'DWTS' Pros Jenna Johnson and Val Chmerkovskiy Pack on PDA in Steamy Photos
and looked so in love during their latest red carpet appearance.
The two Dancing with the Stars pros, who have been married since 2019, stepped out together for the Los Angeles premiere of Marvel's new film, Thunderbolts*, and they didn't shy away from any PDA during their photo-op.
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As seen in photos from the event at the Dolby Theatre on Monday, April 28, the two professional dancers put on an affectionate display, with Chmerkovskiy, 39, leaning over at one point to give his wife a passionate kiss.
The Ukrainian-born dancer, dressed in a snazzy black tux for the evening, also had one arm wrapped around Johnson's back while the other hand sat inside his pocket.
Johnson, 31, appeared to be smiling through the kiss with her hubby, whom she met in 2014 when they both appeared on ABC's ballroom competition show. The two now share one child, a 2-year-old son named Rome.
Johnson was also dressed to the nines for Monday's event, where she rocked a draped white gown with a super-plunging neckline that reached all the way down to her stomach.
The look also featured gold detailing at the chest and a fancy headpiece in the back of the dress that lifted over the top of her hair.
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Tom's Guide
9 hours ago
- Tom's Guide
I would definitely cancel Disney Plus and Paramount Plus this month — here's why
The start of a new month is a good time to take stock of streaming bills. There are so many streaming services now, and paying for all of them really adds up. In 2025, streaming costs are higher than ever. Americans now pay an average of $61 a month for streaming services, according to a Deloitte report — or a hefty $732 a year. Luckily, it's really easy to save money on streaming by churning services, which entails canceling and signing up again later when the big, buzzy shows return. In June 2005, I recommend canceling Disney Plus and Paramount Plus. We rate both services highly, but few major titles are debuting on either in the next month. While they have some interesting offerings, they're not in the "must see immediately" category. Here's why I think you should consider canceling Disney Plus and Paramount Plus this month. We know a lot of families depend on Disney Plus' library of kid-friendly movies and shows., but during the summer, your household may be able to get by without it. Kids will be too distracted by outdoor activities, camps and vacations to miss streaming "Frozen" for the 500th time. Now that "Andor" is over (sob), there's little on the service to appeal to adults. There's only one big new original debuting on Disney Plus in June and that's "Ironheart." The Marvel show sees Dominique Thorne reprising her role as Riri Williams from "Black Panther: Wakanda Forever." After the events of the movie, the MIT student returns home to Chicago, where she becomes entangled with the enigmatic Parker Robbins (Anthony Ramos) and discovers secrets that pit technology against magic. Though I, like several of my Tom's Guide colleagues, am feeling some Marvel fatigue, I'm actually looking forward to "Ironheart." I thought RiRi Williams brought a fresh spark to "Wakanda Forever." So, why would I cancel Disney Plus anyway? Well, the show doesn't premiere until nearly the end of the month: June 24. And after the first three episodes drop on that date, the other episodes will air weekly. I can absolutely wait until July to resubscribe to Disney Plus, then catch up on "Ironheart" and tune in for the last part of the season. And I'll have saved a little money without missing much. As for Paramount Plus, its June schedule is a desert when it comes to originals. "MobLand" is over and no Taylor Sheridan shows are in sight. The Tony Awards take place in June, but the ceremony is airing on CBS, which you can watch for free the old-fashioned way — with a TV antenna. Paramount Plus is our pick for classic movies and the service is welcoming more great films in June, including several "Indian Jones" movies and the "Godfather" movies. Yet, library content isn't enough for me to keep a subscription. Plus, most likely, those films will remain available on Paramount Plus next month. How much you can save by canceling Disney Plus and Paramount Plus depends on which plans you have. Disney Plus Basic (with ads) is $10 per month and Premium (ad-free) is $16. Meanwhile, Paramount Plus Essential is also $8 per month, and the Showtime tier (with the live CBS feed and Showtime content) is $13. So, you could save up to $29 a month if you cancel both. That may not sound like a lot, but it's not nothing, either. Churning streaming services throughout the year can save you a few hundred dollars. And with the prices of everything skyrocketing these days, every dollar counts.
Tom's Guide
10 hours ago
- Tom's Guide
5 best new movies to stream this weekend on Netflix, Disney Plus, Max, and more (May 31-June 1)
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For even more recommendations on what to watch, be sure to check out the top new TV shows you can stream this week as well. Marvel's latest "Captain America" film held the top spot at the box office this year until "A Minecraft Movie" dethroned it faster than you can shout 'chicken jockey.' While the new Marvel entry is enjoyable enough, I don't think "Brave New World" does much to pull the MCU out of its ongoing slump (something the critically acclaimed "Thunderbolts" seems to be having better luck with), but you can judge for yourself now that it's on Disney Plus. After his trial run with the shield in the Disney Plus series "The Falcon and the Winter Soldier," Sam Wilson (Anthony Mackie) fully steps into his role as the new Captain America in "Brave New World." But escaping Steve Rogers' shadow is no easy feat, especially in a world increasingly plagued by sinister threats from Earth and beyond. 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So when I saw the same studio was tackling "Dog Man," it piqued my interest. With a delightful and goofy storyline paired with vibrant, cartoony visuals, it has all the makings of the next streaming hit for younger audiences, especially now that it's landed on Peacock. The story follows a police officer and his faithful canine companion who are fused together after being injured in the field. (How you ask? Because science!) The result is Dog Man, a half-man, half-dog crime-fighting machine who must adjust to his new identity while taking on Petey the Cat, a feline supervillain terrorizing the city. Like most animated movies these days, "Dog Man" features a star-studded voice cast, including Peter Hastings, Pete Davidson, Isla Fisher, Lil Rel Howery and Ricky Gervais. Watch it now on Peacock "Succession" fans have a lot to be excited about this week. Max's "Mountainhead" feels like a spiritual successor to the streamer's bitingly funny drama series, both because it comes from the same creator, BAFTA-winning screenwriter Jesse Armstrong, and because it's all about rich people being the absolute worst. "Mountainhead" trades Manhattan boardrooms for a lavish mountaintop lodge where a group of ultra-wealthy tech billionaires — played by Steve Carell, Jason Schwartzman, Ramy Youssef, and Cory Michael Smith — gather as an international crisis brews. They sip whiskey, zip around on snowmobiles, and literally write their net worths on their bare chests. Y'know, as you do when you have money to burn. What begins as a laid-back weekend quickly takes a dark turn when it becomes clear that one among their ranks is at the heart of the chaos that's triggering markets and governments to collapse worldwide. Claustrophobic and cutting, "Mountainhead" crackles with satire that feels more relevant now than ever. Watch it now on Max Netflix's first animated K-drama is a breathtaking sci-fi romance about star-crossed lovers that's been hailed as a "visual masterpiece" by "Parasite" director Bong Joon Ho. After watching the trailer, with its glowing cityscapes and vibrant cyberpunk vibes, it's clear to see why. Directed by Han Ji-won, "Lost in Starlight" unfolds in a futuristic Seoul in the not-so-distant year of 2050. A meet-cute between astronaut Nan-young (voiced by Kim Tae-ri) and rising musician Jay (Hong Kyung) blooms into something more, only for the two to be separated just as their relationship takes off when Nan-young embarks on a mission to Mars. What follows is a cosmic romance stretched across galaxies, as the couple grapples with the typical struggles of long-distance relationships and the not-so-typical dangers of deep space that threaten to keep them apart for good. 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Los Angeles Times
10 hours ago
- Los Angeles Times
‘The biggest mistake of my life': 6 actors on typecasting, comedy idols and more
Hailing from some of today's funniest TV series, six actors gathered recently for an uninhibited conversation about what it takes to make people laugh at The Envelope's Emmy Roundtable for comedy actors. In Netflix's 'Running Point,' Kate Hudson plays Isla, a woman who becomes pro basketball's first girl boss when she takes over the family franchise. In ABC's 'Abbott Elementary,' Lisa Ann Walter portrays Melissa Schemmenti, a tough grade school teacher in Philly's underfunded public education system. With Hulu's 'Mid-Century Modern,' Nathan Lane takes on the role of Bunny, an aging gay man who brings together a chosen family when he invites two friends to reside in his Palm Springs home. 'Hacks' co-creator Paul W. Downs does double duty as Jimmy, the manager to legendary comedian Deborah Vance (Jean Smart) in the Max series. Bridget Everett, creator of HBO's 'Somebody Somewhere,' plays Sam, a cabaret singer who moves back to her family's sleepy Kansas town to take care of her dying sister. And David Alan Grier stars as Dr. Ron, a devoted physician and cranky veteran who's seen it all in the overrun ER of a small-town hospital in NBC's 'St. Denis Medical.' The talented group spoke with The Times about their respective shows, typecasting and the risks one takes to make great comedy. Read on for excerpts from our discussion — and watch video of the roundtable below. The best comedy pushes boundaries, which means it can also skirt the edge of offensive. How do you know if you've gone too far, or haven't pushed it enough? Downs: In the 'Hacks' pilot, Jean Smart's character, Deborah Vance, says there is no line. I think there's nothing off limits, because it's really about execution and thoughtfulness. The thing that makes edgy comedy not funny is when it causes harm, when it's something that's punching down, when it's not something that can bring people together. That, to me, isn't worth it. But there's nothing that's too taboo, because that's what comedy is for. It's to examine things, explore things, get close to the edge. Everett: I think that comedy is about making people feel good. I want to make people feel joy. So as long as I'm not hurting anybody's feelings, I think everything's on the table. Grier: I don't think you know the edge and that's why it's dangerous. I've done things where I thought, 'This is too much,' and things where I thought, 'We didn't go far enough.' So you have to play that game. My intention is never to anger and offend, but you do have to put yourself in that position and take a chance, especially with comedy. You can prescreen it, but who are you prescreening it to? Sixty-year-old white women? High school kids? You have to take a chance. Hudson: I'm not a stand-up [comedian], so it's fun to watch people walk that line. It's exciting. What are they going to say? Is it going to be offensive? Is it not? Is it going to be brilliant? That's part of what's fun about being an audience of adult comedy. But I don't like mean comedy. It's really hard for me to see. I've been asked to do roasts a million times, and I just can't do it. It just doesn't move me in any way. Lane: I was asked. This was the biggest mistake of my life. ... A Friars [Club] Roast that was going to happen. [Jerry Lewis] was going to be roasted. And Richard Belzer said to me, 'Oh, Nathan, would you be a part of it? Would you do it? It would mean a lot to Jerry.' And I'm like, 'Oh, yeah, sure. I'll do the roast.' And then I'm suddenly there and I'm sitting next to Paul Shaffer and Jeff Ross, who apologized in advance for what he might say. And I realized then that, 'Oh, you're not getting up and just roasting this person. You're attacked. You're on the dais.' So I thought, 'Oh, what have I gotten into?' And I had asked them, 'Please let me go first.' And I had worked out jokes. I had a couple of writers help me, and there was an initial joke, which was, 'The only reason I agreed to do this was because I thought by the time it happened, Jerry would be dead.' Walter: I'm on a show that's got a lot of kids, and families can watch it together, which was [creator] Quinta Brunson's intention. But there are things that the kids won't get and that adults get. Melissa Schemmenti gets bleeped out regularly because she curses. She's South Philly! As a comic, I only am interested in edge, that's where I want to live … It's easier to make a point and get ears when you're making people laugh. And we do that on the show quite frequently. They'll do a storyline about the school-to-prison pipeline, but it's not ham-fisted, it's not preachy. It's edgy and it's all within jokes. Anytime you're making people laugh, I think you can say whatever you want. What's the strangest or most difficult skill you've had to learn for a role? Hudson: In 'Almost Famous,' [director] Cameron [Crowe] wanted me to learn how to roll cigarettes fast with one hand. And so I was learning how to roll, and I got really good at it really fast. And then when we were doing camera tests, I was doing it and I was smoking. And he was like, 'No.' And I was like, 'What? I just spent months trying to learn how to do that!' Then I started rolling my own cigarettes and got into a really bad habit and then spent years trying to quit. Downs: On 'Broad City,' I had to learn and do parkour. It's high skill level and high risk. You know, when you jump off buildings and roll around ... [leap] off chairs and over fire hydrants. I did it, but not a lot of it ended up onscreen. Just the most comedic moments. I jumped between buildings and they didn't even put it in! Lane: When I did 'Only Murders in the Building,' they said, 'So you have a deaf son and you're going to have scenes with him in ASL [American Sign Language].' It was challenging. I had a coach and I would work with him. And the wonderful young actor, James Caverly, who is Deaf ... he was very supportive. If I had to become fluent, it would've taken six months to a year to do it well. But I had an advantage; they said, 'Oh, your character is embarrassed by having a deaf son, so he didn't learn it until later in life. So he's not that good at it.' But it was a great thing to learn. I loved it. Grier: I did an episode of a sitcom in which it was assumed, unbeknownst to me, that I was very proficient playing an upright bass. This is not true. I played cello as a child. I had to play this upright bass and as a jazz musician. It was horrible. Your fingers swell and blister and bleed. Of course, I went along with it because that's what we're all supposed to do. But by Day 4, my fingers were in great pain. I never mastered it. But I did want to ask them, 'Who told you I could play?' Everett: I did a little trapeze work, but since the knee thing, I can't anymore … [Laughs] Lane: This was the independent film about the Wallendas, right? Everett: The truth is I've never had to do anything. Really. I had to rollerblade once in a Moby video, but that doesn't seem like it's going to stack up against all this, so maybe we should just move on to the next person. I would do trapeze, though. I'll do anything. Well, not anything. Can we just edit this part out in post? Hudson: I'm in love with you. Walter: In a movie I did where I started out as the nosy neighbor, I found out that I was going to be a cougar assassin and I had to stunt drive a Mustang and shoot a Glock. It was a surprise. Literally. When I got to set, I saw my wardrobe and went, 'I think I'm playing a different character than what I auditioned for.' ... They put the car on a chain and I got T-boned. I was terrified, but then I was like, 'Let's go again!' That was the most dangerous thing until I had to do a South Philly accent as Melissa, and do it good enough so that South Philly wouldn't kill me. That was probably more dangerous. Let's talk about typecasting. What are the types of roles that frequently come to you, where you're like 'Oh, my God, not again!' Lane: Oh, not another mysterious drifter. Hudson: Rom-coms. If I can't get a job doing anything else, I can get a job doing a romantic comedy. When you have major success in something, you realize the business is just so excited [that] they want you in them all the time. It really has nothing to do with anything other than that. It's something that I'm very grateful for, but you're constantly having to fight to do different things. I'd be bored if I was constantly doing the same thing over and over again. But it's just how the business works. Once you're in that machine, they just want to keep going until they go to somebody else. Walter: I can't tell you how bored I am with being the gorgeous object of men's desire. I named my first production company Fat Funny Friend … But as a mother of four in Los Angeles, I didn't really have the luxury of saying, 'I want to branch out.' But I did say, 'Can I play someone smart?' My father was a NASA physicist. My mother was brilliant. I was over doing things I could do in my sleep, always getting the part of the woman who sticks her head out of the trailer door and goes, 'I didn't kill him, but I ain't sorry he's dead!' ... It's like, 'Can I play someone who has a college education?' And I did, finally, but it took Quinta to do it. Grier: I've found that the older I've gotten, the roles I'm offered have broadened. And I've played a variety of really challenging great roles because I'm old now. That's been a real joy because I didn't really expect that. I just thought I'd be retired. I did. So it's been awesome. Lane: There was an article written about me, it was sort of a career-assessment article. It was a very nice piece, but it referred to me as the greatest stage entertainer of the last decade. And as flattering as it was, I can find a dark cloud in any silver lining. I felt, 'Oh, that's how they see me?' As an 'entertainer' because of musicals and things [I did] like 'The Birdcage' or 'The Lion King.' I'd been an actor for 35 years and I thought, 'I have more to offer.' So I wound up doing 'The Iceman Cometh' in Chicago ... and that would change everything. It was the beginning of a process where I lucked out and got some serious roles in television, and that led to other things. But it was a concerted effort over a period of 10, 15 years, and difficult because everybody wants to put you in a box. Is it difficult in the industry to make the move between drama and comedy? Walter: It's a lifelong consternation to me that there is an idea that if you are known comedically, that's what you do. We are quite capable of playing all of the things. Grier: I remember seeing Jackie Gleason in 'The Hustler.' I loved it. He was so great. Robin Williams also did serious. I think it's actually harder when you see serious actors try to be comedians. Downs: One of the things about making 'Hacks' is we wanted to do something that was mixed tone, that it was funny and comedic but also let actors like myself, like Jean, all of these people, have moments. Because to us, the most funny things are right next to the most tragic things. Hudson: And usually the most classic. When you think about the movies that people know generation after generation, they're usually the ones that walk the line. And they're the ones that you just want to go back and watch over and over and over again. Everett: I haven't had a lot of experience with being typecast because I've been in the clubs for a long time doing cabaret. But on my show, Tim Bagley, who plays Brad … he's been doing the same characters for I don't know for how long. So we wrote this part for him, and one of the most rewarding things for me on this show was sitting behind the monitor and watching him get to have the moment he deserved ... It's one of the greatest gifts to me as a creator to have been part of that. It's a whole thing in my show. We're all getting this break together. We've all struggled to pay our rent well into our 40s. I waited tables into my 40s, but you don't give up because you love doing it. I'm sure many of you are recognized in public, but what about being mistaken for somebody else who's famous? Grier: I went to a performance of a David Mamet show on Broadway. I went backstage, and this particular day, it was when Broadway was raising money to benefit AIDS. There was a Midwestern couple there with their young son and they saw me, and the house manager said, 'This couple, they're going to give us an extra $1,000 if you take a picture with them. Would you mind?' I'm like, 'Yeah, cool.' So I'm posing and the dad goes, 'It is our honor to take a picture with you, Mr. LeVar Burton.' Now in that moment, I thought if I say no, people will die. So I looked at them and I went, 'You liked me in 'Roots?'' He said, 'We loved you.' Click, we took the picture. I'm not going to be like, 'How dare you?!' Walter: Peg Bundy I got a couple of times. But as soon as I open my mouth, they know who I am. I can hide my hair, but as soon as I talk, I'm made. Hudson: I've had a lot of Drew Barrymore. And then every other Kate. Kate Winslet, Katie Holmes ... I've gotten all of them. Walter: Do you correct them? Hudson: Never. I just say yes and sign it 'Cate Blanchett.' I'd love to know who everybody's comedic inspiration was growing up. Walter: My dad used to let me stay up and watch 'The Smothers Brothers Comedy Hour' and 'Laugh-In.' I got to see Ruth Buzzi, rest in peace, and Goldie Hawn and Lily Tomlin. Jo Anne Worley. All these funny women. That's what made me think, 'You can get a job doing this, the thing that I get in trouble for at school?!' Grier: My comedy hero was Richard Pryor. I was this Black little boy in Detroit, and George Jessel would come on 'The Mike Douglas Show' and he might as well have been speaking Russian. I'm like, 'How can this be comedy?' Then I saw Richard Pryor, and he was the first comic who I just went, 'Well, this guy's hilarious.' Downs: I remember one of the first comedies that my dad showed me was 'Young Frankenstein.' I remember Teri Garr, Cloris Leachman and Madeline Kahn. All of these women. I was always like, 'They're the funniest ones.' Hudson: My era growing up was Steve Martin, Martin Short, Albert Brooks, Mel Brooks. But women were, for me, the classics. Lucille Ball. Walter: There was a time when I was growing up where women really dominated comedy. They were your mom [nods at Hudson, Hawn's daughter], Whoopi [Goldberg], Bette Midler. The biggest stars of the biggest comedies were women, and then that all went away for a really long time. I think it found its way back with Judd Apatow and then he made 'Bridesmaids.' Hudson: I tried really hard to make edgy comedy and studios wouldn't do it. They wouldn't. It took Judd to convince the studio system that women are ready. That we can handle rated-R. In the '70s and '80s, there was a ton of rated-R comedy with women. But for some reason, it just all of a sudden became like, 'Oh, there's only 1½ demographics for women in comedy.' I always felt like it was an uphill battle trying to get them made. Then I remember when Jenji [Kohan] came in with 'Orange Is the New Black.' That was really awesome. Lane: Above all, it was always Jackie Gleason for me. He was such an influence. He was hilarious, and of course, very broadly funny, but then there was something so sad. It was such pathos with him. ... He was this wonderful, serious actor, as well as being Ralph Kramden. Everett: There's nobody that taught me more about how to be funny than my mom. She just had this way of being that I have used in my live shows. It's led to where I am now. She used to wet her pants [laughing] so she had to put towels down on all the chairs in the house. She just didn't care. That shows you to not care, to go out there. I live in fear, but not when I feel like she's with me. Grier: That's the edge. You're either going to weep or you're going to [laugh] until you urinate.
