keep his cool and not overreact.
Inside Tim McGraw’s Enduring Bond With Faith Hill
Through the stage falls and his coping mechanism, one thing has stood firm in McGraw’s life, which is his marriage to Hill. The country music stars met in 1994 during a gig in Nashville, and while they were seeing different people at the time, fate brought them together two years later.
McGraw had asked Hill to marry him spontaneously in a dressing room trailer in 1996, and they got married the same October in a surprise backyard wedding in McGraw’s hometown in Louisiana.
The couple welcomed three daughters and together advanced their careers as singers, winning awards including a Grammy for their duet “Like We Never Loved At All.”
In 2023, McGraw took to Instagram to rave about Hill and their love story on their 27th wedding anniversary, where he recalled the first time he set eyes on her, and how he felt love at first sight.
He confessed that he still felt the same way every day she walks into the room and exists in their beautiful family, as he flaunted the first picture they ever took together at the gig in 1994.
Great to see Tim McGraw doing well after that slip!
Entertainment
James Bond Star’s ‘Schindler’s List’ Replacement Is Officially Being Removed From Paramount+
As the world prepares to welcome a new James Bond, it’s worth remembering that the job isn’t without its drawbacks. In addition to the frenzied attention that actors cast as Bond attract, they also find themselves typecast for the first few years of their stints. It’s only after they retire from the role that their experiments are appreciated. Daniel Craig was embraced as Benoit Blanc in the Knives Out movies after playing a similarly over-the-top character in Steven Soderbergh’s Logan Lucky. His three other attempts to headline a potential franchise-starter — The Girl with the Dragon Tattoo, The Golden Compass, and Cowboys & Aliens — didn’t work out. His indie project, Kings, grossed less than $1 million and received a 10% score on Rotten Tomatoes. But one of his earliest non-007 movies released during his tenure as Bond is currently available for fans in the United States to discover on Paramount+.
The film was released in 2008, the same year as his second Bond movie, Quantum of Solace. It was directed by the journeyman Edward Zwick, who’d previously made Blood Diamond and The Last Samurai. Unlike those films, however, Zwick’s project with Craig wasn’t a box-office smash. Nor did it excite critics. Set during World War II, the film tells the true story of four Belarusian brothers who worked together to rescue Jewish people. The movie also featured Liev Schreiber, Jamie Bell, and George MacKay.
Here’s How Long You Have Left to Watch Daniel Craig’s WWII Movie on Paramount+
We’re talking, of course, about Defiance. Produced on a reported budget of $32 million, the film grossed a little more than $50 million at the worldwide box office. It now holds a 58% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Professionally made but artistically uninspired, Ed Zwick’s story of Jews surviving WWII in the Belarus forest lacks the emotional punch of the actual history.” Defiance will be available on Paramount+ until September 1. Craig will next be seen in Greta Gerwig’s mega-budget Netflix film Narnia: The Magician’s Nephew, and in a mysterious new project directed by Damien Chazelle and co-starring Cillian Murphy. Stay tuned to Collider for more updates.
- Release Date
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December 31, 2008
- Runtime
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137 minutes
- Director
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Edward Zwick
- Writers
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Edward Zwick, Clayton Frohman
- Producers
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Pieter Jan Brugge
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Gwyneth Paltrow loves showing off her OOTDs, and Us Weekly editors can’t stop dissecting them for fashion inspiration. Her outfits are always strategically styled, looking polished yet totally attainable, and that’s exactly how we feel about her French-inspired look that she calls the “best summer walking outfit in Paris.” Listen, when the Goop founder refers to something as “the best,” we listen . . . and then race to find the lookalike.
The Strangers actress shared what her “48 hours in Paris” looks like, which included sipping tea, visiting museums and snapping pics of her ‘fits. Naturally, we stopped in our tracks when we saw Paltrow wearing a striped bow-neck blouse that gave off major Parisian vibes, especially when styled with black shorts, oversized glasses and gold jewelry. The whole ensemble was très chic but her $525 Gwyn striped shirt felt quintessentially posh and upscale. We sadly don’t have that kind of cash on hand, however, we found something that looks almost identical — and it’s on sale.
Get the Blooming Jelly Bow-Neck Blouse for $20 (was $23) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
The Blooming Jelly Bow-Neck Blouse looks like something hanging in a luxury store off the Rue Saint-Honoré. The luxe-like style features vertical black and white stripes, a button-down front and simple bow accent which all embody Paltrow’s pick. And honestly, can you get any more French?
Martha Stewart is the queen of home decor, hosting and even pumpkin spice lattes. And while she hasn’t written a book on fashion, we say she’s an expert in the style department, too. Her wardrobe blends rich mom style with effortless everyday pieces that feel so attainable. And just in, we spotted the A-lister wearing […]
In addition to the designer-inspired style, this Amazon option is made with a blend of cotton and polyester to give you a comfortable piece that’s breathable, soft and durable. Shoppers also confirm that the flowy top feels lightweight and lays nicely on the body, making it appropriate for sightseeing at the Louvre or working at the office.
“This shirt is even better than I expected,” wrote one shopper. “The bow detail around the neck adds such a cute, feminine touch.”
Another reviewer who appreciates the flattering style said, “I absolutely love this blouse! It has the perfect balance of professional and stylish, making it a great choice for the office or any business casual outfit.” They even admitted that it “looks much more expensive than the price suggests.”
Whether you’re heading on a European vacation or just want the French-girl style in your closet, this Paltrow-inspired top will get you the look without fail. The bow-neck blouse is arguably the kind of everyday staple that will make you look and feel so chic, even if you’re simply heading out for un café. Grab the on-sale pick while it’s still $20.
Get the Blooming Jelly Bow-Neck Blouse for $20 (was $23) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more bow-neck blouses here, and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
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Welcome to summer with our biggest sale of the year. This summer’s chicest dresses, tops and swimsuits are all over 30% + free shipping. Inventory is limited so hurry before they’re gone.
According to Vanessa Hudgens, “magic is always made with Disney.” But if you ask Us, the body-hugging dress style she wore to the Disney Entertainment Showcase is arguably the most enchanting thing we saw during the event. It’s everything dreams are made of with a gorgeous fall-ready hue, flattering details and elevated embellishments that steal […]
The best sitcoms are the ones that stand the test of time. Back in the heyday of cable television, sitcoms enjoyed the luxury of lengthy runs. These days, however, it’s much harder for shows to maintain that kind of longevity, particularly in the streaming era, where audiences have countless options and are less likely to commit to shows that require years of investment to keep up with an ongoing story or lore.
That doesn’t mean long-running sitcoms have completely disappeared. Some shows have maintained massive followings since their early heyday and continue to attract audiences today, while newer sitcoms have shown plenty of promise through their continuous renewals. Together, they prove that there is still plenty of life left in the genre. These shows know how to keep the jokes coming without making them feel stale, all while staying true to the core of what made the series work in the first place. From a sitcom about a group of dedicated school staff to an American animated classic, here are long-running sitcoms that never run out of great ideas.
6
‘Abbott Elementary’ (2021–2026)
It still feels like yesterday when Season 1 of Abbott Elementary was trying to find its audience on ABC. Yet, only five years into its run, Abbott is already gearing up for its Season 6 premiere in the fall, putting it on track to become a long-running sitcom. It’s not hard to see why audiences have grown to love the staff and students of Abbott Elementary. Public schools like Abbott are notorious for being underfunded and under-supported, but teachers like Janine Teagues (Quinta Brunson) wholeheartedly believe in the school’s potential and remain determined to make it a better place for their students.
Much of Abbott Elementary’s humor also feels fresh because of how effortlessly it keeps up with current trends. From kids getting into silly and nonsensical TikTok challenges to Gen Z and Gen Alpha slang that leaves the older teachers completely confused, the show captures the generation gap in ways that are painfully funny yet surprisingly true to life. The teachers themselves are also playful caricatures of modern-day stereotypes, from Ava’s (Janelle James) obsession with popularity and influencer culture to Jacob’s (Chris Perfetti) performative progressivism. As the show continues to grow, so does its ability to absorb whatever is happening in online discourse and infuse it into its scripts, making the world of Abbott Elementary feel lived-in and reflective of the moment.
5
‘The Simpsons’ (1989–Present)
America’s favorite animated family will always be an all-time classic. Whether you’ve been watching since the pilot or only tune in from time to time, it’s nearly impossible not to know who The Simpsons are. The pop culture phenomenon popularized the dysfunctional family trope without making it feel bleak, making the show relatable to audiences who don’t necessarily come from perfect families. There’s also a bittersweet comfort in watching a father like Homer Simpson (Dan Castellaneta), who, despite his lack of intellect and questionable behavior, almost always has good intentions when it comes to his family.
The Simpsons initially caught on because of its ability to turn real-life events into sharp satire, and the show has continued that tradition by keeping up with current pop culture. In Season 37 alone, it spoofed the National Treasure film franchise with “Irrational Treasure” and featured a Severance-inspired episode titled “Seperence,” proving that The Simpsons rarely feels out of touch with the times. Still, perhaps the biggest reason the show continues to capture audiences is The Simpsons‘ ability to seemingly predict future events, a gag that has become almost as famous as the series itself.
4
‘South Park’ (1997–Present)
Leave it to South Park to stir up controversy. Nearly three decades and hundreds of episodes into its run, the crude animated series continues to find new generations of fans who appreciate its unhinged sense of humor. Much of South Park’s timelessness comes from embracing shock value and wondering about whose buttons its creators can push next. In its earlier seasons, the show was relentless, bringing up jokes considered deeply inappropriate even at the time, from religious satire involving the portrayal of the Prophet Muhammad to provocative jokes surrounding questionable language.
These days, South Park has toned down some of its more extreme provocations, but its humor remains rooted in controversy, with politics now serving as one of its favorite targets. And the show certainly isn’t subtle about it. Season 27, for instance, features a cutout depiction of Donald Trump sleeping with the Devil, while other storylines tackle cultural anxieties surrounding AI, the controversial actions of ICE, and the Israel-Palestine conflict. To this day, South Park remains willing to tackle uncomfortable subjects that many people wouldn’t dare bring up at the dinner table.
3
‘It’s Always Sunny in Philadelphia’ (2005–Present)
One would think that after 18 seasons, the Paddy’s Pub gang from It’s Always Sunny in Philadelphia would have learned something by now. Judging by the facial wrinkles and graying hair they’ve gained over the years, you’d think they had grown wiser with age. But the truth is, they’ve learned absolutely nothing. The gang remains just as arrogant, self-important, and impulsive as they were in their younger years. Somehow, though, watching their older selves get into the pettiest arguments and most ridiculous situations only proves that age has made them even funnier.
In recent years, It’s Always Sunny in Philadelphia has tried to maintain a nice balance between its old shticks and newer hijinks, making it both familiar and fresh for different generations of fans. Season 17 kicked things off by collaborating with its Philly counterpart, the kid-friendly Abbott Elementary, bringing two complete opposites together in a bizarre situation where the Paddy’s gang volunteers at the school. Always Sunny Season 18 sees more tributes to old jokes, like Dennis (Glenn Howerton) and Dee’s (Kaitlin Olson) ADHD diagnosis, as well as another Gilligan’s Island parody.
2
‘King of the Hill’ (1997–Present)
King of the Hill ended its original run in 2010, but the beloved sitcom returned in 2025 with Season 14. Rather than simply picking up where it left off, the revival makes the smart choice to fast-forward several years in the lives of the Hills. After returning from Saudi Arabia, where Hank had been working, Hank (Mike Judge) and Peggy (Kathy Najimy) settle back into Arlen, Texas, as Hank prepares to enjoy retirement. Meanwhile, Bobby (Pamela Adlon) is no longer the timid and painfully awkward tween audiences remember. He’s all grown up and has finally found his calling in life: cooking.
Both the original series and its revival are equally entertaining, largely because they understand how to evolve the Hill family without losing what made them so interesting in the first place. The original run often centered on Hank and Bobby struggling to understand one another, particularly because they are almost complete opposites. The revival, although still early in its run, offers a much-needed continuation that shows just how much the family has changed. Hank and Bobby still find themselves disagreeing, but their conflicts now carry a different weight because they’re both adults.
1
‘Bob’s Burgers’ (2011–Present)
On paper, a middle-class family doesn’t sound like the most exciting premise for a sitcom. But Bob’s Burgers takes The Simpsons’ dysfunctional family formula and turns it into something much more wholesome while keeping all the wackiness intact. There’s nothing particularly extraordinary about the Belcher family, except that its patriarch, Bob Belcher (H. Jon Benjamin), runs a struggling burger restaurant for a living. Yet, it’s this sense of ordinary, working-class life that makes the show feel surprisingly relevant even today.
Much of the Belchers’ struggles are also things that ordinary audiences can relate to. Bob’s biggest concerns are keeping his restaurant afloat, paying the rent, and providing for his family, all of which inevitably pull the entire family into one ridiculous situation after another. In this economy, Bob’s struggles feel more relevant than ever. The difference is that Bob’s Burgers reminds us that you don’t have to face those challenges alone. With his outgoing wife and three eccentric children by his side, Bob has a family that genuinely cares about one another. That wholesome dynamic gives the show’s humor a more layered quality, finding humor in the mundane and stressful moments that make up everyday life.
- Release Date
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January 9, 2011
- Network
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FOX
- Showrunner
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Loren Bouchard
- Directors
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Tyree Dillihay, Anthony Chun, Jennifer Coyle, Wes Archer, Ian Hamilton, Tom Riggin, Bernard Derriman, Don MacKinnon, Kevin Wotton, John Rice, Simon Chong
- Writers
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Lizzie Molyneux-Logelin, Wendy Molyneux, Kelvin Yu, Scott Jacobson, Greg Thompson, Katie Crown, Aron Abrams
Brad Paisley struggled to contain his emotions while honoring Dolly Parton just a few days after her death at age 80. During his concert in Bridgeport, Connecticut, the country singer reflected on their 2005 duet, “When I Get Where I’m Going,” and admitted that the song about death and heaven now carries a heartbreaking significance he never imagined when they recorded it more than 20 years ago. As Paisley became visibly choked up, the audience at Hartford HealthCare Amphitheater responded with loud cheers.
Paisley performed “When I Get Where I’m Going” during his Thursday, August 27, concert before sharing the story behind Parton’s involvement in the song. “When I recorded that song and sent it to Dolly, I said, ‘A couple of people in my life I’ve lost, and I didn’t know if this would relate to you.’”
Parton immediately recognized the emotions contained in the song and agreed to lend her voice to it. “And she immediately said, ‘Yes, let me sing on that,’ and did,” Paisley recalled.
The 53-year-old singer then became visibly emotional as he considered how the duet’s message had changed following Parton’s death on Tuesday, August 25. “I never thought it would be about her, but it is,” he told the crowd. “It’s everything she believed, and we will always love you, Dolly.”
Country Singer’s Dolly Parton Tribute Moves The Crowd
Paisley’s words were followed by an on-screen tribute to his longtime friend and collaborator. A smiling photograph of Parton appeared behind him alongside the message, “We Love You, Dolly.”
Several additional images of Parton, including pictures of her with Paisley, were shown throughout the performance.
Kimberly Williams-Paisley Recalls The ‘Dolly Effect’
Paisley’s wife, actress Kimberly Williams-Paisley, also shared her own memories of working with Parton. The “Father of the Bride” star appeared in an episode of the Netflix anthology series “Dolly Parton’s Heartstrings,” which transformed the stories behind Parton’s music into individual episodes.
Williams-Paisley worked with Parton on “Jolene” and recalled battling difficult weather while filming a scene outside. “Years later, I got to work with her on her Heartstrings series for @netflix. We had a scene together in ‘Jolene’ outside in a bandstand,” she explained.
“On the day we filmed, there were crazy winds and sideways rain,” she continued. “We were trying to keep a strict schedule, and so we soldiered on in the storm. My hair, my wardrobe, my script pages were flying every which way as we got ready to shoot.”
However, the conditions appeared to have little effect on Parton when she arrived. “When Dolly arrived, it was like the storm stopped, but only around her,” Williams-Paisley wrote. “She glided across the stage, looking gorgeous and prepared as always, with not ONE HAIR out of place. It must have been the Dolly effect.”
She concluded her tribute with a message that echoed her husband’s words from the stage. “Dolly will always live on in her music and in our hearts,” she said. “And we will always love her.”
Dolly Parton Died After A Brief Cancer Battle
Parton died on August 25 at age 80. A representative for the “Jolene” singer confirmed that she died following a “brief battle with cancer.” The specific type of cancer was not disclosed.
News of her death came only days after Parton spoke publicly about the health problems she had been experiencing following the death of her husband, Carl Dean. “As I’ve shared in video messages throughout the past year, I am dealing with some health issues that I just didn’t pay attention to when I was watching over Carl,” Parton told PEOPLE on August 21.
She explained that she had endured serious medical struggles before and recalled being sidelined for several months during the early 1980s. “You know, this isn’t the first time I’ve had to manage something like this,” she said.
“Back in the early ‘80s, I was down for several months with female issues, and I was struggling with my weight at the time too, so it’s not like I haven’t been through hard times with my health,” Parton added.
Country Icon Continued Working Through Health Problems
Despite the concerns surrounding her condition, Parton remained focused on completing the projects she still hoped to bring to life. She acknowledged that social media had magnified public interest in her health but maintained that she was continuing to heal and work.
Earlier in the month, Parton appeared virtually at the grand opening of Dollywood’s newest attraction. The singer had initially been expected to travel from Nashville to Pigeon Forge, Tennessee, for the event. However, she explained during her video appearance that she had been experiencing dizziness and dehydration, and her doctors ultimately advised her not to make the trip.
The virtual appearance would become one of Parton’s final public engagements.
The screen has always been enamored with Agatha Christie. One would imagine nothing less than a rapturous reception for the trailblazer whose 55-year career spanned over 70 novels, short stories, plays, and not one, but two of the world’s most famous amateur detectives. Only four of Christie’s fiction books have yet to make the jump to film or television: Death Comes as the End, Destination Unknown, Passenger to Frankfurt, and Postern of Fate. In 2019, the BBC announced an upcoming Death Comes as the End miniseries helmed by award-winning screenwriter Gwyneth Hughes. They described the project as “a very different proposition from the recent BBC Agatha Christie adaptations,” like the channel’s acclaimed And Then There Were None miniseries from 2015. Although the BBC never officially cancelled their plans, seven years without an update isn’t an encouraging sign.
The Queen of Crime’s prolific oeuvre isn’t just confined to the mystery genre, but Death Comes as the End would indeed be unexpected for anyone unfamiliar with her deep cuts. For one, it’s the only Christie title not set in the 20th century. Generally considered to be literature’s first historical mystery, the standalone takes place around 2000 BC in the Egyptian city of Thebes. Death Comes as the End‘s fully Egyptian ensemble — no quirky Belgium-born investigators here — also makes it an outlier within the Christie canon. With these eye-catching selling points in its favor, why hasn’t this overlooked gem gotten the adaptation it deserves?
What Is ‘Death Comes as the End’ About?
Renisenb, the recently widowed daughter of a wealthy Ka-priest, returns to her family home and reunites with her brothers, sisters-in-law, grandmother, and other close ties. Her father’s welcome isn’t as congenial, since Imhotep unexpectedly brings a young, beautiful concubine named Nofret back with him. Nofret’s power-play manipulations swiftly become the catalyst for the household’s undoing; their guaranteed inheritances, their routines, and their masks of civility slip in her presence. When her corpse is found at the bottom of a cliff, anyone could’ve done the deed — except the suspects also die one by one. Renisenb and her loved ones aren’t cursed by the gods or haunted by Nofret’s vengeful ghost, but at the mercy of a serial killer’s human hands.
Although the setting and timeframe differentiate Death Comes as the End from the rest of her catalog, Christie shifting from contemporary to historical isn’t out of left field. Death Comes at the End was published in 1944, 14 years after Christie married archeologist Sir Max Mallowan. She frequently accompanied her husband on his expeditions and derived inspiration from their experiences, “real Egyptian letters from a man named Heqanakhte,” and extensive research consultations with her Egyptologist friend, Stephen Glanville.
Death Comes as the End‘s unique framework never once feels like an inauthentic gimmick plastered atop Christie’s hallmarks. This is a seamless union. It’s as top-notch as readers expect from a writer with a piercingly thorough understanding of narrative structure, reader expectations, and human psychology — a psychological thriller rife with blood-curdling claustrophobia and vicious moral deviancy by way of organic character studies. Christie’s prevailing thematic thread posits that anyone, no matter their good intentions, class standing, or formative circumstances, is capable of violence. Death Comes as the End doubles down by implying that time doesn’t matter. Human nature’s insecurities, fears, jealousies, vendettas, and corrupting desires are the same, even 4,000 years apart.
Accordingly, Christie dissects Renisenb’s dysfunctional relatives to their bones. Although no one is fully evil, Nofret included, the family’s repressed spite melts away their pleasant exteriors like acid once she disrupts their equilibrium. Christie’s heroine feels less textured in comparison, but Renisenb’s naivety does emphasize her situation’s horrifying tension. She’s an unconventional investigator because she takes it upon herself to understand why her family keeps dropping like flies, and avoid the same lethal fate. She must also go without the reassuring conveniences of an experienced detective or forensic evidence. Renisenb only has her instincts and her insightful allies.
‘Death Comes as the End’ Deserves the Same Prestige Adaptation Treatment as Agatha Christie’s Most Famous Titles
Since the numerous murders rival Christie’s brutal masterpiece And Then There Were None, Renisenb discovers the culprit more through a process of elimination than by assembling decipherable-in-retrospect clues and formulating theories. Depending on who you ask, that distinction either makes Death Comes as the End an enjoyable change of pace or a less effective misdirection than the Christie default. It’s still a tightly paced and emotionally satisfying novel buoyed by a descriptive exploration — albeit one penned by an Englishwoman — of Egyptian history, mythology, and culture, specifically the 11th dynasty’s perspective on death.
Take one glance at how many recent and upcoming Christie adaptations exist, and it’s clear her name carries enough singular prestige to intrigue audiences. Hercule Poirot and Miss Marple grab extra eyeballs, but they aren’t necessary. This reception alone justifies investing in adaptations of Christie’s lesser-known projects. Where Death Comes as the End is concerned, the budget required to either mimic or film on location may have given executives pause. The Egyptian characters might’ve caused the same reaction, although there’s no direct evidence to support this specific speculation.
Even though Western viewers have mostly engaged with Hollywood’s versions of Egyptian stories, the general public’s consistent interest indicates they might be quite receptive to a Christie tale that’s divorced from the cozy, 1930s-era English village aesthetic. As long as it’s presented accurately and without exotification, bringing Death Comes as the End to the screen is long overdue.
In its century-long existence, NBC has dished out some of the most iconic shows and series of all time on American broadcast television. Across dramas, sitcoms, procedurals, live events, and more, the first and oldest major broadcast network has proudly remained a home to titles that have not only shaped American pop culture but have also become global cultural landmarks. Especially during the late ’80s and through the ’90s, primetime shows, dubbed as Must-See TV, drew large audiences. Dramas like ER and sitcoms like Cheers and Seinfeld raked in massive viewership for the network, a trend which continued with Friends.
All of these NBC productions have since remained television legends with massive followings, amassing fans from around the world and breaking records for television networks. While many of these shows, or parts of them, might not seem as culturally relevant today, at their time, they were definitive of their genre. With viewership of millions in many episodes, these shows played an undeniable part in ushering in the Second Golden Age of American television. Now, without further ado, here’s a look at some of the most-watched episodes in NBC history.
7
“Stress Relief” (Season 5, Episodes 14 and 15)
‘The Office’ (2005–2013)
A cult hit turned pop culture sensation, Greg Daniels’ The Office boasts some of the greatest episodes seen in the history of American sitcoms that changed workplace comedy forever. While the workplace misadventures of the staff of The Dunder Mifflin Paper Company continued for nine years, the show’s most-watched episode came halfway through, in Season 5. The two-parter season finale features a fire drill in which Dwight (Rainn Wilson) fakes an office fire to test his coworkers’ preparedness, Stanley (Leslie David Baker) suffers a heart attack, and Michael (Steve Carell) plans ways to relieve stress in the office. The episode also stars Jack Black, Jessica Alba, and Cloris Leachman as guest stars.
“Stress Relief” arguably features the most chaotic cold open of The Office and perhaps of sitcom history, and is also the most high-energy episode of the show. Airing immediately following Super Bowl XLIII, the season finale garnered 22.5 million views and earned the highest rating of the show’s entire run. Packed with meme-worthy, self-contained gags that resonate even with first-time viewers, “Stress Relief” is often considered the peak of The Office.
6
“Goodnight, Seattle” (Season 11, Episodes 23 and 24)
‘Frasier’ (1993–2004)
Created as a spin-off of Cheers by David Angell, Peter Casey, and David Lee, Frasier grew to become much more than just an offshoot of its legendary parent show. The endeavors of psychiatrist Dr. Frasier Crane (Kelsey Grammer) in helping troubled people in Seattle as the host of a call-in psychiatry radio show while he struggled with his personal life were both humorous and heartfelt at the same time. The critically hit sitcom ended with its two-part, 264th episode, “Goodnight, Seattle,” where the titular therapist signs off from the radio station, quoting Alfred Lord Tennyson’s “Ulysses,” bidding farewell not only to the city he helped for over a decade but also to those who watched him from across the screen.
Frasier was an important hit for NBC, arguably just as much as Cheers, garnering widespread acclaim and often surpassing the accolades of its parent. Episodes 23 and 24 of Season 11 garnered over 25 million views and became one of the most-watched series finales in television history. A very emotional goodbye for fans, “Goodnight, Seattle” overturned the typical sitcom status quo and set a new benchmark for how to successfully conclude a long-running sitcom.
5
“Hell and High Water” (Season 2, Episode 7)
‘ER’ (1994–2009)
An iconic NBC drama and one of the network’s longest-running shows, Michael Crichton’s ER reached its peak in the earlier seasons, even though the show ran for 15 years. The second season’s seventh episode, “Hell and High Water,” became a phenomenal success and a cultural milestone for the overall series. Directed by Christopher Chulack, the episode follows the fan-favorite Dr. Doug Ross (George Clooney), who, following his final shift at the County General Hospital, performs a dangerous, televised rescue of a young boy trapped in a flooded storm drain.
“Hell and High Water” attracted a massive 48 million viewers and became critically acclaimed for transforming the popular medical drama into a high-stakes, cinematic thriller. The episode arrived at a time when the medical drama was dominating the television ratings and capitalized on that popularity. Considered a must-watch, the second-season episode of ER marked a new turning point for Dr. Ross, carving a new path for the character and thrusting Clooney to national stardom.
4
“The Last One” (Season 10, Episodes 17 and 18)
‘Friends’ (1994–2004)
After 10 years and 236 episodes, Marta Kauffman and David Crane’s decade-long television phenomenon ended with its two-part finale, “The Last One.” The final chapter of Friends closed all the long-running storylines, making it worth the wait for fans. Episodes 17 and 18 of Season 10 gave closure to Ross (David Schwimmer) and Rachel’s (Jennifer Aniston) love story as they confess their love for each other, while Monica (Courteney Cox) and Chandler (Matthew Perry) move to the suburbs with their adopted twins. As all of them close the door to Monica’s beloved apartment one last time and head out towards their respective futures, it not only marked the end of an era but became the most emotional moment of the show.
A culture-defining sitcom that is still popular today (well, mostly), Friends forever changed how people viewed comedy, turning its characters into beloved and instantly recognizable icons. And that is why it was no surprise when the series finale drew a whopping 52.5 million viewers. Ranking fifth among the most-watched television finales in U.S. history, “The Last One” remains a major viewership milestone for NBC.
3
“The One After the Super Bowl” (Season 2, Episodes 12 and 13)
‘Friends’ (1994–2004)
Even though the series finale of Friends remains its most popular and memorable episode, the credit for the highest-viewed episode by numbers goes to another two-parter, “The One After the Super Bowl.” The episodes follow Ross, who finds out that his former pet monkey, Marcel, has been hired for a film being shot in New York City. As he sets out to see him, Chandler has a chance encounter with an old friend with whom he had a complicated history. The season finale also became noteworthy for featuring guest stars like Julia Roberts, Brooke Shields, and Jean-Claude Van Damme.
NBC’s attempt to schedule such a prominent episode of an existing, semi-new series in the high-profile post-Super Bowl timeslot turned out to be a phenomenal success. Friends’ Season 2 finale garnered a massive viewership of 52.9 million and remains the show’s most-watched episode. It also became the highest-rated scripted episode for a post-Super Bowl broadcast and brought massive exposure to the sitcom, eventually pushing it to the top of the network charts in the following seasons.
2
“The Finale” (Season 9, Episodes 22 and 23)
‘Seinfeld’ (1989–1998)
Larry David and Jerry Seinfeld’s highly influential sitcom classic Seinfeld broke all conventions of comedy television with no emotional sentimentality, no personal growth, and no moral takeaways. Neither did it end with a bang. Seinfeld’s nine-year run ended with the most absurd final episodes people had seen in sitcoms at the time. In “The Finale,” Jerry (Seinfeld), George (Jason Alexander), Elaine (Julia Louis-Dreyfus), and Kramer (Michael Richards) are accused of violating a local Good Samaritan law after mocking a carjacking victim instead of helping him, and a massive trial ensues, where various characters from their past testify to their terrible characters.
“The Finale” was massively polarizing at the time of its release, largely due to its lack of moral theme and the intentionally unsatisfying conclusion. And yet, the two-part final chapter of the NBC comedy behemoth garnered a colossal viewership of 76.3 million. Season 9’s Episodes 22 and 23 ironically abandoned its principle of being “nothing,” becoming a plot-heavy moment about everything. And that is largely what drew such a massive audience for the episode, making the Seinfeld finale the second most-watched episode in NBC’s history.
1
“One for the Road” (Season 11, Episode 26)
‘Cheers’ (1982–1993)
For 11 years, Glen Charles, Les Charles, and James Burrows’s classic sitcom served in style and went out with even more style with its 275th and final episode, “One for the Road.” While Sam Malone (Ted Danson) did not close the doors of his beloved bar to his patrons, the last episode of Cheers marked the end of an era for TV’s favorite bartender and his patrons as they drank, socialized, and escaped their daily problems at the titular Boston bar. The episode remains memorable for the bittersweet reunion of Sam and his on-off love interest, Diane (Shelley Long), who come together only to realize how different their worlds are and part ways again.
“One for the Road” makes for a fitting finale that stays true to the show’s premise and honors its core message, both literally and figuratively, and brings back all the major characters one last time. While the sitcom itself was a pop culture sensation during its 11-season run, the finale became a massive national television event. Season 26, Episode 11 amassed 93.5 million viewers when it aired, making it the second-highest-rated series finale of all time in U.S. television history, surpassed only by the finale of CBS’s M*A*S*H.
- Release Date
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1982 – 1993-00-00
- Showrunner
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James Burrows, Glen Charles, Les Charles, Ken Estin, Sam Simon, David Angell, Peter Casey, David Lee, Bill Steinkellner, Cheri Steinkellner, Phoef Sutton, Tom Anderson, Dan O’Shannon
- Directors
-
John Ratzenberger, George Wendt, Michael Zinberg, Andy Ackerman, James Burrows, Tim Berry, Tom Moore
- Writers
-
David Lloyd, Kathy Ann Stumpe, Jonathan Stark, Tracy Newman, Andy Cowan, Janet Leahy, Sue Herring, Tom Leopold, Chris Cluess, David Pollock, Elias Davis, Elliot Shoenman, Jeff Abugov, Daniel Palladino, Katherine Green, Jeffrey Duteil, Michael J. Weithorn, Joanne Pagliaro, Eugene B. Stein, Kimberly Hill
-
Billie Bird
Lillian Miller
-
Kirstie Alley
Rebecca Howe
Dancing With the Stars: The Next Pro judge Shirley Ballas is weighing in on Rylee Arnold and AJ Pritchard’s off-the-floor drama.
In the comments of her latest Instagram post promoting the upcoming Next Pro season finale, Shirley, 65, was asked for her “opinion” after AJ’s fiancée, Zara Zoffany, openly criticized Rylee, 21, for calling out his alleged behavior during rehearsals.
“@ryleearnold1 has earned her place on DWTS through hard work,” Shirley, fellow pro Mark Ballas’ mom, replied via Instagram comment. “Dedicating her time to all styles.”
She continued, “I have a lot of respect for her. Shame others do not. 🔥🔥🔥.”
Ezra Sosa has entered the chat amid his Dancing With the Stars costar Rylee Arnold’s ongoing drama over her Next Pro cameo. Rylee, 21, appeared on the Monday, August 24, episode, in which she teamed up with contestant AJ Pritchard for a routine in the semifinals. During the episode, Rylee openly claimed to the judges […]
Rylee, who was named a pro beginning in 2023’s season 32, made a cameo on the Next Pro semifinals for a routine with competitor AJ, 31. In post-rehearsal footage with Shirley, Mark, 40, and guest judge Kym Johnson, Rylee admitted that AJ appeared overly critical without providing any positive feedback.
In response, Zara, 32, slammed Rylee via social media.
“[Rylee] — @aj11ace wouldn’t have had to critique you in the first place if everything had been right. Dancing with Bailey [McKnight] last week showed how he danced with an amateur & their dance was amazing,” Zara alleged, referring to AJ’s Next Pro dance with a newbie dancer. “This week was suppose [sic] to be dancing with a pro … very different dynamics & what people didn’t see in rehearsals was that you injured him when you hit him in the head, leaving with a slight concussion and needing to see a [doctor].”
Rylee Arnold and AJ Pritchard. Disney/Vince Valitutti
She added at the time, “He wouldn’t have needed to give it if something hadn’t been wrong. I hope you were able to take something positive and useful from his teaching and feedback.”
Neither Rylee nor AJ, who previously served as pro dancer on the U.K.’s Strictly Come Dancing, have publicly addressed the social media drama. Rylee’s best friend and fellow pro, Ezra Sosa, meanwhile, has clapped back at Zara’s apparent diss in defense of his colleague.
Rylee Arnold has reacted to the online speculation that she won’t return for Dancing With the Stars’ potential season 35. “I definitely feel pressure, [and] I think every single dance I’m [choreographing] has to be good. I feel like I have to present myself,” Arnold, 20, told Julianne Hough on the Thursday, November 20, episode […]
“I usually stay out of stuff like this, but this genuinely made me sick to my stomach,” Ezra, 25, replied via Instagram comment. “Rylee is my best friend, I love her and I will speak up for her. Rylee is more than qualified to be a pro, and one dance with a completely different partnership does not erase the years of training, talent and work that earned her that title.”
While Ezra acknowledged that “everyone gets critiqued” in the dance world, Rylee is “one of the most honest and trustworthy” people he knows.
“She reads people and their energy incredibly well, and she is a fanatic pro and [an] INCREDIBLE DANCER,” he added in his statement. “Watching a woman go out of her way to publicly question another woman’s qualifications and tear her down like this is so sad to see.”
AJ is among the finalists to become the next DWTS pro for the upcoming season 35 alongside Selena Hamilton and Adele Zaikman.
The Dancing With the Stars: The Next Pro finale airs on ABC Monday, August 31 at 8 p.m. ET.
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