logo
Meet actress, 50, owns Rs 996 crore, had 3 failed marriages, mother of 6 children, gave contract to kill herself, she is…

Meet actress, 50, owns Rs 996 crore, had 3 failed marriages, mother of 6 children, gave contract to kill herself, she is…

India.coma day ago

You must be knowing about the stars from Bollywood to South Industry. Today we are going to tell you about an actress of Hollywood cinema. Hollywood films are watched a lot in India, but people have very little information about their stars. Let us tell you today about a Hollywood actress who is the mother of 6 children and if you know about her hobby, you will also be surprised.
Along with beauty, this diva also gives tough competition to Bollywood beauties in acting and talent. If you still could not recognize her, then let us tell you who that actress is. We are talking about Hollywood actress Angelina Jolie. Angelina is a very famous and talented actress of the Hollywood industry. The actress gives tough competition to Bollywood beauties with her beauty.
According to reports, actress Angelina owns assets worth about Rs 996 crore. According to information, Angelina has married three times so far, and all three marriages have ended. Currently, the actress is the mother of 6 children. Recently, the actress was seen at the Cannes Festival after 14 years. Angelina stunned everyone by walking the ramp on the red carpet wearing a crystal-studded gown.
Let us tell you that Angelina started acting at the age of 14. The actress first appeared in her father's film 'Looking to Get Out' in the year 1982. The actress appeared as a child artist in this film. She did many films in the lead role and Angelina won the Academy Award for Best Actress in a Supporting Role in the year 1999 for her brilliant acting in the film Interrupted. According to the IMDb report, actress Angelina is fond of collecting knives.
Today, Angelina needs no introduction. She faced many problems at the beginning of her career. Today the actress has also won an Oscar. But there was a time when Angelina wanted to kill herself, and for this, she had also given a contract killer in her name. Yes, this is true, and it was revealed by the actress herself. Angelina told in an interview to IMDb that at the age of 20, she had given a contract to a killer to kill her.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Roadies XX Winner Kushal Tanwar Aka Gullu gets a grand welcome in Gurgaon
Roadies XX Winner Kushal Tanwar Aka Gullu gets a grand welcome in Gurgaon

Time of India

timean hour ago

  • Time of India

Roadies XX Winner Kushal Tanwar Aka Gullu gets a grand welcome in Gurgaon

After three months of intense fight and tough competition, Roadies XX came to an end with Kushal Tanwar Aka Gullu being declared as the winner. Gullu, who was a part of Elvish Yadav's team received Part Rs 10 lakh as prize money and motor bike. While Gullu became the winner, Hartaaj Singh Gill from Prince Narula's gang emerged as the first runner-up. After the show concluded, Kushal headed home to his family where he got a grand welcome. Kushal Tanwar posted a video showcasing a celebratory car rally arranged by him and his friends to mark his recent win. The group was all smiles as they danced joyfully, celebrating the moment with full enthusiasm. View this post on Instagram A post shared by KUSHAL TANWAR (@ After Kushal was declared as the winner, his gang leader Elvish shared a post on Instagram congratulating him. He wrote, "I'm completely overwhelmed with emotions right now! I'm thrilled to announce that my brother Kushal Tanwar (Gullu) and I have WON the season of Roadies Double Cross! This journey has been an incredible ride, and I'm so grateful to have shared it with my bro! We did it, Gullu." After winning the trophy, Kushal aka Gulla had expressed his excitement and said, "Winning Roadies Double Cross wasn't just a title — it was a silent scream finally heard. There was no support, no guiding hand, no one to lift me when I was down. I went through it all alone. This win is more than a trophy. It's a symbol — for every person who's ever felt alone, who's ever been told they're not enough. I walked this path by myself, but I never gave up. And that's what this victory is: not fame, not glory — but proof that even when you have nothing, you can still become everything." Sonu Sood on Roadies 18: Didn't get angry at contestants but learnt from them Get the latest lifestyle updates on Times of India, along with Eid wishes , messages and quotes !

Breaking: Female Star Foolishly Assumes She's An Equal - On Deepika-Vanga Clash
Breaking: Female Star Foolishly Assumes She's An Equal - On Deepika-Vanga Clash

NDTV

timean hour ago

  • NDTV

Breaking: Female Star Foolishly Assumes She's An Equal - On Deepika-Vanga Clash

In an industry notorious for headlessly moving from one weekly release to another, Bollywood's guarded diplomacy was disrupted by two news pieces last month. An actor exited a popular franchise, prompting the co-actor to sue him for crores of rupees. And then, reports of a famous actress dropping out of an upcoming film started swirling in media circles. None of these are extraordinary events, but in the curated times we have come to inhabit, where perception is reality, disagreements unravelling in the public domain felt rare - reminiscent of a time when celebrity spats and reunions were documented for posterity. This feeling of nostalgia was sealed when the embittered filmmaker criticised the said actress on social media. The year is 2025, but who can tell? In the early weeks of May, several media outlets reported that Deepika Padukone was to play the female lead opposite Prabhas in Sandeep Reddy Vanga's upcoming pan-India film, Spirit. What seemed like a conjecture awaiting confirmation fell through spectacularly in the next couple of days. The same websites carried a follow-up. Padukone was no longer part of the project. Multiple reasons were cited: her alleged ask of Rs 40 crore with profit sharing, refusal to work for more than six hours and speaking Telugu dialogues. The filmmaker deemed these demands "unprofessional" and dropped her. The Usual Vanga Script Although the actress issued no statement before or after the news broke out, Vanga took only two days to confirm Tripti Dimri as the female lead of his film. Fan clubs fought it out on social media and Vanga struck again. He took to X and put out a more elaborate comment, this time accusing Padukone of playing "dirty PR games" and leaking the plot of the film. "I put years of hard work behind my craft & for me, filmmaking is everything. You didn't get it. You won't get it. You will never get it," read a part of his tweet. No names were mentioned, but the identity was laid bare. Maintaining silence still, Padukone shared a short clip on her Instagram, talking about the importance of being authentic. It was from an event she attended, but fans were quick to point out that Vanga was the target audience. Since then, noise around the matter has only amplified. Social media is clogged with opinions; a journalist who had extensively reported on Spirit, including some extraneous plot details, had to tweet that his reportage was informed by his own sources and not anyone's PR. The incident has assumed such dramatic inflexions that it could be straight out of Vanga's films, all of which feature volatile male protagonists unable to handle rejection. Sample the premise: slighted by a woman, man rages in public. Media, on the other hand, is busy assigning sides. In promotional events, actors and directors are being queried about the feasibility of working shorter shifts, and many (including actor Ajay Devgn and filmmaker Mani Ratnam) are rallying behind the practice. The consensus is this: Padukone is a young mother (having birthed her daughter in September last year) and right in seeking work-life balance. Only Love For Men But gauging the rationality of her requirements feels superfluous. Nothing Padukone asked for hasn't been asked before. Top actors in Hindi cinema, as do elsewhere, have stakes in the film's earnings in addition to their fees. The arrangement works on the assumption that being brands themselves, they confirm returns. Equally familiar is the conversation around time. Many Bollywood actors openly speak about the stringency - or not - of their schedules. Akshay Kumar's early-morning shifts and his co-actors working around it is a widely known fact, as is the one that Shah Rukh Khan arrives late on sets. On chat shows, particulars of their routine are shared as anecdotes. Kumar is lauded for being disciplined, while Khan is treated with an indulgence one would reserve for a child. The adoration remained undimmed even when the actor brought in Atlee, who hitherto made Tamil films, to direct Jawan (2023). Khan, also the producer, spoke in Hindi, as did Nayanthara, a superstar down south. The Telugu and Tamil versions were simultaneously released, but his portions were dubbed. Granted, a filmmaker is within their rights to be specific about their wants of an actor, but such a plethora of precedents normalises Padukone's demands, revealing them to be reiterations. Then what makes the actress "unprofessional" and her male counterparts agreeable? Presumably her gender. It's The Market, Silly The Hindi film industry, like most workspaces, is deeply stratified. Gender disparity manifests in women having less screen time, being offered decorative roles and paid less than the male protagonists. Exceptions exist, but in the last couple of years, Bollywood has leaned on hyper masculinity with fuller force. Every time actresses have spoken up against the system and narratives prioritising men, 'well-meaning' actors and producers have argued that it all boils down to bankability and market forces. In an old interview, Aamir Khan had famously said that the day an actress can fill in more seats than him, she will be paid more. Bringing together a pan-India superstar and a global icon, albeit not the first time, Spirit could have been the litmus test. Remember Padmaavat? Padukone is the brightest star today in the firmament of Indian cinema. In her close to two-decade career, the actress has achieved everything there is to be achieved. Films headlined by her have done exceptional business, and so have those in which she featured with other actors. She has been consistently successful for a decade; she has been successful even when others around her haven't. In 2018, her lone face featured on the poster of Sanjay Leela Bhansali's Padmaavat, a practice so rare that it only made sense when reports confirmed she was paid more than the two male leads. The film earned approximately Rs 550 crore worldwide, a practice that Padukone's later outings have only perpetuated. For instance, her last three features have done business of Rs 2,000 crore and more. She also endorses a litany of national and international brands. She is the brand ambassador of global luxury brands like Cartier and Louis Vuitton, and in 2022, served as one of the jury members at the Cannes Film Festival. All this might read like Wikipedia entries, but they affirm her indisputable market viability. For context, this is the actress who put forth certain demands and a filmmaker known for appeasing the bruised male egos of the country, turned her down. Padukone, with her enviable box office record and extensive appeal, asked for things that men have been asking for decades, and Vanga, maker of three films comprising one remake, was unhappy enough to be vocal about it. The discourse, therefore, should be less about dissecting the morality or technicality of Padukone's wants, and more about discussing the possibility of women wanting things. The question should not be if the actress, with a baby at home, was right in wanting to work for six hours and be paid for extra labour, but if there will ever be a right time for actresses to want things? How more successful do women need to be for their demands to be deemed adequate and not excessive? More crucially, is inequality a problem that can be solved or a reality being actively glossed over? None Of This Matters If there is inherent prejudice in the way things unfolded, it only intensified when Vanga outraged in public. His complaint of Padukone and her PR disclosing the plot of Spirit, though impossible to ratify, holds little water. All that is known is that it will be an A-rated action film, which is as much a spoiler for a Vanga project as is John Abraham playing a male saviour in his next outing. But in the larger picture, none of this matters. Not the veracity of his claims, nor the specificity of Padukone's contract. Their names don't matter and nor does the fate of Spirit. What is critical is this fresh but not by any measure the first evidence of bias in an industry that allows women to break the glass ceiling but not shatter it; enjoy their success but not earn dividends on it. The year - I keep forgetting - is 2025.

'Kesari Chapter 2' celebrates 50 days in theatres; Karan Johar expresses overwhelming gratitude
'Kesari Chapter 2' celebrates 50 days in theatres; Karan Johar expresses overwhelming gratitude

Time of India

timean hour ago

  • Time of India

'Kesari Chapter 2' celebrates 50 days in theatres; Karan Johar expresses overwhelming gratitude

is filled with joy as 'Kesari Chapter 2' celebrates a successful 50-day streak in cinemas. Sharing his excitement on social media, he thanked fans for their unwavering support and affection. Tired of too many ads? go ad free now The movie features , , and in prominent roles, captivating audiences across the country. Karan Johar and Ananya Panday Celebrate the Milestone Johar took to Instagram to share a clip from 'Kesari Chapter 2', proudly announcing, '50 Days And Roaring Strong. Kesari – Chapter 2." Ananya also marked the occasion with her own celebration. The film, produced by Johar, has been a box office hit, raking in over Rs 45 crore, including an impressive Rs 29 crore during its opening weekend. Due to its strong performance, the team is reportedly planning to keep the movie in theatres longer before it hits streaming services. A Spiritual Sequel with a Powerful Storyline Produced by Karan Johar's Dharma Productions, 'Kesari Chapter 2' acts as a spiritual follow-up to the 2019 patriotic hit 'Kesari'. The film narrates the gripping legal struggle of advocate C. Sankaran Nair against the British authorities after the tragic Jallianwala Bagh massacre in 1919. Inspired by the book The Case That Shook the Empire by Raghu and Pushpa Palat, the movie features Akshay Kumar in the role of Sankaran Nair, with R. Madhavan portraying Advocate Neville McKinley, the British Crown's legal representative. Ananya Panday appears as Dilreet Gill, a crucial ally who supports Nair throughout his courtroom battle. Stellar Performances Bring History to Life In the film, Akshay embodies the role of C. Sankaran Nair, an Indian statesman and lawyer who bravely opposed British colonial rule following the Jallianwala Bagh massacre. Ananya portrays Dilreet Gill, a pivotal supporter who aids Nair throughout his courtroom struggle against the British. R. Madhavan appears as Neville McKinley, the British Crown's legal adversary. The movie carries an A certification.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store