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Cardi B, Offset & Daughter Kulture Sing ‘Moana’s ‘How Far I’ll Go’ In The Cutest Video Ever — Watch

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Cardi B used the sweetest G-rated Disney tune to celebrate the number one success of her raunchy hit ‘WAP.’ She, husband Offset and daughter Kulture had the cutest sing-along to ‘Moana’s ‘How Far I’ll Go.’

Cardi B and her daughter Kulture are the cutest mother-daughter duo, especially when it comes to singing. The 27-year-old is riding high with the Billboard Hot 100 number one debut of her raunchy self-empowerment anthem “WAP,” but wanted to share in it’s success through a sweet and tender Disney classic with Kulture. During an Instagram live session on Aug. 17, Cardi cuddled her precious two-year-old as the two sang “How Far I’ll Go” from the 2016 animated smash Moana, as her husband and Kulture’s dad Offset, 28, beamed with pride before taking his little princess in his arms.

Cardi was seen wearing a tan tank dress with a perfect brown and gold eye and heavy dark liner and lashes. She wore her hair long and straight as she totally belted out the chorus to the song, as Kulture showed off a bright wide smile as she sang along. The toddler looked absolutely precious with her hair pulled back in braids, while wearing a white onesie with various colorful dots across it. Offset looked down at their little girl with so much pride as she sang along with her mama.

When “How Far I’ll Go” came on during the family’s IG live session, Cardi got so excited saying, “This is our song” several times to Kulture. The “I Like It” rapper has obviously watched Moana enough times with her daughter that she knows all the words, as Cardi sang along beautifully. Kulture seemed a little lost after the first few lines, but Cardi kept the sing-along going far into the tune. At one point she cozied up next to Kulture and gushed, “You look so cute. You look like mommy.”

Cardi B and Kulture
Cardi B holds daughter Kulture as they attend Teyana Taylor’s album release party on June 19, 2020. Photo credit: BACKGRID

Disney’s Moana has proved to be a favorite in Kulture’s family household. Cardi dressed her little girl as the lead character for Halloween 2019, complete with the sea wayfarer’s outfit. In the Instagram video, Kulture was seen wearing an orange bandana and top with tribal prints, a crocheted skirt and held a little paddle. She even had on a long black wig to look just like the character. “Moana have a little attitude today ,” Cardi captioned her costume-clad daughter’s video.

Shortly thereafter, Cardi had a mother-daughter fun-filled day at Disneyland in Anaheim, CA with Kulture on Nov. 2. The two were able to go fairly incognito, as Cardi wore her hair up in a tan hat and she went completely makeup free. She even looked like a typical tourist by wearing Minnie Mouse ears and a red polka-dotted sweater for the occasion, as she held on to her little girl.

Cardi B and Offset
Cardi B and Offset Cardi are seen celebrating Fathers Day at TAO on June 21, 2020. Photo credit: MEGA.

Cardi sure has a lot to celebrate with how far she’s gone with “WAP.” The song that dropped on Aug. 7 has broken the record for weekly streams with 93 million U.S. streams in the week ending Aug. 13, according to Nielsen Music/MRC Data, Billboard reports. That’s the most streams in a week for any song EVER! By doing so, she toppled Ariana Grande‘s former record of 85.3 million streams in a week for “7 Rings” in Feb. 2019.

Not only that, Cardi has scored her fourth number one Billboard Hot 100 hit with “WAP.” It debuted at the top spot, knocking Harry Styles‘ “Watermelon Sugar” out of the chart leader position. The Bronx-born rapper scored her first Hot 100 number one with her 2017 worldwide Smash “Bodak Yellow.” She went on to follow it up with 2018’s “I Like It” and “Please Me” off of her Grammy Award winning debut album Invasion of Privacy. 2020 has been a total mess of a year, but Cardi dropping new music was a total bright spot for fans. And watching her so happy and singing along with her daughter to a Disney tune had to be one of the cutest moments ever for Cardi’s dans.

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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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