Why ‘Dancing with the Stars’ Still Matters in 2026—and What Season 35 Reveals About Its Survival Instincts
Let’s cut to the chase: Why does a show like Dancing with the Stars still exist in 2026? In an era dominated by TikTok dances and reality TV burnout, ABC’s veteran competition series keeps shuffling forward, stubbornly refusing to take its final bow. The reveal of Season 35’s hosts, judges, and partial cast isn’t just a routine rollout—it’s a masterclass in how legacy entertainment brands adapt to survive. And honestly, it’s far more fascinating than it has any right to be.
The Hosts: Alfonso and Julianne as the Comfort Food of TV
Alfonso Ribeiro and Julianne Hough returning as hosts feels like comfort food for the show’s core audience—middle-aged viewers who miss the days when reality TV was less about chaos and more about sequins. But here’s what’s interesting: Ribeiro isn’t just a nostalgia pick. His transition from winner (Season 19) to host has been so seamless it’s almost deceptive. He’s become the show’s emotional anchor, balancing goofy dad jokes with genuine enthusiasm for the craft. Hough, meanwhile, brings that elusive “insider” credibility, having danced her way to two wins before pivoting to judging and now hosting. Together, they’re the human equivalent of a well-rehearsed cha-cha: predictable but pleasing. But I’ll admit—I wonder if their chemistry is enough to lure younger audiences who’ve never heard of the Fresh Prince era.
The Judges: Derek Hough’s Quiet Takeover
Derek Hough’s continued presence on the panel isn’t just a family affair (his sister Julianne’s co-hosting, after all). It’s a sign of the show’s slow but deliberate shift toward prioritizing technical rigor over pure theatrics. Let’s face it: The original trio of Inaba, Tonioli, and Goodman was a wild mix of critique and camp. Now, with Hough—a six-time champion—firmly entrenched, the judging feels less like a circus and more like a masterclass. Personally, I think this is a smart move. The show needs to justify its existence beyond memes, and Hough’s expertise does that. But what about Bruno Tonioli? His over-the-top critiques were half the fun. Is the show becoming too serious for its own good? Or is this just growing up with its audience?
The Celebrities: Reality Stars vs. the Dancing Public
Only four celebs announced so far, and let’s just say the lineup reads like a who’s-who of reality TV’s B-list. Summer House’s Ciara Miller and Love Island’s Maura Higgins fit the mold of contestants who’ll either become breakout stars or crash spectacularly. But here’s the twist: Guillermo Rodriguez, Jimmy Kimmel’s sidekick, is partnering with reigning champion Witney Carson… who’s also nine months pregnant. Let that sink in. This isn’t just a gimmick; it’s a narrative goldmine. From my perspective, this pairing is genius. It humanizes the show in an era where audiences crave authenticity. But also—should we be questioning the optics of a visibly pregnant dancer competing on national TV? Or is that exactly the kind of conversation DWTS wants to spark?
The Bigger Picture: Why Do We Still Care?
Let’s zoom out. Dancing with the Stars has survived 35 seasons by being a mirror to our cultural obsessions. It started as a campy spectacle, became a launching pad for pop stars and has-beens, and now? It’s evolving into something weirder and more compelling. The inclusion of athletes (Jackson Olson from the Savannah Bananas), late-night personalities (Rodriguez), and reality villains (Higgins) isn’t random. It’s a reflection of how blurred the lines between entertainment genres have become. What many people don’t realize is that DWTS isn’t just a dance show—it’s a sociological experiment wrapped in glitter. And Season 35 might be its most revealing iteration yet.
Final Thoughts: A Show That Refuses to Quit
So, will Season 35 save the series? Probably not a question the producers are asking—they know their audience, and they know the formula works, even if it’s fraying at the edges. What’s more intriguing is what happens if the show does start to fade. Will we lose more than just a competition? I’d argue yes. For all its flaws, DWTS has been a rare space where vulnerability, artistry, and absurdity collide. And in 2026, that collision feels like a relic—and maybe even a rebellion—against the algorithm-driven entertainment landscape.
What do you think? Is Season 35 just more of the same, or is there still magic in the ballroom? Personally, I’ll be watching—not just for the dances, but to see how long this cultural chameleon can keep reinventing itself.
