You can take wonderful care of your hair, but damage can still sneak through, leaving your strands looking less striking than you’d like. Drew Barrymore understands the woes of damaged hair and has turned to a particular haircare brand to bring her ‘do back to life. Made with patented technology, the shampoo and conditioner is on sale now, so you can experience the benefits, too.

Barrymore documented her hair journey on Instagram. “I wanted to do something to feel more attractive to myself, and it totally backfired,” she shared in a post, noting her hair didn’t respond well to bleach. “Within three weeks, Olaplex saves me!” Barrymore said in another post. So, we’re thrilled that the Olaplex Bond Maintenance No. 4 Shampoo and No. 5 Conditioner is marked down for a limited time.

Get the Olaplex Bond Maintenance No. 4 Shampoo and No. 5 Conditioner for $45 (originally $61) at Walmart!

The No. 4 Shampoo is designed for medium-coarse hair, and it repairs common damage you might experience from harsh chemicals, heat and tight hairstyles. With just one wash, the shampoo strengthens, reinforces, nourishes and boosts shine, according to Olaplex. Follow it up with No. 5 Conditioner, which also focuses on damage, to nourish, ease detangling and smooth.

You don’t need to use a lot of each product to experience the benefits. Olaplex says the 250-milliliter bottles of shampoo and conditioner offer up to 100 and 50 applications, respectively. With the shampoo, just apply it to wet hair and lather well before rinsing it out. For the conditioner, let it do its thing for one to three minutes before rinsing it out. That’s all it takes!

Real-life shoppers agree that the formulas are super concentrated, so you only need a small amount to get an impressive lather.

“My hair used to be damaged from heat, and then, when l started using Olaplex, my hair got better. I recommend Olaplex for frizzy, damaged, and thin hair. It moistened my hair,” a verified buyer shared.

“My hair has gotten dry and [has begun] to break off easily. I decided to try Olalpex and am glad I did! My hair is smooth, soft and shiny with almost no breakage. I noticed the difference after one use!” one five-star reviewer wrote.

Whether it’s damage, frizz, dryness or something else, everyone’s hair could use a little pick-me-up. And if it happens to be Barrymore-approved? Well, that’s just a bonus!

Get the Olaplex Bond Maintenance No. 4 Shampoo and No. 5 Conditioner for $45 (originally $61) at Walmart!

Related: Drew Barrymore Swears This $28 Concealer Is Like a ‘Magic Eraser’

Drew Barrymore is refreshing her beauty routine for fall, and we’re taking notes! The talk show host and actress’ fall essentials include the Jones Road Beauty The Face Pencil, and if it makes our under-eye circles as invisible as Barrymore’s, we’re in for a real treat. “The Face Pencil is the makeup version of the […]

It’s been a few days since B2K and Pretty Ricky’s Verzuz, but fans still can’t stop recapping some of the show’s viral moments. One moment that’s still taking over the internet happened when Omarion asked Pleasure P, Spectacular, and Baby Blue were their fourth member, Slick ‘Em, was. The question had social media popping OFF, with plenty of fans assuming that Omarion was throwing shade. Now, he’s speaking up and setting the record straight to clear the air about what he really meant.

RELATED: Whew! Social Media Users Are Weighing IN After Willie Said Day 26 Would Have “Smoked” Pretty Ricky & B2K In Verzuz (VIDEOS)

Omarion Asks For Slick ‘Em In The Middle OF Verzuz With Pretty Ricky

If you’ve been out of the loop, fans have been going IN on Omarion after he questioned where Slick ‘Em was right in the middle of Verzuz. A now-viral clip shows him coming at Pretty Ricky right before their song plays, and he says, “Where Slick ‘Em at?” The minute fans peeped what he said, plenty of folks started reacting online, saying his comment mean and a corny move.

Pleasure P hopped on a livestream after the Verzuz to shoutout Slick ‘Em and let folks know the group definitely wants him back. Rumors previously surfaced that Slick ‘Em was battling substance abuse and left the group to enter rehab. In 2024, Pleasure P addressed his whereabouts, saying he didn’t want to speak on his business but believe the industry played a role in his downfall.

Omarion Speaks Out Amid Backlash Over Comments At Verzuz

After LiveBitez dropped the clip of Omarion, he hopped straight into the comment section to clear the air. He said he stays to himself and focuses on his kids, and didn’t know Slick ‘Em was going through it, but still he wished him well.

“First of all I do not keep up with nobody but my kids. I did not know that slick em was having a tough time. I wish deep healing & recovery,” Omarion wrote.

Social Media Is Split After Omarion Addresses Backlash

Reactions kept rolling in after Omarion spoke out. Folks over in LiveBitez’s comment section were split — some said they didn’t know about Slick ‘Em’s situation either, while others doubled down and said Omarion knew what he was doing when he asked about him.

Instagram user @jlee_smalls wrote, “He was trying to be funny and it backfired.” 

Instagram user @kris_style215 wrote, “I was wondering where he was as well!! I had no ideas! Wow! 🙏🏾” 

While Instagram user @sweetcandyyamsss wrote, “Heck I didn’t know either. Ya’ll are so weird like y’all really give af. Lmao.” 

Then Instagram user @cam.org99 wrote, “Man y’all really need to chill he prolly didn’t know you can’t tell a person what their intentions are if there’s really no malice behind it 🤷🏾‍♂️💯” 

Another Instagram user @kashmirbc2 wrote, “Ngl I forgot he was in rehab too.” 

Instagram user @therealsusiecarmichael__ wrote, “Somebody said they should of asked him where Chris stokes at 😭🤣 IYKYK.” 

Then another Instagram user @ya_nasi wrote, “How he don’t know and they just came off tour 🤣🤣🤣🤣🤣 he was just mad they got washed.” 

While another Instagram user @lajan_neg wrote, “Nahh you lying bra, I know them boys told you what’s going on with bra because y’all on Tour together unless if they really ain’t tell you and just keep it a family business.” 

Finally, Instagram user @yella_yelliee wrote, “I mean I didn’t know either he said what he said tho.” 

RELATED: Spill It, Sis! Baby Blue’s Girlfriend Speaks Out After Fans Clock Her Ankle Monitor At Verzuz (PHOTOS + VIDEOS) 

Season 4 of Mad Men saw a makeover for the critically acclaimed AMC period drama. With a new office, new partners, and new employees, Don Draper’s (Jon Hamm) advertising kingdom underwent the same turbulence as the ongoing political and social movements of the 1960s. Inside the new quarters of Sterling Cooper Draper Pryce, the independent offshoot of Sterling Cooper, the rising star was undoubtedly Peggy Olson (Elisabeth Moss), who fully transformed from a timid secretary to a creative visionary in the copy division. Peggy also became Don’s ultimate foil, and the pair’s dynamic relationship, the heart of Mad Men in its later seasons, culminated in Season 4, Episode 7, “The Suitcase,” widely regarded as the show’s high point.

‘Mad Men’s Most Iconic Line Is Delivered in Its Best Episode

Showrunner Matthew Weiner turned business negotiations and advertising jargon into a work of theater, and the novelistic characterization and narrative depth perfectly complemented the rich dialogue. The writing could be witty, biting, flowery, and dark in any scene. As a chamber drama across six seasons of exceptional television, Mad Men thrived on intelligent and nuanced characters using words to wage war on morals, values, and ethics. This creative approach peaked in “The Suitcase,” the series’ cherished entry in the canon of bottle episodes, a subgenre of TV episodes set primarily in one confined location with minimal primary characters.

In “The Suitcase,” Mad Men‘s exact halfway mark, which aired on September 5, 2010, while most of the office is off to see the second match between famous boxing rivals Muhammad Ali and Sonny Liston, Don and Peggy stay behind to finish an ad campaign for suitcase manufacturer Samsonite. Throughout the night, as Peggy abandons her dinner plans with her boyfriend and family, the creative director and copywriter undergo a grueling workshopping and drafting session. These overworked ad executives find themselves fighting, revealing touchy secrets about their pasts, and ultimately connecting on a more personal and deep level than we’d previously seen.

‘Mad Men’s Signature Line Has a Lot To Say About the Series Itself

During their most heated exchange, Peggy reprimands Don for failing to give her proper credit for an award-winning ad campaign for Glo-Coat. Feeling generally taken for granted and unappreciated for her hard work, Peggy learns the sobering truth about corporate America and Don Draper’s mindset when her boss shouts, “That’s what the money is for!” It’s a line that sends shivers down Peggy’s spine, and the impact of this poignant remark still lingers today, as this moment has endured as both a meme and a talking point when dissecting the greater thesis of Mad Men. This line, delivered with stirring conviction by Jon Hamm and received with stunning awe by Elisabeth Moss, is equally pointed in its direct meaning and abstract enough to be analyzed for eternity.

Throughout Mad Men, Don and Peggy represented the apex of character foils in the Peak TV era. In “The Suitcase,” viewers witnessed the clash between Don’s cynicism and suppressed emotionality and Peggy’s idyllic relationship to her work. Don, as is the entire apparatus of capitalism, is not interested in the compliment business. In his worldview, money unquestionably buys happiness. We’ve watched Don’s soul corrode over the previous three seasons, with his personal life and self-satisfaction crumbling even as he continues to thrive as a creative visionary. “That’s what the money is for!” more or less confirms that Don treats his professional life as a soulless endeavor, and as long as the biweekly checks keep clearing, everyone should feel content in this capitalist society. The employees of Sterling Cooper Draper Pryce sell happiness, but they’re incapable of indulging in it themselves.

Mad Men‘s most important line is also a depressing indictment of Don’s transactional approach to human relations. As he operates at a reticent tenor, he longs for a better life, one akin to the quaint, rural landscape of his time as Richard Whitman. Peggy, who has brilliantly climbed up the corporate ladder and proved herself as a gifted voice in the marketing field, expects to be embraced at a fundamental human level. To some extent, she wants to be viewed as an equal to Don, but his scathing critique of her plea for gratitude indicates that they will never be companions.

“The Suitcase” served as a crucial inflection point for Mad Men and its two marquee characters, as each began feeling more disillusioned about the American Dream and hope for emotional fulfillment from their profession. However, it also brought Don and Peggy closer together, and the show’s back half saw them connecting to a profound degree. Above all else, the episode proved that long hours at work can do a lot to your psyche.

Jonathan Majors has signed on for a controversial Hollywood comeback vehicle, partnering with conservative media company The Daily Wire for the action thriller, “Run Hide Fight: Infidels.”

Fans have taken to social media to slam what some are calling a highly provocative film.

The movie comes years after the actor’s court battle with his ex, Grace Jabbari, which ended with him being found guilty of assault and harassment.

Jonathan Majors is set to return to screens in a major role in the new movie “Run Hide Fight: Infidels,” produced by Ben Shapiro’s media company, The Daily Wire.

The film follows a plot in which “radical Islamic terrorists” attempt to infiltrate and impose Sharia law on an ultra-progressive, “woke” American college campus.

In the trailer released this week, images from real-life terror attacks flash on screen, including those from 9/11. They are followed by a mashup of footage that includes the 2024 nationwide college protests over the war in Gaza, a Fox News host reporting on terror plots, and a clip of Marco Rubio telling the network, “Radical Islam has designs openly on the West.”

Other Islamic elements also appear on screen, including footage of an ISIS flag as the call to prayer is heard.

Daily Wire Film Drew Heat Before Trailer Release

Although Majors does not appear in the trailer, he is set to play the lead protagonist, a Delta Force military veteran who becomes the campus’s unlikely savior.

A synopsis for the film reads, “When radical Islamic terrorists hijack a liberal college’s pro-Palestine encampment to enforce barbaric Sharia law on students and execute infidels in a makeshift caliphate, a ragtag band of red-blooded students, a security guard tired of ‘Uncle Tom’ smears, and a Delta Force vet must arm up to save their clueless peers and keep America from surrendering to the enemy on its own soil.”

The project had already sparked controversy in April when Majors and his co-star, JC Kilcoyne, were seen falling through a window in a clip that trended online.

Film’s Crew Staged Walkout After On-Set Incident

In the clip, published by Deadline, the pair moved backward as Majors’ character appeared to have been shot before they fell through a set of blinds.

The audio captured people on set exclaiming, “Ooh!” as crew members rushed to the window to ask if they were both okay.

“I’m good, you good,” one person said, to which another responded, “I’m good.”

One voice could be heard asking, “Did we shoot it?”

A crew member later warned, “Be careful of the glass, guys.”

According to the outlet, the incident prompted a crew walk-off and union picketing by the International Alliance of Theatrical Stage Employees.

In a fiery statement addressing the labor dispute, producer Dallas Sonnier dismissed the union’s interference, telling Entertainment Weekly that “The actors’ fall was shorter than the failed movie careers of the now-union reps.”

Fans Rip Jonathan Majors’ Comeback Film

Several internet users took to social media to share mixed to critical reactions to the film’s trailer.

“Seriously, one of the biggest career downfalls in years,” a Reddit user wrote. “Was a huge villain of the biggest franchise, was shaping up to be a big deal in Hollywood, and now he’s doing movies like this.”

Another person said, “Grifting to the right after being outed as a wife-beater? Shocking! Conservatives’ complete lack of standards makes them the only place these abusers can find refuge after being outed (party of family values btw).”

“He is either extremely desperate for work or is extremely out of touch with reality,” a third person penned, while someone else added, “This isn’t wise at all. I understand him needing a check. But Ben Shapiro? He’s a sinking ship.”

How Jonathan Majors’ Hollywood Rise Stalled After Conviction

The project marks Majors’ first major film role since his career ground to a halt following his conviction for assault and harassment of his former girlfriend, Grace Jabbari.

At the time, she alleged she was a victim of battery, assault, intentional infliction of emotional distress, malicious prosecution, and defamation.

Court documents also showed that she claimed he subjected her to a “pattern of pervasive domestic abuse that began in 2021 and extended through 2023.”

Majors was found guilty of one count of assault in the third degree and one count of harassment in the second degree in December 2023.

Although he did not go to jail, he was ordered to complete a 52-week in-person batterer’s intervention program and continue mental health therapy. Before his legal troubles, Majors was on a rapid rise in Hollywood, anchored by his role as Kang the Conqueror in the Marvel Cinematic Universe, a role he was immediately fired from after his conviction.

The definition of a cult film is by no means clear-cut or defined by any sort of strict meaning. Virtually any kind of movie can garner a following passionate and obsessive enough to qualify as a cult following, but there’s one genre that lends itself particularly well to gaining cult followings, and that’s comedies. After all, few things attract a fanbase better than pure, unadulterated laughter.

This isn’t necessarily a list of the best comedy cult classic films, however, but rather a list of the most important, the ones that have defined and influenced the cult cinema movement the most throughout the years. Whether it’s a little-known international gem like The Gods Must Be Crazy or a Hollywood classic so huge that it’s almost mainstream, like The Big Lebowski, all of these comedies should be considered essential viewing for all those interested in better understanding cult cinema.

10

‘The Gods Must Be Crazy’ (1980)

Image via 20th Century Studios

One of cult cinema’s most defining qualities is the obsession with niche films that not just any Average Joe is familiar with, and as a result, many international comedies that would have otherwise flown under the radar have acquired cult followings over the years. Case in point: the South African-Batswana co-production The Gods Must Be Crazy, the first in the film series of the same title.

This film is proof that films that actually performed remarkably well with critics and at the box office can still qualify as cult classics. Indeed, The Gods Must Be Crazy became a surprise word-of-mouth sensation across Africa, Europe, and North America during its theatrical run. It’s one of the most notorious must-watch cult classics from the ’80s, all thanks to its brilliantly-executed slapstick and its sharp satire of modern civilization.

9

‘Withnail and I’ (1987)

Image via HandMade Films

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Withnail and I is yet another of the most essential cult classics of the ’80s, as well as one of the best British comedies of its era. Bruce Robinson‘s masterpiece has made Paul McGann and Richard E. Grant internationally recognized names over the years, even though it was only a modest commercial success when it originally released.

It was thanks to the rise of VHS that Withnail and I became a pop-culture phenomenon during the ’90s, contributing to keeping the late-night cult film circuit alive during a decade when it lay mostly dormant. Further boosted by the endorsement of the British magazine Loaded and the famous drinking game that it spawn off (which fans still love playing today), as well as the script’s tremendous quotability, it’s no wonder why this became one of the ’80s’ biggest cult comedies.

8

‘Harold and Maude’ (1971)

Image via Cover Images

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Rom-coms about May-December couples aren’t exactly abundant, but whenever they do get made, they almost always owe something to the May-December rom-com’s most defining pioneer, Hal Ashby‘s Harold and Maude. It’s one of the most universally beloved cult classics ever, the perfect “odd couple” pitch-black comedy that pairs a death-obsessed young man with a free-spirited older counterpart.

After its terrible box office performance, Harold and Maude grew its following through late-night television and screenings at college campuses and repertory theaters. This taboo-shattering rom-com broke all the rules of traditional romantic Hollywood cinema, full of subversive humor and armed with a ton of life-affirming heart to really send its message home.

7

‘Superbad’ (2007)

Image via Colombia Pictures

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The cult film movement has been thriving throughout the 21st century, and comedy cult cinema is no exception. But Greg Mottola‘s Superbad is far more than just one of the biggest cult comedies of the 21st century: It’s one of the funniest movies of the past 50 years, a true teen comedy masterpiece that’s among the most quotable films of modern times.

Almost immediately after its release, the film established itself as a modern teen cult classic through its tremendous quotability and generational staying power. But balanced with that iconicity and that raunchy, crude humor is a surprising amount of heart and an unexpected sincerity that makes it a cinematic love letter to male friendship. It doesn’t get much more perfect for a cult reception than that.

6

‘Pink Flamingos’ (1972)

Image via New Line Cinema

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Few auteurs have ever been more important or revolutionary for the cult cinema movement than John Waters. Subverting mainstream taboos, championing countercultural outcasts, and pioneering the midnight movie phenomenon, Waters earned himself the moniker of the Pope of Trash throughout the early days of his career. But all the greats have to start somewhere, and in Waters’ case, the movie that put him on the map was Pink Flamingos.

It’s far and away one of the most tasteless movies of all time, but very intentionally so. It’s the ultimate cinematic rebellion, cinema’s quintessential celebration of bad taste, and an extravaganza built entirely on camp, anarchy, and queer liberation. The film became an underground sensation pretty much immediately following its premiere at the Baltimore Film Festival in 1972, turning it into one of the original champions of the midnight screening circuit.

5

‘Clerks’ (1994)

Image via Miramax

The ’90s were a particularly good time for independent cinema throughout the entire world, but Hollywood in particular saw a real boom in low-budget filmmaking like Clerks. Directed by Kevin Smith when he was only 22 years old, the movie was shot on a micro-budget of less than $50 million dollars, turning it into the kind of underdog filmmaking success story that the ’90s had so many of.

The film’s instant connection with the apathetic, pop-culture-obsessed spirit of Gen X during the ’90s made it a cult hit almost immediately following its theatrical release, though it was the VHS market that really turned it into a pop culture sensation. Built on endlessly quotable dialogue and a relatable understanding of the monotony of dead-end retail jobs, it’s a film that still feels universally timely all these many years later.

4

‘This Is Spinal Tap’ (1984)

Image via Embassy Pictures

It’s not often that filmmakers completely re-invent a genre with their debut feature, but that was just the kind of immense talent that Rob Reiner was. This Is Spinal Tap wasn’t the first mockumentary in film history, but it sure made the genre mainstream and set a set of brand-new rules for it. Until this day, you’d still be hard-pressed to find someone who doesn’t consider it one of the best satire movies of the last 75 years.

Though the movie was a critical success upon release, its box office gross were rather modest, largely because many viewers mistakenly thought that the fictional titular band was a real group and were thus uninterested. It was in the VHS market that Spinal Tap began to find its cult following—and what a loyal following it has remained through the decades. Satirizing and parodying the music industry and rockumentaries in ways that still feel clever and fresh, it became a word-of-mouth sensation that completely re-defined modern comedy. The entire mockumentary genre would simply not be the same without it.

3

‘The Rocky Horror Picture Show’ (1975)

Image via 20th Century Studios

The midnight film circuit is one of the most important pillars of the cult cinema movement, and there is no midnight cult classic more important, iconic, or enduring than The Rocky Horror Picture Show. It’s one of the best horror masterpieces of the ’70s, a musical comedy extravaganza fueled by pure camp, queer sensuality, and taboo-breaking humor.

The film was both a critical and commercial flop when it came out, but just one year after its release, the Waverly Theater in New York City started running midnight screenings of it. This way, what had once been a failure became the defining work of participatory cult cinema, transforming the movement into an immersive, interactive social ritual. To this day, watching a midnight screening of Rocky Horror in a packed theater should be on every cinephile’s bucket list.

2

‘Monty Python and the Holy Grail’ (1975)

Image via EMI Films

Monty Python and the Holy Grail is one of the most admirable works of low-budget fantasy filmmaking in history, a film that takes full advantage of its shoestring budget and uses it as a way to elevate, not limit, its humor. It’s one of the most genre-defining comedy movies in history, and further proof that huge commercial and critical successes can also be considered cult classics.

The film grew its cult following through late-night television broadcasts, college campus screenings, and the booming VHS market—and big-screen comedy has never been the same since. Absurdist comedy, quotable dialogue, smart satire, and creative workaraounds around budget limitations are always big factors that contribute to a film becoming a cult classic, and they certainly turned this into one of the most iconic comedy masterpieces in movie history.

1

‘The Big Lebowski’ (1998)

Image via Working Title Films

There are plenty of box office bombs that are now considered masterpieces, but as far as comedies go, none are more notorious than the Coen brothers‘ The Big Lebowski. Despite its initial cold reception, the film found new life in the VHS and DVD market in the years following its release. With the launch of Lebowski Fest in Louisville, Kentucky in 2002, the deal was sealed: The world was in the face of the biggest cult classic in the history of comedy cinema.

What, if not the biggest cult comedy in history, could spawn the emergence of an actual religion and life philosophy? Indeed, the mere existence of Dudeism should be proof enough that few cult classics have ever reached the level of iconicity of The Big Lebowski. The movie has become so beloved and so widely celebrated that today, it’s nothing short of a mainstream classic. Quotable, funny, weird in all the right ways, and fueled by an anti-establishment ethos that virtually every cult cinema fan should be able to vibe with, it’s a testament to the cultural power of the cult cinema movement.

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The Big Lebowski

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Release Date

March 6, 1998

Runtime

117 minutes

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Director

Joel Coen

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Writers

Ethan Coen, Joel Coen

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90 Day Fiancé alum Jasmine Pineda is speaking out after finalizing her divorce from now-ex-husband Gino Palazzolo.

“My client has exercised remarkable restraint despite repeated public accusations that we believe are false and damaging. The legal process has concluded, yet the public attacks have not,” Pineda’s lawyer Andrew J. Tahmazian said in a statement to Us Weekly on Friday, June 26. “We are issuing a formal cease-and-desist demand, and if these defamatory statements continue, we are fully prepared to pursue every legal remedy available. Reputation has value, and the law provides recourse when false statements cause harm.”

Pineda’s manager, Dominique Enchinton, also addressed the reality star’s divorce in a statement to Us, “For far too long, Jasmine has been forced to defend herself against a narrative that simply does not align with either the facts or the outcome of this case. The final divorce resolution speaks louder than months of interviews, online commentary, and accusations.”

Enchinton continued, “Jasmine chose peace over prolonged litigation. She honored a settlement so she could close this chapter and focus on her children, her family, and her future. Unfortunately, the continued public attacks have made it necessary to respond. The legal process has concluded, and the outcome speaks for itself. Jasmine is choosing to move forward with grace, dignity, and purpose—not conflict. We are hopeful this chapter has finally come to a close. However, a person’s reputation is invaluable. Should false and defamatory statements continue, we are fully prepared to protect Jasmine’s rights through every appropriate legal avenue. We remain confident that the truth, supported by the facts, will continue to speak for itself.”

Us Weekly has reached out to Gino for comment.

Related: Inside 90 Day Fiance’s Gino Palazzolo and Jasmine Pineda’s Divorce

90 Day Fiancé stars Gino Palazzolo and Jasmine Pineda are still in the middle of a quarrelsome divorce nearly three years after they tied the knot, Us Weekly can exclusively report. Gino, 57, filed docs in July 2025 to legally end their union in Michigan, where the now-exes wed in June 2023, noting they separated […]

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Jasmine, 39, and Gino’s courtship was first profiled on 90 Day Fiancé: Before the 90 Days, as she left her home in Panama to move in with Gino, 57, in Michigan. They were later featured on 90 Day: The Last Resort.

Despite showing a volatile side to their relationship on 90 Day, the couple tied the knot in June 2023 in Michigan. They later agreed to open up their marriage, with Jasmine ultimately welcoming a daughter, Matilda, outside of the relationship with boyfriend Matt Branistareanu. (Jasmine also has two sons, Juance and JC, from a previous relationship.)

Gino eventually admitted on 90 Day Fiancé: The Last Resort Tell-All that he wished he’d never agreed to an open marriage.

“Overall, after all this was done, I regret agreeing to open marriage,” he confessed in an April 2025 episode. “But I felt like I was trapped in a corner. Like, I had to make a decision, take action, because nothing was working for us.”

Gino officially filed for divorce in Michigan in July 2025, listing their separation date as April 22, 2024. Jasmine counterfiled for divorce one month later in Florida, where she’d moved with Matt, 39.

As the former couple settled their divorce, Gino’s spokesperson exclusively told Us on Thursday, June 25, that he looked forward to “bringing a long and emotionally difficult chapter to a close.”

“The court’s final ruling has resolved the matter in his favor, giving him the legal closure he has been waiting for and allowing him to move forward at last,” his rep went on. “The relationship and its aftermath placed Gino under significant emotional strain, as he navigated a very public breakup, legal proceedings, and the pressure that came with the collapse of his marriage. After enduring that process, Gino is relieved that the matter is now behind him and grateful to finally have clarity, peace, and the opportunity to focus on himself.”

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Related: ’90 Day Fiance’ Alum Gino Responds To Claim He Dodged Divorce Filing

90 Day Fiancé alum Jasmine Pineda and her estranged husband Gino Palazzolo’s unconventional relationship has taken another unexpected turn. TMZ reported on Saturday, October 25, that Jasmine, 39, published a notice in Pinellas County, Florida’s La Gaceta newspaper to announce that she’d filed for divorce in August. According to the outlet, Jasmine took this legal […]

The 90 Day Fiancé star is “genuinely happy to start over” and is now focused on filming 90 Day: The Single Life, per his spokesperson.

“Viewers have already seen him beginning that process on 90 Day: The Single Life, where he has started dating again and taking steps toward rebuilding his personal life,” his rep added. “This next chapter represents a fresh start, one centered on healing, moving forward, and embracing what comes next.”

The statement concluded, “Gino’s focus now is on growth, peace of mind, and creating a future that reflects stability and happiness. After everything he has been through, he is looking ahead with optimism and appreciation for the chance to begin again.”

We may know Cecil B. DeMille best for his final film, The Ten Commandments​​​​​​, but did you know that Hollywood legend Cecil B. DeMille made a trilogy of biblical epics back in the day? At the point where the silent era was fading out and “talkies” were becoming popular, DeMille made three historical/religious epics that chronicled the Old Testament, New Testament, and early Church eras. Yet, it was only the final picture in this unofficial string of thematic material that utilized sound, the highly underrated and all-around provocative The Sign of the Cross. If you’ve never heard of this 1932 Old Hollywood epic, it’s a pre-Code extravaganza well worth entertaining.

‘Sign of the Cross’ Was a First Century Epic of Romance and Faith

Image via Paramount Pictures

As the third entry in his biblical epic trilogy, The Sign of the Cross is unique in that it was not based on any tale pulled from the holy scriptures. Rather, it was based on a 1895 play penned by English playwright Wilson Barrett, which DeMille had previously seen. (Interestingly, The Sign of the Cross first hit the stage in March 1895, two days after the remarkably similar serial novel, Quo Vadis, was published by Polish author Henryk Sienkiewicz. Quo Vadis would likewise be adapted.) Although The Sign of the Cross had been adapted as a 10-minute silent short in 1904 and as a 70-minute silent drama in 1914, DeMille’s 1932 remake was the most earnest adaptation of Barrett’s material. Here, the director moves beyond strict biblical fiction into historical fiction to round out his religious drama, embracing his ability to craft a larger-than-life visual spectacle that rivals even his later works. While some of the costuming was reused from previous pictures, The Sign of the Cross is quite visually stimulating.

Set several decades after Christ, the picture highlights early Christian persecution at the hands of Roman Emperor Nero (Charles Laughton) in the mid-first-century following the Great Fire of Rome in A.D. 64. More specifically, it follows the fictional Roman prefect Marcus Superbus (Fredric March), who falls for a young Christian woman named Mercia (Elissa Landi) just as Nero orders him to round up and capture all the Christians in the city. While Marcus wishes to show mercy to the new religious sect, he must keep up his Roman appearances and way of life — a way of life that keeps him and the faithful Mercia apart. The Sign of the Cross meditates on Marcus’ inability to believe in anything beyond himself, making his complete infatuation with this young Christian woman all the more brilliant and torturous. Likewise, there is a strong juxtaposition displayed here between the Christian ideals of virtue and sacrifice with Rome’s hedonistic and violent ways. This tension is what helps make The Sign of the Cross such a beautiful film.

Of course, The Sign of the Cross was also quite controversial in its day. As DeMille was known to do, the 1932 picture displays both the decadence and delinquency of Roman society, in the form of the “wicked” Empress Poppaea (Claudette Colbert). While March and Landi play Marcus and Mercia flawlessly, Colbert’s performance as Poppaea is seductively invasive. Jealous for Marcus’ affections and unashamedly lustful in her dealings, she sets her sights on Mercia as a romantic rival and finds herself at terrible odds with the doomed couple. Indeed, through characters like Poppaea and the film’s infamous Colosseum sequence, The Sign of the Cross leans into its pre-Code-era ability to revel in its depiction of ancient Rome’s decadence, showing nude women stalked by wild animals or Ancaria’s (Joyzelle Joyner) incredibly sensual dance sequence as she attempts to seduce Mercia away from her convictions. Yet, these moments of sin and seduction are contrasted marvelously with notions of faith and conviction on the part of Mercia and her fellow believers.

DeMille Rounded Out His Trilogy of Biblical Epics with This 1932 Picture

As one of the greatest filmmakers of the 20th century, DeMille was a true pioneer during the silent and early sound eras. His 1934 film, Cleopatra, was a Best Picture delight at the Oscars, and The Ten Commandments would stun both audiences and critics in 1956, concluding his work in the pictures and solidifying himself as one of the most important names in film history. (This isn’t to mention films like The Greatest Show on Earth, Samson and Delilah, and Union Pacific.) But long before working with Charlton Heston, DeMille’s unofficial biblical epic trilogy chronicled the transition from silent to sound. The Sign of the Cross was only the final entry in this series of religious epics, and the only “talkie” installment. But don’t let that dissuade you from giving his other two installments a try.

The trilogy begins, interestingly enough, with his first attempt at The Ten Commandments in 1923. Yes, his 1956 film is technically a remake of his own material, which arguably makes it even more impressive. Yet, this silent take on the Exodus story is just as engaging, especially as a blueprint from which he would later expand and improve upon. Three years later, DeMille looked to the New Testament for The King of Kings in 1927, deciding that the story of Jesus Christ was the best way to follow up that of Moses. Audiences and critics praised his tender and reverent take on Christ. It was only five years after that he tackled The Sign of the Cross, establishing the religious epic foundation he would need to revisit this historical era later on in his career. Not only did all three of these public domain films help invent the biblical epic as it would later be known and perfected, but they were the foundation for DeMille’s greatest picture ever — and one of Old Hollywood’s absolute best.

The Sign of the Cross, The King of Kings, and The Ten Commandments are available for streaming on Tubi.

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The Sign of the Cross

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Release Date

November 30, 1932

Runtime

124 minutes

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Director

Cecil B. DeMille

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