Viewers watching Britain’s Got Talent tonight (May 18) were left divided by dance act Idolls.

After impressing the judges the first time around, the Japanese dance troupe reached this year’s semi-finals. During Sunday’s show, they returned to the show and were the first of eight acts to take to the stage.

During their performance tonight, they even scared the panel — Bruno Tonioli, Alesha Dixon, Amanda Holden, and Simon Cowell — by unexpectedly jumping in front of them as part of their choreography.

However, despite their clear talent, their ‘spooky’ aesthetic doesn’t appear to be for everyone.

Idolls scared the panel during their performance (Credit: ITV)
Britain’s Got Talent act Idolls ‘freaked’ viewers out

“This is just darned creepy #bgt,” one user wrote on X.

“So they put the Satanic [bleep] through then,” another person shared.

“They are good but the IDOLLS freak me out,” a third remarked.

“Hmm not for me that found it a bit boring tbh that’s my opinion,” a fourth stated.

“Some genuine satanism on #BGT the devil is not hiding his face anymore. Gross and creepy,” a fifth said.

“I’m scared,” a sixth user shared.

Idolls’ performance left viewers divided (Credit: ITV)
‘The jump scare was a brilliant bit of choreo’

However, many fans were entertained by Idolls and loved their performance.

“Idolls are so creepy – it’s like I’m watching something out of a horror film. I love this though! Something totally different and we’ve never seen this sort of act on BGT before. Don’t think they’ll make it through sadly,” one said.

“They was brilliant ! Loved the jumpscare with the judges !!” another shared.

“The jump scare was a brilliant bit of choreo. Dance acts are so frequent on this show, but none like them,” a third person expressed.

“IDOLLS on @BGT just now, I think they’re outstanding. I usually look away at the horror ones, but these dancers are exceptional,” a fourth remarked.

As Britain’s Got Talent returned to screens on May 18 with another night of live semi-final performances, one act that sparked heated conversation across social media and living rooms alike was the dance group Idolls. With glitter, bold costumes, and unapologetically theatrical choreography, the all-female group delivered a high-energy routine that quickly drew contrasting reactions from the public.

Idolls, made up of four members known for their sass, sparkle, and celebration of femininity, strutted onto the stage with undeniable confidence. Their performance fused elements of pop, drag, and commercial dance, leaning into camp aesthetics and empowering themes. With a soundtrack that included pop diva hits, rapid costume changes, and flamboyant visuals, the act was designed to grab attention — and it certainly succeeded.

Judges’ reactions were a mixture of praise and hesitation. Amanda Holden applauded the group for their commitment to their identity and their fearless performance style. “You know who you are, and you own it,” she said, commending the group for their boldness and polish. Bruno Tonioli, known for his background in dance, gushed over the energy and entertainment value, calling them “pure Vegas showgirls in the best possible way.”

However, Simon Cowell appeared less convinced. He acknowledged the group’s ambition and presence but questioned whether the act had enough variety or substance to compete with some of the more technically skilled performers on the night. “It was fun, yes. But was it memorable enough to win this competition?” he asked, echoing the thoughts of many viewers who took to X (formerly Twitter) with mixed feelings.

Among the public, the reactions were deeply split. Some fans rallied around Idolls as a breath of fresh air, praising their unapologetic celebration of camp and femininity. “Finally, some representation and glam on that stage! They gave me life,” one user posted. Another wrote, “Idolls brought sparkle, sass, and a whole lot of fun. That’s what BGT is missing sometimes!”

On the flip side, others expressed skepticism. Critics argued that the act prioritized style over substance and lacked technical complexity compared to other dance acts. “They’re entertaining, sure, but this is Britain’s Got Talent, not RuPaul’s Drag Race,” a viewer posted, receiving both agreement and backlash in the comments. Another called the routine “a little too much show and not enough skill,” pointing to other acts of the evening that delivered more intricate choreography or emotional depth.

The division wasn’t just about technical preferences; it tapped into broader cultural debates around performance, identity, and inclusivity. Idolls’ aesthetic, which blended elements commonly associated with drag culture and pop stardom, clearly resonated with some and challenged others. For many, their act was a celebration of expression and freedom. For others, it felt out of place in a talent competition known for spotlighting vocalists, magicians, and traditional dance troupes.

Adding to the discourse was the question of whether Idolls were genuinely a dance act or more of a variety show. Their performance included lip-syncing moments and heavy reliance on theatrics, prompting comparisons to cabaret-style entertainment. This raised a familiar debate in talent competitions about the fine line between entertainment and talent, and whether one can exist without the other.

Despite the controversy, Idolls undeniably brought conversation to the show, which, for many producers and judges, is a win in itself. In a season that has already seen a fair share of vocalists, choirs, and acrobats, Idolls stood out simply by doing something unexpected and vibrant. The audience inside the studio seemed to enjoy the act, with loud cheers and a standing ovation from parts of the crowd. But as is often the case with polarizing acts, studio applause didn’t necessarily translate to public votes.

Social media polls conducted by fan accounts showed a close split in opinion, with some placing Idolls among the night’s top acts and others ranking them near the bottom. The act’s official Instagram account, meanwhile, gained thousands of new followers within hours of their performance, suggesting that, love them or not, people were paying attention.

This type of division is not new to Britain’s Got Talent, a show that has historically thrived on diversity — both in the acts it presents and in the opinions they generate. From controversial comedians to unconventional musical duos, BGT has always provided a platform for the unexpected. In this tradition, Idolls may be the kind of act that doesn’t win the show but stays memorable for years to come.

While it remains unclear whether Idolls will progress further in the competition, they’ve already succeeded in creating a moment — and a debate. Their performance prompted viewers to question what talent looks like in 2025 and who gets to define it. Is talent purely about technical excellence, or can it be about personality, showmanship, and the ability to spark emotion and reaction?

The show’s producers, always mindful of audience engagement, might see this kind of response as a triumph. With each series competing for attention in a saturated media landscape, acts like Idolls generate headlines, hashtags, and passionate discourse — essential elements in keeping reality TV relevant.

Ultimately, whether they are remembered as innovators or as a gimmick will depend on how the public responds in the coming days and whether they can evolve their performance in future rounds. For now, Idolls have achieved what many acts never do: they’ve made people talk, argue, and, perhaps most importantly, feel something.

In a world where countless performers chase virality, sometimes sparking a genuine reaction is its own kind of success. Idolls may not be everyone’s cup of tea, but they’re undeniably stirring the pot — and in the world of Britain’s Got Talent, that might just be the secret ingredient.