Lisa Bonet Net Worth 2026: The $10M–$14M Cosby Fortune

Lisa Bonet‘s net worth is estimated at $10 million to $14 million as of November 2026. The figure rests on four decades of screen work that began when she was sixteen, a Cosby Show paycheque that grew with the show’s ratings, film roles that kept her visible long after she left weekly television, and a property history that includes one of Venice Beach’s best-known artist homes. Celebrity Net Worth puts her at $10 million, while several 2025 and 2026 outlets land at $14 million — the gap comes down to how much weight each gives her residuals and her share of property sold years ago, so this article carries the range and shows the workings behind both ends of it.

Early Life and Background

Lisa Michelle Bonet was born on November 16, 1967, in San Francisco, California, to Arlene Joyce Litman, a schoolteacher, and Allen Bonet, an opera singer. Her mother was of Ashkenazi Jewish descent and worked in education; her father, an African-American singer from Texas with Cherokee heritage, performed opera. The household mixed two very different worlds — a teacher’s discipline and a performer’s temperament — and Bonet has described a childhood split between books, music and the arts. She is an only child, and the family moved to Los Angeles while she was still young, which put her within reach of the casting offices that would shape her teens.

Bonet started working before most children finish primary school. She appeared in commercials and took small guest spots on television while still a child, and she entered beauty pageants — a common route into screen work for young performers in Los Angeles in the late 1970s. Those early jobs paid little, but they gave her something that mattered more than the cheques: a professional credit list and a comfort in front of cameras that casting directors noticed. Her first credited television appearance came in 1983, in an episode of the medical drama St. Elsewhere, when she was fifteen. A year later, at sixteen, she auditioned for a new NBC sitcom about a Brooklyn doctor and his family. The show was The Cosby Show, the part was Denise Huxtable, and the audition changed the shape of her life and her finances in a single afternoon.

What makes Bonet’s early story unusual among child stars is how little of it was stage-managed by a family business. Her parents were not in the film industry — one taught school, the other sang opera — so there was no family production company, no built-in manager, and no trust-fund machinery behind her. The money she earned as a teenager went into a career that she, and later her own representatives, had to build job by job. That independence shows up again and again in her later choices: she walked away from the biggest sitcom on American television at the height of its run, turned down the steady pay of weekly TV for film roles that interested her, and spent long stretches out of the spotlight entirely. Those choices cost her money in the short term and are the main reason her net worth sits where it does — solid, but far below the fortunes of co-stars who stayed in the weekly-television machine.

Education

Bonet attended Reseda High School in Los Angeles, a public school in the San Fernando Valley, while she was already working as an actor. Balancing a school timetable with a network television schedule is a grind that most teenage performers manage with on-set tutors and shortened school days, and Bonet’s case was no different — her education during the Cosby years was fitted around rehearsals, table reads and tapings. She also studied at the Celluloid Actor’s Studio in North Hollywood, a training ground for young screen actors, where she worked on the craft side of the job rather than the academic side.

There is no record of Bonet attending a four-year university, and no college degree appears in any reliable biography of her. That is worth stating plainly because some net-worth roundups invent one. Her education was the working kind: commercials as a child, guest spots as a teenager, then four years on the number-one show in America before her twentieth birthday. By the time her contemporaries were finishing college, she had already been nominated for an Emmy, headlined a spin-off, and carried a studio film. The trade-off was real — she never had the fallback of a degree — but the screen education she received between 1984 and 1989 was, in earnings terms, worth far more than a classroom could have offered.

One detail that often gets lost: Bonet legally changed her name to Lilakoi Moon in 1995, a fact recorded in public records and biographical sources. She has continued to work professionally as Lisa Bonet, and the name change is a personal choice rather than a career move, but it is the kind of detail that trips up sloppy databases — some sites still list the two names as two different people, which is one reason her filmography occasionally looks shorter than it is.

Career Journey

Bonet’s career breaks into four clear phases, and the money follows the same shape: a steep climb, a deliberate step back, a long quiet middle, and a selective late period built on guest roles and the occasional film.

The first phase, 1983 to 1987, was the climb. After St. Elsewhere, she won Denise Huxtable on The Cosby Show, which premiered in September 1984 and became the number-one show on American television within a year, holding that spot for five straight seasons. Bonet played Denise — the free-spirited second daughter of Cliff and Clair Huxtable, played by Bill Cosby and Phylicia Rashad — from the pilot onward. The show won six Emmy Awards across its run and turned its young cast into household names. Bonet’s pay rose with the ratings; outlets that have reconstructed her earnings put her later-season per-episode pay in the $20,000 to $50,000 range, and she appeared in 119 episodes of the series between 1984 and 1991.

The second phase, 1987 to 1991, was the break for independence. In 1987 she left The Cosby Show to headline its spin-off, A Different World, which followed Denise to Hillman College, a fictional historically Black university. She carried the first season — 23 episodes — and earned a Young Artist Award nomination for the role. The same year she took the part that defined her break from the “goody-two-shoes” Cosby daughter image: Epiphany Proudfoot, a seventeen-year-old caught in a voodoo murder mystery, in Alan Parker’s psychological horror film Angel Heart, opposite Mickey Rourke. The film’s explicit scenes caused a storm, and rumours have circulated ever since that the backlash pushed her out of the Cosby orbit. What the record shows is simpler: she announced her pregnancy with daughter Zoë Kravitz during the A Different World run, left the spin-off after its first season, and returned to The Cosby Show for a handful of episodes in its sixth season before leaving for good in April 1991, with the departure attributed to creative differences. She was twenty-three, a new mother, and walking away from the surest paycheque in television.

The third phase, the 1990s and 2000s, was the quiet middle. Bonet worked when a part interested her and stayed home when it did not. She appeared in the 1993 television film Bank Robber era projects and took supporting film roles, the most visible being Enemy of the State in 1998 — a big-budget Tony Scott thriller starring Will Smith, in which she played Rachel Banks — and High Fidelity in 2000, Stephen Frears’ adaptation of the Nick Hornby novel, in which she played singer Marie De Salle opposite John Cusack. In 2003 she played Queenie in Biker Boyz, reuniting with her A Different World co-star Kadeem Hardison. She also worked behind the camera, directing the music video for Lenny Kravitz’s “Let Love Rule” in 1989 and the short film Walking Compton in 2006. None of these paid anything like a sitcom salary, but they kept her visible, kept the residuals coming, and — critically — kept her from the kind of overexposure that ends careers.

The fourth phase, from 2008 onward, has been selective television. She played Maya Daniels in the American version of Life on Mars (2008–2009), made a guest appearance on HBO’s Girls, and in 2016 took a recurring role as Marisol on Showtime’s Ray Donovan, appearing in seven episodes of the fourth season. The Ray Donovan role earned her a Critics’ Choice Television Award nomination for Best Guest Performer in a Drama Series — a late-career recognition that most net-worth roundups miss entirely. Her most recent film work was Road to Paloma (2013), directed by Jason Momoa, in which she played Magdalena opposite Momoa. Since then she has taken no regular screen role, and her public appearances have been rare — a fashion-week front row here, a family graduation there — which is a choice, not an absence of offers.

Rise to Fame

Bonet became famous fast, and the speed matters to the money story. She was sixteen when The Cosby Show premiered, and within two seasons she was one of the most recognisable teenagers in America. The show’s dominance was total: it topped the Nielsen ratings for five consecutive seasons, drew audiences of more than 30 million viewers for big episodes, and made the Huxtable family a weekly fixture in American homes. Denise, with her bohemian clothes, her drift toward art school and her habit of questioning her parents, was the character young viewers identified with most — and Bonet, who was close in age to the character, played her without the polish that made other sitcom teenagers feel rehearsed.

The fame peaked in 1986, when Bonet earned a Primetime Emmy nomination for Outstanding Supporting Actress in a Comedy Series. Some databases date the nomination to 1988; several biographies place it in 1986, and the confusion is a reminder of how patchy the record-keeping around her early career can be. Either way, an Emmy nomination before the age of twenty put her in a small group. It also strengthened her hand in pay talks: a nominated young actor on the number-one show in America could ask for more money, and her per-episode pay climbed through the later seasons as a result.

The Angel Heart gamble is the other half of the fame story. At nineteen, Bonet chose a dark, sexually explicit horror film over the safety of the Cosby brand, and the choice was deliberate — she wanted to be seen as an actor rather than a sitcom daughter. The film earned her a Saturn Award nomination for Best Supporting Actress in 1988 and proved she could hold a screen opposite Mickey Rourke, but it also fed the narrative that she was difficult, a label that followed her out of the Cosby orbit. The truth is less dramatic: she was a young actor making adult choices about her image, and the industry of the late 1980s punished women for exactly that. The short-term cost was work; the long-term payoff was a career on her own terms, and a public image — bohemian, private, unbothered — that has kept her culturally relevant for forty years without a single reality show or social media account.

Main Sources of Income

Bonet’s income has always come from acting first, and the shape of that income has changed as her career changed. The four streams below account for nearly all of it.

Television salaries. The Cosby Show and A Different World are the foundation. Across roughly 142 episodes of the two series, Bonet earned the bulk of her career income, with per-episode pay rising from a modest starting rate in 1984 to the $20,000–$50,000 range reported for her later seasons. Even at the low end of that range, 119 Cosby episodes represent well over $2 million in gross salary before tax and representation; at the high end, the two shows together approach $5 million. Later television — Life on Mars, Ray Donovan and guest spots — paid guest-star and recurring rates, a fraction of her sitcom money but steady work in her forties.

Residuals and syndication. This is the stream most roundups get wrong, usually by overstating it. The Cosby Show was one of the most syndicated sitcoms of its era, sold into reruns around the world, and its cast earned residuals for decades. But the Bill Cosby sexual-assault scandal changed the maths: networks pulled the show from schedules, streaming platforms dropped it, and the residual cheques shrank. Bonet and her former castmates still receive payments from international distribution and digital platforms, but the stream is thinner than it was in the 1990s and 2000s, and any estimate that assumes peak-era residuals are still flowing is inflating the number. That is one reason we carry a range rather than a single figure.

Film roles. Angel Heart, Enemy of the State, High Fidelity, Biker Boyz and Road to Paloma each paid a film fee, with Enemy of the State — a $200 million-plus grosser at the worldwide box office — the most lucrative of the set. Film was never her main earner; she took roughly one film every few years, and her fees reflected supporting-role rates rather than star salaries. Even so, a supporting part in a Will Smith blockbuster pays comfortably, and the five films together add up to a meaningful slice of her wealth.

Property. Bonet’s one documented property play is the Venice Beach home she bought with Lenny Kravitz in 1987 and sold in 2000. The house — a 5,424-square-foot, four-bedroom former artist’s studio built in 1949, once the home of sculptor Guy Dill — was listed by later owners in 2021 at nearly $7.8 million, per Homes & Gardens, and MLS records show it selling in January 2022 for $3,915,000 after a price cut. Bonet and Kravitz sold it two decades earlier for far less, so the appreciation belongs to later owners, not to her — a distinction most net-worth pages blur. Her long-time base has been Topanga Canyon, the rugged, mountainous enclave in the Santa Monica Mountains where she has lived for decades, and where her children grew up.

Salary and Earnings

The question readers ask most — how much did Lisa Bonet make per episode? — has no single clean answer, because the honest answer is a range with a story attached. Multiple outlets that have reconstructed her Cosby Show earnings put her later-season pay at $20,000 to $50,000 per episode, with the lower figure covering the early seasons and the higher figure the peak years, after her Emmy nomination and after the show became a ratings juggernaut. One older biography puts her pay at about $25,000 per episode by the end of the run; another puts it near $30,000. Those figures cluster tightly enough to trust.

Then there is the outlier: a $130,000-per-episode figure that appears on several net-worth sites, sometimes attached to the claim that she earns $5 million per film and more than $3 million a year in royalties. That number traces back to a small group of low-authority roundups that repeat each other without a primary source, and it sits badly against everything else in the record — a $130,000 episodic rate in the late 1980s would have made a nineteen-year-old supporting player one of the best-paid actors on television, ahead of established stars, and no reputable outlet has ever reported it. We treat it as uncorroborated and do not use it. The $20,000–$50,000 range is the defensible one, and it is the range used in the estimate on this page.

Run the maths on the defensible range and the picture is clear. At 119 episodes of The Cosby Show and 23 episodes of A Different World, even a blended average of $25,000 an episode across the two shows produces roughly $3.5 million in gross television salary — before tax, before a manager’s 10 to 15 percent, before an agent’s 10 percent, and before the years in which she earned far less. That is the foundation of her wealth, and it explains why the estimate sits at $10–$14 million rather than $30 million or $50 million, figures that appear on some sites with no workings at all. A working actor who earned a few million in her teens and twenties, invested in property, lived modestly by Hollywood standards, and kept earning residuals for decades can plausibly hold $10–$14 million at fifty-eight. She cannot plausibly hold $50 million without a business, a franchise, or a hit show in the last twenty years — and she has none of those, by choice.

Her film earnings are harder to pin down because supporting-role fees are rarely reported, and we do not invent them. What can be said: Enemy of the State grossed more than $200 million worldwide, and a supporting player in a film of that size earns a solid six-figure fee plus a share of backend participation if their contract includes it; High Fidelity and Angel Heart were mid-budget films with correspondingly modest fees. Her later television work — a season of Life on Mars, seven episodes of Ray Donovan — paid standard guest and recurring rates. None of this is fortune-making money on its own. Added together, with residuals and the Venice property, it supports the range we publish.

One more honest note on the annual-income figures that circulate: some sites credit Bonet with $500,000 to $1 million a year in current income, and others with more than $3 million a year in royalties alone. Neither figure has a source, and the second is hard to square with a show that has been pulled from most US syndication. We do not repeat either as fact. What is documented is a career that paid well in the 1980s, steadily in the 1990s and 2000s, and selectively since — and a lifestyle that has never suggested spending at the level those inflated figures would require.

Businesses and Investments

Bonet has never built a business empire, and that is the single biggest difference between her balance sheet and those of her famous family members. There is no beauty line, no production company with a development slate, no fashion label, no wellness brand, no memoir, and no touring production. Her daughter Zoë Kravitz has built a production and directing career; her former husband Lenny Kravitz has a design and music business; her former husband Jason Momoa has production and endorsement ventures. Bonet has none of those, and the absence is deliberate — she has said, through the choices she makes rather than through interviews, that she is not interested in turning her name into a product.

What she does have is the kind of quiet investment profile that rarely makes headlines. She has worked as a director — the “Let Love Rule” music video in 1989 and the short Walking Compton in 2006 — which suggests an interest in the craft side of production, but neither project became a commercial venture. She has no reported startup investments, no venture-capital portfolio, and no public record of stock or fund holdings, and we do not speculate about any. Her wealth, as far as the public record shows, is the old-fashioned kind: money earned, money saved, and a home owned outright in a part of Los Angeles where land holds its value.

The one place where a business angle does exist is her name itself. Bonet’s image — the dreadlocks, the bohemian style, the Topanga Canyon life — has been commercially valuable to others for decades, and she has been photographed for fashion magazines and appeared at events such as Celine’s Paris Fashion Week show on October 3, 2026, where her front-row appearance drew a round of coverage. Those appearances are not paid endorsements in the usual sense; they are the fashion world borrowing her credibility. She has kept that credibility precisely by refusing to sell it, which is a commercial strategy of a sort — just one that pays in longevity rather than in cheques.

Brand Deals and Sponsorships

Bonet’s endorsement history is thin, and the record is honest about that. She did commercial work as a child actor, and she has appeared in fashion editorial for most of her adult life, but there is no documented long-term brand ambassadorship, no cosmetics contract, no watch deal, and no fashion-house partnership in her name. Some net-worth roundups list “endorsements” as an income source for her without naming a single brand; that is filler, and we do not repeat it.

The reason is consistent with everything else about her career: she does not sell access to herself. She has no verified public social media account, which removes the main channel through which modern celebrities monetise endorsements, and she gives almost no interviews. A brand cannot buy a post from someone who does not post. What she does lend her presence to — a Celine show in Paris, a premiere, a family graduation photographed by the press — she does on her own terms, and the coverage that follows is earned media rather than paid placement.

For the estimate, that means endorsements contribute effectively nothing. It also means her net worth is cleaner than most celebrity figures: it is acting money and property, not a stack of licensing deals that would need valuing. Readers who see “$10 million from acting, endorsements and social media” on other sites should know that the endorsements and social media parts are invented — Bonet has neither, and the figure survives perfectly well without them.

Houses, Cars and Other Assets

Property is the most documentable part of Bonet’s wealth, and it is also the part most often misreported. The facts, as the record shows them, are these. In 1987, the year she married Lenny Kravitz, the couple moved into a canal-front home in Venice Beach, a 1949-built former artist’s studio of 5,424 square feet with four bedrooms and three bathrooms, once the home of sculptor Guy Dill. Their daughter Zoë was born there in December 1988. The couple sold the house in 2000, seven years after their divorce. Two decades later it returned to the market: Homes & Gardens reported it listed in 2021 at nearly $7.8 million, and MLS records show it selling in January 2022 for $3,915,000 after the asking price was cut. The gap between the $7.8 million listing and the $3.9 million sale is a useful caution about celebrity property reporting — the headline number is the ask, not the result — and the appreciation in either case accrued to owners who bought after Bonet and Kravitz had already sold.

Bonet’s own home for most of the last three decades has been in Topanga Canyon, the wooded canyon community in the Santa Monica Mountains where she raised her children and where she still lives. Topanga is not a mansion neighbourhood; it is a place of cabins, studios and winding roads, chosen by artists and musicians who want privacy more than square footage. No reliable public record gives the purchase price or current value of her Topanga home, and we do not guess at one — any site that prints a figure for it is inventing it. What can be said is that land in the Santa Monica Mountains has appreciated steadily for thirty years, and a home held that long is a real asset even if its value is private.

There is also a Malibu connection in the record. In December 2022, Jason Momoa was photographed delivering a Christmas tree to Bonet’s home in Malibu, an errand confirmed by a source to PEOPLE magazine — a small, human detail that tells us more about the post-divorce relationship than any settlement document does. Whether that Malibu address is a second home, a family home, or simply where she was staying that winter is not documented, and we do not present it as a property holding.

On cars, the record is silent, and that silence is itself informative. Bonet has never been photographed with a fleet of supercars, has never appeared in a “celebrity car collection” roundup, and has never endorsed an automotive brand. Her public image — bicycles, farmers’ markets, canyon roads — points to modest, practical transport. Some net-worth sites assign her a car collection anyway; we do not. A celebrity’s garage is only an asset if it exists, and there is no evidence of one here. The same applies to jewellery, art and other collectibles: no documented holdings, no valuations, no claims.

Awards and Achievements

Bonet’s awards shelf is small, and that is not a criticism — it is a consequence of a career built on one era-defining role and a series of careful choices rather than a campaign for trophies. The nominations she does hold are the right ones, and most roundups miss at least one of them.

The headline is the Primetime Emmy nomination for Outstanding Supporting Actress in a Comedy Series for The Cosby Show, earned when she was still a teenager. It remains the most prestigious recognition of her career, and it is the credential that gave her negotiating power in the late 1980s. Alongside it sits a Saturn Award nomination for Best Supporting Actress for Angel Heart in 1988, recognition from the genre-film world that she could carry a dark, adult role. She was also nominated for a Young Artist Award for Best Young Actress Starring in a New Television Comedy Series for A Different World in 1988.

The nomination most often missed is the most recent: a Critics’ Choice Television Award nomination for Best Guest Performer in a Drama Series for her seven-episode run as Marisol on Ray Donovan in 2016. It matters because it is evidence that her acting was still being noticed by critics three decades after Denise Huxtable — and because it is exactly the kind of late-career fact that content farms, copying each other, leave out. The Cosby Show itself won six Emmy Awards during its run, and Bonet’s contribution to that success is part of the record even though the statuettes went to the show and its leads.

Beyond trophies, her achievements are cultural rather than ceremonial. Denise Huxtable remains one of the most recognisable sitcom characters of the 1980s, and Bonet’s portrayal — a young Black woman on network television who was artistic, questioning and unbothered by respectability — influenced a generation of performers. Her daughter Zoë Kravitz has spoken about growing up with a mother who treated fame as a job rather than an identity, and that attitude, more than any award, is the through-line of Bonet’s career.

Net Worth Growth Over the Years

The table below is an estimate built from the earnings history above, not a set of audited figures — no such figures exist for Bonet, and any site that presents year-by-year numbers as fact is dressing up guesswork. The pattern, however, is well supported: fast growth in the late 1980s, slower growth through the 1990s as she worked less, steady accumulation through the 2000s on residuals and property, and a plateau in the last decade as she stepped back from regular work.

Two things stand out. First, the growth is front-loaded: most of the money was made before she turned twenty-five, and the last thirty years have been about preserving it rather than multiplying it. Second, the range widens at the end rather than narrowing, because the $14 million figure depends on generous assumptions about residuals and property that the $10 million figure does not make. Readers should treat $10 million as the conservative, best-documented number and $14 million as the optimistic case.

For comparison, the published estimates for the people closest to her tell the same story of a family with very different financial profiles. Celebrity Net Worth lists Lenny Kravitz at $90 million, Jason Momoa at $40 million, and Zoë Kravitz at $10 million — all of them that outlet’s published estimates, not ours, and all of them reflecting careers with far more recent commercial activity than Bonet’s. Bonet’s figure is the smallest of the four, and it is also the one least dependent on anything she did in the last decade. That is not a failure; it is the financial shape of a person who decided, at twenty-three, that she would rather choose her work than chase the biggest cheque for it.

Social Media Presence

Bonet has no verified public social media account. There is no official Instagram, no official X account, and no TikTok presence in her name, and the accounts that use her name and photographs are fan pages. That absence is one of the most consistent facts about her public life, and it is worth stating clearly because search results are full of profiles that imply otherwise. She does not post, does not promote, and does not monetise a following — which is why the “social media income” line that appears in some net-worth roundups is fiction.

The absence also shapes how the public hears from her. News about Bonet arrives through other people: a photograph from Paris Fashion Week, a family graduation, a former husband’s interview, a daughter’s red-carpet comment. In October 2026 she appeared at Celine’s Paris Fashion Week show, her first widely covered public appearance in some time, and the coverage treated it as news precisely because she appears so rarely. In June 2026 she attended her daughter Lola’s high school graduation in Los Angeles alongside Jason Momoa, and the photographs of the two of them together — divorced, co-parenting, at ease — were shared widely because they contradicted the usual divorce narrative.

For readers looking to follow her, the honest answer is that there is nowhere to follow. Fan accounts exist, and some are well curated, but none of them is her. That is a deliberate choice by a person who became famous before social media existed and saw no reason to join it — and it is one more reason her wealth comes from work done decades ago rather than from the attention economy that pays her contemporaries today.

Personal Life

Bonet’s personal life has been public for forty years, and she has handled that attention by saying as little as possible — which has, paradoxically, made people pay more attention. The outline is well documented. She married musician Lenny Kravitz on November 16, 1987 — her twentieth birthday — in a ceremony at the Chapel of Love in Las Vegas. Their daughter, Zoë Kravitz, was born on December 1, 1988, at their home in Los Angeles. The couple separated in 1991 and divorced in 1993, and they have remained close ever since, raising Zoë between Bonet’s Topanga Canyon home and Kravitz’s homes in Miami, Paris and the Bahamas. Zoë, now an actor and director in her own right, has spoken warmly about both parents, and the three are regularly photographed together at family events.

Bonet met actor Jason Momoa in 2005, and the two were together for more than a decade before marrying in a private ceremony in October 2017. They have two children: daughter Lola Iolani, born in July 2007, and son Nakoa-Wolf Manakauapo Namakaeha, born in December 2008. The family lived in Topanga Canyon, and for years they were one of Hollywood’s most photographed couples — he six feet four, she five feet two, both with a bohemian style that made them look like they had stepped out of the same photograph.

The marriage ended quietly, and the ending is unusually well documented for a celebrity divorce. The couple announced their separation in a joint statement in January 2022, describing it as a parting in “transformational times”. Bonet filed for divorce on January 8, 2024, in Los Angeles County, citing irreconcilable differences and listing the date of separation as October 7, 2020 — their wedding anniversary. The settlement was reached the same day she filed: joint legal and physical custody of Lola and Nakoa-Wolf, no spousal support and no child support from either side, and a private written agreement dividing their property, with both parties waiving future claims. The filing noted that they had already exchanged all financial records, including tax and bank statements. Their single status was restored on July 9, 2024, after California’s six-month waiting period. There was no public fight over money, no leaked figure, and no support order — which is why the divorce had no visible effect on Bonet’s net worth, and why estimates of her wealth did not move in 2024.

Since the divorce, Bonet has kept her life private. She is not publicly in a new relationship, and no reliable source has reported one. Momoa has since gone public with actress Adria Arjona, and has spoken about living on the road while filming his docuseries On the Roam. Bonet, meanwhile, has stayed in Los Angeles, close to her children, and has appeared in public mainly at family milestones — Lola’s graduation in June 2026, the Celine show in Paris in October 2026. She is, by every account, a devoted mother first and a public figure a distant second, and the co-parenting relationship with both of her former husbands is genuinely warm: Momoa still delivers a Christmas tree to her house, and Kravitz remains a family fixture. That is the personal life behind the number — and it is a reminder that the $10–$14 million figure belongs to a person who has consistently chosen privacy over profit, and family over fame.

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Published on November 6, 2026. Last reviewed November 2026. Found an error? See our corrections policy.