logo
Happy couple Bradley Cooper and Gigi Hadid are greeted by fans following their romantic date night in Paris

Happy couple Bradley Cooper and Gigi Hadid are greeted by fans following their romantic date night in Paris

Daily Mail​10 hours ago

Gigi Hadid and Bradley Cooper are all smiles as they stop for waiting fans before heading into his home after their romantic night out in Paris.
The couple looked happier than ever in France on Saturday, and Gigi, 30, showed off her figure in a plunging light blue pinstriped sleeveless halter top paired with light blue jeans, with a set of sunglasses holding back her shoulder-length hair.
Bradley, 50, was also dressed for the summer evening in loose gray pants, a light blue cotton shirt, and espadrilles.
While Gigi appeared to be reluctant to stop for the cameras at first, the couple soon interacted with eager fans.
Bradley and Gigi flew into Paris for Men's Fashion Week, and the actor attended the Louis Vuitton show on June 24.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Stars depart Italy after Jeff Bezos and Lauren Sanchez's Venice wedding
Stars depart Italy after Jeff Bezos and Lauren Sanchez's Venice wedding

Daily Mail​

time44 minutes ago

  • Daily Mail​

Stars depart Italy after Jeff Bezos and Lauren Sanchez's Venice wedding

Kylie and Kendall Jenner led the stars leaving Venice on Sunday morning after Jeff Bezos and 's three-day wedding extravaganza. The Amazon founder, 61, and the former journalist, 55, tied the knot in a lavish ceremony on Friday. Reality TV stars Kylie and Kendall looked stylish as they left Venice, with Kylie wearing a leopard print co-ord and Kendall wearing a white tank top, capri pants, and jelly sandals. Kylie was seen walking with her seven-year-old daughter, Stormi. They were followed by Orlando Bloom, 48, Leonardo DiCaprio, 50, and Leo's girlfriend, Vittoria Ceretti, 27. Orlando flashed a wide smile as he climbed aboard a boat. It comes after he and Katy Perry, 40, called off their engagement. Off he goes: Orlando Bloom was seen leaving Venice Low profile: Leo kept a low profile, wearing a baseball cap and adding the hood of his zip-up jumper over the top Making his exit: NFL legend Tom Brady appeared to make his exit at the same time Billionaire on board: Bill Gates was also spotted making his exit from the Italian city Guest: And another of Bezos' billionaire guests, Barry Diller was stood at the dock of the airport, ahead of his flight back home (pictured) Leaving: Donald Trump's daughter Ivanka and her husband Jared Kushner were also spotted making their exit, after arriving in Italian city on Tuesday The makeup mogul looked ever the doting mother as she walked hand-in-hand with her seven-year-old daughter Stormi, who she brought along on the lavish trip. While sister Kendall also was seen making her way down the dock, looking effortlessly styling in a lowcut tank top, capri pants and the latest footwear trend - jelly sandals. Following behind her was Hollywood stars Orlando, 48, and Leo, 50, who jumped into a water taxi alongside Leo's model girlfriend Vittoria Ceretti, 27.

Olivia Rodrigo at Glastonbury 2025 review — stunning set steals the weekend
Olivia Rodrigo at Glastonbury 2025 review — stunning set steals the weekend

Times

timean hour ago

  • Times

Olivia Rodrigo at Glastonbury 2025 review — stunning set steals the weekend

'I don't think I've ever seen so many people in life,' shrieks Olivia Rodrigo as the last Glastonbury headline slot for two years, before next year's fallow year, tears into the fastest start possible with fireworks, tossed guitars, shredding, some unprecedented writhing visuals through a pane of glass — encompassing everything about why so many had a nagging suspicion that Rodrigo would steal the weekend. By the third song, Vampire, a rousing, high camp power ballad about 'blood suckers, fame fuckers', frankly she could have sold coals to Newcastle. This festival likes acts who think this place is special and in fairness, it looks like Rodrigo is having the best night of her life. 'This is a dream come true' she says, right on cue. 'This is the best festival in the world.' She also, she says, loves England — pints at noon, sweets from M&S, a costume change into some sparkling Union Jack hot pants. Rarely has a US superstar got us so spot on. And the gig is simply relentless — Driver's License was the song that broke her, during Covid, doing 80 million streams in seven days, and that comes straight after Vampire. The crowd — all dancing, some FaceTiming friends at home — breathe it in and sing it back. • Catch up on our coverage of the final night of Glastonbury 2025 Can she keep it up? Of course she can! Despite her second album, Guts, being released two years with a lengthy tour slog following, Rodrigo still plays the songs like she has just come up with them. That is stardom, honed with a Disney Channel schooling, always taking your moment. What she may lack in hits compared with, say, last night's headliner Neil Young with his 786 albums, she more than makes for with sheer confident personality — and she's only 22. Is playing Vampire and Driver's License so early a risk for a woman with only two albums? Turns out it's not, and that it's fine to top load a festival set when you have the devoted fans Rodrigo does, crying/singing/hugging every bar in the way pop fandom should be — as in, an obsession. And, also, Rodrigo has plans. One of which is her terrific mega hit about terrible decisions, Bad Idea Right?. Her lyrics speak frankly, wittily to young women in a way that barely existed 30 years ago, while her music wouldn't sound out of place on the sort Guitar Anthems CD people used to buy at petrol stations. This blend is why she works here. Bad Idea Right? is a blast — Rodrigo thinks she possibly shouldn't sleep with that man but, whoops, there we go again, set to the pomp and jaunt of Blur at their liveliest, with some Jack White wig out squeals. It's a hell of a song — a rare cross-generational song in a era of increasingly polarised listening habits. The crowd is varied, from primary school kids to people on their umpteenth trip to the farm. She tells the crowd she saw Pulp the day before and this makes sense — Jarvis Cocker's conversations, witty lyrics are a template for the best of Rodrigo. • 12 things we learnt at Glastonbury 2025 — jerseys, comebacks and politics Then, the guest. This week, on the tour, Rodrigo had already brought out Ed Sheeran in London and covered Fontaines DC. Tonight? To show just how firmly her finger is on the pulse of his place, Rodrigo brings on the Cure's Robert Smith. You can't focus group a choice like that — it's just ideal, as Smith and Rodrigo cover Friday I'm In Love and Just Like Heaven and a field unites. For her finale, in a gig so steeped in peaks it sort of all feels like a finale, Rodrigo asks the field to scream — and they really do — and then releases an awful lot of balloons, to go with her earlier jets of fire, before her raucous pop punk first album hit Good 4 U. This is a template for how to do this sort of show — she will be back. As we will, in 2027.★★★★★ Follow @timesculture to read the latest reviews

Olivia Rodrigo leaves Glastonbury on a high, with The Cure and Colin The Caterpillar
Olivia Rodrigo leaves Glastonbury on a high, with The Cure and Colin The Caterpillar

BBC News

timean hour ago

  • BBC News

Olivia Rodrigo leaves Glastonbury on a high, with The Cure and Colin The Caterpillar

Glastonbury saved the best 'til last, with a triumphant set by American star Olivia Rodrigo to close the festival's Pyramid the artifice and intensity of previous headliners The 1975 and Neil Young, the 22-year-old stomped her way through a series of crisp, punk-pop anthems and heartfelt ballads about the injustices of young charmed her English fans by professing her love for Marks and Spencers' Colin The Caterpillar sweets; and won over Glastonbury veterans by duetting with The Cure's Robert Smith ("perhaps the best songwriter to come out of England")."Glastonbury's been my dream festival forever and I can't believe today's the day," she beamed. The set was a crowning moment for the singer, who only released her first single, Drivers License, five years ago.A desperate cry of loneliness, the ballad broke Spotify streaming records in just 24 hours. Then it broke them again. Seven days later, it entered the UK and the US charts at number one, instantly catapulting the singer from Disney actress to fully-fledged pop License cast her as "the sad piano girl" in the public imagination - but she quickly deconstructed that image with a flurry of dynamic, guitar-heavy pop anthems that built on the templates established by Joan Jett, Alanis Morisette and Avril was those sounds that opened her Glastonbury set, with the crunchy riffs of Obsessed, a self-mocking song about her jealousy; and the semi-autobiographical Diary Of A Homeschooled in a white lace corset and knee-high bovver boots, she high-kicked across the stage, whipping the crowd into a frenzy."How are we doing tonight Glastonbury," she screamed. "I don't think I've ever seen so many people in my life."Guys, it's the last night of the festival. Are you ready to have some fun?"She undercut the question slightly by launching into Drivers License - but watching the army of young fans holler those lyrics back at her, there was a communal sense of catharsis, at least. The rest of the set balanced her competing impulses: rock chick, singer-songwriter, rabble rouser, strident feminist, heartfelt above all else, she's a music fan. Her decision to duet with Glastonbury veteran Robert Smith, rather than a pop contemporary like Harry Styles or Lorde, flowed directly from her love of 80s British they played The Cure classics Friday I'm in Love and Just Like Heaven, Rodrigo kept glancing over at Smith, beaming from ear to ear, like she couldn't believe her added little harmonies to the songs, embellishing without being disrespectful – and Smith seemed to be just as enamoured with Rodrigo as she was with him, watching the rest of her set from the wings of the Pyramid Stage."He's the nicest, most wonderful man ever and I'm so honoured to play with him tonight," she gushed. That guilelessness worked in her favour. For the audience, it often felt like watching your cool older sister (or your precocious young daughter) up on stage, rather than some untouchable pop more, Rodrigo needed none of the usual pop star props. There was no choreography. Until the encore, there was only one costume. All she required were the songs and her pin-sharp, all-female charmed the audience even more as she introduced the new wavey So American – a song about the inside jokes she shared with an English boyfriend."I love England so much," she said. "I love how nobody judges you for having a pint at noon. I love English sweets, all the sweets from M&S, Colin the Caterpillar specifically."True story: I have had three sticky toffee puddings since coming to Glastonbury. And as luck would have it, I love English boys."England loved her right back, saving their biggest reaction for her encore – a headlong rush through Brutal, All American Bitch, Good 4 U and Get Him left the stage under a downpour of fireworks, as inflatable balls bounced around the audience and our ears rang with was, hands down, the best (and best-attended) headline set of the weekend. Olivia Rodrigo had understood the brief: Bring the hits. Make it unique. And make it she'd learned that from Jarvis Cocker, whom she'd watched from her boyfriend's shoulders on Saturday."To enjoy Glastonbury, you have to submit to it," he advised. Rodrigo channeled that spirit innately. She's welcome back any time. Earlier on Sunday, The Selecter opened up the final day of music on the Pyramid Stage, with an energetic set of punchy ska Pauline Black, a former NHS worker, dedicated Frontline to her colleagues, saying we'd thank them when we needed their help for "all those knees and all those hips in the not-so-distant future".And the crowd carried her through the band's biggest hit, On The Radio, as her voice cracked on the trilling high notes."As you can tell, my voice is hurting," she explained. "Are you going to help me?" They didn't need asking twice. Celeste took our breath away with a grungier, angrier sound than the floaty jazz-soul of her singer, who won the BBC's Sound Of 2020, has taken five years to follow up her chart topping album, Not Your Muse, but told the audience "everything happens when it's supposed to".On the basis of Everyday - an excoriating, paranoid track built around Death In Vegas's 1999 dance hit Dirge - the new material has been worth the previewing new material was London soul-pop singer Joy Crookes. Dressed in a striking pink and green sari, she sauntered through the bassy grooves of recent singles Pass The Salt and Carmen, coming across like a latter-day Amy highlight of her set was the new single Perfect Crime - with a chorus so immaculate that the crowd had picked it up after one refrain. After an unexpectedly nostalgic set from The Libertines, Rod Stewart took to the Pyramid Stage in the prestigious "legend slot".In full lounge lizard style, he played big band arrangements of hits like Do Ya Think I'm Sexy, Maggie May and The First Cut Is The Deepest, full of bubbly blonde backing vocals and endless saxophone promising to "get in as many hits as I can", the set had a wobbly start, with a couple of lesser-known numbers. But he found his groove with 1984's Some Guys Have All The Luck, after which the jukebox served up hit after hit. Ronnie Wood came out for a chummy duet on the Faces' Stay With Me (an obvious highlight) before Stewart closed his set with a maritime singalong on We Are Sailing. He was followed by Nile Rodgers and Chic who, it has to be said, drew an even bigger crowd for their feel-good disco song choices were faultless, ranging from Chic's Le Freak and Good Times, to the songs Rodgers produced for Bowie (Let's Dance, Modern Love) and Madonna (Like A Virgin, Material Girl) in the they played, a biplane flew over the Pyramid Stage and drew a smiley face and a love heart in the sky. It couldn't have come at a better at the Woodsies stage, AJ Tracey gave a masterclass in crowd work."I asked you for a mosh pit and I'm not gonna lie to you, it was weak," he scolded, promising to give the crowd something to really get their teeth that point, Aitch burst onto the stage for the pair's 2020 collaboration, Rain. To say the energy ramped up would be an understatement on par with saying the surface of the sun is a little warm to the set continued with a clutch of UK rap anthems - Ladbroke Grove, Thiago Silva, Kiss and Tell - turning it into one of the weekend's sweatiest standout sets on the festivals' final day included The Prodigy, who dedicated their set on The Other Stage to late frontman Keith Flint; and Jorja Smith, who provided a soothing set of British soul for the festival's more weary revellers. Wolf Alice delivered a crowd-pleasing cover of Fleetwood Mac's Dreams on The Other Stage, but it was their ode to friendship, Bros, that sent the audience into friends, best mates and new-found companions hugged each other and swayed deliriously to the song's "me and you" band only played two songs from their highly-anticipated fourth album, The Clearing - but lead single Bloom Baby Bloom was treated like an old new material is more angular, more face-forward than their previous work; and lead singer Ellie Rowsell seemed to be enjoying her newfound confidence as a the delicious love song The Sofa, she poured a bottle of water over her head, shook off the droplets, grabbed a megaphone and screamed out the lyrics to the band's two loudest, punkiest songs, Yuk Foo and Greatest to see them at the top of the bill when Glastonbury returns in 2027.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store