
Diana Vickers flaunts her jaw-dropping figure in a skimpy pink bikini after revealing her 'bizarre' encounter with Leonardo DiCaprio
The singer, 34, flaunted her toned figure in the two-piece, which is from Amber Gill 's brand WET WKND.
'It's too hot,' she penned on top of the post, along with a link to pre-save her new single, Ice Cream, ahead of its release on August 22.
The sizzling post comes just days after Diana revealed the 'bizarre' thing she witnessed Leonardo DiCaprio doing after being invited to a party at the Hollywood A-lister's home.
The star shared the story of her strange encounter with Leo while advising a caller on dealing with big age-gaps in relationships, on her new Metro podcast Just Between Us, co-hosted with sex columnist Alice Giddings.
Diana described the Oscar-winning actor as a classic example of a 'man in Hollywood with so much fame and power, who doesn't want to grow up.'
'I did meet Leo once', Diana confided in Alice.
'He will have no memory of meeting me. One of his mates invited me around to his house.
'I thought it was going to be a party. Then I ended up just sitting with him watching telly.
'It was a really, really bizarre moment.'
Diana suspects she was just one of many young women Leo's friends brought to the house for the Hollywood star.
'I think he has this system', Diana explained.
'So, Leo's obviously at the helm of it – and he surrounds himself with these good-looking lads, who are all looking for a good time.
'The good-looking lads go and source these hot women.
'That stuff happens a lot in Hollywood. These men have got so much fame and power, and they don't want to grow up.
'They just want to be surrounded by beautiful young women all the time. I am not generalising Leo here, I think that's just what happens.
'It's quite weird actually.'
Diana told her DiCaprio story while advising caller 'Hannah' on her challenges dating an older man.
The singer revealed she has been romantically involved with much older and younger men.
She admitted to struggling more with younger men, saying their 'immature energy' makes communication more difficult.
'A lot more women are dating younger men now', Diana said.
'One of the last guys I dated was five years younger than me – I did feel it. It was why we didn't work out.
'When you're older, you want to put in the graft – you want to see things through. You don't dwell on smaller things as much.
'This guy just gave off immature energy – he was constantly holding on to things. I think I maybe acted immature because he was less mature.
'It made me feel less of my older, feminine energy. I sort of reverted back. It was a lot of fun though.'
To hear Diana and Alice debate the rights and wrongs of relationships with age-gaps, search for Metro's Just Between Us now, wherever you get your podcasts.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Independent
11 minutes ago
- The Independent
Shelter dog offers cuddly toys to everyone passing her kennel in hopes of finding forever home
Peanut brings a cuddly toy to every single person who walks past her kennel and even takes one on all of her walks in the hopes of finding a forever home. The seven-year-old pitbull was transferred to the Humane Society of Broward County (HSBC) in Florida and remained there for some time, often overlooked because of her age. HSBC wrote on Facebook: 'Despite it all, she's remained silly, sweet, and full of love." They decided to post a video of Peanut with her beloved toys hoping it would encourage someone to adopt her. Soon after, someone finally took her home!


The Independent
11 minutes ago
- The Independent
Behind 'Splitsville,' the year's funniest relationship comedy
There's only so much directing you can do when you send your lead actor, who is holding several bags of goldfish, in water, on a roller coaster with a 35 mm camera strapped to the front. You just have to trust. 'Splitsville' director and actor Michael Angelo Covino knew he could count on his friend and cowriter Kyle Marvin to deliver on the performance side for their slapstick comedy about messy relationships and messy people that opens in theaters Friday. The two also made the wildly funny friendship movie 'The Climb,' which they cowrote and co-starred in with Covino directing. 'He's like a modern-day Charlie Chaplin,' Covino said in a recent interview with The Associated Press. 'It's just all intuitive slapstick. He has it in his bones.' But there were a lot of other variables at play: Would they run out of light? Would it be as funny in execution as it was in theory? Would they regret fighting for the 35 mm camera? A lot was riding on the scene and reshoots were not in the cards. Independent films can't just go around shutting down amusement parks and mounting expensive film cameras on roller coasters whenever they want. 'It was sort of a powder keg moment on set,' Marvin said. The most stressful thing, however, was they wouldn't even know for sure that they got the shot for a few days. Something had malfunctioned with the camera, and they didn't have a digital recording. It was also the weekend, so they had to wait for the lab to process the film and send it back to them. 'I called the lab and I was like, 'Please, please don't (expletive) this up,' Covino said. How and why this brilliant, absurd sequence fits into their film, a comedy about open relationships, divorce and human mistakes, in which they star opposite Dakota Johnson and Adria Arjona, is probably better left for audiences to discover themselves. But it's the kind of comedy that Covino and Marvin specialize in. Leaning into unlikable characters The premise for 'Splitsville' arose from conversations with friends who just seemed a little too confident in their worldviews. 'Nothing is funnier than someone with a lot of confidence, because they're generally wrong in some way, shape or form,' Marvin said. 'One thing that we love is to put a character's feet on an inevitable journey and then just make it harder and harder for them.' 'Splitsville' starts with a big moment and continues escalating from there. The film begins with Arjona's character Ashley telling her husband Carey (Marvin) that she's unfaithful and wants a divorce. Distraught, he continues on to his married friends' house where he finds that Paul (Covino) and Julie (Johnson) are happily non monogamous — that is until Carey and Julie hook up. They had noticed in French and Italian films from the 70s, from the likes of Claude Sautet and Lina Wertmüller, the characters just state 'the thing,' like 'I'm in love with your fiance,' right out of the gates. 'There's a efficiency of story and character. It charges the film,' Covino said. 'We just gravitate toward movies where things happen and characters do crazy things.' This meant, in part, not being too worried about their characters being 'likable' or sending them on redemptive arcs that we might expect in a more mainstream romantic comedy. They're not out to punish the cheater. Nor are they out to make a hero out of the one who didn't. 'There's things not to like about all of them in some ways,' Covino said. 'But that's, to me, what makes them human. People do bad things, but if we can understand why there's something more there. There's humor to mine.' Adding the movie star element Unlike 'The Climb' which featured actors who weren't exactly household names, 'Splitsville' has recognizable stars in Johnson and Arjona. In the film, there are more than a few jokes made about the 'beauty gap' between the characters. They heard the same off camera too. 'There were a lot of notes about, 'How are we gonna get people to buy that these two guys are with these two women?'' Covino said with a laugh. 'We were like, 'Hey guys, we're right here. We are the guys.'' They consider themselves 'extremely lucky' that Johnson and Arjona wanted to make 'Splitsville.' Not only did they bring the characters to life in ways that they couldn't have imagined on the page, but their star quality adds something intangible as well. 'They hold the screen,' Covino said. 'Dakota can just sit there and when you fix the camera on her face, it's mesmerizing. When she's on screen, it takes a lot of the pressure off of the story and all the other things because she's so captivating. I think there's something really beautiful about that especially given what this story is trying to do with these two idiot guys who are orbiting around these women.' Not being afraid of dumb jokes Covino and Marvin didn't set out to tackle issues of relationships and marriage. If conversations emerge after the fact, that's gravy, but ultimately they have one goal: Make an entertaining film. Often times, that means not shying away from the dumb jokes. Their films are cinematic and they know all the auteurs to reference, but they're also silly and slapstick. They draw as much from Blake Edwards, Elaine May and Mike Nichols as they do from 'Dumb and Dumber' and 'Me, Myself & Irene.' In other words, they're making comedies for everyone, not just cinephiles. Occasionally they doubt themselves and worry that something is just too dumb to print. But then they remember the bit with the dog's name in 'The Jerk,' a movie they find both cinematic and one of the dumbest movies ever. 'It's a dumb joke, but there's brilliance in it,' Covino said. 'Independent film is so in flux. The more entertaining we can make these films, the like better chance all of this has.' So, when your story gives your character bags of goldfish, sometimes you just have to put him on a roller coaster.


Telegraph
12 minutes ago
- Telegraph
Pedro Pascal and Joaquin Phoenix satirise the insanity of the Covid lockdowns
Ari Aster's films to date (Hereditary; Midsommar; Beau is Afraid) have been treacherous, cruel and rigged to explode. Eddington is his first one that doesn't quite combust. It might seem a weird thing to say about a small-town political comedy-thriller featuring relentless conspiracy theories, gnarly head-shots and Antifa fire-bombings, not to mention Joaquin Phoenix going full-frontal. Somehow, the fuse is long, the burn slow and the detonation at the end perfunctory. Pivoting ever further away from horror towards panoramic social satire, Aster wants to diagnose the craziness of America at a particular moment – in May 2020 – when the confluence of Covid panic, BLM protests and polarised online discourse ignited a nationwide frenzy. He plonks us down in the fictional town of Eddington, New Mexico, an arid place on the edge of a pueblo, where sheriff Joe Cross (Phoenix) has had just about enough. Joe thinks Covid fears are nonsense and strides around mask-less, claiming that his asthma acquits him; a belligerent attitude that bugs most sensibly-minded locals, and sees him square off against town mayor Ted Garcia (an enjoyable Pedro Pascal), who's running for re-election and assuming he'll face no contest. Joe, though, has other ideas. His home life is stagnant in the extreme: he's married to Louise (an under-used Emma Stone), but she's a depressive hermit with no sex drive, they're childless and his mother-in-law (Deirdre O'Connell) spends all day trawling the web for the most outlandish conspiracy theory memes. There's a Three Billboards -ness to Eddington's whole set-up, which proves a hard comparison to shake off. Embroiled in Joe's murky schemes are a pair of police deputies, one given to racist assumptions (Luke Grimes) and the other black (Micheal Ward) with a shruggingly neutral point of view. Aster is out to prove that the loudest voices are often the least sincere: this goes for most of the young, white placard-wielders who take to the streets after George Floyd's death, one of them an incel named Brian (Cameron Mann) who poses as anti-racist purely to try and get laid. It's very much this director's style to cast a skinhead as the person to yell 'Nazi!' at an elderly shop-owner. Phoenix helps the film along by meeting Pascal's Joe on the level, not overdoing his stupidity, even though he's wrong about most things. His animus against Ted promises a western stand-off – quick-drawing at a crossroads, we imagine – but gets curtailed. It might have been better to sacrifice Austin Butler, who rocks up for a succinct, not particularly inspired section as a cult leader called Vernon Jefferson Peak, who has set about brainwashing Louise with the goal of whisking her away. Eddington makes too many sharp points to be at all abject – it's just underwhelming. The shot of Joe scrolling through his Instagram feed, to find black squares interspersed with Maga rants, crisply spoofs the lemming mentality defining both ends of America's culture wars. This sheriff, who Phoenix does play with rather a winning straightforwardness, thinks he can pull off a Gary Cooper routine without scrutinising his own morals in the least. So what we get is an inverse High Noon, with Joe armed and waiting, corrupt to the core, and out purely for number one. It's clever, serrated, and not bad, but you wouldn't call it Aster at full mad tilt. In cinemas from Fri 22