Couple

LEONARDO DiCaprio has been romantically involved with some of the most beautiful women on the planet.

And his current girlfriend is no exception. Here’s everything you need to know about Italian supermodel Vittoria Ceretti.

Who is Leonardo DiCaprio’s girlfriend Vittoria Ceretti?

Vittoria Ceretti was born in Brescia, in northern Italy, on June 7, 1998, making her 23 years younger than Leonardo DiCaprio.

The Italian model is one of the most sought-after figures in the fashion industry.

She first caught the fashion world’s attention as a teenager, going on to walk the runway for major brands including Chanel, Valentino, Louis Vuitton and Versace.

Vittoria has also appeared on dozens of Vogue covers in numerous countries all over the globe.

read more on Vittoria Ceretti

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Her relationship with Leo first made headlines in the summer of 2023, when they were spotted together in Santa Barbara.

Dates in Santa Barbara, Paris and Milan followed, and by November of the same year they were reportedly exclusive.

Speaking to Vogue France in March 2025, Vittoria said preserving a private life was “a luxury” she intended to hold onto.

She also opened up about how “annoying” being referred to as someone else’s partner can be.

Vittoria said: “As soon as you’re in a relationship with someone more famous, you become ‘so-and-so’s girlfriend. That can be extremely annoying.”

She has been welcomed into Leo’s inner circle, having met his mum Irmelin Indenbirken, with whom the actor is famously close.

Who else has Leonardo DiCaprio dated?

The Oscar-winning actor has been romantically linked to many beauties over the years, including:

• Bridget Hall (1994): Leo was briefly linked to the American model, who became one of the most recognisable faces of the early 1990s as a Sports Illustrated Swimsuit Issue cover star and Victoria’s Secret model.
• Naomi Campbell (1995): They were rumoured to be romantically involved in 1995, when Leo would have been 21.
• Kristen Zang (1996–1998): His first serious relationship was with the American model and actress.
• Gisele Bundchen (1999–2005): Leo spent five years with the Brazilian supermodel, who went on to marry NFL superstar Tom Brady in 2009, before the pair divorced in 2022.
• Bar Refaeli (2005–2011): For the best part of six years, he dated the Israeli model and television presenter.
• Blake Lively (2011): The Gossip Girl star and Leo enjoyed a brief five-month romance in 2011, before Blake went on to marry Ryan Reynolds later that same year.
• Erin Heatherton (2011–2012): He dated the American model and Victoria’s Secret Angel from Illinois for around a year.
• Toni Garrn (2013–2014 & 2017): Leo was involved with the German model and humanitarian activist twice.
• Kelly Rohrbach (2015–2016): He was linked to the American model and actress, who went on play CJ Parker in the 2017 Baywatch film alongside Dwayne Johnson.
• Nina Agdal (2016–2017): The actor dated Danish model and influencer Nina Agdal, who is now engaged to YouTube star Logan Paul.
• Camila Morrone (2017–2022): Leo was in a relationaship with the Argentine-American actress and model for five years.
• Gigi Hadid (2023): He was spotted getting cosy with Zayn Malik’s ex, but the romance was never confirmed.

NEW YORK — What makes life worth living? For hard-core “Harry Potter” fans with money to burn, it might be getting Broadway tickets to interact fleetingly with Daniel Radcliffe in “Every Brilliant Thing,” an ingenious and touching solo performance piece written by Duncan Macmillan with Jonny Donahoe on the subject of suicide — or more precisely, on the ordinary joys that militate against such a drastic step.

Radcliffe was breathlessly scampering up and down the aisles of the Hudson Theatre before the show began, enlisting audience members to be participants in the play. Having seen “Every Brilliant Thing” twice before, once at the Edye (the black box at Santa Monica’s BroadStage) starring Donahoe in 2017 and once at the Geffen Playhouse’s intimate Audrey Skirball Kenis Theater starring Daniel K. Isaac in 2023, I knew exactly what he was up to.

The play revolves around a list that the narrator began at the tender age of 7 after his mother first attempted suicide. While she was still in the hospital, he started compiling, as much for her benefit as for his own, sources of everyday happiness.

Ice cream, water fights, kind people who aren’t weird and don’t smell unusual. These items are given a number, and audience members assigned a particular “brilliant thing” are expected to shout out their entry when their number is called.

The list gradually grows in complexity as the narrator gets older. Miss Piggy, spaghetti bolognese and wearing a cape give way to more sophisticated pleasures, such as the way Ray Charles sings the word “You” in the song “Drown in My Own Tears” or the satisfaction in writing about yourself in the second person.

Music plays a prominent role in “Every Brilliant Thing,” which was adapted from a monologue/short story Macmillan wrote called “Sleeve Notes.” The narrator’s terribly British father takes refuge from the emotional storms of his household by listening to jazz records in his office. John Coltrane, Cab Calloway, Bill Evans, Nina Simone are favorite artists, and the narrator can tell his father’s mood simply by the record he’s decided to play.

The production, directed by Jeremy Herrin and Macmillan, involves every level of the Hudson Theatre. I assumed I would be safe, occupying an aisle seat in the murderously expensive prime orchestra during a press performance attended by critics. But I wasn’t flashing a pad as my colleague across the aisle from me was doing to ward off any intrusions. And just before the show was about to start, Radcliffe was suddenly kneeling beside my seat asking if the person I was sitting with was my partner.

I told him that we weren’t a couple, just friends, and that I would be the worst person he could possibly ask to perform anything. But Radcliffe wasn’t so easily put off. “Let’s just say that you’re an older couple who have been together for some time,” he whispered. “And all you have to do is hand me this box of juice and candy bar when I refer to the older couple.”

OK, what harm could there be? Little did I know that “older couple” was to become “old couple,” a term that seemed to be repeated incessantly, at least to my Gen X ears not yet accustomed to scurrilous millennial attacks! I composed myself by pretending that we were in the world of anti-realism. But in truth, I would like to be the kind of person who would offer an anxious kid in a hospital waiting room a juice box and a candy bar, so maybe the casting wasn’t so far-fetched after all.

Daniel Radcliffe in the Broadway production of “Every Brilliant Thing.”

(Matthew Murphy)

A theatergoer was called upon to play the vet who euthanized the narrator’s childhood pet, a dog named Indiana Bones that was symbolized by a coat someone volunteered from the audience. It was the boy’s first experience of death, a difficult concept for a young mind but an important precursor for a boy not given the luxury of existential innocence.

Other audience members, particularly those seated on the stage, played much more elaborate roles. One man, first invited to serve as a stand-in for the narrator’s father, was asked instead to play the boy. He was given one word to say in reply — “Why?” — as his father tries to explain the reason his mother is in the hospital. This same enlisted actor was later called upon to play the dad giving a toast at his son’s wedding, one of the rare occasions when he was able to summon language for the kind of deep feeling he would normally only be able to express through his records.

One kind and patient spectator conscripted to play the school counselor had to remove her shoe to improvise a sock puppet, one of the tools of her empathetic practice. Another audience member sensitively played Sam, the narrator’s love of his life, a relationship that reveals the long-term toll of being raised by a parent suffering from suicidal depression.

Radcliffe’s audience wrangling was as intuitively sharp as his deeply felt performance. He has the comfort of a good retail politician, who’s not afraid of making direct contact with crowds. Two-time Tony winner Donna Murphy, in the house at the reviewed performance, gamely went along when Radcliffe briefly enlisted her luminous services.

Obviously, Radcliffe is the main reason “Every Brilliant Thing” is on Broadway. The show, which began at Britain’s Ludlow Fringe Festival in 2013, is a gossamer piece, a 70-minute curio best experienced in close quarters without the high expectations and ludicrous prices of New York’s turbo-charged commercial theater. The Hudson Theatre lends a mega-church vibe to the proceedings, but the spirits of theatergoers are nonetheless moved.

A scruffy-faced Radcliffe, twinkling accessible geniality in jeans and a sweatshirt, zips up and down the cavernous theater as though waging a one-man campaign against the isolation epidemic. There’s no denying that Harry Potter has matured into an assured stage actor. His Tony-winning performance in “Merrily We Roll Along” should have put to rest any doubts, but the glare of his fame can still obscure his serious chops.

Sincere yet never smarmy, ironic without ever being cynical, well-groomed though far from swank, he’s a more glamorous version of the character than the one originated by Donahoe, the British comedian with an everyman demeanor whose portrayal seemed so genuine at the Edye that I mistakenly thought that the play was his personal story.

Donahoe’s performance was filmed for HBO, but “Every Brilliant Thing” is meant to be experienced in a theater. The whole point of the show is to transform the audience into an impromptu ensemble, a group of strangers emotionally united through the story of one young man’s intimate knowledge of suicide, a subject that Albert Camus called the “one truly serious philosophical problem.”

I’m of two minds about “Every Brilliant Thing.” I was moved once again by the piece, but I’m grateful I didn’t have to wreak havoc on my credit card to pay for my seats. I love the interactive, gentle humanity of the play, but I was also acutely aware of how the work has been commodified. I applaud Radcliffe’s willingness to carve an independent path as an actor, but I might have been more impressed by his adventurousness had he decided to perform in a pocket venue that didn’t have the tiers of pricing I associate with airlines.

Yet launching a conversation around mental health with an audience magnet as powerful as Radcliffe is on balance an excellent thing. And Radcliffe’s compassionate portrayal of a survivor recognizing that he’s not out of the woods just because he made it into adulthood is one of those things that makes a theater lover just a little more appreciative of the humanity at the center of this art form.

SINGER Harry Styles takes a stroll with girlfriend Zoe Kravitz — who shows her dedication to him by wearing his merchandise.

The couple were seen in New York with actress Zoe, 37, wearing a £35 baseball cap with the word “Kiss” on it — a reference to Harry’s new album Kiss All The Time. Disco, Occasionally.

Harry, 32, wore white sunglasses for their date.

We revealed earlier how fans reckon his brand new tattoo is a poignant tribute to his late 1D bandmate Liam Payne.

It came just days after the Aperture hitmaker, 32, spoke out for the first time on the dad-of-one’s passing.

Harry, who was in the group with Liam from 2010 to 2016, said living his life “to the fullest” is the best way he can “honour” his friend.

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Now eagle-eyed viewers have spotted Harry in the crowd of US TV show Saturday Night Live donning a surprise new inking on his right arm.

He had swirling writing etched in black on his upper arm that spelled out the word Slinky.

One fan took to TikTok to muse: “Harry Styles’ slinky tattoo that people suspect harry got in honour of Liam Payne’s love for Toy Story”.

Slinky is a much-loved spring dog that features in the Disney Pixar movies, and is a loyal pal to protagonist Woody.

Another user then commented: “He loved him so much”.

One mused: “And that’s the arm that he said was going to be only for his family…. (he said that years ago it may not even be true anymore but it’s cute)”.

We used to have more films like “Midwinter Break,” in which the combination of a couple of great actors, a gifted writer and the unfussy shepherding of a thorny, intimate scenario gave discerning moviegoers their recommended weekly allowance of adult drama about the human condition.

That’s no longer the case, so you would be forgiven for attaching more importance to the small-scale appeal of this adaptation of Irish author Bernard MacLaverty’s 2017 novel. Without gimmicks or pomp (save a picturesque setting) and through the supreme talents of Lesley Manville and Ciarán Hinds, it offers up an affecting two-hander about a couple on the brink who’ve never really acknowledged said precipice. As directed with low-key confidence by Polly Findlay, the movie is both good and, in a certain way, good enough.

Should a marriage be merely good enough? Because hiding in the 40-year togetherness of retired teacher Stella (Manville) and ex-architect Gerry (Hinds) is an unmistakable chasm. It’s a divide with roots in the turbulent Belfast of their youth, which necessitated starting their family in Glasgow. It manifests now in a brittleness that tints their everyday exchanges as ossifying empty nesters.

Stella’s restless energy in wanting to fix things spurs her to arrange an impromptu trip for them to Amsterdam. Initially they rekindle a genial intimacy over art, meals and the city’s beauty. She eases off her intolerance for his drinking by tagging along to bars, while he accompanies his faith-driven wife to the Begijnhof, a historical religious site of dwellings initially intended to house a sisterhood of single Catholic women. We gather her keen interest isn’t entirely touristy but also, because Hinds is so good, that his wisecracks about religion — which she bristles at — have a basis in something personal, too.

We eventually learn what it is that has kept Stella and Gerry in a state of deepening apartness. But these expected revelations aren’t as cathartic as one might hope, probably because what “Midwinter Break” had going for it was a gathering totality of unhurried observance, as if we, too, were stumbling in the dark along with these nervous dancers, who once knew each other so well yet had lost the ability to turn knowing into understanding.

Still, the chance to see Manville and Hinds give heart, soul and edge to a cracked marriage is a display of nuanced skill that no screenwriting choice (even if true to the source material) can fully hamper. Manville, one of our greatest actors, is achingly real, giving Stella the protective bearing of a wounded soldier. Hinds, meanwhile, masterfully shows an affable partner’s emotional immobility.

Findlay knows to stay out of the way when her actors are deep inside what’s lived-in about their situation, or when grace notes — especially the story’s real ties to the Troubles — needn’t be overstruck. Modest to a fault, “Midwinter Break” seems to float like something cautious and wishful, hoping along with the audience that this union’s individual strains will fall into harmony once more.

The cause of death for Peter Greene, a character actor known for playing villains in movies including “Pulp Fiction” and “The Mask,” has been revealed by New York City’s Office of Chief Medical Examiner.

Police found Greene, 60, dead in his apartment Dec. 12. They didn’t suspect foul play.

His death was ruled an accident, the M.E.’s office said via email. Greene died from a “gunshot wound of left axilla with injury of brachial artery,” the office said. In everyday English, that means he shot himself in his left underarm and injured a significant artery that starts in the shoulder and runs down to the elbow crease.

Police found the character actor in his Lower East Side apartment, Deadline reported, after neighbors heard Christmas music playing for days and one of them called authorities and the landlord for a wellness check.

Greene had a history of addiction, per the New York Post, and attempted suicide in the 1990s. He was scheduled to go in for a procedure to remove a benign tumor near his lung on the day he was found, the outlet said. His manager had talked to him two days before he was found.

“He sounded OK … It was just a totally normal conversation. He was a little nervous about the operation going in, but he said it wasn’t super serious,” manager Gregg Edwards told the Post in December. “He was talking about that and hoping that I was going to be OK and wishing me well as I was wishing him well. We’re good friends. I love the guy.”

Greene’s best-known role was the villain Zed, who was brought in to torture Bruce Willis and Ving Rhames’ characters in Quentin Tarantino’s 1994 classic “Pulp Fiction.” In “The Mask,” also released in 1994, he played mobster Dorian Tyrell, antagonist to Jim Carrey’s Stanley Ipkiss, a.k.a. the Mask.

Those roles came only a couple of years into Greene’s career, which per IMDb included nearly 100 TV and film credits from 1990 to 2026. His TV credits included episodes of “Chicago P.D.,” “Hawaii Five-0,” “Law & Order,” “Justified” and more.

He started out with parts in a couple of TV shows in the early 1990s before landing the lead role in “Laws of Gravity.” In 1995, Times movie critic Kenneth Turan called the 1992 film “independent American filmmaking at its best” and described Jimmy (Greene) as “a small-time street outlaw who, though horrified at the thought of actual work, is stable by local standards” in Brooklyn’s then crime-ridden Greenpoint neighborhood.

The New Jersey native, born Oct. 8, 1965, studied Method acting at the Lee Strasberg Theatre & Film Institute in New York City when he was in his 20s. He told Premiere magazine in 1996 that he ran away from home at age 15 and lived on the streets, using and dealing drugs and hiding from other dealers in theaters, where he got into acting. His drug use overlapped with his early success on screen.

After a 1996 suicide attempt, the actor said, he got treatment for addiction and sobered up.

The Associated Press contributed to this report.

KATIE Price and her new husband Lee have insisted they’re the “strongest” and most “beautiful” couple they know as they revealed their plans to return to the UK.

The former glamour model, 47, tied the knot with the businessman in a secret ceremony last month and they’re currently on their honeymoon in Dubai, where he lives full time.

Lee Andrews was supposed to come to UK a few weeks ago but he claimed he was forced to delay his flight to look at properties for the pair to live in.

While fans of Katie were convinced it was because he wasn’t allowed to leave the country, we revealed Katie has put a deposit down on a pad in the UAE.

The loved-up pair have now revealed their both returning to the UK and it could be very soon.

Katie said: “So yeah we’re still in Dubai and we are coming to England very soon.

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Lee replied: “Within a day right?”

Katie added: “Watch out England we’re coming for you.”

The star’s Walter Mitty-like husband shared a snap of the couple holding hands with the caption: “The strongest and most beautiful couple we know.”

Katie recently leapt to her man’s defence hitting out at “snakes” and “bitter people” amid rumours of Lee being a con-man.

She took to Instagram to post a furious message in defence of her new husband.

A loved up Katie added text to a clip which read: “@wesleeeandrews has given me more love more security more respect.

“And proven that everything that’s been said about him is absolute BS by bitter people and snakes in all areas.”

The Sun revealed how the self-proclaimed businessman lives a ‘Walter Mitty’ style existence in Dubai.

Lee was accused of using artificial intelligence to fake images of himself with tech billionaire Elon Musk and reality TV star Kim Kardashian.

He also claimed on his LinkedIn profile to have been a Member of the Board of Advisors to the Labour Party since 2015.

But a Labour source said: “We don’t have a board of advisors and he doesn’t work with us.”

Two of Lee’s exes also sent Katie stark warnings to stay away with one, Alana, telling her to “run for the hills.”

Despite Lee’s life seemingly unravelling the pair still seem set on moving into a home together.

Lee posted a mock-up of the lavish property on social media, which included his & her’s cars, rooms their for kids and their parents.

The room labelled “kids” comes amid recent hints that the former glamour model might be pregnant.

Lee and Katie’s dream home plans have emerged despite concern over their quickfire marriage from those closest to Katie.