Age: 37
female
Danielle Riley Keough (/ˈkiːoʊ/ KEE-oh; born May 29, 1989) is an American actress and the eldest grandchild of Elvis Presley. She made her feature film debut in a supporting part in the musical biopic The Runaways (2010), portraying Marie Currie. Keough subsequently starred in the independent thriller The Good Doctor (2011) before being cast in a minor role in Steven Soderbergh's comedy film Magic Mike (2012). She appeared in her first big-budget release in the action feature Mad Max: Fury Road (2015). In 2016, Keough had her breakthrough role as an escort in the first season of the anthology series The Girlfriend Experience, earning a Golden Globe Award nomination for Best Actress. Her performance as a wayward young woman in the drama American Honey (2016) earned her further acclaim, including an Independent Spirit Award nomination for Best Supporting Female. Keough went on to star in the horror film It Comes at Night (2017) and in Soderbergh's heist film Logan Lucky (2017); she then appeared in the horror films The House That Jack Built (2018) and The Lodge (2019). Following a leading role in the comedy-drama Zola (2020), Keough starred in the Amazon Prime Video thriller series The Terminal List (2022) and the drama miniseries Daisy Jones & the Six (2023). The latter earned her nominations for another Golden Globe and a Primetime Emmy Award. Keough is a co-founder of the production company Felix Culpa. She has co-directed the drama War Pony (2022), which won the Caméra d'Or. She became the sole owner of Elvis Presley's estate, Graceland, following her mother, Lisa Marie Presley's death in 2023. Description above from the Wikipedia article Riley Keough, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
