Tom Brady's Net Worth: How the NFL legend built a fortune of $300 million on and off the field
As of April 2025, the retired sports star has a net worth of $300 million (about £236 million). And that's separate from his ex-wife, supermodel Gisele Bündchen, whose fortune is estimated at $400 million (£314 million). When they were together, the pair had a combined wealth of around $650 million.
Tom Brady, now 48, is best known for being one of the most successful quarterbacks in the history of American football.
He spent 20 years playing for the New England Patriots, then joined the Tampa Bay Buccaneers and won another championship. He retired in 2022 at the age of 45, after 23 seasons.
During his career, Brady made $333 million in salary and more than $140 million from brand deals, adding up to over $473 million in total earnings. Off the field, he worked with companies like Under Armour, UGG boots, Subway, and Aston Martin.
Brady also built several businesses of his own. He started a health and fitness brand called TB12, a clothing line called BRADY, and even co-founded an NFT company called Autograph.
He also runs a media company focused on sports content and documentaries.
After retiring, Brady signed a 10-year deal to work as a commentator for Fox Sports, reportedly worth $375 million (£295 million). However, recent reports suggest he may not follow through with that job.
Tom Brady's life off the pitch is just as grand as his career. He's owned luxury homes in several places, including Los Angeles, Massachusetts, Florida, and Montana.
One of his most famous properties — a custom-built mansion in Brentwood, Los Angeles — was sold to rapper Dr. Dre for $50 million, giving Brady and Bündchen a profit of around $21 million.
Another notable purchase was a $17 million estate on Indian Creek Island in Miami, also known as 'Billionaire Bunker,' where he and Gisele planned to build a new mansion before their split.
Though his days as a player are over, Tom Brady continues to grow his wealth through media, business, and investments. From being picked late in the draft to becoming one of the richest athletes in the world, his story is a lesson in long-term success — both on and off the field.
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Scroll.in
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This perhaps means, she wants, like any other poet, for the reader to search for, engage with, and rely on the poems themselves to know what they mean. Hence a lot of her new poems in the book explore what it is to 'know', and how that knowledge often transforms the knower, and if not the knower in the poem, then at least the reader of the poem, who, at any rate, is the other half of its meaning-making machine. One of the facets of existence where this need to know – both the Other and oneself – manifests most strongly is in romantic relationships. Thus, Rao offers us a series of compelling, what I call 'about love' poems (I borrow this term from a title of a poem in Arundhati Subramaniam's book, When God is a Traveller). These 'about love' poems are, by turns, exuberant, playful, seductive, or melancholic, depending on which page you land on. In 'This Marriage', seven lines capture the politics, through the image of an overcoat, of a marriage that has grown lukewarm with time. 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Rao's poems complicate what 'knowing' means, by destabilising the way we arrive at knowledge. To be precise, the poems challenge our elemental need for certainty in texts, in arguments, in narrative. They seem to be saying, that ambivalence too, is part of the human condition. Taste it, feel it, embrace it. Take turns. Such ambivalence exists, most tellingly, in poems which contradict themselves, sometimes consciously, formally, and other times, through their argument structures. 'Just Looking' uses anaphora, in the form of the phrase 'there is no love', to foreground what one is looking for, i.e. love, but that such love is not to be found anywhere (in my right pocket, left pocket, shopping cart, behind curtains, in the freezer, on the cutting board etc), and in this failure to 'find love' the poem ultimately performs the paradox that love often eludes our grasp, existing in the spaces between, or beyond, our searches and desires. Such a poetics reflects a profound understanding of human emotions, inviting readers to engage with ambivalences interwoven in human emotions. Likewise, 'Story Moon' is a hyperbolic, exaggerated meditation on the role of essential love-objects, or objects we think of as essential, in romantic narratives. In the poem, this object happens to be the moon, a staple cliché in love narratives across cultures. The poem begins with, 'Pair of lovers coupled with a full moon – formula for romance', but soon enough, after, 'Silhouetted faces cradled in a generous moon curve – Pregnancy.', we realise, 'If there is no moon, oh no moon, there is no moon at all, where is the moon, there is no moon… moon what's a poet to do without moon', The poem ends playfully, hysterically, exaggeratedly, making the reader wonder whether it is possible to conjure love, write about love, think of love, testify to love's existence, without its associated objective correlatives. 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The poem is rich with dualities: dying–living, human world–natural world, movement–stasis, and so many more. This act of expanding upon itself, transcending its own boundaries, provides the poem with the potential to capture 'fuller', 'deeper', 'higher' truths about human existence. And perhaps, that is why in the Preface, Rao subtly urges the reader to seek the meaning of a poem in the poem itself. As she writes, 'You are multitudes'. And so is 'good' poetry. Mani Rao's poems offer the space to encounter multitudes of meanings and possibilities of being, in all their rich, in-between ambivalences. Read them. Ankush Banerjee is a poet, a masculinities studies research scholar, and Reviews Editor at Usawa Literary Review. His book of poems, Field Notes on Kindness, is forthcoming.
Time of India
2 hours ago
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