ABC has tried to keep a tight lip about who will be competing on Season 16 of Dancing with the Stars. And because of this, everyone grows eager to learn who will be taking the stage each upcoming season. But on Tuesday morning, the network calmed our anxieties by announcing who made the cast for the new season of DWTS.
From a housewife to a football player to a gymnast, Season 16 is made up of a wide variety of characters. See who made the cut below!
RELATED: DWTS Could Cast Lisa Vanderpump
Meet the DWTS Season 16 Cast and Their Partners:
1. Wynona Judd and Tony Dovolani
2. D.L. Hughley and Cheryl Burke
3. Jacoby Jones and Karina Smirnoff
4. Lisa Vanderpump and Gleb Savchenko
5. Andy Dick and Sharna Burgess
6. Victor Ortiz and Lindsay Arnold
7. Zendaya Coleman and Val Chmerkovskiy
8. Aly Raisman and Mark Ballas
9. Ingo Rademacher and Kym Johnson
10. Kellie Pickler and Derek Hough
11. Dorothy Hamill and Tristan MacManus
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Rick Rowell/ABC]
From Our Partners:25 Most Scandalous Celeb Twitpics (Vh1)33 Child Stars: Where Are They Now? (Celebuzz)
In Duncan Jones’s sci-fi thriller Source Code Jake Gyllenhaal plays Captain Colter Stevens a U.S. Army helicopter pilot who awakens after an enemy ambush to find himself sitting on a Chicago-bound commuter train surrounded by strangers with absolutely no idea how he got there. As he struggles to process his strange new milieu he’s pestered with small-talk by a perky fellow-passenger (Michelle Monaghan) whom he doesn’t recognize but who clearly seems to know him. When he looks into a mirror staring back at him is the image of a man who while handsome is certainly no Jake Gyllenhaal. What Hitchcockian hell has Captain Stevens wandered into? Could it all be a dream?
Before Colter can ponder matters further a massive explosion sends him hurtling into oblivion from which he emerges intact strapped to a chair inside a dark capsule-like enclosure. A woman Goodwin (Vera Farmiga) pops up on a video screen and tersely informs him that he is now part of a new high-tech front in the War on Terror: Source Code an experimental program that allows a person to assume the identity of someone else during the last eight minutes of his or her life. Whoever planted the bomb on the train is said to be readying another far deadlier attack to unleash on Chicago in a matter of hours. The only hope for preventing it is for Colter to repeatedly scour the memory of one of the train's deceased passengers in the hopes of finding clues that might help them determine the identity of the bomber.
Soon Colter finds himself in an existence not unlike that of Bill Murray’s character in Groundhog Day revisiting the same eight-minute scenario over and over again. As a soldier his first instinct is to try and prevent the explosion from happening and save the lives of the innocents on board. But doing so is futile Source Code’s creepy and condescending inventor Dr. Walter Rutledge (Jeffrey Wright) glibly explains. Source Code is not a time-travel machine but rather a “time-reassignment” device built on principles of quantum mechanics and parabolic calculus that Colter's feeble mind couldn’t possibly comprehend. The train bombing is a part of the past which is unalterable; Stevens’ actions to prevent its occurrence however heroic have no real-world ramifications. He is simply a detective whose crime scene is the residual consciousness – the “after-image” – of a dead man’s brain.
But if that were true Colter wouldn’t be able to exit the train make cell phone calls strike a romantic chord with Monaghan’s character or engage in various other activities that we see him perform in the film activities that lie well beyond the experiential purview of the dead man’s final memories. Could it be that the Source Code program is actually something more profound perhaps a kind of portal to a parallel universe? (Jones’s usage of Scott Bakula star of TV’s Quantum Leap in a clever cameo as the Colter's father provides a strong hint.) Colter's own experiences seem to confirm as much: Each time the train-bombing scenario unfolds he notices subtle differences in seemingly trivial details like the timing of a coffee spill. No two universes after all can ever be exactly alike.
This little twist exposes some potential issues with Source Code’s underlying logic chief among them being questions about the reliability of any “evidence” uncovered by Colter in his quantum adventures. The narrative asks us to take a few logical leaps of faith and I humbly suggest you comply. Source Code is more than strong enough as a film – an intelligent probing sci-fi thriller that packs a surprisingly strong emotional punch – to withstand any nitpicking about its theoretical veracity. Director Jones’s ambitions are grander his aim more mainstream his tone more hopeful this time around than in his haunting 2009 breakout hit Moon but the result is just as resonant.
Set in the turbulent ‘60s each character in Across the Universe represents a different aspect to the unstable times. There’s naïve Lucy (Evan Rachel Wood) whose eyes are opened to the possibilities of life beyond her WASPy sheltered upbringing; adventurous Jude (Jim Sturgess) who breaks away from his Liverpool working-class roots to make it as an artist in New York; and Lucy’s brother Max (Joe Anderson) a college dropout who eventually gets drafted and sent to Vietnam. There’s also Sadie (Dana Fuchs) a Janis Joplin-esque rock singer; her guitar-playing lover Jo-Jo (Martin Luther McCoy) who hails from the riot-torn streets of Detroit; and even a burgeoning lesbian named Prudence (T.V. Carpio). They are all soon swept up into the '60s' emerging psychedelic anti-war and counterculture movements while Across the Universe lets the songs from one of the era’s most influential bands tell the story. But what drives the film is Jude and Lucy’s love for each other—and all you need is love right? You know you are in for something different when indie darling Evan Rachel Wood (Thirteen) is the most recognizable star. Luckily for Across the Universe the cast of unknowns delivers--and then some. Making his film debut newcomer Sturgess is a particular standout looking very much like one of the Beatles boys in their heyday. His earnest performance as the love-struck Jude immediately hits a chord (pun intended) and he makes breaking out into a Beatles tune seem entirely natural. Wood doesn’t seem as comfortable with the vocals but the actress has a lovely voice--and of course handles Lucy’s emotional ups and downs with aplomb. All the rest of the supporting cast does a wonderful job adding their own unique reinterpretations to the songs (and yes both “Hey Jude” and “Dear Prudence” pop up). The big fun with Across the Universe however are the cameo appearances: Eddie Izzard sings “Being for the Benefit of Mr. Kite” as a surreal circus ringleader; Joe Cocker sings “Come Together” alternating between a pimp bum and hippie; Salma Hayek takes nursing to a new level in a “Happiness Is a Warm Gun” number; and finally U2’s Bono sings “I Am the Walrus” as the Beat poet/counterculturist Dr. Robert. You haven’t experienced life until you've heard Bono sing “Goo goo g'joob.” In any original musical there is always something a little disconcerting when a character just breaks out into song even if it’s Julie Andrews standing on top of a mountain. But as with Moulin Rouge a character singing a song we all recognize--well that’s a little different. And honestly who doesn’t love Beatles music? Still director Julie Taymor (Frida) took a big chance creating a musical around the legacy that is Beatlemania. It must have been a daunting task searching through the annals of Beatles music to find just the right tunes for just the right moment--but her extremely inventive ways truly pay off. From Uncle Sam screaming “I Want You!” from a poster hanging in an Army recruiting office to Max and his college buddies running around campus belting out “With a Little Help from My Friends ” everything fits taking us on this journey of life love and self-enlightenment. Although Taymor’s forte clearly lies with the very wild and artistic most evident in Across the Universe’s psychedelic acid trips she also expertly highlights the stark reality of a turbulent time. Taymor is a romantic at heart though—a romantic who adores the Beatles. John Lennon would be proud.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.