'DWTS' Pros Jenna Johnson and Val Chmerkovskiy Pack on PDA in Steamy Photos
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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Los Angeles Times
9 minutes ago
- Los Angeles Times
In the sharp ‘Lurker,' Instagram stalking leads to the inner circle, but how do you keep others out?
'Lurker' is a teeth-grittingly great dramedy that insists there's more tension in the entourage of a mellow hipster than a king. At least imperial courtiers trust in strict codes about curtsies and proper titles. The rules of hanging out with British-born, L.A.-based emo-pop musician Oliver (Archie Madekwe) are vague and fraught. An impulsive, baby-faced charmer on the ascent from Instagram popularity to mainstream icon, Oliver isn't that rich or that famous (yet), but he's already surrounded by friends-slash-employees who ferociously guard his fiefdom and their access to it. Oliver thrives on vibes, bro, and these ones are cutthroat. First-time feature filmmaker Alex Russell brings us into this demi-star's orbit through a Melrose streetwear sales clerk named Matthew (Théodore Pellerin). The gawky kid is an Oliver obsessive. But he's clever enough to hide it, negging his hero into giving him a backstage pass. (Here, it's an insult to be called a fan.) Upon entering the green room, Matthew is hazed by Oliver's buddies Swett and Bowen (Zack Fox and Wale Onayemi, both inscrutable, funny and terrifying), who order the nervous outsider to pull down his pants as a tribute to their dead homie. He passes that test. There will be more to come. Russell sharpened his knives as a writer and producer on 'The Bear' and 'Beef.' He makes bleak comedies about strivers with shiv-like gags that make you wheeze in pain. Advised to make himself useful, Matthew quickly gets promoted from Oliver's unofficial dishwasher to his unofficial documentary director. Just as quickly, he makes enemies with Oliver's somewhat more official music video director, Noah (Daniel Zolghadri), who attempts to give Matthew the royal brush-off, as in 'We appreciate your help, but ...' and then patronizingly calls him his 'sous-chef.' As Matthew learns when his pal, Jamie (Sunny Suljic), finagles his own party invite, anyone who gets their claws in Oliver attacks their rivals. 'Lurker' is too passive a title for this story of competition. 'Clinger' or 'Leecher' would be more apropos. Oliver presents as all sunny, breezy love, sporting a trucker cap over a babushka over bleached pink hair. The costumer Megan Gray outfits the 6'5' Madekwe in floppy sweaters that exaggerate his eagerness to pull people in for a long-limbed hug. Flighty and magnetic, Oliver trills that his clique is 'one big happy family,' using his faux-obliviousness to shield himself from being the bad guy. That responsibility lands on everyone else, especially the observant and exhausted Shai (Havana Rose Liu), who might be called Oliver's manager if anyone had a formal job description. Madekwe played a more obviously cruel gatekeeper in 'Saltburn' as Jacob Elordi's snotty American cousin, but he still holds all the keys. In scenes where Madekwe shuts off his character's warmth, the movie gets 30 degrees colder (and his artificial pep more chilling). Meanwhile, Pellerin's flinchy smiles and forced guffaws prove how much effort it takes to act effortless. At his most nonchalant, he's doing an Oliver impression. 'Lurker' has a casual malevolence, Russell sidling up to his targets before he attacks. He stress-tests our icky, grubby pity for Matthew and, beyond that, the flimsiness of modern fame culture and its fake-it-till-you-make-it inspirational platitudes. In a hilarious bit, one of Matthew's own fans stops him on the street to gush, 'I wanna be like you — but what do you do?' What Russell really seems to be wondering is what separates a real artist from a fake? If 'Lurker' had been made a generation ago, it would have drawn a line along the boundary of authenticity: Is Oliver sincere about his vulnerable anthems? Today, that question is passé. We now recognize the pressure to forge a brand, even if said brand is a pretense of not caring about one's image. At this point in his career, Oliver likes framing himself as giddy, low-fi and spontaneous. He loves videos of himself crashing his bike into a trash can, frolicking on a beach, prancing around a field with a retro camcorder strapped to a sheep. 'Am I tripping or is this sick?' Oliver asks about the farm footage. Since his posse won't admit the truth, I will: It sucks. Oliver's charisma is its own trap. A crib of yes-men limits how big he can grow. The film's image-first focus doesn't give it much runway to explore what motivates Oliver as an artist. There are several performance scenes that showcase Madekwe's ability to croon in a convincing limber lilt but little engagement with his actual music. You sense that Russell is more confident dissecting the qualities of a good steak sandwich than a good song. My impression of the tunes is that Kenny Beats (who had a hand in all of them and also the brilliantly anxious electronic score) has written the bulk to be decent but not dynamite. How a singer vaults up in quality is as mysterious as trying to define cool itself. Only toward the end of the film does Russell tease the question that we, too, have forgotten to ask: Does anyone care whether Oliver is a genuine talent? Despite its thorny psychology, 'Lurker' strips its characters of everything but a scrap of backstory. We're aware that Matthew lives with his grandmother, but we don't know why and we don't even know her name. That starkness gives the movie the in-the-moment immediacy of a nature doc about a shark and a swarm of remoras. Russell insists we make our own diagnosis about what drives Matthew and Oliver's hunger for applause — and if their symbiotic dynamic has echoes throughout the entire music industry. Twice, Russell cues up the R&B classic 'I'm Your Puppet,' which is once too many for my taste. We're already concentrating on who's pulling the strings. Elsewhere, there are moments when I wish Russell himself didn't play things quite so casually. He's so smart about noting the details — tiny glances, awkward smiles — that it's head-scrambling when he obscures a major plot point under hasty editing and cryptic dialogue. It's a key sequence in the script, yet we can't get a grip on whether it's horrific luck or a game of six-dimensional chess. The distinction matters. Still, Russell has captured us with this tale of a pawn trying to capture a king. We feel for them both. And we understand why castles have moats.
Yahoo
an hour ago
- Yahoo
Justin Bieber impersonator dupes Las Vegas nightclub, sings on stage
Justin Bieber joined a popular DJ onstage and performed at a Las Vegas nightclub. Except that he didn't. Gryffin, a San Francisco-born DJ and music producer, was performing at the XS Nightclub inside the Wynn Las Vegas hotel on Aug. 16 when he was told that Bieber was at the venue and wanted to perform, he said in a video posted on his Instagram. "His 'team' said he wanted to perform 'Sorry,'" a text overlay on the video read. "Little did I know I was about to be sorry." The Bieber on stage with Gryffin was not the Grammy award-winning singer, but rather an impersonator. The DJ's video added that the look-alike performed on stage for several minutes and "sounded like Justin Bieber." "biebergate2025," the DJ captioned his post. Nightclub says impersonator carried out 'elaborate' dupe Wynn Las Vegas said in a statement to USA TODAY that the impersonator duped the club's staff. "After an elaborate and multi-step ruse by him and his advance team, a Justin Bieber impersonator was granted access to the XS stage," the statement reads. "As soon as the error was recognized, he was removed from the resort and denied future entry." In Gryffin's video, a man with a buzzed haircut, tattoos and sunglasses is seen performing Bieber's hit song, "Sorry." "Bieber in the house, y'all," Gryffin says into a microphone. Following the performance, the video shows Gryffin saying, "That was insane," before someone puts their arm around him and breaks the news that the singer on stage was not the real Bieber. "No way," Gryffin says, to which the individual responds, "Swear on my life." Justin Bieber impersonator denies trying to dupe club In a series of social media posts, a French Justin Bieber impersonator named Dylan Desclos confirmed that he was the onstage performer. Desclos's manager, Julien Colas, said in a written statement to USA TODAY that he went to the club as an impersonator and someone asked if he would like to perform. "We did many performance as impersonator," Colas said. "What have we to won by saying we are the real one? That's not our way to work. Cause, yes, it's a job. We don't want to hurt anyone." Melina Khan is a national trending reporter for USA TODAY. She can be reached at This article originally appeared on USA TODAY: Justin Bieber impersonator dupes Las Vegas club, performs on stage Solve the daily Crossword


USA Today
2 hours ago
- USA Today
Jack White, White House trade jabs over Trump's Oval Office decor
Less than a year into Donald Trump's presidency, he's overhauling not just some of the nation's laws, but the house from which he signs them − and musician Jack White has some thoughts. Amid Trump's White House makeover, which thus far has included a paving over of the famous Rose Garden and bedecking some of its historic rooms in gold, White blasted the changes as "vulgar" and "gaudy." In an Aug. 19 Instagram post, the lead singer of the White Stripes critiqued an image of Trump, 79, and Ukrainian President Volodymyr Zelenskyy sitting in the newly gold-drenched Oval Office. "Look at how disgusting Trump has transformed the historic White House. It's now a vulgar, gold leafed and gaudy, professional wrestler's dressing room," White, 50, wrote. "Can't wait for the UFC match on the front lawn too, he's almost fully achieved the movie 'Idiocracy.'" Jack White threatens to sue over Trump campaign staffer's use of White Stripes song "Look at his disgusting taste, would you even buy a used car from this conman, let alone give him the nuclear codes?" he continued. "A gold plated trump bible would look perfect up on that mantle with a pair of trump shoes on either side wouldn't it?" White is seemingly referring to several money-making ventures from the president, who has long demonstrated a propensity for selling merchandise with his name on it. "What an embarrassment to American history," White concluded, before lauding Zelenskyy as "a REAL leader" in "a black suit." Notably, when Zelenskyy visited the White House earlier in Trump's presidency, he was critiqued by Trump-friendly reporters and the president himself for wearing army fatigues rather than a suit. White, now a solo artist, once owned a furniture business, while Trump, a real estate magnate, has long been known to favor a flashy, Rococo aesthetic. The pair's divergence on matters of style may come as no surprise, as the singer's sartorial choices have traditionally leaned into a more cool-toned emo look. When reached for comment, White House communications director Steven Cheung called White "washed up" and defended the Oval Office's new ornate look. "Jack White is a washed up, has-been loser posting drivel on social media because he clearly has ample time on his hands due to his stalled career," Cheung wrote. "It's apparent he's been masquerading as a real artist, because he fails to appreciate, and quite frankly disrespects, the splendor and significance of the Oval Office inside of 'The People's House.'" The Oval Office, and the White House itself, shapeshift with each incoming administration, as staff work to transform the historical home to match the preferred aesthetic of the new first family. That Trump's choices tilt toward a brash, Waldorf-Astoria style baroqueness slots neatly into a lifetime of building designs that reflect Gilded Age sensibilities.