Actress Sofia Vergara took time out of the Screen Actors Guild Awards afterparties on Sunday (25Jan15) to congratulate her fellow countrywoman Miss Colombia after she was crowned Miss Universe. Paulina Vega beat Miss USA Nia Sanchez to claim the prestigious title at property mogul Donald Trump's annual pageant in Florida on Sunday night and Vergara wasted no time in celebrating the 22 year old's win with a congratulatory post online.
The Modern Family star, who was attending the SAG Awards in Los Angeles at the time of the beauty contest, took to her WhoSay.com account after the results news broke and shared a photo of Vega to mark the occasion.
In the accompanying caption, she simply wrote, "Barranquilla!!!!! Miss Universe!!!!", referring to Vega's native city.
Singer Ricky Martin also celebrated Vega's big win by uploading a congratulatory voicemail message in Spanish for the business administration student via Twitter.com.
Former Miss USA, Shanna Moakler, who now serves as a director for the Miss USA contests, also tweeted about the pageant results, writing, "Over the moon happy for @missusa 1st runner up at Miss Universe!! I am so proud and so honored to have been apart of your journey. I love u (sic).
"Congrats to Colombia Universe! and ALL the national directors, this has been such an honor... thank u #MissUniverse for an incredible show!"
The competition featured performances from Latin hunk Prince Royce and singer Nick Jonas, while the star-studded judging panel included actor/model William Levy, Gloria Estefan's producer husband Emilio Estefan, and Filipino boxer Manny Pacquiao.
Last year's (14) Miss Universe contest was won by Venezuela's Gabriela Isler.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
More Reviews:'The Hunt' Is Frustrating and Fantastic'You're Next' Amuses and Occasionally Scares'Short Term 12' Is Real and Miraculous
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Who will win Dancing With the Stars All-Stars?
Let's examine: Everyone on the just-announced cast already has a proven fan base. All in all, there are six past winners and three runners-up on the lineup — and the rest of the contestants are their season's most buzzed-about stars (hello, Bristol Palin!).
We've already seen that athletes have a monopoly on wins, so Emmitt Smith, Apolo Ohno, and Helio Castroneves certainly seem to have an advantage right out of the gate.
But don't forget how far controversial contestants make it (Bristol Palin came in third place in season 11). And audiences love a good underdog (season 12 runner-up Kirstie Alley surprised everyone with her dance skills and incredible weight loss story).
The bigger question will be how the bombshells like Pamela Anderson fare. Will fans call in for a second serving of her shimmying?
So, tell us, who do you think will take home the coveted Mirrorball and bragging rights? Vote below!
&amp;lt;a href="http://polldaddy.com/poll/6424862/"&amp;gt;Who will win Dancing With the Stars All-Stars?&amp;lt;/a&amp;gt;
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The basic premise of most crime revenge dramas is how much of our humanity we're willing to trade to get back what the other people — the ostensible baddies — have taken from us. Oliver Stone returns to this familiar stomping ground with Savages a splashy adaptation of Don Winslow's novel about a unique love affair a major marijuana-dealing business and an increasingly violent pissing match between two SoCal growers and the Baja Cartel.
Stone's frenetic visual style is in full swing but even this Oscar-winning auteur can't quite raise the film from mediocrity. It's hard to care whether or not Ben (Aaron Johnson) and Chon (Taylor Kitsch) rescue their gorgeous mutual girlfriend O (Blake Lively) from the cartel if O isn't engaging enough to persuade us she's worth the bloodshed. O (short for Ophelia — an allusion to her earthshaking climaxes) is not a well-written character to begin with but she's even less engaging as played by Lively. Johnson is unconvincing as the bleeding heart Ben and the details his character is given — extra earrings a shoddy-looking tattoo on his neck even white boy dreads at one point — undercut his believability even more. Kitsch is given a few prominent scars and a mean squint but he doesn't quite bring the weird slightly empty vibe of Chon to life.
On the villain side Benicio Del Toro chews every inch of scenery from Laguna Beach to Tijuana as Lado. He's rocking an intense moustache that he strokes when he's lying or being a creep (which is most of the time) a vaguely mullet-like wig and a fondness for torture. Salma Hayek takes no prisoners as the head of the cartel nicknamed Elena la Reina who is both a frustrated mom whose college-age daughter is blowing her off (aw!) and a brutally tough woman in a man's world. John Travolta definitely enjoys a bit of Pulp Fiction ridiculousness as Dennis a DEA official who's in Ben and Chon's pocket. It's hard to tell just how funny Savages is aiming to be. Lado Elena and Dennis are cartoonish but Ben Chon and O are earnest — which is to say a little bit boring.
The double- and triple-crossing is practically moot as is the wacky technology that Ben and Chon employ; it's like The Social Network meets surfers. The real meat of the movie is the flash and violence but it's not the kind of thing that stays with you like Stone's Natural Born Killers. Savages doesn't have the same lingering aftertaste. It's not that a movie needs to have some sort of message with its pointed commentary on the media's bloodlust but the gist of Savages — that we're all savages at heart or that we can easily become a savage given the right circumstances — is not that interesting or unique.
Oddly enough Savages pulls a few punches when it comes to its source material (hard to believe when the movie kicks off with a glimpse of an abattoir-like enclosure and close-ups of men begging for their lives just as a chainsaw revs in the background). Winslow's book is a quick enjoyable read with an interesting on-page style that's hard to replicate verbally. It has a sort of ADD-addled feel that the movie tries to but doesn't quite capture. While it's not always fair to compare an adaptation to the book it's based on Winslow is both the author and one of the screenplay writers so some of the choices made behind the scenes don't quite add up. Cut are significant and menacing back story for Lado and all of the zestiness out of O. Why add in certain plot points and take out others unless it was to give one of its big name stars more screen time? The most interesting part of the story the love story is treated like a wink wink homoerotic thing than an actual relationship between three people who adore each other which is how it's portrayed in the book. It's hard not to be a little disappointed especially given Stone's no-f**ks-given attitude. (Or as O would say baditude.)
That said it is a somewhat entertaining diversion and a nice tour of lifestyles of the rich and criminal. Lively is all tangled tan limbs and luxurious hippie clothes and the homes they frequent whether on Laguna Beach or a desert compound are meticulously decorated with exquisite expensive taste. Santa Muerte imagery also figures heavily in the background of many scenes. The scenery is gorgeous — even the marijuana looks amazing. It's good for adults to have another R-rated choice in what's usually a season dominated by blockbusters but in years to come you'll more likely to reach for your old True Romance DVD than Savages.
At the moment there are few greater clichés in the media than the freaking out single woman on the cusp of 30. Of course clichés are clichés for a reason worth exploring even through the lens of just one or two women as in Lola Versus. Unfortunately while the intention behind Lola Versus isn't that we should all be happily married by the age of 30 it still fits into the same rubric of all those "Why You're Not Married" books.
Lola (Greta Gerwig) has a gorgeous fiancé Luke (Joel Kinnaman) and they live in a giant loft together the kind of dreamy NYC real estate that seems to exist primarily in the movies. Just as they're planning their gluten-free wedding cake with a non-GMO rice milk-based frosting Luke dumps her. It's cruelly sudden — although Luke isn't a cruel man. Lola finds little comfort in the acerbic wit of her best friend the eternally single Alice (Zoe Lister-Jones) who is probably delighted to see her perfectly blonde best friend taken down a peg and into the murky world of New York coupling. Lola and Luke share a best friend Henry (Hamish Linklater) a messy-haired rumpled sweetheart who is kind and safe and the inevitable shelter for Lola's fallout. Her parents well-meaning and well-to-do hippie types feed her kombucha and try to figure out their iPads and give her irrelevant advice.
Lola Versus is slippery. Its tone careens between broad TV comedy and earnest dramedy almost as if Alice is in charge of the dirty zingers and Lola's job is to make supposedly introspective statements. Alice's vulgar non-sequiturs are tossed off without much relish and Lola's dialogue comes off too often as expository and plaintive. We don't need Lola to tell Henry "I'm vulnerable I'm not myself I'm easily persuaded" or "I'm slutty but I'm a good person!" (Which is by the way an asinine statement to make. One might even say she's not even that "slutty " she's just making dumb decisions that hurt those around her just as much as she's hurting herself.)
We know that she's a mess — that's the point of the story! It's not so much that a particularly acerbic woman wouldn't say to her best friend "Find your spirit animal and ride it until its d**k falls off " but that she wouldn't say it in the context of this movie. It's from some other movie over there one where everyone is as snarky and bitter as Alice. You can't have your black-hearted comedy and your introspective yoga classes. Is it really a stride forward for feminism that the clueless single woman has taken the place of the stoner man-child in media today? When Lola tells Luke "I'm taken by myself. I've gotta just do me for a while " it's true. But it doesn't sound true and it doesn't feel true.
In one scene Lola stumbles on the sidewalk and falls to the ground. No one asks her if she's okay or needs help; she simply gets up on her own and goes on her way. It's a moment that has happened to so many people. It's humiliating and so very public but of course you just gotta pick yourself up and get where you're going. In this movie it's a head-smackingly obvious metaphor. In one of the biggest missteps of the movie Jay Pharoah plays a bartender that makes the occasional joke while Lola is waiting tables at her mom's restaurant. His big line at the end is "And I'm your friend who's black!" It would have been better to leave his entire character on the cutting room floor than attempt such a half-hearted wink at the audience.
Lister-Jones and director Daryl Wein co-wrote the screenplay for Lola Versus as they did with 2009's Breaking Upwards. Both films deal with the ins and outs of their own romantic relationship in one way or another. Breaking Upwards a micro-budget indie about a rough patch in their relationship was much more successful in tone and direction. Lola Versus has its seeds in Lister-Jones' experience as a single woman in New York and is a little bit farther removed from their experiences. Lola Versus feels like a wasted opportunity. Relatively speaking there are so few movies getting made with a female writer or co-writer that it almost feels like a betrayal to see such a tone-deaf portrayal of women onscreen. What makes it even more disappointing is how smart and likable everyone involved is and knowing that they could have made a better movie.
I'd be lying if I said I wasn't shocked with the Dancing With the Stars results show on May 22. I was so sure William Levy had this thing in the bag with his smoldering good looks and overall dance talent, but instead football pro Donald Driver came out victorious. This isn't a bad outcome by any means, especially given this season's overwhelming talent, but it's something I really should have seen coming. Athletes have historically been far more successful than any other celebrities on the show, having come in either first or second place ten out of the fourteen times since this competition aired in 2005.
This can't be a coincidence.
In general, athletes have somewhat of an advantage over other competitors given the physical attributes that come with being athletic: strength, agility, quickness, balance, and stamina — which are all very important qualities in a dance competition. In fact, DWTS expert Louis van Amstel told Hollywood.com at the very beginning of the season that athletes are the ones to watch out for.
"It’s funny that the football players are far away from ever having learned to dance, but the confidence, the flexibility ... they just have a natural ability somehow," he says. Not to mention the fact that athletes are highly competitive in nature, making them much more likely to put their all into each and every performance, perfecting their technique down to the very last head tilt. But these factors alone aren't enough to create such a monumental surge in athlete victories — it's also because they cater to the majority of the show's demographic. It should come as no surprise to learn that the majority of people who watch DWTS are women, ranging between the ages of 18-54. And, according to Entertainment Weekly, it's the most popular show for adults 50 and older, earning a whopping 16.5 million in ratings during Monday night's show. What does this have to do with why athletes win so often? Well, four out of the ten athletes to have reached the finals have been Olympic medalists. It's safe to say that pretty much everyone watches the Olympics and tend to view the competitors as patriotic symbols. So it's pretty easy to see how these competitors could win over the audience. Plus, two of them were figure skaters, and if spending childhood weekends with my grandmother taught me anything, it's that older people love to watch figure skating competitions. Seriously, Scott Hamilton performing a back-flip was treated like winning the Superbowl in that house. But that still doesn't explain how football stars keep finding their way into DWTS finales. Out of the ten athletes who have made it to the finals, half of those contestants were former or current football pros. And since we've established the majority of show's demographic consists of older women, I couldn't quite figure out what appeal NFL stars could've had over them — that is until I realized where a majority of the votes were coming from. DWTS former pro Louis van Amstel exclusively told us this year that Donald Driver stood a very good chance of winning the competition because he came from a place where the majority of DWTS viewers live: the Midwest. "He’s a football star from the Midwest, and Dancing with The Stars’ demo is the Midwest," Amstel explained. So it's no wonder all these football stars normally do so well — football is huge to Midwesterners. Emmett Smith (winner of Season 3) was a prominent member of the Dallas Cowboys for many years; Hines Ward (winner of Season 12) has been a popular Wide Receiver for the Pittsburgh Steelers; and Donald Driver is a Texas-born, Green Bay Packers star. These guys are a Midwest woman's bread and butter throughout the competition, and the fact that they could actually dance (and dance well) only helped to work in their favor. So when the All-Star cast gets chosen this fall, look to see which football stars will be returning — cause the odds are they'll most likely be the ones to beat. Touchdown! More: DWTS Final Results: And The Winner Is... DWTS Final Performances Feature 10s Galore... and Another Perfect Score DWTS 50 Shades of Bruno: Porn or Bruno? [Image: ABC]
Update: After several (and I do mean several) heartfelt reunions, impressive dance routines, and guest performances, Season 14's winner of DWTS was finally announced. While William Levy came in a respectable third place, Katherine Jenkins managed to place second in the competition, making football pro Donald Driver the official winner and rightful owner of the Mirrorball trophy. All three of these couples deserved to win given their exceptional talent, but it was great to see Driver praised for all his hard work throughout the season. Those football players really know how to cut a rug. Touchdown!
Earlier: Okay, everyone, we knew the end was near, but in just a few short hours Dancing With the Stars' fourteenth season will come to an end and fans will be forced to find another source of entertainment to fill up their Monday and Tuesday night time slot. But before we hang up our dancing shoes for the summer, there's still one more performance to enjoy before a winner is crowned and given the highly coveted Mirrorball trophy.
As I mentioned during last night's round of performances, each couple was given 24 hours to put together a new routine for Tuesday night's results show. And since these contestants are usually given a whole week to learn a new routine, it will be interesting to see what they'll be able to pull off with such little notice.
But regardless if they succeed or fail, only one couple will be able to walk away a winner. We've dreaded this day since the moment we became familiar with the Katherine Jenkins' Welsh Wiggle and witnessed William Levy and Donald Driver in all their shirtless glory. We love all three of these contestants, so it's impossible to decide who really deserves the trophy more. Meryl Streep had it easy — this is the ultimate Sophie's Choice. Only one point separates these pairs on the leaderboard and the talent is more equal than I've ever seen on a finale.
So the only question that remains is — what will America's final answer be? Who will they deem Mirrorball-worthy? Share your predictions in the comments below and check back here later tonight the results!
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DWTS Final Performances Feature 10s Galore... and Another Perfect Score
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Welcome to the Dancing With the Stars final performances! After weeks and weeks of watching these stars grow into incredible dancers, it's time to decide who's officially earned the right to hold that Mirrorball trophy. It's now or never for these couples to prove their worth and dance their way into ballroom greatness. (No pressure though!)
For the final round of performances, each of the three couples will eventually dance three times in an attempt to secure the winner's title. Tonight, they all were given two routines: one that was chosen for them by the judges, and the other that was a freestyle piece which gave them free reign over everything. But the third dance will present its biggest challenge for each couple since they'll only be given 24 hours to put together a new routine that will be performed on the results show Tuesday night.
To be honest, I get exhausted just thinking about it, but if there's one thing this group of stars has proven to us throughout the course of the season it's that they thrive in a challenge. We saw 10s galore, shimmying, shaking, and a partially shirtless William Levy. All around it was a pretty spectacular night full of equal amounts of talent. America's going to have their work cut out for them this week.
So who among the final three couples will leave the ballroom tomorrow night with a Mirrorball trophy in hand? The answer is less than 24 hours away. For now, check out the scores below (from highest to lowest) and see if you agree with the judges' last ranking scale:
Katherine Jenkins and Mark Ballas
Paso Doble: "Espana Cani," Erich Kunzel
Score: 30 out of 30
Freestyle: "Sing Sing Sing (With a Swing)," Andrew Sisters
Score: 30 out of 30
Total Score: 60 out of 60
William Levy and Cheryl Burke
Cha-Cha-Cha: "Raise Your Glass," Pink
Score: 30 out of 30
Freestyle: "Objection (Tango)," Shakira
Score: 29 out of 30
Total Score: 59 out of 60
Donald Driver and Peta Murgatroyd
Argentine Tango: "They" by Jem
Score: 29 out of 30
Freestyle: "I Played Chicken With the Train" by Cowboy Troy
Score: 30 out of 30
Total Score: 59 out of 60
What did you think of tonight's set of performances? Did you agree with the judges' scores? Who stands the biggest chance of winning amid all this exceptional talent? Sound off in the comments below!
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Dancing With the Stars' result show airs Tuesday nights at 9 p.m. (ET/PT) on ABC.
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