A multi-part series in which we look at the remaining Dancing with the Stars finalists as the season finale approaches.

Highlights:

Week 3’s “fastest Quickstep ever”:

Week 5’s emotional Foxtrot honoring his sister:

Week 9’s redemption Waltz:

Lowlight: Week 7’s hot mess of a Cha-Cha, which featured more gyrating than dancing

Corbin started the season as one of the frontrunners, always in first or second place for the night. Karina finally had a partner she could work with, so she threw her most ambitious routines at Corbin, and Corbin found himself up to the task. She even allowed him to have some fun, with a jive paying homage to High School Musical (that went over really well) and a Viennese Waltz paying homage to Game of Thrones (that did not go over well). He seemed unstoppable for the first half of the season.

Everything was fine and dandy for Corbin until Week 9, when he had a jazz routine to do. Corbin knew more about jazz and tap than Karina, so he was the one who choreographed the routine and helped Karina out. Audiences can generally forgive celebrities prior dance experience. But when there is a role reversal and the celebrity effortlessly performs a dance style he’s trained in, only to get a perfect 30 and raves about it being the “best routine ever” (according to Carrie Ann), resentment builds. Sure enough, the last two weeks has seen a huge upswing in online comments about Corbin being a ringer and having an unfair advantage. This may cost him the vote needed to win next week (as it did for Mel B and Mya, both runners up).

And while it’s not Corbin’s fault, he just doesn’t have much going on to earn the audience’s sympathy. His backstory in Week 10 was about him having to choose between going to Stanford and starring in High School Musical – not something audiences will sympathize with, especially when all the other contestants came forth with sob stories about hardships. Corbin is also the only uninjured contestant left, meaning he’s held to a higher standard.

The pro: Karina is a shrewd strategist, and when given an awesome dancer like Corbin to work with, she will have some fantastic routines in the finals. And it should be noted that the last time she faced both Cheryl and Derek in the finals (Season 13), she walked away with the MIrrorball Trophy.

Biggest advantages: Corbin is the only classically attractive guy left in the competition (Carrie Ann referred to his body as a “wonderland”). He will get a lot of women voting for him. And if comparing his fanbase with Amber’s, HSM was seen by many more people than Glee (though it’s unclear how much overlap there is between those two fanbases and DwtS viewers). Corbin is also undisputedly the best dancer left, though whether that’s an advantage or disadvantage is debatable.

Notable precedents: Obviously HSM co-star Monqiue Coleman in Season 4, who got eliminated in the semifinals. Other fellow Disney stars to make the finals are Zendaya (runner up last season), Chelsea Kane (third place in Season 12), and Kyle Massey (runner up in Season 11). No Disney Channel star has won yet.

Odds of winning: Not too high because he doesn’t have the audience’s sympathy. But if Karina choreographs routines that are stunning enough, he might still pull through. I give him a 20% chance at victory, but expect him to land in second place.

After all that talk of inclusivity, Star Trek Beyond falls into the Hollywood trap of implied sexuality.

Mild spoilers for Star Trek Beyond.

Star Trek Beyond, already a wildly anticipated movie, made headlines ahead of its release because of the franchise’s decision to introduce the first openly LGBT character: Mr Sulu, played by John Cho.

While this decision was certainly met with excitement, there was disappointment, too. The original Mr Sulu, George Takei, openly voiced his opinion that they should have introduced a new LGBT character rather than expand on original canon (as they have been the whole trilogy), while Simon Pegg beautifully argued that there was power in using an established character who wouldn’t be defined by his sexuality.

Then came the movie itself, and while the introduction of gay Sulu is still a great thing, we’re left sorely disappointed by Beyond‘s decision to depict the LGBT relationship — or rather, hardly depict it at all.

As reported by our friends at The Mary Sue, the scene featuring Sulu and his husband Ben depicts a “lukewarm” relationship, although Sulu is very affectionate with the pair’s daughter.

This is, unfortunately, a common problem in Hollywood when an LGBT couple — almost impossibly — makes it into a big franchise film. They’re allowed to be there, but having any kind of physical interaction even remotely resembling what a heterosexual couple might have still seems to be off-limits.

Related: Hollywood is failing the LGBT community: GLAAD slams Disney, Paramount and Warner Bros.

And, according to John Cho, there was actually a kiss filmed. “There was a kiss that I think is not there anymore,” he told Collider. “It wasn’t like a make-out session. We’re at the airport with our daughter. It was a welcome-home kiss. I’m actually proud of that scene, because it was pretty tough.”

Cho points out that Ben was played by a non-actor, writer Doug Jung, and says, “Obviously, I just met the kid, and then Doug is not an actor. I just wanted that to look convincingly intimate. We’re two straight guys and had to get to a very loving, intimate place. It was hard to do on the fly. We had to open up. It came off well, in my view.”

And we wish we could have seen it. Introducing a major LGBT character in the Star Trek franchise is a fantastic first step, and depicting two POC actors raising a child together is a great statement — but, unfortunately, the decision to cut out their kiss (which was already chaste, by the sounds of it) is emblematic of Hollywood’s continuous phobia of depicting LGBT relationships and intimacy on the big screen.

As Screen Crush also points out, this exact same scenario played out in Independence Day: Resurgence, too. In Finding Dory, the lesbian couple are only implied, in a blink-and-you’ll-miss-it sequence.

LGBT representation (when present at all) is always so subtle, evidently in fear of offending straight audiences while not totally erasing non-straight sexualities. And, sadly, even that is considered a big step forward — but maybe it’s time we start depicting humanity as it is, and not what society wished it was 100 years ago.

Here’s looking at you, Star Wars.

Harry Potter and the Cursed Child reviews from theater critics are glowing, so when the hell can Americans get a chance to see the play in New York?

With just days to go until The Cursed Child script book is released around the world, The New York Post’s theater reporter has spoken to sources who say the play will be coming to Broadway sooner rather than later. Producers are currently holding discussions to bring the play to NY as early as 2017.

They haven’t yet announced a Broadway engagement for “Harry Potter and the Cursed Child,” but New York theater people say it’s only a matter of time. Word is that Friedman and Callender are in negotiations for a Shubert theater possibly for next season. They may hit Toronto first, however.

The idea of The Cursed Child hitting Broadway so soon (“next season” could mean around May 2017) will come as a relief to American Harry Potter fans who would rather not travel overseas to see “the eighth story” (though it’s a little more affordable to do so right now thanks to #Brexit). It also speaks to this important fact: It’s important to see The Cursed Child rather than reading it.

If the show does go to Toronto first as The New York Post suggests it might, a trip to Canada would also be easier for Americans. Sorry, people who don’t live in North America.

This writer saw the play in June and absolutely loved the characters and magic happening on stage. But the story is… not the best. I’m very eager to see what fans, myself included, think of the story after reading the script book this weekend.

For her part, Rowling has promised that fans around the world will get to see the play. Only time will tell if she’s hinting at a movie or a world tour:

If ‘Cursed Child’ comes to Broadway next year, will you try to see it ASAP?

The West End production currently has dates running into May 2017, but additional dates are expected to go on sale in early August.

Present day Han Solo may’ve left the main Star Wars series after the events of The Force Awakens, but the character’s time in movie theaters is far from over.

The new Han Solo film from Lucasfilm — scheduled to hit theaters in May 2018 — might turn into a trilogy for the reluctant hero, according to the New York Daily News.

The paper reports that star Alden Ehrenreich has signed a three-picture deal, suggesting that the studio intends to expand the Han Solo spinoff into a trilogy. “They feel that his character has the right potential to become a central figure in several movies,” a source told NY Daily News. “They’re keeping things under wraps at the moment, but the deal is that he has signed for at least three movies.”

This makes a lot of sense given the popularity of the character coupled with his absence in Episode 8 and beyond. We also know that Lucasfilm and Disney have many, many grand plans for Star Wars in the years ahead: The very first Star Wars theatrical spinoff, Rogue One, opens later this year. Episode 8 then hits theaters a year later (2017), followed by Han Solo’s own movie (2018). Next comes Episode 9 in 2019, followed by yet another spinoff reportedly focused on Boba Fett in 2020.

As for 2021 and beyond? Only time will tell, but we expect more movies set in the worlds of The Force Awakens, Rogue One, and now Han Solo.

The Han Solo spinoff will be directed by LEGO Movie helmers Phil Lord and Christopher Miller. They’re currently deep into pre-production, as this tweet from Lord this morning shows:

“This is the first film we’ve worked on that seems like a good idea to begin with,” the directors said last July. “We promise to take risks, to give the audience a fresh experience, and we pledge ourselves to be faithful stewards of these characters who mean so much to us. This is a dream come true for us. And not the kind of dream where you’re late for work and all your clothes are made of pudding, but the kind of dream where you get to make a film with some of the greatest characters ever, in a film franchise you’ve loved since before you can remember having dreams at all.”