
Kendall Jenner shows ex Bad Bunny what he's missing in tight white tank top on steamy summer outing
The 29-year-old showed her ex Bad Bunny what he was missing in a skintight white tank top that emphasized her hourglass figure to full advantage.
Playing up her ample endowments and her enviably trim midriff, the top clashed elegantly against her fashionably faded jeans.
Sharpening her screen siren features with makeup, she wore her dark hair down in silken curtains that framed her luminous complexion.
She accessorized with a sleek pair of gleaming dark shades and rounded off the ensemble with a stylish set of cowgirl boots.
Kendall, who has inherited her transgender father Caitlyn Jenner's love of cars, was seen driving a friend around in a vintage Toyota Land Cruiser that day.
Kendall and Bad Bunny dated for about a year before splitting up in late 2023, only to rekindle their romance briefly in 2024 and then go their separate ways again.
The apparently amicable exes crossed paths last month at the Met Gala, where a source exclusively informed DailyMail.com they enjoyed a chat.
'They bumped into each other inside the event,' a guest revealed. 'They said hello and hung out a bit. They have stayed in touch.'
Although she is not currently known to be in a relationship, Kendall's dating history also includes NBA heartthrobs Devin Booker, Ben Simmons and Blake Griffin.
She recently joined her sister Kylie Jenner and the latter's boyfriend Timothee Chalamet to watch his beloved New York Knicks at Madison Square Garden.
The trip did not proceed without incident, as Kendall accidentally chipped a front tooth during the ride to New York on Kylie's private jet.
She took a relaxed view of the snafu, laughing uproariously with Kylie over the incident in a clip that was shared to Instagram.
Kendall has also been enjoying quality time with her gal pal Hailey Bieber, who is at the center of rumors of marital strife with her husband Justin Bieber.
The new photo-shoot comes after she offered fans a glimpse of the healthy diet that has helped her maintain her exquisite figure over the years.
Earlier this month, she posted an Instagram photo of the meal she starts her day with, including a parfait of berries and yogurt, plus nuts and matcha green tea powder.
The food was washed down with the fashionable Golden Milk Latte, so-called because turmeric is mixed into the beverage.
'The whole plate is about 200 calories, and it's full of healthy fats that help keep her thin,' functional nutritionist Monica Partier told DailyMail.com.
'The meal consists of fresh berries like raspberries, strawberries and blackberries that have fiber and vitamins in them,' she noted.
'It looks like Kendall added Matcha green tea powder, which is an antioxidant and contains vitamin C, chromium, magnesium, selenium and zinc.'
Monica observed that there were 'also a few small nuts, which contain healthy fats, and a splash of Greek yogurt which is high in calcium and protein, and supports gut health, and also is a healthy fat.'
Apropos the latte, she added: 'Turmeric is rich in phytonutrients that may protect the body by neutralizing free radicals and it also has anti-inflammatory properties.'
The information came shortly after Kendall revealed she was a size two whilst putting her old clothes up for sale on her Kardashian Kloset page.
Hashtags

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


Daily Mail
20 minutes ago
- Daily Mail
EXCLUSIVE Hollywood A-lister's mega mansion takes up a whole ZIPCODE... and has a mysterious set of symbols carved into secret hideaway
Plenty of Hollywood stars own lavish estates, but only one - that we know of - has a zip code all to himself. New aerial photos obtained by the Daily Mail show the enormity of Will Smith 's 25,000 square-foot adobe-style mansion, which sits on a 150-acre compound not in Bel Air, the TV home of his youth, but rather in the San Fernando Valley community of Calabasas.


The Guardian
29 minutes ago
- The Guardian
Paula Bomer: ‘If you describe yourself as a victim, you're dismissed'
When I arrive at Paula Bomer's apartment building in south Brooklyn I am briefly disoriented in the lobby, until I hear the yapping of dogs and amid them, her voice calling my name. Bomer is tall and striking, in her mid-50s. I met her last year at a reading in Williamsburg, Virginia, where she seemed like someone who cared almost manically about literature and also like someone who would be fun to hang out with, two qualities not always confluent. I had heard of these anxious dogs before, when she and I met for dinner a few months ago, and she disclosed that her life was now spent managing canine neuroses. 'I got them when my dad died,' she says, in between offering me matcha, coffee, tequila or wine (it's 2.30pm on a Sunday; Bomer doesn't drink any more, save a glass of champagne on selling her book, but doesn't mind if others do). 'The dogs were a mistake,' she says, 'But that's OK, I'll survive it.' Bomer was involved with the cohort of mid-2000s US writing broadly characterised as 'alt lit', an irreverent internet vernacular-driven movement personified by Tao Lin. She published anonymously on the website HTML Giant and had her first novel, Nine Months, in a drawer for 10 years. Mark Doten of Soho Press picked it up in 2012. Since then she has been widely admired in the literary world for her transgressive, vivid work, which often examines women at points of great pressure from an uncanny perspective – her fans include Sam Lipsyte and Jonathan Franzen. This admiration has not yet fully broken through to a mainstream audience, but her new book looks set to do so. Bomer's latest novel, The Stalker, is all about the nastiest, most parasitic kind of survival. Its antihero, Robert Doughten Savile or 'Doughty', is the bearer of an entitlement so groundless and infinite that it obliterates anyone he approaches. Born to a once-wealthy Connecticut family but now without material means, he uses his charisma and total confidence to live in New York as he believes he deserves. He lies effortlessly, inventing lavish real estate deals while in fact whiling away his afternoons watching George Carlin specials, smoking crack in the park, and allowing older men to perform oral sex on him in Grand Central for a little extra cash. In the evenings, meanwhile, he is primed to identify and zone in on women who may prove useful. This is Doughty's great gift, knowing what a woman needs and what she will tolerate to get it, how his cruelty is best deployed or concealed. To nauseating effect, his skill escalates operatically as the book continues. It's a knockout novel, one I've passed around to friends, scenes from which I still feel a thrill of horror to recall. 'Originally I wanted him to be the devil,' she says. 'The actual devil, evil incarnate. But then I found myself humanising him. And I kind of regret it.' By the simple relentlessness of his presence, his unwillingness to allow the women enough space or thought to disengage from his influence, he comes to represent male intrusion on female life. 'On a daily basis, if you leave your building you are dealing with some shitty man spewing garbage,' she says. 'It wears on us, and that's why I have a problem with critics being weary of the survivor-victim thing: 'Oh just get over it, it's boring, you can be strong.' It's like, I did try that. I did that: 'I'm strong. I'm going to shoot pool with the guys.' Although, I really do like to shoot pool.' We derail here while she leads me to her office, pleasantly cluttered with paintings like the rest of the flat, so that she can show me her pool cue, which she has had since she was 19. I ask if she was good. 'You rank 'em out of six, I was a solid three. But on a good day I could beat a six.' We return to the question of victim fatigue, something that has been on my own mind lately, having just read a brilliant memoir called Trauma Plot by Jamie Hood, which exists partly in conversation with the cultural malaise around making art about having survived violence and abuse. Both Hood's book and Bomer refer to a New Yorker essay by Parul Sehgal titled The Case Against the Trauma Plot, which argues that overuse of trauma as a narrative device has led to constricted, rote work. Sehgal subsequently panned Sarah Manguso's autobiographical divorce novel, Liars, describing it as 'thin and partial', and asking: 'What is this vision of womanhood, of sexually indiscriminate infants running households?' Bomer, on the other hand, was so moved by Manguso's depiction of infidelity and the violence of being lied to that she wrote Manguso a fan letter (one of seven she has written in her life, Philip Roth and Franzen among recipients of the others). 'Sehgal misses the entire point of the book, which is that Manguso is now free – not bitter, free. Whenever you describe yourself as a victim, you're immediately dismissed … I feel like finding Doughty's voice in my book was my way, hopefully, to be heard – in the way that no one wants to fucking hear another story about women. And yet he's such an everyman. So it's like, here's your cliche then.' Bomer was raised in Indiana by a French professor father and an Austrian mother who was a translator and a painter: 'She refused to become an American citizen, for political reasons. Which really makes sense now, right? She was ahead of her time in a million different ways.' Her childhood was marred by the worry and dread following her father's suicide attempt when she was five; she went on to study psychology in what she describes as 'an attempt to cure' her father. She was married for 20 years and raised two children, writing as much as possible. When pressed for her strategy there she replies, 'I had no social life and my house was a mess.' In 2011, she published her first story collection, Baby; her second, Inside Madeleine, followed in 2014. All were warmly received, but her moment of success around the publication of Inside Madeleine could not take hold fully because, in her words, she 'disappeared'. Her father had killed himself not long before, and her mother was in the last stages of a long illness. 'My father's death was horrific and violent. My mother's was slow. There was no way to process. People don't want to be around you when you're suffering.' Bomer was divorced 10 years ago, and describes The Stalker as a sort of divorce book, 'but not divorcing a particular man, it's divorcing men – a kind of man,' she says, before instantly discluding her two sons and her many friends. After our meeting, she emails me to clarify some of her comments and concludes: 'We don't believe people the first time they hurt us, or the second, or the third – until we do. Because we want to have compassion and believe that if we show love and kindness … we will reap it back. And that is where we are wrong. Many, many people are ciphers. They will add nothing to your life, and they will leave with so much of you.' It's difficult to reconcile the blunt fatalism of a statement like that one, or indeed the exhilaratingly ghastly novel she has written, with the generous and joyful woman I met. But perhaps the exorcism she has performed with this marvel – a divorce book with no divorce; a book called The Stalker with not that much stalking in it; a book by a middle-aged woman that, following five others, looks set to become her breakthrough hit – has made her so. Not bitter, as she says, but free. The Stalker by Paula Bomer is published by Soho Press. To support the Guardian, order your copy at Delivery charges may apply.


The Independent
40 minutes ago
- The Independent
It's complicated: Jennifer Aniston on season 4 of The Morning Show
Jennifer Aniston described the forthcoming fourth season of The Morning Show as "complicated", "layered", and "emotional", noting it will address current events. The Apple TV+ drama, starring Aniston, Reese Witherspoon, Billy Crudup, and Julianna Margulies, finished filming its fourth season in December last year. Showrunner Charlotte Stoudt revealed that the new season will delve into themes of deepfakes, artificial intelligence, and misinformation. The series will explore questions of trust in what is seen and heard, particularly concerning news outlets and current global events. The Morning Show is set to return for its fourth season on Wednesday, 17 September on Apple TV+.