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    Aftershocks

    It's cold heart, warm heart on Real Housewives of Miami: Lea Black turns piggywhile Marysol glows

    Theodore Bale
    Joseph Campana
    Mar 16, 2011 | 1:25 am
    • Lea Black has emerged as the evil character.
    • If Marysol is the good on the Real Housewives of Miami, then ...

    No one ruins a perfect moment like a Real Housewife.

    From pig roasts to perfect proposals, nothing was out of bounds this week on The Real Housewives of Miami. The ladies showed how easy it is to rain on any parade, no matter how sunny it is in southern Florida.

    Of course, when we say “no one” we really mean Lea Black who swooped around the episode, Macbeth-like, ruining everything she could.

    It’s true that some of the other housewives did their own minor damage. The episode opens at the house of Larsa and Scottie Pippen who have just gotten their adorable kids a lizard, a turtle and a rabbit. Always one to aim high for her children, Larsa's gleeful to find they haven’t yet killed the creatures.

    What, is she raising serial killers? Thank goodness she has nannies to clean up when Fluffy meets her unfortunate end.

    Invited to walk in a fashion show, Alexia remarks condescendingly, “I like to support the local designers. They’re very talented but unfortunately some of them will never be discovered.”

    And everyone’s ready to rain on Lea’s fashion parade. At first Cristy Rice tries to be diplomatic, saying, “Lea Black has a sense of style I can’t understand.” But throughout the episode Lea seemed ready to audition for “Widow #3” on the direct-to-VHS-re-release of Moonstruck 2: Return to Sicily (For a Funeral). We had to practically close our eyes when she went to Blumarine to squeeze garish fashions over her lumpy form.

    Lea showed that there’s no milk of human kindness flowing through her cold black heart. Take the pig roast Alexia and Hermann throw for friends. If someone goes to the trouble of picking, butchering and roasting a whole pig for an entire day, nod politely and smile, even if you don’t care for pork.

    Lea screeches about the party, and we liked the pig-like Herman just a little more for whacking at the carcass with abandon when he realized her discomfort. Once seated, Lea says loudly, although no one offers her anything, “No, no, I’ll just have rice and beans.”

    She even tries to ruin the sweetest moment so far on The Real Housewives of Miami. Earlier in the episode, we see cute little Marysol at an intimate dinner with Philippe. He reveals a recent visit to her father to ask for her hand in marriage. Though she’s an independent, modern woman, Marysol seems truly touched.

    “So I am in front of you now asking if you want to spend the rest of your life with me,” Philippe says with an admirable mixture confidence and vulnerability. Not minding the cameras, he places a bulky engagement ring on her tiny finger and she consents. “Cherie, this is opulent and beautiful,” she exclaims, momentarily trying to determine just how many carats are resting there.

    Within minutes, they decide to elope in Aspen, before the snow melts. They kiss and toast, and as the handsome Philippe gazes across the table, it seems like Marysol has truly landed Prince Charming.

    Readers, who can resist the lure of a charming man from gay Paris? No one in Miami, apparently!

    Between the two of us here at Aftershocks, we’ve racked up a few ourselves. But beware: a French beau fades quickly when the charm of the cliché wears off and brooding indifference sets in. Just look at struggling gallery owner Adriana’s souring relationship with sullen Frederic!

    Marysol doesn’t seem the least bit apprehensive, until the pig roast when Lea takes a figurative dump on the glamorous couple. “I didn’t know you needed a green card!” she blurts out, a few times, while gulping Merlot and cackling like a fool. The table goes a little silent.

    Marysol ruminates in her video diary, “Is that what the others are thinking?” We can’t remember the exact nature of Philippe’s career, it’s true. And Alexia is the first to compliment Philippe for being willing to take a backseat to a woman like Marysol.

    Oh dear, it seems Herman isn’t the only one brandishing a cleaver at this swine-fest.

    Meanwhile, Larsa can’t resist being the shallow bitch. Noticing how much Marysol enjoys the pig, she cracks, “I think she started to oink.” Later, when Larsa calls a service and rejects nannies from Jamaica and Hungary, as if she were picking shoes, it becomes perfectly clear who the pig really is.

    Still, that’s nothing compared to the hatchet job Lea performs on poor Adrianna’s self-esteem. When Adrianna drives over in her white convertible to deliver Lea’s portrait from last week’s disastrous art show, the floodgates open. Adriana is at her weakest, and Lea can’t wait to confess, on video diary, about how crappy Adriana’s life has been since her ex-husband dumped her for a younger woman.

    When Lea relates the story of a homeless Adriana sleeping on the floor of her art gallery with her son, she’s practically salivating. And when Adriana worries about paying her son’s private school tuition, Lea offers to throw a fundraiser. The best advice she can manage is, “Leave your pride at the door!”

    Who needs pride when you’ve got a friend like Lea? She’d be the first in line to pry the ruby slippers off your dead body.

    Thank goodness Marysol’s mother, Elsa the good witch, reappears to save the episode. Keeping the fairy-tale alive, Elsa pretends to be surprised at the extravagant ring, even if secretly she helped Philippe pick it out.

    Elsa and the “family gay,” Frank, sip wine and marvel as Marysol tries on an array of gorgeous wedding gowns. She looks perfect in each and every one, and the team can’t decide. Elsa admits, “You look like Princess Caroline of Monaco!”

    We’re with you Elsa, and it’s not because of your witchy ways. In just three episodes, Marysol has totally won our hearts. We think she deserves a gorgeous wedding in the snow.

    unspecified
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    Movie Review

    Billie Eilish takes fans behind the scenes in immersive 3D tour film

    Alex Bentley
    May 7, 2026 | 3:30 pm
    Billie Eilish in Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D
    Photo by Henry Hwu/courtesy of Paramount Pictures
    Billie Eilish in Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D.

    In 2021, at the tender age of 19, singer Billie Eilish was already the subject of a documentary, The World’s a Little Blurry. At that point, she had only released one album, so the film threatened to feel too early for such treatment. The ensuing five years have only made her a bigger star, though, so in many ways that movie now feels prescient for the person on display in the new concert documentary with the unwieldy title of Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D.

    Directed by Eilish and blockbuster filmmaker James Cameron, the film takes viewers inside Eilish’s 2024-2025 tour in support of her latest album, 2023’s Hit Me Hard and Soft. Filmed mostly at her series of shows in Manchester, England, the movie is a showcase for Eilish’s music, but it also serves as a smaller exploration of the type of person she is, as well as the impact she has had on her legion of fans.

    The draw of the film is the use of Cameron’s beloved 3D technology, which he has employed in each of the three Avatar films. Unlike in those films, where the 3D has the odd effect of making the visuals too realistic for their own good, the technique brings an intimacy to the large-scale show that underscores the unique bond the singer has with her supporters.

    Eilish and Cameron go back and forth between performances at the concert to behind-the-scenes sequences, detailing the enormous effort it takes to put on a show like that and how Eilish spends her time getting ready for it. As in The World’s a Little Blurry, this film continues to portray the singer as down-to-Earth, someone who yearns to maintain the connection to her fans that she’s had since she released her first single, “Ocean Eyes,” 10 years ago.

    And as the many emotional songs in Eilish’s concert playlist prove, the feeling from the crowd is mutual. While Eilish has multiple bangers like “Bad Guy,” “Therefore I Am,” and the Charli XCX collaboration “Guess,” it’s the sad songs like “Everything I Wanted,” “Happier Than Ever,” and the Oscar-winning Barbie anthem, “What Was I Made For?” that hit the hardest. The depth of feeling emanating from her many sobbing fans singing along to crushing songs cannot be understated.

    For audiences of the film, though, it’s the breadth of camera angles and shot choices that make it truly dynamic. There are cameras everywhere, including in the crowd, inside a cube at the center of the stage that rises and descends, following Eilish as she traipses every inch of the long, rectangular stage, and even a small one Eilish uses to bring an extra personal touch to the in-arena screen. Combined, they capture the complete energy of the concert, something that is not always the case in a film of this type.

    Eilish has almost as many movies — two — as she does albums — three — which borders on overkill for a singer of her age. But both her music and the movies show her to be a person who knows the responsibility of being a celebrity, someone who understands that her fans are the reason she’s famous at all. Her career may go up or down from here, but it’s clear she’s already made a huge impact on those who love her most.

    ---

    Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D opens in theaters on May 8.

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