Angelina Jolie's daughter Shiloh, 19, and 'girlfriend' enjoy steamy PDA in car after moving in together
At one point, the 19-year-old dancer-choreographer - who was sporting her favorite red hoodie - packed on the PDA with the Movement Talent Agency-repped dancer inside a car.
Shiloh and Keoni have 'temporarily moved in [together] for the last weeks' an insider told DailyMail.com last Thursday.
Exclusive photos obtained by us confirmed the move, showing the coy couple hugging outside their shared LA condo.
Rose will soon head to Washington State to perform in a preview of Veronica Mendonca's dance production pAges at STG's Kerry Hall at Cornish College of the Arts in Seattle this Saturday.
It's a fundraiser for the flame-haired beauty and the cast to debut pAges at theSpaceUK during the Edinburgh Festival Fringe in Scotland from August 18-23.
Keoni previously went viral on TikTok in 2023 for posting her twerking, tortilla-flipping videos while Jolie's dance moves went viral in 2021.
The pair were first photographed May 26 shopping together at Isabel Marant - two days after Shiloh choreographed a 'sometimes steamy number' for Rose and Tako Suzuki at the LA launch of the French designer's capsule collection with Net-A-Porter.
It was that Luella-accompanied performance at Oliver House where Jolie debuted her professional name 'Shi' a little over a year after dropping her surname Pitt following her estrangement from her famous 61-year-old father.
'It brings a tear to the eye, yeah,' Brad gushed of 'beautiful' Shiloh to ET back in 2022.
'I don't know where she got it from. I'm Mr. Two-Left-Feet here. I love when they find their own way, find things they are interested in and flourish.'
Jolie previously portrayed Pitt's onscreen daughter Caroline in David Fincher's 2008 film The Curious Case of Benjamin Button, which amassed $335.8M at the global box office.
The Namibian-born teenager also voiced the male panda Shuai Shuai in Jennifer Yuh Nelson and Alessandro Carloni's 2016 animated comedy Kung Fu Panda 3 starring her famous 49-year-old mother, which amassed $521.2M at the global box office.
Shiloh first made headlines for her androgynous 'Montenegro style' as Angelina told Vanity Fair in 2010 that 'she wants to be a boy' and Brad told Oprah Winfrey in 2008, 'she only wants to be called John.'
On August 5, Jolie will celebrate the 24th birthday of her first child, Maddox Chivan Jolie.
The F1 producer-star reportedly got into a physical altercation with Maddox aboard a private jet in 2016 and his son Pax, 21; called him a 'world-class a**hole' and a 'despicable person' in an explosive Instagram rant revealed by DailyMail.com.
Five of the Oscar-winning exes' kids appear to be estranged from him including - Shiloh, Vivienne, 17; and Zahara, 20; - who've all dropped Pitt from their names.
But it's unclear if their 17-year-old son Knox has also dropped his surname.
'None of my children want to be in front of the camera at this time,' Angelina told GMA on November 21.
'They're quite private. Shiloh's extremely private. They weren't born with privacy, right? So I hope they can have that as they grow.'
The couple formerly known as 'Brangelina' finalized their divorce on Christmas Day.
They were technically only married from 2014-2016 despite falling in love with each other on the 2004 set of spy flick Mr. & Mrs. Smith, which prompted Brad's 2005 divorce from Jennifer Aniston.
However, Pitt and Jolie are entering year four of their legal war over their 1,200-acre winery Château Miraval in Correns, France where they wed, which is reportedly worth $164M.
Angelina and Brad purchased the the 35-room estate together for $28.4M in 2011, but he sued her in 2021 after she sold her stake in the ownership to the Stoli Group without his approval, which prompted a countersuit.
The Maria actress had initially offered to settle, but she reportedly took issue with the mandatory non-disclosure agreement and backed out.
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The Guardian
22 minutes ago
- The Guardian
‘A warning signal': is this the beginning of the end for late-night comedy?
'I acknowledge we're losing money,' comedian Jon Stewart told viewers this week. 'Late-night TV is a struggling financial model. We are all basically operating a Blockbuster kiosk inside a Tower Records.' The remark did not dull Stewart's righteous anger about his friend Stephen Colbert's show being cancelled by CBS after its parent company Paramount settled a lawsuit with Donald Trump – and a week before Paramount's $8bn merger with Skydance was approved by federal regulators. Stewart did, however, point to another truth about the decline of a format that has been part of America's cultural fabric for three-quarters of a century. Late-night TV serves a nightly supper menu of comic monologues, variety sketches, celebrity interviews and musical acts. It turned hosts such as Johnny Carson, Jay Leno, David Letterman, Jimmy Fallon, Jimmy Kimmel, Conan O'Brien and Colbert into a familiar and reassuring presence in millions of homes. It was also relatively cheap to make and offered lucrative returns from advertising, representing a cash cow for major networks. Stephen Farnsworth, a co-author of Late Night With Trump: Political Humor and the American Presidency, says: 'It was a comforting collection of lighter fare before bed. It was for people who work second shifts in factories, people who just wanted a joke or two and a celebrity interview before they drop off. It was a cultural experience back in the days of Carson where you had one show that dominated above all and it had those moments that people would talk about the next day at work.' Not any more. The late-night format has been struggling for years as viewers increasingly cut the cable TV cord and migrate to streaming. Younger people are more apt to find amusement on YouTube or TikTok, leaving smaller, ageing TV audiences and declining ad revenues. Whereas the Late Show might once have raked in about $100m a year, it now reportedly loses $40m a year – giving CBS a convenient pretext to pull the plug and claim it was 'purely a financial decision'. Farnsworth, the director of the Center for Leadership and Media Studies at the University of Mary Washington in Fredericksburg, Virginia, adds: 'The big problem with late-night comedy in recent years is the problem with all traditional media in recent years. When you move to an online environment with podcasts and on demand, it's hard to get people to pay attention in a place where the ad rates are the highest. 'There are plenty of people watching Colbert clips throughout the day on all kinds of platforms. But when you're talking about advertising revenue, it's mainly the eyeballs fixed on this TV screen. That's where the money is made, but it's also where the decline has been the greatest.' Late-night TV began in the 1950s as the postwar consumer boom made TV sets widespread, including in many bedrooms. Networks saw potential in late-night slots to capture audiences, especially younger viewers and urban professionals. The first notable show was Broadway Open House on NBC, created by Sylvester 'Pat' Weaver (the father of the actor Sigourney Weaver). Airing from 11pm to midnight, it introduced a casual, variety-style format with comedy, music and guest interviews, setting the template for future shows. The definitive late-night programme was The Tonight Show, premiering in 1954 on NBC with host Steve Allen, whose wit and improvisational style were so successful that he got moved to prime time. His successor Jack Paar added emotional depth and conversational interviews during his five-year reign. Then came Carson, whose 30-year run solidified The Tonight Show as a cultural institution, pulling in between 10 million and 15 million viewers a night at its peak. Born in Iowa and raised in Nebraska, Carson's charm went well beyond coastal cities to middle America. He interviewed presidents, performed impressions of them and told jokes at their expense but wore his own politics lightly. Farnsworth comments: 'They were jokes that never were biting. A joke about Ronald Reagan being a little confused is hardly the same thing as the kind of fare that's provided today. But it's important to remember that was a tamer time in American politics too. As America has gotten more partisan and voters and politicians themselves have gotten much harsher, late-night comedy has reflected those changing realities. 'I don't think Carson would be anywhere near as successful today. His relatively tame approach to humour would strike a lot of contemporary viewers as out of touch in the same way that, had Colbert been on the air in the 80s, he wouldn't have gotten very far.' Carson's success inspired competitors including CBS, which launched The Late Show with David Letterman in 1993. The Daily Show, a spoof news programme with mock reporters, began on the cable network Comedy Central three years later. Under Stewart, the Daily Show gave late-night a satirical edge, exposing the hypocrisy of politicians and the media with lacerating commentary and smartly edited video clips. A spin-off, The Colbert Report, was a searing parody in which Colbert played an exaggerated, bombastic version of a conservative news host and coined the term 'truthiness'. Bill Carter, the author of the book The Late Shift and executive producer of the CNN docuseries The Story of Late Night, says: 'Jon Stewart, more than anyone else in that era, brought point of view to what he did, certainly more than Letterman and Leno ever did. Young people loved it. He was breaking news to them. They didn't pay attention to news; they watched his show and they'd find out things from watching his show.' Among that generation was Tyler Hall, 36, who recalls growing up inspired by the Daily Show's iconoclastic take on the 2003 Iraq war. He says from New York: 'That was so appealing, to think that you can speak with moral authority while still being fun and funny and not preachy and shouty. It felt like a dream to put a finger in the eye of people who were oppressing and causing harm. 'I've always thought there was something kind of punk rock about Colbert tricking people in his interviews in those early days because they thought he was for real, or Jon Stewart spitting back in people's faces their own video clips. It felt badass. The teenage version of me wanted to be part of it and was fortunate to be part of it.' Hall got a job as as a researcher at The Colbert Report and followed Colbert to The Late Show in 2015. Even as Stewart stepped away from the Daily Show to make way for the South African comedian Trevor Noah, his legacy lived on as proteges such as Samantha Bee, Jordan Klepper, John Oliver, Larry Wilmore and Roy Wood Jr forged their own paths. Hall reflects: 'There was certainly an abundance, a diversity, you could even say, a glut of these late-night political shows. There would honestly be times where we could all accidentally write the same punchline off the same thing of the day. We didn't know what the other one was writing, but inevitably enough of the same smart people writing on the same topic bang out the same basic joke.' Having initially struggled with the transition to a major network, appearing as himself rather than a character, Colbert found his voice in the era of Trump. His nightly monologues skewering the president are sardonic, silly, smart, snarky and sublime, an invaluable body of work for future historians seeking to understand the decade when America lost its mind. They also carry a rare moral force. David Litt, a former speechwriter for Barack Obama whose books include It's Only Drowning, says: 'What stood out was Colbert's kindness as an individual and his public persona as an upstanding citizen. That stands in real contrast to Donald Trump. Colbert was the personification of the idea that people who believe in basic decency have a natural inclination toward saying: 'I want nothing to do with Trump and I have no interest in bending the knee.' 'The Maga frustration with Colbert was you had this person who was a religious Catholic from South Carolina, in many ways not easy to dismiss as a coastal elite or crazy socialist. And what he was saying is that it is deeply American to oppose this man and to find what he's doing both ridiculous and abhorrent.' The Late Show became the most watched late-night programme with ratings peaking at 3.1 million viewers during the 2017-18 season, according to Nielsen data. But not even Colbert was immune to the tectonic plates shifting beneath the format. In the season that ended in May his audience averaged 1.9 million. The show's ad revenue plummeted to $70.2m last year from $121.1m in 2018, according to the ad tracking firm Guideline. Carter, who has written four books about TV, is not surprised. 'It's of a piece with the end of linear TV,' he says. 'The regular primetime programming that's on the old traditional networks has faded to the point where the ratings stagger me how small they are. It's like a pond that's shrinking in the sun. It's getting smaller and smaller. 'CBS has made the point that they were losing money and we have to believe them; I'm sure they have finances that show that. But it didn't look to me like they did a whole lot to counter that.' Carter notes that some late-night shows have saved money by ditching their live band or reducing the number of nights they broadcast. But CBS, whose parent company was accused by Colbert of paying a 'big fat bribe' to Trump just three days before the cancellation, made little effort to adapt or save the format. 'I don't know exactly how they handled this, but the shows became somewhat bloated. When Colbert talked about this last week, he said I want to thank the 200 people who work on the show, and one of Letterman's former producers spoke to me and said: 'They have 200 people on their show?' The shrinkage was happening but it didn't look like CBS was doing that much that I could see until they totally pulled the plug.' Indeed, CBS appears to be ready to give up on late-night. When The Late Late Show host James Corden left in 2023, the network opted not to hire a replacement. The network also cancelled After Midnight this year after host Taylor Tomlinson chose to return to full-time standup comedy. Late-night comedians have followed their younger audiences online, releasing clips to YouTube or TikTok. But digital advertising does not make up for the lost TV ad revenue. Carter observes: 'They have very big subscriber bases. Jimmy Kimmel of ABC and Jimmy Fallon of NBC both have over 15 million to 20 million people subscribe to their TikTok or YouTube channels. That's an enormous number of people but they have not been able to monetise that. 'People watch it whenever they feel like it, which is the way television works now. It's very hard, if you're not compelled to watch something, to then commercialise it. How do you get commercials into that? In the past, people would sit through the commercials with Johnny Carson and wait till he came back. People try to avoid commercials now.' He adds: 'It isn't like the idea of late-night is bad or weak or old or used up. It's that the distribution method has changed so dramatically that making money off the old format is very difficult.' Farnsworth agrees: 'The shows haven't failed. The shows have kept up with the changing preferences but you simply don't get the same advertising revenue online that you do with over-the-air broadcasts. 'These are shows that draw millions of viewers every evening, not to mention millions of more viewers through other platforms. There's an audience for this. It may not be as big as it was, but no audience is. There's nothing that television could do to recreate must-see TV or the popularity of All in the Family or M*A*S*H today. People just don't consume media the same way.' He concludes: 'Ultimately the strategy for the remaining shows is living with less. You're going to have to figure out ways to cut the staff, maybe air fewer nights a week. This is definitely a warning signal for the genre of late-night humour. But it's not a death knell.'
Daily Mail
an hour ago
- Daily Mail
Leona Lewis announces Las Vegas residency at Voltaire following in the footsteps of Kylie Minogue, Christina Aguilera and Jason Derulo
Leona Lewis has announced a brand-new Las Vegas residency at Voltaire on Monday following in the footsteps of Kylie Minogue, Christina Aguilera and Jason Derulo. The Grammy-nominated singer, 40, will take to the stage at The Venetian Resort Las Vegas this holiday season with, A Starry Night, performing her first ever live shows in the United States. Leona will transform the glitz hotel into a winter wonderland for a set of exclusive performances running from November 1 until January 3. The X Factor winner will perform her hits Bleeding Love, Better In Time and Christmas classic One More Sleep during the Christmas spectacular at the intimate venue. The British star said it is a 'dream' come true to have her own show in Sin City, which has been 'years in the making'. She said: 'I'm elated to bring this show to Voltaire as it's been years in the making, made specially for my fans. 'Christmas has always been such a special time for me and my family and there's nothing quite like the energy of Las Vegas during the holidays. Can't wait to take the stage!' Sharing the news on Instagram, Leona added: 'A dream, years in the making. Coming to life in Vegas this November! 'I am so excited to officially announce my residency at Voltaire at @venetianvegas. Can't wait to share this new chapter with you'. A Starry Night is intended for all ages with general admission tickets starting at $75 (£56) with VIP packages also available for purchase from August 1. Over at the Colosseum at Caesars Palace this Christmas Dolly Parton will be taking to the stage for her residency with prices ranging from £1,500 to £4,000. Leona will also follow the likes of Adele, Celine Dion, Kelly Clarkson, Rod Stewart, Elton John, Cher, Janet Jackson, Bruno Mars and many more. However it was Britney Spears' Britney: Piece of Me residency in Sin City, which ran for four years from 2013 at the Axis at Planet Hollywood, that caught Leona's eye originally 11 years ago. Despite it being unknown what Leona will be paid for her 33 date residency, she admitted back in 2014 she would be very keen to have her own show due to the staggering paycheck. Over at the Colosseum at Caesars Palace this Christmas Dolly Parton will be taking to the stage for her residency with prices ranging from £1,500 to £4,000 Speaking to the Metro in 2014, she said: 'You get paid so much money to just go and do your show every single night. It would be amazing! I would love that. 'I want to go and see Britney. I am wondering how great that will be, though, as she is only performing two nights per month which I don't really understand. Two shows a month? Probably $10million per show!? 'I'm sure it will be incredible but I am intrigued to see how that would work.' Last week, Leona was made an OBE for services to music and charity in an an investiture ceremony at Windsor Castle. She looked incredible in a blush pink dress which she teamed with a matching hat as she was awarded the achievement by King Charles. The singer won the third series of The X Factor in 2006 and went on to achieve success in the music industry. Her debut studio album, Spirit, became one of the best-selling albums of the 2000s and the lead single, Bleeding Love, was the best-selling single of 2007. Leona was the first British female solo artist to reach the top five with eight singles, beating out Olivia Newton-John's record of seven. The British singer-songwriter from Islington, north London, has also been nominated for seven BRIT Awards and three Grammys and has performed on Broadway, TV and the silver screen. Outside her musical talents, Leona has thrown her support behind many charitable causes and activism. She has a particular passion for animal rights, publicly speaking out against animal testing and voicing her support for animal activism, sustainability and conservation. In December 2019, Leona and her husband, Dennis Jauch, opened a vegan cafe in Pasadena called Coffee and Plants, partnering with the National Forest Association to plant a tree for every cup they sell. They expanded to their second location in Studio City earlier this year and the cafe also works in partnership with Hopefield Animal Sanctuary, with proceeds of select items donated to the charity. Leona has campaigned for the fight against HIV/AIDS, Save The Children's initiative to stop child hunger at Christmas, to honour the NHS and to raise awareness of children's mental health. She has also worked alongside The Prince's Trust, Teenage Cancer Trust, WWF and American Red Cross as well as performing live during the pandemic to raise funds for COVID-19 initiatives. Leona is now a proud mum to daughter Carmel, three, who she shares with husband of six years, Dennis Jauch. Leona Lewis Las Vegas dates Saturday, Nov 1 Sunday, Nov. 2 Wednesday, Nov. 5 Friday, Nov. 7 Saturday, Nov. 8 Sunday, Nov. 9 Wednesday, Nov. 12 Friday, Nov. 14 Saturday, Nov. 15 Sunday, Nov. 16 Tuesday, Nov. 25 Thursday, Nov. 27 Friday, Nov. 28 Saturday, Nov. 29 Friday, Dec. 5 Saturday, Dec. 6 Sunday, Dec. 7 Wednesday, Dec. 10 Friday, Dec. 12 Saturday, Dec. 13 Sunday, Dec. 14 Wednesday, Dec. 17 Friday, Dec. 19 Saturday, Dec. 20 Sunday, Dec. 21 Wednesday, Dec. 24 Friday, Dec. 26 Saturday, Dec. 27 Sunday, Dec. 28 Tuesday, Dec. 30 Wednesday, Dec. 31 Friday, Jan. 2 Saturday, Jan. 3
The Independent
an hour ago
- The Independent
Cameron Mackintosh in tribute to ‘wry, generous and utterly original' Tom Lehrer
West End impresario Sir Cameron Mackintosh has remembered US song satirist Tom Lehrer as 'wry, generous and utterly original' following his death aged 97. Lehrer died at his home in Cambridge, Massachusetts, according to reports. In his work he satirised marriage, politics, racism and the Cold War, and his songs included Poisoning Pigeons In The Park, The Old Dope Peddler, Be Prepared and The Vatican Rag, which took aim at the Roman Catholic Church. Sir Cameron said in a tribute that Lehrer 'was a very special kind of genius – a master of language, mathematics and contagious melody whose wickedly witty intellect defined an era of musical satire and influenced everyone else that followed him'. He said: 'At the piano he was a maestro of devilish charm and exquisite timing, able to make a song about drug addiction, The Old Dope Peddler, sound like a lullaby. 'But in real life he had no ambition to be a performer and was actually quite modest and shy – writing these outrageous songs for the delight of his friends and peers.' Lehrer began his working life in academia and science, before being drafted into the US Army in 1955. He used his military experience to write the songs The Wild West Is Where I Want To Be and It Makes A Fellow Proud To Be A Soldier. The tribute continued: 'Eventually, he was persuaded to appear in concerts around the world, but he only did so so that he could travel – at someone else's expense. 'By the early 1960s, he was not only bored with touring but also writing, using the excuse that, 'political satire had become obsolete when Kissinger was awarded the Nobel Peace Prize'. 'Tom wanted to go back to his 'day-job', teaching mathematics and running classes on The History Of Musical Theatre on the side. 'I had grown up in the mid-50s listening to recordings of his wonderful songs, and shortly after I had produced my first international hit Side By Side by Sondheim in the mid-70s, I suddenly got the idea that Tom's material might also work as a stage revue. 'When we met, he was disarmingly grateful for me wanting to, 'exhume and repackage' his 'meagre oeuvre and foist it on a previously unsuspecting audience', as long as I was to send him some sums of money from time to time – that was the nearest we ever got to a contract. 'That was Tom – wry, generous and utterly original. 'It was the start of what Tom calls 'a perfect blendship' that lasted over 50 years, and I am profoundly grateful that I had the privilege of getting to know such an extraordinary man so well.' Lehrer was born in New York City, and his involvement with music began when he was sent to piano lessons by his mother during his childhood. In the early 1960s he worked as the in-house songwriter for the US edition of satirical TV show That Was The Week That Was, and in 2012, some 60 years after its initial recording, his song The Old Dope Peddler was sampled by rapper 2 Chainz on his debut album Based On A T.R.U. Story. Sir Cameron continued: 'Tom's legacy is timeless, his humour still terrifyingly relevant and I like to think he's getting ready to stage The Vatican Rag behind the Pearly Gates. Standing room only, of course.' Theatre owner Sir Cameron has produced three of the world's longest-running musicals – Les Miserables, The Phantom Of The Opera, and Cats. He owns venues including London's Sondheim, Noel Coward and Prince Edward theatres.
