The Housemaid doesn’t just clean house—it dusts off expectations, mops the floor with clichés, and polishes tension to a high shine. With spotless performances and a squeaky-clean script hiding dirty secrets, this five-star thriller leaves you swept away long after the final wipe-down.

Plot

Hoping for a fresh start, a young woman becomes a live-in maid for a wealthy couple who harbour sinister secrets.

Review

From the very first sweep of its opening moments, The Housemaid proves that sometimes the dirtiest secrets aren’t hidden under the rug—they are the rug. This is the kind of film that invites you in politely, offers you a cup of tea, and then quietly rearranges the furniture of your expectations while you’re not looking. By the time you realise what kind of house you’ve stepped into, you’re already hooked, keys handed over, and fully prepared to stay.

What elevates The Housemaid to five-star territory is its remarkable confidence. The film never rushes, never over-explains, and never underestimates its audience. Instead, it builds tension with patience and precision, letting atmosphere do as much work as dialogue. Every scene feels intentional, layered with subtle glances, pauses, and unspoken power dynamics that make the story simmer rather than boil over. It’s a masterclass in restraint, where silence can feel louder than any dramatic outburst.

The performances are nothing short of exceptional. The lead delivers a nuanced portrayal that balances vulnerability with quiet strength, making the character deeply compelling without ever spelling everything out. There’s an authenticity to the performance that draws you in emotionally—you don’t just watch this character exist in the space; you feel it. 

The performances in The Housemaid are a major reason the film works as powerfully as it does, with Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, and Michele Morrone each bringing a distinct energy that strengthens the story without ever tipping it into excess. What’s impressive is how well these performances complement one another, creating a cast dynamic that feels balanced, believable, and quietly combustible.

Sydney Sweeney anchors the film with a performance rooted in emotional honesty. She brings a grounded vulnerability to her role, allowing the audience to connect with her character on a deeply human level. Her strength lies in restraint—small shifts in body language, fleeting expressions, and moments of silence do just as much storytelling as the dialogue. It’s a performance that draws empathy without asking for it, making her character’s presence feel lived-in rather than performed.

Amanda Seyfried delivers a commanding turn that is both polished and intriguingly layered. She exudes confidence and control, using subtle vocal inflections and precise physicality to suggest depth beneath the surface. Seyfried has an exceptional ability to project warmth and unease simultaneously, which keeps her character fascinating to watch. Every scene she’s in carries a sense of tension, driven largely by her ability to imply far more than she ever explicitly reveals.

Brandon Sklenar brings a steady, grounded presence to the film, providing emotional weight without overpowering the narrative. His performance feels natural and understated, offering moments of sincerity that add texture to the story. He plays his role with quiet conviction, making his character feel believable and emotionally accessible, which helps balance the more intense dynamics unfolding around him.

Michele Morrone adds a contrasting intensity, delivering a performance marked by controlled physicality and simmering energy. He communicates as much through posture and presence as he does through dialogue, creating an undercurrent of tension whenever he’s on screen. Morrone’s performance is confident and compelling, adding another layer to the film’s interpersonal dynamics without overshadowing the ensemble.

Together, the cast forms a cohesive unit, with each actor enhancing the film’s psychological depth. Their performances intersect in ways that feel organic and charged, proving that The Housemaid succeeds not just because of its story, but because of the actors who bring its emotional complexity to life. 

If you haven’t read the book, consider diving in and read Freida McFadden’s masterpiece as well. The book and movie aren’t too far apart, but the movie delivers an explosive ending. There are also other books in the Housemaid series.

Visually, The Housemaid is striking without being flashy. The cinematography uses space, light, and framing to reinforce themes of control, observation, and unease. Ordinary domestic settings are transformed into places of quiet intimidation, proving that horror—or at least deep discomfort—doesn’t need darkness to thrive. Even the smallest details, from set design to costuming, feel deliberate and symbolic, enriching the story without ever distracting from it.

What truly sets this film apart is how it lingers. Rather than relying on shock value, The Housemaid leaves an emotional and psychological imprint. It encourages reflection long after the credits roll, prompting you to reconsider earlier moments and reassess what you thought you understood. That kind of staying power is rare, and it’s a testament to the film’s smart writing and assured direction.

In the end, The Housemaid doesn’t just clean up—it absolutely sweeps, deserving of a 5-star rating. With its sharp performances, intelligent storytelling, and impeccably maintained tension, this film earns every one of its five stars. Consider this a glowing recommendation: just remember, once you let The Housemaid into your home, it may rearrange more than you expect. On that note, “Please, please please” go and watch The Housemaid at a cinema near you.

Days of Our Lives early weekly spoilers for March 16th – 20th thrill as Jeremy Horton (Michael Roark) and Stephanie Johnson (Abigail Klein) escape and Rachel Black goes to court.

As we always do on early edition day, we start with what is coming the rest of this week and then we’re going to dive into what is ahead for next week.

Days of Our Lives Spoilers Wednesday, March 11th: Stephanie Tricks Owen

On Wednesday, March 11th, Xander Cook (Paul Telfer) and Sarah Horton (Linsey Godfrey) have another nice interaction. Will they bond over Victoria Kiriakis (Emersyn Rose Hartman) again?

Brady Black (Eric Martsolf) and Steve Johnson (Stephen Nichols) question their assumption about Jeremy being the kidnapper. Plus, this week Brady and Alex Kiriakis (Robert Scott Wilson) have a tense conversation in the square.

EJ DiMera (Dan Feuerriegel) gives Johnny DiMera (Carson Boatman) a compliment. It could be about his work as DiMera Enterprises CEO for Theo Carver (Cameron Johnson).

Stephanie tricks Owen Kent (Wes Ramsey). He kisses Stephanie and she slips her hand into his pocket—gets phone? She believes playing into his delusions will help her and Jeremy escape.

Paulina Price (Jackée Harry) opens up to Chanel Dupree (Raven Bowens). Will she spill the tea about Lexie Carver (Renee Jones)? She may feel she can’t tell Abe Carver (James Reynolds) just yet and may need to confide in someone.

DOOL Spoilers Thursday, March 12th: Rolf Discovers Something Stunning

Thursday, March 12th, EJ lets Paulina know what he plans. He is pretty sure she won’t pull the plug on Lexie.

Steve asks Rafe Hernandez (Galen Gering) to help. Will he ask him to search the FBI database or follow a specific lead?

This week, Rafe is in the lab and looking at the pod but is Lexie still in it? Dr. Wilhelm Rolf (Richard Wharton) and EJ may move her.

Rolf discovers something stunning. He may find Stephanie and Jeremy in the ratty little room. Stephanie and Jeremy team up!

Kayla Brady (Mary Beth Evans) wants to talk to Cat Greene (AnnaLynne McCord). She tries to get into the lab with Kayla at her side—she tells Cat that her daughter’s life is on the line and she needs her help.

Friday, March 13th: Jeremy Holds Stephanie on Days

Friday, March 13th, Cat confronts EJ. Cat asks if EJ is behind Stephanie’s kidnapping. Will she kiss him to get the info?

Steve and Brady track down Stephanie’s kidnapper. Is this when Steve grabs Owen in the park? Will they find Stephanie soon?

Jeremy holds Stephanie on Days of our Lives. He embraces her. Does he finally pull a Houdini and get out of the handcuffs?

Rafe gets help from Alex. He and Alex find the secret door into the hidden inner lab!

This week, Alex rushes into the room, but is Stephanie still there? Will he see her hugging Jeremy?

Week of March 16th-20th Days of Our Lives Spoilers

During the week of March 16th through the 20th, Klaus tracks Liam Selejko (Hank Northrop) to the park. Will this be when we see Shawn-Douglas Brady (Brandon Beemer) and JJ Deveraux with guns drawn? Shawn is shot according to the trailer.

Gabi Hernandez (Cherie Jimenez) may find out about Liam and Arianna “Ari” Grace Horton (Marissa Reyes) and try to convince her daughter that he is not for her.

Theo still crushes on Gabi. Will he tell Xander and Philip Kiriakis (John-Paul Lavoisier) about her deception? He won’t be able to date her if he betrays Gabi like that. But we know he wants her bad.

Holly Jonas (Ashley Puzemis) may overdose. Her skin could break out and she may pop the psych pills she thinks are her supplement.

Rachel’s court date is soon. Will Kristen DiMera (Stacy Haiduk) stick to the plan? We may see a new Rachel soon.

Rachel could give Holly the “gift” from Sophia Choi (Madelyn Kientz). If she knows what’s good for her, Rachel will tell someone like her dad Brady, Aunt Belle Brady (Martha Madison), Mom, or Grandma Marlena Evans (Deidre Hall).

Dimitri von Leuschner DiMera (Peter Porte) and Leo Stark (Greg Rikaart) follow the lead. Will they find Stefan DiMera (Brandon Barash)? What was with the gravedigger digging up Stefan’s grave recently?

India Royale is feeling the love on her birthday! The influencer recently celebrated turning 31 with a glamorous dinner surrounded by friends. But the moment that really had social media talking came when she shared an emotional birthday message from her man, Lil Durk, who is currently incarcerated. The heartfelt audio quickly had fans swooning and flooding the comments with  “Free Durk.”

Related: India Royale Speaks Out After Rumors Claim She’s Planning To Leave Lil Durk While He’s In Jail

India Royale Celebrates Her 31st Birthday With Dinner Party

India Royale stepped into her birthday in style. She dropped a series of stunning photos from her celebration, giving fans a peek inside her intimate birthday dinner.

For the occasion, India rocked an elegant all-black look, pairing a sleek black dress with black heels and gold accessories. She kept the caption simple but meaningful, writing, “more life, more blessings.”

Her photo dump also offered a glimpse of the setup for the night. The private dining area appeared to be arranged for roughly 20 guests. A sign placed inside the space read, “Welcome to India’s Birthday Dinner. Other photos showed India posing solo against a wall while serving looks for the camera, while additional snaps captured her alongside a group of friends.

Lil Durk Sends Heartfelt Birthday Message From Jail

Along with her birthday photos, India shared a moment that melted fans’ hearts.

On Wednesday, March 11, she shared an Instagram Story audio message from Lil Durk wishing her a happy birthday while he remains behind bars.

In the recording, Durk expressed deep love and appreciation for India, thanking her for staying by his side through difficult moments. The rapper called her “my heart, my soulmate, my best friend, and my wife,” adding that she has helped make him a better person. He also described India as his “safe place” and the person who keeps him balanced.

Social Media Reacts

Durk’s message arrives as the rapper continues dealing with legal issues following his recent arrest tied to a federal case. It also follows recent online speculation that India planned to distance herself from Durk while he was incarcerated, which she shut down.

Social media users stepped into The Shade Room comment section to react to the couple’s special moment.

Instagram user @banksbig4 wrote, “India Pt. 4?”

Another Instagram user @clarissapearlhall wrote, “This is so sweet! 🥺”

While Instagram user @xboog__ wrote, “Free that lady MANNN ❤️❤️❤️🥹

Instagram user @lockkkkkkin.eoh wrote, “yall know this JAIL TALK right? 😂😂”

Another Instagram user @shaunathfdon wrote, “I knew she didn’t leave that man. She loves him too damn much to just up and leave him like that”

While Instagram user @fashionforever84 wrote, “No. Please don’t ever send me a voice note from prison. 😩😩😩”

Instagram user @alaunaaaa_ wrote, “Unpopular opinion: Men need to love their families enough to stay out of the streets so they can come home at night and not call from jail 😩”

Another Instagram user @chitownsfinest1_ wrote, “Him and Herbo have grown so much as men ❤️❤️”

While Instagram user @kol_ofdestanee wrote, “I hope he gets another chance at freedom.”

Related: She Said WHAT?! Lil Durk’s Daughter Prank Calls Him In Jail And The Timeline Is Rolling (VIDEO)

Dystopian fiction thrives on a simple but unsettling question: what happens when the world we take for granted twists into something unrecognizable? The most commercially successful story in that genre of the last decade or so was The Hunger Games, though it’s far from the richest or most interesting dystopian series on offer. (Indeed, some have accused it of borrowing a little too much from Battle Royale.)

Those curious about the genre have a lot of great movies to dive into. The titles below represent some of the best in dystopian writing, leaning specifically into dystopian YA and arguably superior to the story of Katniss Everdeen. They use their genre elements to probe moral questions, experiment with narrative voice, or imagine societies that feel uncannily plausible. The best do so while also serving up a killer plot.

‘The Giver’ (1993) by Lois Lowry

Image via Clarion Books

“Even trained memories can’t help you now.” In The Giver, Lois Lowry imagines a society that has eliminated pain and conflict in pursuit of perfect stability. In this world, twelve-year-old Jonas is selected to become the Receiver of Memory, apprenticed to an elderly man who holds the community’s suppressed past, including experiences of love, suffering, and individuality. He also awakens to color after growing up in a world without it. But as Jonas receives these memories, he also begins to perceive the cost of his world’s enforced sameness and quietly questions the rules that govern every aspect of his life.

There are some parallels here to the show Pluribus, in that individuality has been sanded down and all strife has been eradicated, but also uniqueness, freedom, and identity. The book is jam-packed with food for thought, touching on everything from religion and gene editing to the importance of studying history. For these reasons, The Giver has become an assigned reading at many schools.

‘Ready Player One’ (2011) by Ernest Cline

Image via Crown Publishing Group

“People come to the OASIS for all the things they can do, but they stay because of all the things they can be.” Most people will be familiar with Steven Spielberg‘s blockbuster movie version, but the original Ready Player One novel is well worth checking out, too. It transports readers to a near-future where environmental collapse and economic inequality drive much of humanity into the OASIS, a vast virtual reality universe. There, teenage orphan Wade Watts embarks on a high-stakes treasure hunt designed by the system’s late creator, competing against both fellow players and a ruthless corporation determined to seize control of the virtual world.

The book riffs on online gaming culture, ’80s pop culture, and hyper-commercialization, weaving in references to countless other franchises and intellectual properties. Basically, Ready Player One takes our increasingly online world and extrapolates it to an extreme conclusion. Most importantly, it remains breezy and entertaining while doing so. This book is a crowd-pleaser rather than a dour social commentary.

‘Unwind’ (2007) by Neal Shusterman

Image via Simon & Schuster

“You can’t change the past, but you can ruin the present by worrying about the future.” In Unwind, Neal Shusterman presents the aftermath of a second civil war over reproductive rights. In this timeline, society has come to a chilling compromise: parents may choose to “unwind” their children between the ages of thirteen and eighteen, harvesting their body parts for transplantation. Against that backdrop, the plot focuses on three teenagers whose lives intersect as they attempt to escape this fate and uncover the truth.

This premise could easily have become a heavy-handed and didactic lecture, but, instead, the book stays complex and ambiguous throughout. Characters are painted in shades of gray rather than reduced to cartoons. Unwind also tackles some really tough and pertinent philosophical questions: what gives value to a human life, and who decides? All in all, a smart, dark, biopunk cautionary tale.

‘Uglies’ (2005) by Scott Westerfeld

Image via Simon Pulse

“What you do, the way you think, makes you beautiful.” Uglies imagines a future where everyone undergoes mandatory cosmetic surgery at sixteen to become “pretty.” This society is almost entirely looks-based and deeply hierarchical. Tally Youngblood eagerly anticipates her transformation, but her perspective changes when she meets Shay, a young girl who questions the system and introduces her to a hidden community living outside societal norms, sparking a series of tense adventures.

Though targeted for teen readers, the novel stands out for its inventive voice and imaginative world-building. The playful slang and clever futuristic devices give the setting a distinctive flavor. The plot also digs into some pretty deep themes, particularly around questions about identity and what it really means to be a person. Uglies is smart in its ideas, accessible in its storytelling, and consistently absorbing to read. Unfortunately, these qualities did not come through in the lackluster film adaptation starring Joey King.

‘The Grace Year’ (2019) by Kim Liggett

Image via Wednesday Books

“We are not safe, and we never were.” The main character of this one is Tierney Jame, a sixteen-year-old girl who lives in a rigid patriarchal society that believes young women possess dangerous magic capable of luring men. Each year, girls are banished to the wilderness for a ritualized exile meant to purge this power, and not all of them make it back alive. Tierney and her peers must struggle to survive the harsh conditions, as well as internal divisions that might prove even more deadly. Along the way, they begin to uncover the ritual’s true purpose.

Author Kim Liggett builds this setup into a visceral narrative that blends survival thriller with feminist allegory. The book’s structure plays an important role in shaping its atmosphere, and the character development is a big part of what makes everything work. We witness the girls’ psychological unraveling over their seasons spent in the wilderness.

‘The Knife of Never Letting Go’ (2008) by Patrick Ness

Image via Walker Books Ltd

“We are the choices we make.” The Knife of Never Letting Go is a young adult sci-fi novel by Patrick Ness, author of A Monster Calls. It drops readers into a colonized planet where every man’s thoughts are audible in a constant stream called the Noise. Todd Hewitt, the last boy in a settlement of men, discovers a shocking secret that forces him to flee with a mysterious girl named Viola. They journey through hostile territory, and their discoveries make Todd question the violent history that shaped his community.

Ness is a great writer, serving up a propulsive plot here alongside his typically engaging prose. The novel wastes no time in getting going, pulling the reader in from the very first paragraph and keeping the narrative wheels spinning the whole way through. Once again, however, this one is a case of a solid novel being turned into a bad movie. The film adaptation, Chaos Walking, lacks the book’s depth and intelligence.

‘The Handmaid’s Tale’ (1985) by Margaret Atwood

Image via Anchor Books

“Nolite te bastardes carborundorum.” Everyone will be familiar with the TV series, but The Handmaid’s Tale started as an award-winning novel by Margaret Atwood. It’s set in the Republic of Gilead, a theocratic regime that reduces women to rigid roles in response to declining fertility. Offred, a Handmaid assigned to bear children for elite households, narrates her life under constant surveillance. Memories of former freedom in her past suggest that maybe, just maybe, there is a way out of her oppressive present.

In the four decades since its release, The Handmaid’s Tale has been canonized as a classic, endlessly analyzed and debated (and occasionally censored). It is certainly rich in ideas, touching on tons of concepts from politics and philosophy, riffing on everyone from Plato and Marx to Freud. It has been hailed as a flagship work of feminist dystopian fiction and has been studied in depth as a political and social allegory.

‘Never Let Me Go’ (2005) by Kazuo Ishiguro

Image via Knopf Doubleday Publishing Group

“Memories, even your most precious ones, fade surprisingly quickly.” Never Let Me Go follows Kathy H., who reflects on her childhood at a secluded English boarding school where students are raised for a mysterious purpose. As Kathy and her friends, Ruth and Tommy, grow older, they gradually discover the truth about their existence: they are clones, bred as sources of organs for their wealthy doppelgängers.

Where most sci-fi books would lean into the technology or pulpiness of that premise, author Kazuo Ishiguro uses it as a vehicle to explore destiny, love, and the meaning of a life. The characters are incredibly well-written, and Ishiguro’s prose style is brilliant. He’s penned several classics, and this one is among his very best, with the emotional depth of a prestige drama alongside revelations and plot developments straight out of horror. Not for nothing, Never Let Me Go has appeared on several critics’ lists of the best novels of the 21st century.

‘The Dispossessed’ (1974) by Ursula K. Le Guin

Image via Avon Books

“There was process: that was all you could ever ask of the universe.” Ursula K. Le Guin’s The Dispossessed explores two contrasting societies: the anarchist world of Anarres and the capitalist planet Urras. The story centers on physicist Shevek (loosely based on J. Robert Oppenheimer) as he travels between these worlds, grappling with political ideals, personal relationships, and the pursuit of knowledge. Through his experiences, the novel examines how different systems shape human behavior, throwing in advanced mathematics, alternate timelines, and faster-than-light communication.

Le Guin’s work frequently uses speculative ideas to comment on real-world issues, and here she sets her sights on ideas around utopia, revolution, individualism, and collectiveness. Shevek’s journey becomes a meditation on the tension between individual ambition and communal values. Most of all, the book challenges readers to reconsider assumptions about freedom and responsibility. It was well-reviewed and went on to win all three of the big awards for sci-fi and fantasy writing: the Locus, the Nebula, and the Hugo.

‘The Road’ (2006) by Cormac McCarthy

Image by Alfred A. Knopf

“You forget what you want to remember, and you remember what you want to forget.” The Road presents a stark post-apocalyptic landscape overrun by scavengers, marauders, and cannibals. In this desolate world, a father and son journey in search of safety and sustenance, their bond offering the lone point of light amidst the darkness. The story is minimalist but hard-hitting. The haunting plot and Cormac McCarthy‘s signature spare prose burrow under the skin.

Yet, for all the bleakness, it is probably the author’s most optimistic book. There is hope in it, even if it’s elusive and fragile, making The Road McCarthy’s most accessible book. It reels the reader in with its tension and psychological drama rather than alienating them completely (as some of the author’s novels do). It’s a fantastic epic horror that leans into complex characterization rather than cheap genre thrills.

Kathie Lee Gifford is sharing her perspective on being a Christian and loving the LGBTQIA+ community.

“That one is a four-letter word, and it’s called L-O-V-E, love,” Gifford, 72, shared on the Monday, March 9, episode of Outkick’s “Tomi Lahren Is Fearless” podcast. “I’ve had as many or more gay friends than straight friends, or I don’t know how many letters there are now. They really got to stop with that. We know what you mean, you know?”

While podcast host Tomi Lahren chuckled at the remarks, Gifford made it clear that she’s “not telling anybody how to live their life.”

“I never have,” she continued. “I just know what Jesus said: ‘Love your neighbor as you love yourself. Love God first.’”

The conversation was sparked when Lahren, 33, brought up Shia LaBeouf’s headline-making quotes about being a Catholic.

“I know I’m f***ing deep off into the Bible,” LaBeouf, 39, previously said during a February 28 interview with Channel 5 With Andrew Callaghan. “I know what the Bible says … about homosexuality.”

When host Andrew Callaghan specifically asked what the Bible says about homosexuality, LaBeouf replied, “Nah.”

Lahren asked Gifford for her perspective on Christians who also love the LGBTQIA+ community.

“The scriptures do have something to say about it. You can also just look that up, too,” Gifford replied. “I can’t hate anybody that I say I love. Love cannot live alongside hatred. It’s oil and water.”

The former Today show cohost followed up with a message she received from her God when she was just starting off in the industry at a young age.

“‘Kathie, you will be too busy loving people that you disagree with to judge them.’ I don’t judge anybody,” Gifford said. “That’s God’s business. If you’re more interested in what the scriptures say, Google it.”

Gifford — who recently released her latest novel, called Nero and Paul: How the Gospel of Grace Defeated the Ruler of Rome — has been open about her Christian faith ever since she found success as a daytime talk show host.

After stepping away from the Today show in 2019, the bestselling author has continued to share her faith through various platforms.

“This book is a statement that eternal truth will always conquer evil, a message as relevant in our time as it was in theirs,” she wrote via Instagram on Tuesday, March 10. “My prayer is that as you read, you will be inspired to consider your own place in God’s great story. Thank you for being a part of this journey with me.”

March Madness hasn’t even started yet, and one unidentified fan at the ACC Tournament already delivered the most viral moment of the college basketball bracket season.

His heckle of choice? A setlist of ‘90s bangers performed at full volume during free throws. The clips are everywhere, and honestly, we can’t stop watching.

The Moment That Broke the ACC Tournament Broadcast

The first round of the ACC Tournament tipped off on Tuesday, March 10, with the Pittsburgh Panthers facing the Stanford Cardinal. Stanford entered as the No. 10 seed against Pitt’s No. 15, so Pitt was firmly in underdog territory.

But at least one college basketball fan in the stands was ready to do his part.

When Stanford freshman guard Ebuka Okorie stepped to the free throw line, the fan — presumed to be a Pitt supporter — didn’t bother with the usual screaming-and-clapping routine.

Instead, he started belting out the Goo Goo Dolls’ 1998 hit “Iris.” Not humming. Not casually singing along. Full main-character energy, so loud he came through crystal clear on the broadcast.

The play-by-play announcer clearly didn’t know what to make of it: “Ekorie hits the free throw despite the presence of the really loud guy singing the Goo Goo Dolls behind us. Not sure how that didn’t throw him off.”

One song would’ve been enough to go viral. This fan brought a full setlist.

Later in the second half, when Stanford senior AJ Rohosy stepped to the free throw line, the fan — presumed to be the same guy — started singing The Cranberries’ 1993 hit “Linger.”

If Dolores O’Riordan’s vocal runs just started playing in your head involuntarily, same.

Then Rohosy returned to the line a few minutes later, and the fan belted out Creed’s 1999 hit “Higher.”

Here’s the part that makes this whole saga even wilder. Pitt won the game 84-83. One point. Stanford went 5-6 from the free throw line.

Nobody can say for certain whether a man screaming “Iris” directly caused missed free throws. But going 5-6 from the line in a one-point loss? That’s the kind of stat line that makes you squint.

Does This College Basketball Trend Sound Familiar?

If this whole thing feels vaguely familiar, there’s a reason. Back in 2013, a fan pulled a similar move during a game between North Carolina and Belmont.

UNC player James Michael McAdoo missed a free throw while a fan was singing Miley Cyrus’ 2013 hit “Wrecking Ball.”

According to CBS Sports, that fan also sang 50 Cent’s “In Da Club,” The Tokens’ “The Lion Sleeps Tonight” and a slew of Bruno Mars songs during the game. Ahead of his time, clearly.

But this Pitt fan’s commitment to a specific 90s rock aesthetic — paired with the one-point margin of victory — takes the whole concept to another level.

With March Madness approaching, the question on everyone’s mind is whether other fans will step up with their own nostalgia-fueled setlists. Will someone attempt “Mambo No. 5” during a critical possession? We can only hope.

Whoever this Pitt fan is, he just set the bar for heckling creativity heading into tournament season. The 90s called, and they want their flowers.

On this episode of ‘Stepping Into The Shade Room,’ Raven-Symoné steps in to discuss her career, relationships over the years, marriage, and rumors! While speaking with Thembi, Symoné opened up about growing up in the spotlight, navigating fame after the success of ‘That’s So Raven‘ and ‘The Cheetah Girls,’ and facing body image concerns, opening up about plastic surgery, beauty trends, and more!

Raven-Symoné Speaks On Body Trends & Undergoing Two Breast Reductions & Liposuction Before The Age Of 18

About 16 minutes into the sitdown, Raven-Symoné opened up about the pervasiveness of body trends and undergoing two extreme surgeries before the age of 18. Speaking transparently, Symoné admitted that she asked to undergo the liposuction. However, she never wanted the breast reduction surgeries.

“I hope that we remember this: when it comes to trends for body… to surgically distress your body and your temple to match a trend, no matter how long it is, hurts my heart for those who have to go through that,” Symoné shared for those with similar experiences. “And everything changes — I think it’s the grace that you give people that don’t look like the trend at the time that matters…”

The Former Disney Channel Star Talks Her Relationship With Orlando Brown

About 31 minutes into the interview, Raven-Symoné was asked about her former co-star, Orlando Brown. Symoné explained that she recently saw a clip where Brown said she wants to be a “man so bad.” In response, Symoné explained that his comment was “a little disrespectful.”

“You don’t talk to me, you don’t know the journey that I’m going through — especially in my community. It’s not that, actually. There’s a spectrum of human expression, and that’s what I sit on. But again, get your coin, boo. Don’t you get paid for interviews? I’m gonna stay out of his business,” Symone ultimately concluded.

Scroll above to watch her comments and full sitdown!

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