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Eva Longoria, 45, Wows In Incredible White Swimsuit & 5 More Stars Over 40 Rocking Swimsuits

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Eva Longoria shared one of the hottest photos of the summer when she posted a striking image of herself rocking a white one-piece swimsuit! See the photo and more stars over 40 looking confident in swimwear!

Summer may be coming to an end, but the temperatures are still rising! Thanks to stars like Eva Longoria and more, devoted fans’ Instagram feeds are still being graced with gorgeous snapshots featuring celebs working stylish swimwear with all the confidence in the world. These women look so striking and powerful — ready to take on anything and everything summer has to offer with total poise.

As such, we felt like there was no better way to highlight these women than show off what they’ve been sharing on social media. Women like Gabrielle Union to Halle Berry and more have been strutting their stuff on the sand in swimwear, and we’re taking a look at just a few stars over 40 rocking their swimsuit style. Take a look at some of the best pics below!

Eva Longoria

Eva Longoria was ready to set sail in her latest Instagram snap. The gorgeous Desperate Housewives alum, 45, showed off her fit figure in a white one-piece by MYRASWIM on August 16. Looking out to the horizon, Eva was so gorgeous in the all-white look and was “all aboard” for her summertime getaway!

January Jones

January Jones has quickly become one of our favorite bikini queens! The Mad Men alum, 42, recently rocked a magenta two-piece designed by Gigi Caruso in an August 16 pic where she put her figure on full display. January aptly noted in her caption that it was a balmy “103 degrees,” and that she was “literally thirsty” in her latest snap. We totally feel you, girl!

Kourtney Kardashian

Being the eldest Kardashian sister, there’s bound to be pressure to set trends and appear totally put together at all times — even at the beach. Luckily, Kourtney Kardashian has her looks completely under control and flaunted one of her one-piece styles at the beach on July 29! The mother-of-three, 41, looked positively flawless in a checkered swimsuit that left our jaws on the floor. Wearing shades and posing on a staircase, Kourt was the epitome of summer luxury! “Hi beach,” she captioned the pic.

Gabrielle Union

We had to bow down to this bikini queen — Gabrielle Union gave us life working her black bikini by designer Mara Hoffman in her July 5 Instagram post. The Bring It On star, 47, gave us total goddess vibes, as she posed-up with her long braids cascading past her shoulders and wearing a burnt orange and white kimono. The look was a total serve, and we were so here for it!

Larsa Pippen

Larsa Pippen has proven herself to be the unassailable bikini queen of quarantine these past few months, giving her followers so much great content on their feed. With this post from August 12, the mother-of-four, 46, reminded all of us why she has reigned as the bikini queen for so long. Donning a Pretty Little Thing-designed black two-piece, Larsa looked absolutely glamorous in her bikini. She accessorized with a necklace, shades, and a small handbag and looked so chic! “How do u show up to a bbq,” Larsa asked in her caption.

Halle Berry

Finally, we cannot possibly go through a list of stars over 40 rocking swimwear without mentioning the one and only Halle Berry. We’ve been living for the photos that the Oscar-winner, 54, has been sharing on her feed, and this post from August 9 took us all the way back to one of Halle’s starring roles as a Bond girl! The gorgeous starlet soaked up the sun in a tangerine two-piece, and coyly hid her face under her hat in the photo. Her fit body was on full display, as she captioned the snap, “never been a shady beach.” Want to see more stars over 40 rocking swimsuits? Check out the gallery above!

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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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