Spring weather conditions are a fickle friend. One day, it’s practically summer, the next, you’re reluctantly dipping back into your outerwear collection to stave off the chill. Luckily, with bomber jackets like the one Jennifer Lopez wore during the Office Romance press tour, you don’t have to sacrifice the integrity of your outfit to do so.

The actress was spotted wearing the Auter Paperweight Batwing Bomber while walking the streets of New York City and looked cool, calm and completely unbothered by the dip in temperature. The designer jacket is constructed from lightweight Italian wool (which explains Lopez’s comfort), with stylistic features like batwing sleeves, a concealed front closure, a gathered hem and a stand collar with a snap, giving it a fashion-forward look. Unfortunately, the green statement piece retails for a whopping $1,450, but we found a similar option that lets you channel Jenny from the Block at a small fraction of that price.

Get the Xunger Women’s Faux Suede Bomber Jacket for $45 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Related: Get Heidi Klum’s Cool-Girl Bomber Jacket Look for Just $37

Heidi Klum knows a thing or two about elevated dressing, often slipping into sleek separates that include modern design details, chic tailoring and bold pops of colors. But Klum’s refined taste isn’t just reserved for red carpets — and her recent bomber jacket serves as proof. Better yet? I found a lookalike silhouette for just […]

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It’s an unfortunate truth that, at this point in the season, we’re still wearing jackets out of necessity rather than as accessories. Irritation aside, the best way to combat unpredictable forecasts is to invest in pieces that can pose as both, and this Amazon version of JLo’s sage bomber jacket fits the bill. It’s made from faux suede and boasts the same batwing sleeve.

The Amazon bomber also offers a relaxed fit that channels the 56-year-old’s effortless street style. Lopez paired the utilitarian accessory with black thigh-hugging capris, Etnia FC Barcelona sunglasses, a ruby-colored snakeskin bag and red open-toed mule slides, creating a casual look peppered with elevated details. That’s the beauty of this bomber style: it can be dressed up with heels or down with sneakers.

Just as clothes should fit you (not the other way around), they should also fit your style, and the versatility is what customers say they love most about this jacket. One Amazon reviewer described it as “very versatile,” noting they wore it with “leggings and tennis shoes as well as with wide jeans and boots.” Another admitted that they wore the bomber to an outside wedding. “You can dress [the jacket] up or down,” they assured potential shoppers, adding that it’s “very comfortable” and, for the price, you simply “can’t beat it.”

If the flip-flopping spring forecasts continue to mess with your warm-weather wardrobe, Lopez’s sage bomber jacket is the answer to dressing practically while simultaneously staying true to your style. Copy her look with this $45 batwing bomber, which will likely come in handy this fall, too!

Get the Xunger Women’s Faux Suede Bomber Jacket for $45 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more bomber jackets here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

Related: Jennifer Garner Wore a Spring-Perfect Denim Jacket — I’m Copying Her Look

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Jennifer Garner is the poster child for uncomplicated dressing, gravitating toward laid-back staples like simple pants, comfortable footwear and easy T-shirts. And while the actress’ latest spring look stuck to the theme, her trend-forward denim jacket added a surprising twist. Better yet? I found a lookalike version for just $37. Spotted out and about in Los […]

NFL Insider Ian Rapoport is weighing in on why the nature of Mike Vrabel and Dianna Russini’s relationship has become a hot topic.

“I don’t blame the media. I really don’t because the public thirst is there,” the NFL Network journalist, 46, said during a recent appearance on the “Between the Tackles” podcast. “The media isn’t getting people interested [in this story], they’re already interested in it. They’re feeding the beast.”

Rapoport continued, “Watching this play out in public is much sadder than I ever anticipated. I would not wish anybody to go through what everyone involved in this is going through.”

Vrabel, 50, and Russini, 43, made headlines last month after the pair — who are married to other people — were photographed holding hands at an Arizona resort in April. When the images first made headlines, told the New York Post, “These photos show a completely innocent interaction and any suggestion otherwise is laughable.”

Russini also released a statement to the outlet saying, “The photos don’t represent the group of six people who were hanging out during the day. Like most journalists in the NFL, reporters interact with sources away from stadiums and other venues.”

After seemingly downplaying their connection, another batch of photos were published via Page Six two weeks later that showed Vrabel and Russini seemingly kissing inside a New York City bar in 2020.

A third set of images published by TMZ showed the duo on the dock of a private boat rental company in Putnam County, Tennessee, in June 2021. At that time, Russini was pregnant with her and husband Kevin Goldschmidt’s first child. The couple share two sons: Michael, born in August 2021, and Joseph, born in October 2022.

Both Vrabel and Russini have denied having a romantic relationship.

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Related: NFL Insider Confirms Investigation Into Dianna Russini as Questions Linger

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Dianna Russini’s employer confirmed an investigation into the NFL insider’s alleged conduct with NFL head coach Mike Vrabel. “The Athletic is investigating the conduct of a senior N.F.L. reporter, Dianna Russini, after the publication of photographs that showed her with Mike Vrabel, the head coach for the New England Patriots, according to a person familiar […]

In April, Russini resigned from her role at The Athletic after the outlet had an internal investigation amid the scandal.

Vrabel, for his part, told NFL reporters that he had conversations with his loved ones about the matter. (The coach who shares two children with wife Jen.)

“I’ve had some difficult conversations with people that I care about: my family, the organization, the coaches, the players,” he said in a press conference ahead of the 2026 NFL Draft. “Those have been positive and productive. We believe in order to be successful on and off the field you have to make good decisions. That includes me. That starts with me. We never want our actions to negatively affect the team. We never want to be the cause of distraction. What I can promise you is that my family, this organization, the team, the staff, the coaches, our fans, most importantly, will get the best version of me going forward.”

By Chris Snellgrove
| Published 44 seconds ago

One of the most important directors in Star Trek history is someone you’ve likely never heard of: James L. Conway. He made a splash by directing some major TNG episodes like “The Neutral Zone” and “Frame of Mind,” and he later became one of DS9 showrunner Ira Steven Behr’s favorite directors for helming killer episodes like “Duet,” “Way of the Warrior,” and “Apocalypse Now.” In fact, he was so important to the franchise that he nearly directed First Contact, and he only lost that gig because Patrick Stewart personally pushed for having Jonathan Frakes in the director’s chair.

While Conway didn’t get to direct a major Star Trek picture, he did get to do the next thing by directing “Broken Bow,” the movie-length premiere of Enterprise. He did an excellent job, and many (including beloved franchise writer Brannon Braga) consider it the best pilot from the Golden Age of Star Trek. However, one Enterprise actor had a less-than-stellar time making this episode: John Billingsley, who got humiliated by Conway on set during his very first scene!

The Galaxy’s Most Quirked-Up Doctor

On Enterprise, John Billingsley plays Dr. Phlox, a genial alien physician with a very warm bedside manner. However, the doctor isn’t without his quirks, including a creepy, CGI-enhanced smile that has haunted Star Trek fans for years. But it turns out that the actor wanted his character to be far, far quirkier than anyone could have imagined. While performing in his very scene, Billingsley began squawking like a bird. Malcolm Reed actor Dominic Keating happened to be on-set, and he later reported how the squawking sounds sent director James L. Conway into an angry tailspin.

In the special feature on the Enterprise Season 1 Blu-Ray, Keating claims that Conway, when he heard the squawking noises, began repeatedly and immediately screaming out “Cut!” The director had been inside the video control room, but he allegedly stormed out and stood directly in front of Billingsley. Keating claims the director looked the actor directly in the eye and asked a brutally humiliating question: “Are you sh*tting me?!” All Billingsley could do was mutter, “Listen, I’m not married to it.” They finished the scene as written, and Billingsly never again squawked when playing Dr. Plox.

Humiliation: Star Trek Style

It’s wild to imagine an acclaimed Star Trek director humiliating an actor on set like this. Still, you might be on Conway’s side: the squawking really does sound goofy, and it would have made every scene with Dr. Plox distractingly weird. But here’s the thing: John Billingsley had made those bird-like noises throughout his entire audition process, which included performing them in front of Conway. The director seemingly decided in the moment that the squawking didn’t work for this performance. Again, this was probably the right call, but he made it in such a way that Billingsley was left downright mortified.

This bizarre tale is a reminder of the paradox at the heart of every Star Trek series. These shows are all about “seeking out new life and new civilizations,” but audiences have trouble relating to anything that’s a little too alien. That’s why Trek is filled with so many not-so-exotic species that look mostly human: it’s easier for those of us watching to relate to. In the case of Dr. Phlox, James L. Conway decided that Enterprise audiences were ready for weird head bumps and even an alien smile straight out of a creepypasta. But a doctor who squawks like a really loud bird? That, sir, is a starship bridge too far!

Survivor host Jeff Probst found himself in hot water with fans after he accidentally revealed the outcome of the season 50 finale’s challenge live on the air.

During the Wednesday, May 20, finale, Probst, 64, referred to contestant Rizo Velovic as “the final member of our jury” before the fire-making challenge had finished airing. The comment inadvertently spoiled to viewers that Velovic had lost.

“I love doing live television,” Probst joked. “What just happened?”

One contestant called out, “They haven’t seen the fire,” while Velovic clarified, “Fire hasn’t happened yet.” As the audience groaned, Probst admitted, “I’m not even sure what happened but up next, we’re going to have one final surprise for the players.”

In the episode, Aubry Bracco won the final immunity challenge and saved Joe Hunter, which sent Velovic and Jonathan Young into the fire-making challenge. Bracco was ultimately crowned the winner of season 50, with Young placing runner-up.

Scroll down to see what Probst and Survivor stars said about the finale spoiler:

Jeff Probst Tries to Frame Spoiler as a Planned Twist

After returning from a commercial break, Probst attempted to spin the mistake as an intentional storytelling choice.

“In case you’re confused, this is what happened,” he explained. “We were going to show you fire-making and then have the loser of fire-making, Rizo, come out and talk about if he had practiced fire-making maybe he would’ve won. Instead, we did a Survivor twist, it’s the last twist of the season. We call it, ‘A peek into the future.’ So now, we’re going to watch Rizo lose in a fire to Jonathan.”

Rizo Velovic Reacts to the ‘Survivor’ Finale Moment

Velovic found humor in being part of the show’s first major finale flub. “Survivor history!” Velovic told Entertainment Weekly at the time. “Jeff was on a Variety interview recently saying that he wants to edit Survivor with the person going home and then showing how they go home. And he did it the next day, and it was me! I made Survivor history.”

The contestant added, “Never been voted out of Survivor, two times playing, only one of four people ever that happened to. And also the first finale flub ever in 50 seasons and the RizGod was a part of it. So that’s what happened.”

Velovic knew something was off the moment Probst called him out from the green room. “So my understanding was they were under the assumption fire already happened,” he told the outlet. “But I was in the green room saying like, ‘Wait, I’m waiting for myself to lose here. What are we doing?’ And Jeff’s like, ‘Bring out RizGod. And they’re like, ‘You’re up!’ And I’m like, ‘OK, I’m gonna work with what we got here.’”

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He continued, “I’m playing off Jeff, and Jeff is talking about fire and I was like: Well, I’m not trying to reveal it. So I’m like, ‘Win or lose, I’m proud of how I played.’ And Jeff’s like, ‘Sit your ass on the bench.’ And I’m like, ‘Well, this is awkward.’”

Velovic shared that he and Probst “recovered well,” adding, “I made a little joke with Jeff live on stage. I thought it was fine.”

Survivor’s Tiffany Ervin Reacts to the Finale Flub

Tiffany Ervin, who finished fifth, was also on stage when the spoiler dropped. “I was very confused,” Ervin told Entertainment Weekly. “The one thing I’ve learned is not to not question Jeff because he knows what he’s doing 99.999 percent of the time. I think we were all shocked. We really didn’t know what was going on. I think it was just a human moment. It’s Survivor and it’s just the story of what we all do. We’re vulnerable in front of the world. We make mistakes. And Jeff is no different.”

Ah, film noir, that daring, brutal, and cleverly subversive genre. Taking inspiration from pulp crime books and the German Expressionist movement, noir’s sordid scenarios and pessimistic moods echo the character’s internalized conflicts as well as their world’s suffocating corruption. Human fallibility reigns supreme — hence the tough-talking detectives encased in swirling tobacco smoke, the conniving dames who beguile these brooding men, and the outsiders exiled to, and striving to survive, society’s fringes.

Luckily for audiences who couldn’t (and still can’t) get enough, the novelty of noir’s charms goes down like a smooth shot followed by a pleasantly fraught chaser of labyrinthine mysteries and tremendous pathos. From the style’s classic beginnings (which run gleefully defiant circles around the Hays Code’s regulations) to its neo-noir modernization, the conventions are an unflinching exercise in tone, material, and artistic experimentation. If any vintage examples warrant the term “absolute cinema,” it’s these 10 standard-setting gems.

10

‘Kiss Me Deadly’ (1955)

Image via United Artists

Mike Hammer’s (Ralph Meeker) investigation into the murder of Christina Bailey (Cloris Leachman), a hitchhiking stranger a group of men tortured to death, uncovers a conspiracy too immense for even an experienced private detective to fix. At first, the situation looks simple; numerous unscrupulous individuals are chasing after a mysterious suitcase. How unfortunate, then, that their target’s glowing contents (parodied in Quentin Tarantino‘s Pulp Fiction) unleash global annihilation.

Arriving at the tail end of the noir movement, director Robert Aldrich and writer A.I. Bezzerides adapt novelist Mickey Spillane‘s Kiss Me Deadly into an incendiary deep-dive into speculative sci-fi, nuclear paranoia, nihilistic despair, and narcissistic masculinity. Cinematographer Ernest Laszlo’s imposing canted angles squeeze the characters into tighter spaces and send them spiraling down nonsensically winding staircases; every visual sign points toward Kiss Me Deadly‘s petrifying ending, where self-serving people meddle with forces beyond their control and the world suffers for their negligence.

9

‘Leave Her to Heaven’ (1945)

Image via 20th Century Fox

Grieving her father’s recent death, socialite Ellen Berent (Gene Tierney) finds solace by falling for Richard Harland (Cornel Wilde) at first glance. The feeling’s mutual, given the effect Ellen’s intoxicating persona has on the men within her orbit. After a whirlwind romance, the newlyweds’ bliss vanishes inch by inch once Ellen’s all-consuming possessiveness perceives everyone in Richard’s life as a threat to her husband’s affections.

Nothing quite like Leave Her to Heaven exists within the Hollywood movie canon. Martin Scorsese hailed director John M. Stahl’s transgressive composite of noir, psychological thriller, and domestic melodrama as a personal favorite, and it’s a rule-breaking formal masterwork. Before Leon Shamroy‘s Oscar-winning cinematography, the genre’s ethical incertitude wasn’t bathed in luxurious Technicolor splendor. And unlike the black widows who spin their enticing webs for money or power, Ellen craves love no matter the cost. Tierney plays her mesmerizing beauty against type; her green eyes stare with blistering intensity, her frame as still and chilling as a coiled viper. Against saturated Southwest vistas and golden sunsets, the underrated performer delivers a femme fatale all-timer who’s simultaneously toxic and sympathetic.

8

‘The Big Heat’ (1953)

Image via Columbia Pictures

Beat cop and upstanding family man Dave Bannion (Glenn Ford) refuses to stop pursuing the truth behind a suspicious death, despite pressure from his superiors and the organized criminals who keep his city within a terrified choke hold. Following a personal tragedy, Bannion’s resolute principles devolve into a vigilante justice crusade.

Fritz Lang‘s directorial career helped define industry standards. Between Metropolis, M, and prior film noirs, he matched German Expressionist visuals with his recurring post-war fatalism regarding exploitative leadership and socioeconomic hierarchies. True to form, The Big Heat defines the phrase of staring into a bleak abyss that stares back. Cinematographer Charles Lang‘s symbolic styling is less metaphorical than Lang’s earlier work but just as effective. Stark close-ups, confined spaces, and precisely placed interplay between light and shadow emphasize Lang’s breathtakingly cruel treatise on self-destructive revenge, systemic corruption, police brutality, and sadistic violence against women.

7

‘Shadow of a Doubt’ (1943)

Image via Universal Pictures

For the precocious Charlotte Newton (Teresa Wright), her uncle Charlie (Joseph Cotten) equals excitement. Named after the relative she idolizes, his exhilarating visits offer a reprieve from her monotonous small-town life. Yet her handsome uncle’s indulgent affection masks his identity as an infamous serial killer devoid of compassionate humanity. As Charlotte shifts from starry-eyed innocence to grieving resolve, her suspicions endanger her life.

Shadow of a Doubt distills Alfred Hitchcock‘s thematic and tension-driven essence into a trim 108 minutes. Charlotte’s traumatizing coming-of-age maturation hinges upon a young woman discovering the malicious predators lurking just past suburbia’s white picket fences, traditionally suave American masculinity, and even one’s dearest kin. Cinematographer Joseph A. Valentine underscores key emotions (claustrophobic threats, power imbalances, implied unconsummated incest) through classic techniques and subtle metaphors: fastidious zooms, lingering close-ups, Uncle Charlie’s imposing form towering above Charlotte, and the recurring imagery of couples sweeping across a dance floor like uncle and niece waltz around one another — first as seemingly entwined souls, then in a sinister duel.

6

‘The Maltese Falcon’ (1941)

Imagery via Warner Bros. Pictures

Sam Spade (Humphrey Bogart) just wants to get paid, throw back an excessive amount of alcohol, and go home. He doesn’t even care about his detective partner’s (Jerome Cowan) murder. Nevertheless, the deadly event tosses the reluctant, but sharply curious, gumshoe into the path of three duplicitous gold-diggers. The trio seeks the Maltese Falcon, a legendary statuette artifact said to house an extraordinary treasure trove.

Future two-time Oscar winner John Huston commands The Maltese Falcon with such consummate authority, you’d never guess it’s his directorial debut. The definitive adaptation of Dashiell Hammett‘s novel either launched the noir template into widespread popularity or cemented its clarifying turning point. Everything one expects and desires from a mystery caper operates at an impeccable peak: character archetypes, cinematic atmosphere (cinematographer Arthur Edeson‘s velvet-rich shadows, disorienting compositions, a flowing seven-minute take), hard-boiled dialogue, and convoluted thrills. As for The Maltese Falcon‘s lightning-in-a-bottle cast, Bogart dazzles as a world-weary, deliciously cunning master of acidic one-liners. Set him loose against the slippery Mary Astor, Peter Lorre, and Sydney Greenstreet, and you have an uproariously entertaining fencing match between four onscreen titans.

5

‘In a Lonely Place’ (1950)

Image via Columbia Pictures

Failing screenwriter Dixon Steele’s (Humphrey Bogart) history of volatile rage makes him the primary suspect in a young woman’s (Martha Stewart) murder. His neighbor, Laurel Gray (Gloria Grahame), provides an alibi, and their blossoming romance reinvigorates Dixon’s creativity for the first time since World War II. Meanwhile, Laurel glimpses the softer, redeemed man her lover could become — until her fears about his capacity for violent physical abuse turn their engagement perilous.

Director Nicholas Ray and writer Andrew P. Solt‘s suspense thriller sheds all expectations. In a Lonely Place structures its central mystery around astonishingly mature emotional depth and profound uncertainty, but the focus shifts to a different kind of harrowing tragedy. Known for a tough-guy persona that often leaves his finer-tuned talents unsung, Bogart delivers his career-best performance as a haunted, self-sabotaging, and insecure leading man whose bloodthirsty inner demons are psychologically dissected rather than lauded. He inhabits a palpable vulnerability, like he’s peeling back his skin to reveal Dixon’s self-loathing bones.

4

‘Out of the Past’ (1947)

Image via RKO Pictures

Accomplished criminal overlord Whit Sterling (Kirk Douglas) hires Jeff Bailey (Robert Mitchum) to retrieve Kathie Moffat (Jane Greer), the young woman who stole Sterling’s money and what little remains of his heart. Jeff knows better than to fall for an insidiously magnetic temptress, yet the detective plunges head-first into a dangerous affair regardless. Years later, Jeff lives under an assumed name, complete with a new profession and a good-girl-next-door lover (Virginia Huston) — all too aware he’s stealing moments until the living ghosts of his past inevitably corner him.

With Out of the Past, Jacques Tourneur demonstrates the same remarkable directorial mastery over art direction, intricate blocking, and melodically despondent atmosphere as his horror masterpieces (Cat People, I Walked With a Zombie). Likewise, older noir has rarely looked more exquisite than under Nicholas Musuraca‘s eye; his chiaroscuro perfection rivals fine art paintings with their contrast between sun-drenched panoramic countrysides and enclosed, menacing urban architecture. Not to be undone, Daniel Mainwaring‘s poetically brittle screenplay leaves a dozen figurative paper cuts. Although Out of the Past‘s winding plot can be an intimidating head-scratcher, one needn’t comprehend the ins-and-outs to be swept away by one of the genre’s defining zeniths.

3

‘Double Indemnity’ (1944)

Image via Paramount Pictures

What happens when two amoral opportunists stumble into sexually charged intrigue? Cataclysmic results, of course. Phyllis Dietrichson (Barbara Stanwyck) coaxes insurance agent Walter Neff (Fred MacMurray) into helping her murder her boring husband (Tom Powers) so they can claim his life insurance policy. Craving the fortune and the alluring girl, Neff willingly obliges. However, Neff’s only friend, claims investigator Barton Keyes (Edward G. Robinson), zeroes in on the pair’s not-so perfect crime.

All superlatives for Billy Wilder‘s Double Indemnity are valid, whether those descriptors are “the quintessential noir” or “a perfect movie.” Double Indemnity‘s enduring legacy as a tense, intoxicating elixir without equal would be enough on its own, but Wilder’s first masterpiece arguably popularized the genre’s trademarks and originated the erotic thriller. Walter and Phyllis’ illicit dalliance manifests as sizzling verbal warfare, while the voyeuristic appeal for audiences emerges from watching terrible people indulging their worst impulses. A never better Stanwyck delivers the femme fatale to end all femme fatales — divinely calculating, enigmatic, and assured, strutting like a sultry panther with its claws extended, alternatively carnivorous and playing with her food. John Seitz’s camera either halos Phyllis in beautific light or drenches her in blood-curdling shadows.

2

‘Laura’ (1944)

Image via 20th Century Studios

In an ironic turn of events, detective Mark McPherson (Dana Andrews) becomes infatuated with a dead woman while investigating her murder. Without anyone to advocate on her behalf, business executive Laura Hunt (Gene Tierney) is memorialized through a single glamorous portrait and the biased recollections of enemies wearing friendly faces — specifically, Waldo Lydecker (Clifton Webb), Laura’s ostentatious and self-appointed mentor, her social-climbing fiancé (Vincent Price), and her disdainful aunt (Judith Anderson).

Laura brims with melancholic yearning, depraved perversion, class awareness, and the ways patriarchy crafts an idealized feminine image while oppressing the personality and agency behind the fantasy. For all this solemnity, Otto Preminger‘s disciplined director’s pacing, writers Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt‘s silver-tongued wit, and the underhanded dexterity through which both parties choreograph the mid-way twist are second-to-none. Joseph LaShelle’s hypnotizing work behind the camera sparsely utilizes elongated shadows, preferring to glide through well-lit interiors and place the two-faced ensemble in allegorical profiles. As cinematic as movies come, Laura‘s another pristine triumph that dabbles in, but avoids adhering to, every whodunit rule.

1

‘The Third Man’ (1949)

Image via British Lion Films

American novelist Holly Martins (Joseph Cotton) plans to reunite with his old friend Harry Lime (Orson Welles) in Vienna. Upon arriving, Martins discovers Lime allegedly died in a car accident. The eyewitness testimonies, however, are too contradictory for either Martins or Lime’s loyal girlfriend, Anna Schmidt (Alida Valli), to ignore — while the truth about their shared acquaintance is darker than either bargained for.

Shot on location in an Austria freed from Nazi control but divided into four Allied occupation zones, Carol Reed‘s seminal philosophical thriller The Third Man roots itself in the fragile individual ethics and fractured geopolitical landscape of a Europe teetering on the cusp of the Cold War. Welles’ wily smirk personifies the film’s skein of skewering cynicism as much as Reed’s sublime proficiency, Graham Greene‘s crackling dialogue, and Robert Krasker’s baroque framing of the city’s crumbling architecture and scattered debris; the latter, in particular, evokes the scars only war can leave. An indelible and pivotal contribution to movie history, The Third Man remains as fresh and relevant as the day it first hit theaters.

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The Third Man

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Release Date

February 1, 1950

Runtime

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93 Minutes

Director

Carol Reed

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A clip posted by Yandy Smith on her social media has internet users in tears, calling her “YANDEECEES.”

RELATED: For Real?! Mendeecees Goes Viral Following Revelation About His Relationship & Union With Yandy Smith (WATCH)

More On The Clip Posted By Yandy Smith

On Wednesday, July 20, Yandy Smith took to Instagram to share a clip of herself alongside her friend, Quad. However, in the clip, they were both dressed up as men, rocking Yankee caps and oversized jackets.

“Sometimes the realest 🥷in the room is a 💃🏾 🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯,” Smith captioned the clip, which showed them singing to Rihanna’s ‘Take a Bow.’

Check it out below.

It Has Internet Users Calling Her “YANDEECEES”

Social media users slid into TSR’s comment section, some calling Yandy Smith “Yandeecees,” and many comparing her looks to Mendeecees.

Before Yandy Smith Had Internet Users Calling Her “YANDEECEES,” She & Mendeecees Had Internet Users Talkin’

Before Yandy Smith’s video, back in December, she and Mendeecees had internet users talkin’. As The Shade Room previously reported, at the time, Yandy Smith shared a carousel featuring a variety of text quotes.

At the time, one Instagram user slid in TSR’s comment section, writing in reaction, “Most of us understand how she feels. Riding with someone to the wheels fall off. When the wheels fall off, it’s meant to just let it go.”

Furthermore, her post followed Mendeecees revealing that she and he were never legally married.

RELATED: Hol’ Up! Are Mendeecees Harris & Yandy Smith Responding To Each Other With Cryptic Reposts? (VIDEOS)

Roomies, when it comes to Keyshia Ka’oir and Gucci Mane shutting it down without even trying too hard, they always step out like it’s a private runway. But this time around, all eyes were locked on Mrs. Davis as she gave full main-character energy.

RELATED: Keep It Moving! Carlos King Addresses Keyshia Ka’oir Cheating Rumors As She Reveals Doing “Everything” For Gucci Mane (VIDEO)

Keyshia Ka’oir recently shared clips on her social media showing her stepping out in a bold black ensemble featuring a fitted bodysuit layered under a sheer dress that highlighted her silhouette, complete with dramatic detailing and pom-pom accents that had the look doing all the talking. She finished it off with a diamond choker, stacked bracelets, a sleek black purse, and a straight middle-part hairstyle, serving luxury from head to toe while fans flooded the comments calling her “Queen Davis” in real time. Walking right beside her, Gucci Mane matched the energy in an all-black fit with shades on, casually sipping his drink as the couple moved like they owned the night — and honestly, the internet agrees nobody is topping this duo anytime soon.

The Roomies Always Got Something To Say

One Instagram user @kurvy_kayy said, “One Thing About My Girl Kaoir She’s Going To BODY An Outfit 😍🖤🔥🔥🔥🔥”

This Instagram user @taramarie.214 added, “She really be putting that sh**ttttt on 🔥🔥”

And, Instagram user @jodiamond84 shared, “She dresses so tacky..she a baddie tho💯”

Meanwhile, Instagram user @kryssiglam claimed, “My gowrl will always dress like a Jamaican“

While Instagram user @ms_courtneylove joked, “LOOKING LIKE A POODLE!!!!!! 😂😂😂😂SILLY SELF!“

Finally, Instagram user @mznickytrevill commented, “🙌🏾Both look good and healthy!“

Keyshia Don’t Play About Her Man

Not too long ago, Keyshia Ka’oir and Gucci Mane popped out for a lil’ date night, and of course, they stepped out giving full coordinated luxury vibes. Mrs. Davis stunned in a red-and-white look dripping in diamonds as usual, while Gucci Mane matched her energy in a red-and-white tee, shorts, and sneakers, keeping it cool beside his wife.

And y’all already know Gucci Mane’s wife Keyshia Ka’oir doesn’t play about her man, as we just heard from her not too long ago when she took to Instagram Stories to make her stance crystal clear. “My husband is my world & I’ll 4Eva ride fa him. MRS. GUWOP!” she wrote, letting it be known she stands ten toes down for Gucci Mane every time.

RELATED: Loyalty Check! Keyshia Ka’oir Drops Message About Gucci Mane After Pooh Shiesty’s Mugshot Surfaces (PHOTO)