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Lady Gaga dared to bare at the beach in Miami on Wednesday.

The pop star, 31, looked cool and confident in a small bikini while posing in the sand in a photo she posted on Instagram — donning a triangle top made of metal strings and a matching bikini bottom over a white thong.

While the daring bikini was head-turning enough, the star wore the look with a pair of strappy high heel sandals – not the easiest footwear to walk over the sand with.

She completed the look with a sheer black shawl with gold detailing on the edges, a circular gold necklace and sunglasses.

"From the woods for Thanksgiving to the beach for Tour in Miami!" she wrote in the caption, with the hashtags, "#beyourself #ladygaga #beachwear #JoanneWorldTourMiami Bienvenidos a Miami!"

Later, Gaga shared a second photograph showing off her toned derrière, writing, "Call me Princess Peach 🍑 #ladygaga #JoanneWorldTourMiami."

Gaga isn't exactly the biggest fan of practical dressing. In June, the "Born This Way" singer went hiking and opted for an all-black ensemble composed of a one-shoulder ruffled and knotted crop-top, paired with a fitted black maxi skirt, with a flared and slightly ruffled bottom.

She completed the look with nude high heels while walking on the gravely, dirt road.

Gaga's had iconic fashion moments in the past, including her meat dress , her outfit composed entirely out of decapitated Kermit the Frog heads and once attended the Grammys ensconced in a giant dinosaur egg .

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In the below, a Russian girl is being auditioned in what appears to be a porn video. If you get bored, skim ahead to the final minute where you’ll get to see some awesome gore and even better visual effects work.
I wish we could get these guys for a V/H/S sequel!
Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.
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Lorcan Finnegan’s ‘Nocebo’ subverts the wicked nanny subgenre with a haunting horror story with a ruthless, relevant message.
There are few bonds that are more innate and eternal than those between family. These fundamental connections can push the most ordinary of individuals to do impossible things. Parenthood–whether it’s the stresses that surround this responsibility or the idea that someone else doesn’t deserve it–is subject matter that frequently finds itself at the center of the horror genre. There is no shortage of evil nanny or creepy kid horror movies, but Lorcan Finnegan’s Nocebo strives for something more with this surreal, visceral Irish/Filipino hybrid horror story that contains some of the most haunting visuals of the year. It’s a powerful gut punch of a film that feels like M. Night Shyamalan’s Servant meets The Babadook meets Inside .
Nocebo begins in fairly familiar territory as Christine ( Eva Green ) and her husband Felix ( Mark Strong ) go about their ordinary, albeit overworked lives while they attempt to provide their son with the best that life has to offer. This simplistic existence spins off its axis when a caregiver, Diana ( Chai Fonacier ), shows up–seemingly out of nowhere–and becomes the essential godsend that Christine never knew she was missing. Nocebo lives in the tension of whether Christine actually hired Diana or if this helper has significantly more sinister intentions. A lot of Nocebo’s success relies upon not only if audiences buy into this central relationship, but if the payoff of where this all goes is actually worth the effort. Recent horror movies like Barbarian are proof that viewers can be patient when it comes to answers and while Nocebo never reaches those heights, it still goes out on a surprising turn that’s likely to leave more audiences satisfied than aggravated.
Nocebo is technically a fantasy horror movie, but so much of its material examines the survival of capitalism through the exploitation–and vilification–of overseas workers, which in this case narrows in on Filipino culture. The horror of the “other” has unfortunately been alive and well in the horror genre for decades. Nocebo wags these tired archetypes in the audience’s face, but what’s encouraging about the film is that there’s a level of authenticity here that comes from Filipino screenwriter, Garrett Shanley . Nocebo and its vilified “other,” Diana, intentionally mock and subvert horror’s fascination with token mysticism. It’s no coincidence that Christine’s job centers around the exploitation of children and Felix is a marketing strategist who only views people in terms of dollar signs.
The growing schism between Christine and Diana fuels most of Nocebo’s story and there’s interesting material that’s born out of Christine’s superstitious, susceptible disposition. Finnegan concocts some frightening recurring symbols throughout this cat and mouse feud (a thriving tick is a recurring image that’s used to excellent effect and triggers several of Nocebo’s strongest scenes) that only become more overbearing to these characters. There’s a fascinating karmic connection between Christine and Diana that’s perpetually in flux and leads to some draining, harrowing performances. Eva Green’s fragile mental state in Nocebo’s final act is enough of a reason to check out the movie (even if it does occasionally feel like “ Resurrection light”). Nocebo is a film that wallows in a lot of intense melodrama, but there’s also a wry sense of humor that comes out of Christine’s family life before Diane fully indoctrinates it.
Finnegan’s previous feature films, Without Name and Vivarium , are both sumptuous visual feasts that bombard the viewer with kaleidoscopic surreal scenes. Nocebo is no different, although it’s largely more restrained than Finnegan’s previous films; that is until the final act when Nocebo really gets to go wild as Christine’s mental state reaches newfound peril. Finnegan’s trippy visuals are usually the selling point to his stories and so it’s encouraging to see the director attempt new tricks here and not purely rely on what’s worked in the past. Additionally, Jose Antonio Buencamino’s plunky score is often the perfect tool to accentuate the movie’s mounting dread. There’s a quality to this music that feels tribal, primal, and foreign in nature, which fits with Nocebo’s themes and fascination with mysticism.
Nocebo deserves credit for its broader idea that capitalism is the greatest monster of them all, but it’s not something that ever fully comes together. There’s a horrific finale that effectively ties these themes together and proves that Finnegan is such a strong visual filmmaker. However, a little restraint can go a long way and Nocebo often comes across as heavy-handed with its grander ideas. It feels like a story and script that would benefit from a tighter additional pass, which is frustrating since there are also plenty of compelling ideas in the movie that are left a mystery and not overexplained. That being said, it’s still hard to argue with Nocebo’s message and the chilling final image that it goes out on. During a time where the horror genre is crowded with remakes and sequels, the risks that Nocebo takes and the pockets of culture that it highlights more than make up for the moments that fall flat.
‘Nocebo’ releases in limited theaters on November 4th.
Copyright © 2021 Bloody Disgusting, LLC

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Pedophile Jeffrey Epstein remains behind bars in sex trafficking trial
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Epstein had stash of cash, diamonds and a fake Saudi passport
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Published: 22:03 BST, 23 July 2019 | Updated: 16:46 BST, 1 November 2020
An emboldened Jeffrey Epstein traveled the world with one of his underage sex slaves in the years before his arrest, and even took the photos to prove it according to court papers.
That victim, Virginia Roberts, included these photos as proof of Epstein's depraved behavior in multiple lawsuits.
In one she is seen on a New York City ferry while others show her horse riding and posing up in front of a museum treasure chest.
Those three photos were taken by Epstein himself she claims, when he shuttled her to New Mexico for the weekend.
All the while raping her and letting his friends do the same, according to Roberts' lawsuit.
Kids incorporated: Virginia Roberts (above in NYC at 15 in a photo taken by Epstein was just 15 when she was recruited while working at the Mar-a-Lago spa to be Jeffrey Epstein's sex slave
Snow day: She is now suing the United States for how they handled the prosecution of Epstein, and in her filing has included pictures he took of her around the world (above in New Mexico at 17)
Fool's gold: Robert was able to see the world during her years with Epstein, who flew her around the world while he and his friends raped the teenager (Roberts above at a museum in New Mexico in 2001 in a photo snapped by Epstein)
'Epstein took me on a ferry boat on one of the trips to New York City and there he took the picture above. I was approximately 15 or 16 years old at the time,' she writes of the first photo.
In that picture, Roberts looks years younger than her age as she smiles for the camera while on an unchaperoned trip with Epstein and Ghislaine Maxwell over 1,000 miles away from home.
'You can see how young I looked in the photograph,' she notes, while also revealing she was raped by Epstein at his Manhattan mansion on that trip.
'Over the next few weeks, Jeffrey Epstein and Ghislaine Maxwell trained me to do what they wanted, including sexual activities and the use of sexual toys,' she wrote.
'The training was in New York and Florida, at Epstein's mansions. It was basically every day and was like going to school. I also had to have sex with Epstein many times.'
Roberts said that she was trained to be 'everything a man wanted me to be.'
The photos that were used by Roberts make it clear that she was with Epstein at some of his properties, most notably his ranch in New Mexico.
Epstein served just a year in prison for his offenses following a 2005 criminal probe
'The first one is a museum in Santa Fe, New Mexico. We had gone sightseeing for the day. Epstein took this picture of me. I was approximately 17 at the time, judging from the looks of it,' write Roberts.
'At t
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