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Is Dancing With the Stars Rigged? Producer Speaks Out

Is Dancing With the Stars Rigged? Producer Speaks Out

Cosmopolitana day ago

Dancing With The Stars is about to debut its 34th season on ABC and apparently the show is pulling in bigger audiences than ever—and battling rumors that it's rigged.
Executive producer Ryan O'Dowd just sat down for an interview with Deadline, who wasted no time asking about the "small contingent of fans who accuse the show of being fixed."
"We take that very seriously," Ryan said. "We have never, nor would we ever do anything to manipulate the votes. The show really needs to be credible. It needs to allow the viewers to have a voice and to really be the voice of who deserves to win. So we have never nor would we ever want to manipulate that in any way."
Ryan was also asked about the possibility of doing a live show for the West Coast and East Coast, and shut that down pretty fast.
"Many years ago, I worked on a singing show called Rising Star for ABC, and it became unbelievably challenging to produce," he said. "We would essentially have the live show for the east coast and central viewers and then we would stay and produce another live result. There was a West coast save element to that format and the juice wasn't worth squeeze, to be honest. I think we are always looking for ways in which we can include the west coast in a more meaningful way. It's just proven to be very difficult."
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Diddy Trial Proves 'A Lot Has Changed' Since #MeToo Movement Began, Bill Maher Says: 'It's Not Victim-Shaming' To Expect Women To 'Leave Toxic Relationships'
Diddy Trial Proves 'A Lot Has Changed' Since #MeToo Movement Began, Bill Maher Says: 'It's Not Victim-Shaming' To Expect Women To 'Leave Toxic Relationships'

Yahoo

time15 hours ago

  • Yahoo

Diddy Trial Proves 'A Lot Has Changed' Since #MeToo Movement Began, Bill Maher Says: 'It's Not Victim-Shaming' To Expect Women To 'Leave Toxic Relationships'

The Diddy trial is still unfolding, but Bill Maher believes it has already shown that a 'new rule' should be imposed for sexual assault cases nearly eight years after the start of the #MeToo movement. In his end-of-show monologue on Real Time Friday (watch it above), Maher used the prosecution of Sean 'Diddy' Combs as a prism for how sexual misconduct is viewed in society and in the justice system. 'A lot has changed' since the initial wave of allegations against Harvey Weinstein and many others in 2017, he maintained. More from Deadline 'Real Time': Bill Maher Compares Gen Z To 'The White Lotus' Character In Anti-Woke Rant 'Real Time': Tommy Chong Recalls "Bugging" Terrence Malick To Direct A 'Cheech & Chong' Movie Terrence Howard Turned Down A Lee Daniels-Directed Marvin Gaye Biopic Because He "Could Not" Kiss A Man: "I Would Cut My Lips Off" 'We need to keep two thoughts in our head at the same time: One, Diddy is a bad dude – really bad. Like, the worst thing in rap since Hammer pants. A violent, sick f–k – I'm sorry, an alleged violent, sick f–k. And we should lock him up and throw away the baby oil,' Maher said. 'And two, things have changed enough that moving forward, the rule should be, if you're being abused, you've got to leave right away.' The host pointed out what he sees as inconsistencies in the testimony of Cassie Ventura, Diddy's former girlfriend. 'It's not victim-shaming to expect women to have the agency to leave toxic relationships. Quite the contrary, to not expect that is infantilizing,' Maher said. 'If Diddy walks free, it will because his lawyers can point to an endless stream of texts from Cassie expressing what's often called 'enthusiastic consent' to their sex life. If you're 'MeToo-ing' someone, it's not helpful to your case if you texted him, 'me too!'' A graphic on the screen next to Maher displayed text messages from Ventura to Combs presented at trial, including one that read, 'I'm always ready to freak off.' Years ago, 'when women felt, for good reason, that 'OG predators' like Bill Cosby and Harvey Weinstein would never be held accountable, why not at least get something out of it?' Maher said. Most of the initially accused perpetrators were surrounded by 'all sorts of enablers' (assistants, cops, agents, 'cowards' afraid to defy the person signing their paycheck), Maher recalled. In that era, 'it was not illogical for an abused woman to say, 'Well, if I can't get justice for my pain, can I at least get a receipt? A coupon?'' Maher did acknowledge, 'as counter-intuitive as it seems, why an abused woman would send complimentary text.' Unlike in past eras, though, he argued, 'We're not in the 'no one listens to women or takes them seriously' era anymore. Operators are actually standing by to take your calls.' Statistics show more women have reported claims of abuse and mistreatment over the past seven-plus years, Maher pointed out. 'I understand why it can be difficult for women to leave an abusive relationship,' he said. 'But this should be society's new grand bargain. We take every allegation seriously, but don't tell me anymore about your contemporaneous account that you said to two friends 10 years ago. Tell the police right away. Don't wait a decade. Don't journal about it. Don't turn it into a one-woman show. And most importantly, don't keep f–king him. Your only contemporaneous notes about what he did should be a police report.' The show-business sparkle of the music business also can't be eliminated from the Diddy situation or others that have played out in Hollywood, Maher continued. 'If we're going to have an honest conversation about abuse, we also have to have an honest conversation about what people are willing to do for stardom. If you want a No. 1 record so bad you'll take a No. 1 in the face, some of that is on you,' he said. 'And if you're doing it for love, well, c'mon, Oprah and Dr. Phil and every podcaster in the world by now have done a million shows about 'abuse is not love' and 'abusers don't change.'' R&B singer Ike Turner 'was a psycho, just like Diddy,' Maher said. 'But in an era when there was no movement to help her, Tina Turner somehow got away and she did it with 36 cents in her pocket and a mobile card.' [youtube Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds 'Poker Face' Season 2 Guest Stars: From Katie Holmes To Simon Hellberg 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More

‘The biggest mistake of my life': 6 actors on typecasting, comedy idols and more
‘The biggest mistake of my life': 6 actors on typecasting, comedy idols and more

Los Angeles Times

time16 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.

‘Doctor Odyssey' Crewmembers Sue Disney for Alleged Sexual Harassment on Set, ‘Blacklisting' Them After Filing Complaint
‘Doctor Odyssey' Crewmembers Sue Disney for Alleged Sexual Harassment on Set, ‘Blacklisting' Them After Filing Complaint

Yahoo

time17 hours ago

  • Yahoo

‘Doctor Odyssey' Crewmembers Sue Disney for Alleged Sexual Harassment on Set, ‘Blacklisting' Them After Filing Complaint

Three former crewmembers on the ABC medical series 'Doctor Odyssey' are suing 20th Century and its parent company Disney for allegedly enabling an 'unchecked campaign of sexual harassment for months' on the set of the series. In the suit, filed Friday in Los Angeles Superior Court, plaintiffs Caroline Mack, Alicia Haverland and Ava Steinbrenner claim that Tyler Patton, the assistant prop master on 'Doctor Odyssey,' would subject the three to 'sexual jokes, innuendos, comments, sexual gestures and images' as well as 'unwanted touching,' such as 'openly grabbing a visiting female employee's buttocks.' More from Variety With Disney's New 'Lilo & Stitch' in Theaters, Here's How to Get the Original Animated Film on DVD/4K Ultra HD 'The Devil Wears Prada' Sequel Set for May 2026; Ridley Scott's 'The Dog Stars' Dated for March Justin Connolly, After Exiting Disney, Joins YouTube as Global Head of Media and Sports; Disney Sues Over Exec's Hiring In one account contained in the suit, Patton allegedly sent prop department employees a story appearing to reference news that President Biden had dropped out of the 2024 election. But the link redirected to a picture of a naked male with an erect penis. Other comments allegedly made by Patton include calling one of the plaintiffs a 'chick' and saying 'come over here and open your mouth, here's the worm.' The lead prop master on 'Doctor Odyssey' was Tammie Patton, Tyler's wife. The suit claims that Tammie and Disney hired Tyler with 'knowledge that prior allegations of sexual harassment had been lodged' against him. Patton was previously named in a 2010 lawsuit against Universal Network Television, which claimed advanced sexual harassment and retaliation allegations on the set of 'House.' In that complaint, ex-employee Carl Jones alleged that Patton groped his genitals and made sexual propositions to female co-workers. The 'Doctor Odyssey' suit also claims that Patton's harassment would occur 'daily and frequently in the presence of management.' During one confrontation, Patton allegedly exclaimed, 'If I wasn't fucking the boss, I'd be fired.' Patton was terminated after plaintiffs reported his behavior to human resources, according to the complaint. Shortly after, Tammie Patton allegedly 'began to engage in retaliatory behavior,' including threatening their employment. The entire props department was later laid off, though Disney 'then almost immediately hired a whole new set of employees,' the suit states. The suit argues that 'Defendants wiped the Prop Department's slate clean to avoid having to deal with any remaining 27 employee-relations issues tied to Tyler Patton's and Tammie Patton's misconduct.' The plaintiffs also claim that they have been 'blacklisted' by Disney 'in retaliation for bringing forward their good-faith complaints.' Disney did not immediately respond to a request for comment. 'Doctor Odyssey' has not yet been renewed for a second season. It is now the only scripted series at ABC with an undetermined future. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?

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