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Love Is Blind Made An Editing Mistake Involving Giannina's Wedding Dress—And Fans Noticed


Love Is Blind on Netflix fans are still reeling from that shocking moment in the dating show’s finale, but that hasn’t stopped them from pointing out a confusing continuity error involving Giannina Gibelli’s wedding dress. Warning: spoilers beyond this point.

Here’s what went down: Damian Powers met Gibelli at the alter to tell her the wedding was off, leaving her completely devastated in front of her friends and family. She ran away in tears, hoping to get away from the cameras, and took a spill in her ice-white wedding gown in the process. However, some surprised viewers were so invested in the “I don’t” moment that they noticed a small, but hard-to-explain, mistake in the editing.

Look closely: the back of Gibelli’s dress was clearly covered in mud after she fell.

Giannina Gibelli in Love Is Blind.

Netflix

However, when she came back into the chapel moments later to talk things out with Powers, her dress was magically spotless and perfectly pressed.

The finale of Netflix's Love Is Blind.

Damian Powers and Giannina Gibelli in Love Is Blind.

Netflix

Cue the head-scratching. Did they shoot the confrontation beforehand? Maybe they just had the most powerful stain remover of all time?

Some fans took to social media to get clarification. “Can someone explain why Giannina’s dress was covered in mud after she fell but then it was sparkly clean again when she was talking to Damian?” one fan wondered on Twitter. Someone else chimed in: “I love #LoveIsBlind as much as the next person but the producing/editing of the Damian and Giannina scene was MESSY…veil on then off then on again? Runs off, slips and gets mud on her dress but no stain when confronting Damian?!”

In an exclusive interview with Glamour, Gibelli opened up about what her experience was like on Love Is Blind and said she’s drawn strength from the whole situation a year and a half later. “You’re always hopeful, especially when you’re in your wedding dress, and you’ve made up your mind. It was a lot to take in and a lot of sadness, but a lot of humility and awareness of like, ‘Okay, I’ve got to pick myself up. I need to feel all these feelings, but I need to pick myself up eventually,'” she said.

Netflix announced last week that it’s dropping a Love Is Blind reunion special on March 5, which will hopefully answer all the burning questions fans have left and reveal who is still together after making it to the altar. Maybe they’ll take a moment to solve the big dress stain mystery, too.



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Donald Trump's Attacks on Congresswomen Are Racist and Sexist. Ignoring That Is a Mistake We Can’t Afford


Donald Trump is spending his week doubling down on his racist suggestion that four Democratic lawmakers—Reps. Alexandria Ocasio-Cortez of New York, Ilhan Omar of Minnesota, Ayanna Pressley of Massachusetts and Rashida Tlaib of Michigan—should “go back” where “they came” from. Last night, he presided over a crowd in North Carolina that at one point chanted “Send her back!” in reference to Omar. At times, when Trump mentioned the women, people in his audience shouted “Treason!” and “Traitors!”

It’s utterly irrelevant to Trump and his supporters that three of four of the women were born in the United States and that the fourth, Omar, immigrated from Somalia as a child and has spent more than half her life as a citizen. In focusing attention on these particular women, Trump activates the well-documented passions and fears of his supporters, people demonstrably threatened by the browning of America. But, he also activates the disgust and repugnance that too many people feel about women claiming power and authority, particularly the power and authority to decide what America is and should be. It would be a foolish and dangerous mistake, particularly as we move towards a presidential election in which more women than ever are candidates, to ignore the confluence of these prejudices.

Trump’s “go back” dictate makes an assumption about who “real Americans” are, and research shows he’s not alone in his warped thinking. For most of our history, the notions of “citizenship” and “manhood” have been as inextricably linked in most people’s minds as “American” and “white” are. Only in our recent past have minorities and women been extended rights, like the freedom to vote, to run for office, to bear arms, to serve in juries, and to work, as elite white man have since independence. Studies show even now, in the words of one social science researcher, that “to be American is implicitly synonymous with being White.” In the same vein, many people’s explicit, and implicit, belief systems continue to support the notion that men are “natural” leaders, but that women are not; that men serve in public capacities, and women private ones. Trump appeals to the specific combination of these beliefs to undermine women as not only incapable of self-governance, but as unfit to govern others. That’s the hateful core of this latest diatribe; people like them aren’t suited to tell people like us what to do.

Trump’s casual “go back” is a dogwhistle to racists and xenophobes but it also reinforces age-old biases against the rise of a “feminized elite.” Women who are educated and progressive, the old chestnut goes, are dangerous to men and to the nation. This tired equation allows Trump’s most extreme supporters to rationalize threats against women as legitimate act of patriotism and renders violence against them a form of twisted self-defense. Trump’s campaign rallies were frenzied carnivals of this misogynistic idea, with thousands of mostly white Americans chanting “lock her up” and parading around effigies of a caged Hillary Clinton. It’s how a West Virginia Republican lawmaker tweeted, “she should be ’hung’,” and another proclaimed, “Hillary Clinton should be put in the firing line and shot for treason.” One of Trump’s supporters was particularly clear when he explained, during the 2016 race that “Hillary needs to be taken out“ and that he was prepared to do it himself. “[I[f I have to be a patriot, I will,“ he said. The same ideas were more subtly conveyed when, earlier this year, a video was aired during a Memorial Day Fresno-Grizzlies game in which Ocasio-Cortez was depicted as an “enemy of freedom“ alongside Kim Jong Un and Fidel Castro.

But Trump isn’t just content to question women’s patriotism. He also impugns their expertise and knowledge. The charge that people of color and women “don’t understand” the complicated affairs that animate our national discourse is a popular right-wing talking point drawn from racist and sexist science. It suggests that people of color and women lack the intellectual capabilities and emotional wherewithal to lead. Of course, that means that women of color who work in the public sphere are special targets of these attacks. A Media Matters supercut of Fox News’s coverage of AOC, for example, demonstrates the network’s near-obsession with portraying her—a woman with a degree in economics and the recipient of a fellowship awarded to high academic achievers—as “ignorant,” “idiotic,” and someone who “doesn’t know what she is talking about.” She is, the hosts emphasize, a “pompous little twit,” who “makes no sense.” In a similar vein, Trump has referred to black athletes, politicians, and media representatives as “low IQ individual[s]” and “dumb.”



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Paula Pell: People Used to Tell Me 'You Could Be a Knockout.' My Mistake Was Listening to Them.


I was born round and without a waist. I practically came out of the womb wearing a shapeless shirt with a loud print over leggings, donning bold earrings to draw the eyes upward. I had good teeth, a nice face, and a big happy Midwestern head full of dreams. I was a joy bomb who lived to make people laugh. I was heavier than everyone around me.

I prefer to say I “held gravity” because it sounds like a super power. In some ways it was. I realized early on that because I was big, I was no threat whatsoever to my female friends when it came to boys. They would always trust me more than their normal-weighted pals, and I would become their beloved confidants. I loved being mama to the pack, the wise comfort, le grande teat.

I could sense that my fat was looked down upon, that I was different. But instead of being wounded, I would spin it. “I like being different! Being a potential love interest sounds like a royal pain in the ass!” I brought the support and the slumber parties and the laughs. I was the one to help you pick out your tiny prom dress or write you a poem when you had a bad break up or hold your purse full of gum while you were being a cheerleader. I had so many tender souls relying on me. I got the better deal because my life had meaning.

As I grew older and fatter, people began to point out my physical potential. “What a shame that you can’t capitalize on your pretty face!” My family loved me completely, but to many others it seemed to be frustrating that I had a head that was killing it, yet the rest (fat) was a wash. That’s why plus-size clothing sections used to be (and still are in some cases) next to the mowers in Lawn and Garden. Many of the clothes were designed like grill covers. Just tether in a couple spots and let the rest billow. Great hair. Nice makeup. Good teeth. Look at the top part, blur the rest. It’s not good, and it makes us sad.

By the end of high school I figured out why I didn’t mind being left out of the romance club with boys. I was hopelessly in love with my best girlfriend with whom I was inseparable. I was no longer excluded from love and sex and having a person. I just couldn’t tell anyone because it was a girl. I remained an “other.”

We painfully broke up in college, and I decided to explore dating men because I knew I wanted to have a baby someday. Rosie O’Donnell wasn’t on TV yet talking about adopting children, and I wondered if my first love meant I was gay or it was exploration. Excepting that I was gay would likely mean no kids.

So I took my broken heart on a two year stroll down Penis Boulevard. I dated a few nice guys but mostly hooked up with acquaintances. During this time I became truly ashamed of my size. I got into a cycle of losing large amounts of weight. 90 one time, 75 another. Each time I would get tiny and lose my curves, people who knew me before would flirt with me. I was now suddenly amazing. But I had no idea who I was, and I hated being obsessed with my food intake. And so, I’d quickly eat my way back to my safe body harbor. Mama the comforter has come home even heavier in body and soul.



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Oops, Ariana Grande’s New Tattoo Has a Mistake


Ariana Grande just wanted to get a tattoo that said “7 Rings” in Japanese kanji, but the world had other plans. And by the world, I mean the ink was just too painful for Grande to sit through fully. This, in a nutshell, is the saga of Grande’s latest tattoo, which I’m calling, “7 Rings—No Wait, Actually, 7 Tiny Grills.”

It all started with the best intentions. Grande decided to commemorate her latest banger “7 Rings,” which iconically references The Sound of Music, with a new tattoo. And the title of the song scripted in Japanese kanji seemed like an easy way to go. Cut to a few hours later: Grande posts a now-deleted pic of the tattoo to Instagram, and Japanese fans notice something hilarious. The ink doesn’t actually translate to “7 Rings” but “Shichirin,” which means “small Japanese barbecue grill.”

Her fans, naturally, are losing it over this.

Grande owned up to the mistake in a series of since-deleted tweets. “Indeed, I left out ‘つの指’ which should have gone in between,” Grande tweeted. “It hurt like fuck n still looks tight. I wouldn’t have lasted one more symbol lmao. But this spot also peels a ton and won’t last so if I miss it enough I’ll suffer thru the whole thing next time.”

And just to clarify, she confirmed she’s also a “huge fan of tiny BBQ grills.”

Ariana Grande released “7 Rings” and its accompanying music video on Friday, January 18. The song is currently number-one on Billboard‘s Hot 100, continuing the streak she started with “Thank U, Next” in November 2018. Her fifth studio album, also titled Thank U, Next drops Friday, February 8, and comes just months after her fourth record, Sweetener. She’ll tour both albums starting this summer—right after she headlines Coachella, of course.



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Watch Beyoncé Fix a Mistake Mid-Performance Without Even Stopping


After giving an incredible performance at weekend one of Coachella, Beyoncé returned to the music festival’s stage this past weekend for an epic encore. In fact, it was so spectacular that not even a technical mistake slowed Queen Bey down. (But does that surprise you?)

An eagle-eyed person in the audience for Beychella, Part Two, caught the moment when Beyoncé realized one of her stage fans was off, causing her hair not to flow as dramatically as she wanted. Rather than ignoring the flub—it’s not like her fans would’ve noticed with all the ferocity she was serving on stage—B went to reposition her “diva fan” without missing a beat. According to HelloGiggles, the fan was never turned on by the techie in charge of keeping Beyoncé appropriately windblown.

Watch the moment go down for yourself, below:

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The fan fiasco wasn’t the only issue the singer had to deal with while gracing the Coachella stage. Beyoncé attempted to pick up her little sister, Solange, when they performed together onstage, and both took a bit of a tumble. They quickly recovered, though, flailing their legs to the beat like they had meant to end up on the ground all along.

Beyoncé’s second Coachella set was essentially the same as her first, but with a few alterations. Her already iconic black and gold costumes were swapped out for a pink ensemble (though she was still rocking the Greek letters fans can now sport on their own Beychella merchandise), and her black and gold Egyptian Queen Nefertiti–inspired look was traded in for a platinum one. You know what they say: If it’s not broken, don’t fix it. In Beyoncé’s case, that translated to yet another stunning Coachella set, including a second reunion with Destiny’s Child. I’m forever changed.

Related Stories:

Beyoncé Wore Brand-New Costumes for Her Second Coachella Performance

This $10 Mascara Held Up Through Beyoncé’s Entire Coachella Performance





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