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6 Fabulous Tie Dye Bikinis To Rock This Summer Like Priyanka Chopra

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This summer is all about bold prints & patterns – especially tie dye – & we rounded up all of the most amazing tie dye bikinis you can wear this summer, just like Priyanka Chopra!

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Tie dye is without a doubt the biggest trend of the entire year. From sweatshirts to sweatpants, the pattern is taking the fashion scene by storm, and even some of our favorite celebrities, including Priyanka Chopra, love the trend. Now that it’s summer, what better way to try the trend than with tie dye bikinis?

priyanka chopra
Priyanka Chopra showed off her fabulous figure in this green & white tie dye bikini while in Miami Beach, Florida. (BACKGRID)

Below, we rounded up some of our all-time favorite tie dye bathing suit picks ranging in all different styles, colors, and prices. No matter what you’re looking for, you will be sure to find a tie dye bikini that you love from our list!

1. ZAFUL Tie Dye Cinched Triangle Bikini Set

We are obsessed with this tie dye bikini because it comes with three different pieces – a triangle bikini top, a short sleeve cropped top, and a bikini bottom. The set comes in 15 amazing different tie dye colorways and the best part is, you can switch out the triangle top for the ruched crop top and it will feel like you’re wearing a totally different tie dye bathing suit! $27, amazon.com

Zaful tie dye

2. PrettyLittleThing Blue Tie Dye Velvet Triangle Bikini Top & Bottom

You will never want to take this tie dye bathing suit off! The blue and white bikini comes with a triangle bikini top that can be adjusted to fit your body type and the entire swimsuit is velvet which gives makes it super unique. We especially love the high waisted bikini bottoms, which is another huge trend this summer! The top retails for $17, while the bottoms retail for $9. $26, prettylittlething.us

PrettyLittleThing bikini

3. LARGEBERRY Tie Dye Crop Top Bikini

This tie dye bikini is the perfect swimsuit for every day! It’s available in three fabulous tie dye patterns and is made up of a scoop neck bralette padded top and matching high waisted bikini bottoms. The bottoms are high rise, but not too high so it hits at the perfect angle, making this swimsuit extra flattering. $26, amazon.com

Amazon tie dye

4. Kendall & Kylie Tie-Dyed Barbados Lurex Triangle Bikini Top & Bottom

If you’re looking for a tie dye bikini that’s a bit more subtle, then this is the perfect option for you. The pattern is a pink tie dye, but it’s toned down which makes it easy to wear every day in the summer. The top has padded triangle cups and two adjustable spaghetti straps. The matching bottoms are high rise and have skinny straps on the side. The top is $15 and the bottoms are $14. $29, pacsun.com

Pacsun tie dye

5. MZEAZRK Ribbed Tie Shoulders Bikini Set

This tie dye bathing suit may just be our favorite bikini of the summer! The fun pastel colors on this tie dye bikini are amazing and the scoop neck top features two ties at the tops of the straps, as well as removable padding, plus, the bottoms are seamless and you can wear them as low waisted or pull them up to be high waisted. $19, amazon.com

tie dye bikini

6. Frankies Bikinis Liam Top & Bottom Rainbow Tie Dye

If you are in the mood to splurge on a tie dye bathing suit, then this is your best bet. We are obsessed with this pastel tie dye bikini made from crushed velvet. The bralette bikini top is ruched and has skinny spaghetti straps, while the string bottoms have ties on the sides and the front and back panels of the bottoms or adjustable so you can add coverage or take away. The top and bottom are sold separately with the top retailing for $95 and the bottoms for $85. You will definitely fall in love with this swimsuit. $180, frankiesbikinis.com

Frankies Bikinis

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Netflix is developing a live action ‘Assassin’s Creed’ show

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Netflix announced this morning that it’s partnering with Ubisoft to adapt the game publisher’s “Assassin’s Creed” franchise into a live action series.

The franchise jumps around in history, telling the story of a secret society of assassins with “genetic memory” and their centuries-long battle the knights templar. It has sold 155 million games worldwide and was also turned into a nearly incomprehensible 2016 film starring Michael Fassbender and Marion Cotillard, which underperformed at the box office.

The companies say that they’re currently looking for a showrunner. Jason Altman and Danielle Kreinik of Ubisoft’s film and television division will serve as executive producers. (In addition to working on adaptations of Ubisoft’s intellectual property, the publisher is also involved in the Apple TV+ industry comedy “Mythic Quest.”)

“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix’s vice president of original series Peter Friedlander in a statement. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”

It sounds like there could be follow-up shows as well, with the announcement saying that Netflix and Ubisoft will “tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live action, animated, and anime series.”

Netflix recently placed an eight-episode order for “Resident Evil,” another video game franchise that was previously adapted for the big screen. And it also had a big hit with its adaptation of “The Witcher,” which is based on a fantasy book series that was popularized via video games.

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Original Content podcast: ‘Lovecraft Country’ is gloriously bonkers

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As we tried to recap the first season of HBO’s “Lovecraft Country,” one thing became clear: The show is pretty nuts.

The story begins by sending Atticus “Tic” Freeman (Jonathan Majors), his friend Leti Lewis (Jurnee Smolett) and his uncle George (Courtney B. Vance) on a road trip across mid-’50s America in search of Tic’s missing father. You might assume that the search will occupy the entire season, or take even longer than that; instead, the initial storyline is wrapped up quickly.

And while there’s a story running through the whole season, most of the episodes are relatively self-contained, offering their own versions on various horror and science fiction tropes. There’s a haunted house episode, an Indiana Jones episode, a time travel episode and more.

The show isn’t perfect — the writing can be clunky, the special effects cheesy and cheap-looking. But at its best, it does an impressive job of mixing increasingly outlandish plots, creepy monsters (with plentiful gore) and a healthy dose of politics.

After all, “Lovecraft Country” (adapted form a book by Matt Ruff) is named after notoriously racist horror writer H.P. Lovecraft, but it focuses almost entirely on Black characters, making the case that old genres can be reinvigorated with diverse casts and a rethinking of political assumptions.

In addition to reviewing the show, the latest episode of the Original Content podcast also includes a discussion of Netflix earnings, the new season of “The Bachelorette” and the end of Quibi.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also follow us on Twitter or send us feedback directly. (Or suggest shows and movies for us to review!)

And if you’d like to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:36 Netflix discussion
3:18 “The Bachelorette”
6:30 Quibi
14:35 “Lovecraft Country” review
31:32 “Lovecraft Country” spoiler discussion

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The short, strange life of Quibi

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“All that is left now is to offer a profound apology for disappointing you and, ultimately, for letting you down,” Jeffrey Katzenberg and Meg Whitman wrote, closing out an open letter posted to Medium. “We cannot thank you enough for being there with us, and for us, every step of the way.”

With that, the founding executives confirmed the rumors and put Quibi to bed, a little more than six months after launching the service.

Starting a business is an impossibly difficult task under nearly any conditions, but even in a world that’s littered with high-profile failures, the streaming service’s swan song was remarkable for both its dramatically brief lifespan and the amount of money the company managed to raise (and spend) during that time.

A month ahead of its commercial launch, Quibi announced that it had raised another $750 million. That second round of funding brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

“We concluded a very successful second raise which will provide Quibi with a strong cash runway,” CFO Ambereen Toubassy told the press at the time. “This round of $750 million gives us tremendous flexibility and the financial wherewithal to build content and technology that consumers embrace.”

Quibi’s second funding round brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

From a financial perspective, Quibi had reason to be hopeful. Its fundraising ambitions were matched only by the aggressiveness with which it planned to spend that money. At the beginning of the year, Whitman touted the company’s plans to spend up to $100,000 per minute of programming — $6 million per hour. The executive proudly contrasted the jaw-dropping sum to the estimated $500 to $5,000 an hour spent by YouTube creators.

For Whitman and Katzenberg — best known for their respective reigns at HP and Disney — money was key to success in an already crowded marketplace. $1 billion was a drop in the bucket compared to the $17.3 billion Netflix was expected to spend on original content in 2020, but it was a start.

Following in the footsteps of Apple, who had also recently announced plans to spend $1 billion to launch its own fledgling streaming service, the company was enlisting A-List talent, from Steven Spielberg, Guillermo del Toro and Ridley Scott to Reese Witherspoon, Jennifer Lopez and LeBron James. If your name carried any sort of clout in Hollywood boardrooms, Quibi would happily cut you a check, seemingly regardless of content specifics.

Quibi’s strategy primarily defined itself by itself by its constraints. In hopes of attracting younger millennial and Gen Z, the company’s content would be not just mobile-first, but mobile-only. There would be no smart TV app, no Chromecast or AirPlay compatibility. Pricing, while low compared to the competition, was similarly off-putting. After a 90-day free trial, $4.99 got you an ad-supported subscription. And boy howdy, were there ads. Ads upon ads. Ads all the way down. Paying another $3 a month would make them go away.

Technological constraints and Terms of Service fine print forbade screen shots — a fundamental understanding of how content goes viral in 2020 (though, to be fair, one shared with other competing streaming services). Amusingly, the inability to share content led to videos like this one of director Sam Raimi’s perplexingly earnest “The Golden Arm.”

It features a built-on laugh track from viewers as Emmy winner Rachel Brosnahan lies in a hospital bed after refusing to remove a golden prosthetic. It’s an allegory, surely, but not one intentionally played for laughs. Many of the videos that did ultimately make the rounds on social media were regarded as a curiosity — strange artifacts from a nascent streaming service that made little sense on paper.

Most notable of all, however, were the “quick bites” that gave the service its confusingly pronounced name. Each program would be served in 5-10 minute chunks. The list included films acquired by the service, sliced up into “chapters.” Notably, the service didn’t actually purchase the content outright; instead, rights were set to revert to their creators after seven years. Meanwhile, after two years, content partners were able to “reassemble” the chunks back into a movie for distribution.

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