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Kylie Jenner Strikes A Pose Next To Her $200K Lamborghini & 6 More Pics Of Her With Expensive Cars



Makeup mogul Kylie Jenner is making big bucks, many of which have been put towards her extensive luxury car collection. See snaps of Kylie with some of her priciest vehicles.

Kylie Jenner is no stranger to cars with hefty price tags. Whether she’s posing with a Rolls Royce or driving around Los Angeles in a Lamborghini, the 23-year-old has a serious luxury car collection. Most recently, she took to Instagram to share a snap of herself posing beside a vehicle worth more than $200,000. “leo season >,” she captioned the pic, referencing her August 10 birthday, which makes her a Leo on the zodiac chart. The Keeping Up With The Kardashians star stood beside a red Lamborghini, opening up the front passenger side door and turning her head away from the camera.

Along with the striking vehicle, her unique outfit also made quite a statement! The second pic in her August 18 carousel post offered fans a closer look at the ‘fit which featured a black and white tie-dye style strapless bustier, pants, and jacket. The barely-there top was held together in the front by a corset-style string, and showed off her bare midriff. Meanwhile the jacket featured a high neck design which clipped together at the top, while the high-waisted pants went down past her ankles.

The Kylie Cosmetics CEO also showed off the Lamborghini on June 28, when she posted a snap with her mini-me daughter Stormi Webster, 2. “i knew i won when i had you,” Ky captioned the pic, which showed her sitting on the edge of the car beside the drivers seat. Stormi sat on her lap, rocking two tiny buns and all all-black ensemble, while her mom totally twinned in a black ‘fit featuring a leather jacket, snakeskin handbag, and pants.

Sometimes, she likes to mix it up and pose inside her luxury cars! That was the case on May 23 when she showed off her curves while sitting pretty in her luxe Rolls Royce. The reality personality rocked a black strapless leather top and a pair of light wash jeans while flashing a fierce look at the camera. Notably, she styled her hair into two high pig tails and donned a pair of dark sunglasses while sitting on the white leather interior. “Got all dressed last night with nowhere to go. i hope everyone is staying busy & safe,” she captioned the image, amid strict quarantine rules in California.

Back in January, Kylie brought some serious glamour as she posed beside her brown Mercedes G-Wagon which retails for a cool $127,000. She wore a skintight bodysuit, which featured an intricate black and white design, and turned her body away from the camera. She she turned her face towards the camera, she flicked her yet black hair and offered a sultry look, while resting one leg on the edge of the car which showed off her grey sneakers.

Next up is Kylie’s Rolls Royce… or should we say, one of her Rolls Royce’s! At just 23, Ky owns multiple vehicles from the luxury car manufacturer and posed in front of one in a December 2019 Instagram pic. The $450K Rolls Royce Phantom was on full display as the Kylie Skin CEO stood in front, wearing a light brown ribbed turtleneck with dark brown leather pants, which were cinched at the ankles. She paired the ‘fit with tan stiletto pumps and a small purse in the same color.

Kylie jumped in the passenger seat of what appeared to be her Mercedes Benz G-Wagon in an October 2019 snap, and flashed her luxury handbag in multiple pics. “movie night. what’s your favorite movie?” she captioned the carousel post, which showed her in a red and blue tartan-style flannelette, which she paired with black pants, and a black quilted Chanel purse. In the final snap, she playfully reached her hand towards the camera, showing off her long pink claws and glittering silver watch in the process.

Source : Hollywood Life Read More

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



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



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



“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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