Jennifer Lopez, 55, flaunts her incredible figure in a TINY sequinned bodysuit during latest raunchy perfomance in Hungary - after shockingly simulating sex on stage
The songstress, 55, flaunted her jaw-dropping figure in a skimpy sequinned bodysuit that left very little to the imagination.
Jennifer's silver look boasted a plunging neckline and daringly high cut leg which showcased her flawless physique in all its glory.
The hitmaker completed the sexy stage look with fishnets and thigh high sparkly boots which ensured all eyes were on her as she belted out her biggest hits.
It comes just 24 hours after JLo shocked with her X-rated performance that saw her simulate sex positions on stage at the Cook Music Fest in Tenerife.
She once again left little to the imagination, this time in a thong bodysuit complete with racy cut outs.
Jennifer sung on all fours in front of one shirtless dancer, before another lifted her off her feet and she sat on his shoulder with her crotch in his face.
Another eye-popping moments saw her straddling one dancer while placing her hands between the legs of another two.
The hunky men showcased their gym honed physiques in only trousers and white corsets.
The sizzling show comes after she debuted her Ben Affleck revenge song, saying earlier this week: 'This is a song that is a new song that I want to sing for the first time tonight that came to me when I was up all night one night. Shall we sing this one for the people?'.
JLO —who first sang the song at a private fan event July 2—said she's 'better' now.
'The love I want, the love I need, it starts in me,' she sang.
She then added, 'Now I found my way here I'm gonna stay there. Thank you for the scars you left on my heart, was showing me that stars shine brighter in the dark. I won't fall apart because of who we are, but your broken parts.'
And she said the heartbreak made her 'wiser.'
'Because of you, I am stronger, wiser,' Lopez belted out. 'Better than I've ever been.'
Then Jennifer made it very clear she would never reunite with Ben: 'I won't let you no longer, longer, ever say goodbye to me. It was perfect while you made me believe, really got only greater for me, and it made me stronger, stronger, bulletproof. Now watch me climb out of the wreckage of you.'
She then thanked the unnamed ex for 'the pain that you caused.'
In May Jennifer told El Pais that the split was a 'difficult time' but she would be stronger for it. 'I'm proud of myself for that and I'm proud that I was able to navigate my children through difficult times, that they're stronger and better because of it.'
Jennifer and Ben tied the knot in 2022 after rekindling their romance.
But in August 2024, she filed for divorce on their second wedding anniversary.
A statement obtained by DailyMail.com at the time read: 'Representatives for Live Nation announced today that the Jennifer Lopez US Summer 2024 Tour THIS IS ME...LIVE is canceled.
'Jennifer is taking time off to be with her children, family and close friends,' it was added.
Lopez herself also said she was 'heartsick and devastated' over the cancellation but added it was 'absolutely necessary.'
An insider also told DailyMail.com, 'She's taking time off to be with family and close friends. This was a very difficult decision made by Jennifer this week and she's sorry to her fans.'
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The Guardian
27 minutes ago
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More sex please, we're bookish: the rise of the x-rated novel
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The parameters they set out still define the best possibilities of what sex writing can be, though plenty of men – from Philip Roth to Michel Houellebecq – came along in the meantime to try to prove that male desire was still fascinating. Reading in our contemporary era, I find myself most riveted by writers who continue Carter's tradition. Published earlier this year, Sophie Kemp's Paradise Logic tells the satirical story of a young woman's attempt to make herself into the ideal girlfriend and, in doing so, exposes the patriarchal nature of porn culture. But precisely because it's so clever and sassy it reveals the limits of satire, whereas other contemporary novelists are bringing together the pornographic and the transcendent in a more transporting way. It's telling that these writers are more often writing gay than heterosexual sex. Garth Greenwell, who has described himself as wanting to write scenes that are '100% pornographic and 100% high art', is more trammelled by questions of identity than Alan Hollinghurst was when he wrote The Swimming-Pool Library – a book Greenwell credits as an inspiration. Greenwell is writing sex in the age of consent and dutiful identity politics, but arguably it's these constraints that power his existential quest. There's a scene in Greenwell's 2020 Cleanness where the pornographic and the transcendent explicitly entwine. The narrator has a BDSM encounter with a Bulgarian man he calls Svetcheto, 'the little saint'. The usually submissive narrator has agreed to dominate. It's a brutal scene, all the more frightening because it mirrors an earlier encounter when the narrator was dangerously violated. We're worried both that he'll reenact that violence and that he won't carry off this new role. But then it becomes clear he's enjoying himself. Suffused by mutual, unexpected transcendence, the couple's porn-inspired identities simultaneously break down and burst into flower. Laughing, Svetcheto licks away the narrator's tears. 'Do you see? You don't have to be like that,' he says. 'You can be like this.' Jen Beagin, K Patrick and Yael van der Wouden write moving, powerful portraits of lesbian desire, full of anatomical detail. Beagin's Big Swiss is a large-hearted tale of a love affair between Flavia, an absurdly beautiful gynaecologist, and Greta, the more klutzy, down-at-heel writer who's paid by Flavia's sex therapist to transcribe her sessions. 'Her pussy looked like advanced origami. A crisp pink lotus flower folded by a master. Greta briefly rearranged it with her mouth.' The sex scenes in Patrick's Mrs S are less metaphorical and more breathlessly desiring, though the prose is taut in its lyricism. It can feel like the plot – a love affair between the 22-year-old new teaching recruit and the headmaster's wife in a girls' boarding school – is an excuse for the sex scenes, but in a way that's the point. In both books, it is striking how quickly sex reveals the existential need for transformation. Even in that first sex scene, Greta feels as if she's reached a place 'she's been visiting in her dreams for years and forgetting'. Mrs S is casually historical – set in the 1980s or 90s – which means its identity politics can be implicit: the narrator wears a chest binder but the book doesn't raise questions of trans identity. Instead it is preoccupied with the loss of identity, as the narrator feels herself remade as the 'You' she becomes in her lover's mouth. 'It is as if she has always been waiting for this arrival, of me into my body. You. I don't have a name. Isn't it so much better, to not have a name, to be dropped straight from the clouds?' 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Literary delights delivered direct to you after newsletter promotion In Intermezzo, the young chess genius Ivan checks repeatedly that his lover likes what he's doing, while his brother Peter half-exploits Naomi, a young woman who has sold pornographic images of herself and remains too willing to abase herself for men. But beneath these exterior sexual identities are their private bodily lives, and sex is the best means of growth they have. Rooney follows McBride in dizzyingly contorting her sentences: 'Deep pressing almost hurting and she felt him throbbing, wanting to, and she wanted that also, wet inside, image of silver behind her closed eyelids, jetting, emptying into her …' Rooney is surprised that people don't ask her more often about the place of sex in her novels; 'the erotic is a huge engine in the stories of all my books,' she has said. But it is in All Fours that the full possibilities of Carter's 'moral pornography' are realised. 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It is a place where identity can be discarded and remade. Sex remains at the centre of much of the best fiction, and we need powerful fictions to show us what sex is or can become. This is where realism comes up against something stranger, and body and consciousness undo and affirm each other, because it can be at once so ordinary, and so transcendent. Lara Feigel is the author of Look! We Have Come Through! – Living with DH Lawrence (Bloomsbury).
The Independent
an hour ago
- The Independent
Nepo babies used to get on our nerves – now they've got the upper hand
This week, Brooklyn Beckham shocked his followers when he shared a video of himself rustling up a tomato pasta dish using seawater. In the clip posted to his Instagram, the would-be chef leans off the back of a luxury yacht and dips a silver saucepan into the sea, before bringing the briny to boil and plopping in some spaghetti. 'That's disgusting,' one person commented. Others said: 'Nothing like cooking in sewage water …' and – possibly most devastating of all – 'Go get a real job PLEASE!!!!!!' Beckham, 26, has long faced criticism from nepo baby haters for using his privileged position as the eldest child of David and Victoria Beckham to his advantage in his various 'careers'. His amateurish seawater pasta is but his latest clueless foray into the world of work. He irritated established fashion photographers when, aged 16, he was hired by Burberry to shoot its latest fragrance campaign. In a juvenile collection of his photographs, published by Penguin Random House, his shot of a dimly lit elephant was accompanied by a caption: 'Elephants in Kenya. so hard to photograph but incredible to see.' In 2022, his career relaunch as an chef-influencer, with his straight-to-Instagram show Cookin' with Brooklyn, reputedly required a team of 62 professionals, including culinary producers, cameramen and several producers – and cost a staggering £74,000 an episode to make. Nothing like starting at the bottom and working your way up, is there? When Oasis return to Wembley Stadium this weekend, for the first time since 2009, as part of the brothers Liam and Noel Gallagher's reunion tour, they will be supported by Richard Ashcroft of The Verve. But eyes have no doubt rolled at Liam's daughter Molly and Ashcroft's son Sonny gracing the front of the new issue of Tatler, as cover stars for their latest Cool Britannia issue for the same reason: they are only famous because of their parents. In the cover photo, Molly, 27, a model, is standing on an elaborate gilded French stool in a blue leather mini-coat, with musician Sonny, 25, who is hoping to release music soon – wearing a tie against the backdrop of a huge Union flag. The trouble with nepo babies – a phrase coined in 2022 that shortens 'nepotism', and which Gwyneth Paltrow dismissed as an "ugly moniker" with which to beat the children of famous people – is that they are successful only because their famous parent(s) helped them get their foot in the door. Those that are talented struggle to escape the pervasive feeling that their connections and money have given them a headstart that other equally talented people won't get. The resentment is that it's grossly unfair as the rest of us have to claw our way to the top. We can't just walk into a movie role, or capitalise on being the next generation leading the Britpop revival. To win favour, nepo babies shouldn't deny or hide their privilege like Johnny Depp and Vanessa Paradis's daughter Lily-Rose Depp, 26, did when she once claimed in Elle magazine that 'nothing is going to get you the part except for being right for the part'. This week, Isadora Bjarkardottir Barney, 22-year-old daughter of Icelandic singer Björk, claimed that being a nepo baby 'doesn't help you much', after landing her first leading role in a feature film, The Mountain. Hailey Bieber tried to embrace the term by wearing a 'Nepo Baby' crop top in 2023, to acknowledge her Baldwin family dynasty links, but was then criticised online for 'not being enough' of a nepo baby. Stranger Things actor Maya Hawke – daughter of Ethan Hawke and Uma Thurman – tried a different tack, admitting what a privileged position she is in, compared with the rest of us. Since the whole debate erupted with New York Magazine's 2022 cover The Year of the Nepo Baby, things have changed. I say it's about time we stopped hating on nepo babies. Today's nepos – nepo 2.0, the next generation – are fully aware of their ridiculousness, and they're now actually playing up to it. Because they can't help who their famous parents are – and what else are they supposed to do? That's why Beckham now courts criticism and finger-pointing laughs by cooking seawater pasta, and why the Oasis nepo babies are happy to push their status as cultural icons for a new generation. The difference is the new breed of nepo babies aren't struggling with the nepo label. They are just happy to weaponise it and get up in our faces. Blue Ivy Carter, 13, the daughter of Beyoncé and Jay-Z, has been dubbed a positive example of nepotism in the music industry for her stage presence and talent after she brazenly adopted the role of chief backing dancer for her mum's Cowboy Carter tour – often stealing the limelight. Kai Gerber, 23, looks the spitting image of her supermodel mum Cindy Crawford – for a reason. She's continuing Crawford's legacy in the fashion industry. Nepo babies offer the rest of us light relief in dark times. Getting ahead because of mum and/or dad isn't going away – so we might as well enjoy it.
