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‘The Voice' recap: America votes as Top 12 perform for a spot in the Season 27 finale

‘The Voice' recap: America votes as Top 12 perform for a spot in the Season 27 finale

Yahoo13-05-2025

The Voice returns for the live semifinals on Monday, May 12, with voting now in the hands of America.
Coaches John Legend, Kelsea Ballerini, Michael Bublé, and Adam Levine made tough decisions during the Playoffs, narrowing their teams down to just two artists each. Additionally, each coach will bring back one previously eliminated contestant, completing the Top 12. As the artists perform during the first night of live shows (Monday at 8 p.m. ET/PT on NBC), viewers will have the opportunity to vote for their favorite after the episode airs.
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SEE Blake Shelton, Kelly Clarkson, and Alicia Keys to return to The Voice
On Tuesday, May 13, The Voice will feature a one-hour recap of Season 27's live semifinal performances at 8 p.m. ET/PT, followed by a results episode at 9 p.m. ET/PT. Host Carson Daly will reveal the top four artists moving on to the finale, with one final artist earning their spot via America's Instant Save.
Follow along with our live blog below to see which song each contestant performed — and how the coach's responded.
SEE 'The Voice' sets Season 28 coaches as it shifts to a truncated schedule in the fall
8 p.m. — Previously, on The Voice: The coaches each narrowed their teams down to just two artists in the Playoffs round. See the current lineups from the start of the episode below.
TEAM LEGEND — Bryson Battle, Renzo TEAM BUBLÉ — Adam David, Jadyn Cree TEAM KELSEA — Alanna Lynise, Iris Herrera TEAM ADAM — Kolby Cordell, Lucia Flores-Wiseman
8:01 p.m. — Each coach was escorted to their big red chair by the artist that they invited back with the Super Save: John with Olivia Kuper Harris, Michael with Kaiya Hamilton, Kelsea with Jaelen Johnston, and Adam with Conor James.
8:05 p.m. — The semi-final performances were:
Kolby Cordell Team Adam Age: 33 Hometown: Ontario, CA Performance: "Drink You Away" by Justin Timberlake John's comment: "I feel a bit of regret in my heart and my soul... that was the best performance I've seen from you." Adam's comment: "I almost don't need to say anything coz what could I possibly say?"
Alanna Lynise Team Kelsea Age: 22 Hometown: Toledo, OH Performance: "I'm Not That Girl" from Wicked Michael's comment: "Beautiful and still and powerful." Kelsea's comment: "This set matched the magic that you have in yourself."
Jadyn Cree Team Bublé Age: 24 Hometown: Lincoln, NE Performance: "I Think We're Alone Now" by Tiffany John's comment: "I always feel like you're family... and I love seeing you do what you love to do." Michael's comment: "You're always so unique and your voice is so pure and different and that's what makes a star."
Olivia Kuper Harris Team Legend Age: 34 Hometown: Dallas, TX Performance: "Someone to Watch Over Me" by Ella Fitzgerald Adam's comment: "You should feel amazing about that... that was a really special moment." John's comment: "We just got to watch a masterclass in finding your way in a song... so skillful, sexy, soulful, all of it."
Iris Herrera Team Kelsea Age: 20 Hometown: Newaygo, MI Performance: "Messy" by Lola Young Kelsea's comment: "I'm so proud of your commitment to your artistry... full package, full circle artistry."
Lucia Flores-Wiseman Team Adam Age: 23 Hometown: Maple Valley, WA Performance: "Black Hole Sun" by Soundgarden Kelsea's comment: "The opportunities are endless... I'm a fan, you're a star." Adam's comment: "There are people out there that try to be different and there are people out there who just simply are different. Celebrating that with you has been such an honor and pleasure."
Bryson Battle Team Legend Age: 22 Hometown: Harrisburg, NC Performance: "Without You" by Mariah Carey John's comment: "I said we needed some little crackle and fireworks... you went beyond. That was stunning... galactically good."
Jaelen Johnston Team Kelsea Age: 21 Hometown: Derby, KS Performance: "I Drive Your Truck" by Lee Brice Kelsea's comment: "You're making country music so proud already."
Adam David Team Bublé Age: 35 Hometown: Fort Lauderdale, FL Performance: "Bring It on Home to Me" by Sam Cooke Adam's comment: "That was unbelievable, every second of it... one of my favorites in the whole competition." Michael's comment: "I'm sweatin'. That meant more to me than any performance has meant on the time I've spent here... I'm so happy for you."
Kaiya Hamilton Team Bublé Age: 27 Hometown: Atlanta, GA Performance: "Ain't Nobody" by Chaka Khan Michael's comment: "You already know, you're flawless... way to go, way to go."
Conor James Team Adam Age: 28 Hometown: Bridgewater, MA Performance: "Chasing Pavements" by Adele Adam's comment: "I love the fact that we kept it pure and simple here because that was a nice thing for you to do at this point... absolutely delivered."
Renzo Team Legend Age: 34 Hometown: Philadelphia, PA Performance: "Dream On" by Aerosmith John's comment: "That was like at least three times as good as rehearsal... you just look like you're supposed to be here... on all the stages."
The four-time Emmy Award-winning musical competition series The Voice is in its 27th season featuring five stages of competition: Blind Auditions, Battle Rounds, Knockouts, Playoffs and Live Performance Shows. In the coaches' chairs, Michael is the defending champion after winning Season 26. He is joined by John, in his 10th season, and Kelsea, competing for the first time. Adam rejoined the panel of coaches for his 17th season after taking a hiatus following Season 16.
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David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'
David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'

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David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'

L.A. Law. Picket Fences. Chicago Hope. Ally McBeal. The Practice. Boston Legal. Big Little Lies. Nine Perfect Strangers. Presumed Innocent. And that's far from the complete list. So it's fitting that David E. Kelley was chosen as the inaugural recipient of the ATX TV Festival's Showrunner Award. Over the course of his career, he's earned 31 Emmy nominations and 12 wins (including a Hall of Fame trophy) and was the first producer ever to take home Emmys for both comedy series and drama series in the same year. Not to mention all of the actors he's written for who have won trophies in their own right. More from GoldDerby 'I'm glad I'm still alive': Jon Hamm and John Slattery on 'Mad Men,' 10 years later 'King of the Hill' cast and creators on revival: 'Bobby's got a little bit of fame and a little bit of swagger' Watch the first 6 minutes of 'Wednesday' Season 2, from Netflix Tudum 2025 In a Q&A at the festival moderated by Gold Derby's editor-in-chief, Kelley talked about his creative process, what he learned from his mentor Steven Bochco, and why he still writes longhand. Gold Derby: You've written comedy, drama, legal dramas, medical dramas, adaptations. What's the secret formula? What's the DNA of a David E. Kelley show? David E. Kelley: Well, there's no secret formula. And if you think that you've got one or it's that easy, then that's when you've lost it and you should get out. It's always hard and always daunting. I would say for my shows, they're character-based. I look to mine the cauldron with a collection of characters that allow me to go in different directions. And so more times than not, you'll see disenfranchised people who have flaws and personality deficits, but who are redeeming and have something to love in them as well. I've always wanted but not always succeeded the piece to ultimately be affirming at the end of the day. That doesn't mean you don't have bad things going on within episodes, but at the end of the day, I would love to nurture the audience with the idea that people are more good than bad. If there's one common denominator that fits the bill across the board, that would probably be it. SEEEmmys flashback 25 years to 1999: David E. Kelley pulls off unprecedented double win for comedy and drama series So what do you look for in an actor to embody that? First, I look for a good casting director. There's something called casting fatigue. It's a long, long process, and the longer it goes, the more likely that you will settle. That the first 20 actors will be so far off, that number 21 will be remotely in the ballpark and you go, that's the one. And that's very dangerous. I've always counted on a strong casting director to bring a point of view and a perspective to (a) find the person that we're looking for, but (b) be strong and secure enough to tell me that this person is not it if I fall for the wrong person. A woman named Judith Weiner cast The Practice and Ally McBeal, which we were doing at the same time. We did The Practice first, and then we went to cast Ally McBeal, and she changed the furniture around in the same room. And I said, "Judith, I can see you've chosen to sit over by the window this time." And she said, "Yes, so I can jump out of it if you fall prey to some of the inclinations that you did during The Practice." When you get a casting director who does not settle, it just makes your job as a producer much, much easier. Do you find that once you've worked with an actor before, you're able to then write with them? You've worked with Nicole Kidman, for example, a few times now. It's a really good question because I don't think people understand how collaborative television series can be. I can't really compare it to movies because I've not done many of them. But in a series you're really looking at what the actor is bringing to the piece and listening to it and feeding off of it. Sometimes you're going for the strengths and shying away from the deficits when you're writing a subsequent episode. But oftentimes, they're doing things that you don't even anticipate. And if you're working with great actors, you just allow yourself to be flexible, to play to their strengths. O-T Fagbenle who played Nico Della Guardia on Presumed Innocent, I had no idea what he was doing when the dailies first came in. He was playing it with an affect and an aloofness and a humor and it wasn't at all the way I'd heard it when I'd written on the page. But it was great and the show needed a little bit of levity where we could find it. So I remember saying I don't know what he is doing but tell him to keep doing it. SEEDavid E. Kelley says new ending for 'Presumed Innocent' on Apple TV+ 'wasn't mandatory' Did you write end up writing to that? It's folly to say, well, that's not the construct that I set out to build and I'm going to stick to the original idea. Sometimes you do, but other times if you see what the actor is giving you is elevating the piece, don't be afraid of it. Is that something you've learned over the course of your career? I learned it pretty early from Stephen Bochco. He taught me so many good habits, and he also had huge amount of respect for the actors. If you surround yourself with good people and smart people, it's only going to make your work better. Lord knows we have more than a few in our industry who get threatened by others, who want to populate their piece with opinions who won't threaten their own, but he never did that. He did that, from the very first day I walked in his office, and he did that with the audience as well. So don't ever for a second assume you're smarter than the audience. These people more likely are going to be every bit as intelligent as you, if not more so. How were you lucky enough to find your way to Stephen Bochco so early in your career? I was a practicing lawyer in Boston, and I knew I liked to write. I had done a little bit in college, but it wasn't something I really thought I was going to make a living at. I was a young litigator and it was motion practice for the most part, which means you sit in a courtroom with a zillion other lawyers and you wait for your case to get called, and it's a long day in court with not much to do. So I started writing a script while in court, and over the course of a year, at the end of that year, I had a script of a young lawyer who was bored with his practice because all he did was go and sit in motion session and never got to argue. Gee, how did you ever come up with that idea? (Laughs.) There was someone in my law firm who was getting into the movie production business from the producing side that I knew, and they were getting bottom of the barrel scripts. They heard I was writing one, and he said, let me read it. And he said, by comparison, it looks good, and he optioned it. The script found its way to Stephen Bochco, who at that time was hatching L.A. Law and he was looking for lawyers/writers, hybrids of people because he really wanted the series to be as authentic as possible. He invited me out, and I had no idea what a fluke it was. I met him, we got along quite well, and he gave me a script assignment. How did he respond to the script? I remember the first couple of weeks were a bit strange because there's a writing staff of about eight to 10 people, and we would get script assignments. I had script number eight, so there were seven that came before me. And I was noticing people walking by with their belongings leaving the office, and I heard, "Oh, these are the writers who have turned in their scripts." Steven would weed them out pretty quickly. When it came time for my script, I walked into the office and sat down, and he looked across the table and he just said, 'You can do this.' And I remember, oh my god. It was like when I had taken the bar exam and opened the envelope and it said that I'd passed the bar. I'm not the complete fraud that I'd convinced myself that I was. When someone like Stephen Bochco says that, that can really fuel the tank. How did his writers' room work? Steven Bochco did his best work in a room with other writers. The more people, the more the heightened his acuity would be. 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I think he even said that Mr. Mercedes was one of his favorite adaptations, because I knew he hated The Shining. SEE'Presumed Innocent' producers J.J. Abrams and David E. Kelley on teaming up, 'contemptible' characters, and season 2 What about Scott Turow with ? Scott Turow's the same with Presumed Innocent. Again, I loved that book. I also loved the movie. I was daunted. This has been done well twice — in book form and in movie form — and I didn't want to be the one to screw it up. The series offered an opportunity to dig deeper into characters, especially the ancillary characters, so I was really excited about that opportunity and it was the love for the characters that that made me dive in. And Scott Turow said OK. He understood the difference in the process. A book is a book, a television series is a series. It was my baby, it's now it's your baby. You've been on a run of limited series; would you ever go back to continuing drama again? I do enjoy the limited series, but right now I'm beginning to miss series again. I tend to mourn characters when series are over. You live with them for a year or two years, and they become a little too real, and then when they're gone, it's sad. Big Little Lies, I still miss them. With series television, you live with the characters for longer. Also, you're really building a community. I am looking to do less amount of projects and get back to a series where it can go on for a long time and maybe we can get that community that I missed back. There was real currency in it. The studios now are looking for shows that aren't going to be over and done with in one, two, or three years, and I think that's going to be good for the consumer. And I look forward to it as a writer too because when, again, when you spend so much time working with these characters, they tend to become real, they tend to become like your family, and you want to hold on to them. But not the Mr. Mercedes family. I was happy to say goodbye to that family. Is there any other family in your library you would revisit for a reunion or a revival? I'm not a reboot kind of guy. I feel I've done that once, and I'm not opposed to someone else taking something I've done if they've got a new idea on it. But I feel it I just want to go forwards not backwards if I can. And do you still write longhand? I do, although my hand sort of runs out of gas now. (Laughs.) I actually do believe that there is a hand-brain connection. Because when I try to dictate or type, the brain doesn't fire as well as when I write with my hand. You heard it here. 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Lorne Michaels Speaks From the Heart, Investigative Reporters Sound the Alarm on Trump Upheaval at Peabody Awards
Lorne Michaels Speaks From the Heart, Investigative Reporters Sound the Alarm on Trump Upheaval at Peabody Awards

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Lorne Michaels Speaks From the Heart, Investigative Reporters Sound the Alarm on Trump Upheaval at Peabody Awards

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Amazon's NASCAR broadcasts are already putting Fox's efforts to shame
Amazon's NASCAR broadcasts are already putting Fox's efforts to shame

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Amazon's NASCAR broadcasts are already putting Fox's efforts to shame

Amazon Prime is already setting the standard for NASCAR broadcasts. Hopefully Fox is taking notes. Sunday's Cup Series race at Nashville — won by Ryan Blaney — was the second Amazon race of the season after the internet behemoth made its NASCAR broadcasting debut at the Coca-Cola 600. So far, its two telecasts have been sharp, professional, devoid of nonsense and informative. Simply put, it's the type of coverage that NASCAR fans deserve. Advertisement Look, complaining about TV coverage is rote at this point. Fans of every sport can easily nitpick broadcasts and there are significant subsets of every fanbase that thinks broadcasters are biased against their favorite team. But NASCAR fans have been dealt a tough hand in recent years. As Fox is in its third decade of covering NASCAR, it's felt all too often like the network is mailing it in. Nearly 25 years ago, Fox was in the same position Amazon is in. The network's first NASCAR Cup Series race was the fateful 2001 Daytona 500. Fox's entry into the NASCAR world was a pivot point for the sanctioning body. It had officially gone mainstream. The early Fox years were glorious. Especially compared to other broadcasts. Fox set the standard for what NASCAR coverage should be, even if you weren't a fan of 'Digger' and the embedded camera on the apron in the corners of racetracks across the country. Advertisement But something has changed in recent years. We're not the only ones who have noticed, either. NBC's coverage has put Fox's to shame since the network took over the second half of the season from ESPN and Fox hasn't upped its game. Kevin Harvick is an insightful analyst. But he can't overcome the hokeyness that permeates Fox's broadcasts. To be fair, Amazon isn't starting from scratch. Like Fox, the streamer acquired NFL rights before it jumped into NASCAR. And its booth of Adam Alexander, Dale Earnhardt Jr. and Steve Letarte have plenty of experience calling races. Alexander has been a main Xfinity Series play-by-play voice for years, and Junior and Letarte form the best analyst pairing in NASCAR from their years at NBC. The two worked together as driver and crew chief at Hendrick Motorsports and their chemistry is apparent on screen. Advertisement But Amazon is nailing the production details that Fox isn't. The broadcast is all about the race and doesn't feature myriad cutaways to children watching in the grandstands. The camera shots follow what the booth is talking about. The graphics and picture quality are markedly better. There are no full-screen commercial breaks during green flag racing. And Amazon hasn't gone to commercial with less than 10 laps to go. It's been a breath of fresh air for the NASCAR fans who have been able to watch. It's no secret that NASCAR's audience skews older than most other professional sports and the viewership gains that NASCAR saw in the 18-49 demographic during the 600 came at the vast expense of those 50 and over. But it's also no secret that streaming is the new cable and how we'll consume most of our sports content in the near future. NASCAR was smart to add Amazon to the mix with its new media rights deal. Trading fewer younger viewers for more older viewers is the right play, especially as Formula 1 is the trendy motorsport among those not eligible for Medicare. Ideally, Amazon will continue to build off how good its first two race broadcasts were and Fox, NBC and TNT — back in the NASCAR game this year — will aspire to meet Amazon's standard. But we won't blame you if you're pessimistic about that ideal world ever happening. We're all worn down by the past decade of Fox's NASCAR broadcasts.

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