Cardi B and Stefon Diggs are facing serious public scrutiny following revelations of alleged past mistreatment within their relationship. 

A former employee of the NFL star recently came forward with detailed allegations concerning how the athlete reportedly behaved towards Cardi B while the rapper was expecting their child. 

These revelations have surfaced just as the pair appears to be rekindling their romance following a brief separation earlier this year.

Mila Adams, the former chef for Diggs, has released a dramatic video on social media directed at Cardi B, alleging that the NFL star mistreated the rapper throughout her pregnancy. In the video posted on May 11, Adams addressed the artist directly, claiming to have witnessed behavior that she found impossible to understand. 

She spoke specifically about the way Diggs allegedly spoke to and treated Cardi B while she was pregnant, as well as his conduct in the delivery room and during the period after their son was born in November 2025. 

Adams stated that she and the rapper were both victims of the same individual, stating, “the same person that abused you abused me.”

According to Adams, text messages exist that prove Diggs belittled and spoke down to the rapper during their time together. These claims come after Adams herself accused the 32-year-old wide receiver of assault during a financial argument in late 2025, per U.S. Magazine. 

Although Diggs was found not guilty of felony strangulation and misdemeanor assault and battery in a trial that concluded on May 5, Adams remains adamant about her version of events. She insisted in her caption that she did not lie in court and that Cardi B knows exactly who Diggs is.

Stefon Diggs And Cardi B Shared Mother’s Day PDA

These public accusations from his former chef have emerged at a time when Diggs and Cardi B appear more united than ever. Despite the serious nature of the claims regarding her pregnancy, the “Up” rapper chose to spend Mother’s Day weekend by the athlete’s side. 

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The pair were seen sharing very affectionate moments during a special event hosted by the NFL star’s “Diggs Deep Foundation” in Washington, D.C., on Saturday, May 9.

PEOPLE Magazine confirmed that the couple celebrated the holiday at a wellness event titled “A Moment for Mom,” where they seemingly confirmed rumors of a romantic reconciliation. In one video shared by journalist Kelsey Nicole Nelson, the Patriots wide receiver was seen holding Cardi’s waist and planting sweet kisses on her head. 

Stefon Diggs Is Dealing With Backlash From A Tarnished Reputation

The public romantic displays at the foundation event serve as a stark contrast to the battles Diggs is fighting to protect his public image. While he works to rebuild his bond with Cardi B, the wide receiver is also pursuing a defamation lawsuit against social media influencer Christopher Blake Griffith. 

Diggs claims that Griffith’s allegations of sexual assault have severely damaged his reputation and his ability to earn an income.

However, Griffith is fighting back, arguing that any harm to the athlete’s name is actually the result of his own “messy personal life” rather than any specific social media posts, per The Blast. 

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Griffith’s legal team argued that the public’s negative perception of Diggs is also tied to his highly publicized relationship and breakup with Cardi B. 

Cardi B Seemingly Sent Stefon Diggs A Message While On Tour

Despite the recent legal drama surrounding his reputation, Diggs has managed to win back the affection of Cardi B.

The couple’s reunion comes after a very public and heated period where the rapper appeared ready to leave the athlete in the past for good.

As reported by The Blast, in early March 2026, while performing on the San Francisco leg of her “Little Miss Drama” tour, Cardi B took a moment to address her former flame from the stage. 

Although she never mentioned Diggs by name, her fiery comments were widely interpreted as a direct response to their rocky relationship.

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Amid cheers from her fans at the Chase Center, the mother-of-four declared that she was “too grown to be played with” and questioned why anyone would risk losing a woman of her caliber. 

Stefon Diggs’ Relationship With His Former Chef Was Not Just Professional

While Cardi B expressed her frustration with the athlete’s behavior on stage, Diggs’ former personal chef, Adams, offered a much more detailed and damaging account of her time in the NFL star’s household. 

The Blast reported that during courtroom proceedings, Adams revealed that her connection to the wide receiver went far beyond a professional agreement. 

She testified that the two had been in contact for five years after meeting on Instagram, and that their relationship eventually became sexual before he officially hired her as his live-in chef in February 2025.

She alleged that a conflict erupted in November after a friend of the mother of Diggs’ child accused Adams of leaking information about the athlete’s private life. This internal drama served as the backdrop for the December 2025 incident at his home in Dedham, where Adams claimed the athlete physically assaulted and strangled her. 

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Macaulay Culkin continues to look back on his intimate bond with the late actress Catherine O’Hara months after her passing.

Although their relationship started off with an on-screen mother-son role in “Home Alone,” Culkin and O’Hara soon formed a connection that translated into their personal lives.

Now, the former child star is opening up about how her demise left him pondering what could have been if she were alive.

In a recent interview, Culkin admitted that O’Hara’s death came as a shock to him because they had “unfinished business” to handle.

“When Catherine passed away in January, that hit me. That hit me pretty good, ’cause, you know, it was just too soon. And I felt that we had unfinished business,” the actor told Gentleman’s Journal.

Although Culkin didn’t go into detail, he admitted feeling indebted to the late veteran, who was a major presence in his career, starting from his “Home Alone” beginnings.

O’Hara’s guidance was evident when Culkin earned a star on the Hollywood Walk of Fame in 2023, and she gave an endearing speech at the ceremony. Reflecting on his regret, the “Zootopia” actor said, “I feel like I owed her a favor — and I don’t like having an outstanding debt.”

Macaulay Culkin Mourned O’Hara With An Emotional Tribute

Although Culkin was unable to pay his debt to his on-screen mother, he honored her legacy and mourned her loss in a heart-wrenching tribute.

Following the news of O’Hara’s passing, the 45-year-old took to Instagram, sharing a throwback photo of them on “Home Alone” alongside one of them at his Hollywood Walk of Fame ceremony.

Referring to the late actress as “Mama” in the caption, he wished for more time together. “I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you,” he wrote, per The Blast.

Culkin vowed to see O’Hara “later,” as Danzig’s “Mother“ was included as a background song on the upload. Thousands of fans camped in the comments, sending comfort to the heartbroken star.

The Actor Kept A Somber Appearance During Public Sighting

Culkin’s grief was evident when he made his first public appearance after his on-screen mother’s death. Just hours after the news broke, the actor was spotted out and about in Los Angeles, according to The Blast.

The father-of-two was seen alone, wearing a dark outfit comprising an orange sweater underneath a black blazer and black pants as he kept a low-key profile.

Barely interacting with anyone, Culkin wore a weighed-down expression as he ran errands.

Cause Of Catherine O’Hara’s Death Revealed

The news of O’Hara’s demise sent shock waves across Hollywood. The beloved actress passed away on January 30, 2026, after a brief illness. She was 71 years old.

A rep of O’Hara’s talent agency, CAA, shed light on the details of her passing, revealing that the Los Angeles Fire Department responded to a call at the actress’s home, where she lives with her husband, Bo Welch, at 4:48 AM.

Weeks later, it was revealed that the “Schitt’s Creek” alum died from a blood clot in her lungs, known as pulmonary embolism. A report from the Los Angeles County Medical Examiner’s office listed rectal cancer as the underlying cause.

It was revealed that the entertainer was rushed to the hospital in a severe condition after experiencing difficulty breathing, as detailed in a 911 call.

As reported by The Blast, O’Hara’s death certificate confirmed she was cremated, with her remains given to her beloved husband.

Inside Catherine O’Hara’s Intimate Memorial Service

The “Beetlejuice” star was laid to rest two weeks after her passing in an intimate ceremony attended by her family and close industry friends.

As reported by The Blast, actress Kelly Lynch gave fans a glimpse into the heartbreaking service, posting a black-and-white photo of the funeral program. On it was printed an adorable photo of a younger O’Hara wearing a cheerleader outfit, with a huge smile on her face.

Alongside the image was a poem curated by Raymond Carver titled “Late Fragment.” It was written when he was dying from cancer, a message that also applies to O’Hara.

“Rest in peace, darling Catherine,” Lynch wrote alongside the post.

The mockumentary format of filmmaking, specifically for sitcom television, is one of the most popular and quickly growing. It’s been around for quite some time, but gained extreme popularity through smash-hit shows like The Office and Parks and Recreation. The mockumentary style has become super beloved. For comedy specifically, the format helps people feel a bit more connected and believe in the content a bit more.

Mockumentary grounds whatever it’s showcasing in reality—even when what’s on-screen doesn’t happen in real life. The style attempts to showcase what’s being depicted as if it’s a documentary on real-life events. This helps bring audiences into new environments, and they are able to buy into them a lot easier than otherwise. The characters feel a lot more genuine, as well. All reasons why mockumentaries are so abundantly popular.

10

‘Cunk on Earth’ (2022)

Historical documentaries are the most famous and well-known documentaries out there. Cunk on Earth takes this concept and absolutely makes fun of it through the wonderful performance by Diane Morgan. Covering real-world historical events like the fall of the Roman Empire and the Dark Ages in a comedic documentary.

What makes Cunk on Earth even funnier is the fact that when they’re performing these hysterical interviews, they’re interviewing actual experts on the topics they’re covering. This makes Cunk asking her absurdist questions even better, because who would ask these kinds of things to real experts on things like the Roman Empire? Cunk. Cunk would.

9

‘Nathan for You’ (2013–2017)

Image via Comedy Central

There’s no man who can do a deadpan performance quite like Nathan Fielder (mainly because there’s no beating Aubrey Plaza and Jenna Ortega). Unlike YouTube pranksters, Nathan for You puts Fielder in front of real people to pull off his performances, which makes his bits even funnier. He has some absurd schemes that are so comical that they actually sometimes work, which not only adds to hilarity but is genuinely impressive.

Nathan for You has some absolutely iconic episodes across its four-year run. But not only is it humorous, but some of his pranks and bits act as subtle social commentary on things like capitalism and gullibility in the general population. The series (and Nathan Fielder himself) expertly raises the stakes and makes things continuously more ridiculous as they move forward.

8

‘Abbott Elementary’ (2021–Present)

Image via ABC

Abbott Elementary has completely taken over the television space in the last few years. Following the lives of teachers at the titular elementary school, Abbott Elementary depicts the hilarity and ridiculousness that occur when one becomes an elementary school teacher across its seasons.

While the events of the series are fictional, the conflicts and events within the series are very real. Being a teacher is not easy, and while this is an absolutely hilarious comedy, it’s also a love letter to teachers everywhere. They’re raising the next generation of children, and this leads to some of the best moments in the show as it comments on and makes fun of real things, like when they commented on kids picking up social trends in Abbott Elementary Season 1, episode 11, “Desking.”

7

‘Arrested Development’ (2003–2019)

Image via FOX

Alongside the obvious contenders of The Office and Parks and Recreation, Arrested Development is one of the most popular mockumentaries out there. Arrested Development sets itself apart, however, by not following a lot of the typical tropes found in a mockumentary. Normally, a series in this style commonly cuts to interview segments within the episode, but Arrested Development opts not to do this.

While it’s not formatted like a typical mockumentary, it finds itself being one because the characters within it commonly acknowledge that they are being filmed, and they’re on a television show. Many consider this to be one of the best shows of the last few decades, and for very good reason. The writing is exceptional, and with performances from the likes of Jason Bateman and others, it’s excellent.

6

‘Modern Family’ (2009–2020)

Image via ABC

Families are troublesome. Everyone can easily attest to this statement in some way, shape, or form. Together, Christopher Lloyd and Steven Levitan brought a series to life that depicts the ridiculous nature of all types of families—the nuclear family, mixed families, and families led by a gay relationship. Its first few seasons were critically praised all-around for the exceptional episodes it brought forth.

The writing for Modern Family is sharp, witty, and smart. A huge part of this is because co-creator Christopher Lloyd got his start by writing on the critically acclaimed Golden Girls. Over the course of its run, it won over 20 Emmys and was highly noted for its wonderful cast and their great performances.

5

‘Parks and Recreation’ (2009–2015)

Image via NBC

The common debate among the mockumentary fan base is whether The Office or Parks and Recreation is the best of the best. This is a very valid debate, as this 2009 series is simply one of the best of the 2000s. Much like its rival, it has one of the best casts on television with the likes of Amy Poehler, Nick Offerman, Aziz Ansari, Rashida Jones, Chris Pratt, Adam Scott, and genuinely so many more that either got their big start here or had a career-defining role.

Following the escapades of the Parks and Recreation Department in the fictional town of Pawnee, Indiana. What’s fun about this show is that audiences know that what’s being depicted is at least a little accurate, as the creators of the series actually studied local politics and even interviewed local politicians and government workers to make sure what they were making had authenticity to it.

4

‘What We Do in the Shadows’ (2019–2024)

Image via FX

What We Do in the Shadows is a hilarious supernatural mockumentary that follows vampire roommates Nandor the Relentless (Kayvan Novak), Laszlo Cravensworth (Matt Berry), Nadja (Natasia Demetriou), Colin Robinson (Mark Proksch), and their familiar Guillermo (Harvey Guillén). Tasked with conquering the New World—an assignment they’ve entirely forgotten—they go through modern life in Staten Island and deal with everything from awkward city council meetings to supernatural turf wars with werewolves, witches, and ghosts.

Over six riotous seasons, the FX show became a fan favorite thanks to the funny dynamic between its main characters. Satirizing both supernatural lore and the mundanity of being human, it expands on the world and original concept of the 2014 New Zealand film. What We Do in the Shadows is now a modern classic that concluded with a bittersweet finale that captures how it can strike both a humorous and heartfelt note.

3

‘Trailer Park Boys’ (2001–2018)

Image via Trailer Park Productions

Trailer Park Boys is easily considered one of the best mockumentary sitcoms of all time. The reasoning for this bold claim is largely because of the charm brought forth through its lower budget. Trailer Park Boys is a series that is known for being primarily improvised with its dialogue. This led to some of the funniest interactions on 2000s television.

It’s packed to the brim with recurring gags, surprisingly deep storytelling, and somehow stayed super unchanging in its quality over its entire run from 2001 to 2007. The fact that this show could have such a low budget and stand up against and even above most mockumentaries is astounding and proof of its caliber.

2

‘The Office’ (2005–2013)

Image via NBC

The Office is known as one of the best of the best because it genuinely revolutionized and redefined the entire mockumentary format. It threw its cast members onto a grand stage, stayed consistently superb, had amazing performances, spectacular screenwriting, and cast chemistry unlike any other.

What makes The Office even better is the fact that each character has a defined and true character arc amidst the absurdities at play. So, not only does it end up being an incredibly funny show, but people truly grew emotionally invested in The Office‘s likable characters. This not only kept them engaged through hilarity, but also because they wanted to see where these people would go with their lives.

1

‘Curb Your Enthusiasm’ (2000–2024)

Image via HBO

Curb Your Enthusiasm is both Larry David and the mockumentary format’s magnum opus. There hasn’t been a show quite like Curb Your Enthusiasm to this day. Larry David knows how to do good comedy, if that wasn’t proven by his work on Seinfeld, Curb Your Enthusiasm is the perfect example of his comedic prowess.

What makes Curb Your Enthusiasm different from other improv-heavy mockumentaries is the fact that it is an almost fully improvised show. Scenes are merely outlined, and the actors take them from there. Larry David takes this concept and absolutely runs with it. This has led to some of television’s funniest moments of all time.

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Curb Your Enthusiasm

Release Date

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2000 – 2024-00-00

Network

HBO Max

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Showrunner

Jeff Schaffer

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Directors

Robert B. Weide, Larry Charles, David Steinberg, Bryan Gordon, Alec Berg, Andy Ackerman, David Mandel, Barry Gordon, Cheryl Hines, Dean Parisot

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For decades, “The Brady Bunch” has remained one of television’s most replayed family sitcoms, turning its cast into permanent pop culture icons long after the series ended. 

However, behind the nostalgia and endless reruns, one of the show’s stars is revealing a much sadder reality. 

Eve Plumb recently admitted that despite the sitcom’s lasting success across generations, the actors are no longer seeing meaningful money from it. 

Her revelation has sparked fresh conversation about how television contracts once worked, especially compared to the massive payouts stars from modern sitcoms still receive today.

Plumb is pulling back the curtain on what “The Brady Bunch” cast actually earned from one of television’s most replayed sitcoms.

The actress, who famously played middle daughter Jan Brady, recently addressed the subject while promoting her memoir, “Happiness Included: Jan Brady and Beyond.”

In the book, Plumb joked about the financial reality behind the show’s lasting popularity. “If I had a dime for every rerun episode, I’d pay off the national deficit. I don’t,” she wrote per the Daily Mail.

Plumb later doubled down on the statement during an appearance on the “PauseRewind” podcast. “To be clear, we don’t make residuals,” she explained.

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The revelation shocked many longtime fans, considering “The Brady Bunch” has remained a television staple for decades through syndication and streaming reruns. 

The ABC sitcom originally aired from 1969 through 1974, but its cultural footprint never really disappeared.

‘Brady Bunch’ Cast Lost Their Rerun Payments Years Ago

Plumb is not the only “Brady Bunch” star who has spoken openly about the show’s lack of long-term financial rewards. 

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Susan Olsen, who played Cindy Brady, previously explained why the cast no longer receives rerun money.

Appearing on Oprah Network’s “Where Are They Now,” Olsen revealed that the issue stemmed from television rules that existed before 1973. 

According to the star, actors at the time were compensated only for a limited number of rerun broadcasts.

She explained the cast was only “paid for reruns for the first 10 runs.” After that, the payments completely stopped. “So [we’ve] made no money since then,” Olsen said.

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The residual checks reportedly dried up entirely in 1979 despite the sitcom continuing to air across networks for decades afterward.

‘Brady Bunch’ Salaries Were Tiny Compared To Modern TV Stars

Barry Williams, who portrayed Greg Brady, also previously addressed the surprisingly modest paychecks the cast received during the sitcom’s original run.

In his 1992 memoir “Growing Up Brady: I Was a Teenage Greg,” Williams explained how dramatically television salaries have changed since the 1970s.

“Salaries for sitcom actors have changed considerably since the ‘70s,” he wrote. The actor revealed that during the show’s last season, the highest-paid child actor on the series earned just barely over a thousand dollars per week.

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“In our fifth and final year, the highest salary among us kids was $1,100 a week,” he shared. Although Williams acknowledged that earning roughly $24,000 during the final season was “not bad for a teenager,” he also noted the money disappeared quickly after taxes, commissions, and family expenses.

“It was enough to indulge in toys, but hardly enough to carry you through the slow periods that inevitably followed,” he explained. 

The original cast also included Maureen McCormick, Mike Lookinland, and Christopher Knight, all of whom became permanently linked to their iconic Brady characters.

‘Brady Bunch’ Money Drama Looks Worse Next To ‘Friends’ Success

The whopping financial difference between “The Brady Bunch” cast and modern sitcom stars became even more noticeable after Lisa Kudrow recently discussed “Friends” residuals.

Kudrow admitted that she and her co-stars still earn massive payouts from reruns of the beloved NBC comedy.

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The actress, who played Phoebe Buffay from 1994 to 2004, starred alongside Jennifer Aniston, Courteney Cox, David Schwimmer, Matt LeBlanc, and the late Matthew Perry.

Unlike the Brady cast, the “Friends” stars famously negotiated together throughout the show’s run. Their salaries eventually climbed from $22,500 per episode during the first season to a staggering $1 million each by the final two seasons.

Reports have also claimed the cast still earns around $20 million annually from the show’s continued popularity. The stars later reunited for HBO Max’s 2021 reunion special and reportedly received $2.5 million each for the appearance.

Susan Olsen Opens Up About The Downsides Of Playing Cindy Brady

In April 2025, Olsen opened up about the lasting impact of being typecast as Cindy Brady, admitting the role followed her long after “The Brady Bunch” ended. 

Speaking on “The Real Brady Bros” podcast with former co-stars Williams and Christopher Knight, Olsen reflected on constantly being cast as the “ditzy” or “stupid” child, saying, “That’s just how my career was, and it was something I had to accept.”  

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As reported by The Blast, she recalled how frustrating it was to play a character so different from her real personality, with Williams telling her she was “so much smarter” and “edgier” than Cindy.   

Olsen also shared that even her son eventually noticed the pattern after watching one of her old Disney movies, joking, “So you always play the stupid child.”  

The actress admitted the role affected her deeply as a child, explaining she dreaded returning to public school because classmates treated her like Cindy in real life and teased her over the character’s “stupid” moments and lisp.

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As long as the earth remains, human conflict will never fully disappear. It is a part of our existence and oftentimes, we choose war as a means of resolution. For those who are unaware, war is brutal, destructive, exhausting, and, more often than not, utterly meaningless. However, humans always seem to find themselves in one conflict or the other. While some wars are localized, others have global ramifications and none quite as cataclysmic as World War II. The conflict played out across various locations across land, air and sea, reshaping the global order in its aftermath. Several creatives have told stories about the defining conflict of the 20th century, with Wolfgang Petersen’s 1981 World War II picture Das Boot, one of them.

The Oscar- and Golden Globe-nominated masterpiece would go on to inspire a 2018 series of the same name, which continues to highlight the senseless reality of the entire conflict. With two storylines running parallel on land and sea, Das Boot sees its dialogue authentically switching between English, German, and French, even as the story follows the crew of a German U-boat embarking on its first voyage in 1942 and a young woman caught between the Gestapo and the French Resistance on land. The original Das Boot film from 1981 grossed $85 million, making it a global blockbuster and earning six Oscar nominations. The film stands apart in the crowded sea of submarine war movies and the series is just as impressive.

Now, the 2018 Das Boot series is making a streaming return, having been on Hulu previously. According to a new report, Kino Lorber’s MHz Choice will have all four seasons of the classic WWII U-boat series, including ones that have never previously streamed in the U.S. MHz Choice will welcome the first season of the drama series on July 7 with the second season following on August 4, with two episodes, then installments launching weekly. However, the release dates for Seasons 3 and 4 have not been made available yet.

Who is Behind the Scenes for ‘Das Boot’?

A big-budget European show, Das Boot assembled an impressive cast from Germany, France, the UK and the US to tell its tale, including Vicky Krieps (Phantom Thread), Tom Wlaschiha (Game of Thrones), Lizzy Caplan (Masters of Sex), Vincent Kartheiser (Mad Men), James D’Arcy (MARVEL’s Agent Carter), Thierry Frémont (Juste un regard), August Wittgenstein (The Crown), Rainer Bock (Inglourious Basterds), Rick Okon (Tatort), Leonard Scheicher (Finsterworld), Robert Stadlober (Summer Storm), Franz Dinda (The Cloud) and Stefan Konarske (The Young Karl Marx). Andreas Prochaska, whose credits include Das finstere Tal (The Dark Valley) and Das Wunder von Kärnten (A Day for a Miracle), directed the series with Tony Saint and Johannes W. Betz as the head writers.

Season 1 of Das Boot arrives on MHz Choice in the US on July 7. Stay tuned to Collider for updates.

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Release Date

November 23, 2018

Directors

Andreas Prochaska

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Writers

Johannes W. Betz, Tony Saint

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Getting dressed up for a wedding sounds fun until you’re staring at a closet full of clothes and somehow still have nothing to wear. After spending way too much time searching for a flattering, comfortable option to wear to multiple summer weddings, I finally found this bodycon wrap dress that completely solved my outfit dilemma without blowing my budget.

The midi style has that rare combination of being fitted enough to feel polished while still comfortable enough to wear for hours of dancing, sitting and outdoor ceremonies in the heat. The wrap-style ruching creates a super flattering silhouette, while the bodycon fit gives it a sleek, elevated look that works for everything from beach weddings to cocktail receptions.

Get the Lillusory Bodycon Midi Dress for $25 (originally $30) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

One of my favorite things about the dress is how versatile it feels. Depending on how you style it, it can easily work for formal weddings, date nights, bridal showers or even vacations. I paired it with strappy heels and gold jewelry for one wedding, then rewore it later with flat sandals and a denim jacket for dinner with girlfriends.

Related: These 16 Wedding Guest Dresses That You’ll Even Wear After the Ceremony

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Wedding season is officially in full swing — and if you have a calendar full of ceremonies and zero clue what to wear, don’t panic. Amazon is literally a gold mine for stylish, affordable wedding guest dresses that look way more expensive than they are. Whether you’re headed to a casual beach celebration or a […]

The stretchy material also makes a huge difference when it comes to comfort. Unlike stiff occasion dresses that feel restrictive after an hour, this one moves with you and hugs the body in a flattering way without feeling too tight. The ruched wrap detail adds shape while helping smooth everything out, which makes it especially confidence-boosting for events where you know photos will be taken all night. Plus, the gold buckle detail helps draw the eye in to your cinched waist!

Many Amazon shoppers were just as impressed with this dress, especially given the affordable price. One reviewer wrote that the “fabric was beautiful and wrinkle-free right out of the vacuum-packed bag.” Another shopper loved how the stretchy fabric complements the body and said it was “super comfortable . . . for the price!!” A third reviewer called this the “optimal summer body-contouring” dress.

If you still haven’t found your summer wedding guest dress, consider this your sign to stop stressing. This flattering wrap dress checks every box, and you’ll probably end up wearing it long after wedding season ends.

Get the Lillusory Bodycon Midi Dress for $25 (originally $30) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more summer wedding guest dresses here, and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

Related: No Tailor Needed: These Under-$60 Petite Wedding Guest Dresses Fit Perfectly

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From travel plans to gift shopping, prepping for an upcoming wedding can be stressful enough — and that’s without worrying about getting a dress tailored. When you’re a petite fashionista, it almost always comes with the territory, but these wedding guest dresses prove otherwise. After a peruse through Amazon, we discovered a few short gal-friendly […]

The movies released in the ’90s have a bigger cult-favoritism than any other era. Now that’s mainly because a lot of the people who watched them now have a good standing on social media so they have a bigger voice and take pride in their era. However, it’s important to note that the remakes from ‘90s movies almost always feel like they were made by people who could identify the brand but not the voltage. They know the title. They know the poster image. They know the broad setup people remember. The popular girl makeover story. The house party chaos. The cool dead guy in face paint. But what they do not know is the pressure system inside those movies.

The ’90s were weirdly specific. Teen movies had insecurity in them. Studio thrillers had sweat in them. Action movies had philosophy hiding inside stupidity. Family films had earnestness without apology. Even the glossy stuff usually had some emotional impurity to it, some embarrassment, ache, lust, identity panic, or wounded sincerity that made the whole machine hum. And most of their remakes kept sanding that away. Especially the 10 on this list don’t feel like new versions of old stories but replicas made from memory by someone who only saw the trailer and that’s why they’re treated far more harshly than any other decade.

10

‘He’s All That’ (2021)

Image via Netflix

This one is bad in the most modern, airless way possible. She’s All That is not some sacred text, and I am not pretending it is. It is a glossy teen comedy with all kinds of late-’90s artificiality built into it. But it understands one thing the remake does not: adolescent humiliation is real even when the movie is being silly. Laney Boggs (Rachael Leigh Cook) matters because the movie knows that being unseen is not just a premise trick. It is an emotional position. Zack Siler (Freddie Prinze Jr.)’s bet has actual cruelty in it because the film understands social hierarchy as a teenage religion.

He’s All That turns all of that into influencer-era flatness. The whole movie feels pre-filtered. Padgett Sawyer (Addison Rae) should feel like somebody whose popularity is always one public disaster away from collapse, but instead she mostly feels like a concept carrying brand-level anxiety. Cameron Kweller (Tanner Buchanan), meanwhile, is supposed to be the real person she learns to see, and the film never gives that dynamic enough awkwardness, sting, or mutual vulnerability to become emotionally persuasive. The makeover plot becomes even more insulting when the movie itself has no real idea what interior transformation even looks like. It confuses optics with identity, which would be interesting if the script knew it was doing that. It does not. It just lives there.

9

‘House Party’ (2023)

Image via HBO Max

The original House Party is so alive. That is the thing people forget when they reduce it to a fun party movie. It is alive in its feet, in its music, in its flirtation, in the sense that one night can still feel socially enormous when you are young. The energy is not only in the party. It is in sneaking toward it, risking punishment for it, dressing for it, fantasizing about it, hoping this one night might shift your status, your luck, your romantic life, your whole self-image. That is why the original works. The house party is not in the background. It is the event around which youth organizes meaning.

The remake feels like it thinks celebrity cameos + nostalgia + studio chaos = vibe. It does not. Kevin (Jacob Latimore) and Damon (Tosin Cole) never really generate that nervous-goofy-host energy the original had. The script keeps inflating the premise into a larger, shinier, more self-aware comedy machine, and the result is actually smaller. A house party movie needs social texture. It needs that feeling that every room contains a slightly different danger, opportunity, embarrassment, or thrill. This one keeps giving you bits, references, and spectacle without ever turning the house into a living ecosystem of comedy and desire. It feels rented.

8

‘Don’t Tell Mom the Babysitter’s Dead’ (2024)

Image via BET+ Original Film

What made the original so lovable is how completely it understands teenage panic as administrative comedy. A group of kids are abandoned for the summer, the babysitter dies, and suddenly the oldest daughter has to bluff her way into adulthood through work clothes, office politics, sibling management, money stress, and mounting deception. That premise works because it taps directly into one of the greatest teenage fantasies: that adulthood is a costume you might somehow pull off if the emergency is bad enough. It is funny because it is desperate.

The remake gets some of the broad mechanics right and still misses the desperate comic pulse. Tanya Crandell (Simone Joy Jones) should feel like a young person improvising her way through systems she has no business navigating, terrified of being exposed and exhilarated by competence she did not know she had. Instead the movie often feels too aware of its own update. Too polished around the edges. Too eager to look contemporary rather than letting the old panic engine roar again. The family dynamic never gains the same scrappy pressure either. In stories like this, domestic mess has to keep knocking into public performance until the whole thing becomes one big balancing act. Here the balance feels less precarious, which means it is less funny and much less thrilling.

7

‘The Crow’ (2024)

Image via Lionsgate

Some remakes are bad ideas at the level of instinct, and The Crow is one of them. Not because no one else is allowed to touch it, but because the original is fused to a very particular wound. It is not merely a revenge fantasy with goth style but grief turned into weather. It is love lingering so violently it crawls back into the world in smeared makeup and black leather. It is sincere in a way later movies are often too embarrassed to be. The city looks spiritually spoiled. Eric Draven (Brandon Lee) feels less like a character than a romantic curse.

The remake tries to deepen Eric and Shelly by giving them more relationship scaffolding, more mutual destruction, more overt modern darkness. But that is exactly the trap. It starts building psychology where the original had myth. Eric (Bill Skarsgård) needs to feel like love and death have fused into one impossible figure. He cannot just feel troubled, damaged, sad, sexy, traumatized, or doomed in a recognizably contemporary way. He has to feel operatic. The remake keeps dragging him back down to earth. And once The Crow becomes earthbound, it stops hovering in that wounded comic-book afterlife where it was born to live. Then it is just another revenge movie trying on somebody else’s coat.

6

‘Jacob’s Ladder’ (2019)

Image via Vertical Entertainment

The original Jacob’s Ladder is not good because it has scary imagery. That is exactly the wrong way to read it. It is terrifying because it is built around Jacob Singer (Tim Robbins)’s consciousness that can no longer stabilize reality. Trauma, war guilt, bodily panic, spiritual dread, memory fragmentation, all of it folds into one ongoing experience of psychic and existential dislocation. The movie makes confusion feel wounded rather than clever. Its horror is not just that Jacob sees terrible things. It is that he cannot trust time, selfhood, or the moral shape of his own life anymore.

The remake takes a premise about unstable consciousness and somehow makes it feel much more ordinary. Jacob Singer (Michael Ealy) is still moving through trauma, but the script keeps translating the material into a more digestible grief-mystery form. That is death for this story. Jacob’s Ladder should feel like reality has become spiritually infected. Every hallway should feel one step away from revelation or collapse. The remake has some moments of unease, though it keeps wanting to resolve, clarify, and modernize the pain into something less metaphysical and therefore much less haunting. The original hurts because it feels like a man’s soul is caught in the machinery of memory and death. The remake hurts because it reminds you how rare that kind of ambition is.

5

‘The Lion King’ (2019)

Image via Walt Disney Studios Motion Pictures

There is almost something cruel about how useful this remake is as an argument. People kept saying the script was basically the same, as if that settled anything. But that is exactly why the remake is such a fascinating failure. It proves that writing is not just plot. Writing is tonal emphasis, expressive exaggeration, musical lift, line delivery, comic timing, visual rhythm, the amount of emotional elasticity the world allows. The original The Lion King is a myth pushed through animation into something ceremonial and intimate at once. Scar (Jeremy Irons)’s bitterness has theatrical poison in it. Mufasa (James Earl Jones)’s death. Simba (Matthew Broderick)’s shame. Rafiki (Robert Guillaume)’s guidance has play and wisdom tangled together. The whole thing sings because the writing is living inside performance and shape.

The remake preserves the map and drains the blood. The realism approach traps the material in the wrong visual philosophy from the start. These characters are supposed to embody emotions at full size. Instead, they often look and move like animals burdened by a story that needs more face than they are allowed to have. Scar’s manipulation shrinks. Mufasa’s death still lands because the bones are immortal, but the ache is less lyrical. Simba’s exile becomes less like a wound he is hiding from and more like a series of required story beats. The movie keeps proving, scene after scene, that reverence is not enough. You have to know what kind of exaggeration myth requires.

4

‘Mulan’ (2020)

Image via Walt Disney Studios Motion Pictures

This one makes me especially angry because the original already had the hard thing figured out. Mulan works because it binds a personal shame story to a war narrative without losing either. Mulan is trying and failing to perform the version of womanhood her society demands, then makes the most dangerous decision of her life out of love for her father, and has to survive a war machine that was never built to recognize her intelligence, nerve, or value. It is clear, forceful writing. Her growth emerges through action, concealment, adaptation, humiliation, and earned ingenuity.

The remake seems embarrassed by some of that structure. It starts elevating Mulan (Liu Yifei) into something more innately exceptional, more mythically preloaded, more destiny-coded, and in doing so it weakens the exact thing that made the original so satisfying. She should become formidable through pressure, not arrive half-transcendent. Once that shift happens, the story’s relationship to gender, effort, disguise, and tactical intelligence starts wobbling. And the supporting ensemble never forms the same emotional ecosystem around her. The camp in the animated film becomes a place where identity is tested. Here it feels more like a corridor toward grander abstraction. The remake keeps reaching for epic nobility and loses the scrappier, more human triumph that made Mulan beloved in the first place.

3

‘Total Recall’ (2012)

Image via Sony Pictures

The original Total Recall is one of those stories where the trashiness is part of the intelligence. It is sweaty, nasty, funny, violent, politically cluttered, and constantly unstable in exactly the right way. The brilliance is that you can never fully detach the action from the identity crisis. Douglas Quaid (Arnold Schwarzenegger) is trying to become more, escape his life, recover the truth, and the movie keeps asking whether the “truth” is just another fantasy package customized to his appetite. That ambiguity gives the whole thing acid in its blood.

The remake turns all of this into sleek forward motion. It keeps the memory premise, the hidden identity stuff, the authoritarian world, the woman-who-might-be-wife and woman-who-might-be-ally machinery, but it does not know how to make paranoia feel dirty or existential. Douglas Quaid (Colin Farrell) is more grounded in the conventional sense, less bizarrely destabilized, and the whole movie pays for that choice. This remake version feels like a competent fugitive-action film borrowing a legendary premise without really surrendering to its sickness — too polished to hallucinate.

2

‘Flatliners’ (2017)

Image via Sony Pictures Releasing

This one is a perfect example of a remake that thinks intensity is the same as pressure. The original Flatliners is messy, sure, but it understands that its premise is fundamentally obscene. Young medical elites are stopping their hearts to peek behind death like it is a locked lab door they can hack. There is arrogance in that. Hunger. Narcissism. A spiritual trespass disguised as intellectual curiosity. That is why the movie stays interesting even when it wobbles. It knows these people are not just doing an experiment but violating a boundary.

The remake cleans that up in exactly the wrong way. It gives you the premise, the escalating hauntings, the guilt manifestations, the peer-group disintegration, but it feels much more like a polished consequence machine than a true descent into the forbidden. The characters are too legible in the wrong way. The aftereffects are too narratively organized. The whole thing starts behaving like death is punishing them with personalized content, which is much less disturbing than the original’s larger feeling that they have opened a spiritual wound in themselves. Science-fiction thrillers about death should not feel this administratively neat. The dead deserve more mystery than that.

1

‘Point Break’ (2015)

Image via Warner Bros. Pictures

This had to be number one, not because it is technically the clumsiest remake here, but because it misunderstands its original at the deepest possible level. Kathryn Bigelow’s Point Break is not just about extreme sports, surfing, bank robbers, and an undercover FBI agent. It is about seduction through risk. It is about masculinity becoming a spiritual hunger. It is about Johnny Utah (Keanu Reeves) being drawn not merely into a case, but into a worldview embodied by Bodhi (Patrick Swayze), a worldview where freedom, danger, transcendence, criminality, and self-annihilation all start blurring together. It is feverishly sincere about that. That is why it lasts. It is ridiculous and absolutely convinced of its own inner weather.

The remake sees the adrenaline surface and thinks that is the core. So it gives you bigger stunts, more global motion, more extreme everything, and almost none of the dangerous intimacy. Johnny Utah (Luke Bracey) is flattened into a much duller action-template protagonist, and Bodhi (Édgar Ramírez) is too abstract, too generalized, too content to be an eco-spiritual action-guru shape rather than a charismatic force. The whole thing loses the seductive madness that made the original hum. And once Johnny Utah is no longer psychologically seduced, the entire story collapses. The original is obsessed with obsession. The remake is obsessed with footage. That is why it belongs at the bottom. It misses the religion of the thing.

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Point Break

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Release Date

December 25, 2015

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Runtime

114 Minutes

Director

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Ericson Core

Writers

Kurt Wimmer

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