TIME Television

Dancing With the Stars Watch: Memorable Years Mean Many Tears

Adam Taylor—ABC

The contestants take a walk down memory lane

Welcome to Dancing With the Stars annual tear fest, where the stars perform interpretative dances to their most traumatizing memories. Each year the stars seem to try and outdo themselves as they recount their most memorable years and wait for Carrie Ann Inaba to tear up at the judges table, while the audience is lucky enough to be able to ugly cry on the couch in the privacy of their own homes. It’s pretty much the best night ever in the stars’ relentless pursuit of the Mirror Ball trophy.

Here’s what happened on Dancing With the Stars:

Nastia Liukin and Derek Hough: The Olympic gymnast chose the year that she represented the U.S. in Beijing. In rehearsal, she shows Derek her gold medal and he oohs and aahs over it while she reminds viewers that you can make your dreams come true. For their Argentine tango, she chose to dance to “Variations on Dark Eyes” by Lara St. John, which is what she performed to during the Olympics. It was a “wonderful and athletic” routine, according to Len Goodman, but it didn’t affect his heart (probably because he doesn’t have one). The other judges poo-pooed him with Bruno Tonioli giving them the first 10 of the season. 36/40

Michael Sam and Peta Murgatroyd: It’s always unfair when a competitor is told they are in jeopardy and is then forced to dance, but luckily Michael Sam is a pro at not letting things get into his head. For his most memorable year, Michael chose the year that he came out as the first publicly gay NFL prospect turned player — and also the year that he reconciled with his father and then cut ties with him when he made homophobic comments to the media. To soundtrack his rumba, he chose the song “Not My Father’s Son” from Kinky Boots, which should win a prize for most apt song title ever. By the end of the song, everyone was crying. Julianne Hough declared it “awesome,” Bruno applauded Michael for his bravery. 30/40

Riker Lynch and Allison Holker: Riker chose 2014 as his most memorable year, because that was the year his band, R5, started to take off. In case you have been anxiously awaiting for R5’s next album, they just announced that their sophomore LP, Sometime Last Night, will come out on July 10, ideally with a Mirror Ball Trophy on the album cover. Riker chose the very fast-paced “Shut Up and Dance” by Walk the Moon for his tango, which is an odd choice, but they made it work. It was proficient, dramatic, and the judges appreciated the effort, but none so much as Julianne Hough. 34/40

Robert Herjavec and Kym Johnson: Michael Sam may have squeezed out a few tears from the crowd, but Robert brought the waterworks. He dedicated “The Last Waltz” by Engelbert Humperdinck to his beloved mother, who loved Dancing With the Stars, but died of cancer before she could see him waltz on the dance floor. Carrie Ann Inaba had to dry her eyes before she could declare the sophisticated routine truly memorable. 34/40

Chris Soules and Witney Carson: The former star of The Bachelor teared up talking about breaking off his first engagement to his college sweetheart, but was thrilled to find love with his fiancee Whitney Bischoff on The Bachelor. Then in grand Bachelor tradition, Witney and Chris danced a rumba to a private concert by Gavin James performing a cover of the Magnetic Fields’ “The Book of Love.” The audience loved the routine, but the judges were unimpressed. Len put it bluntly, “It wasn’t that great.” 27/40

Patti LaBelle and Artem Chigvintsev: Only a true diva would choose to mark her most memorable year by dancing to her own song. Miss Patti hit the dance floor for a jazz routine to “Dan Swit Me” by Patti LaBelle. It was not technically proficient, but a lot of fun to watch Patti shake her fringe. Julianne said it made her want to get out there and dance with her, Carrie Ann just shrieked in excitement, and Len declared it “a cappuccino” of a dance that was frothy and fun, with “plenty of giggles and plenty of wiggles” (which are not things I want in my cappuccino). 30/40

Rumer Willis and Valentin Chmerkovskiy: Rumer chose 2014 as her most memorable year, because it was the year her sister went to rehab and taught her that haters are going to hate, and she just has to shake, shake, shake it off. Instead of waltzing to Taylor Swift, Rumer chose to dance to her second Adele song, “Turning Tables.” Her mother Demi Moore sat unfazed in the audience as her daughter talked about all the cyberbullying she suffered as the daughter of famous parents. The judges loved the emotion of the contemporary-inspired waltz. 35/40

Suzanne Somers and Tony Dovolani: Suzanne aimed straight for peak nostalgia by dedicating her dance to her former Three’s Company co-star John Ritter, promising that by the end of the foxtrot to the “Three’s Company Theme” Jack and Chrissy and John and Suzanne would have said good-bye. Carrie Ann said she may have been saying good-bye, but she was “saying hello to the competition.” 28/40

Willow Shields and Mark Ballas: Willow, who is basically a toddler, chose 2011 as her most memorable year, because that’s when she was cast as Primrose Everdeen in The Hunger Games. To prove how memorable it all was, she showed snapshots of her far more famous co-stars and then Mark choreographed a contemporary routine set in a Hunger Games stadium built inside the ballroom complete with fog, fireworks and multiple deaths. The judges were impressed, even Len who has never seen the movie. Willow was in jeopardy going into the dance, but as Carrie Ann put it, “Jeopardy, shmeopardy.” 39/40

Noah Galloway and Sharna Burgess: After the high of watching Willow kill Mark in the Hunger Games arena, Noah’s most memorable year was a stark downer. He chose 2005, the year his Humvee was blown up and he woke up Christmas morning in Walter Reed Medical Center to find out he had lost his arm and leg. Noah claims that the struggle and journey has made him a better man, and being on Dancing With the Stars is just the cherry on top. He chose to dance his contemporary routine to “American Soldier” by Toby Keith, and Sharna emoted all over him during the routine. Julianna and Carrie Ann were both in tears by the end of the performance, and Len ordered everyone to give him a standing ovation. 32/40

In Jeopardy: Willow and Mark, Michael and Peta, and Riker and Allison.

Who Went Home: Michael Sam had to turn in his dance pants and go back to throwing footballs.

The Leaderboard: Willow and Mark, Nastia and Derek, and Rumer and Val are leading the pack.

TIME celebrities

B.B. King Hospitalized Near Las Vegas Home

B.B. King
Mark Metcalfe—Getty Images B.B. King performs on stage during day two of the Bluesfest Music Festival at Tyagarah Tea Tree Farm on April 22, 2011 in Byron Bay, Australia.

King was rushed to the hospital over the weekend

Legendary blues musician B.B. King, 89, has been hospitalized at a medical center near his Las Vegas home, PEOPLE has confirmed.

King was rushed to the hospital over the weekend due to dehydration from his Type II diabetes, TMZ reports.

News of King’s hospitalization comes less than a year after the singer cancelled the remainder of his tour because of health problems.

“Mr. King did not feel well enough to continue his performance last night, Oct. 3, 2014, at the House of Blues in Chicago,” read a statement on King’s website posted Oct. 4. “He was immediately evaluated by a doctor and diagnosed with dehydration and suffering from exhaustion whereby causing the eight remaining shows of his current tour to be cancelled.”

But it didn’t take long for King – who was also hospitalized in 2007 – to address his fans directly after his tour was cancelled.

“I’m back at home now listening to music, watching movies and enjoying some down time,” he wrote in a statement posted Oct. 7. “I think I’m busier at home now than on the road talking to friends calling to check up on me. I do appreciate everyone’s calls and concern. I want to tell you, I’m doing alright.”

This article originally appeared on People.com

TIME Television

Doctor Who Will Stay on Air for Another 5 Years

DOCTOR WHO, Series 8
BBC One DOCTOR WHO, Series 8

The most recent season was the most popular yet among U.S. viewers

Doctor Who executive producer Steven Moffat doesn’t actually own a time machine—as far as we know. But that hasn’t prevented him from announcing that the long-running British sci-fi show will stay on the air for at least another five years. According to U.K.’s Radio Times, Moffat told Doctor Who Magazine that the BBC’s plans for the show extend to 2020. “I thought it would last 10 years,” said the exec producer of the beloved Time Lord saga, which was relaunched in 2005, after a lengthy hiatus. “I didn’t think it would last 10 years with BBC Worldwide trying to get me in a room to talk about their plan for the next five years. It’s going to to do a minimum of 15. I mean, it could do 26.”

Doctor Who continues to be a major ratings draw for BBC America. The most recent season was the most popular yet among U.S. viewers, attracting an average of 2.3 million viewers. “Ten years on, our ratings are pretty much the same,” Moffat told Doctor Whomagazine. “Actually, internationally, bigger. No show does that! You’re meant to go down! Doctor Who just stays. It’s extraordinary!”

The new season of Doctor Who is currently being shot in Cardiff, Wales. Last month, it was announced thatGame of Thrones star Maisie Williams will be among the guest stars when the show returns this fall.

This article originally appeared on EW.com.

TIME Music

Watch Rihanna Get Political in ‘American Oxygen’ Video

The pop star's new video features footage of 9/11, Ferguson protests

Rihanna is known for being an outspoken pop star, but not necessarily about politics (though she did just call out Indiana’s now-amended religious freedom law during a recent concert). That perception of the Barbados-born singer might change, however, once fans get a look at the video for new track “American Oxygen”.

Intended to be an exclusive for Tidal, the new streaming service she owns a stake in, the “American Oxygen” clip has since leaked onto the Internet for non-subscribers to see. Though the song’s lyrics didn’t seem particularly critical of the American dream when the full track surfaced this weekend, the accompanying video — which features archival footage of civil rights marches, Ferguson protests, the 9/11 attacks and immigrants entering the country — challenges readings of the song as a pure ode to the land of opportunity.

Clearly, Rihanna’s feelings about the U.S. are like reviews of her latest material: quite mixed.


Watch Lykke Li Crash and Burn in the Video for ‘Never Gonna Love Again’

Swedish singer's new video is at once brooding and exultant

Nearly a full year after dropping her third studio album, I Never Learn, Lykke Li has released a video for “Never Gonna Love Again” that somehow manages to be as triumphant as it is morose. As the song’s title implies, it’s just one of a crop of breakup songs that comprise the album, which she wrote after experiencing what she has described as the worst heartbreak of her life.

The video is highly stylized and cinematic, dealing alternately in dark shadows and glowing light. Li rides in the backseat of a car, removing her sunglasses to reveal the lonely face behind the façade she wears onstage. As she told Rolling Stone about the mood the video conjures, “Loneliness and heartbreak follow you everywhere and they are loudest right after the lights go out and the crowds quiet.”

Li travels along the “lonely highway” of which she sings until a violent collision jolts her from listless resignation to something that feels—despite the despair contained within her lyrics—altogether more empowered.

After a brief hiatus from performing, Li will return to the stage with a performance at Coachella, which begins later this week.

TIME movies

The Top 10 Baseball Films of All Time

All homers to get you ready for Opening Day

One of my favorite baseball moments captured in a film won’t be found on this list. That’s partly due to the fact that the movie it appears in, City Slickers, isn’t a baseball film, even if Billy Crystal opts for a Mets cap over a standard ten-gallon. In the scene, the lone woman on a tourist cattle drive comments on how silly it is that men obsess over a game like baseball rather than discuss more important things like “real life” and relationships. Daniel Stern’s character, the endearingly damaged Phil, responds: “You’re right, I suppose. I guess it is childish, but when I was about 18 and my dad and I couldn’t communicate about anything at all, we could still talk about baseball. Now, that was real.”

For all the talk of pinstripes, pennants, and, unfortunately, pharmaceuticals, baseball, more than anything, remains the glue that maintains and repairs the relationships between fathers and sons. It’s the language men use to say what would otherwise go unsaid. There truly are few experiences as magical as a summer “in the hunt,” but when October ends, the stands empty, and we settle in for the long, cold days ahead, it’s not the scores, statistics, or standings that comfort us during winter’s quiet solitude. Fathers and sons think back upon those late-night calls second-guessing a pitching change or that one or two times a season they still manage to get out to the ballpark together even though they now live half a country apart. Seasons come and go, blur or altogether vanish in their memories as time passes, but those moments “talking ball,” so simple and natural, mark those lifetimes and relationships.

Another favorite moment of mine does appear on this list. One grown man asks another, “You wanna have a catch?” No matter how old I get, the answer remains the same.

Sure, Dad. –Matt Melis, Senior Editor


    Universal Pictures

    Manager (Director): John Badham

    Starting Lineup: Billy Dee Williams, James Earl Jones, and Richard Pryor

    Around the Horn: On April 15, 1947, Jackie Robinson suited up for the Brooklyn Dodgers and became the first African American to play Major League Baseball in the modern era. Some perspective: It wasn’t until 1948 that Truman abolished racial discrimination in the military and not until 1954 that the Supreme Court ruled that a segregated pubic school system is unconstitutional. In other words, when it came to breaking societal color lines, baseball, the American pastime, stepped to the plate first. Numerous accounts of Robinson’s story, and depictions of the Negro leagues, have been featured in films, such as The Jackie Robinson Story, Soul of the Game, and, most recently, 42, but we opted here for a film that offers a perspective on the Negro league experience rarely seen.

    The largely forgotten Bingo Long Traveling All-Stars & Motor Kings, starring Billy Dee Williams as ace pitcher Bingo Long (a Satchel Paige type) and James Earl Jones as slugger Leon Carter (based loosely on Josh Gibson), tells the story of two Negro league stars who break the slave-like contracts with their black-owned teams (“the masters”) and form their own barnstorming outfit. In many ways, the film is a farcical, cross-country romp — especially with outlandish characters like Charlie Snow aka Carlos Nevada (Richard Pryor) who schemes to break into the white leagues as a Cuban — but the indelible struggle for freedom present in this film shouldn’t be overlooked either. Beyond the gags and ridiculous predicaments that ensue, Bingo and Leon are ultimately two friends fighting for the right to determine their own destinies in a black-and-white world that simply won’t tolerate that type of radical thinking.

    Co-MVPs: Billy Dee Williams and James Earl Jones.

    Grand Slam Scene: In the final scene, after Bingo and Leon have won the big game to earn their own spot as a team in the Negro leagues, they find out that a much younger player on the team, Esquire Joe, has just been signed to play Major League Baseball for the Brooklyn Dodgers. In that moment, we see Bingo and Leon’s dream fall into the hands of another generation, and no matter how coolly the smooth-talking Bingo may play it off, you can sense the initial hurt as he realizes that he and Leon had to come first so that younger black men like Joe could live out their dreams. (A clip of this scene is unavailable online, but see the film’s trailer below.) –Matt Melis

  • 9. THE BAD NEWS BEARS (1976)

    Paramount Pictures

    Manager: Michael Ritchie

    Starting Lineup: Walter Matthau, Tatum O’Neal, Jackie Earle Haley, and Vic Morrow

    Around the Horn: In the immortal words of pint-size, white-supremacist shortstop Tanner Boyle, “Jews, spics, n——, and now a girl?” Ah, travel back with us to the un-PC 1970s, a time of foul balls and fouler language, bean balls and buzzed little league coaches. But beneath all The Bad News Bears’ delightful (and innocuous) offenses resides a classic underdog story that never gets tiresome. A down-on-his-luck, alcoholic pool cleaner-turned-little league coach, Morris Buttermaker (Walter Matthau), pools every resource at his disposal — his ex’s tomboy daughter, Amanda (Tatum O’Neal); the local hoodlum, Kelly Leak (Jackie Earle Haley); and even an unorthodox team sponsor, Chico’s Bail Bonds — to give his hopeless team of castoffs a shot at the pennant. In the end, the team may fall just short, but Buttermaker wins the respect of his players and learns the lesson every little league coach out there (especially the Roy Turners) needs to think about before this season starts: It’s just a game.

    MVP: Walter Matthau

    Grand Slam Scene: After Rudy Stein disobeys his manager by swinging away instead of “leaning into” a pitch, we see this sobering moment in the dugout between Buttermaker and the kids. Buttermaker finally gets it. –Matt Melis

  • 8. 61* (2001)


    Manager: Billy Crystal

    Starting Lineup: Barry Pepper, Thomas Jane, and Jennifer Crystal Foley

    Around the Horn: The made-for-HBO 61* could fairly be called Billy Crystal’s love letter to his boyhood Yankees teams. As Director and Executive Producer, Crystal drew from his encyclopedic baseball knowledge to recreate old Yankee Stadium and that 1961 team in painstaking detail, right down to the hue of the stadium’s paint and the batting stances of the players. However, Crystal’s most stunning achievement is the relationship he portrays between Mickey Mantle (Thomas Jane) and Roger Maris (Barry Pepper) as the two chased after Babe Ruth’s single-season home run record during the 1961 season. It’s a friendship constantly strained by the adoration that New York feels for Mantle while Maris, a soft-spoken, small-town type, gets vilified by fans and media alike with each knock that brings him closer to the Babe’s record. While we often associate sports records solely with glory, Crystal doesn’t shy away from showing us the ugliness that Maris endured to achieve his record: media cheap shots, hate mail, death threats (to both him and his family), and around-the-clock stress that caused his hair to begin falling out. But maybe most painful of all is watching Maris secretly long to be embraced by a city that adamantly refuses to accept him.

    MVP: Barry Pepper

    Grand Slam Scene: There’s a short montage of Maris waiting in his hotel room prior to the game in Baltimore that would be his last chance to break Ruth’s record in 154 games (the length of the season in which Ruth set the record). We find Maris sitting in bed, smoking and rocking back and forth atop a pile of hurtful headlines. There’s no dialogue, only Lyle Lovett’s “Nobody Knows Me” softly playing, as he moves around the room and ends up crying at a window sill. If Gehrig was “the luckiest man on the face of the earth,” Pepper makes us believe Maris, at that moment, was the loneliest. (A clip of this scene is unavailable online, but see the film’s trailer below.) –Matt Melis

  • 7. A LEAGUE OF THEIR OWN (1992)

    Columbia Pictures

    Manager: Penny Marshall

    Starting Lineup: Geena Davis, Tom Hanks, Madonna, Lori Petty, and Rosie O’Donnell

    Around the Horn: A League of Their Own harkens back to a simpler time in the game of baseball, when World War II was happening and baseball was one of the few things that could unite a great many scared people. The film is based on the real-life All-American Girls Professional Baseball League. It was a stopgap when so many athletes went off to serve, a way of keeping baseball in the public consciousness that many suspected was a gimmick and little more. It was, in a way, but ended up being substantially more important. In the film’s fictionalized America, there was Dottie (Davis), a dairy farmer and industrial-league catcher, who joins the team when her sister, Kit (Lori Petty), decides to try out as well. They eventually end up on the Rockford Peaches, along with “All the Way” Mae (Madonna) and the gruff Doris (O’Donnell).

    Cynically coached by Hanks’ Jimmy Dugan, the Peaches end up an unexpected success due in part to Dottie getting it through to Life magazine that an all-female league can and does play just as hard as its male counterpart. If anything, they played harder, knowing that time was finite and that one day baseball would be an all-boys club yet again. But for that triumphant year, the Peaches disproved any and all skeptics, and even when they lost their numbers to trades and infighting, they still sold out stadiums as their own draw.

    MVP: Geena Davis’ Dottie is so deliberately unassuming to a point that it makes her evolution into the face of a revolutionary age in sports all the more heartening. Plus, that pop-up into a catch while down in the splits is a killer. Let’s see one current MLB catcher give that a whirl and see how it goes.

    Grand Slam Scene: There’s only one video that can go here, really. In case you didn’t know, there is not, in fact, any crying in baseball. –Dominick Suzanne-Mayer

  • 6. THE SANDLOT (1993)

    20th Century Fox

    Manager: David M. Evans

    Starting Lineup: Tom Guiry, Mike Vitar, Patrick Renna, Karen Allen, Denis Leary, Chauncey Leopardi, and James Earl Jones

    Around the Horn: Scotty Smalls (Guiry) is, by the proclamation of his friends, something of an “L-7 weenie” at the start of The Sandlot. He just moved to suburban L.A. in 1962, and while his mom (Allen) wants him to make friends and get into trouble and acclimate to his surroundings, he doesn’t really know how. He’d rather play with Erector sets in his room, which puts him at a disconnect with his father (Leary, really an incredibly handsome man in the early ‘90s) and with the neighborhood kids, who pass their days playing pickup baseball in a local sandlot.

    Slowly but surely, the group accepts Scotty, only to be put in the biggest pickle any of them had ever seen when Scotty accidentally homers his dad’s autographed Babe Ruth baseball over the sandlot’s wall, into a yard that famously serves as a prison for “The Beast,” an animal from whom no baseball has ever been reclaimed. The Sandlot is pure nostalgia, and it lovingly chronicles the pangs of oncoming adolescence: the infinity of summer, the early rumblings of desire for the opposite sex, the terror of realizing that there’s a much larger, scarier world out there than the one you know. But it’s also genuinely insightful about what it is to be an uncertain, tentative, awkward kid in a place you don’t yet know how to grasp.

    MVP: James Earl Jones, the owner of The Beast, who gives Scotty and his to-be lifelong best friend Benny (Vitar) some lessons in manhood and not stealing your dad’s stuff, while debunking much of the mystique surrounding The Beast. He’s not in much of the film, but anybody who grew up with this film remembers his soliloquy well.

    Grand Slam Scene: The film has quite a few of them (Benny’s climactic baseball-reclaiming gambit is a great one), but it’s when Babe Ruth visits Benny in a dream that The Sandlot finds its purpose and teaches generations of young athletes and hardcore bands alike a lesson in heroes and legends. –Dominick Suzanne-Mayer

  • 5. MONEYBALL (2011)

    Sony Pictures

    Manager: Bennett Miller

    Starting Lineup: Brad Pitt, Jonah Hill, Robin Wright, and Philip Seymour Hoffman

    Around the Horn: The pitch (pun most definitely intended) for Moneyball must have been a hard sell. The book upon which it’s based focuses on the Oakland A’s Billy Bean (Brad Pitt), a former prospect-turned-washout-turned-GM who discovers a new strategy in putting together a solid, inexpensive baseball team. Are you bored to tears yet? Well, wake up! With a script that pops, thanks to a dust-off by Aaron Sorkin, Moneyball takes the “Inside Baseball” approach and makes it inclusive. Scenes of Billy on the phone with other agents and GMs inside of his kitchen or office are just as enthralling as the movie’s walk-off home run.

    At the end of the day, Moneyball works because of Pitt. He never “becomes” the real Billy Bean, but he convinces you that he’s the general manager of a baseball team. Pitt’s strong chemistry with fellow Academy Award nominee Jonah Hill (as assistant Peter) is equal parts unexpected and unique; his combative relationship with the late Philip Seymour Hoffman (as then-A’s manager Art Howe) is intriguing; and his relationship with his daughter endears without falling prey to pandering. Moneyball is about the ins and outs of running a baseball team, but that doesn’t mean it can’t be captivating.

    MVP: Brad Pitt

    Grand Slam Scene: The best scene in Moneyball takes place in Billy Bean’s office. We see Billy wheeling and dealing via a conference call, phone transfers, and people being put on hold. It all transpires while Peter sits on the other end of the table in stunned silence, occasionally chiming in with advice. Hilarious.

    However, this scene isn’t online, so here’s the second best moment of the film and the best moment of the A’s 2002 season. –Justin Gerber


    Samuel Goldwyn Company

    Manager: Sam Wood

    Starting Lineup: Gary Cooper, Teresa Wright, Babe Ruth, and Walter Brennan

    Around the Horn: Gary Cooper was an everyman on screen. Whether he was doing battle in Sergeant York or awaiting a showdown in High Noon, Cooper always seemed, well, normal is the best way to describe him. He took on plainspoken characters and thrived off of them. Cooper featured in several classic roles, and one of them is unquestionably his take on Yankees great Lou Gehrig in Pride of the Yankees. I wrote about this very film in a biopic feature from late last year. Let’s see what I said then:

    “The movie follows Gehrig’s life as a college student, his consecutive-games-played streak, falling in love, and ultimately the disease that would one day bear his name and took him too soon. It features a subtle performance from Cooper, with an ending that stops where most tragic dramas wouldn’t (well before the funeral), and also capped off a run of three consecutive Oscar nominations for Teresa Wright, who played the role of Gehrig’s wife, Eleanor. Though she wouldn’t be nominated again for the rest of her life, it isn’t as though her career tanked. Wright would go on to star in Hitchcock’s Shadow of a Doubt, as well as one of the greatest post-war films of all time in The Best Years of Our Lives. And those three nominations were for her first three films. Take that, J-Law!”

    Yes! “Take that, J-Law,” indeed! Such wit from yours truly!

    MVP: Gary Cooper. Wright is runner-up in the balloting.

    Grand Slam Scene: It’s not only one of the most famous speeches in American history, but one of the greatest mike drops to ever end a movie. Perfect. –Justin Gerber

  • 3. BULL DURHAM (1988)


    Manager: Ron Shelton

    Starting Lineup: Kevin Costner, Susan Sarandon, Tim Robbins, Robert Wuhl, and Trey Wilson

    Around the Horn: By virtually any metric of measurement, any list of the best baseball films (or even the best sports films at large) is required to include Bull Durham. It’s been imitated endlessly since its release in 1988, but you can’t touch the original story of Crash Davis (Costner), a grizzled veteran catcher and minor-league journeyman assigned to Ebby Calvin “Nuke” LaLoosh (Robbins), a hyper-promising young pitcher. And then there’s Annie (Sarandon), the year-by-year groupie who catches both Nuke and Crash’s eyes and teaches them both a few things about baseball that not all the playing time in the world could.

    Like the best sports movies, Bull Durham captures the intrinsic appeal of baseball, but doesn’t fetishize its less savory (or less interesting) facets. As Crash exhaustedly puts it to Nuke at one point while coaching him through the paces of what he’ll have to say in player interviews to make nice with the right people, “You’re gonna have to learn your clichés. You’re gonna have to study them, you’re gonna have to know them. They’re your friends. Write this down: ‘We gotta play it one day at a time.’” As the film considers it, most of life is a series of these performances, punctuated by vulnerable moments of humanity, like the one on which the film ultimately ends.

    MVP: Sarandon, on this one. Costner and Robbins are both great, to be sure, but it’s Sarandon’s sagely, sexual muse who ends up leaving the biggest impression on Nuke and Crash and anybody watching.

    Grand Slam Scene: Annie’s opening “Church of Baseball” soliloquy. It captures all the nobilities of the sport, in all its splendor, in two minutes flat. –Dominick Suzanne-Mayer

  • 2. MAJOR LEAGUE (1989)

    Mirage Enterprises

    Manager: David Ward

    Starting Lineup: Tom Berenger, Charlie Sheen, Corbin Bernsen, Rene Russo, and Wesley Snipes

    Around the Horn: Bob Uecker says it best: “To hell with it.” The unnatural majesty of Major League is in the shrug off. Every beleaguered has-been is so had they’re willing to just take the bruise and roll with the quip. That is, until they start to try — or “win the whole, f—ing, thing.” That application extends outside the baseball diamond, too, which is why there’s so much heart to each character. Tom Berenger’s fortysomething Jake Taylor wants that unlikely fourth chance, and it’s in his attempt that he motivates his troubled teammates, from bad boy Vaughn (Charlie Sheen) to the speedy Willy Mays Hayes (Wesley Snipes). How it all comes together in those final moments… Well, it’s a rousing argument for why baseball is (sometimes) the greatest game ever played. What a soundtrack, too.

    MVP: Wesley Snipes. First instinct is to choose Bad Knees Berenger, but the lack of Snipes in the shoddy sequel only proved how magical he was in the original. Plus, he gets all the best one-liners: “Should’ve got a live chicken.”

    Grand Slam Scene: Christ, that’s an impossible choice, but hey, bring that s— to me, man. While the spring training and winning streak montages immediately come to mind, there’s just no beating the film’s grand finale. Once Taylor bunts — eliciting a sly “S—” from the Yankees’ lanky shortstop — each second thereafter is just torturous, even if you’ve seen it a thousand times. Ward delicately frames all the right shots, wrenching the most essential emotions out of his actors, especially Berenger, who looks as if he’s going to have a f—ing heart attack before he steps on first base. He does, though, immediately hurling the action to Snipes as he races and slides toward home, slinging his leg inside just in the nick of time. Oh, I can hear Uecker screaming as I type. –Michael Roffman

  • 1. FIELD OF DREAMS (1989)

    Gordon Company

    Manager: Phil Alden Robinson

    Starting Lineup: Kevin Costner, Amy Madigan, James Earl Jones, Ray Liotta, Burt Lancaster, Lil’ Gaby Hoffman, and Timothy Busfield

    Around the Horn: Where do we begin? Field of Dreams is a movie about fathers and sons, hippies who grew up, redemption, farming, ghosts athletes, censorship, Timothy Busfield’s beard, and, of course, America’s Pastime. Costner’s second film to make this list (sorry For Love of the Game), Field of Dreams recalls awe-shucks filmmaking that had been declared dead circa the Truman presidency. Kevin Costner’s Ray is a family man and farmer with a plot of land in Iowa. He’s settled into a life he never guessed he’d have until the day he hears those seven fateful words: “If you build it, he will come.”

    He builds a baseball field in his backyard, and a team of banned players from the infamous Black Sox scandal return to play, led by “Shoeless” Joe Jackson (Liotta). The movie doesn’t end here. More words follow that bring out a reclusive civil rights author (Jones) and an older man who never got to bat in an MLB game (Lancaster, in his last role). This all manages to tie together in a movie that will melt the heart of the greatest cynic (at least it melted mine) and have you hoping to get the chance to have that last “game of catch” with a loved one.

    MVP: James Earl Jones, now a three-time winner on this list.

    Grand Slam Scene: Why Jones and not Costner? Field of Dreams is a great movie, but seeing Jones grow seamlessly from a tired old curmudgeon into a man who can’t stop smiling is a beautiful thing to behold. The “People Will Come, Ray” speech isn’t just a grand slam — it’s a game winner. –Justin Gerber

    This post originally appeared on Consequence of Sound.

TIME movies

This Is the Real Reason Furious 7 Is a Box-Office Smash

75% of the record-breaking film's North American audience was nonwhite

Given how whitewashed this summer’s blockbusters look — from The Avengers to Jurassic World — it’s no surprise that audiences rushed to see Furious 7 this weekend, which grossed a whopping $385 million internationally. People want to see characters who look like them represented in the movies, and Fast & Furious is currently the only major action franchise that boasts a truly diverse cast.

In any other series, a handsome white guy like Paul Walker would be the sole hero. With the baby blues of Daniel Craig and a six-pack like Channing Tatum, he looks the part — it was a piece of what made him such a bankable star in the years leading up to his death. And ostensibly, Walker was the star of the first two films. But by the fifth installment, he was just one of an impressively diverse entourage that included an Italian-American man, a Japanese man, two black men, a Latino woman and an Israeli woman.

Yes, as it turns out, women can drive fast too. Fast & Furious has been surprisingly progressive when it comes to gender equality. Letty throws a punch as hard as Dominic. And when we meet an attractive female hacker (played by Game of Thrones’ Nathalie Emmanuel) in the latest installment, one male character is quick to admonish another who assumes that only nerdy boys can be programmers.

Casting a wide range of actors in the films has paid off handsomely for Universal. The film set a franchise-best record this weekend by pulling in a diverse audience. According to the Hollywood Reporter, 75% of the North American audience for Furious 7 was nonwhite. Hispanics — who go to the movies more than any other ethnic group, according to the Motion Picture Association of America — made up 37% of ticket buyers, followed by Caucasians (25%), African Americans (24%) and Asians (10%).

The international cast and global shooting locations — in this film, the characters makes stops in L.A., the Dominican Republic, Japan, Abu Dhabi and London — have also drawn a massive global audience. The movie set records for the biggest opening weekend of all time in 26 countries, including Mexico and Taiwan.

Fast & Furious isn’t the first film to discover how lucrative global appeal can be — Pacific Rim exceeded expectations globally in 2013 thanks to a diverse cast that included Idris Elba and Rinko Kikuchi along with Charlie Hunnam. But it is the first franchise to capitalize on it on a massive scale.

Of course, diversity isn’t the only reason the Furious series is a hit. In each film, the stunts get more ridiculous — the latest is crashing a flying car through three different high-rises. The films have fully embraced a sense of fun and irony (see: Dwayne “the Rock” Johnson flexing his arm to break a cast) at a time when superhero movies seem to be getting ever more dark and serious. And plenty of fans sped to the theater to see how the series would treat the real-life death of Paul Walker. (For the record: they pulled off a moving tribute.)

But while these elements may make the series a hit, it’s the diverse range of perspectives that make it a bona fide phenomenon. That point may be obvious to anyone who followed the skyrocketing viewership numbers of Empire, a Fox drama that focuses on a black hip-hop mogul and his family, on TV this spring. But studios tend to be slow on the uptake when it comes to casting. Let’s hope they take notice and use Furious 7 as a model for future action franchises.

Read next: Review: In Furious 7, Gravity Is for Wimps

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TIME Music

Hear Carly Rae Jepsen’s Prince-Inspired Ballad ‘All That’

She performed the song on Saturday Night Live

Carly Rae Jepsen really really really loves the pop sounds of the 1980s. She made that clear when she returned this year with the John-Hughes-prom-song-that-never-was “I Really Like You,” and she’s driving the point home on her new ballad, “All That,” which the “Call Me Maybe” singer compared to classic Prince when she spoke to TIME earlier this year. The song, from her as-yet-untitled upcoming album, is a collaboration with in-demand producers Dev Hynes (Solange, Sky Ferreira) and Ariel Rechtshaid (Haim, Charli XCX), both of whom joined Jepsen for the song’s live debut on Saturday Night Live this weekend. That’s a fitting stage to debut new material, as New York City played a key role in the album’s origin story.

“One of my favorite memories of this album is Dev and me in my SoHo apartment,” Jepsen told TIME in March. “He was playing on keys. It was so my magical idea of New York. I was just singing and, half an hour later, we’d written this song together. We looked at each other like, ‘That was so crazy, I don’t even remember doing that!’ Those are the passion moments. This is what I’m in it for.”

Read next: How Carly Rae Jepsen Got the Coolest People in Music to Work on Her New Album

TIME celebrities

Watch Anne Hathaway Lip-Sync to Miley Cyrus’ ‘Wrecking Ball’

The actress flips off her competition while recreating the video

No, you are not dreaming a dream: that really is Anne Hathaway riding a wrecking ball and lip-syncing along to Miley Cyrus’ 2013 hit.

The Oscar-winning actress shows her commitment to her most unexpected role yet by slicking back her hair, sporting Cyrus’ white tank top and red lip stick and getting freaky with construction equipment on Spike TV’s Lip Sync Battle, airing Thursdays. (Tear-away pants even make a cameo.)

Now, some of that behavior might not be becoming of a princess of Genovia, but judging by the middle finger Hathaway flashes halfway through — it’s ostensibly directed at her competitor, Emily Blunt, but it could also double as a message to her haters — she doesn’t really care.

TIME Television

The Bachelor‘s Chris Soules on Dancing With the Stars: ‘I Am a Straight-Up Amateur’

Craig Sjodin—ABC

That said, he still wants you to vote for him

When Chris Soules, a.k.a. Prince Farming, left The Bachelor with his newly-minted fiancée Whitney Bischoff on his arm, the plan was to go back to Iowa and start their life together. Then the producers of Dancing with the Stars called.

“I didn’t have any goals or desires to be on the show,” admits Soules. “But we met a couple of weeks before ‘The Final Rose’ actually aired, and the producers started telling me about the show and what it was actually like. I had watched the show before, and it looked like an interesting deal. So after talking to them and my fiancée about it, and they made the offer, I signed up. It sounded like something fun.”

For Soules, it has proven fun, even if it’s much more difficult than he originally realized. “It’s exceeded my expectations,” says Soules. “It’s really rewarding, both physically and mentally. I’ve accomplished things I never thought I could accomplish.”

Before signing up for the show, Soules had never danced before aside from what he described as “busting a few random moves at fair dances and wedding dances.” “It is incredibly hard,” said Soules. “Going on stage to perform is a huge adrenaline rush. It’s pushing me completely out of my comfort zone.”

His first week on the show was particularly challenging, because—due to his commitments to The Bachelor—he had less time to prepare than other competitors. “When I first started, Witney [Carson] didn’t know if I was going to be able to get there! But after a few days of training, it started to click,” says Soules. “It’s really challenging. And those professionals make it look so easy. It’s just incredible the way they make their bodies move. When I watch them during the live show, I just don’t know how they do it.”

Soules says he counts himself lucky that his professional partner, Witney Carson, and his fiancée, Whitney Bischoff, have first names that are homonyms. “It’s good because I never get the two confused. I never make a mistake, because it’s always Whitney,” says Soules, who denotes “Dancing Witney” and “Fiancée Whitney” when speaking with friends. As for working with Carson, Soules doesn’t mind her tough-love method of teaching. “She’s a firecracker and keeps me in line, that’s for sure,” he says. “She’s 21, but she doesn’t act like a 21 year old. She’s focused on us making it to the very end. So I don’t mind her being stern with me, because I am a straight-up amateur and she’s got her work cut out for her.”

While Soules is enjoying the dancing, he knows that farming is his calling. “Once I’m done with Dancing with the Stars, I am headed straight back to Iowa,” he says. Not that he’s ready to hang up his jazz shoes just yet—in fact, he’s looking forward to pushing himself further and further as a dancer. “Hopefully I’m here for a while, and have a nice long run on Dancing before heading back to Iowa and doing what I do.”

This week, Soules will take part in the annual Dancing with the Stars tear fest, where each dancer does an interpretive dance to their most memorable year and everybody cries. Soules has chosen to mark the year 2014—the year he met his fiancée on The Bachelor—by dancing a rumba to “The Book of Love” by Gavin James. “Finding the love of my life and getting engaged and living with her for a short time in LA and being on Dancing with the Stars—all those things rolled into one have been the most absolute memorable year,” said Soules, who says he’s been rehearsing particularly hard this week. “This is a really special one for me, and I really want to be able to perform it.” As ever, expect to see Bischoff in the audience, cheering him on.

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