Dancing with the Stars 2026 news, reported as a dance beat and updated after every episode: who was eliminated, weekly scores, theme-night songs and dances, professional-dancer developments and DMM analysis.
● Live CoverageSeason 35 · Week 5Last updated: October 11, 2026 · 7:15 AM ET · DWTS Pros Join the Banana Bowl Performance Crossover
Current as of October 11, 2026 · Week 4 Results / Week 5 Preview
DWTS This Week: Dancing with the Stars 2026, After Week 4
The short answers readers ask for every week, with links to the full DMM reporting below.
Latest elimination
Who went home on Dancing with the Stars?
Ciara Miller and Brandon Armstrong were eliminated on Mariah Carey Night (Oct. 6) after a 21/30 jazz to “Emotions.” Five couples have gone home in DWTS Season 35. Full Week 4 results and scores · Every elimination so far.
After Week 4, Maura Higgins & Mark Ballas lead with 25/30; Ezra Frech, Harry Shum Jr. and Jenna Dewan each scored 24/30. Full leaderboard and score trends.
Week 5 · Oct. 13
DWTS Super Bowl Night is next
ABC confirms Joe Buck as guest judge, all 11 couples’ songs and dances, and additional pro/troupe music. The October 8 official podcast specifies that all four returning NFL alumni will dance; Val Chmerkovskiy also previews extra dancers in Jenna Dewan’s paso doble. See the complete official Week 5 lineup →.
Voting
How to vote on Dancing with the Stars
Vote only during the live ET/CT broadcast: online at dwtsvote.abc.com (U.S. and Canada), or text the couple’s on-screen keyword to 21523 (DWTS text number, U.S. carriers only). Viewer votes are combined with judges’ scores.
Next episode
When is the next DWTS episode?
Tuesday, Oct. 13, 8–10 p.m. ET live on ABC and Disney+, next day on Hulu.
Super Bowl Night will put four salsas and three sambas side by side, alongside an opening medley, four returning NFL alumni dancing and pro/troupe performances. DMM will compare authentic rhythm, partnering and ensemble precision with stadium-scale spectacle, while watching how a guest sports broadcaster evaluates dance. DMM Watching.
Who Is Still on Dancing with the Stars Season 35?
11 couples remain on Dancing with the Stars Season 35 after Mariah Carey Night on October 6. Listed alphabetically by celebrity surname. The Week 5 column reflects ABC-confirmed scheduled routines for October 13; Week 4 scores remain unchanged.
Celebrity
Professional Partner
Latest Score
Week 4 Dance · Song
Week 5 Planned Dance & Song
Status
Tatyana Ali
Jan Ravnik
20/30 (Week 4)
Jazz · “Fantasy”
Salsa · “squabble up”
Competing
Tyler Cameron
Sharna Burgess
21/30 (Week 4)
Foxtrot · “#Beautiful”
Jazz · “The Time (Dirty Bit)”
Competing
Jenna Dewan
Val Chmerkovskiy
24/30 (Week 4)
Rumba · “My All”
Paso Doble · “Bad Romance”
Competing
Ezra Frech
Daniella Karagach
24/30 (Week 4)
Rumba · “Anytime You Need a Friend”
Salsa · “Hot in Herre”
Competing
Amber Glenn
Pasha Pashkov
23/30 (Week 4)
Rumba · “Hero”
Samba · “Mi Gente”
Competing
Maura Higgins
Mark Ballas
25/30 (Week 4)
Waltz · “If It’s Over”
Tango · “Only Girl (In the World)”
Competing
Jackson Olson
Emma Slater
21/30 (Week 4)
Waltz · “Without You”
Salsa · “Uptown Funk”
Competing
Guillermo Rodriguez
Witney Carson
13/30 (Week 4)
Samba · “Obsessed”
Salsa · “Tití Me Preguntó”
Competing
Harry Shum Jr.
Jenna Johnson
24/30 (Week 4)
Tango · “It’s Like That”
Samba · “Yeah!”
Competing
Julia Stiles
Ezra Sosa
21/30 (Week 4)
Viennese Waltz · “Vision of Love”
Jazz · “Jenny from the Block [Track Masters Remix]”
Maura Higgins and Mark Ballas lead Week 4 at 25/30. Ezra Frech, Harry Shum Jr. and Jenna Dewan follow at 24/30. Ciara Miller and Brandon Armstrong were eliminated after scoring 21/30; Guillermo Rodriguez and Witney Carson posted the night’s lowest judges’ score at 13/30 but advanced on the combined judges-and-viewer result.
Alfonso Ribeiro and Julianne Hough return as hosts for Season 35. Photo: Disney/Matt Sayles.
Standing Tracker
DMM Watching
The questions DMM is following all season. These update when the evidence changes — not when the headlines do.
The Next Pro Pipeline — Open
Adele Zaikman and Hailey Bills both lost their first celebrity partnerships during premiere week, but Bills has now directly confirmed that elimination did not end her Season 35 work. In an Oct. 2 interview with The Hollywood Reporter, Bills said she still has “10 weeks on the show” and described the choice after elimination as moving forward rather than spending the remaining season focused on the disappointment. She also said that, if she is fortunate enough to return as a pro next season, the experience has already taught her more about patience and adapting to a celebrity partner’s learning style. That is the first meaningful post-elimination evidence for DMM’s pipeline question: a one-routine result did not remove Bills from the professional-development environment. On Oct. 6, Val Chmerkovskiy publicly pushed back on the “nepo baby” framing, pointing to Bills’ long training record and competitive credentials; Bills herself has acknowledged that Jenna Johnson’s family connection helped create access. DMM will track both realities without treating access as proof of readiness or the label as proof of a lack of merit, and will continue following verified troupe appearances, tours, choreography credits, teaching and recurring broadcast work for both Bills and Zaikman over twelve months. The Oct. 7 live-tour announcement now supplies the first major post-elimination career checkpoint: both Bills and Zaikman are booked for the 2027 DWTS tour, and the broadcast troupe will join the tour for the first time. On Oct. 8, ABC separately confirmed additional pro/troupe performance music for Super Bowl Night, an on-air creative-work checkpoint; named dancers and choreographers for those numbers remain unannounced.
Experienced Dancers — Week 3 Movement
Harry Shum Jr. rebounded from 18/30 to a season-high-tying 24/30 with a Yacht Rock jive. His Week 4 tango carries a revealing career loop: Shum confirmed Oct. 2 that he appeared as a backup dancer in Mariah Carey’s 2005 “It’s Like That” video after working with Debbie Allen; he and Jenna Johnson compete to that same song on Oct. 6. Jenna Dewan held at 21/30 with a samba. Julia Stiles improved from 16/30 to 19/30 despite a rib injury, and on Oct. 6 directly revisited the assumption that Save the Last Dance made her an experienced dancer: she said she had overstated her dance background while promoting the film, used a double for more advanced material and later stopped taking classes as public expectations made her self-conscious. Her Week 4 Viennese waltz to “Vision of Love” therefore becomes a particularly useful Transfer Test: screen dance history is not the same thing as sustained ballroom training. Gleb Savchenko’s Oct. 1 comments reinforce that distinction. October 7 update: Shum and Johnson finished their Week 4 tango at 24/30 with live vocals from former champion Amber Riley. New first-person rehearsal footage also shows a head collision before the show, underscoring the close-range spatial timing required in partnered dance. October 8 follow-up: Jenna Dewan and Val Chmerkovskiy’s Week 4 rumba earned 24/30, her best total. After her fiancé publicly dismissed social-media speculation about their partnership, DMM is separating professional dance chemistry — trust, musical connection and shared technique — from unsupported claims about personal relationships. October 9 reporting checkpoint: judge Carrie Ann Inaba has also publicly defended the pair, emphasizing that dancers use physical expression professionally. Her comment strengthens the distinction between staged connection and unverified private-life speculation.
Premiere Elimination Format — First Test Complete
Conner Leavitt and Adele Zaikman went home on Night 1; Sarah Jane Nader and Hailey Bills went home on Night 2. DMM will keep tracking what the one-routine premiere format reveals about readiness versus growth potential.
Professional Dancer Development — Active
October 8 professional-work checkpoint: in separate interviews, Sharna Burgess described the trust she has built with Tyler Cameron, who credited her coaching with helping him recover from a difficult week. In a public controversy about Burgess’s DWTS time commitment, Brian Austin Green described extensive rehearsal hours and apologized for distracting from her work; the hours are his account, not an independently verified ABC schedule. DMM is tracking the labor, mentoring and performance improvement, not unverified claims about a personal relationship.
Adele Zaikman and Hailey Bills were the first two pros eliminated with celebrity partners, but both remain active in Season 35 through the troupe. DMM is tracking what that post-elimination pathway produces, alongside Mark Ballas’ return and how the show uses established professionals beyond celebrity partnerships. Derek Hough says his and Julianne Hough’s premiere solos filled the live vote-tally window; his Night 2 Paso Doble with Hayley Erbert Hough was newly choreographed for television. Alfonso Ribeiro has now called Britt Stewart’s Week 3 elimination with Taylor Hanson “especially difficult,” praising Stewart while noting that she has not yet reached a DWTS finale as a competing pro. Stewart then spoke directly on Oct. 3, emphasizing trust, creation and pride in the Hanson partnership and saying their work was bigger than the number of weeks they were given. DMM is tracking that career arc without treating unverified speculation about Stewart’s future as fact. The Oct. 6 Bills/Chmerkovskiy exchange adds a second pro-development question: how DWTS evaluates training, family access and readiness when a dancer rises through the franchise pipeline. On Oct. 7, Giada De Laurentiis provided a different teaching test: the challenge of identifying musical counts, translating steps into movement and adapting instruction to a true beginner. Her direct account supports a learning-process explanation for her tense rehearsal footage with Alan Bersten, rather than an established feud. On Oct. 7, the official 2027 live-tour cast confirmed Britt Stewart, Bills and Zaikman for the road production and added the DWTS troupe for the first time, turning the post-elimination pathway into documented continuing franchise work. The full Oct. 7 tour release adds the first Madison Square Garden date (Feb. 5) and first presenting sponsor (COVERGIRL), raising a new test: which dancers gain creative visibility as the franchise moves into larger branded arenas? October 8 post-elimination checkpoint: Brandon Armstrong directly said Ciara Miller should not have gone home after her personal-best 21/30, while also recognizing that viewer preference extends beyond the judges’ technical assessment. DMM will now follow his continuing professional assignments after the celebrity partnership ended, without assuming specific troupe credits until they are verified. October 8 tour-cast clarification: Jan Ravnik says he is not joining the announced 2027 road cast because he is occupied with other commitments, which he did not specify. DMM will not infer a franchise departure or name an unannounced outside project. October 8 official broadcast update: ABC has announced the opening medley and further professional/troupe performance tracks for Super Bowl Night, creating a specific upcoming opportunity to evaluate ensemble work. The release does not assign choreographers or identify the complete performer roster. A further October 7 first-person interview supplies a useful creative-decision case: Mark Ballas considered removing a difficult double spin from Maura Higgins’ Week 4 waltz after uneven dress rehearsals, but retained it after Higgins demonstrated confidence and control in subsequent practice. DMM will track how professionals balance difficulty, performer readiness and live-broadcast risk. October 9 road-rehearsal checkpoint: reporting published October 8 documents Emma Slater and Jackson Olson practicing between Savannah Bananas games, and Slater has described the emotional difficulty of the week. DMM will watch how travel, limited rehearsal space and athlete workload affect teachable technique; fan claims that ABC deliberately withheld footage remain unverified. October 9 official-podcast checkpoint: Ciara Miller describes stage fright, perfectionism and the value of Brandon Armstrong’s patient coaching; Armstrong argues that the work of learning and improving should be more visible in how the partnership is evaluated. This is direct testimony about the professional teaching relationship, not proof of intentional editing or a disclosed vote result. October 11 professional-stage checkpoint: ABC News previewed the October 10 Banana Bowl collaboration with DWTS pros, and post-event reporting confirms DWTS cast participation alongside a large-scale choreographed Banana Ball production. Exact individual dance and choreography credits remain unverified; DMM is tracking professional work beyond the ballroom without confusing cross-promotion with vote manipulation.
October 10 training-pipeline checkpoint: Newly circulated reporting documents the role of Utah’s cross-training network and Center Stage Performing Arts in developing multiple DWTS professionals. DMM will follow how breadth of technique becomes professional teaching, choreography and troupe employment, while distinguishing studio alumni from birthplace and Season 34 counts from Season 35. Read the full dance-education feature →
Development Watch — Guillermo Rodriguez
Guillermo has climbed every week: 10/30 for the premiere cha-cha, 12/30 on Viral Hits Night and 15/30 for the Week 3 foxtrot to “Escape (The Piña Colada Song),” his best score so far. The partnership again reached the final group before safety was announced, and Witney Carson, who is pregnant, has answered speculation that she wants to be voted off by saying she is “very happy” to continue. On Oct. 1, John Oliver told Jimmy Kimmel Live! that his children had become invested in DWTS specifically because of Guillermo; Carson separately emphasized that Guillermo keeps practicing whenever rehearsal pauses. That outside audience response adds a second measure to DMM’s tracker: technical growth versus the connection that keeps viewers voting. On Oct. 5, a USA TODAY Network report documented backlash after Jackson Olson deleted a comment comparing Guillermo’s Week 3 dance unfavorably with a two-hour parody recreation; Guillermo publicly downplayed the dispute, saying he thought it was a joke. DMM will not infer any voting effect before results are known. On Oct. 6, Olson publicly apologized in a video with Rodriguez; the two danced together at the end, moving the documented controversy into de-escalation rather than an expanding feud. On Mariah Carey Night, the samba to “Obsessed” scored 13/30, his lowest total since Week 2. The live audience loudly booed Carrie Ann Inaba when she questioned whether his usual joy had dimmed; Inaba clarified that she wanted him to keep bringing his distinctive light to the floor. Rodriguez and Carson advanced. DMM will continue separating three things that are often collapsed online: judges’ technique scores, visible audience reaction and the undisclosed viewer-vote totals. On October 7, Jimmy Kimmel publicly argued that the competition rewards entertainment as well as dance technique, defending Guillermo’s advancement despite 13/30. DMM records that argument as a viewpoint from an interested advocate, not as evidence of rigging, an official scoring-rule change or a disclosed vote total. October 9 checkpoint: Inaba has publicly rejected the inference that lower scores automatically indicate favoritism; Carson separately explained that Rodriguez was deliberately portraying a more serious diva character in the “Obsessed” samba. DMM will distinguish performance characterization from samba technique, and both from undisclosed audience-vote totals. October 9 first-person interview: Rodriguez tells the Los Angeles Times that Carson continually coaches his posture, eye line, steps and character choices while he navigates age-related rehearsal soreness and demanding travel. This offers new direct evidence of the professional teaching process. No diagnosed injury or changed competition status is reported. October 10:DMM’s full judging-and-character analysis →
Injury Watch — Julia Stiles & Emma Slater Active
Julia Stiles injured a rib rehearsing lifts with Ezra Sosa and still performed the Week 3 salsa for 19/30. Emma Slater remains in competition with Jackson Olson after disclosing a painful big-toe/nail injury following Week 1. Amber Glenn’s rehearsal collision with Pasha Pashkov is logged as a rehearsal incident, not a continuing restriction. Closed competition files: Giada De Laurentiis (broken toe, eliminated Week 2; on October 7 she said she is still rehabilitating it) and Taylor Hanson, who disclosed left-leg numbness after his Week 3 elimination. DMM watches only for verified changes that affect training, choreography or performance. October 7: Jenna Johnson released a clip of an accidental head collision with Harry Shum Jr. during Week 4 tango rehearsals. Both competed on October 6 and earned 24/30; no medical diagnosis or ongoing restriction has been verified.
Judging Format Watch — Active
Derek Hough and Carrie Ann Inaba both addressed the one-word critique format used on Viral Hits Night. Time pressure did not disappear on Yacht Rock Night: production music played Hough off mid-critique during Jenna Dewan and Val Chmerkovskiy’s samba, and Alfonso Ribeiro acknowledged the interruption on air. No guest judge had been announced for Mariah Carey Night as of Oct. 1. DMM is watching whether critique time grows as the field contracts. October 8 confirmation: ABC named ESPN football announcer Joe Buck as the fourth judge for October 13 Super Bowl Night. DMM will distinguish his sports-broadcast perspective from the technical assessments of Carrie Ann Inaba, Derek Hough and Bruno Tonioli, without assuming how Buck will score. Oct. 8: former Season 27 champion Bobby Bones said on the Oct. 1 He Said, G Said podcast that producers may strategically position high-interest performers at the beginning of the show or second hour. ABC has not confirmed his account as a formal running-order policy. DMM will track exposure and performance sequence without inferring vote manipulation from placement alone. October 9 voting checkpoint: Paige DeSorbo and Hannah Berner questioned the elimination of Ciara Miller on their Giggly Squad podcast. Their criticism raises a legitimate editorial question about how the public weighs improvement across different dance styles, but neither supplied evidence of manipulated votes. ABC states that viewer votes are combined with judges’ scores; it has not published the individual vote totals for this elimination. DMM will continue to distinguish the published 21/30 judges’ score from the undisclosed viewer vote. October 10 contestant-response checkpoint: Maura Higgins publicly dismissed a rumor that the contest is fixed for her to win. Her documented 25/30 waltz and rehearsal account of a difficult double turn are evidence of dance progress, not evidence of manipulation. No verified change to scoring or voting rules has been announced.
Choreography Watch — Mariah Carey Night
Week 4 is fully assigned: four rumbas, two waltzes and two jazz routines, plus a Viennese waltz, tango, samba and foxtrot across the 12 remaining couples. Yacht Rock leaned on foxtrot’s travel; Mariah Carey Night shifts the test to sustained control and emotional phrasing. DMM will watch whether the pros build distinct movement vocabularies or let the ballads become interchangeable. ABC has also confirmed three pro/troupe numbers — “Heartbreaker,” “Loverboy” and “Always Be My Baby” — creating a second choreography lane where the professionals can be evaluated without celebrity-training constraints. Ezra Frech and Daniella Karagach’s rumba adds a different technical question: how sustained weight transfer and controlled phrasing are adapted around the running blade Frech has chosen to use. Amy Purdy’s Oct. 4 comments give that experiment historical context by connecting Frech’s Season 35 visibility to the adaptive-dance path she helped open on DWTS in Season 18. Post-show checkpoint: Maura Higgins and Mark Ballas led Week 4 at 25/30, with a difficult double turn they nearly cut in rehearsal; Harry Shum Jr. and Jenna Johnson earned 24/30 for tango despite a rehearsal collision, and Amber Riley provided live vocals. October 8 Week 5 assignments: ABC confirms four salsas, three sambas, two jazz routines, one tango and one paso doble for Super Bowl Night. DMM will compare salsa timing and weight changes against samba bounce action, especially when the source songs originate in pop, hip-hop or reggaeton rather than traditional dance music. These are planned routines, not results. October 8: Wood’s response to criticism of his Week 4 rumba and direct interviews about Arnold’s late-stage choreography provide a new test of character-driven staging versus technical progression. Their 19/30 rumba generated conversation beyond the broadcast, but DMM will look for measurable improvement in their officially assigned Week 5 samba rather than treating online attention as a technical result. October 9: Amber Glenn and Pasha Pashkov’s supported balance from their 23/30 Week 4 rumba has been recreated in a backstage social video by two The View hosts. This is evidence of a choreographic moment crossing into wider culture, not evidence of improved scoring or an ABC format change; DMM will distinguish controlled partnering from viral imitation.
October 9 — Super Bowl Night ensemble test: The official DWTS podcast says all four returning NFL alumni will dance on October 13. Val Chmerkovskiy also says Jenna Dewan’s “Bad Romance” paso doble will incorporate troupe/other dancers, expanding the pair’s staging for the first time this season. DMM will watch how professional formations support, rather than obscure, identifiable paso doble technique. The exact returning-athlete routine and choreography credits remain unannounced.
October 10 — viral movement and samba transfer: Amber Glenn and Pasha Pashkov have cautioned viewers about imitating their inverted split. Pashkov says their October 13 samba will introduce additional dancers, and Glenn is considering how new dance vocabulary might later inform skating shows. DMM will assess safe partnering, actual samba technique and the relationship between spectacular shapes and complete choreography.
Characterization vs. samba technique, what unreleased vote totals can’t prove, and why Super Bowl Night is the next test.
The Feed
Season 35 · Week 5 Preview
Newest first. Older entries stay exactly as filed — this page is the season’s record, not a rolling rewrite.
October 11, 2026 · 7:15 AM ETProfessional Dancers · Performance · Choreography
Jackson Olson and DWTS Pros Reach the Banana Bowl — Dance Moves Beyond the Ballroom
The first Banana Bowl took place at Nationals Park in Washington, D.C., on Saturday, October 10, with Dancing with the Stars participants among the event’s featured guests. An October 9 Good Morning America segment previewed the Savannah Bananas’ collaboration with DWTS professionals. In post-event reporting published October 11, Us Weekly confirmed that DWTS cast members appeared at the event and described a ninth-inning choreographed sequence featuring all six Banana Ball teams and the Jonas Brothers. Season 35 contestant Jackson Olson performed with the Bananas; the Texas Tailgaters won the championship.
The available reporting does not establish which individual DWTS professionals performed in which segments, or provide a verified full choreographic credit list. DMM will not attribute the Jonas Brothers sequence to specific DWTS choreographers without primary footage or credits. The confirmed crossover nevertheless documents how television-trained performers and a sports-entertainment ensemble can share a national stage.
DMM Dance Lens · The Stadium as a Second Stage
Banana Ball treats choreography as part of athletic presentation: timing, formation changes, crowd sightlines and collective musical cues must work at stadium scale. Ballroom partnering places a different emphasis on frame, connection and technical precision. Olson and professional partner Emma Slater’s cross-setting workload makes an instructive comparison, especially as they prepare a salsa to “Uptown Funk” for ABC’s October 13 Super Bowl Night. DMM will evaluate the televised salsa on its own dance merits, not infer a score or elimination outcome from the Banana Bowl promotion.
October 10, 2026 · 3:48 PM ETChoreography · Dance Safety · Professional Coaching
Amber Glenn and Pasha Pashkov Explain Their Viral DWTS Split — and Why the Movement Requires Caution
Amber Glenn and professional partner Pasha Pashkov say viewers began recreating their upside-down split almost immediately after the October 6 performance. In an original Extra rehearsal interview published October 9, Pashkov said their first reaction was concern about people getting hurt. Glenn said an earlier attempt at the movement had gone badly for her, and both cautioned viewers about attempting it without proper preparation.
The reaction reveals how quickly a difficult television movement can circulate outside the rehearsal room. A figure skater may bring unusual flexibility and body awareness to the ballroom, but a partnered inverted position is not a casual challenge: it depends on practiced support, alignment, timing and safe entry and exit. DMM is reporting the dancers’ warning, not providing instructions for viewers to recreate the stunt.
DMM Dance Lens · A Viral Moment Is Not the Whole Dance
The most shareable shape in a routine is not necessarily its most important choreographic achievement. DMM will examine how Pashkov integrates Glenn’s skating-based flexibility into partnering, rhythmic control and ballroom technique, and whether the show makes the skill and preparation behind a spectacular movement visible. Professional guidance and appropriate safety supervision matter more than online imitation.
Next dance: ABC’s October 8 press release confirms Glenn and Pashkov will perform a samba to “Mi Gente” by J Balvin and Willy William on Tuesday, October 13, Super Bowl Night. In the Extra interview, Pashkov said their routine will feature additional dancers. Glenn said samba is new territory for her and raised the possibility of carrying some of what she learns back to skating exhibitions. That is a promising dance-to-ice transfer question, not a claim that she has already performed samba on ice.
Maura Higgins Responds to DWTS “Fixed” Rumor as Mark Ballas’ Rehearsal Work Takes Focus
Maura Higgins has addressed claims that Season 35 is arranged for her to win, treating the suggestion humorously rather than endorsing it. In an interview with former finalist Alix Earle, Higgins recalled a rumor about the competition being fixed in her favor and joked about whether that would mean she could stop learning choreography. Us Weekly reported the exchange on October 10. Neither the interview nor the report establishes that votes or judging are manipulated.
The verified dance record is more substantial. Higgins and professional partner Mark Ballas earned 25/30 for their October 6 waltz to Mariah Carey’s “If It’s Over”, including Season 35’s first 9. Higgins said she struggled with a double turn that Ballas considered removing; they kept it after continued rehearsal, and she completed the element in the live routine. Her account documents technical preparation and growing confidence, not a guarantee of any result.
DMM Dance Lens · The Work Behind a High Score
A successful double turn is not proof of a predetermined outcome. It is evidence of a coach and student solving a movement problem under a live deadline. DMM separates observable choreography and technique, judges’ published scores, and undisclosed viewer-vote totals. Claims of favoritism require evidence beyond a high mark or an existing personal connection between partners.
What DMM is watching: whether the next dance demonstrates repeatable technical improvement across styles, how Ballas adjusts difficulty and rehearsal priorities, and whether any authoritative source discloses new voting or scoring information. The October 13 Super Bowl Night assignment is a tango to Rihanna’s “Only Girl (In the World).” Follow DMM Watching.
October 10, 2026 · 7:20 AM ETPro Dancers · Training · Dance Education
Why So Many DWTS Pros Come From Utah: The Dance Training Pipeline Behind Season 35
A fresh October 9 examination of the Utah-to-Dancing with the Stars connection highlights a story larger than television casting: how years of cross-training, teaching and community investment prepare dancers for national visibility.Cosmopolitan identifies six Season 35 professionals with Utah ties, including Jenna Johnson, Witney Carson, Brandon Armstrong, Ezra Sosa, Rylee Arnold and Hailey Bills. The count reflects Utah connections, not a claim that all were born in the state.
The deeper training record comes from Deseret News’ November 2025 reporting inside Center Stage Performing Arts in Orem. Studio leader Kim DelGrosso and instructors describe how intensive ballroom instruction sits alongside ballet, jazz, hip-hop and contemporary training. The studio’s own program also lists tap, acro and musical theater. The relevant skill is not simply performing many styles; it is learning to switch musical and movement languages, then explain technique to someone else.
DMM Dance Lens · What makes a professional
Season 35 repeatedly tests whether a dancer can do more than execute difficult steps. The professionals must choreograph for individual bodies, teach beginners under a weekly deadline, manage musicality and camera staging, and sometimes return to ensemble work after elimination. Utah’s training network offers one documented route into those jobs, not the only route. The more consequential story is how institutions sustain dancers long before television makes their names familiar.
Important distinction: This is a newly surfaced professional-training story, not an ABC cast change, a new injury, a competition result or proof of preferential casting. Deseret News’ eight-of-twelve studio figure described Season 34 in 2025; Cosmopolitan’s six-of-sixteen Utah-ties count describes Season 35 in 2026. The two measures should not be conflated.
Paige DeSorbo and Hannah Berner Question DWTS Voting After Ciara Miller’s Elimination — What the Dance Scores Actually Show
Ciara Miller’s October 6 elimination is generating a new debate about how Dancing with the Stars weighs technical progress against audience preference. On the October 9 episode of their Giggly Squad podcast, Miller’s friends and former Summer House colleagues Paige DeSorbo and Hannah Berner criticized the outcome. DeSorbo used the word “rigged”; Berner explicitly said she did not know whether the show was rigged and questioned how results are determined when couples perform different dance styles and professionals have different levels of public recognition.
The confirmed competitive record is narrower. Miller and professional partner Brandon Armstrong earned 21/30 for their jazz routine to Mariah Carey’s “Emotions” — her highest judges’ score of Season 35 — and were eliminated that evening. Jackson Olson and Emma Slater also scored 21/30, while Guillermo Rodriguez and Witney Carson scored 13/30; those three couples were shown in jeopardy. ABC says judges’ scores and viewer votes are combined to determine who may be eliminated, but the show has not publicly provided vote totals for these three couples. A higher judges’ score alone does not establish who received more votes.
DMM Dance Lens · Progress, style and public voting
Berner’s comparison points to a real artistic challenge: a jazz routine, samba and waltz do not test identical skills, and each professional must build choreography suited to a different learner. The judges can assess execution within each assignment, but the audience also votes for performers it wants to keep watching. Miller’s improvement under Armstrong is documented by her rising scores; her elimination does not erase that growth. Equally, an allegation of manipulated results cannot be treated as fact without evidence. DMM will follow the dance work, the published judging record and any official clarification of the voting process separately.
What is and is not confirmed: The comments were made by DeSorbo and Berner on October 9, not by ABC. There is no verified evidence of vote tampering, a scoring-rule change or a reversed elimination. Miller and Armstrong are out of the competition; 11 couples are preparing for October 13 Super Bowl Night. For DMM’s continuing record, see the Ciara and Brandon official-podcast analysis and Week 4 scores and elimination record.
October 9, 2026 · 7:22 PM ETFirst-Person Interview · Pro Coaching · Audience vs. Technique
Guillermo Rodriguez Explains Witney Carson’s DWTS Coaching as His Ballroom Journey Tests Technique and Audience Connection
In a new October 9 interview with the Los Angeles Times, Guillermo Rodriguez gives a firsthand account of what it takes to train with professional partner Witney Carson. Entering Season 35 without formal dance experience, Rodriguez says Carson continually redirects his attention toward posture, eye line, memorized steps and the character required by each routine. He also describes how demanding the rehearsals feel physically at age 55, particularly while balancing cross-country work travel.
Rodriguez discusses sore legs and back after training, but does not announce a diagnosed injury or a change to his competition status. He says he has learned to enjoy the live stage despite nerves. His partnership survived the October 6 elimination even after the “Obsessed” samba scored 13/30; Ciara Miller and Brandon Armstrong were eliminated after scoring 21/30 for their jazz routine.
DMM Dance Lens · Coaching the true beginner
Carson’s work illustrates a difficult professional task: translating ballroom fundamentals into repeatable movement for a performer whose strongest established skill is connecting with an audience. Teaching alignment, focus, timing and stage character is not the same as disguising technical limitations with comedy. The public sees a short routine; the dance professional manages the learning process that makes the routine possible. DMM will track both technique and entertainment value without confusing applause or survival with a disclosed vote total.
What has not changed: Rodriguez and Carson remain among the 11 couples preparing for October 13 Super Bowl Night. No new elimination, voting-rule change or medical restriction was announced in the interview. The Los Angeles Times reporting is a newly published account of their existing training, not a new ABC casting or scoring announcement.
Official viewing:Watch Season 35 episodes through ABC. No independently verified, rights-cleared standalone video embed of this interview or the routine was available at publication.
October 9, 2026 · 5:32 PM ET · Official Podcast · Super Bowl Night · Choreography
DWTS Confirms Four NFL Alumni Will Dance on Super Bowl Night as Val Chmerkovskiy Expands Jenna Dewan’s Paso Doble
The October 8 official Dancing with the Stars podcast has added a meaningful detail to ABC’s Super Bowl Night announcement. Host Andy Richter said that returning NFL alumni Emmitt Smith, Donald Driver, DeMarcus Ware and Danny Amendola will dance in the ballroom on Tuesday, October 13. ABC’s earlier press release had confirmed their appearances but had not specified that they would dance. The podcast statement, reported October 9, clarifies that distinction.
The same official podcast offered a choreography preview from professional Val Chmerkovskiy. For his “Bad Romance” paso doble with Jenna Dewan, he said they plan to bring in members of the troupe and additional dancers for the first time in their competitive partnership this season. That creates a new staging challenge: the ensemble must frame Dewan’s movement without concealing the paso doble’s shaping, attack and partnering technique.
DMM Dance Lens · The returning athlete and the working ensemble
Smith and Driver are former Mirrorball champions; Ware and Amendola bring other seasons of football-to-ballroom experience. Their return is a chance to see what dance training leaves behind after competition. Dewan and Chmerkovskiy’s planned ensemble, meanwhile, brings professional dancers’ formation work and musical interpretation into sharper focus. Neither the returning players’ choreography nor the full professional credits have been released.
Clarification to the October 8 record: the earlier ABC release established appearances only; Richter’s subsequent official-podcast statement specifies that all four alumni are scheduled to dance. The original Newsroom entry is retained as filed.
October 9, 2026 · 4:29 PM ETOfficial Podcast · Pro Teaching · Dance Progress
Ciara Miller Says DWTS Missed Her Full Story as Brandon Armstrong Defends the Value of Dance Progress
In a new first-person conversation, the eliminated partnership asks a larger question: what does a dance competition make visible when technical progress and a performer’s wider identity do not fit neatly into a television package?
Verified October 9 development: In the October 8 episode of the official Dancing with the Stars podcast, hosted by Andy Richter, Ciara Miller said she wished the show had presented more of her identity beyond a widely discussed Summer House relationship controversy. Miller pointed to her years working as an ICU nurse, her move to New York and other professional experiences. This is Miller’s assessment of her own portrayal; the interview does not establish that ABC deliberately suppressed material or changed the show’s editing policy.
Her professional partner, Brandon Armstrong, described the thoughtfulness and character he came to recognize during rehearsals. Miller, visibly emotional during the conversation, credited Armstrong’s patience and steady coaching as she learned unfamiliar steps and managed performance anxiety. She also described discovering stage fright and the pressure of trying to be perfect while competing live. Armstrong argued that measurable improvement deserves greater weight in how audiences evaluate a partnership, while recognizing that television competition results are not determined by technical progression alone.
The pair had been eliminated on October 6, Mariah Carey Night, after earning their personal-best 21/30 for a jazz routine to “Emotions”. They were not the lowest-scoring couple that evening; eleven partnerships remain for October 13 Super Bowl Night. Neither the podcast nor subsequent coverage disclosed individual vote totals or demonstrated that Miller’s portrayal caused her elimination.
DMM Analysis — The Work Beyond the Edit
The most revealing detail is Armstrong’s account of the teacher’s work. Ballroom training asks a novice to develop timing, weight transfer, body awareness, performance confidence and trust in another person, often under a compressed production schedule. Miller’s best score arriving on the night of her exit shows the distance between improvement and survival in a combined judges-and-viewer format. DMM will continue documenting the professionals’ instruction and choreography rather than reducing the story to a reality-TV dispute or treating a contestant’s frustration as proof of misconduct.
October 9, 2026 · 2:24 PM ETJudging · Choreography · Pro Voice
Carrie Ann Inaba Responds to DWTS Favoritism Claims as Witney Carson Defends Guillermo’s Character Choice
Two distinct public accounts reveal a real dance question beneath the Season 35 scoring dispute: how should judges separate performance characterization from technical execution?
New October 9 development:Carrie Ann Inaba has addressed criticism of DWTS judging and allegations of favoritism. Responding on October 8 to a fan on Threads who questioned why Guillermo Rodriguez had survived longer than higher-scoring contestants, Inaba argued that a lower score does not automatically mean another competitor is a judge’s favorite. Her response was reported by Us Weekly on October 9. She distinguished a critique of a performance from a personal attack on the celebrity. This is Inaba’s public position, not evidence of a new ABC judging policy or a disclosure of viewer votes.
The dispute followed Mariah Carey Night on October 6, when Rodriguez and professional partner Witney Carson performed a samba to “Obsessed” and earned 13/30. Inaba questioned the absence of his usual visible joy; the studio audience booed. Rodriguez and Carson advanced while Ciara Miller and Brandon Armstrong were eliminated after scoring 21/30. The show combines judges’ scores with audience voting, but the actual vote totals have not been released.
The professional dancer’s response matters: in an original TV Insider interview published October 7, Carson explained that Rodriguez was portraying a more serious, diva-like character suited to the Mariah Carey song. She described Inaba’s comment as “out of pocket”. Carson’s interpretation addresses performance intent; it does not claim that the samba met every technical standard or establish how viewers voted.
DMM Watching — The Dance Question
A dancer need not smile throughout a routine to communicate musical character. But intentional characterization and competent samba technique are separate questions: rhythm, weight transfer, timing and recognizable dance content remain assessable even when the performer adopts a theatrical persona. Inaba and Carson are offering different readings of one performance, not proof of rigging. DMM will watch whether Rodriguez’s October 13 Super Bowl Night routine shows technical development alongside his established audience appeal.
Watch — Official ABC Episode
Review the original Mariah Carey Night performance and judging in the official ABC Season 35 episode library → An independently verified, reusable standalone clip for the new Threads exchange was not available, so no speculative video embed or third-party photo has been added.
October 9, 2026 · 1:10 PM ETChoreography · Dance Culture
Amber Glenn and Pasha Pashkov’s Rumba Reaches The View as Hosts Attempt Its Signature Balance
A demanding supported balance from the October 6 routine is being recreated outside the competition — a revealing example of choreography traveling into popular culture.
On October 6, Olympic figure skater Amber Glenn and professional partner Pasha Pashkov closed DWTS’s Mariah Carey Night with a rumba to “Hero”. The pair earned 23/30. Among the most discussed moments was a supported balance in which Glenn leaned forward, lifted one leg high behind her and maintained contact with Pashkov. It drew particular attention from judge Derek Hough, who anticipated that viewers would attempt the move themselves.
October 9 development:The View co-hosts Sara Haines and Alyssa Farah Griffin posted a backstage Instagram reel attempting their own version. Haines raised her leg while Griffin supported her; the attempt ended in a tumble, and the hosts laughed about it. Their caption indicated no one was harmed. This was a social-media backstage recreation, not an announced change to the DWTS competition or a choreographed number on The View’s broadcast.
DMM Analysis — A Viral Shape Is Still Partnering Technique
The striking image is only the visible result. Pashkov and Glenn’s version depends on a shared base of support, balance, controlled weight placement, hand connection and carefully timed movement. Glenn’s skating flexibility gives the shape unusual range; Pashkov’s role is to make the transition readable and secure in a ballroom routine. The humorous recreation illustrates how a single choreographic moment can travel beyond a television episode — but also how difficult it is to reproduce without rehearsal. DMM does not recommend attempting advanced supported balances without appropriate training and supervision. The wider story is the professional dancer’s craft, not the hosts’ mishap.
October 9, 2026 · 4:17 AM ETJudge Response · Dance Technique
Carrie Ann Inaba Defends Jenna Dewan and Val Chmerkovskiy: Ballroom Chemistry Is Part of the Work
An October 8 statement from a DWTS judge turns social speculation about a rumba into a more useful discussion of partnered-dance technique, trust and theatrical connection.
Following Jenna Dewan and Val Chmerkovskiy’s October 6 rumba to Mariah Carey’s “My All”, some viewers interpreted the performers’ close contact as evidence of a personal relationship. The pair scored 24/30. Dewan’s fiancé, Steve Kazee, had already dismissed the speculation; DMM recorded his response in its October 8 report.
On October 8, judge Carrie Ann Inaba publicly defended the dancers in a comment reported by Us Weekly and other outlets. She described dancers as physically expressive people and urged viewers not to convert the professional connection into an unsupported personal allegation. Her intervention matters because it comes from someone who evaluates the couple’s performance, not simply a family member responding to online conversation.
In a separate post-show interview, Dewan said the competition has been physically, emotionally and mentally demanding. Chmerkovskiy described the pair’s progress as the product of difficult rehearsals and growing confidence. Their accounts support a dance-process reading of the performance; they do not substantiate the rumors.
DMM Analysis — Connection Is a Skill, Not Evidence of a Relationship
In rumba, close partnering is a technical and expressive task. Dancers coordinate weight changes, frame, proximity, lead-and-follow cues, timing and dramatic intention. A convincing performance can suggest intimacy to a television audience without establishing anything about the performers’ private lives. Inaba’s public correction makes this a professional-standards story: audiences should learn to recognize the craft of creating believable connection. DMM will continue evaluating Dewan’s ballroom adaptation and Chmerkovskiy’s coaching rather than amplifying speculation.
Official media check: ABC confirms the October 6 rumba assignment; no newly verified, rights-cleared official clip specifically showing Inaba’s October 8 online statement was found. Existing credited episode media is unchanged.
October 9, 2026 · 4:15 AM ETProfessional Work · Rehearsal
Emma Slater and Jackson Olson Rehearse Between Baseball Games as DWTS Fans Question What the Show Reveals
October 8 reporting and Slater’s own remarks illuminate a touring athlete’s ballroom training schedule—without establishing claims that producers deliberately concealed it.
Jackson Olson, a Savannah Bananas performer competing with Emma Slater, has had to balance travel, baseball performances and ballroom rehearsal. An independently shared clip of the pair practicing on a baseball field before the October 6 show prompted fans to ask why that work was less visible in the televised rehearsal packages. Parade reported the clip and reaction on October 8 at 10:06 p.m. ET.
Slater posted her own video on October 8, describing a difficult week for the partnership and expressing hope that Olson would enjoy his next performance. That is an on-record account of the emotional demands of competing; it is not confirmation that ABC intentionally withheld footage or treated one couple unfairly. Other contestants have also rehearsed around work commitments, including Harry Shum Jr. during filming and Guillermo Rodriguez during New York appearances.
Olson and Slater received 21/30 for their Week 4 waltz to Mariah Carey’s “Without You” and remain in the competition. The Washington Nationals’ official event page lists the October 10 Banana Bowl Championship at Nationals Park, giving DMM a concrete upcoming checkpoint for Olson’s travel and training schedule. The event itself is not evidence that any particular DWTS rehearsal has been canceled or shortened.
DMM Analysis — The Invisible Hours Behind a Two-Minute Dance
Choreography must survive the conditions in which it is taught. Training on a baseball field differs from rehearsing on a ballroom floor: surface, footwear, space, sound, fatigue and available partner contact all shape what can safely be practiced. Slater’s job is not only to create the waltz or salsa but to prioritize the elements that transfer to the live floor—timing, frame, partnering and repeatable movement—amid a shifting schedule. A fan video can reveal a real labor story; it cannot, on its own, establish producer intent or determine why a couple appears in the final group awaiting elimination.
Official media check: The reported fan-filmed rehearsal clip is not an official ABC release, and the original platform post was not independently playable during this check. It is linked through its reporting source rather than re-hosted or embedded. Existing official DWTS media remains intact.
Connor Wood Defends Learning to Dance as His Rylee Arnold Rumba Travels Beyond the Ballroom
An October 8 response to criticism, together with first-person accounts of the choreography, shows how a televised rumba can become a cultural talking point without becoming a technical triumph.
On October 6, Connor Wood and professional partner Rylee Arnold performed a rumba to Mariah Carey’s “Touch My Body” on Dancing with the Stars Mariah Carey Night. The judges awarded 19/30 (6, 6 and 7). Derek Hough recognized Wood’s developing stage presence but wanted stronger technical commitment; Bruno Tonioli praised his willingness to express himself while also flagging foot placement. Carrie Ann Inaba observed that the heightened character sometimes disrupted his movement. These are performance critiques, not an indication that the pair has left the competition.
On October 8, Cosmopolitan reported that Wood replied to an Instagram commenter who questioned his dancing ability by pointing out that the program is a place where people learn to dance. The outlet also reported that imagery from the routine appeared as cover art for a Spotify “Yearning” playlist. DMM could verify the published report, but not independently confirm the playlist’s current cover or any listening figures; playlist placement is therefore attributed to the outlet, not presented as a measured music-streaming result.
The dance-making story is more revealing. In a direct October 7 Us Weekly interview, Wood described a demanding late rehearsal process and explained that the floor sequence combined Arnold’s planned knee slide with a one-legged move he had learned outside ballroom training. An Extra interview filmed ahead of the episode also recorded Wood and Arnold describing the creative aim: to move Wood from a familiar comic persona into a more assured “leading man” on the floor. These accounts illuminate a professional’s challenge: finding a character a beginner can perform while still teaching the recognizable mechanics of rumba.
DMM Analysis — When a Character Outruns the Technique
Arnold’s choreography created a legible television character for a developing dancer. The public response suggests that the performance communicated beyond the judges’ table; the 19/30 shows that communicating a character and executing ballroom technique are different tests. Rumba still requires grounded weight transfer, controlled timing, hip action and deliberate connection. The next meaningful measure is whether Wood carries his increased performance confidence into the October 13 samba to Shakira’s “Hips Don’t Lie”, an officially announced assignment that demands a different rhythmic action. DMM will judge progress in the dancing rather than mistake viral conversation for a score.
October 8, 2026 · 10:00 PM ETProfessional Dance · Work Behind the Show
Sharna Burgess’s DWTS Workload Enters Public Debate as Tyler Cameron Credits Her Coaching
Two October 8 interviews put the professional dancer’s labor — and the trust required to teach on live television — ahead of the relationship speculation surrounding the ballroom.
In reporting published October 8 at 8:54 p.m. ET, Entertainment Weekly documented former DWTS contestant Kaitlyn Bristowe’s criticism of social-media videos posted by Brian Austin Green, the fiancé of returning professional dancer Sharna Burgess. Green had spoken about loneliness while Burgess rehearses and competes with Tyler Cameron. In a separate video, Green apologized to Burgess and Cameron for distracting from their work and described her as devoting extensive daily hours to the competition. Those rehearsal-hour figures are Green’s description, not a schedule independently confirmed by ABC. Bristowe’s criticism is her opinion, not an official finding about the partnership.
A separate October 8 People interview provides the more substantial dance account. Burgess said her connection with Cameron has grown into a friendship rooted in mutual support; Cameron credited her instruction and encouragement with helping him recover from disappointment after Week 3. Their October 6 foxtrot to Mariah Carey’s “#Beautiful” earned 21/30, their highest score to that point. The interviews do not establish that any family dispute changed their choreography, training or competitive standing.
DMM Analysis — The Professional Behind the Partnership
A celebrity’s improvement is visible in two minutes; a professional dancer’s preparation often is not. Burgess is simultaneously teaching unfamiliar technique, building confidence, shaping musical phrasing and preparing material that must work live. Cameron’s account of her support gives DMM a concrete way to evaluate that labor: watch whether his movement quality, timing and partnering continue to improve, not whether off-floor speculation generates attention. The broader question is how television dance values the teacher and choreographer when public conversation moves away from the dancing.
October 8, 2026 · 7:16 PM ETChoreography · Rehearsal Decisions
Mark Ballas Nearly Cut Maura Higgins’ Double Spin Before Her 25-Point Waltz
An October 7 post-show interview reveals the choreographic judgment behind the highest-scoring dance of Mariah Carey Night: a difficult turn sequence nearly disappeared before the live broadcast.
After their October 6 waltz to Mariah Carey’s “If It’s Over,”Maura Higgins and professional partner Mark Ballas told Entertainment Weekly that a double spin had been unreliable in dress rehearsal. Ballas considered editing it out rather than asking Higgins to perform a move she did not feel ready to execute under television lights and audience pressure. Higgins asked to keep trying; the pair worked on it again, and Ballas decided to retain the sequence. The waltz earned 25/30, including the first nine awarded in Season 35.
Ballas explained that the move could feel different when the camera, lighting and crowd changed the performance environment. He framed the decision as a choreographer’s responsibility: not simply adding difficulty, but adjusting the material to the celebrity dancer’s confidence and reliable execution. Higgins described trusting her preparation and relaxing into the turn. Neither dancer said the spin alone caused the judges’ score, and DMM does not assign it a numerical value.
DMM Analysis — The Choreographer’s Edit
A polished ballroom performance can conceal difficult choices made hours earlier. Ballas’ account illuminates the creative tension between technical ambition and repeatable execution: a demanding movement is only useful when the dancer can place it in the music, control the finish and transition safely into the next phrase. Higgins’ insistence on another attempt mattered because the final decision followed more rehearsal evidence, not mere spectacle. For aspiring choreographers and teachers, this is the work behind the applause: listen to the performer, test the material and know when to simplify or commit.
Primary interview:Entertainment Weekly, Leigh Blickley, October 7, 2026, 4:08 p.m. ET. Official episode reference:ABC, Season 35 Episode 5: Mariah Carey Night. Video: no independently verified standalone official performance embed was located for this update; the ABC episode listing is the official viewing destination. Photo credit: Disney/Eric McCandless for the interview’s licensed press images; no third-party image is hotlinked or reproduced here.
October 8, 2026 · 6:07 PM ETOfficial ABC Update · Pro Choreography
ABC Adds Super Bowl Night Pro and Troupe Numbers, Opening Medley and Four Returning NFL Alumni
The official October 8 Disney Television Press release goes beyond the 11 celebrity routines: it identifies music for the opening and additional professional-dancer performances.
ABC/Disney Television Press has now identified the October 13 Super Bowl Night opening-number soundtrack: “NUEVAYoL” by Bad Bunny, “Rude Boy” by Rihanna and “HUMBLE.” by Kendrick Lamar. The release also lists additional professional and troupe performances set to “It’s Heavy Action (Monday Night Football Theme)” by APM, “In the Air Tonight” by Chris Stapleton and “Bootylicious” by Destiny’s Child. ABC did not publish individual choreography credits, a complete dancer roster for these numbers or a detailed running order in this announcement.
The episode will also feature appearances by four former NFL players who have competed on DWTS: Donald Driver, Emmitt Smith, DeMarcus Ware and Danny Amendola. Their appearances are confirmed; the release does not say that all four will perform competitive or exhibition dances. Joe Buck remains the confirmed guest judge, and the previously announced 11 celebrity-couple song and dance assignments remain unchanged.
DMM Analysis — The Professionals Build the Stadium-to-Ballroom Bridge
This is more than an expanded playlist. The opening medley and professional/troupe numbers place working dancers at the center of a broadcast designed to evoke Super Bowl scale. DMM will watch how group spacing, transitions, musical contrast and ensemble precision translate a stadium-performance vocabulary into television ballroom choreography. The returning football alumni add a career-history thread, while the professional dancers carry the visible craft. No routine or creative credit should be assigned before ABC releases it or the episode airs.
October 8, 2026 · 5:18 PM ETScreen Dance · Artist Advocacy
Kerry Washington Revisits Julia Stiles’ Save the Last Dance Set Advocacy as DWTS Renews Interest in the Film
A firsthand recollection of a difficult Chicago night shoot returns to the conversation around Stiles, Ezra Sosa and the difference between a dance film’s screen image and the people who make it.
In the October 1, 2026 episode of Not Gonna Lie with Kylie Kelce, Kerry Washington praised former Save the Last Dance co-star Julia Stiles, now competing on Dancing with the Stars Season 35 with professional partner Ezra Sosa. Washington recalled a freezing exterior scene filmed in Chicago for the 2001 dance film. After director Thomas Carter requested another take, Washington said Stiles offered to continue if he first removed his warm coat. He did; according to Washington, that was their final take. The story circulated anew in reporting published October 8. This is not a newly recorded October 8 interview.
Washington described the moment as an early lesson in advocating for performers’ working conditions. Her recollection concerns a filmed acting scene, not a claim about who choreographed or danced the film’s routines. The distinction matters: the movie’s enduring dance identity was created through a collaboration of actors, dancers, choreographers, doubles, crews and editors. Stiles’ current ballroom work is a new, live test of her own dancing rather than a replay of what audiences saw on screen.
DMM Analysis — Remember the People Behind the Dance
The renewed interest in Save the Last Dance offers an opportunity to look beyond celebrity nostalgia. Fatima Robinson’s choreography and the professional performers who helped construct the film’s movement deserve recognition alongside its stars. DMM has already documented Chryssie Whitehead as one of Stiles’ dance doubles, including her account of work in portions of the final audition. Washington’s story adds another dimension: artists need not only credit for their labor, but conditions in which that labor can be performed responsibly. For Season 35, the question remains what Stiles and Sosa build together now, without film editing or doubles.
Watch — Original Kylie Kelce / Kerry Washington Interview
Interview originally released October 1, 2026; discussion of Save the Last Dance begins around 53:15. Open the source video or listen via the original podcast feed if the embed is unavailable. Video is embedded from the original episode link referenced in the October 8 report; DMM does not rehost the footage.
October 8, 2026 · 1:44 PM ETDance vs. Vote · Format Watch
Jimmy Kimmel Defends Guillermo Rodriguez After 13/30 Samba — DMM Examines the Dance-versus-Vote Divide
The October 7 monologue puts a clear argument into Season 35’s central debate: is the audience rewarding the best ballroom technique, the most entertaining partnership, or something in between?
After Guillermo Rodriguez and professional partner Witney Carson advanced from October 6’s Mariah Carey Night despite earning 13/30 for their samba to “Obsessed”, Jimmy Kimmel used his October 7 late-night monologue to defend Rodriguez from viewers urging others to stop voting for him. Kimmel rejected speculation that the show is rigged and argued that the competition is also a television entertainment event, not a professional ballroom championship. His remarks were reported by Entertainment Weekly on October 8 at 10:41 a.m. ET.
The performance featured deliberate comic staging, including Rodriguez falling forward and moving on the floor — a creative choice developed within Carson’s routine. Meanwhile, Ciara Miller and Brandon Armstrong were eliminated with 21/30 for their jazz, making the tension between judges’ scores and audience preferences impossible to ignore. Neither Kimmel nor DMM has access to independently verified couple-by-couple voting totals; his account is a public defense of his colleague, not evidence of the numerical vote margin or proof about production decisions.
DMM Analysis — Two Different Tests of a Dance
A dance professional can assess timing, weight transfer, samba action, partnering and musical clarity while viewers may reward humor, warmth, commitment and a recognizable story. Carson must build a routine that gives a novice a chance to succeed technically and makes the performance legible to millions of viewers. Kimmel’s argument explains the appeal of the second test; it does not erase the first. DMM will continue documenting Guillermo’s technical scores alongside the partnership’s creative decisions, and will not equate advancement with either technical superiority or improper voting. This follows the October 8 Bobby Bones running-order entry: visibility and audience preference are important to investigate, but neither establishes manipulation without verifiable evidence.
October 8, 2026 · 1:16 PM ETFormat Watch · Former Champion
Bobby Bones Says DWTS Performance Order Is Strategic — What That Means for Dance Visibility, Not Just Scores
A former Mirrorball winner’s account raises a question DMM can test through Season 35: how much does the running order shape the audience’s opportunity to see a dance?
In an October 1 episode of the He Said, G Said podcast, Season 27 winner Bobby Bones described his view of how Dancing with the Stars places couples in its two-hour live broadcast. His remarks drew renewed coverage on October 7–8. Bones said performances at the start of the show and the top of the second hour can be chosen strategically because viewers joining at those times are likely to encounter those couples first.
Bones argued that the running order can highlight performers the production wants viewers to notice. He did not establish that those placements predetermine winners. His comments are a former contestant’s account and interpretation, not an ABC-confirmed policy or a verified change to Season 35 voting rules. DMM has found no official ABC statement confirming the specific placement criteria Bones described.
DMM Analysis — The Camera Has a Running Order, Too
The professional dancer builds a routine for musicality, technique and the celebrity’s development; television production then decides when that work reaches the audience. If a high-visibility slot attracts more casual viewers, it can shape exposure without changing a single step or judge’s score. But exposure is not proof of vote manipulation, and a couple’s position alone cannot establish producer favoritism. DMM will compare running orders, judge scores and subsequent outcomes over multiple weeks rather than treating one former champion’s explanation as a settled rule. This is particularly relevant after Ciara Miller and Brandon Armstrong’s Week 4 elimination highlighted the difference between visible technical improvement and viewer support.
Watch the primary account:He Said, G Said — October 1 podcast episode. No video embed has been added because the original uploader and embedding rights have not been independently verified.
October 8, 2026 · 10:23 AM ETOfficial ABC · Week 5
ABC Confirms Joe Buck as DWTS Super Bowl Night Guest Judge — All 11 Songs and Dance Styles Revealed
ABC’s Good Morning America confirmed the full October 13 program at 8:15 a.m. ET today: ESPN football announcer Joe Buck joins the judges, and all 11 remaining couples now have official songs and dance styles.
The first-ever Super Bowl Night features four salsas, three sambas, two jazz routines, one tango and one paso doble. Among the matchups: Harry Shum Jr. and Jenna Johnson samba to Usher’s “Yeah!”; Maura Higgins and Mark Ballas tango to Rihanna’s “Only Girl (In the World)”; Jenna Dewan and Val Chmerkovskiy paso doble to Lady Gaga’s “Bad Romance”; and Julia Stiles and Ezra Sosa jazz to Jennifer Lopez’s “Jenny from the Block.” All 11 assignments are published in DMM’s new complete Super Bowl Night songs-and-dances guide →.
Seven of the 11 routines are salsa or samba, creating a strong side-by-side test of how professionals translate stadium pop, reggaeton and hip-hop tracks into recognizable ballroom/Latin technique. The genres of the songs do not determine the technique: DMM will watch timing, weight transfer, samba bounce, salsa rhythm and whether the choreographers preserve identifiable dance content beneath halftime-show spectacle. Buck’s guest seat also raises a judging-format question: how will a sports broadcaster’s perspective interact with the three regular ballroom judges?
Broadcast: Tuesday, October 13, 2026, 8 p.m. ET on ABC and Disney+; next-day replay on Hulu. All routines are scheduled, not yet performed, and no Week 5 scores or elimination have been reported.
October 8, 2026 · 8:19 AM ETPro Development · Tour Cast
Jan Ravnik Addresses His Absence From the 2027 DWTS Live Tour Cast
The Season 35 professional has now spoken about why he is not part of the newly announced touring roster. His answer is brief, but it resolves one immediate casting question without implying a dispute with the franchise.
In an Us Weekly interview published October 7, Jan Ravnik said the 2027 tour was “not in my stars” and explained that he was “busy with stuff.” He praised the dancers who will take part and left his future touring plans open-ended. Ravnik remains an active Season 35 professional alongside Tatyana Ali; their Mariah Carey Night assignment was a jazz routine to “Fantasy.”
The official 2027 tour cast does not list Ravnik. His comments do not identify a particular conflicting project, confirm a guest appearance or establish that he is leaving the television competition. The tour begins January 21, 2027, and its Mirrorball presale is scheduled to begin October 8 at 10 a.m. in each venue’s local time zone.
DMM Analysis — The Television Roster Is Not the Touring Roster
Ravnik’s background spans commercial stage performance and a transition into the ballroom-teaching demands of DWTS. His absence illustrates why DMM follows professional dancers across multiple kinds of work: a television partnership, an arena tour and outside performance commitments are different career tracks. The verified story is a scheduling choice expressed in general terms, not a departure or an unannounced booking. Compare the fuller explanation from Daniella Karagach and Pasha Pashkov, who are prioritizing family time while leaving room for possible limited tour appearances.
October 8, 2026 · 4:37 AM ETElimination Follow-Up · Pro Voice
Brandon Armstrong Says Ciara Miller Should Not Have Gone Home — Their DWTS Exit Exposes the Growth-vs.-Votes Divide
The October 6 elimination is now a first-person account of what happens when a celebrity finally reaches a technical milestone but the competition ends before that growth can continue.
Ciara Miller and Brandon Armstrong received three 7s — 21/30, their highest judges’ total of Season 35 — for their jazz to Mariah Carey’s “Emotions.” Yet they were eliminated at the end of Mariah Carey Night. In a post-show interview with Entertainment Tonight, Armstrong said “she shouldn’t have gone home” and described the disappointment of a partnership ending just as its training began to show. He also acknowledged that viewers vote for favorites for reasons extending beyond dance technique.
Miller said she was disappointed to leave and spoke about learning to perform without needing to appear perfect in public. Her response moves the story beyond an upset result: she identified vulnerability and a willingness to try unfamiliar movement as part of what the partnership gave her. Sharna Burgess and other cast members also described surprise backstage, but their reactions are not evidence of undisclosed vote totals.
DMM Analysis — A Score Can Confirm Growth Without Guaranteeing Time
Armstrong’s reaction exposes the professional dilemma at the center of a celebrity dance competition: a teacher can guide a beginner toward clearer timing, stronger synchronization and more confident performance, yet that progress does not control the result. Miller’s three 7s marked a measurable step forward. Her elimination is not proof the judges were wrong, nor proof of a rigged vote. It shows that technical growth and audience preference are different measures. DMM will follow Armstrong’s subsequent professional work separately from the outcome of his celebrity partnership.
October 8, 2026 · 3:10 AM ETDance Partnership · Direct Response
Jenna Dewan and Val Chmerkovskiy: Ballroom Chemistry Draws Speculation, but the Dance Tells a Different Story
After the pair’s 24/30 Mariah Carey Night rumba, Jenna Dewan’s fiancé, Steve Kazee, directly dismissed online speculation about her connection with professional partner Val Chmerkovskiy. For DMM, the more important story is how dance partners create convincing chemistry without confusing performance with private life.
Kazee responded to social-media criticism of Dewan and Chmerkovskiy’s closeness, describing the spouses as unbothered and rejecting the contradictory judgments being made about the pair. His comments were reported by Entertainment Weekly late on October 7 and independently by Us Weekly. They do not establish any romantic relationship between the dancers; no evidence supporting that implication has been presented.
The timing matters. Dewan and Chmerkovskiy had just performed a rumba to Mariah Carey’s “My All” and earned 24/30, their highest score to date. The style demands sustained partner connection, controlled weight transfer and an emotional through-line. Dewan has separately explained that her professional commercial-dance background helps her learn choreography but does not automatically translate to ballroom technique; some familiar movement habits must be unlearned.
DMM Analysis — Connection Is a Dance Skill
Chmerkovskiy and fellow pro Jenna Johnson had already described partner chemistry in a September 29 interview as the product of trust, shared work and commitment rather than manufactured romance. That distinction is central to ballroom: the audience must believe in the relationship expressed by the choreography, but the relationship being performed is not evidence of an offstage affair. Dewan’s Week 4 growth should be evaluated through her rumba technique, timing, vulnerability and connection with the music — not speculation about her personal life.
Watch the dance · Mariah Carey Night rumba
Performance video: Dancing with the Stars on YouTube (original player; not rehosted). The clip is also linked by radio outlet 99.7 DJX in its October 7 performance roundup. Music and broadcast footage remain with their respective rights holders.
October 7, 2026 · 10:03 PM ETTour Milestone · Dance Industry
DWTS Live Tour Books Madison Square Garden for the First Time — and Names Its First Presenting Sponsor
The 2027 tour announcement has two milestones beyond its professional cast and first touring troupe: a New York arena debut and a new commercial partnership.
Official tour releases distributed by North American arenas confirm that Dancing with the Stars: Live! will play Madison Square Garden in New York City for the first time on Friday, February 5, 2027, at 7:30 p.m. The date and venue are also listed on the primary ticketing platform. The tour is planned for 60 shows across North America, from January 21 through April 11; celebrity guest appearances remain to be announced.
The same official releases identify COVERGIRL as the tour’s first presenting sponsor. The brand’s senior vice president of global marketing, Mary Santangelo, describes the arrangement as a partnership around confidence, creativity and individual expression. This is a presenting-sponsor announcement, not evidence of new choreography commissions, dancer compensation terms or additional confirmed tour dates.
Ticket timing: the free Mirrorball-member presale opens Thursday, October 8 at 10 a.m. local venue time; the general public on-sale begins Tuesday, October 13 at 10 a.m. local venue time. Individual venue schedules and dancer participation may vary. DMM directs readers to the official tour site rather than promising availability.
DMM Analysis — A Larger Stage for the Working Dancer
A first Madison Square Garden date signals a new level of visibility for a touring production built around professional dancers rather than weekly celebrity scores. The sponsorship shows how dance performance, television recognition and branded live entertainment intersect. The dance-first test remains the work itself: how Mandy Moore stages the expanded ensemble, which professionals receive featured material, and whether the first touring troupe can translate television precision into arena-scale repertory night after night.
Giada De Laurentiis Explains the Rehearsal Struggle Behind Her DWTS Exit — and What Alan Bersten Was Trying to Teach
An October 7 interview adds first-person evidence to the Season 35 record: the chef says her frustration came from difficulty hearing musical counts and absorbing steps, not a feud with her professional partner.
In a preview of Maria Menounos’ Heal Squad interview, shared with People ahead of its scheduled October 8 release, Giada De Laurentiis explained that she sometimes struggled to recognize the counts in the music or understand a new step quickly enough. She recalled Alan Bersten asking her to listen and identify the counts when they first met. The live-show deadline magnified the pressure: the pair had to learn how she processed instruction while preparing dances for broadcast.
De Laurentiis also clarified the tense rehearsal footage shown during Viral Hits Night. Her frustration, she said, was directed at her own difficulty learning, not at Bersten. Bersten had previously said their partnership remained supportive and that viewers were drawing conclusions from an edited rehearsal package. The two were eliminated September 22 after a salsa that received 12/30. ABC’s official assignment identifies their song as Becky G’s “Bella Ciao”; some post-elimination coverage incorrectly identifies it as “CHULA.”
The interview also supplies a new status detail about an injury DMM documented in September: De Laurentiis says she is still rehabilitating the broken toe sustained early in rehearsals. This is a retrospective health update after elimination, not evidence of a new injury, competition withdrawal or return to the show.
DMM Analysis — The Teaching Is Part of the Dance
Celebrity ballroom training is not only about choreography selection. A pro must discover how a beginner hears rhythm, understands a count, connects movement to music and responds to corrections under pressure. De Laurentiis’ account is a useful reminder that what looks like a personality clash on television may instead be a teacher and student trying to find a shared learning language. Her injured toe added another physical constraint. DMM will not turn her description of unfamiliar counts into a technical rule about salsa or tango meter; it is evidence of how the music felt to a novice.
October 7, 2026 · 7:38 PM ETPro Development · Live Tour
Rylee Arnold Explains Her 2027 DWTS Tour Return as Official Dates Clarify Her Limited Run
Arnold's first-person explanation and the official tour schedule add substance to DMM's professional-dancer story: a return shaped by health, workload and the realities of a demanding live production.
Rylee Arnold says she feels ready for a larger return to Dancing with the Stars: Live! after previously stepping away from a full-length touring commitment to focus on managing Type 1 diabetes. In an official tour-announcement statement carried by People, Arnold said she is now using an insulin pump and feels better able to understand and manage her body's needs. She told Us Weekly that the shorter commitment feels manageable for her. DMM treats this as Arnold's own account of her circumstances, not as a medical recommendation or a prediction about future health.
The official tour cast page lists Arnold for January 21–February 13, February 23–March 20 and March 31–April 11, 2027, rather than every stop. Sharna Burgess is separately listed for February 17–21 and March 22–27. Those date ranges matter to readers planning to see a particular professional. Arnold also made limited March 2026 tour appearances; her return should not be mischaracterized as an uninterrupted absence from every previous live show.
Another important creative credit: Mandy Moore, the Emmy-winning choreographer whose work includes La La Land and Taylor Swift's Eras Tour, is directing the 2027 production. The director credit makes this more than a cast-and-tickets announcement: the road show is a large-scale choreography environment in which professional dancers and the troupe will be seen outside celebrity competition routines.
DMM Analysis — Sustainable Dance Careers Are Built Off Camera, Too
The professional measure is not simply whether Arnold can appear on television every Tuesday. Touring asks dancers to sustain physical performance, learn and retain a full repertory, adjust to changing venues and deliver consistent work over many weeks. Arnold's decision to set a workable touring schedule, together with Moore's direction and the troupe's first tour participation, shows how professional growth involves both creative opportunity and the ability to make that opportunity sustainable.
October 7, 2026 · 6:26 PM ETRehearsal · Choreography · Pro Watch
Jenna Johnson Shares Harry Shum Jr. Rehearsal Headbutt Video — Then Their Tango Earns 24/30
The professional dancer has released first-person footage of a painful rehearsal collision, opening a window into the timing and trust behind a routine that looked controlled on live television.
On October 7, Jenna Johnson posted a rehearsal clip showing an accidental forehead-to-forehead collision with her Season 35 partner Harry Shum Jr. During a fast-moving exchange, Johnson rises as Shum approaches, their heads meet and Shum falls backward. Both subsequently joked about the incident. In a post-show interview, Shum described a difficult Sunday rehearsal in which the pair repeatedly misstepped; Johnson said they had to keep working through a turbulent week.
There is no verified report of a concussion, medical restriction or withdrawal. The partnership completed its October 6 tango to Mariah Carey’s “It’s Like That” and received 24/30 (three 8s). Their performance was accompanied by live vocals from Shum’s Glee colleague and Season 17 champion Amber Riley, connecting two generations of DWTS performers within the same number.
DMM Dance Lens — The Rehearsal You Do Not See
In close-contact partnered dancing, distance is measured in fractions of a beat. A missed timing cue can turn a familiar transition into a collision. The point of Johnson’s video is not that injury proves dedication; it is that choreography depends on spatial awareness, mutual timing and a professional’s ability to diagnose a failed transition without abandoning the partnership. The controlled tango shown on television is the product of that invisible correction work. Shum’s previous commercial-dance experience remains relevant, but this is a fresh test of live partnering rather than camera-ready solo performance.
Maura Higgins Insisted on Keeping the Double Turn Mark Ballas Nearly Cut — Then Earned Season 35’s First 9
The highest-scoring dance of Mariah Carey Night now has a rehearsal-room story that makes the result more useful to DMM’s dance-first record.
Maura Higgins and Mark Ballas have revealed that a difficult double turn in their waltz to Mariah Carey’s “If It’s Over” was close to being removed after rehearsal problems. Higgins wanted to keep working on it. They tried it again before the live show, she completed it, and the element stayed in the routine.
The finished waltz earned 25/30 and the first 9 of Season 35. Derek Hough praised it as “pure ballroom dancing,” while Ballas said Higgins has natural ability despite not having the childhood dance training that might have developed that ability earlier.
DMM Analysis — The Choice Not to Simplify
This is the kind of choreography detail that explains a score better than a leaderboard alone. A professional partner constantly decides whether a difficult element is helping a celebrity grow or merely increasing failure risk. Ballas was prepared to simplify. Higgins chose another attempt. The important development is not that the turn was flashy; it is that rehearsal difficulty became usable performance technique under pressure. That makes the Week 4 breakthrough a measurable training story rather than only an emotional television moment.
Sources: Entertainment Weekly, Oct. 7, 2026 — direct post-show interview with Higgins and Ballas about the double turn · Us Weekly, Oct. 7, 2026 — direct Higgins interview on rehearsal, confidence and the turn · RTÉ, Oct. 7, 2026 — independent confirmation of the 25/30 leaderboard lead and first 9.
October 7, 2026 · 2:26 PM ETPro Development · Follow-Up
Two DWTS Pro Stories Move Forward: Val Explains the Cornrows; Daniella and Pasha Explain the Tour
Two stories DMM was already tracking now have direct responses from the dancers themselves, replacing speculation with on-record explanations.
Val Chmerkovskiy: After criticism of the cornrows he wore in promotional material ahead of Mariah Carey Night, Chmerkovskiy said he loved the hairstyle and valued the cultural experience and the chance to support a local Black-owned salon. He said he removed the braids before the live show because he did not want the conversation to distract from partner Jenna Dewan and their performance—not because he regretted wearing them. That directly supersedes speculation that producers ordered the change.
Daniella Karagach and Pasha Pashkov: Their absence from the announced 2027 DWTS Live Tour cast also has an explanation. Karagach said the couple wants time with their daughter after years of touring and little downtime. She left open the possibility that she and Pashkov could appear for a few weeks or selected stops rather than joining the full 60-city run.
DMM Analysis — Direct Sources Change the Record
Both follow-ups matter because they narrow what DMM can responsibly say. Val’s explanation turns an inferred production decision into a documented personal choice, while Daniella’s explanation turns a conspicuous tour omission into a family-and-workload decision with the door still open to limited appearances. For a living newsroom, the correction is part of the journalism: preserve what was known at the time, then clearly record what the principals later established.
Verified sources: Entertainment Weekly, Oct. 7, 2026, direct Val Chmerkovskiy response · Us Weekly, Oct. 7, 2026, direct Daniella Karagach interview · official 2027 DWTS Live Tour announcement/venue release for announced cast and troupe.
Witney Carson Pushes Back on Carrie Ann Inaba’s Guillermo Critique — and Explains the Character Choice
The Mariah Carey Night judging story has moved beyond the ballroom boos. Guillermo Rodriguez’s professional partner is now explaining why his more serious expression was part of the performance rather than evidence that his joy had disappeared.
In a post-show interview, Witney Carson said she disagreed with Carrie Ann Inaba’s suggestion that Rodriguez had dimmed his light during their samba to “Obsessed.” Carson explained that the expression reflected the character they were playing: the song called for a diva attitude, not the constant smile audiences normally associate with Rodriguez. She also defended his work ethic and commitment to improving.
Rodriguez likewise rejected the idea that his joy was gone. The pair survived Week 4 after receiving 13/30, the lowest judges’ total of the night. DMM is keeping the distinction clear: the public result proves survival, but DWTS does not release contestant vote totals, so it does not establish how large Rodriguez’s viewer-vote advantage may or may not be.
DMM Analysis — Performance Character vs. Celebrity Persona
This is a useful dance question, not simply a judging dispute. A celebrity competitor eventually has to learn that performance quality can require leaving the personality viewers already know. Carson’s explanation reframes the moment: Rodriguez was attempting character interpretation, even if the technical samba remained weak. The next test is whether he can keep that willingness to transform while improving rhythm, foot placement and recognizable dance content.
Tyler Cameron’s Foxtrot for His Late Mother Turns Dance Into a Breakthrough Moment on DWTS
Cameron entered Mariah Carey Night near the bottom of the Season 35 leaderboard. His foxtrot to “#Beautiful” became his strongest dance yet — and one of the episode’s clearest examples of personal story strengthening, rather than replacing, the dancing.
Before dancing with Sharna Burgess, Cameron spoke about losing his mother, Andrea Hermann Cameron, to a brain aneurysm in 2020 and said Dancing with the Stars was a show she had wanted to see him do. He described dance as unexpectedly making him feel alive again. The performance visibly moved Derek Hough, who connected Cameron’s story to his own family experience, while Bruno Tonioli praised the routine as a proper foxtrot and highlighted Cameron’s improvement.
Cameron and Burgess received 21/30 — three 7s — improving from 17/30 on Yacht Rock Night and matching Cameron’s best competitive total of the season. DMM is using the verified broadcast score rather than a conflicting 23/30 figure published in one post-show feature.
DMM Analysis — When Story and Technique Finally Meet
Emotional packages can make a television dance memorable, but the useful dance question is whether the movement carries the story once the music starts. Cameron’s Week 4 progress matters because the judges identified improvement in the foxtrot itself: cleaner ballroom structure, greater control and a more convincing partnership with Burgess. The tribute gave the routine meaning; the technical growth gave that meaning somewhere to live.
October 7, 2026 · 3:24 AM ETPro Development · Live Tour
DWTS Live 2027 Tour Expands the Professional Pipeline — Britt Stewart, Hailey Bills, Adele Zaikman and the Troupe Are Going on the Road
The newly announced 2027 tour turns one of DMM’s standing Season 35 questions into a concrete career-development story: elimination from the celebrity competition does not necessarily end a professional dancer’s season or visibility.
The official Dancing with the Stars: Live! tour cast lists Emma Slater as co-host alongside Val Chmerkovskiy, Britt Stewart, Alan Bersten, Brandon Armstrong, Jenna Johnson, Ezra Sosa, Hailey Bills, Rylee Arnold, Sharna Burgess and Adele Zaikman. For the first time, the DWTS live troupe is also joining the road cast: Onye Stevenson, Carter Williams, Jaxon Willard and Kamri Peterson. Venue listings confirm the new arena production begins in January 2027, with general ticket sales opening October 13; celebrity guest stars remain to be announced.
DMM Pro-Dancer Lens: Britt Stewart’s Week 3 elimination, and the premiere exits of first-time pros Bills and Zaikman, now have an important verified next chapter. All three are booked for the live tour. Bills and Zaikman therefore move from DMM’s hypothetical “what happens after elimination?” question into documented continuing employment inside the DWTS ecosystem. The troupe’s first tour inclusion is equally significant because it creates a visible bridge between developmental broadcast roles and the franchise’s touring stage.
October 7, 2026 · 3:10 AM ETPro Dancer · Cultural Context
Val Chmerkovskiy Removes Cornrows Before Mariah Carey Night After Online Backlash
The Season 35 pro appeared in promotional social video with cornrows, drew criticism over cultural appropriation, and performed on the live broadcast without the hairstyle.
Entertainment Weekly documented the sequence after viewers reacted to Chmerkovskiy’s promotional look ahead of Mariah Carey Night. Chmerkovskiy later posted another social clip with the braids removed and appeared on the October 6 broadcast without them. DMM is recording the verified change and the public criticism without assigning a motive that Chmerkovskiy has not explicitly stated.
DMM Cultural Lens: styling in televised dance is part of performance language, not an incidental detail. Hair, costume and movement can carry cultural histories beyond a theme-night concept. The useful question for DMM is therefore not whether online outrage itself becomes the story, but how production and performers navigate cultural references when visual choices intersect with identities and traditions that the choreography does not necessarily explain.
October 7, 2026 · 1:53 AM ETJudging · Audience Reaction
Carrie Ann Inaba Is Booed Over Guillermo Rodriguez Critique as DWTS’ Score-vs.-Audience Divide Sharpens
Guillermo Rodriguez earned the lowest judges’ score of Mariah Carey Night, but the live audience pushed back loudly when Carrie Ann Inaba questioned whether his usual joy had dimmed. The moment adds a visible audience-response layer to DMM’s ongoing Guillermo Development Watch.
Rodriguez and Witney Carson performed a samba to Mariah Carey’s “Obsessed” and received 13/30 — 4s from Carrie Ann Inaba and Derek Hough and a 5 from Bruno Tonioli. ABC/Disney’s official Week 4 release confirms the samba assignment, while the live-broadcast exchange reported after the episode documents the studio reaction to Inaba’s critique.
Inaba asked Rodriguez where his joy had gone and said she felt he was dimming the quality that makes him distinctive. The audience responded with sustained boos. She then clarified that her point was not to diminish him but to push him to keep bringing his natural light to the floor. Rodriguez and Carson nevertheless advanced, while Ciara Miller and Brandon Armstrong were eliminated.
DMM Analysis — Technique, Entertainment and the Audience
This is the clearest Week 4 example of the tension DMM has been tracking around Rodriguez: the judges can identify limited samba technique while viewers and the room respond to personality, humor and persistence. His survival does not reveal his vote total, because DWTS does not publish the underlying viewer numbers. What is verifiable is the widening contrast between his judges’ scores and the visible audience investment around his run.
Ciara Miller & Brandon Armstrong Eliminated as Maura Higgins Tops DWTS Mariah Carey Night
Week 4 produced a sharper split between judges’ scores and the combined result: Miller improved to 21/30 and still went home, while Guillermo Rodriguez survived after the night’s lowest judges’ score.
Ciara Miller and professional partner Brandon Armstrong were eliminated at the end of Mariah Carey Night after their jazz to “Emotions” earned 21/30. The result leaves 11 couples in Season 35. Maura Higgins and Mark Ballas topped the judges’ leaderboard with 25/30 for their waltz to “If It’s Over,” while Ezra Frech/Daniella Karagach, Harry Shum Jr./Jenna Johnson and Jenna Dewan/Val Chmerkovskiy each scored 24/30.
The night also supplied two important DMM checkpoints. Frech reached a new personal high with a 24/30 rumba after DMM’s adaptive-dance watch focused on how slower sustained movement would test control and weight transfer. Shum matched 24/30 with his tango to “It’s Like That,” returning to the Mariah Carey song whose 2005 music video he danced in as a backup performer. Rodriguez and Witney Carson scored 13/30 for their samba to “Obsessed” but advanced, reinforcing that the public result cannot be inferred from the judges’ leaderboard alone.
DMM Dance Lens
Miller’s exit is useful evidence for DMM’s season record because improvement alone does not guarantee survival. She rose from 15 to 18 to 18 to 21 across four scored dances, yet the combined judges-and-viewer system ended her run on the same night Rodriguez survived from the bottom of the judges’ board. DMM will not translate that into unsupported vote totals; ABC does not publish the underlying audience vote.
Verification: ABC/Disney’s official Mariah Carey Night release confirms the 12-couple lineup, songs, dances and combined judges/viewer elimination format. Same-night result reporting from The Hollywood Reporter, Deadline, TV Insider and other national outlets confirms Miller/Armstrong as the Week 4 elimination and the judges’ scores. DMM will replace secondary score/result sourcing with an ABC-owned recap when one is published.
Jackson Olson Apologizes to Guillermo Rodriguez as Their DWTS Dance Controversy De-escalates Before Mariah Carey Night
The Week 4 controversy DMM logged on October 5 now has a verified follow-up: Olson has apologized publicly, and the two competitors used dance itself to signal that the dispute is not being carried into the ballroom as a feud.
Entertainment Weekly reports that Olson posted an apology after backlash over his deleted comparison of a parody recreation with Rodriguez’s Week 3 foxtrot. In the new Instagram video, Olson and Rodriguez lip-sync to Miley Cyrus’ “Nobody’s Perfect” and finish by dancing together. Olson framed the moment around moving forward and the togetherness of Dancing with the Stars.
That changes the status of DMM’s October 5 entry. The original comment and backlash remain part of the Season 35 record, but the verified public response now points toward de-escalation rather than an expanding interpersonal feud. Rodriguez had already said he believed Olson was joking. DMM will continue to separate the documented controversy from speculation about how viewers may vote tonight.
DMM Dance-Culture Lens
For DMM, the useful development is accountability inside a dance competition, not prolonging a social-media conflict after the participants themselves have moved toward resolution. Tonight provides the cleaner competitive test: Olson and Emma Slater have a waltz to “Without You,” while Rodriguez and Witney Carson return to Latin with a samba to “Obsessed.” Their dancing, judges’ feedback and verified result should determine the next entry—not pre-show speculation.
October 6, 2026 · 3:57 PM ETNext Pro · Pro Development
Val Chmerkovskiy Defends Hailey Bills’ DWTS Credentials as the “Nepo Baby” Debate Reaches the Pro Roster
The argument around Season 35’s first-time pro has moved beyond family connections and into a more useful dance question: what evidence should count when evaluating whether a young professional is ready for the DWTS roster?
Veteran pro Val Chmerkovskiy publicly defended his niece Hailey Bills after The Hollywood Reporter’s October 2 interview framed her rise through the show around the “nepo baby” label. Chmerkovskiy argued that the label discounts nearly 15 years of high-level dance work and said Bills is not merely qualified for the role but, by some measures, could be considered overqualified. He also acknowledged that she still has room to grow.
Bills herself took a more nuanced position in the original interview. She credited aunt Jenna Johnson as an important factor in her access to the show, described herself as fortunate to have those connections and simultaneously argued that family access should not erase the work required to reach professional level. Bills entered Season 35 after Dancing with the Stars: Juniors, Season 34 troupe work and the 2026 live tour; her celebrity partnership with Sarah Jane Nader ended in premiere week, but Bills has already confirmed that her Season 35 show work continues.
DMM Pro-Dancer Lens
DMM is separating two questions that can coexist. Family proximity can create access, mentorship and visibility; it does not by itself answer whether the dancer has the training, range, teaching ability and on-camera partnership skills required by the job. Bills has openly acknowledged the access. Chmerkovskiy is now arguing the credentials. The longer Season 35 test is what Bills does with the post-elimination opportunity: troupe appearances, choreography, teaching, tour work and any future celebrity partnership provide evidence that can be evaluated beyond the label.
October 6, 2026 · 3:20 PM ETDance History · Transfer Test
Julia Stiles Reframes Her Save the Last Dance History Before Mariah Carey Night
A new direct interview sharpens one of DMM’s Season 35 questions: how much does screen-dance experience actually transfer when the celebrity has to perform live ballroom technique without editing or a character to hide behind?
In an interview published October 6, Stiles revisited how she described her dance background while promoting Save the Last Dance. Watching an older interview back, she said she now believes she played up that training too much. She explained that the film required rigorous preparation but also used a dance double for more advanced material, and that the expectations created by the movie eventually made her self-conscious enough to stop taking dance classes.
That context changes how DMM reads her Season 35 progression. Stiles and Ezra Sosa moved from 18/30 in the premiere to 16/30 on Viral Hits Night and 19/30 on Yacht Rock Night while she managed a rib injury. Rather than treating a famous dance-film credit as automatic ballroom advantage, the useful test is whether she can rebuild confidence, frame, timing and partnership under live competition conditions.
DMM Transfer Test
Stiles is a useful reminder that “dance experience” is not one category. Film choreography can be rehearsed, edited and supported by doubles; ballroom asks for continuous partnered technique in a live take. Tonight’s Viennese waltz gives DMM a clean next checkpoint because sustained rotation, frame and musical flow will test a different skill set from last week’s salsa.
Tonight: ABC/Disney confirms Stiles and Sosa will perform a Viennese waltz to Mariah Carey’s “Vision of Love” on October 6. DMM will update the record only after the performance, score and judges’ feedback are verified.
October 5, 2026 · 10:12 AM ETContestant Controversy · Voting Watch
Jackson Olson’s Deleted Guillermo Rodriguez Comment Draws Backlash Before Mariah Carey Night
A deleted social-media comment has moved from cast banter into a searchable DWTS controversy, but Guillermo Rodriguez himself has publicly downplayed it as a joke.
A USA TODAY Network report published October 5 documents screenshots of a deleted comment Jackson Olson left beneath a playful recreation of Guillermo Rodriguez and Witney Carson’s Week 3 foxtrot. Olson asked how the performer had done the routine “better than him with 2 hours of rehearsal” and also posted “3,” which viewers interpreted as a score. The comments were removed after criticism spread across social platforms.
Rodriguez has not escalated the dispute. In a social-media response quoted by the report, he said he was okay and thought it was a joke. That distinction matters: DMM can document the public reaction and the dance comparison without presenting a cast feud that Rodriguez himself has not claimed.
DMM Dance + Voting Lens
The underlying comparison is about dance: whether a parody recreation appeared cleaner than a contestant’s performance after weeks of ballroom training. The competitive consequence is still unknown. Olson and Emma Slater were among the final couples awaiting safety on Yacht Rock Night, while Rodriguez and Carson have built a strong audience story despite lower judges’ scores. DMM will not claim the backlash changed votes unless Tuesday’s verified results or direct reporting establishes that connection.
Week 4 test: Olson and Emma Slater are assigned a waltz to “Without You”; Rodriguez and Witney Carson have a samba to “Obsessed.” ABC/Disney confirms both assignments for Mariah Carey Night on October 6.
October 4, 2026 · 12:33 PM ETRepresentation · Adaptive Dance
Amy Purdy Says Ezra Frech Is Taking DWTS Disability Representation “to a Whole New Level”
A new direct interview connects two generations of Paralympians in the ballroom and gives DMM a clearer historical frame for Frech’s Season 35 run.
In an interview published October 4, Season 18 runner-up Amy Purdy described watching Ezra Frech compete as deeply meaningful and said his presence is extending the visibility disabled athletes can have on a mainstream dance platform. Purdy, a double below-the-knee amputee who competed with Derek Hough in 2014, said the possibilities available to Frech now are broader than what she felt able to attempt during her own season.
Frech told People that Purdy’s support is “fueling” him and credited disabled contestants before him with helping make his own participation possible. He also emphasized the importance of normalizing disability rather than treating it as an exception. ABC’s official Season 35 biography independently identifies Frech as a two-time Paralympic gold medalist and disability advocate, while ABC’s Week 4 release confirms that he and Daniella Karagach will perform a rumba to Mariah Carey’s “Anytime You Need a Friend” on October 6.
DMM Dance Lens
The story is not simply that two Paralympians support each other. Purdy’s comments create a twelve-year comparison point for how adaptive movement is being presented on DWTS. Frech has already explained that he deliberately dances on a running blade even though it can create instability because its rebound gives him movement possibilities he values. Mariah Carey Night now moves that experiment into rumba, where sustained weight transfer, control and continuous phrasing will make the adaptation especially visible. DMM will judge the choreography as choreography — while preserving the larger history of who helped make that visibility possible.
Watch next: Frech enters Week 4 with scores of 20, 21 and 21. DMM will update this record after the October 6 rumba with the verified score, judges’ feedback and any new technical detail about how Karagach adapts the choreography.
October 3, 2026 · 2:34 PM ETPro Development · Direct Statement
Britt Stewart Breaks Her Silence After DWTS Elimination, Framing the Hanson Partnership Beyond Its Three-Week Run
After several days of reaction around her early exit, Stewart has now spoken for herself. Her message centers the creative partnership with Taylor Hanson rather than speculation about her future with the show.
In a statement shared October 3, Stewart thanked Hanson for trusting her and for showing up authentically throughout their Season 35 partnership. She said what they created together was bigger than the number of weeks they were given and that she would remain proud of their Dancing with the Stars journey.
Stewart also described the partnership as one she believes will have a lasting impact on her and thanked viewers for the messages and support that followed the September 29 elimination. The statement is significant because it is Stewart’s first extended public framing of the exit after several days in which judges, fellow professionals, the cohost and viewers had been speaking about the result around her.
DMM Pro-Dancer Lens
The useful development is what Stewart actually chose to emphasize: trust, creation, connection and pride in the work. She did not announce that she is leaving DWTS, and DMM will not convert outside speculation into a career decision she has not made publicly. For the Professional Dancer Development tracker, this statement becomes the clearest first-person record of how Stewart is defining the Season 35 partnership after its early competitive end.
Context: Hanson and Stewart were eliminated on Yacht Rock Night after their foxtrot to “What a Fool Believes” earned 18/30. Earlier October 3 reporting documented Alfonso Ribeiro calling the result especially difficult and praising Stewart’s work; this new entry adds Stewart’s own voice to that record rather than replacing the earlier report.
October 3, 2026 · 4:42 AM ETPro Development · Elimination Context
Alfonso Ribeiro Calls Britt Stewart’s Week 3 Exit “Especially Difficult” as Her Finale Wait Continues
The DWTS cohost’s new comments turn Taylor Hanson and Britt Stewart’s elimination into a professional-dancer development story as well as a competition result.
In an interview published October 3, cohost Alfonso Ribeiro described Hanson and Stewart’s Yacht Rock Night elimination as especially difficult and praised Stewart as an outstanding professional dancer. Ribeiro also pointed to a career fact that matters to DMM’s pro-development watch: Stewart has not yet reached a Dancing with the Stars finale as a competing professional.
Their run ended September 29 after a foxtrot to “What a Fool Believes” scored 18/30. Hanson has since disclosed that he danced through left-leg numbness during the season, while both partners have spoken about the strength of the working relationship they built in three weeks.
DMM Pro-Dancer Lens
A celebrity elimination also determines how long a professional dancer gets to teach, choreograph and compete in the season’s main partnership format. Ribeiro’s comments are useful because they come from inside the show and frame Stewart’s exit in the context of her longer professional arc. DMM will keep the distinction clear: the early elimination is documented; any claim about Stewart’s future with the show remains unconfirmed unless Stewart or ABC/DWTS says so directly.
Media check: ABC/Disney Television Press has official Yacht Rock Night photography of Hanson and Stewart available through its press gallery. DMM has not re-hosted a new image in this update without a confirmed authorized press-asset workflow.
October 2, 2026 · Late-Evening UpdateDevelopment Watch · Audience Momentum
Guillermo Rodriguez’s DWTS Run Is Becoming an Audience Story Beyond the Scoreboard
Guillermo Rodriguez remains at the bottom of the judges’ leaderboard, but a new national-television moment shows why DMM’s Development Watch cannot be measured by scores alone.
During the October 1 episode of Jimmy Kimmel Live!, John Oliver said his children had never watched Dancing with the Stars before this season and are now invested specifically because of Rodriguez. Oliver described his younger son waking early to ask whether Guillermo had survived the elimination, while the conversation also singled out the crowd-pleasing physical comedy inside Rodriguez’s Week 3 foxtrot.
That attention arrives alongside measurable ballroom progress. Rodriguez and Witney Carson have moved from 10/30 in the premiere cha-cha to 12/30 on Viral Hits Night and 15/30 for their Yacht Rock foxtrot. Carson has also publicly emphasized his work ethic, saying he continues practicing during rehearsal downtime and genuinely wants to improve.
DMM Development Watch
Guillermo’s Season 35 story now has two tracks: the technical one and the audience one. The judges’ numbers show gradual improvement; the response around him shows that viewers can become invested before technique reaches the middle of the field. That distinction matters in a competition where judges’ scores and viewer votes are combined. DMM will keep the two measures separate rather than treating popularity as proof of ballroom proficiency.
Watch next: Mariah Carey Night returns Rodriguez to Latin with a samba to “Obsessed.” After three consecutive score increases, the useful question is whether his foxtrot gains in timing, confidence and partnership survive the faster rhythm assignment.
October 2, 2026 · Evening UpdateDance History · Transfer Test
Harry Shum Jr.’s Mariah Carey Night Tango Brings Him Back to a Song He Danced in 21 Years Ago
Week 4 now carries a piece of dance history: Shum has confirmed that he appeared as a backup dancer in Mariah Carey’s 2005 “It’s Like That” music video. On October 6, he and Jenna Johnson are scheduled to compete with a tango to the same song.
In a direct interview with E! News, Shum confirmed his appearance in the 2005 video and traced the opportunity to his work with choreographer Debbie Allen. ABC/Disney’s official Mariah Carey Night release independently confirms that Shum and Johnson will dance a tango to “It’s Like That,” featuring Jermaine Dupri and Fatman Scoop, on Tuesday’s episode.
The connection makes this more than a theme-night song assignment. Shum first encountered the record from the position of a commercial backup dancer inside a Mariah Carey production. Twenty-one years later, he returns to it as the named celebrity competitor, with ballroom technique and partnership now determining how the same musical history reads on television.
DMM Transfer Test
The history sharpens DMM’s season-long question about experienced dancers. Shum already knows how to perform for a camera, retain choreography and project movement at scale. Jenna Johnson says the judges are holding them to a higher expectation because of that background. The Week 4 test is whether those advantages translate into tango-specific frame, connection, weight placement and controlled attack — not whether Shum can simply revisit the movement vocabulary of a 2005 music video.
Shum also described his earlier iPod silhouette work as requiring deliberately enlarged shapes so movement would read graphically. That history gives DMM another useful contrast for Tuesday: commercial dance can reward projection and scale; partnered ballroom can demand economy, precision and a different relationship to another body.
Watch next: DMM will compare the October 6 tango with Shum’s existing Season 35 progression (21 → 18 → 24) and update the Transfer Test after the judges’ verified feedback and score.
October 2, 2026 · Afternoon UpdateNext Pro Pipeline · Pro Development
Hailey Bills Says Her DWTS Season Continues After Elimination — and She Is Already Learning for a Possible Next Pro Run
The first-time pro’s competition ended after one routine, but her professional development did not. A new direct interview gives DMM the clearest evidence yet for one of Season 35’s standing questions: what happens to new pros after the celebrity partnership ends?
In an interview published October 2, Bills told The Hollywood Reporter that she still has “10 weeks on the show” after her premiere-week elimination with Sarah Jane Nader. Bills said the early exit was difficult, but framed the rest of Season 35 as continued work rather than a reason to remain stuck on the result.
Bills’ path to the pro roster was unusually fast. She joined the Season 34 troupe, spent the 2026 live tour performing alongside established professionals and said producers told her during that tour that she would become a Season 35 pro. Her debut partnership lasted one competitive jive, but she is now back inside the larger show environment rather than disappearing from the season.
DMM Next Pro Pipeline
This is why DMM kept the pipeline tracker open after premiere week. A celebrity elimination measures one partnership; it does not necessarily measure the professional dancer’s value to the franchise. Bills says the experience has already changed how she thinks about patience and adapting to a partner’s learning style. If Season 35 continues giving her troupe or ensemble work, those appearances become part of the evidence for whether a first pro opportunity can develop into durable broadcast work.
Status: Bills did not announce a confirmed Season 36 pro contract. She said that if she is fortunate enough to return as a pro next season, she would enter with more knowledge about building from the ground up with a celebrity partner. DMM is treating that as professional-development context, not a casting announcement.
October 2, 2026 · Early-Morning UpdatePro Watch · Choreography
ABC Adds Three Pro and Troupe Performances to Mariah Carey Night
The official Week 4 release expands Mariah Carey Night beyond the 12 celebrity routines, giving DMM three additional ensemble performances to watch for choreography, staging and professional-dancer visibility.
ABC has now confirmed that the October 6 episode will also include additional professional and troupe performances to “Heartbreaker” featuring JAY-Z, “Loverboy” and “Always Be My Baby.” The announcement follows the previously confirmed 12 celebrity song-and-dance assignments.
DMM Choreography Watch
These ensemble numbers matter because they remove the celebrity-training constraint and put the show’s professional dancers and troupe at the center of the movement. DMM will watch how the creative team differentiates three distinct periods of Carey’s catalog through musicality, formation work, partner vocabulary and camera staging — and whether the television direction gives the choreography enough uninterrupted space to register.
Broadcast: Mariah Carey Night airs Tuesday, October 6, from 8:00–10:00 p.m. EDT/PDT and 7:00–9:00 p.m. CDT on ABC and Disney+, with next-day streaming on Hulu. ABC says viewer votes from the live voting window will again be combined with judges’ scores.
Media check: Disney’s official release provides a press-asset download portal. DMM is not inserting or re-hosting those assets in this master without confirming the applicable press-use terms for the selected files.
October 1, 2026 · Evening UpdatePro Watch · Judging
Gleb Savchenko Calls Season 35 Absence a “Hiatus” — and Says DWTS Judges Should Score Harder
The longtime professional dancer says his absence from the Season 35 pro roster is a break rather than a retirement, while also weighing in on two questions already central to DMM’s season watch: judging standards and the value of prior dance experience.
In a direct interview published October 1, Savchenko described his time away from Dancing with the Stars as “a little break, a little hiatus, a little reset” and said he is not retired from the franchise. Savchenko, who first joined the U.S. series in 2013, was not included among the competing Season 35 professionals.
Watching from outside the ballroom has also sharpened his view of the competition. Savchenko said he does not believe the judges are scoring harshly enough and argued that lower paddles should remain available when the dancing warrants them. His comments arrive during a season in which judging format, compressed critique time and the relationship between judges’ scores and audience voting have already become recurring storylines.
Savchenko also rejected the idea that contestants such as Jenna Dewan automatically possess a decisive advantage simply because they have previous dance experience. His reasoning was technical: ballroom is partnered dancing, and learning choreography is different from creating connection, balance, frame and the push-pull relationship required between two dancers.
DMM Pro Watch
Savchenko’s comments matter because they come from a professional who has spent years inside the DWTS teaching and scoring environment but is watching Season 35 from outside it. His distinction between general dance experience and partnered ballroom technique reinforces DMM’s ongoing Transfer Test: previous movement training can accelerate learning, but frame, weight exchange, lead-and-follow mechanics and ballroom-specific technique still have to be built.
Status: Savchenko did not announce a confirmed Season 36 return. DMM is therefore recording his own description — hiatus, not retirement — without presenting a future casting decision as settled.
October 1, 2026 · Afternoon UpdateInjury · Performance Context
Taylor Hanson Reveals He Danced Through Left-Leg Numbness Before His Week 3 Elimination
The newly disclosed injury adds important technical context to Hanson and Britt Stewart’s three-week run: Hanson says numbness in his left leg had affected him since the opening week of competition.
In a post-elimination interview published October 1, Hanson revealed that he had been dealing with numbness in his left leg during Season 35. The issue was not publicly disclosed while he was still competing. He nevertheless completed the Week 3 foxtrot with Stewart, including the heel-led and traveling actions required by the style, before the partnership was eliminated on Yacht Rock Night with an 18/30.
Stewart praised Hanson for continuing to work through the physical limitation without allowing it to define the performance. The disclosure does not change the elimination result, but it changes how DMM reads the partnership’s technical progression: the audience and judges were evaluating a developing ballroom dancer without knowing that one leg was not providing normal sensation.
DMM Technique Context
Foxtrot depends on controlled weight transfer, foot articulation, balance and continuous travel. Reduced sensation in a leg can therefore matter to how a dancer perceives placement and pressure. DMM is not diagnosing Hanson’s condition or assigning the injury responsibility for his score; the significance is that a previously unknown physical constraint was present while Stewart was teaching and Hanson was executing ballroom technique.
Editorial note: This update is based on Hanson’s own post-elimination disclosure as reported in a direct interview. DMM is avoiding speculation about diagnosis, severity or whether the injury affected the public vote.
Mariah Carey Night Assignments Are Set: Rumba Dominates the Week 4 Dance Card
The official DWTS podcast has revealed all 12 Week 4 pairings, songs and dance styles ahead of the October 6 episode.
Amber Glenn & Pasha Pashkov — Rumba · “Hero” Ciara Miller & Brandon Armstrong — Jazz · “Emotions” Connor Wood & Rylee Arnold — Rumba · “Touch My Body” Ezra Frech & Daniella Karagach — Rumba · “Anytime You Need a Friend” Guillermo Rodriguez & Witney Carson — Samba · “Obsessed” Harry Shum Jr. & Jenna Johnson — Tango · “It’s Like That” Jackson Olson & Emma Slater — Waltz · “Without You” Jenna Dewan & Val Chmerkovskiy — Rumba · “My All” Julia Stiles & Ezra Sosa — Viennese Waltz · “Vision of Love” Maura Higgins & Mark Ballas — Waltz · “If It’s Over” Tatyana Ali & Jan Ravnik — Jazz · “Fantasy” Tyler Cameron & Sharna Burgess — Foxtrot · “#Beautiful”
DMM Choreography Watch: Four couples draw rumba, making control, sustained movement and emotional phrasing unusually easy to compare across the same episode. Amber Glenn and Pasha Pashkov arrive with a season-high 24 from their Yacht Rock foxtrot; Jenna Dewan/Val Chmerkovskiy and Ezra Frech/Daniella Karagach each scored 21 last week. Harry Shum Jr. and Jenna Johnson move in the opposite direction technically, from a 24-point jive into tango, while Tatyana Ali and Jan Ravnik leave ballroom frame for jazz after their 21-point quickstep.
That distribution gives Week 4 a useful transfer test: can the current leaders preserve their scoring momentum when the movement quality changes? DMM will watch particularly closely for how Glenn translates skating-derived line and control into rumba, how Frech manages slower sustained weight transfer with his running blade, and how Shum handles tango’s frame and attack after the looseness and speed of jive.
Verification: Season 34 alumnus Andy Richter announced the lineup on the Dancing With the Stars Official Podcast. Entertainment Weekly published the complete assignment list on October 1. ABC separately confirms that the 12 remaining couples perform Mariah Carey Night on Tuesday, October 6 at 8 p.m. on ABC and Disney+.
Yacht Rock Night Draws 7.12 Million Viewers — DWTS’s Best Non-Finale Episode in Six Years
ABC’s first Week 3 ratings report shows Season 35 building rather than fading after premiere week.
Disney Entertainment Television reports that the September 29 Yacht Rock Night episode drew 7.12 million viewers in preliminary Nielsen Live+Same Day measurement. ABC says that makes it the show’s most-watched non-finale episode in six years, dating back to the Season 29 premiere on September 14, 2020.
The episode rose 11% over the prior Tuesday’s 6.44 million audience and ranked as the night’s top entertainment program despite competing with the Yankees–Red Sox MLB Wild Card game on NBC.
DMM Audience Watch
This is a stronger signal than the seven-day premiere growth DMM logged on September 30 because it shows momentum continuing into Week 3 on the initial broadcast itself. For dance coverage, that expanding live audience increases the search opportunity around individual routines, choreography decisions and professional-dancer stories immediately after each episode.
Measurement note: The 7.12 million figure is Nielsen National Live+Same Day Preliminary Panel Only data for September 29. It should not be directly compared with the 9.98 million seven-day cross-platform premiere figure as though the measurements are identical.
September 30, 2026 · Evening UpdateRatings · Audience
DWTS Season 35 Premiere Grows to 9.98 Million Viewers Across Seven Days
ABC’s newest seven-day measurement shows the Season 35 Tuesday premiere reaching nearly 10 million viewers across linear and streaming — 17 percent above last season’s premiere.
Disney Entertainment Television reported on September 30 that the September 15 Season 35 Tuesday premiere reached a 9.98 million total cross-platform audience after seven days. ABC says that represents a 17% increase over the Season 34 premiere, which reached 8.50 million viewers on September 16, 2025.
The seven-day figure is also 47% above the episode’s initial 6.77 million Live+Same Day audience. ABC says the 9.98 million result surpassed every Season 34 episode except the finale.
DMM Audience Watch
The important signal is not simply that the premiere approached 10 million viewers. The seven-day lift shows how much of the modern DWTS audience now accumulates beyond the first-night linear number. For DMM, that strengthens the case for treating standout routines, choreography stories and dancer profiles as multi-day search opportunities rather than content whose relevance ends when the live broadcast does.
Measurement note: These numbers should not be mixed with earlier same-day ratings as though they are the same metric. ABC identifies the 9.98 million figure as Nielsen Linear + SCR data based on seven days of viewing from the September 15 linear air date plus streaming first-stream data. The 6.77 million comparison is the initial Live+Same Day audience.
Media rights: Disney’s ratings release includes an Eric McCandless image and states that its press photography is copyrighted, for editorial publicity use only, and may not be archived, altered, duplicated, resold or retransmitted outside the stated terms. DMM has therefore not inserted the image into this replacement without a confirmed authorized press-asset workflow.
September 30, 2026 · 3:47 PM ETChoreography · Production
Jan Ravnik Restores the Quickstep Section DWTS Viewers Missed After Camera Cutaway
A production cutaway during Tatyana Ali and Jan Ravnik’s Week 3 quickstep obscured several seconds of choreography from the television audience. Ravnik has now published the missing section himself.
Ali and Ravnik performed a quickstep to Hall & Oates’ “Maneater” on Yacht Rock Night and earned 21/30. During the routine, however, the broadcast camera moved away from the couple to an audience shot. The missed choreography included the pair hopping across the ballroom before Ravnik executed a full split.
Ravnik subsequently posted footage of the unseen section to his own social channels, explicitly identifying it as the portion viewers did not see during the broadcast. The correction matters because the partnership’s 21/30 represented another measurable step forward after scores of 12/30 and 18/30 in their earlier appearances.
DMM Choreography Lens
Television direction is part of how dance is ultimately experienced. When a live camera leaves the dancers during a competitive phrase, viewers lose information about timing, partnering, transitions and choreographic construction even though the judges in the ballroom still see the complete performance. Ravnik’s post restores that missing visual record and gives audiences a more complete look at a routine that marked Ali’s strongest scoring night so far.
Media check: Ravnik’s own social post is the relevant primary-source footage for the missing section. DMM is not re-hosting or reproducing the clip; the Newsroom documents the correction while preserving the original creator/source context.
September 30, 2026 · Afternoon UpdateVoting · Format
DWTS Executive Producer Explains Why West Coast Viewers Still Have to Vote Before Seeing the Dances
A long-running voting problem is back in focus during Season 35: Pacific-time viewers can participate, but the voting window closes before the delayed West Coast broadcast lets them judge the performances for themselves.
Season 35 is performed in Los Angeles beginning at 5 p.m. PT and reaches Eastern viewers live at 8 p.m. ET. The West Coast television and Disney+ presentation does not begin until 8 p.m. PT. Because voting takes place during the live Eastern/Central broadcast and closes shortly after the final competitive dance, Pacific-time viewers who want their votes counted must generally vote before watching the performances locally.
Executive producer Conrad Green addressed the issue in a new interview with The Hollywood Reporter. Green said the economics and importance of ABC’s local affiliates are a major reason the program is not simply made available at 5 p.m. PT across the West Coast. He acknowledged the frustration and said West Coast viewers can still participate by planning to vote during the earlier live window — effectively voting without having seen that night’s dances.
Why DMM Is Watching This
DWTS combines judges’ scores with viewer voting to determine eliminations. That makes the timing issue more than a streaming inconvenience: a large group of viewers is asked to make the audience-vote half of the competitive decision without first seeing the choreography, technique or performance quality being judged that night. For a dance publication, that disconnect matters. DMM will continue separating popularity-driven voting dynamics from what actually happens on the ballroom floor.
The official voting instructions remain the controlling source for each episode. Viewers should use the DWTS voting portal during the announced live window rather than assume voting remains open through a later local broadcast. This update does not represent a newly announced rule change; it documents the Season 35 system and the executive producer’s explanation for why the West Coast disparity persists.
Media check: No additional image is required for this format explainer. DMM is keeping the Newsroom focused on the voting mechanics and their competitive consequence rather than adding unrelated promotional imagery.
September 30, 2026 · 10:02 AM ETPro Dancer · Elimination
DWTS Pros Rally Around Britt Stewart After Taylor Hanson Elimination
The Yacht Rock Night elimination has developed into a professional-dancer story, with multiple members of the Season 35 ballroom publicly emphasizing Stewart’s work, teaching and unrealized finale potential.
In post-show interviews published by Entertainment Weekly, Sharna Burgess said she wants Stewart to receive the kind of partnership that can carry her to a finale and allow audiences to see a Britt Stewart freestyle. Brandon Armstrong called Stewart an elite dancer and elite professional, while Daniella Karagach described her as a phenomenal teacher. Jan Ravnik likewise praised Stewart as one of the best dancers he has worked with.
The reaction adds context to Taylor Hanson and Stewart’s 18/30 foxtrot elimination. Stewart became the first Black woman to join the DWTS professional roster in Season 29. She has not yet reached a finale; her highest finish remains fifth place with Daniel Durant in Season 31.
DMM Pro Watch: This is why eliminations cannot always be read only through celebrity placement. A professional dancer’s season determines which choreography audiences get to see, how long a teaching partnership can develop and whether that pro reaches late-season formats such as the freestyle. The response from Stewart’s peers turns her Week 3 exit into a broader question about opportunity: how much of a pro’s visible DWTS legacy is shaped by choreography and teaching, and how much depends on the competitive ceiling of the celebrity pairing?
Media check: The reporting includes Disney/Eric McCandless photography from Yacht Rock Night. DMM is retaining the verified credit but is not inserting the still without a confirmed press/publicity download path and editorial-use context.
September 30, 2026 · 10:47 AM ETPro Dancer · Competition
Witney Carson Says Pregnancy Is Not Limiting Her DWTS Run With Guillermo Rodriguez
The reigning Mirrorball-winning pro directly addressed speculation that she wanted her Season 35 partnership to end, saying she is happy to continue and does not feel she is physically overdoing it.
Carson responded on her own social media after viewers interpreted her reactions during recent elimination sequences as disappointment that she and Guillermo Rodriguez were still in the competition. She explained that the expression viewers were seeing was sadness for the couple being eliminated, followed by celebration that she and Rodriguez were safe.
Carson also addressed questions about competing while pregnant with her third child. She said she knows how far to push her body, is following her doctors’ guidance, rests when necessary and does not currently feel physically overextended. She added that the show is willing to provide assistance when needed. Carson said she feels good, though more tired than usual.
DMM Pro Watch: The relevant competition issue is not the rumor itself but Carson’s confirmation that pregnancy is not presently restricting her participation or choreography with Rodriguez. That distinction matters when evaluating the partnership: unless Carson or the production reports a medical limitation, DMM will treat their dance choices as competitive and choreographic decisions rather than assume they are pregnancy-driven.
Rodriguez and Carson scored 15/30 for their Yacht Rock Night foxtrot to “Escape (The Piña Colada Song).” Carson praised his rehearsal work and said he continues practicing even while she is resting. They remain among the 12 couples advancing to Week 4.
Media check: The report includes Disney photography of Carson and the partnership, but DMM is not inserting a still without a verified press/publicity download path and confirmed editorial-use context.
Source: Entertainment Weekly, Sept. 30, 2026 at 10:47 AM ET, reporting Carson’s direct social-media statement.
September 30, 2026 · Morning UpdateFormat · Theme Night
DWTS Announces First-Ever Super Bowl Night for October 13
Season 35 is adding a new theme to the franchise: the remaining couples will dance to music associated with memorable Super Bowl halftime performances.
The announcement was made Wednesday morning on Good Morning America by judge Derek Hough. Super Bowl Night is scheduled for Tuesday, October 13, and will honor the music, spectacle and memorable moments associated with the NFL championship game. It is the first Super Bowl-themed episode in Dancing with the Stars history.
The special arrives during ABC and ESPN’s broader lead-up to Super Bowl LXI, which ABC and ESPN are scheduled to carry on February 14, 2027. Before then, Season 35 continues with Mariah Carey Night on October 6. The announced October schedule also includes Dedication Night on October 20 and Horror Movie Night on October 27.
DMM Choreography Watch: The concept has stronger dance potential than a conventional artist theme because Super Bowl halftime shows are built around large-scale choreography, staging, formations and instantly recognizable performance moments. The key question will be whether DWTS asks its professionals to reference that movement history or simply uses halftime-show songs as a soundtrack. DMM will track the song and dance assignments when ABC releases them.
Media check: The announcement is verified, but no official Week 5 performance footage exists yet. DMM is not inserting third-party imagery or speculative media before an official usable asset is available.
Verification: Announced on Good Morning America, Sept. 30, 2026. The announcement and October 13 date are independently reported by Entertainment Weekly, The Hollywood Reporter and Us Weekly.
September 29, 2026 · 11:21 PM ETWeek 3 · Results
Yacht Rock Night Resets the DWTS Leaderboard as Taylor Hanson and Britt Stewart Are Eliminated
Season 35 is down to 12 couples after a night that produced new season-high scores, two rehearsal injuries and another on-air reminder that judge feedback remains squeezed for time.
ABC News confirms that Taylor Hanson and Britt Stewart became the fourth partnership eliminated from Season 35 after their foxtrot to The Doobie Brothers’ “What a Fool Believes.” The routine earned 18/30. Entertainment Weekly reports that Hanson and Stewart were called out for elimination after landing in the final group with Jackson Olson and Emma Slater and Guillermo Rodriguez and Witney Carson.
The Leaderboard Moved
Amber Glenn & Pasha Pashkov — 24/30: Their foxtrot to Toto’s “Hold the Line” reached a new season-high mark after Glenn accidentally bloodied Pashkov’s nose in rehearsal.
Harry Shum Jr. & Jenna Johnson — 24/30: Their jive to “You Make My Dreams (Come True)” matched the night’s top score and marked a six-point rebound from Shum’s 18/30 Week 2 Viennese waltz.
Tatyana Ali & Jan Ravnik — 21/30: Derek Hough called their quickstep Ali’s breakthrough, specifically praising her footwork. Ezra Frech/Daniella Karagach and Jenna Dewan/Val Chmerkovskiy also scored 21/30.
Injury Watch: Julia Stiles sustained a rib injury while rehearsing lifts with Ezra Sosa. Despite the injury and an emotional rehearsal package following her 16/30 Week 2 tango, Stiles performed the Yacht Rock Night salsa and improved to 19/30. Amber Glenn’s rehearsal collision with Pashkov caused a bloody nose, but Pashkov returned to dance and the partnership went on to score 24/30. DMM will distinguish rehearsal incidents from competition-limiting injuries unless a contestant or the show confirms a continuing medical restriction.
Judging Watch: The Week 2 debate over compressed critiques did not disappear. During Jenna Dewan and Val Chmerkovskiy’s samba, Derek Hough was played off by production music before completing his feedback. Alfonso Ribeiro acknowledged the interruption on-air. Hough had been explaining that Dewan’s choreography was difficult and that he wanted to see her eventually work in a smoother style with more room to breathe. Dewan and Chmerkovskiy received three 7s for 21/30.
DMM Dance Watch: Yacht Rock Night changed the technical picture of the season. Glenn/Pashkov and Shum/Johnson now share the season-high score at 24, while the five-foxtrot slate made differences in frame, travel and control easier to compare. Frech/Karagach remained competitive at 21 while translating the running-blade mechanics DMM has been tracking into foxtrot. The most important Week 3 story is therefore larger than the elimination: the early leaderboard is beginning to separate according to how quickly partnerships can transfer technique from one dance family to another.
Media check: ABC News and Entertainment Weekly published Disney/ABC photography from the episode, but DMM is not inserting a still without a verified press/publicity download path and confirmed editorial-use context. No unverified social-media rip has been added.
September 25, 2026 · Verified Follow-UpJudges · Format
Carrie Ann Inaba Adds the Feedback She Couldn’t Give Giada De Laurentiis on Air
Inaba’s post-show comments extend the Week 2 debate over DWTS’ one-word judging format.
After Viral Hits Night, Carrie Ann Inaba wrote that she was disappointed she could not give Giada De Laurentiis fuller feedback during the broadcast. She expanded on the one-word critique by praising De Laurentiis for entering the ballroom as a true beginner and for the courage and joy she brought to learning.
DMM Analysis: The follow-up reinforces why critique time matters. A one-word reaction may keep a live broadcast moving, but it can erase the technical and developmental context that helps viewers understand what a beginner actually accomplished. DMM will watch whether normal-length comments return with 13 couples.
DWTS Week 3 Yacht Rock Night: All 13 Songs and Dance Styles Are Set
ABC/Disney has confirmed the complete September 29 slate for the 13 remaining couples.
Yacht Rock Night airs Tuesday, Sept. 29, from 8–10 p.m. ET/PT on ABC and Disney+, with next-day streaming on Hulu. The official assignments are:
Couple
Dance
Song
Amber Glenn & Pasha Pashkov
Foxtrot
“Hold the Line” — Toto
Taylor Hanson & Britt Stewart
Foxtrot
“What a Fool Believes” — The Doobie Brothers
Harry Shum Jr. & Jenna Johnson
Jive
“You Make My Dreams (Come True)” — Daryl Hall & John Oates
Guillermo Rodriguez & Witney Carson
Foxtrot
“Escape (The Piña Colada Song)” — Rupert Holmes
Jackson Olson & Emma Slater
Paso Doble
“Easy Lover” — Philip Bailey & Phil Collins
Tatyana Ali & Jan Ravnik
Quickstep
“Maneater” — Daryl Hall & John Oates
Ezra Frech & Daniella Karagach
Foxtrot
“Just the Two of Us” — Grover Washington Jr., featuring Bill Withers
Tyler Cameron & Sharna Burgess
Jive
“Still the One” — Orleans
Connor Wood & Rylee Arnold
Foxtrot
“Everywhere” — Fleetwood Mac
Maura Higgins & Mark Ballas
Quickstep
“Turn Your Love Around” — George Benson
Ciara Miller & Brandon Armstrong
Cha Cha
“Never Too Much” — Luther Vandross
Jenna Dewan & Val Chmerkovskiy
Samba
“Africa” — Toto
Julia Stiles & Ezra Sosa
Salsa
“I Can’t Go for That (No Can Do)” — Daryl Hall & John Oates
ABC/Disney also says Yacht Rock Night will include additional professional and troupe performances to “This Is It” by Kenny Loggins, “Love Will Keep Us Together” by Captain & Tennille and “Baby Come Back” by Player. The release does not identify which troupe dancers will appear in those numbers.
DMM Analysis: The distribution is unusually ballroom-heavy: five foxtrots and two quicksteps put frame, travel and continuity at the center of the night, while the jive, salsa, samba, cha-cha and paso doble assignments create useful contrast. The additional troupe numbers also give DMM a concrete professional-dancer development watchpoint without assuming the lineup before ABC names it. DMM will not post Week 3 scores until the dances have aired and the results are verified.
September 24, 2026 · Verified UpdateChoreography · Pros
Pasha Pashkov and Daniella Karagach Put Two Athlete Partnerships Atop DWTS Week 2
Amber Glenn and Ezra Frech each reached 21/30 with choreography from the married professional-dance partners.
Good Morning America highlighted the Week 2 performances of Olympic champion Amber Glenn with Pasha Pashkov and Paralympic champion Ezra Frech with Daniella Karagach. Both couples scored 21/30 and shared the night’s top score with Jenna Dewan and Val Chmerkovskiy. The report also notes Pashkov and Karagach’s long competitive partnership and championship background.
DMM Analysis: The parallel is worth tracking because the athletes bring very different movement systems into ballroom. The professional task is not simply to showcase athleticism; it is to reshape skating glide and track-and-field power into dance-specific weight transfer, partnering and musical structure.
September 23, 2026 · 10:57 PM ETTechnique · Accessibility
Ezra Frech Explains Why He Dances on a Running Blade That Makes Cha-Cha More Unstable
Frech has explained the equipment choice behind one of Season 35’s most distinctive movement challenges.
Ezra Frech said he is choosing his running-blade prosthetic for DWTS rather than his walking leg. The blade is designed around high-speed running mechanics and can leave him less stable in stationary or dance-specific movement, creating a different balance problem for ballroom and Latin choreography.
DMM Analysis: That detail changes how the audience can read the work. The technical question is not whether Frech can reproduce another dancer’s mechanics exactly; it is how he and Daniella Karagach build clear rhythm, weight changes, partnering and performance around the mechanics available to him.
Derek Hough Responds After DWTS Viewers Push Back on One-Word Judge Critiques
The Week 2 timing device became a post-show discussion after viewers questioned how much useful feedback was being lost.
Derek Hough addressed criticism of the one-word judging rule used during Viral Hits Night. The rule compressed one judge’s response after each routine while the field still contained 14 couples, allowing the two-hour live show to move more quickly.
DMM Analysis: The production problem is understandable, but the dance cost is real: less time means fewer explanations of timing, frame, footwork, weight placement and performance choices. With the field now down to 13, Week 3 becomes the first test of whether the format was temporary.
September 23, 2026 · Official RatingsRatings · Audience
ABC Says DWTS Season 35’s Two-Night Premiere Was the Show’s Most-Watched Premiere in Six Years
ABC/Disney’s updated Nielsen release puts Night 2 at 6.44 million viewers and the revised Night 1 audience at 6.77 million.
According to ABC/Disney Television Press, Premiere Night 2 drew 6.44 million total viewers and a 1.32 rating among adults 18–49. The network’s updated figure for Night 1 is 6.77 million viewers with a 1.44 adults 18–49 rating. ABC says the two-night average represents the show’s most-watched premiere in six years.
DMM Analysis: The ratings do not tell us which dance stories are driving individual viewers, but they do establish that Season 35 opened with a large live audience. That makes the show’s treatment of technique, professional dancers and developmental arcs especially relevant to DMM’s coverage.
September 23, 2026 · 3:22 PM ETPro Perspective · Performance
Daniella Karagach Says Ezra Frech’s DWTS Crowd Reaction Is Something She Hasn’t Heard “in Years”
The pro dancer described the ballroom response surrounding Frech as unusually strong early in the season.
After Frech’s early Season 35 performances, Daniella Karagach described the in-room audience response as exceptional compared with what she has heard in recent years. Frech and Karagach then reached 21/30 on Viral Hits Night, tying for the Week 2 lead.
DMM Analysis: Crowd reaction is not a score and it is not a vote count, so DMM keeps it separate from competitive standing. What it does tell us is that this partnership is producing a strong live-room response while also progressing technically.
September 23, 2026 · 1:31 PM ETRehearsal · Behind the Scenes
Maura Higgins Broke Mark Ballas’ Tooth During a DWTS Week 2 Spin Rehearsal
A rehearsal mishap became a reminder of the physical precision required when speed and partnering increase.
Maura Higgins revealed that she accidentally chipped or broke part of Mark Ballas’ tooth during a Week 2 rehearsal spin. Ballas continued preparing the routine, and the pair later performed their Viral Hits Night dance.
DMM Analysis: The incident is more than backstage trivia when read through a dance lens: rotational timing, spacing and partner awareness have real physical consequences. DMM will keep rehearsal stories when they illuminate the work behind what viewers see on the floor.
September 23, 2026 · Afternoon ETPerformance · Choreography
Jenna Johnson Explains the Choice Behind Harry Shum Jr.’s Viral “Iris” Scream on DWTS
The Week 2 performance moment was intentional choreography built around emotional release rather than an accident in the routine.
Harry Shum Jr. and Jenna Johnson explained the vocal moment inside their Week 2 routine to “Iris.” The scream was part of the performance concept and tied to the emotional release they wanted the routine to communicate.
DMM Analysis: This is the kind of choreographic detail DMM wants to preserve: a memorable moment works best when it is connected to the dance’s dramatic structure rather than added only for virality. The next test is whether theatrical choices continue to support, rather than obscure, ballroom technique.
September 23, 2026 · Verified UpdateFormat · Judges
DWTS Used One-Word Judge Reactions to Keep Viral Hits Night on Schedule
With 14 couples still performing, Season 35 temporarily compressed part of the judges’ critique to keep the live show moving.
ABC-owned On The Red Carpet reports that the third judge speaking after each Viral Hits Night performance was asked to summarize the critique in one word so the broadcast could stay on schedule. The judges sometimes stretched the rule for humor, but the production change was visible throughout the episode.
DMM Analysis: This is a small format adjustment with a real dance consequence: when critique time shrinks, viewers hear less technical explanation about frame, timing, footwork and performance quality. As the field gets smaller, DMM will watch whether fuller judging commentary returns.
September 23, 2026 · Verified UpdateScores · Performances
Jenna Dewan, Ezra Frech and Amber Glenn Tie for the DWTS Week 2 Lead at 21/30
Viral Hits Night reset the top of the Season 35 judges’ leaderboard, with three partnerships sharing first place.
Jenna Dewan and Val Chmerkovskiy scored 21/30 for their jive, Ezra Frech and Daniella Karagach scored 21/30 for their cha-cha, and Amber Glenn and Pasha Pashkov scored 21/30 for their tango. ABC-owned coverage specifically praised Pashkov’s tango choreography in the judges’ comments, while all three couples received three 7s.
DMM Analysis: The Week 2 tie matters because the premiere did not produce one stable front-runner. Dewan improved from 19/30 to 21/30, while Harry Shum Jr. moved from 21/30 to 18/30 and Maura Higgins from 21/30 to 19/30. The early leaderboard is moving with the dance assignment, not simply following celebrity dance background.
September 22, 2026 · 10:00 PM ETElimination · Week 2
Giada De Laurentiis & Alan Bersten Eliminated on DWTS Viral Hits Night
The celebrity chef became Season 35’s third elimination after a salsa that left her tied at the bottom of the judges’ scoreboard.
Giada De Laurentiis and professional partner Alan Bersten were eliminated on September 22 after performing a salsa to Becky G’s “Bella Ciao.” They received 4s from Carrie Ann Inaba, Derek Hough and Bruno Tonioli for a total of 12/30. ABC News confirms the elimination; ABC-owned On The Red Carpet confirms the score and reports that Guillermo Rodriguez and Witney Carson also scored 12/30.
DMM Analysis: De Laurentiis entered Week 2 already managing the broken-toe story DMM had been tracking. Viral Hits Night became the point where the injury context, a difficult salsa and the combined judges’-score/viewer-vote format converged. The public results establish who went home; they do not disclose the underlying vote totals.
September 21, 2026 · Evening UpdateVoting · Next Pro
Adele Zaikman Addresses the DWTS Voting Failure After Her Season 35 Elimination
The first winner of The Next Pro is now speaking directly about the premiere-night voting problem that coincided with her and Conner Leavitt’s elimination.
Zaikman said on Fire Chats: The Mindfire Pod that she was disappointed her first flagship-season partnership ended after one routine, while accepting that elimination is part of the competition. Asked about the premiere voting problem, she acknowledged that “maybe the voting issue made it complicated” and said she is focused on moving forward rather than trying to relitigate a result she cannot change.
The context matters. ABC’s online voting system failed during Night 1, leaving text voting as the available viewer-vote method. Conner Leavitt also shared a nearly identical first name with fellow contestant Connor Wood, requiring voters to distinguish between the two text keywords. Leavitt and Zaikman scored 12/30 and were eliminated; Guillermo Rodriguez and Witney Carson scored 10/30 and advanced.
What This Does Not Prove
Zaikman did not say the voting failure caused the elimination, and the public record still cannot establish that a functioning online ballot would have produced a different result. DMM’s original accuracy guardrail remains unchanged.
DMM Analysis — The Story Has Moved From Fan Theory to Participant Response
The searchable development is not a claim that the wrong couple went home. It is that the professional dancer at the center of Season 35’s first elimination has now addressed the system failure herself. That gives the existing voting story a new primary participant perspective while preserving the distinction between a documented technical failure and an unknowable alternate result. It also adds another data point to DMM’s Next Pro career watch: Zaikman’s first flagship partnership ended immediately, but her Season 35 work continues through the troupe.
ABC Confirms Season 35 Runs Through Nov. 24 — With Disney Night Moving to Monday, Nov. 2
The theme-night roadmap now has an official broadcast-calendar wrinkle: one November episode leaves the show’s regular Tuesday slot.
ABC’s official viewing guide now confirms that Dancing with the Stars Season 35 continues through Tuesday, Nov. 24, 2026. It also confirms a one-week schedule change: the show will simulcast live on Monday, Nov. 2, instead of Tuesday, Nov. 3, before returning to Tuesdays on Nov. 10.
That Nov. 2 broadcast aligns with the Disney Night position announced in the season’s official theme-night sequence. The remaining roadmap therefore places Grammy Night on Nov. 10, the semifinals on Nov. 17 and the finale on Nov. 24. Week 5 on Oct. 13 remains the one theme slot not yet identified in the official theme announcement.
DMM Analysis — A Calendar Change Worth Flagging Early
For readers following the competition week to week, the important detail is practical: Disney Night is not in the normal Tuesday slot. For DMM’s coverage plan, Nov. 2 also becomes a special live-production night followed by an eight-day gap before Grammy Night. The larger choreography questions remain unchanged, but the confirmed calendar lets the Newsroom distinguish official dates from theme speculation and plan the late-season coverage arc through the Nov. 24 finale.
September 19, 2026 · 8:01 PM ETPro Desk · Career Development
Adele Zaikman & Hailey Bills Stay in the Ballroom: Both First-Time Pros Move Into Season 35 Troupe Work
The premiere eliminated both of Season 35’s first-time celebrity-paired pros first. Their professional season, however, is not over.
Carrie Ann Inaba has addressed the unusual Week 1 result after Adele Zaikman and Hailey Bills became the first two professional dancers eliminated with their celebrity partners. Zaikman entered the flagship cast by winning Dancing with the Stars: The Next Pro; Bills moved up after troupe work and the live tour. Inaba called the coincidence sad but framed it as part of their development, saying both dancers have significant potential.
The more important professional update is what happens next: reporting following the premiere says Zaikman and Bills will continue performing with the Season 35 troupe, keeping them inside the broadcast ecosystem even though Conner Leavitt and Sarah Jane Nader are out of the competition. That gives DMM’s Next Pro tracker its first concrete post-elimination data point.
DMM Analysis — Elimination Did Not End the Professional Opportunity
This is the distinction DMM has been waiting to measure. A celebrity elimination ends a partnership; it does not necessarily end a professional dancer’s access to the show. For Zaikman, the first winner of The Next Pro, troupe appearances can now show whether the franchise is building a longer professional pipeline rather than treating the prize as a single pairing. Bills provides a useful comparison because her route ran in the opposite direction — troupe and tour first, celebrity partnership second, then back to troupe work. Screen time, featured choreography, tour placement and future pairings will tell us more than Week 1 survival alone.
September 19, 2026 · 2:01 AM ETPro Desk · Judging / Development
Witney Carson Pushes Back on Guillermo Rodriguez’s 10/30 — as He Commits to Learning the Paso Doble
The reigning Mirrorball-winning pro says two of Guillermo’s premiere scores were too harsh. More important for DMM’s development tracker: the contestant who initially wanted to go home now says he wants to learn and improve.
On the Dancing with the Stars Official Podcast, Witney Carson challenged the two 3s Guillermo Rodriguez received from Derek Hough and Bruno Tonioli for his Night 1 cha-cha. The 10/30 total was the lowest score of the Season 35 premiere, but viewer support kept the pair in the competition.
Rodriguez also revealed that before the season began he repeatedly said he wanted to go home. Surviving Week 1 changed the assignment: he now says he wants to learn how to dance, practice and do better in Week 2. Carson said his rehearsal commitment has increased. Their next test is a Paso Doble on Viral Hits Night.
DMM Analysis — The Score Is Now a Baseline
The judging disagreement is useful because Week 2 can test it. Guillermo’s 10/30 established an unusually low technical baseline, while audience response showed that entertainment value and connection can keep a contestant alive. Paso Doble demands clearer posture, shaping, attack and intentional movement than his premiere cha-cha displayed. If Carson can turn his new willingness to rehearse into visible technical improvement, the story moves from whether 3s were too harsh to whether the scoring produced measurable development.
September 19, 2026 · 12:45 AM ETPro Desk · Choreography / Format
Derek Hough Explains the Premiere Solos: They Filled DWTS’ Live Vote-Tally Window
A viewer question about why Derek and Julianne Hough received showcase dances produced a useful look at how live DWTS television is built around the competition.
Derek Hough says the Hough siblings’ solo showcases during the two-night Season 35 premiere were used to fill roughly three minutes while the live vote was being tallied. With the competing professional dancers occupied with their celebrity partners, Julianne performed a Paris-themed jazz number on Night 1, while Derek danced a Paso Doble with Hayley Erbert Hough on Night 2.
Derek also clarified that his Paso Doble was newly choreographed for the television broadcast. It drew inspiration from material associated with the couple’s Symphony of Dance tour, but he said the ballroom number itself was created for the show.
DMM Analysis
This is more than a response to social-media criticism. It exposes a piece of the live-show architecture: choreography can function as broadcast infrastructure. The three-minute tally window has to remain entertaining while results are processed, and a self-contained professional showcase gives production a performance that does not disrupt a celebrity partnership preparing for competition. Derek’s clarification also matters editorially because it separates a television-specific Paso Doble from recycled tour choreography.
Also on the pro desk: Emma Slater revealed a painful big-toe/nail injury after Week 1 but remains in competition with Jackson Olson. DMM has added her to Injury Watch alongside Giada De Laurentiis.
Cha-cha: Ezra Frech & Daniella Karagach; Taylor Hanson & Britt Stewart; Maura Higgins & Mark Ballas.
Salsa: Giada De Laurentiis & Alan Bersten; Tyler Cameron & Sharna Burgess.
Foxtrot: Tatyana Ali & Jan Ravnik; Jackson Olson & Emma Slater. Jive: Jenna Dewan & Val Chmerkovskiy. Viennese waltz: Harry Shum Jr. & Jenna Johnson. Paso doble: Guillermo Rodriguez & Witney Carson.
Notable music assignments include Billie Eilish’s “What Was I Made For?” for Tatyana Ali’s foxtrot, Goo Goo Dolls’ “Iris” for Harry Shum Jr.’s Viennese waltz, KATSEYE’s “Animal” for Jenna Dewan’s jive, Teddy Swims’ “The Door” for Julia Stiles’ tango, and Earth, Wind & Fire’s “September” for Maura Higgins’ cha-cha.
DMM Analysis — What to Watch
Week 2 begins to separate performance personality from ballroom development. Harry Shum Jr. moves from cha-cha into Viennese waltz, testing sustained frame and rotation rather than groove. Maura Higgins moves from the foxtrot that tied for the Week 1 lead into cha-cha, exposing a different kind of weight transfer and hip action. Giada De Laurentiis faces salsa while managing a broken toe, making foot pressure and safe choreography especially important. Four tangos also give viewers a useful same-night comparison of frame, intention and partnership across celebrities with very different movement backgrounds.
Verification: ABC released the Week 2 assignments for the September 22 Viral Hits Night. The full pairings were reported September 18 by Entertainment Weekly and Us Weekly.
September 18, 2026 · Midday UpdateNews · Performances
DWTS Reveals the Season 35 Theme-Night Roadmap: Mariah Carey, Yacht Rock, Disney and More
The schedule now gives the professionals a map of the musical and storytelling constraints they will have to solve across the season.
The full Season 35 theme-night lineup was announced September 18 on the Official DWTS Podcast, hosted by Season 34 alumnus Andy Richter. Week 2 is Viral Hits, followed by Yacht Rock in Week 3 and Mariah Carey Night in Week 4. Week 5 remains TBA. The back half includes Dedication Night (Week 6), Horror Movie Night (Week 7), Disney Night (Week 8), Grammy Night (Week 9), the Semi-Finals (Week 10) and the Finale (Week 11).
DMM Analysis
Theme nights are choreography problems before they are television themes. A pro has to preserve recognizable ballroom technique while fitting a specific artist, genre, character world or emotional premise. Mariah Carey Night raises questions of musical phrasing and song fit across ballroom styles; Yacht Rock asks for restraint and groove without flattening technique; Horror Movie and Disney nights add character storytelling; Grammy Night widens the musical palette. DMM will track which choreographers make the theme serve the dance rather than letting production overwhelm it.
Verification: The lineup was announced on the Official DWTS Podcast on Sept. 18 and reported as ABC’s Season 35 theme schedule by Us Weekly. Week 5 remains unannounced; DMM will not speculate on its theme.
September 18, 2026 · 11:36 AM ETInjury Watch · Verified
Giada De Laurentiis Reveals She Danced the Season 35 Premiere With a Broken Toe
The injury DMM was already tracking as a bruised toe was more serious: De Laurentiis says Alan Bersten’s knee landed on her foot in rehearsal and broke her middle toe before her Night 2 tango.
De Laurentiis still performed the tango to Shocking Blue’s “Venus” on September 16 and received 16/30. Entertainment Weekly reports that she had been managing the injury with ice and Epsom salt for eight days. Bersten described his partner as a fighter for continuing through the pain.
DMM Analysis
This matters beyond an injury headline. A broken toe directly affects weight transfer, balance, push-off and the ability to articulate the foot — fundamentals that ballroom judges read as technique. Giada completed the premiere, but Week 2 will show whether Alan Bersten has to modify choreography or training load around an injury that can influence exactly the mechanics the judges score.
Maura Higgins Tops Night 2 With 21/30; Sarah Jane Nader & Hailey Bills Eliminated
The two-night Season 35 premiere is complete. Fourteen couples advance, and DMM now has a full opening-week scorecard.
Maura Higgins and Mark Ballas led the women’s premiere field with a 21/30 foxtrot to Alannah Myles’ “Black Velvet.” Jenna Dewan and Val Chmerkovskiy followed with 19/30 for a tango to Blondie’s “Call Me,” while Amber Glenn with Pasha Pashkov and Julia Stiles with Ezra Sosa each earned 18/30.
Morning Verification · Sept. 17
ABC7’s published Night 2 recap confirms Giada De Laurentiis and Alan Bersten scored 16/30 (6, 5, 5), correcting the earlier 17/30 figure. It also confirms online voting was restored for Night 2. Next week’s theme is Viral Hits Night, with the series returning Tuesday at 8 PM ET on ABC and Disney+.
Couple
Style
Song / Artist
Score
Maura Higgins & Mark Ballas
Foxtrot
“Black Velvet” — Alannah Myles
21/30
Jenna Dewan & Val Chmerkovskiy
Tango
“Call Me” — Blondie
19/30
Amber Glenn & Pasha Pashkov
Cha-cha
“Smooth” — Santana feat. Rob Thomas
18/30
Julia Stiles & Ezra Sosa
Quickstep
“9 to 5” — Dolly Parton
18/30
Giada De Laurentiis & Alan Bersten
Tango
“Venus” — Shocking Blue
16/30
Ciara Miller & Brandon Armstrong
Foxtrot
“Exhale (Shoop Shoop)” — Whitney Houston
15/30
Sarah Jane Nader & Hailey Bills
Jive
“Sk8er Boi” — Avril Lavigne
14/30
Tatyana Ali & Jan Ravnik
Jive
“Knock on Wood” — Amii Stewart
12/30
The final three couples awaiting the result were Giada De Laurentiis and Alan Bersten, Sarah Jane Nader and Hailey Bills, and Tatyana Ali and Jan Ravnik. Sarah Jane Nader and Hailey Bills were eliminated after their 14/30 jive to Avril Lavigne’s “Sk8er Boi.” ABC News confirms that 14 couples remain after the two-night premiere.
DMM Analysis
The premiere’s clearest technical story is that prior dance experience did not create a single hierarchy. Jenna Dewan brought professional dance credentials and scored 19/30, Julia Stiles scored 18/30, while Maura Higgins — without the same professional dance background — led Night 2 at 21/30. The first week gives DMM a baseline, not a conclusion.
The second story is structural. Two couples are already gone after one routine each. Season 35 now moves into its regular Tuesday schedule with fourteen partnerships still developing.
ABC Says the Season 35 Premiere Drew 6.67 Million Viewers — the Show’s Biggest Premiere Audience in Six Years
The first-night audience grew 24% from the Season 34 premiere, according to ABC’s release citing Nielsen preliminary panel data.
ABC reported 6.67 million total viewers for the September 15 Season 35 premiere, up 24% from 5.38 million for the Season 34 premiere. ABC also reported a 1.48 Adults 18–49 rating, up 40% year over year. The network described it as the show’s biggest premiere audience since Season 29 in 2020.
Conner Leavitt & Adele Zaikman Eliminated After DWTS Online Voting Fails on Night 1
The first Season 35 result also became the first real test of the new premiere format — and of The Next Pro pipeline.
Conner Leavitt and new professional Adele Zaikman were eliminated at the end of the September 15 Season 35 premiere after scoring 12/30 for their salsa to “Whoomp! (There It Is).” Harry Shum Jr. and Jenna Johnson led the men’s field with 21/30 for their cha-cha to “Let’s Groove.”
The result came on a night when the show announced a failure of its online voting system. Viewers were directed to vote by text, and the online votes were not used for Night 1. ABC-owned coverage reported that the hosts nevertheless announced more than double the votes received for last season’s premiere, despite only eight couples competing on the first night.
What We Can — and Cannot — Say
The voting failure is verified, and the elimination is verified. DMM cannot establish that the outage changed who went home. Judges’ scores and viewer voting are combined, but the counterfactual result of a fully functioning online vote is unknowable from the public evidence.
DMM Analysis
For Adele Zaikman, the result makes DMM’s pipeline question immediate. The Next Pro successfully produced a working Season 35 professional, but her first celebrity partnership lasted one televised routine. That does not erase the contract she earned; it shifts the question to what the franchise provides next — troupe appearances, choreography, tours, teaching visibility or another future partnership.
For the competition itself, Night 1 demonstrates why immediate elimination changes the meaning of a premiere. Conner received technical criticism for timing and refinement, but there is no second week in which teacher and student can apply those corrections. The format measures opening-night readiness more heavily than the traditional growth arc.
Season 35 Opens With Immediate Eliminations — Every First Dance Has Consequences
A two-night premiere splits the cast into separate men’s and women’s fields, and both nights end with someone going home.
Season 35 opens September 15 and 16, 2026, with the cast divided by night: male celebrities dance first, female celebrities follow on night two. One male and one female celebrity are eliminated during premiere week — the first premiere-week elimination format of this kind since 2018. Sixteen celebrity and professional partnerships are competing.
Mark Ballas publicly noted the unusual competitive dynamic created by splitting the cast into two separate fields. It is a real structural change: couples are no longer judged against the full season lineup on opening night, but against half of it.
Dancing with the Stars has always sold growth: the untrained celebrity who cannot find their frame in week one and is dancing a competent rumba by week six. Immediate elimination sits in tension with that premise. A partnership can end after a single judged routine, before the teaching relationship has had time to produce anything.
The question DMM is asking: how much can one routine actually tell us about a brand-new dance partnership? There is also a scheduling wrinkle worth noting — Harry Shum Jr. performs on the men’s night while Jenna Dewan and Julia Stiles perform on the women’s night, so the three subjects of DMM’s prior-dance-experience analysis are never evaluated in the same opening field.
The Next Pro Returns to the Ballroom — But Only Adele Zaikman Has the Job
A reunion performance is exposure. A professional contract is employment. Season 35 is where that difference gets tested.
Adele Zaikman won the first season of Dancing with the Stars: The Next Pro, and her prize was a professional position on Season 35. ABC’s Season 35 cast materials list her as Conner Leavitt’s professional partner — the contract is real and it is documented.
Premiere reporting also indicates that Zaikman, Allen Genkin, Selena Hamilton and Erik Linder prepared a reunion performance. DMM is not describing Genkin, Hamilton or Linder as newly hired Season 35 professionals. Appearing in a reunion number is not the same as being employed by the show, and unless ABC separately announces employment, this page will not blur the two.
DMM Analysis
The open question is whether The Next Pro becomes a genuine career pipeline or functions mainly as a casting mechanism for a single vacancy. Over the next twelve months DMM is tracking the things that actually constitute a dance career: troupe employment, tour work, choreography credits, teaching, recurring DWTS appearances and outside professional opportunities.
Twelve dancers. One contract. One season to find out which it was. The premiere reunion does not settle that question — it postpones it.
Alfonso Ribeiro Sees Harry Shum Jr., Jenna Dewan and Julia Stiles as Early Season 35 Contenders
The host is naming names before a single score is read — and he has stood where these celebrities are standing.
Speaking around the 2026 Emmy period, Alfonso Ribeiro discussed Season 35 and singled out experienced performers he expects to be strong, naming Harry Shum Jr., Jenna Dewan and Julia Stiles, while also noting that other cast members have impressed him.
Treat this as preseason expectation, not evidence. Hosts see rehearsal footage and rehearsal footage flatters everyone. What it does establish is where the conversation starts: three contestants arrive already carrying a dance reputation.
DMM Analysis
Ribeiro is his own counterexample and his own proof. Celebrity contestant, Season 19 champion, now host — an arc that says prior performance training can matter enormously, and also that the ballroom rewrites what a performer thinks they already know. DMM has published a dedicated analysis of whether previous dance experience creates a real advantage. His comments are a useful preseason marker to test it against, not a verdict.
Harry Shum Jr. Is the First Test of Season 35’s Dance-Experience Debate
Training gives a dancer a floor. The ballroom decides what it does not give him automatically.
Harry Shum Jr. is partnered with professional dancer Jenna Johnson for Season 35. Photo: Disney/Andrew Eccles.
Harry Shum Jr. is partnered with Jenna Johnson and brings substantial dance and choreography experience into the competition. He performs during the men’s premiere night; Jenna Dewan and Julia Stiles perform during the women’s night, which means the season’s most-discussed experience question opens on two separate evenings.
DMM has already laid out what previous training may give Harry. The premiere is where we start learning what it does not hand him — ballroom frame, partner connection under a judge’s eye, Latin hip action, and the specific discipline of dancing someone else’s choreography in a televised competition format.
Night 1 result: Harry Shum Jr. and Jenna Johnson danced a cha-cha to Earth, Wind & Fire’s “Let’s Groove” and received 7s from Carrie Ann Inaba, Derek Hough and Bruno Tonioli for 21/30 — the highest judges’ total of the men’s premiere field. Inaba praised Harry’s electricity while cautioning against overexaggeration and emphasizing the required technique; Tonioli highlighted the partnership’s chemistry.
DMM checkpoint: the first evidence supports the distinction this tracker was built to test. Performance confidence and musicality transferred immediately; ballroom/Latin specificity remains the work.
DMM Analysis
Prior training tends to show up first as confidence and musicality, and it tends to fail first at frame and partnering. Those are the two places DMM will be watching. A trained body can also carry habits that read beautifully in commercial choreography and read as errors in ballroom — and premiere night, under an immediate elimination format, is an unforgiving place to discover the difference.
Head Bumps, Drops and a Bruised Toe: Season 35 Rehearsals Are Already Taking a Toll
Before the first score is read, the professionals are managing bodies that have never done this work before.
Maura Higgins and Mark Ballas bumped heads during rehearsal. Tyler Cameron and Sharna Burgess also knocked heads while working through a trick that involved a drop. Giada De Laurentiis sustained a bruised toe while preparing with Alan Bersten, and Ciara Miller has discussed significant soreness during training. Current reporting does not establish that any of these issues will prevent a couple from competing.
DMM Analysis
The easy version of this story is an injury roundup. The real story is the invisible labor of the professional dancer. Every one of these incidents happened inside a job most viewers never see: teaching an untrained adult body, choreographing to that body’s limits, partnering safely through lifts and drops, pacing a rehearsal week so the celebrity peaks on camera rather than on Thursday.
Risk management is part of the professional’s craft, not an interruption of it. When a pro pulls a trick back, redesigns a transition or slows a rehearsal, that judgment is the skill.
DWTS Opens Season 35 With Five Emmy Nominations and Renewed Industry Momentum
Recognition is context for the new season, not the headline of it.
Dancing with the Stars received five 2026 Emmy nominations, including Outstanding Reality Competition Program — its first nomination in that major category in a decade. Alfonso Ribeiro publicly celebrated the recognition and emphasized the volume of work behind a live production.
Accuracy Note
The Traitors won Outstanding Reality Competition Program at the 2026 Emmys. Dancing with the Stars was a nominee in that category, not the winner. Any DMM coverage of this milestone must say nominated, never won.
DMM Analysis
A decade-long absence from that category ending says something about where the franchise sits in the industry again. The question Season 35 has to answer is whether it can carry that momentum without sanding down the element that earned it — the visible development of a dancer over a season. Recognition rewards spectacle quickly. Teaching takes longer and shows up later.
The questions readers ask most, answered from the verified entries above.
Who went home on Dancing with the Stars? Every Season 35 elimination so far
Five couples have gone home. Week 1, Night 1 (Sept. 15): Conner Leavitt & Adele Zaikman. Week 1, Night 2 (Sept. 16): Sarah Jane Nader & Hailey Bills. Week 2, Viral Hits Night (Sept. 22): Giada De Laurentiis & Alan Bersten. Week 3, Yacht Rock Night (Sept. 29): Taylor Hanson & Britt Stewart. Week 4, Mariah Carey Night (Oct. 6): Ciara Miller & Brandon Armstrong.
Who is still on DWTS? The Dancing with the Stars 2026 cast after Week 4
Eleven couples remain: Amber Glenn & Pasha Pashkov, Connor Wood & Rylee Arnold, Ezra Frech & Daniella Karagach, Guillermo Rodriguez & Witney Carson, Harry Shum Jr. & Jenna Johnson, Jackson Olson & Emma Slater, Jenna Dewan & Val Chmerkovskiy, Julia Stiles & Ezra Sosa, Maura Higgins & Mark Ballas, Tatyana Ali & Jan Ravnik, and Tyler Cameron & Sharna Burgess.
DWTS scores and leaderboard: who scored highest in Week 4?
Maura Higgins & Mark Ballas led Mariah Carey Night with 25/30. Ezra Frech & Daniella Karagach, Harry Shum Jr. & Jenna Johnson, and Jenna Dewan & Val Chmerkovskiy each scored 24/30. Guillermo Rodriguez & Witney Carson scored 13/30 and advanced; Ciara Miller & Brandon Armstrong scored 21/30 and were eliminated. Read the full Week 4 results.
DWTS Super Bowl Night: what are the Week 5 songs and dances?
Week 5 airs Tuesday, Oct. 13, at 8 p.m. ET with 11 remaining couples dancing to songs associated with Super Bowl halftime performances. ABC has confirmed four salsas, three sambas, two jazz routines, one tango and one paso doble, plus an opening medley and professional/troupe numbers. Joe Buck joins Carrie Ann Inaba, Derek Hough and Bruno Tonioli as guest judge. See the official Week 5 songs and dances.
When is Dancing with the Stars on, and how do I watch?
Season 35 airs live on Tuesdays at 8 p.m. ET on ABC and Disney+ and streams the next day on Hulu. The exception is Disney Night, which moves to Monday, Nov. 2. The semifinals are scheduled for Nov. 17 and the finale for Tuesday, Nov. 24.
How do I vote on Dancing with the Stars, and what is the text number?
Voting is open only during the live broadcast, from 8 p.m. ET until shortly after the final dance. Vote online at dwtsvote.abc.com, or text the couple’s on-screen keyword to 21523. Voters must be 18 or older; online voting is open in the U.S. and Canada, while text voting is U.S.-only. Because the vote closes during the live show, West Coast viewers vote before the broadcast reaches them locally. Vote limits and keywords are posted with each episode.
When is the next DWTS episode, and what are the remaining theme nights?
The next episode is the first-ever Super Bowl Night, Tuesday, Oct. 13 at 8 p.m. ET, with Joe Buck guest-judging. Week 6: Dedication Night (Oct. 20). Week 7: Horror Movie Night (Oct. 27). Week 8: Disney Night (Monday, Nov. 2). Week 9: Grammy Night (Nov. 10). Semifinals Nov. 17 and finale Nov. 24.