The Dancing with the Stars (DWTS) Season 33 finale brought drama, humor, and a touch of awkwardness as host Julianne Hough subtly poked fun at Anna Delvey’s infamous one-word comment.

Anna Delvey, the convicted con artist turned reality star, returned to the ballroom alongside her dance partner Ezra Sosa. The duo, eliminated early in the season, performed a special number alongside Tori Spelling and Pasha Pashkov. They danced to Whitney Houston’s “I Have Nothing”, a clear nod to Delvey’s viral response during her elimination episode when she admitted to taking away “nothing” from her experience on the show.

Julianne’s Playful Jab

As the performance ended, Julianne Hough looked directly into the camera and quipped, “You know, I’ve got nothing,” referencing Anna’s viral comment. Anna responded with an awkward smile, while her partner, Ezra, playfully wiggled his finger.

This moment highlighted Anna’s previous DWTS journey, where she was eliminated during the Oscars Night episode alongside Tori Spelling. At the time, when asked what she would take away from the competition, Anna simply replied, “Nothing,” sparking a viral moment online.

Co-host Alfonso Ribeiro tried to lighten the mood during the elimination episode, playfully saying, “You had fun. Stop it. Stop it,” while Julianne encouraged Anna with a similar sentiment.

Delvey’s DWTS Experience

Anna Delvey, who gained infamy for posing as a wealthy heiress and whose story inspired the Netflix series Inventing Anna, danced throughout the season wearing an ankle monitor. This condition was part of her release agreement as she fights deportation to Germany after serving time for multiple felony convictions, including grand larceny.

Despite her initial enthusiasm, Anna admitted in a confessional that she felt discouraged by harsh online criticism. “I’m used to people feeling negatively about me,” she shared, adding that while it upset her briefly, she quickly moved on.

Her dancing was consistently critiqued by the judges, who urged her to bring more energy to her performances. Anna received a score of 17 for her Quickstep, which was ultimately not enough to keep her in the competition.

Delvey’s Perspective Post-Elimination

In a later podcast appearance with Tori Spelling, Anna explained her blunt “nothing” comment: “That was the truth. You guys told me what I was supposed to do, I tried, and I was still rejected. So I took away nothing.”

She went further, criticizing the judges’ feedback as “worthless,” adding that their advice did not translate into a better outcome for her.

DWTS Season 33 Finale

The Season 33 finale spanned an impressive three hours, featuring performances by fan favorites Mark Ballas and Derek Hough, as well as the final dances from the remaining stars. Fans were shocked that none of the top five contestants—Chandler Kinney, Ilona Maher, Danny Amendola, Joey Graziadei, and Stephen Nedoroscik—were eliminated in the lead-up to the finale, making the final showdown even more intense.

While Anna Delvey’s journey on DWTS was brief, her candid remarks and controversial moments ensured she left a lasting impression, both on the ballroom floor and beyond.

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In a surprising revelation, Brianna “Chickenfry” LaPaglia shared on her “BFFs” podcast with Dave Portnoy and Josh Richards that country singer Zach Bryan offered her $12 million to sign a non-disclosure agreement (NDA) to keep quiet about their relationship and breakup.

During a solo segment recorded last week, LaPaglia explained, “After it was over, [Bryan’s] team approached me with a substantial offer. They proposed a large sum of money over three years, with a few different options, in exchange for my silence.”

The 25-year-old Barstool Sports personality noted that accepting the deal would mean strict monitoring of her activities and discussions about her “experiences” with Bryan. She considered it briefly but ultimately declined, stating, “I think they forgot that I was already established and successful before him—and I’ll continue to be successful after him.”

LaPaglia, known for her role at Barstool Sports, expressed that she didn’t want “blood money” and was uncomfortable with the idea of taking money to protect someone who had hurt her. She added, “Offering millions to keep what was supposedly a beautiful relationship a secret speaks volumes.”

Ultimately, she said, “I did not accept any money. I won’t accept any money. I think it’s beneath me, and it’s messed up.”

Later in the episode, her co-hosts joined in to discuss the NDA. Portnoy confirmed the $12 million offer and noted LaPaglia’s struggle with the decision. “It’s life-changing money,” Portnoy commented, explaining how she went back and forth on her choice.

LaPaglia admitted that while she initially rejected the idea outright, she wrestled with it, especially considering her family’s financial situation. “My family doesn’t come from money, so they wanted me to take it,” she explained. But in the end, she couldn’t accept, especially given her experiences during the relationship.

Additionally, LaPaglia claimed that Bryan’s team even offered to buy her a house or an apartment in New York City, an offer she also turned down.

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His vision is ambitious. Elba aims to build film studios across Africa, starting in Zanzibar, the Tanzanian semi-autonomous island renowned for its white sand beaches. The idea took root last year when Elba met Tanzanian President Samia Suluhu Hassan at the World Economic Forum in Davos. Their discussions led to plans for the first studio in Zanzibar — a move Elba believes could be the first building block of a global entertainment hub.

In August, the government of Zanzibar promised him nearly 200 acres to begin construction.

“Idris Elba will be building a modern studio similar to Hollywood, Nollywood (in NIgeria), or Bollywood,” Zanzibar’s Minister for Investment, Shariff Ali Shariff, announced. He even joked about naming the industry “Zallywood” or “Zawood.”

The project goes beyond film. Elba believes Africa’s creative sector is underrepresented globally.

“Much of the imagery about Africa isn’t even generated from Africa,” Elba told CNN at the Stellar Development Foundation’s Meridian conference in London this week. “A lot of media is centered around (negative depictions of Africa). But the median age in Africa is 19; these young people are optimistic and deserve the chance to tell their own stories.”

There is also significant money to be made. Though Africa comprises 18% of the world’s population, it accounts for only 1% of the global creative economy — a sector that Goldman Sachs expects to double in the next five years.

The timing couldn’t be better. A recent UNESCO report shows that Africa’s film and audiovisual industry could create 20 million jobs and add $20 billion to the continent’s GDP by 2030. Global players like Netflix and Disney have already made sizable investments in Kenya, South Africa and Nigeria.

Still, many governments in emerging economies have yet to recognize the economic potential of the creative sector, Elba said. The lack of regulation and investment, particularly around copyright and financing, has placed limits on growth.

He sees potential akin to South Korea’s explosive entertainment industry growth: From 2017 to 2021, Korean pop-culture-related exports grew at an average annual rate of 13.7%, 2.5 times faster than overall export growth. Korea’s Economic Research Institute estimates this contributed $27 billion to the economy.

Tanzania is already looking toward that model, partnering with South Korea to send African actors for training in Busan. But Elba understands that building studios alone won’t be enough to spark an entertainment revolution.

“It’s all been a puzzle,” he said, referring to the challenges of structuring a new industry. One critical piece is how to pay creators in countries with limited banking infrastructure.

In a separate but related project aimed at solving the payment issue, Elba has partnered with Stellar, a blockchain-based platform, to introduce Akuna Wallet, a digital wallet designed for the creative economy.

Akuna Wallet allows artists, filmmakers, and musicians to manage payments and royalties without relying on traditional banks. By enabling peer-to-peer transactions in digital currencies, it provides a secure payment system in regions with limited financial infrastructure.

With nearly 60% of Ghana’s population under 25, many young Africans remain unbanked.

A pilot program, launched this week in partnership with the government of Ghana, aims to streamline payments for local creatives, potentially bringing more financial inclusion to the industry.

“Popular platforms for monetizing creative work often require bank accounts, which excludes many young Africans,” Elba said. “We need a financial model that allows for consistent quality creation.”

But if local governments see a healthy entertainment economy, he added, they’ll enable it to grow.

“It will grow, and it can grow,” he said.

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