Melania Trump’s new documentary, Melania, has broken a Rotten Tomatoes record for the biggest discrepancy between critics’ scores and audience ratings in the last 27 years.

Since its release, reviews have been largely negative, with the film sitting at a measly 10 percent on the platform. However, viewers on the reviewing site have given the documentary a 99 percent, in an apparent demonstration of support for Trump.

In a one-star review for The Independent, Nick Hilton wrote: “Perhaps Melania is merely a piece of post-modern post-entertainment. After all, it is transparently not a documentary.”

Hilton continues: “Melania spends most scenes playing a staged version of herself, and shots of the first lady are composed with all the deliberateness Ratner brought to his work on X-Men: The Last Stand. This is somewhere between reality TV and pure fiction.”

However, audience members were generally interested in seeing the work behind the first lady’s lead-up to Inauguration Day, with one Rotten Tomatoes user writing, “A very private look at the work put in before inauguration. Shows her commitment to the children in need.”

“Nothing to dislike,” another five-star Rotten Tomatoes user wrote. “What an amazing movie from our beloved First Lady. I highly recommend everyone go see this film. It is inspiring whether you are male, female, left or right!!”

Other similar examples of large gaps between critic reviews and audience ratings include Transformers, which scored 57 percent with critics but 85 percent with audiences, and the 1999 film The Chosen, which critics also disliked at 26 percent as audiences raved, giving it a 91 percent.

The gap in reviews comes after the box office numbers of the documentary were revealed last weekend. Melania had exceeded box office predictions on its opening day, grossing $2.9 million from 1,778 theaters.

Speaking to reporters at the film’s premiere at the Kennedy Center last week, President Donald Trump played down reports of weak ticket sales for the film.

“It’s a very tough business in theaters selling movie tickets after Covid,” he said. “I think this will do unbelievable — streaming and everything. Theaters are a different world.”

While analysts predicted the controversial film to make between $1 million and $5 million through its opening weekend, Variety reports it is on course to bank around $8.1 million.

Although the film has performed better than expected, it is still unlikely to recoup the $40 million Amazon MGM paid for it. Amazon reportedly spent an additional $35 million to market the film.

Melania will stream on Prime Video at a later date.

I can’t believe it’s happening to us.

“The Kelly Clarkson Show,” the Daytime Emmy Award-winning series hosted by the Grammy-winning musician, is ending after a seven-season run. Kelly Clarkson announced Monday that she had decided to step away from hosting the daily talk show.

In a statement, Clarkson said she made her decision to prioritize spending time with her children. The former singer had two children, in 2014 and 2016, with ex-husband Brandon Blackstock, who died in August at age 48.

“I have been extremely fortunate to work with such an outstanding group of people at ‘The Kelly Clarkson Show,’ both in Los Angeles and New York,” Clarkson said in a statement. “This was not an easy decision, but this season will be my last hosting ‘The Kelly Clarkson Show.’ Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives.”

The syndicated talk show launched in September 2019 after Clarkson, who won over TV audiences as the first-ever winner of “American Idol,” in 2002, returned to the world of musical reality competitions as a coach on “The Voice” in 2018. “The Kelly Clarkson Show” showcased the “Since U Been Gone” singer’s affable, approachable charm in her sit-down interviews with celebrities and everyday heroes, as well as her talents in popular segments including “Kellyoke,” which saw Clarkson sing covers of other people’s songs.

“I am forever grateful and honored to have worked alongside the greatest band and crew you could hope for, all the talent and inspiring people who have shared their time and lives with us, all the fans who have supported our show and to NBC for always being such a supportive and incredible partner,” Clarkson added in her statement. “This isn’t goodbye. I’ll still be making music, playing shows here and there and you may catch me on ‘The Voice’ from time to time. … You never know where I might show up next. But for now, I want to thank y’all so much for allowing our show to be a part of your lives, and for believing in us and hanging with us for seven incredible years.”

The seventh season of “The Kelly Clarkson Show” kicked off in September and production will continue as planned. Clarkson will continue to host Season 7, with a few yet-to-be-announced guest hosts. The episodes for Season 7 will run through September.

At the Cannes Film Festival last year, there were not one but two genre-bending, metaphorical movies that revisited the deadly AIDS crisis of the 1980s.

The first was Palme d’Or laureate Julia Ducournau’s explosive and overzealous body horror flick, Alpha, in which the infected became living and breathing human sculptures, their skin hardening into marble that looked real enough to cut into a fabulous kitchen countertop.

The second and less buzzy feature was debuting Chilean director Diego Céspedes’ The Mysterious Gaze of the Flamingo (La misteriosa mirada del flamenco), which walked away with the top prize in the fest’s Un Certain Regard sidebar. In this touchingly surreal story, AIDS is an unknown plague transmitted by looking too lovingly into the eyes of the infected, causing turmoil among the inhabitants of a remote mining town in the desert.

Céspedes captures this strange phenomenon through the viewpoint of a preteen girl, Lidia (Tamara Cortés), who lives with her trans mother, the titular Flamenco (Matías Catalán), in a ramshackle bordello populated by a rowdy gang of sex workers. The place is run by Mama Boa (Paula Dinamarca), a tough-loving madam who doesn’t mind giving a difficult client a good kick in the nuts from time to time.

It’s certainly a unique setting, and some of what happens in Flamingo seems too outlandish to be true. But things suddenly turn tragic in the last act, and what felt frivolous or folkloric becomes deadly serious when Lidia is forced to face what’s happening around her.

Until then, the story follows the pugnacious 11-year-old as she’s harassed by boys at the local swimming hole while witnessing her mom’s declining health at home. Their lives are soon at risk when one of Flamenco’s clients, Yovani (Pedro Muñoz), shows up with symptoms of the disease and blames her for his sickness, threatening to take revenge.

The gunslinging miner belongs to a band of angry men who show up at the bordello and surround it like a posse from the Wild West. But instead of delivering the usual shootout at that point, Céspedes transforms what could have been a nasty brawl into a gentle snuggle-fest between the sex workers and their unlikely lovers.

In the world of Flamingo, macho attitudes and transphobia give way to tenderness, especially during a bittersweet wedding sequence in which Mama Boa marries the bearded old prospector, Clemente (Luis Dubó). Another memorable scene involves an annual talent contest in which Flamenco lip-syncs a Latino ballad in full drag, mesmerizing all the hardened miners who’ve come to watch her perform.

Despite its bleak subject, there’s plenty of joy and warmth on display in Céspedes’ first feature, which is reminiscent of other recent Chilean fare like Sebastián Silva’s Rotting in the Sun and Sebastián Lelio’s A Fantastic Woman, both of which inventively combined genre plots with LGBTQ themes. Flamingo goes overboard on the surrealism at times, but by ultimately focusing on how Lidia comes to terms with the reality of the AIDS epidemic, it delivers a solid emotional blow by the end.

Shot in a pared-down but colorful style by Angello Faccini, Flamingo makes the most out of its limited budget and picturesque locations, which include an arid mountain range straight out of a spaghetti Western. Most of the action takes place in a dusty one-horse town whose residents have chosen to open themselves up both sexually and spiritually, paying the ultimate price for their tolerance.