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    Aftershocks

    Real Housewives goes young & hot in Miami, but Cristy Rice is already fightingmad

    Theodore Bale
    Joseph Campana
    Mar 2, 2011 | 10:31 am
    • The Real Housewives focuses on younger and hotter women in the Miami edition.
    • Cristy Rice certainly isn't backing down.
    • How about less Larsa Pippen and more Scottie please?

    Larsa learns to “lock and load.” Cristy celebrates Cuba. Alexia’s an ad for athleticism. Lea likes her liquor. Media-mogul Marysol’s mad mama is a medium. And Adrianna? She’ll do anything.

    Of course, we’re talking housewives: The Real Housewives of Miami.

    Your Aftershocks team is back, and we’re ready for Bravo’s newest addition to its empire of housewifery. Younger, hotter, hipper, slimmer is the rule in Miami. Or so Kanye West and Daft Punk might sing of these women. That’s one way to raise ratings in a franchise in danger of drifting and bloating. That, and a lot less clothing.

    Golden-haired Alexia Echevarria is called the “Cuban Barbie,” but she’s quick to distinguish herself from a figure she sees as a mute bimbo. Bravo introduces Alexia with some loving domestic footage with her sons, but soon she’s flexing her muscles at hubby Herman’s Spanish-language magazine Venue.

    At a meeting with stepson Herman, the magazine’s editor, Alexia weighs in on anonymous complaints. Some readers find Venue tacky and wonder why it features so many photos of Alexia’s friends. Oh Herman, really? Anonymous complaints? Just tell your evil stepmother how you really feel!

    The Cuban Barbie, Venue’s executive editor, heads this conversation off at the pass. Alexia insists that “the lower people” who buy the magazine can’t get into events with those of her set. Of course they want to see tacky photos of socialites! So much for the Revolution.

    There’s room in Alexia’s mouth for another Jimmy Choo or two. While discussing Adriana de Moura’s childcare blues, Alexia admits: “If there’s reincarnation, I want to come back as a man. They have it so easy. All they have to do is make money. They can be old and ugly and it doesn’t matter.” Alexia, are you describing your own husband?

    What is there to say about Larsa, wife of NBA superstar Scottie Pippen? She’s made very little impact so far, with a few shots of shopping, drinking, and complaining. This is practically the definition of a Real Housewife, so where’s the interest?

    Larsa’s most remarkable feature is her terrible relationship with domestics. She’s had so many nannies that she can’t remember their names, but she did refer to one as “so retarded and so fired” before admitting that she feels better after a firing. Let’s hope she doesn’t bring them to the firing range where she spent some quality time last week with her brother and sister. Nothing says “family” like learning to shoot a gun.

    Help us, Bravo. Can’t you work in more shots of Scottie? He looked awfully spry trying yoga.

    Young divorcée Cristy Rice describes herself as a “super proud Latina-Cuban girl” and it’s already evident that she’s doing her best to keep up with the rest of this predictably fickle bunch. After Lea Black’s intimate cooking-lesson-and-cocktails, Cristy decides to keep the ball rolling and invite the other gals to a Cuban cooking luncheon at her modest home. Well, modest by Housewives standards.

    The mid-day fare features fresh mojitos and chicken and rice simmered in a Crock-Pot, all of it hastily prepared by the strangely effervescent Chef Pepin. Too bad that his mise en place requires little more than a can opener. Cristy hopes the guests will remember it’s the thought that counts, even if she didn’t think very much.

    If there’s a fly in the ointment, it’s Adriana De Moura, the self-described “runaway bride” who went to the Sorbonne, meddled in law school, and then opened her own art gallery in Miami. Every Real Housewives series needs a woman who can’t commit to her man (let's not forget Cynthia in Atlanta) and Adriana seems totally indifferent about her middle-aged French boyfriend Frederic.

    At a swimsuit fashion show last week, she drooled over the enticing male models and seized the empty runway after the show for an impromptu modeling fit. It was a dare from the other women, and she wanted to show them “how it’s done,” as she put it. In a pensive moment on her beachfront dock with Frederic, she reminds him that she only talks to other men, she doesn’t touch.

    While she was enjoying a mojito at Cristy’s house, she became irritated when Frederic didn’t rush to pick up her son from school, something she had forgotten to do. To smooth things over later, he serves her wine and guacamole while she pouts. We think Frederic is a doll. Careful, Adriana, you know what they say about gift horses.

    The seemingly balanced Marysol Patton still has some pretentions that work wonderfully for a show that’s trying to get off the ground. In reference to her hometown, she explains that, “Versace and Madonna lived here, and Stallone and everyone. I ran in that group and it was a lot of fun.” Now it seems the excitement of her own PR firm, The Patton Group, is more dazzling to Marysol than hanging with Versace back in the day.

    We’re not sure yet what to make of Marysol, but we find her armchair-psychic Cuban mother Elsa perhaps the most interesting character thus far. Her intuition tells her that Marysol might not be having the greatest sexual chemistry with her young French boyfriend, Philippe, and she wants the details.

    “I’m not a Victorian lady,” she reminds Marysol between gulps of wine. Certainly not, even if she has an upright piano with stained-glass windows where the music stand should be.

    In a cast full of Latinas, Lea Black is as white as they come. She’s civilized, organized, and she knows how to run a tight ship at home or at a charity event. If all else fails, she gets everyone drunk.

    Lea wears a peace symbol around her neck while planning that simple cooking-lesson party for her friends. She met her husband when he was an attorney at the William Kennedy Smith trial and she was a lowly sequestered juror. Lea has a hand-held addiction and bitches about her low battery, even while guests are waiting.

    Every year the Blacks host a charity event for at-risk children. Over the years, they’ve raised $11 million. Bravo takes us to this year’s bash, which featured a red-carpet-studded who’s who of Miami at the Fontainebleau Hotel. The ladies had photos snapped with Brazilian Indy car champion Helio Castroneves, former world heavyweight champion boxer Lennox Lewis, and former NBA star Alonzo Mourning. Natalie Cole and Gloria Estefan were there, and first lady of Florida Carole Crist greeted Adriana warmly with a kiss.

    Can’t a Real Housewife throw a charity event without all hell breaking loose? This one seems tame by comparison. Cristy shows up late and “crashes” the event. Lea decides to invoice her later. But last night on Andy Cohen’s Watch What Happens, she phoned in to call Cristy a liar and a freeloader who “worked the room like a thousand dollar hooker.”

    The gloves are off, readers. But we’d rather face Lennox Lewis than an angry Cristy.

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    Movie Review

    'I Know What You Did Last Summer' reboot lacks energy or thrills

    Alex Bentley
    Jul 17, 2025 | 2:00 pm
    Sarah Pidgeon, Madelyn Cline and Chase Sui Wonders in I Know What You Did Last Summer
    Photo by Brook Rushton
    Sarah Pidgeon, Madelyn Cline and Chase Sui Wonders in I Know What You Did Last Summer.

    When the original I Know What You Did Last Summer came out in 1997, it was riding the coattails of Scream, which came out in 1996. Like that film, it featured hot young actors of the time, albeit with a story that was much more standard than the inventive Scream. Still, it made enough of an impact for some studio executive to think it was worth reviving nearly 30 years later with its own legacy-quel.

    In the new I Know What You Did Last Summer, a group of five high school friends — Danica (Madelyn Cline), Ava (Chase Sui Wonders), Milo (Jonah Hauer-King), Teddy (Tyriq Withers), and Stevie (Sarah Pidgeon) — have reunited at the engagement party for Danica and Teddy on the 4th of July. While on an impromptu trip to watch fireworks on a twisty road in the nearby hills, Teddy goofs off in the middle of the road, causing a truck to swerve and drive off the cliff.

    A year later, having sworn to each other to not speak of the accident to anybody, they start getting stalked by a mysterious person in a fisherman’s slicker carrying a hook. With Teddy’s rich father, Grant (Billy Campbell), actively trying to cover up what his son did (as well as the fallout), it’s up to the group to figure out who is coming after them and how to stop that person.

    Written and directed by Jennifer Kaytin Robinson, and co-written by Sam Lansky, the film doesn’t try to reinvent the wheel; in fact, it barely builds something that can roll. It might just be the laziest and most incompetent attempt to capitalize on an existing piece of intellectual property. There is almost zero effort put into establishing a connection between the members of the friend group, making them feel like strangers for the entire film.

    It doesn’t help that the young male actors in the film — which grows to include Wyatt (Joshua Orpin), a new fiance for Danica — serve no purpose other than to be generically good-looking. The most impactful of the men in the film is the returning Freddie Prinze, Jr., who — along with Jennifer Love Hewitt — has his old character from the first two films shoehorned into the new story. The filmmakers undercut any good feelings from their return by giving them hardly anything to do and then having Hewitt deliver the line, “Nostalgia is overrated.”

    The film as a whole never has a sense of momentum. The inciting incident is so tame — they even attempt to save the driver before the truck goes off the cliff — that the guilt they feel and the anger of the person going after them doesn’t feel warranted. Once the attacks start, it is shocking at how low-energy the sequences are, providing no sense of suspense or thrills. The filmmakers resort to the lamest of horror movie tropes, turning the film into a paint-by-numbers affair.

    Cline (one of the stars of Netflix’s Outer Banks) and Wonders (The Studio on Apple TV+, Bodies Bodies Bodies) are the clear stars of the film, but their characters are made into inert scream queens, negating any acting talent they possess. Hauer-King, Withers, and Pidgeon don’t bring anything interesting to their characters, existing merely to have someone else for the killer to go after.

    Even the worst films can have some kind of redeeming value if you look hard enough, but the only thing I Know What You Did Last Summer has to offer is that it becomes so comically bad by the end that you can’t help but laugh at its ineptitude. Both fans of the original and fans of horror movies in general will feel cheated by the experience.

    ---

    I Know What You Did Last Summer opens in theaters on July 18.

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