Chandler Kinney, known for her roles in Pretty Little Liars: Original Sin, partnered with the talented Brandon Armstrong, captivated audiences in season 33 of Dancing with the Stars. Their dynamic partnership and impressive performances quickly made them fan favorites. Airing live on Tuesdays at 8 PM ET/PT on ABC and Disney+, with next-day streaming on Hulu, Dancing with the Stars brings celebrities together with professional ballroom dancers in a thrilling competition. A panel of esteemed ballroom experts, including Carrie Ann Inaba, Bruno Tonioli, and Derek Hough, judges the themed and meticulously choreographed routines performed before a live studio audience, all under the production of BBC Studios Los Angeles Productions.
Chandler Kinney and Brandon Armstrong on Dancing with the Stars
In an exclusive interview conducted over Zoom, Chandler Kinney and Brandon Armstrong offered insights into their experiences on the show. They discussed the valuable lessons learned from each other, the electrifying energy of live performances, their creative ideas for theme nights, and much more. Dive into the full conversation to discover the behind-the-scenes dynamics of this remarkable Dancing with the Stars duo.
Chandler Kinney and Brandon Armstrong posing
The Most Rewarding Dances and Personal Growth
When asked about their most rewarding experiences on Dancing with the Stars, both Chandler and Brandon highlighted the Paso Doble during Disney night in week six as a pivotal moment.
Chandler Kinney reflected, “Rewarding for me personally… I think maybe the Paso Doble for week six, Disney night. One, I mean, it was so fun for obvious reasons. I think it’s such a rare opportunity that you get to a, be on Dancing with the Stars in any form, but b, to be able to reprise a character and revamp her to introduce to a new medium and then, also dance to a song that you sang from a movie that you starred in. It felt like the stars aligned and it was just a really cool synergy moment, and I think there was also a lot of pressure put on that week.”
She elaborated on the personal challenges she faced that week, stating, “I think it was both self-inflicted, but then also there was a lot coming from the week prior, dedication night with some of the critiques that I had gotten in storytelling, bringing emotion to the dance, and bringing a part of myself into the art that I create. I think I learned a lot through that week, which honestly, personally, was one of my toughest weeks because I felt on some level that I had something to prove, not only to people watching but then also to myself. So many times throughout this process, I think we all relate in having questions of like, ‘Can I do this? What am I capable of?’ And so, I think I was able to emerge from that week proud because I proved that I am capable and I do know what I’m made of, and to be able to show it to others was really fulfilling.”
Brandon Armstrong echoed Chandler’s sentiments, emphasizing the importance of resilience in the competition. “I agree. I think it’s just anytime that you can — the thing about the show is, I’ve said this a million times, but it’s all about the ups and the downs, and the hardest part of the show is not getting up from the downs, but it’s maintaining the ups. And so, I think for us, that’s something that Chandler came out and she was good, we’ve been towards the top half of the leaderboard for the most part and things have been going smooth. So then, it’s really hard to maintain that for 11 weeks of the show. And so, I think I’m with her as far as Paso Doble goes, it was a moment for her to kind of stand back on her own two feet, get your grounding back, and keep it moving forward ‘cause it can’t be consistent the whole time.”
Learning Beyond the Dance Floor: Pushing Boundaries
Their partnership extended beyond dance techniques, with both Chandler and Brandon learning valuable life lessons from each other.
Chandler Kinney shared what she learned from Brandon: “I’ll give you one and you’ll like this, I wish I could phrase it the way that you do, but you’ll know exactly what I’m talking about, pushing my ceiling. That is something that Brandon always encourages me to do. I am not a settler and I’m not a quitter, but I always give my best and then I sometimes get discouraged when I feel like I can do better, but then it’s kind of like, okay, well — this is also coming from a recovering perfectionist, right? So this is coming from someone who used to beat herself up when it’s not 110% all the time. And so, it’s hard to find that balance of what is my best and then if there is a better than that. But I think Brandon has really helped me learn that there’s so much in the process of a thing and your best on Monday may not be the best thing that you can achieve on a Friday. And so, pushing that ceiling of what you’re actually capable of and what is possible for you is possible and that’s something that he has proven to me in this process, which I really appreciate because I think it’s applicable not only to dance but also to every part of life really.”
Chandler Kinney smiling on Dancing with the Stars
Brandon Armstrong resonated with Chandler’s sentiments about personal growth and self-improvement. “I agree a thousand percent. Take that for free. My parents always make fun of me because I’m like a 60-year-old man stuck in a 20-year-old’s body, they always say that but I just have to piggyback on that because I think a popular mentality that we have, and she and I have talked about this is that it’s like, I am who I am and I am what I bring in this, and that mindset is so good because it’s more positive than the way that I was raised, which was always like you were trying to conform to something or be whatever. It’s impressive that we’re growing up in generations where you can be who you are, you can be authentic, and you can stand on your own two feet. I do think that that mentality also lends itself to people not realizing their potential though. You can be who you are on Monday, but on Tuesday, you need to be 105% of that, then on Wednesday, you need to be 110% and if you can constantly evolve like that, by the time you are 60, 70 years old, you’re pleased with the product that you have progressed to and I think that’s how we do it with dancing. We’re gonna go in and run this dance today, it’s not gonna be the way that we want it on Tuesday, but it will be 100% of what we could do today. But on Tuesday, it’ll be 190% of that, you’ve got to constantly push yourself.”
Building Trust in the Heat of Live Performances
The high-pressure environment of live shows significantly strengthened the trust between Chandler and Brandon.
Brandon Armstrong recounted a specific instance: “I can think of one big one, it was for Viennese waltz. So I, obviously, do this for a living, I dance for a living. You could give me an hour of prep and I could go out there, fake it till I make it, and probably sell it, that’s all I could do. Chandler doesn’t do this for a living. She’s very good at it, she does not do this for a living. I changed probably conservatively 50% of our dance Sunday night for Viennese waltz. Realistically, my hand to the God above, it was probably more, it was a lot. It was a huge chunk of the dance from the first four bars to the last four bars. It was not very fair of me. But to me, it was more like I could see the product of what it was and it wasn’t what it should have been. And so, we made a little audible last minute. I made the audible last minute, I think she kind of got drug along for it but then, I think the turnout, to me, was worth it a million percent. So I think I developed trust in her that she has the ability to turn it on and sell water to the ocean, and she also trusted herself more than probably she ever has because you have to be able to just sell it, dance it. It’s hard. Being prepared in this show is not the most common thing.”
Chandler Kinney added a moment of unexpected trust during a lift: “No, yeah, I mean, it’s just something that you don’t always get the luxury of having. But you’ve gotta fake it till you make it. I’m glad no one knew that we changed the dance the night before. Well, mine was just kind of just a little giggle for myself, when Brandon didn’t drop me when we botched our lift in week five. What’s hysterical is we both knew how bad it was because it was just not what we had rehearsed at all but then watching it back, it did not look that bad at all. So I was like, ‘Hey, props to Brandon. Trust that man,’ because he did not drop me and we both just trusted that we were gonna make something happen.”
Brandon Armstrong humorously responded, “Something did happen. Something was gonna happen.”
Chandler Kinney and Brandon Armstrong during a performance
Chandler Kinney continued the anecdote, “But what’s hysterical is we did get up to the skybox and we were all like, tail between our legs about it and everyone else was like, ‘What do you mean?’ We’re like, ‘The lift.’ They were like, ‘What do you mean?’ We were like, ‘It was awful!’ Anyway, we’ll never tell, I was gonna release what it actually was gonna be but now I’m like, I don’t want people to know how different it was.” Brandon Armstrong chimed in, “Yeah, we’ll die with that one.” Chandler clarified, “That was the Contemporary of the dedication to my mom. Yeah, the lift was… we just did something entirely different but hey, it wasn’t that bad.” Brandon Armstrong concluded, “Let me tell you, it wasn’t what it was supposed to be, but it is what it was.” Chandler affirmed, “So I had my trust in him in that moment.”
The Thrill and Challenge of Live Performance
The transition from rehearsed routines to live performances presented both an exhilarating thrill and a daunting challenge, particularly for Chandler, coming from an acting background.
Chandler Kinney explained the difference: “Yeah, 100%. I mean, for me, you nailed it. As an actor, I walk in knowing that I will have multiple opportunities to do what I want to do. So I don’t have to be sold on one way, you get to really try and experiment and ultimately, get the best product. This is one go. If you stumble, if you fumble, there’s no calling cut. It is what it is what it is and so, that’s terrifying. It’s scary, I would say the added pressure of it is the fact that you’ve just spent like six days only working on that 60 seconds, whereas even with acting, you’re not running that same scene day after day after day after day for hours on end. So there’s almost another layer of stress and anxiety because you know how much you’ve put into that one moment and you only get the one go. So, yeah, it’s terrifying. I think the thrill of it is there’s a specific magic to it that can’t be replicated. It is what it is, and that’s exciting and also terrifying. So there’s two sides of the coin but yeah, I think the fact that that moment will always exist just as it is, is kind of a really beautiful thing. That’s my take on it.”
Brandon Armstrong embraced the pressure, stating, “I agree a thousand percent. I’m like a game day kid, playing sports, growing up, whatever it may be, I love a little pressure. I don’t know, I just think people are too comfortable nowadays. They look for the softest, easiest way around things. I’m like, I just don’t want it, I want that little edge. I think it makes you perform the best and so that alone, like she’s saying, on the highest scale, though, I cannot reiterate. It’s like a thousand percent of that feeling because it’s one shot and there’s so many variables, even stuff that you can’t control. But it’s addictive. It’s addictive, you start missing it, you start craving it. So I agree with her.”
Chandler Kinney and Brandon Armstrong in sync
Representation and Diversity in Ballroom Dancing
Chandler Kinney and Brandon Armstrong made history as the Black dancing couple to advance the furthest on Dancing with the Stars. This milestone sparked a conversation about representation and diversity within ballroom dancing.
Brandon Armstrong reflected on his personal journey and the broader context of representation: “So look, I grew up doing ballroom since I was 11 years old and I would go to these ballroom competitions, there’s one in England called Blackpool, it’s like our world championship and there was one other Black dude at that Blackpool and there’s 800 couples in one division, right? There’s probably 2,000 couples there at the whole thing and there’s one Black dude and he was this guy from South Africa, and then it was me. And so, I guess I say that just because I think that it’s cool, it’s impressive to me, the percentage chances of me being here are slim to none, right? And so, the fact that I am here, the fact that I am Black, I think it adds that. I think on the flip side of the coin, representation is so important, I think it’s important, however, that you’re specific to what you represent and I don’t necessarily represent coming from an environment where ballroom is not obtainable or it’s not accessible, and I think that’s where the conversation needs to start for me as a professional that is Black on the show. I want Black people, African American people, people of color, and everybody to look at me and see potential. But we also have to be realistic that that potential came from being raised in a community where I had access to ballroom dancing.”
He further emphasized the need for accessibility in ballroom dancing: “The communities that a lot of people who look like me come from do not have access to that ballroom dancing and that is something that I’m very passionate about, and I want to be very clear about because even that conversation has been very diluted now in 2024 and with the movements and with the this and the that, it becomes just a cloud of whatever. We gotta be specific with what we’re talking about here. I don’t represent the African American kid from Crenshaw Heights, South Side Chicago, Philadelphia, or blah, blah, blah, blah, blah. I don’t represent them. I want to and that’s why I’m going to work to bring this style and this art to those communities but we gotta be realistic with what I do represent and so, I’m very passionate about it and I want to be very clear about it because I would love to see the ballroom floor look completely different than it was when I grew up but we have to do that by going to that community.”
Chandler Kinney concurred, highlighting the broader implications of their achievement: “Yeah, agreed. I think also, it’s all-encompassing, too, do you know what I mean? This is just a piece of the puzzle. And so, it’s just important that we continue. It’s funny, we’ve talked about this, and yes, it definitely is a moment of excitement, joy, and pride and then, it’s also a little frustrating and confusing that we’re literally in the big year of 2024 and we are the one Black couple that has made it the furthest in this competition in 33 seasons and 20 years. And so, there is a lot of responsibility that comes with that and we feel that, and we are excitedly shouldering it because we do want to represent, we understand how important that is. But yeah, it’s definitely like a big feeling. I think there’s a lot wrapped up [in it].” Brandon Armstrong added a stark statistic, “Yeah, but if you think about it, out of 33 seasons, there’s been three Black pros on Dancing with the Stars: Keo, Britt, and me.”
Brandon Armstrong and Chandler Kinney looking at each other
The conversation underscored the need for greater diversity and accessibility in ballroom dancing, acknowledging the financial barriers that often limit participation. Brandon Armstrong pointed out, “Yeah, it’s just hard because ballroom is such an expensive, expensive, expensive…” Chandler Kinney agreed, “It’s a much broader conversation.” Brandon Armstrong concluded, “It’s a huge conversation. I wouldn’t have been able to do that if it wasn’t for people donating money and paying for my lessons. My family could not afford that. I did not grow up in the means to be able to do this. I got very lucky.”
Dream Theme Nights on Dancing with the Stars
Looking ahead, Chandler Kinney and Brandon Armstrong shared their imaginative ideas for themed nights on Dancing with the Stars.
Brandon Armstrong proposed a musical face-off: “Okay, I think this would be cool. I think it would be fun to do a West Coast versus East Coast music night. So West Coast music, East Coast music artists and they verse each other. I think that’d be fun and the best part about it is you would have West Coast and East Coast teams, and whichever team ends with the highest accumulative score on the night, they win immunity, you know what I mean? Something that’s fun like that. I think that would be fun.”
Chandler Kinney initially hesitated but then offered a whimsical concept: “I don’t know if I have any good answers.” However, Brandon suggested an idea inspired by his wife, “Bridgerton. She always tells me that, she always says that, string versions of all the songs.” Chandler Kinney embraced the Bridgerton theme, “I think that’d be really cool.” Brandon Armstrong elaborated on the visual appeal, “Isn’t that sick? Dressing up as the ballroom.” Chandler Kinney agreed, “Yeah, I like that one. Those are good ones.”
Chandler then offered a unique competitive theme: “I think it would be so cool if we all just did like Viennese waltz too and then it’s just like an even competition because everyone’s doing the exact same style.” Brandon Armstrong enthusiastically added to the idea, “And live orchestra, come on.” Chandler Kinney painted a vivid picture, “Yes, that would be beautiful. Everyone in the audience is dressed to the nines, they serve tea, and crumpets in the skybox. Wait, now I’m getting on board!”
To support Chandler and Brandon, you could text CHANDLER to 21523 or vote online here, ten times each during the live show.
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