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Sophia & Scarlet Stallone’s Trainer Shares Their Exact Workout So You Can Get Fit Like Them

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Scarlet and Sophia Stallone’s abs didn’t come easy. But, their gym sessions with celeb trainer Kevin Mejia have certainly paid off. The Dogpound LA founding trainer took HollywoodLife inside the Stallone sisters’ exact workouts and we’re sharing every move with you!

Scarlet and Sophia Stallone have been putting in hard work at Dogpound gym in West Hollywood — the duo’s trainer Kevin Mejia told HollywoodLife in an exclusive interview. The darling daughters of legendary actor, Sylvester Stallone were photographed during an outdoor workout at the go-to celeb gym on August 11, and they’ve never looked better. Therefore, we had to enlist Mejia, founding trainer of Dogpound LA, to spill the Stallone sisters’ fitness secrets. Mejia has also worked with Scarlet and Sophia’s sister Sistine Stallone, as well as Hailey Baldwin and Sophia Richie.

Scarlet & Sophia Stallone working out
Scarlet and Sophia Stallone work out in front of their West Hollywood gym, Dogpound on August 11, 2020. (Photo credit: BACKGRID)

“Our sessions are filled with jokes and a good time, coupled with the great intensity, and they bring it every time we workout,” Mejia said about what it’s like to train Scarlet, 18, and Sophia, 23. “They conquer some of the toughest exercises in the gym with ease. We focus sessions on consistent toning and core work. They love the bands, but never shy away from weights,” he admitted, adding, “I always remind my clients, as long as you bring intensity you’ll conquer your goal in the gym and that guides my work with them.”

Mejia went on to describe what a “typical” workout is like with the Stallone sisters. “For a standard workout, we’ll start out with some type of activation exercises, such as bridges or monster walks, because a great workout always starts with a great warm up,” he said. Editor’s note: Each workout is detailed below so you can try at home.

“After activation work, we’ll go into single sided work like, ankle weighted rainbow kicks,” Mejia said, explaining, “This allows for a mind muscle connection, which a lot of people lack in the gym — but it later helps people contract or squeeze the right muscles.”

Next up, Mejia detailed his strength work set he instructs the sisters to do. “It’s a set or two of wide stance squats and chest presses into flies,” he explained, noting that the last 15-20 minutes of each session is “straight core work.” For example: “Exercises like hanging knee raises are one of my favorite exercises to give them — and to most of my clients, because it lengthens the body and targets the lower abs along with improving grip strength,” he revealed. “And then we usually end with a fun game of HORSE in basketball!”

Mejia added that the women also do sets of squats while carrying a “hydrocore bag” over their shoulders. Tip: “The weighted bag uses water to challenge stability and it’s super comfy and easy to travel with.”

The Stallone Sisters
(L-R) Scarlet, Sistine and Sophia Stallone on the red carpet together. (Photo credit: AP Images)

Mejia’s breakdown of each move mentioned above:

Bridges: “Laying flat on your back, bring legs in line with your shoulders. From here, you are going to slightly tilt your lower back, followed by striking your glutes straight into the air until glutes are fully contracted. — Bridges are great at the beginning of a workout or at the end as finishers. Shoot for about 20 reps for about 3-4 sets.”

Monster Walks: “Using a small resistance band, slip both legs into the band and bring the band right above your knees. From here you are going to bring your feet right in line with your shoulders, then come into an athletic squat position. From here, you’e going to take a big lateral side step and have the other foot follow back into a neutral athletic position. — Shoot for 10-15 steps in a direction (right or left) then back the other way to where you began for 2 to 3 sets.”

Ankle weighted rainbow kicks: “Place ankle weights anywhere from 1lbs to 4lbs on the ankle. From here, you’re going to be in an all 4s position on the ground or mat. Then, straighten out whatever leg you desire first. While engaging your core and locking out your elbows, you’re going to lift that leg up and then rainbow it over to the opposite side, then back over. — Shoot for about 15-20 reps for 3 sets.”

Wide stance squats: “With a barbell or kettlebell you’re going to bring your feet outside of the shoulders this time while slightly pointing your toes out. From here, you’re going to perform a squat. The wide stance allows for targeting the glutes and inner thighs. Keeping the core engaged, you’re going to lower down and shoot through the glutes on the way up. — Stay relatively light with the weight and shoot for about 15 reps for 3-4 sets.”

Chest presses into flies: “Using very light dumbbells, you’re going to lay back on a bench, arms come up in the air and legs wide for a solid base. From here, you’re going to fly those arms out, all while keeping your elbows slightly bent, then bringing them back right in front of your chest. The cue I give here is to pretend like you are giving a big bear a hug.”

Knee raises: “Hang from any type of supported pull bar. While completely hanging, lift the knees into the chest while squeezing the abs as hard as you can, then lower your legs. This is a tough exercise for people since not everyone has really good grip strength to hold their bodies up for short period of time, so it’s great to develop grip strength. — Shoot for about 15-20 reps for 4 sets.”

Leg raise into a candle stick core move: “For beginners, start off on the ground laying completely flat, preferably holding onto something supported. From here, as you lift your legs into the air you’re going to ‘kick the ceiling up’ which is the ‘candlestick part’ — meaning your hips come off the ground. Then, lower your hips back onto the ground while lowering your legs together and then lifting again before they touch the ground. Shoot for about 20 reps for 3 sets back into a neutral athletic position. Shoot for 10-15 steps in a direction (right or left) then back the other way to where you began. Try to do 2 to 3 sets.”

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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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