Diana Vickers: I was invited to a party at Leonardo DiCaprio's house… what I caught the Hollywood A-lister doing was 'bizarre'
The singer, 34, 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.
The singer, 34, shared the story of her strange encounter with Leo while advising a caller on dealing with big age-gaps in relationships
'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 for him – it's really dodgy.
'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
Daily Mirror
27 minutes ago
- Daily Mirror
Meghan Markle sends telling 'message' to royals with bold move in Netflix show
Meghan Markle has sent a subtle message to the Firm about her royal status with her daring wardrobe choice in the trailer for the second series of With Love, Meghan Meghan Markle has sent a subtle message to the Firm about her royal status with her bold wardrobe choices in the trailer for the upcoming second series of her Netflix show, according to a style expert. The Duchess of Sussex showed off her "quiet luxury" wardrobe of tailored staples in the trailer for With Love, Meghan as she cooked alongside a range of celebrity guests. While Meghan has long been known for her stunning wardrobe choices, a style expert believes her looks for the Netflix programme are sending a message to the royal family about how she feels about her royal role. It comes after Prince Harry's secret royal move speak volumes after 'peace talks' with top aides. California-based personal stylist, Cynthia Kennedy, said that Meghan's style on season two of her Netflix show is sending a clear message that she no longer needs to dress a certain way to fit with her role as Duchess. Instead, she says Meghan is dressing in a more down to earth, relaxed way that will resonate more with the viewers of her lifestyle programme. The stylist explained: "Her revamped style is sending everyone a message that I don't have to dress like a duchess anymore. I get to dress like myself, and be more approachable, modern, authentic and real." The stylist also described the different looks worn by the Duchess between season one and season two of Meghan's show. She explained: "Her choices feel deliberate and more like a conscious move toward comfort, vulnerability, relatability, and ease without losing that sense of polish that keeps her aspirational. It's a careful balance and I think she's hitting it." In season one, Cynthia observed that Meghan dressed in "put-together looks that were almost 'Duchess-lite', clean tailoring and muted neutrals", whereas in season two, her style felt "softer, relaxed, effortless, and more lived-in." The expert suggested: "It signals that she's not trying to perform 'royalty' anymore, but instead connect with people as a modern woman, wife, and mother." The upcoming second series of With Love, Meghan will once again feature the Duchess of Sussex welcoming friends and celebrities to a stunning California estate, where she imparts tips on cooking, gardening, and hosting. The celebrity line-up for the second series features model Chrissy Teigen, fashion guru Tan France, and acclaimed chefs including José Andrés, David Chang, Samin Nosrat, Clare Smyth and Christina Tosi. The second series comprises eight episodes, which will all be released on Netflix on August 26th at 8am for viewers tuning in from the UK.
Daily Mail
30 minutes ago
- Daily Mail
Meghan Markle sports more than £237,000 worth of jewellery and crisp white shirt to cook bizarre pasta recipe ahead of new season of downgraded Netflix show
Meghan Markle opted for more than £237,000 worth of jewellery while whipping up a pasta dish on Tuesday. The Duchess of Sussex, who resides in Montecito, appeared to be in high spirits as she flaunted her opulent jewellery collection on her latest Instagram video. The mother-of-two, 44, wanted to show her four million social media followers a pasta recipe, which included homemade preserved lemons. Getting into the Italian spirit, she set the clip to Annette Funicello's Mia Cara, Mia Amore and showed off her cooking prowess by dicing up the fruit along with garlic and basil all while being weighed down by her impressive stack of gold accessories. While most home chefs will remove their gems before getting stuck in, Meghan decided to cook up a storm in her diamonds, gold Cartier jewellery and her weighty engagement ring. On one hand, the former senior royal - who wore a crisp white shirt to cook her Mediterranean dish - sported Princess Diana 's Cartier Tank Française watch, worth £17,800 ($24,020), which was gifted to her after she married Prince Harry. She stacked this on top of her 18-carat gold Cartier Love bracelet which retails for around £7,050 ($9,513). The bracelet's screw motif symbolises eternal love, with a unique closure that locks around the wrist, representing lasting commitment. Meghan was also seen wearing her £2,370 ($3,197) Jennifer Meyer mini bezel tennis bracelet, which is handcrafted from polished 18-carat yellow gold and was designed by Tobey Maguire's ex-wife. Viewers may have clocked a sizeable jewel glistening on the former actress' finger. This is her £120,000 ($161,922) engagement ring which Prince Harry used to propose to her in 2017, a year before they married. He designed a bespoke engagement ring, featuring a cushion-cut diamond from Botswana, symbolising their first holiday together. The ring also included two smaller round diamonds from Princess Diana's personal collection, ensuring his late mother's presence in their journey. Initially crafted by Cleave & Company, Queen Elizabeth's trusted jeweller, the ring featured a simple gold band and was valued at around £120,000. However, less than two years later, Harry commissioned Lorraine Schwartz to resize and reset the ring with a new diamond band, which Meghan first wore at Trooping the Colour in 2019. Meghan stacked this on top of her £10,000 ($13,493) wedding band, which was crafted from Welsh gold and was gifted to her from the late Queen, as in keeping with royal tradition. Meghan was also seen donning her eternity ring, which retails for £80,000 ($107,947), and first caught the eye of royal watchers when she first wore it in 2019. Placed alongside her wedding band and engagement ring, the eternity ring holds deep personal meaning as it was a gift from Harry to mark their first wedding anniversary. Crafted with conflict-free diamonds, the ring features the birthstones of Meghan, Archie and Harry, subtly set on its underside: a green peridot, green emerald and blue sapphire. She sported Princess Diana's Cartier Tank Française watch, her 18-carat gold Cartier Love bracelet and her Jennifer Meyer mini bezel tennis bracelet in the clip All of the timelessly elegant pieces Meghan wore in the video to cook her Italian dish added up to an eye-watering £237,220 ($320,091). Meghan was filmed pouring all of the ingredients into a £170 Titanium Always Pro Pan from Our Place before dishing it up on a plate, adding a touch of olive oil and Parmigiano Reggiano cheese. She captioned her video: 'Cooking up more than pasta (with homemade preserved lemons)…..so much goodness is coming soon.' This is a nod to her upcoming second season of her Netflix cooking and lifestyle series, With Love, Meghan, which will be released on 26 August. The upcoming show will see the Duchess host her friends to a rented house near her Montecito mansion, for privacy reasons. Model and TV star Chrissy Teigen is arguably the biggest name due to appear on With Love, Meghan, but there has been controversy because of the Sussexes' campaigning on online safety and Chrissy's 'mean girl' past that led to her apologising for bullying several people on Twitter. Queer Eye star Tan France, a vocal supporter of the Sussexes, also appears alongside the less well known Jay Shetty and his wife Radhi Devlukia. Meghan's make-up artist friend Daniel Martin is back and her pilates instructor Heather Dorak. There are a number of chefs including Samin Nosrat, Christina Tosi, Jose Andres, David Chang and Clare Smyth - who cooked at the Sussexes' 2018 wedding. This comes as the Duke and Duchess of Sussex signed a new 'multi-year, first look deal for film and television projects' with Netflix - a downgrade on their previous contract. The couple's new output will include a second season of the Duchess's 'With Love, Meghan' lifestyle show later this month, as well as a Christmas special in December. The new arrangement is a first-look deal, meaning Netflix can say yes or no to new film or TV projects before anyone else. The Sussexes are also working on 'Masaka Kids, A Rhythm Within' - a documentary about orphaned children in Uganda, where the 'shadows of the HIV/Aids crisis linger'. There is also 'active development' on other projects with Netflix which 'span a variety of content genres', including an adaptation of romantic novel Meet Me At The Lake. Netflix has already released the first series of With Love, Meghan as well as Polo, Heart of Invictus, Live to Lead and the couple's bombshell documentary Harry & Meghan as well as being a business partner on Meghan's lifestyle brand, As Ever. Five years ago, Harry and Meghan secured a lucrative contract thought to be worth $100million (£74million) with Netflix after quitting as senior working royals in 2020. The renewed deal was described by the Sussexes - who made the announcement with Netflix - as 'extending their creative partnership' through Archewell Productions. But the new terms are understood to be worth less for Harry and Meghan than their previous contract, according to a person familiar with the deal, and represent Netflix loosening its ties with the couple.
The Guardian
30 minutes ago
- The Guardian
Love as a business deal? Whales, unicorns and why Materialists and Anora have a lot in common
'Marriage is a business deal and it always has been.' So says Dakota Johnson's Lucy, an elite Manhattan matchmaker in Celine Song's second feature, Materialists. Lucy may be a modern woman, but her world looks eerily similar to the marriage mart of Jane Austen's day. For Lucy and her clients, it is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife. Or rather, a 'high quality woman', as Lucy would unironically put it. Materialists drops us head first into a world where coupling off with a partner is a purely financial endeavour; where foolish notions of love are not merely ignored, but deemed to be irrelevant; where women must choose passion or practicality. If all of this sounds rather archaic or even regressive, that's because it is. And Song knows it. After all, she frequently cites Jane Austen, specifically Pride and Prejudice, as one of her biggest inspirations for the film: 'What an amazing fantasy Pride and Prejudice is, because in that story, the love of your life is also the answer to all your practical problems,' she said to Curzon. Just as this year's best picture winner Anora was widely viewed as the anti-Pretty Woman for flipping the fantasy of the rich-guy-falls-for-sex-worker-and-whisks-her-out-of-poverty on its head, Materialists functions as a sort of anti-Pride and Prejudice. As Song notes, Austen's beloved novel offers a similar fantasy: that the man you love might also be the answer to your practical financial problems. In Materialists, as in Anora, the fantasy doesn't quite play out. Not that Lucy is naive enough to expect it to. No, this heroine is all practicality and sense. 'I will die alone or marry a rich man,' she says with resignation at the beginning of the film. This businesslike approach to love doesn't just come from her day job: she has been burned by passionate love in the past: her ex-boyfriend John is a 37-year-old waiter who, despite having the face of Chris Evans, can't seem to make it as an actor. She gets her chance at the dream marriage of convenience when she meets Harry, an uber rich guy who seems nice enough and has a $12m apartment. He is, her colleague says enviously, a 'unicorn'. This is another unexpected echo of Anora – when Ani, a sex worker looking for a way out of poverty, meets and marries a wealthy young Russian, Vanya, her colleague, also envious, snarks, 'Oh, you caught your whale'. Each of these reverse fantasies are driven by heroines who are adamantly uninterested in romance. It marks new territory. Even in Austen's day, heroines clung to the fantasy of a love match despite the practical realities of their time. And we progressed from there. The early screwball romcoms of the 1930s and 40s brought us headstrong heroines, while the 80s and 90s screen romances were filled with 'working girls' who were independent, self-sufficient women. Now, it seems, we are entering a new era defined by heroines who openly, proudly proclaim their desire for a practical match – an era of young women who have given up on love. Fascinatingly, this is playing out in the real world, too. For a generation of young heterosexual women, a 'unicorn' or a 'whale' is seen as the ultimate prize. 'Watching Materialists when the poor man propaganda wins and Lucy picks a broke 37-year-old failed actor over rich, loving Harry who would give her the world,' one person wrote in a TikTok video in response to Materialists that scored more than 22,000 likes. 'I will not fall for broke guy propaganda, she fumbled hard,' another wrote – also liked more than 22,000 times. I can't help but recall last year's 'looking for a man in finance' TikTok trend. Young women are also reappraising certain female characters who were once judged for their practical approach to love. Meredith Blake, the gold-digging villain of the 1998 The Parent Trap who threatens to stand in the way of true love, now has a new troop of young fans who think she was an 'icon', actually. 'Maturing is realising that Meredith just knew [sic] what she deserves and wouldn't settle for less' – TikTok again. Then there's the growing idolisation of the money-oriented Amy March, kickstarted by Greta Gerwig's 2019 adaptation of Little Women. Gerwig put the character's motivation into words: 'Don't sit there and tell me that marriage isn't an economic proposition because it is. It may not be for you, but it most certainly is for me.' But wait. Little Women and Pride and Prejudice were written years ago when women often really did need to marry well to escape their circumstances. Why is this resonating with young women now? Haven't we moved on? Wasn't decades of feminism meant to dig us out of this reliance on men and marriage? Why are Lucy and Ani and, it would seem, tens of thousands of young women on TikTok, thinking and operating as if they were characters in a Victorian novel? What, in other words, is going on? Song has some ideas. 'I think it has so much to do with how deeply broken our economic systems are, especially in the US,' she said in a recent Guardian interview. 'As we have learned, the American dream is not achievable. You cannot jump your class. But what's one of the few ways that you can still jump your class? Well, marriage.' It's all rather cold and depressing. Thankfully, though, while these films may be reflecting a real, somewhat unsettling cultural shift, they defy the philosophy that romance is merely a business deal. They stand up for love. Lucy finds her 'unicorn' and Ani gets her 'whale' – but each 'love' story ends in disappointment. Lucy has to face up to the fact that she does need a little love in her life, actually – even if it means forgoing the nice restaurants. Meanwhile, Ani is confronted with the reality that Vanya doesn't love her or even respect her enough to stand up for their marriage once his oligarch parents arrive to break them up. In each film, the third act delivers relief in the form of real human connection. Love does matter – even, and perhaps especially, in our increasingly money-obsessed world. And cinema is still fighting for it.
