Dancing on Ice fans cry 'robbery' as 2025 winner is announced
Beating ex-professional footballer Anton Ferdinand and Springwatch's Michaela Strachan to the ice trophy, this victory for the soap actor (Aston plays Chesney Brown in Coronation Street) left many annoyed on social media.
Although some of the viewership acknowledged his likeability, there's a prevailing argument of "robbery" doing the rounds as Strachan was the people's choice for winning the competition.
Among the comments, one person said: "@michaelastracha and @Mark_Hanretty were absolutely robbed tonight I cannot even believe I am saying this! #dancingonice."
"I'm sorry but the #corrie fans have robbed michaela like they did many of the other contestants," claimed one incensed X user.
"On what PLANET did Sam deserve that over Michaela [I] used to love #DancingOnIce but that is a sin and a complete fix," was another complaint.
Michaela was ROBBED #DancingOnIce
— james (@James__GA) March 9, 2025
Someone else said: "Aww Sam did great and wasn't expecting him to be that good but I feel Michaela should have won #DancingOnIce."
Another person said: "Travesty. Michaela was robbed. So still no female win for 13 years. #DancingOnIce."
One person added: "Michaela should have won that hands down, just speechless. #DancingOnIce."
@michaelastracha and @Mark_Hanretty were absolutely robbed tonight I cannot even believe I am saying this! #dancingonice 😡
— Leanne Everest 🙏❤ ⚽🌻🦄🌷 (@reddevil1975) March 9, 2025
Read more:
Dancing on Ice fans call out 'farcical' scoring in grand final
Dancing on Ice fans think Christopher Dean let an F-bomb slip
It's time to cancel Dancing on Ice, say Yahoo UK readers
There was also a lot of love out there for Aston, including from his Weatherfield buddy Tony Maudsley who portrays George Shuttleworth on screen.
"HE ONLY WENT AND WON IT!!!! Massive congratulations to our boy Sam! The Corrie Actors WhatsApp group is on FIRE tonight. We're all so proud of him! Couldn't happen to a nicer bloke!! BRAVO SAM!!" Read his celebratory tweet as the final concluded.
"Gutted for Michaela but feel like Sam was very much the underdog and never really got the praise he deserved," pointed out somebody else.
As her ice rink rival danced in the golden confetti raining down on him, Strachan was predictably gracious in defeat and made sure to highlight the work of her professional partner Mark Hanretty.
She told co-presenter Holly Willoughby: "It's been an amazing journey and I feel like a winner to get this far with Mark. It's been fantastic."
Congratulations to all of this year's Dancing on Ice couples.
Dancing on Ice is available to stream on ITVX.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
13 hours ago
- Yahoo
I'm certain this £28 denim dress from Tu Clothing won't stay in stock for long
It's just launched online, so be quick! Here at Yahoo UK, it's rare for our shopping experts to ever pass up on a fantastic denim dress – especially since finding one that combines style, comfort, and affordability can be a challenge, but Tu Clothing has delivered with its new Indigo Denim Midaxi Dress, and at just £28, it's an absolute bargain. This has to be one of the cheapest denim dresses I've ever seen, with near identical styles from M&S and John Lewis costing upwards of £40, while more mid-range brands, such as Whistles and Nobody's Child, can cost up to £150. It may be budget-friendly, but this Tu Clothing gem doesn't compromise on style. With front pocket detailing and a flattering belt, it ticks all the boxes for the perfect denim dress. With its year-round versatility and effortless style for any occasion, this wardrobe staple is set to sell out fast, so don't miss your chance to make it yours. Honestly, there's little not to love about this classic denim dress – it looks far more expensive than it is, thanks to design details like a smart collar, chest pockets, and a waist-cinching belt that elevate the overall look. The long sleeves make it a great choice for transitioning into autumn, while the midaxi length is ideal if you're someone who prefers not to show too much leg. The skirt features a slit for easy movement, and there are additional pockets on each side and the back for extra detail and functionality. Plus, it's made from 100% cotton, so you're guaranteed all-day comfort (no rigid denim here), just a flattering fit that feels as good as it looks. £28 at Tu Clothing Shop all dresses When it comes to styling, this dress is the perfect effortless throw-on piece that speaks for itself. Simply pair it with pumps or trainers for a laid-back daytime look, or elevate it with heeled boots and a chic bag for the evening. While this brand-new dress hasn't received any reviews just yet (it literally launched today), I'm confident it'll be a hit – especially since I have tried and tested a very similar denim style from Tu Clothing earlier this year. My version was slightly pricier at £30, and I genuinely rated it for its flattering fit, all-day comfort and unbeatable value. As with many of Tu Clothing's popular dress launches, this great value denim style is likely to fly off the shelves, so if you're hoping to wear it for seasons to come, don't wait too long to add it to your basket. Shop now: Indigo Denim Midaxi Dress | £28 from Tu Clothing Shop now More new dresses at Tu Clothing
Yahoo
19 hours ago
- Yahoo
Coronation Street star confirms exit from ITV soap in 'massive loss for the show'
Coronation Street star Sally Ann Matthews has confirmed she will be leaving the ITV soap in what fans have described as "a massive loss for the show". Matthews has been a Corrie regular for the past 10 years, playing the role of Jenny Connor. She first appeared on the ITV soap (as Jenny Connor) back in 1986. Matthews departed the show in 1991, and apart from a brief appearance in 1993, she returned to cobbles in 2015. Most iconic British soap characters of all time Sally Ann Matthews confirms Coronation Street exit However, Matthews is now set for her second departure from Coronation Street, revealing on Friday (August 1) that she will be leaving the ITV soap after "doing an extra ten years". In a post on Instagram, she said: "I was supposed to stay for five months but ended up doing an extra ten years because I loved it so much! "It's time though to play those parts I always hoped I would when I'd 'grown up.' "Thanks Trafford Wharf Rd for the memories and endless laughter." "A massive loss for the show" - Fellow TV stars and fans shocked at Sally Ann Matthews' Coronation Street exit Fellow TV stars and fans of the show took to social media following the news to share just how "wonderful" Matthews had been on Coronation Street and how much she would be missed. Doctor Who writer Russell T Davies, commenting on Matthews' Instagram post, said: "You've been absolutely wonderful!" While former Coronation Street and Casualty actress Melanie Hill commented: "Onwards Sal. Corrie will miss you." RECOMMENDED READING: 'Useless' Coronation Street character set for return as fans cry 'not again' Coronation Street lines up dramatic exit for character amid 'heartache' Coronation Street legend 'nearly quit' after ITV bosses left him 'gutted' One fan, posting on X (formerly Twitter), wrote: "Losing Sally Ann Matthews and Sue Devaney is going to hit #Corrie HARD given the lack of classic Corrie characters in that demographic. Jenny and Debbie ARE Corrie. "How much left is there that we can call true Corrie. Bad omens, think there's a genuine crisis there." Another added: "Even though I'm not watching corrie atm sally ann matthews leaving is going to be a massive loss for the show."


Los Angeles Times
2 days ago
- Los Angeles Times
Ella Berman's ‘L.A. Women' is a breezy retro novel with bite — and lots of familiar characters
Ella Berman's third novel, 'L.A. Women,' is set in Laurel Canyon between the mid-'60s and mid-'70s. It's a perfect place and time for a novelist looking to establish a tense atmosphere: The dreamy, free-love atmosphere slowly curdled into hard drugs and the Manson murders. Sunshine turned to smog. Joni Mitchell's sprightly 'Ladies of the Canyon' album gave way to the melancholy 'Blue.' A scene early in the novel captures the dynamic, as locals assemble for a party in the home of Lane, an acclaimed novelist and journalist, while the bloom begins to fall off the rose: 'They are here because their world was so vivid, so beautiful, that they are all somehow willing to settle for a ghost version of it.' That line comes from Lane's perspective, and she has reasons to be cynical: In 1975, her marriage is crumbling, her second novel has taken a beating with the critics, and her estranged friend and fellow writer, Gala, has gone missing. That last plot point is the novel's drivetrain, because her disappearance exposes so many things about the culture of the time: flightiness, despair, drugs, loss and fear. Before their split, Lane and Gala were at the same time friends and rivals. In the late '60s, Lane was a nationally famous explainer of California culture, hard-edged but with a literary bent. (Think Joan Didion.) Gala was the free-spirit hanger-on in the city's club scene, falling for a rock singer and happily dishing about her Southern California misadventures. (Think Eve Babitz, with a dash of Carrie Bradshaw.) Gala gave Lane some valuable tough-love advice about the draft of her first novel, which moved Lane to open some doors for Gala at big-ticket magazines. They covered different worlds. What would be the harm? Over the course of Berman's novel, it becomes clear the answer is plenty. As the narrative shuttles back and forth between 1965 and 1976, Berman shows how messily entangled the two women's lives are, and that their influence on each other as writers is more porous than either wants to believe. 'L.A. Women' is in part a mystery novel, as Lane investigates Gala's disappearance. But she's questioning the sincerity of her motivations along the way. After all, her next book is a roman à clef about Gala, and writing about a woman who might be in dire straits would be exploitative. Or, rather, more exploitative. Gala's disappearance also prompts Lane to wonder what kind of fiction about her old friend would be most accurate. Is she a fallen starlet or a woman reinventing herself? She observes that one version of Gala 'would end up like so many L.A. women before her — violet and vomit-streaked in a stranger's bed at the Chateau, or maybe she would buy a baby grand piano and move to the coast to start over, bright-eyed and sober with a new sense of wonder for the world.' Resolving that question is as key to the book as Gala's location. In the meantime, Berman sets plenty of scenes in some of L.A.'s most famous landmarks: the Magic Castle, Musso & Frank's, the Chateau Marmont, and, hey, look, it's painter Ed Ruscha driving down Wilshire Boulevard! Such cameos feel a little tacked-on and obligatory, candy-colored as a Hockney painting. But the novel's truest setting is an emotional one, anyway; Berman's gift is for revealing the ways that attachment warps into envy, and how we rationalize or ignore those emotions even while they consume us. Berman suggests that, in some ways, the culture pushed both Gala and Lane into becoming adversaries. Though their writing styles are distinct, they're framed by others as rivals, particularly by men: 'Isn't that what most men wanted — to flatten women not into individuals with needs and wants and requirements, but into a vague, out-of-focus mass?' Men who fail to follow the rules wind up in the city's cultural thresher as well: The women's mutual friend, Charlie, a high-powered music-industry power broker (think David Geffen) has his status threatened once his homosexuality becomes an open secret. 'L.A. Women' is in many ways a breezy book, gentle about its crises and suggesting early on that a happy ending is in the offing. But thematically it has teeth. Media culture, Laurel Canyon culture, gender culture all conspire to keep Lane and Gala from being what a writer needs most to be: honest. For all of her storied flintiness, Lane strains to keep her feelings about Gala at a distance, and Gala refuses to acknowledge that she needs Lane to anchor her recklessness. But admitting to that sort of need requires a decade of emotional work, and the novel's strongest moments show how deep the struggle can run. 'Writers are always selling someone out,' the Lane-like journalist Janet Malcolm once famously wrote. The reasons for that are myriad: money, attention, a good story, status. 'L.A. Women' captures that range with admirable sensitivity. But at its core it grasps that the challenge is more fundamental: How we can treat the people close to us more as human beings and less like commodities. Or, as Gala puts it: 'It was infinitely more satisfying to be somebody rather than somebody's plus-one.' Athitakis is a writer in Phoenix and author of 'The New Midwest.'