Ana de Armas just strutted her way into the inferno of Hot Ones, a.k.a. the show where celebrities pretend ghost pepper hot sauce doesn’t hurt while slowly unraveling emotionally in front of Sean Evans, the calmest man alive.
The Ballerina star served sass, stunts, secrets—and yes—some piping-hot projectile gossip (literally) involving Chris Evans’ unfairly symmetrical face. Buckle up, buttercup.
On Making John Wick Fights Look Like Elegant Pain Ballet:
Ana was like, “You know what the John Wick franchise needs? More pirouettes and more emotional trauma in every roundhouse kick.” Basically, she wanted her character in Ballerina to twirl, punch, and suffer like a graceful ninja who just stubbed her toe for two hours straight.
“It’s the kind of action where you’re like ‘Omg this is horrible but also kinda slay??’ You cover your eyes, but then peek through your fingers like you’re watching Dance Moms meets Kill Bill.”
She said it had to hurt. It had to feel. Sis wanted ballet with blood. And honestly? Oscar.
On the Singing Scene That Haunted Her Soul:
Apparently, in Ron Howard’s Eden, Ana had to sing. Like…with her real voice. Not a fake one. Not AI. Not dubbed. The audacity.
“I told Ron, ‘Babe, I’m not Ariana Grande, let’s not do this.’ And Ron said, ‘No sweetie, if it’s bad, it’s good.’ Like…Sir, that’s what my ex said about his haircut.”
So instead of lip-syncing like a sensible diva, Ana had to belt her heart out in front of a bunch of fellow actors who, to make things worse, were stone-cold sober. She said she’d rather throw herself down a flight of stairs 100 times than sing that one song again. Respect.
On How Hollywood Just Happened to Her:
Ana didn’t plan to conquer Tinseltown—Hollywood basically just opened the door and said, “Girl, get in, loser, we’re doing movies.”
“I never really planned to be in LA. I just kinda showed up like that friend who crashes your vacation and ends up becoming the main character.”
Now she’s working with icons, stealing scenes, and pinching herself regularly (unclear if metaphorically or literally). Either way, she’s humbled but still fabulous.
On Vomiting on Chris Evans Like It’s a National Holiday:
Ah yes. The cinematic gold from Knives Out—when Ana had to yak on America’s Sweetheart™.
“Props made me a buffet of fake vomit—chunky, smooth, fruity, spicy—Top Chef but make it regurgitation. And then, boom, all over Captain America’s jawline.”
Everyone gathered like it was a halftime show. Even director Rian Johnson came out like, “Get his cheekbone, make it artistic.”
Chris took it like a champ because honestly, who wouldn’t want Ana de Armas throwing blended banana-soup on them?
On Watching Herself on Screen (Spoiler: She Hates It):
Ana says watching herself on screen is a personal form of medieval torture.
“I literally forget the question mid-answer. That’s how stressful it is.”
She’s working on seeing the full picture, trying not to hyper-fixate on the way her left eyebrow twitched in frame 472. Perfectionist vibes. Virgo energy. Love that for her.
Ana de Armas is the ballet-kicking, hot-sauce-chugging, Chris Evans-vomming legend we didn’t know we needed in 2025. Somebody give her an Emmy, an Oscar, and a nap.
Coming next: Who else has barfed on Chris Evans? A growing list. 👀