Witney Carson’s DWTS Baby Reveal Has Blue Flowers, Two Tiny Brothers and One Very Busy Ballroom
The reigning Mirrorball champ is expecting another boy — and planning to dance through season 35 while four months pregnant.
Witney Carson is about to have an entire boy band at home.
The Dancing With the Stars pro and her husband, Carson McAllister, have revealed that baby No. 3 is a boy, turning an already very DWTS pregnancy storyline into an aggressively sweet family production. In a video shared Sept. 21, the couple’s sons, Leo, 5, and Jet, 3, surprised their parents with a bouquet of blue flowers representing the little brother on the way.
“We couldn’t be happier or feel more blessed with all these boys,” Carson wrote in the caption. “I love being a boy mom. My greatest honor in life is to raise them.”
It is a classic Carson reveal: soft lighting, sentimental family energy, a floral announcement and just enough ballroom-adjacent drama to make the whole thing feel like the opening package before a very emotional Viennese waltz. But the bigger headline is still waiting in the wings. Carson is not simply expecting her third child. She is also planning to compete on the upcoming 35th season of DWTS with Guillermo Rodriguez of Jimmy Kimmel Live!.
The baby announcement already had a perfect little sequel
Carson first announced the pregnancy Aug. 17 in a black-and-white photobooth video featuring McAllister, Leo and Jet posing with a sonogram photo. “We’ve been keeping a secret…” she wrote, introducing “a new addition to the McAllister gang.” The announcement ended with the wonderfully on-brand phrase “baby number 3 loading.”
Now the secret has evolved into a full family franchise, with the older boys cast as tiny messengers and the blue-flower bouquet doing the work of a very polished gender-reveal prop. The scene also gives the announcement a more personal shape than a standard celebrity baby post: Leo and Jet are not just standing beside their parents; they are part of the surprise, already being folded into the family’s newest chapter.
Carson told People that she and McAllister are “so blessed to keep growing our family” and that she could not wait to become “a family of five.” In a separate interview with Good Morning America, she said the idea of dancing while pregnant was not on her “bingo card,” which may be the most accurate possible description of a professional ballroom dancer’s life suddenly becoming a televised prenatal endurance event.
Yes, she is taking the bump to the ballroom
Carson plans to compete as long as the baby is healthy and she is doing well. That makes her the first professional dancer to enter a Dancing With the Stars season pregnant, a piece of show history that sounds surprising only until you remember how much the series loves a challenge, a comeback and a costume change under pressure.
“It’s scary but also exciting,” Carson said of the plan. She added that she wants to feel empowered and “see what my body can do.” The phrasing matters. This is not being presented as a stunt or a miraculous celebrity superpower. Carson has been candid that pregnancy has been difficult, saying she is in “pure survival mode,” constantly trying to eat enough to keep nausea at bay and rest whenever possible.
Rest, naturally, is easier to discuss than to achieve when there are already two small children in the house and a demanding television competition on the calendar. Carson said McAllister has been “an absolute champ,” helping care for the family and making space for her to recover. The couple married in 2016 and welcomed Leo in 2020, followed by Jet in 2022, so this is not the first time their family life has expanded under the bright lights of Carson’s career. It is simply the first time the expansion is arriving alongside a televised dance schedule.
Carson has also made the emotional math clear: she loves being a mother, and she loves dancing. Her goal is not to choose one identity for the cameras and hide the other backstage. “I love both,” she said. “And so if I can do both, then that’s what I want to do.”
Last season, she already had the biggest possible return
The timing gives this season an extra layer of plot. Carson is entering season 35 as the reigning Mirrorball champion after winning season 34 with Robert Irwin. That partnership became one of the season’s warmest storylines, pairing Carson’s technical precision with Irwin’s earnest, high-energy charm and ultimately sending them home with the trophy.
So Carson is not returning as just another familiar face in the pro lineup. She is returning as the defending champion, a new mother-to-be and the dancer attempting something no professional on the show has done before. The show’s usual questions — chemistry, choreography, audience support, who can survive the dreaded week-two samba — now come with an entirely new production note: how do you build a competition arc around a dancer whose body and family are changing in real time?
Her partner, Rodriguez, will have to become part of that equation. Carson has already acknowledged that the prospect is daunting, but she has also framed the partnership as a team effort. That is likely to be the central dynamic of the season: not a “pregnant dancer” gimmick pasted onto a celebrity pairing, but a professional trying to work at the highest level while allowing the circumstances of her life to remain visible.
There are already three boys waiting in the wings
The most charming part of the reveal may be that Carson seems less interested in turning the news into a grand celebrity spectacle than in celebrating the household it is joining. Leo and Jet’s flowers are the visual hook, but Carson’s caption lands on the quieter reality: she is thrilled to be raising sons, and she sees motherhood as her greatest honor.
That sentiment could easily become too polished in another announcement. Here, it comes with the messier context of nausea, exhaustion, two young children and a professional schedule built around four-hour rehearsals, live performances and choreography that changes every week. Carson is not pretending the balancing act will be easy. She is saying she wants to try it anyway.
And with that, season 35 has its first truly irresistible storyline: the reigning champion walks into the ballroom pregnant, accompanied by a celebrity partner who will need to keep up, while back home two little boys await their baby brother. The Mirrorball may still be the prize, but Carson’s family is already giving the season its most memorable entrance.
Taylor Frankie Paul Walks Away From Mormon Wives as the Cast Implodes Around Her
After five seasons, a public cast pile-on, shrinking custody time and a season six already filming in Italy, Taylor Frankie Paul says she is “relieved to be out.”
Taylor Frankie Paul is leaving The Secret Lives of Mormon Wives, and she is not exiting quietly, graciously or with the standard reality-star promise that this is simply “the next chapter.” On Monday, the 32-year-old announced that she is quitting Hulu’s breakout reality hit after five seasons, dropping a statement that reads less like a farewell and more like the final scene in a season-long group chat from hell.
“However I don’t desire to move forward like this,” Paul wrote on Instagram. She said she had previously been willing to be removed from the show so the rest of the cast could continue “with less stress,” and said she had reached that point again. The post accused “almost the entire cast plus some” of going after her, laughing about her children and collectively piling on through public statements.
That is a spectacularly combustible way to leave a show built on friendship, faith, marriage, motherhood and the carefully edited illusion that everyone is still in the same group chat. It also lands while the series is already filming season six, with several cast members recently spotted shooting in Italy. The vacation backdrop may be gorgeous. The cast harmony, less so.
The exit comes with a very specific grievance
Paul’s statement was not a vague “I need to focus on myself” post. She described months of what she called bullying and said the pressure had become difficult to bear. She also claimed cast members had previously met with her about leading the way on pay negotiations, arguing that her voice was the only one that could make change happen. Paul said she ultimately chose not to follow their demands and kept her own pay consistent “out of fairness and integrity.”
That detail gives the breakup an extra layer of reality-TV unpleasantness: the kind where personal loyalty, money and on-camera morality all end up sharing a studio floor. Paul framed herself as someone who respected production and crew, writing that those people had checked on her throughout the turmoil. Her sharpest anger was reserved for fellow cast members who, she said, judged her while having made mistakes of their own.
“Some of these parents have made mistakes that would result in the same judgement I’m receiving yet pointing a finger,” she wrote. She did not identify each person involved, leaving the audience to do what reality audiences do best: stare at the cast photo and start mentally connecting dots.
Paul closed with a line that makes the entire post feel less like a strategic rebrand and more like an exhausted retreat: “I’m just relieved to be out.”
The show was already losing pieces of its original chemistry
Paul’s departure is especially notable because she has been central to the show’s identity since the beginning. Her online fame, messy personal history and willingness to discuss consequences in public made her one of the franchise’s most recognizable figures. The Secret Lives of Mormon Wives was never merely a lifestyle show about Utah friendships; it became a pressure cooker for questions about sex, marriage, church expectations, betrayal and the price of turning private chaos into a group project.
Now the cast is changing in real time. Mikayla Matthews announced that she was leaving after learning Paul would return for the new season. Whitney Leavitt had already said she was exiting. With season six in production, the show is losing multiple familiar faces while gaining an entirely different storyline: what happens when the woman at the center of its most explosive history decides the room is no longer survivable?
Paul’s exit also complicates the season’s chronology. She was expected to return, but her announcement suggests the behind-the-scenes conflict has been unfolding alongside — and possibly inside — the production cycle. The cast’s Italy filming now has the glossy, ominous energy of a group vacation where someone has already muted the chat.
Her custody battles are now part of the story, whether she wants them there or not
The announcement arrived amid serious legal and family turmoil. According to reports cited by Just Jared, Paul allegedly failed multiple court-ordered drug tests over the previous 60 days, though the substances involved remain unclear. TMZ reported that her parenting time had reportedly been reduced to eight hours per week: four hours with the two children she shares with ex-husband Tate Paul, and four hours with the son she shares with ex-boyfriend Dakota Mortensen.
Paul has three children: daughter Indy and son Ocean with Tate, and son Ever with Dakota. The custody conflict has been active for months. In March, Dakota filed for a protective order and sought custody of Ever. The following month, a Utah judge ordered Paul and Dakota to stay at least 100 feet apart for three years while leaving the existing custody arrangement in place. In June, Tate filed for a restraining order and sole custody of their two children, though his emergency request was denied. Utah’s Division of Child and Family Services filed a petition raising parenting concerns in July.
Tate and Dakota later issued a joint statement about the proceedings. Sources close to Paul, according to TMZ, say a strict gag order is in place and view information reaching the media as part of what they describe as ongoing harassment and intimidation. Paul has not publicly addressed the latest allegations about the tests.
That silence is notable, but it is also understandable: family-court disputes are not exactly designed for Instagram clarification posts, even when the entire internet has become accustomed to receiving them. Still, the legal drama and the cast conflict are now colliding in the same public narrative, making it nearly impossible to separate the show’s manufactured pressure from the real-life stakes surrounding Paul’s children.
The Taylor Frankie Paul era ends on a cliffhanger
Paul recently said she was single and celibate after the drama surrounding her unaired season of The Bachelorette, another chapter that promised a romantic reset and instead delivered more turbulence. Her latest announcement continues that pattern: every attempt to move into a new phase seems to arrive with one more public rupture attached.
There is no neat ending here, and Paul’s statement does not pretend there is. She acknowledged that some of the scrutiny is connected to her own actions, writing that she had convinced herself she was deserving of the pain and that, “to a certain degree,” it was a consequence of what she had done. But she also asked how much suffering and scrutiny should be enough.
That question is now hanging over season six. The show can continue without Taylor Frankie Paul; reality television has never met a vacancy it couldn’t fill with a new best friend, a new betrayal or a suspiciously timed dinner. But it cannot easily pretend she was just another cast member. She was one of the engines.
So the most dramatic plot twist in Mormon Wives may be happening off-camera: a franchise built on watching women negotiate public judgment has lost the woman who spent five seasons absorbing the most of it. Paul is leaving the stage, the cast is splintering, Italy is still happening, and somewhere in production, someone is probably asking whether the season six title card needs one fewer name.
Katy Perry and Justin Trudeau Had a Very Interesting Museum Date Night
The Lucas Museum opening turned into a full celebrity-couple conspiracy board when Perry and Trudeau locked eyes — while Kim Kardashian and Lewis Hamilton supplied their own cozy subplot.
Leave it to a museum opening to become the hottest place in Los Angeles for people who may or may not be flirting. On September 19, the Lucas Museum of Narrative Art hosted a glittering crowd of famous faces, but the evening’s real exhibit was the sudden appearance of two extremely headline-friendly pairings: Katy Perry and Justin Trudeau, followed by Kim Kardashian and Lewis Hamilton.
According to Us Weekly’s Hot Pics, Perry and Trudeau “couldn’t keep their eyes off each other” during the opening night in Los Angeles. That is not exactly the language of two people who accidentally ended up beside each other near the canapés. It is, however, the language that makes the internet sit up, adjust its sunglasses and begin mentally drafting a couple name nobody asked for but everybody will remember.
The museum had art. The carpet had plot.
Perry and Trudeau are the kind of pairing that feels designed to short-circuit the group chat. She is a global pop star with a famously theatrical approach to romance, image and reinvention. He is a former Canadian prime minister whose public life has been conducted under the unusually unforgiving lighting of politics. Put them together at a major cultural opening, add a little eye contact, and suddenly the evening is no longer about narrative art. It is about narrative.
The setting only makes the moment more cinematic. The Lucas Museum is built around storytelling, and Perry and Trudeau arrived with enough individual backstory to qualify as their own limited series. The room was packed with celebrity wattage, but the visual shorthand was apparently simple: two recognizable adults looking very interested in each other while surrounded by masterpieces and people pretending not to notice.
Neither Perry nor Trudeau has said that they are dating, and the source does not describe a relationship. But the picture, as summarized by Us Weekly, carries the particular charge of a soft launch without the actual launch. No matching captions. No conspicuous vacation carousel. Just the oldest trick in the celebrity-romance playbook: be photographed looking at someone like the rest of the room has briefly disappeared.
Then Kim and Lewis entered the subplot
As if one unexpected pairing were not enough, Kim Kardashian and Lewis Hamilton were also photographed getting cozy at the same museum opening. That makes the event less “star-studded gala” and more “romantic possibility convention.”
Kardashian and Hamilton are both experts in the high-gloss public appearance. She has spent years turning every outfit, event and seating arrangement into a potential chapter of a larger celebrity story. He has the kind of global fame that makes a simple dinner reservation feel like an international incident. Together, they bring a very different energy from Perry and Trudeau: less pop-star-meets-politician, more luxury-brand campaign with suspiciously good lighting.
“Cozy” is doing a lot of work in the description, but it is also a word that knows exactly what it is doing. It is not “stood near.” It is not “exchanged pleasantries.” It is the soft-focus vocabulary reserved for two people who appear comfortable enough to make observers wonder whether this was a first date, a friendly night out or simply two celebrities who understand their angles.
And that is the delicious problem with celebrity events in 2026: everyone knows the camera is there, yet the most tantalizing moments are the ones that look just unplanned enough. A red carpet is a performance. A glance across a gallery, a shoulder turned toward someone, a little extra closeness in a crowd — those are the tiny gestures that invite an entire audience to write the next scene.
Two pairings, one very busy group chat
The Perry-Trudeau and Kardashian-Hamilton moments also reveal two competing flavors of modern celebrity romance. Perry and Trudeau offer contrast: music royalty and political royalty, Los Angeles glamour and Canadian public life, a pairing that sounds like a streaming platform’s attempt to make “unexpected” happen on purpose.
Kardashian and Hamilton, meanwhile, belong to the same polished global ecosystem. Both move comfortably through fashion, sports, entertainment and elite brand spaces. Their appearance together feels less like two worlds colliding and more like two already orbiting planets drifting a little closer at a very expensive cultural institution.
That does not make either moment less intriguing. In fact, it makes the details more important. A celebrity can attend an event with dozens of famous friends and still end up generating conversation because of one person standing just a few inches nearer than expected. The modern soft launch is often not a declaration; it is an atmosphere. It is the difference between a posed group photo and the image everyone crops until only two people remain.
There is also something wonderfully old-fashioned about the whole spectacle. Before social media captions became relationship press releases, celebrity-watchers studied party photos, award-show seating charts and who arrived together. Now the same ritual happens at higher speed, with sharper image quality and an audience trained to detect romantic subtext in a single frame.
The Lucas Museum’s accidental dating show
For one night, the Lucas Museum opening became a kind of unofficial dating show with no host, no rose ceremony and absolutely no one willing to explain the seating plan. Perry and Trudeau supplied the lingering-eye-contact mystery. Kardashian and Hamilton brought the cozy sequel. Everybody else was left to look fabulous and hope their own interactions did not get edited out of the episode.
Whether these were dates, friendly appearances or simply two pairs of charismatic people enjoying a major night out, the images have the exact ingredients that keep celebrity culture moving: recognizable names, a glamorous setting and just enough ambiguity to make certainty impossible — and curiosity irresistible.
The museum may be devoted to narrative art, but its opening-night guests understood the assignment. Give the public a picture, leave the caption slightly unfinished and let the audience do what it does best: stare at the details, send the screenshot to a friend and ask the question nobody in the room appears ready to answer.