AMANDA Holden has admitted her boobs have grown and shared the very unusual reason why.
Standing in the shade in Corfu with her close pal Alan Carr for their BBC series Amanda and Alan’s Greek Job, Amanda’s chest became the topic of conversation.
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Amanda Holden has revealed why her boobs have got biggerCredit: GettyThe TV star credits an unusual food with bolstering her bustCredit: Instagram
Alan says: “Your breasts have got bigger since the last one.”
Amanda, wearing a low-cut summer dress, replies: “They have. It’s because of the Saganaki cheese.”
Funnyman Alan quickly quips, “Have you just been rubbing it straight in?,” prompting Amanda to burst out laughing.
One viewer wrote on Instagram: “Amanda’s laugh is pure filth and I’m here for it.”
Another posted: “Love these two, and Amanda’s cackle cracks me up.”
A third said: “Love these 2 and their renovations. Just what we all need – love and laughter!”
Just days ago Amanda, 54, wowed in a plunging dress, alongside Alan, as they rang in the New Year in Scotland with her husband Chris and lookalike daughters Lexi and Hollie.
Ageless Amanda wowed in the figure-hugging navy frock that showed off her cleavage and cinched at the waist.
She wore her hair down in her signature curly waves and beamed from ear to ear.
Daughters, Lexi, 19, and Hollie, 13, dressed up in sparkly gold and silver dresses which they both paired with matching boots.
Meanwhile, proud dad Chris stood with his family and opted for an all-black suit with a black shirt.
Amanda captioned the post: “Happy New year. From our family to yours…”
Her loyal followers flocked to the comments section to wish her and her family an early happy New Year.
Amanda also took to her stories to reveal that the family were joined by Celebrity Traitors winner Alan.
The pair posed for pictures, with Amanda planting a kiss on her pal’s cheek and the pair clinking champagne flutes.
Her hubby Chris’ arm was visible in the shot as she jokingly captioned: “Me and my husband, oh whoops, we managed to cut him out!”
Amanda and Alan are TV gold togetherCredit: BBC
Amanda and Alan host their own BBC travel show together which sees them travel to different locations including Italy, Spain and Greece and renovate a house from scratch.
The Sun previously revealed that ten well-known faces had been selected by the BBC to undergo look tests, with Alan, Bradley Walsh and Alex Jones being the frontrunners.
Beyond a misty veil, dawn breaks above Shetland – sort of. The days feel as if they never quite get going here at this time of year, and it’s important, as the long nights of winter drag on, to have a hobby. Here in Lerwick, the capital of the archipelago, the locals have divined a unique way of passing the time, while honouring the deep-rooted Scandinavian influences on Shetland’s culture and history.
A rattling and murmuring begins to grow, and round a corner emerges a marching horde of lusty Vikings in homemade costumes, brandishing axes and round shields, beards flowing over leather breastplates. They carry turquoise standards bearing the flag of Haraldr Óláfsson, the 13th-century king of Mann and the Isles, and sing battle songs of raven flags flying in distant lands, of blazing torches and Vikings ruling over oceans vast.
‘A marching horde of lusty Vikings’ in Lerwick. Photograph: Daniel Stables
As the mob approaches, a shed door creaks open behind me, and a dragon-prowed, glacial blue longship emerges, pulled on ropes by a team dozens strong. This beautiful galley will be paraded through the streets of Lerwick today before being ritualistically set ablaze – the centrepiece of Up Helly Aa, Shetland’s riotous fire festival. As an act of ritual destruction it evokes the sand mandala, the Tibetan Buddhist practice of creating ornate cosmological artworks only to sweep them away as a metaphor for non-attachment and impermanence. “It’s a symbol of renewal,” says Lyall Gair, who has led the Up Helly Aa procession in years past and retains an impressive, Viking-worthy beard. A man standing next to us in the crowd has an alternative explanation. “There’s fuck all else to do around here all winter,” he says, shivering against the morning breeze.
After Christmas, the hootenannies, paper hats and midnight countdowns of 31 December can feel a little lame. Thankfully, Shetland offers a second bite of the cherry when it comes to seeing in the new year, with Up Helly Aa’s series of fire festivals setting the archipelago alight between January and March – timed to mark the end of the pre-Christian winter festival of Yule (others include Scalloway fire festival, also on Shetland, and Uyeasound on Unst). There are 11 festivals spread across the islands, but by far the largest and best-known is held in late January here in Lerwick, which sits on Mainland, the largest Shetland island (on 27 January in 2026).
Preparing the longship. Photograph: Daniel Stables
The procession, with the galley in its wake, disappears round another corner. There will now be a lull in proceedings for the watching public, though not for the Vikings in the main procession, known as the Jarl Squad, who spend the day attending to various civic duties – a boozy brunch with local luminaries, some visits to schools and hospitals, then a lush, louche luncheon, before more processions through the streets, chanting and rattling of swords and shields, and general merriment.
I take advantage of the break in the schedule to swot up on the history of the event, meeting Jolene Garriock, a tour guide with Island Vista, at Fjarå, a cafe overlooking the ocean. “The Lerwick Up Helly Aa’s been going for over 100 years, and I’ve been going for 30,” says Jolene, who grew up on the west coast of Mainland, and now lives in the Tingwall valley, a short drive from Lerwick.
The torch procession. Photograph: Roger Cracknell/Classic/Alamy
Up Helly Aa seems to have begun in the 19th century, after Shetland’s young men returned from the Napoleonic wars with frazzled minds, a low boredom threshold and a facility for pyrotechnics. They channelled their energy into tar barrelling, the practice of stuffing wooden barrels with straw and tar, setting them alight and parading them through the town. Rival “squads” of tar barrellers would often brawl in the streets, leading a wide-eyed missionary, visiting in 1824, to describe Lerwick as “in an uproar: from 12 o’clock last night until late this night blowing of horns, beating of drums, tinkling of old tin kettles, firing of guns, shouting, bawling, fiddling, fifeing, drinking, fighting”.
The chaos, Jolene says, proved too much for the authorities, who by the late 19th century had done away with the tar barrelling and replaced it with the building and burning of the galley, reshaping Up Helly Aa into a celebration of Shetland’s Nordic heritage, as well as a festival celebrating the new year and return of the light. “Hogmanay is dying in Shetland – nobody makes an effort for that any more,” she says. “Up Helly Aa is the biggest thing of the year.”
By the time I bid Jolene goodbye, it has long since gone dark; Lerwick’s streetlights have been extinguished in advance of the burning of the galley, and the streets are thronging with thousands of people. The Jarl Squad are out again, redder-eyed and sloppier than this morning after the day’s libations, but still in strong voice, and now carrying blazing torches. They’re followed by hundreds of men in fancy dress: nuns, Wombles, French maids. These are the modern incarnation of the original tar-barrelling squads, who have nowadays swapped brawling in the streets for touring venues across Lerwick on Up Helly Aa night, staging comedy skits.
The procession files into a play park in the centre of town, where the galley lies waiting, doused in paraffin. The Jarl Squad and their entourage throw their lit torches into the belly of the boat, and before long it is engulfed in flames, warming the watching crowd. As the fire dies down and the spectators file away into the warmth of the town’s afterparty venues, for a night of comedy skits and folk dancing, soup and sandwiches, and much taking of drink, I observe the smouldering wreckage. It’s almost painful to think of the energy and care that went into the galley’s creation, only for it to go up in flames – until I remember Lyall’s words to me that morning, on Up Helly Aa’s power as a vehicle for renewal. “We just build another one next year,” he had said. “We start anew.”
Untold riches awaited Adrian Kempe as one of the NHL’s top unrestricted free agents next summer.
Mitch Marner, among last summer’s top targets, got $12 million a season from Vegas in a sign-and-trade deal with Toronto hours before he would have hit the open market. With more goals than Marner over the last four full seasons, how much could Kempe — in his prime at 29 — have demanded?
We’ll never know. Because whatever amount it might have been, Kempe decided it wasn’t worth more than his happiness. So last month he signed an eight-year contract extension worth a reported $85 million with the Kings that figures to keep him with the only organization he’s ever known for the rest of his career.
“There’s probably some teams that would have given me offers. But I never really got to the part where that was something that I wanted,” he said. “I’m really happy here. Always have been. Family-wise, the same.
“So there was never anything else in my mind.”
That’s a mind that is apparently at ease now that Kempe’s hockey future has been determined. With 13 goals and a team-high 17 assists, he leads the offensively challenged Kings with 30 points and seven of those goals have come in the 17 games since he signed his extension.
But that’s done little to lift the team, which has lost six of their last seven heading into Saturday’s game with the Ducks. The last time the Kings had a seven-game stretch this bad it cost coach Todd McLellan his job.
“I’m not happy, but I really believe in this group,” said winger Kevin Fiala, who shares the team goal-scoring lead with Kempe. “I really believe this is a great team, great players. We just have to kind of find the game. And not just for some minutes, not even for one game, 60 minutes.
“We have to go for a stretch here, get some wins in a row. Start feeling good, start playing good.”
That might be tough given how the Kings will finish 2025. After Saturday’s home game with the resurgent Ducks, the team travels to Colorado to face the Avalanche, who lead the NHL in points.
If the Kings are to turn things around, they will have to jump start an offense which is second-to-last in the NHL, averaging 2.52 goals a game, and a power play that has converted on less than 14% of its chances, also 31st in the 32-team league. And the responsibility for making that happen probably will fall to Kempe, who has scored as many goals over the past four full seasons as Sidney Crosby and has just six fewer assists than Alex Ovechkin, keeping the Swedish Olympian in heady company.
Kings forward Adrian Kempe shoots during a win over the Winnipeg Jets on Nov. 4.
(Harry How / Getty Images)
“Adrian is a bit of a streaky scorer,” coach Jim Hiller said. “A lot of his recent goals are goals that we’ve seen him score before, where he’s either beating someone with speed, a nice deke.
“So to me it’s the type of goals he’s scoring right now that’s got me encouraged.”
That’s not all that’s encouraging. Kempe, a quick and physical two-way forward, is averaging a career-high 19:18 of ice time per game and is on pace to score 30 goals and top 68 points for a second straight season.
With captain Anze Kopitar retiring at the end of the season and defenseman Drew Doughty in the penultimate year of his contract, re-signing Kempe, the team’s future leader on and off the ice, was at the top of Ken Holland’s to-do list when he took over as general manager last spring. And while the length of the contract he offered Kempe never wavered, the price did.
In the end, media reports said Kempe blinked first, telling agent J.P. Berry to lower his salary demands to get a deal done, eventually accepting an average annual value of $10.625 million beginning next season. That nearly doubles the $5.5 million he’ll earn this season and makes him the fifth-best-paid Swede in the NHL, according to the Sweden Herald. But it’s less than he would have gotten on the open market.
“I think it says two things,” Hiller said of the deal. “What it says about the franchise is that the player was known, was drafted here, was developed here.”
What it says about Kempe, he continued, is that he values that loyalty more than money.
Kings forward Adrian Kempe against the Tampa Bay Lightning on Nov. 18.
(Chris O’Meara / Associated Press)
“I think he probably appreciates the time and energy spent on his career, getting him to where he was,” Hiller said. “Now it’s his choice and he says, ‘You know what? I want to stay in place.’”
He’s not alone. A number of the Kings’ recent cornerstone players — among them Dustin Brown, Kopitar and Doughty — spent their entire NHL careers with the team. If he avoids serious injury and a major dropoff in play, Kempe will almost certainly rank among the top five in franchise history in games, goals and points when his contract runs out.
That’s the long-term return on investment Holland and the Kings are hoping for. For the time being, however, they’re counting on Kempe to save a season that seems in danger of spiraling.
Like Fiala, Kempe believes in the Kings.
“If I weren’t happy here, obviously I would consider not playing here,” Kempe said. “We have a good core. We have a good group of younger guys coming up. I think we’re in a good spot.
“Obviously you have to take that in consideration, too, when you sign a new deal. You want to play on a good team, you want to win cups.”
This article contains spoilers from Season 5, Vol. 2, of “Stranger Things.”
What could be more gulp-inducing than trying to defeat a nightmarish vine-covered villain and wipe out an eerie and horror-filled alternate dimension? Maybe writing a satisfying conclusion to a mega-popular TV show built on that idea.
Ross and Matt Duffer, the sibling masterminds behind Netflix’s “Stranger Things,” are closer to finding out if they’ve achieved that in the eyes of the show’s fans. On this morning in early December, the duo are in their own alternate dimension limbo with the show’s final season release — Vol. 1 is out and they’re bracing for impact with Vol. 2.
“The day that [Vol. 1] was released, I paced around all day,” Matt says. “I did absolutely nothing, just waiting for reactions to come in and reviews to come in because you really never know how people are going to react. There’s pros and cons to the show growing in size in the way it did — people just take it apart to an insane degree. It’s scary, always scary. You never really get used to it.”
But the self-doubt keeps them sharp, he says. “It forces you to not get lazy.”
“It’s a balance between feeling very confident, then it swings to being very insecure about it — and it’s hard to keep sight,” Ross adds. “You watch these episodes dozens and dozens of times over and over again. And the strange thing about this show is that a very small group of people had seen the episodes, a really small circle, then suddenly you’re just blasting it out to millions of people all at the same time.”
The pair are sitting on a couch in the office they share — “E.T.,” “Alien” and “Batman Returns” posters adorn the walls — at their facilities, Upside Down Productions, in Los Angeles. While they were able to revel in fan reaction for a few days after the release of Vol. 1, they’re back in work mode. At this point, they still have to finalize sound and color, as well as some visual effects, on the series finale.
“Very boring visual effects,” Matt quips. “If I have to look at one more shot of spores and fog, I’m going to lose my mind.”
Nancy Wheeler (Natalia Dyer), Jonathan Byers (Charlie Heaton), Steve Harrington (Joe Keery) and Dustin Henderson (Gaten Matarazzo) in Season 5 of “Stranger Things.”
(Netflix)
For now, the drip-drop release around the year-end holidays continues, with Vol. 2 (Episodes 5 through 7) now streaming. The episodes contain some of the season’s bigger emotional beats, including one of TV’s most amicable breakups between teenagers, a mended friendship and a character finally living his true self openly. The Duffers discussed that and more in this edited conversation.
Let’s start with those final 10 minutes of Episode 7. Will [Noah Schnapp] shares a part of himself that he’s kept secret for a long time. He realizes that if he wants to be successful in defeating Vecna, he can’t feel afraid about this part of myself. How did you decide Will’s coming out would be revealed?
Matt: It’s something that we’ve been planning to do for a really long time. Initially, it was planned for Season 4, and we just felt it was unearned by the end of it. We wrote that scene with him in the back of the van and him talking to Jonathan [Charlie Heaton]. But I like the idea of Will slowly building to this moment. He has a breakthrough in Episode 4 in a major way, but he has this one final step to take in order to really unlock his full potential. Something we really wanted to do with the show is tie his emotional growth with these powers that he’s developed.
Ross: Putting it at the penultimate [episode] ultimately made sense because what we’re trying to do with the second volume is get our characters in a place where they all felt confident in themselves. Will being one of the major character arcs that carries through the season, but also with Dustin [Gaten Matarazzo] and Steve [Joe Keery] and Nancy [Natalia Dyer] and Jonathan — we wanted to get people, before they go into this final battle, having dealt with their internal fears and doubts.
Matt: Because that’s what Vecna weaponizes against you. If you don’t have that self-hatred or self-doubt or those insecurities, then he can’t hurt you. When Will purges himself of that, he becomes unstoppable — or that’s the hope.
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1.Noah Schnapp as Will Byers, the show’s central character.2.With his mother, Joyce (Winona Ryder). In Season 5, Vol. 2, Will comes out to her and his friends. “It’s something that we’ve been planning to do for a really long time,” says creator Matt Duffer.(Netflix)
What did you want that moment to be? What didn’t you want it to be?
Ross: We were nervous about it because you want to get it right, particularly working with Noah, who had recently come out himself. When he read it and we got his blessing, we felt really, really good about it. For us, it clicked writing it when we started talking about, “What are Will’s actual fears here in the future?” When the show really works for us is when we can combine both our mythology and the supernatural with the emotional. In this case, it’s going: Vecna is taking these fears and weaponizing them against Will, so Will actually talking to the group about these fears, as opposed to keeping them to himself — that’s when the scene really clicked.
The original plan was for him to come out to Joyce [Winona Ryder], and we started writing it and it felt really wrong because if he’s really going to be confronting these fears, he has to open up to to his friends as well. Once we did that, and we put the group in there, and we had him talk about what he saw in his future, that’s when the scene felt, as a coming-out scene, like something very unique to this show.
Matt: It’s the scene we spent the longest on this season because we were so anxious about it and getting it right. It was the most important scene of the season. I can’t emphasize enough how much the actors influence the characters, and their journeys as people really feed into what we’re writing and how we write those characters. You’re trying to channel Noah and what he went through and his growth, which we’ve watched as a person, as he’s found himself. Most of what is in the show is the first take, the first close-up that we did of Noah. It was incredible to watch because it’s one of those moments where Noah was not acting. Those words were real that he was saying. It was very emotional. It felt so real to Noah, so truthful to him. Hopefully the scene feels like that to other people because a lot of kids are watching. You feel a certain responsibility, especially with scenes like that. You can’t be careless about it.
Shipping is a hallmark in every fandom. There’s a moment where Will mentions a crush he’s harbored. He doesn’t directly state it’s Mike, but Mike knows. The viewer knows. How would you describe their dynamic?
Ross: There is a lot of shipping that’s going on with this show. In terms of all the relationships — this goes with the Will storyline, it goes with Jonathan and Nancy — for us and the writers, what’s interesting is not who ends up with who. What’s interesting to us is, how are our characters growing as people? And most of the time, the answer to that is them finding strength within themselves as opposed to finding strength with someone else. When we were talking about Will, those are the conversations that we have. How do we get Will in a place that he feels confident and strong? And that, ultimately, is him confronting these fears and exposing himself to everyone, including Mike.
Matt: When we were growing up, shipping was not a thing. This is a new thing and it gets intense. Part of me likes it because it shows how passionate people are for the show. I don’t mind people interpreting things however they want. Obviously, Ross and I have what we intended. Ross touched on it thematically — in [Episode] 4, when Will finds his power, what we were intending was not that his love for Mike gives him these powers, but his love for himself and tapping back into how he felt when he was younger — that was the key to unlocking his full potential.
Ross: It’s more of an important message to put out to younger viewers. When I’m thinking about my younger self and our struggle growing up, to put out a message that’s “It’ll all be right if this secret crush you have works out” versus “You don’t need that.” Even if it disappoints some people, it’s the more important message to put out into the world.
Matt: Not one crush of mine worked out. It hurts you, though, right? If you feel feelings and it’s unrequited, it feels like an attack on you or makes you feel unwanted. So much of the show is two things: just our love for the supernatural in the movies that we grew up on, and the other part of it is dealing with all the feelings that we had growing up. The best thing for me in the world is when younger people come up to us, the very few that recognize us, and tell us how it helped help them through a difficult time in their lives. Even Robin’s speech to Will, giving him the confidence to come out, that makes it all worth it.
“To write them being back together and friends again was just such a relief,” says Ross Duffer of Dustin, left, and Steve.
(Netflix)
I want to move on to Dustin and Steve. The strain on their relationship comes to a head in these episodes, but also reaches a reconciliation. That moment between them on the collapsing stairwell —
Matt: It’s a very short moment, but incredibly emotional. We were really moved by Gaten and Joe’s performance. It wasn’t hard for them to get into that spot. They’re very close, they have a very sweet friendship that’s not entirely dissimilar from their friendship on the show. The one frustrating thing about the show being split in the way it is, is we didn’t put out a season of the show in Volume 1 — that’s half of a show. I’m excited for people to see Volume 2, mostly for the Steve-Dustin resolution.
Ross: It was hard even writing it, keeping them apart. We felt it was right, emotionally, but to write them being back together and friends again was just such a relief because we’ve missed them, and hopefully the audience has too.
And I love that Steve gets to have his a-ha moment where he comes up with what may be the plan that ends all this.
Ross: It’s funny, we’ve joked about this; he’s very convenient for us as writers because he’s always confused. He doesn’t know what’s going on. Dustin dings him for that in Episode 5, and it was so satisfying to have Steve come up with the final plan, or the linchpin for the final plan. That was such a thrill to write to finally give Steve a moment because the brainstorming almost always goes to Dustin.
Nancy and Jonathan, at one point, are bracing for imminent death and find themselves having this touching and tender moment, sharing confessions and hard truths. What was the lay of conversation for what you wanted from that moment — there’s the acknowledgment of their trauma bond and a slightly romantic unproposal?
Matt: It’s not dissimilar, in some ways, to the Mike-Will stuff. These are people who do love each other very much; it’s just a question of, “What does that mean? What does the future look like for them?” Whenever we talked about Jonathan-Nancy — there’s got to be this feeling that they feel like they must be together because of what they’ve been through, and how could you ever connect with somebody else who hadn’t been through the same thing? But are they right, in the long run, for each other? We wanted to express that as best as we can.
Ross: It was a challenging idea. We’ve been building to it, but to get it across in five-ish minutes, it’s a complicated thing. It’s not just a soap opera where it’s shipping and who’s going to end up with who. I’ve been through experiences similar to this, when you’re with someone for a very long time, you grow so close and you go through so many things together, and it reaches a point where you go, “Well, how could someone else understand?” But at the same time, is that suffocating to your own self-growth? So when we were talking about Nancy and Jonathan, and where do they go from here, it felt like for Nancy to really grow, it’s not about Steve, it’s not about Jonathan, it’s about giving herself the space.
Matt:And for Jonathan. They both felt the same way, they just weren’t expressing it. Especially when you’re young, you have trouble understanding or expressing those feelings. We wanted to put them in a life-or-death situation where it’s their last opportunity to confess. The reference for that scene was “Almost Famous,” when the plane’s about to crash and everybody, in the moment of near-death, tells everybody everything. And then the plane doesn’t crash and it’s awkward. This is the opposite.
Matt, left, and Ross Duffer are closer to releasing the “Stranger Things” series finale. Is it a happy ending? “Even in victory, it’s not confetti and dance parties,” Ross says.
(Jason Armond / Los Angeles Times)
To return to this idea of the characters wrestling with what life looks like after this is over, if it’s ever over — is a happy or triumphant ending possible? Do you even think of it in those terms?
Matt: It’s weird because we didn’t realize until we had finished writing it, how much was a reflection on the show itself. Everybody had a tricky year emotionally; it was a real roller-coaster in terms of dealing with the fact that something we had been putting everything into for 10 years was coming to an end. Ultimately, the show is more about childhood, coming of age and leaving that behind for a new part of your life. It’s not really a question of a happy ending versus a not-happy ending. It’s just a question of capturing what it feels like to move on. It’s a bittersweet thing, but I think it’s something that everybody goes through.
Ross: Even in victory, it’s not confetti and dance parties. It’s a little more complicated than that. I remember “Lord of the Rings,” reading it and watching the films as a kid — there’s that moment when they’re just back in the Shire, and there’s bit of like, “How can you understand? And how do you move on from this?” I remember at the time, when I was younger, feeling a bit of disappointment. I was like, “Can’t they just come back and everyone just celebrate and there’s a party and then we fade out?” But watching it older now, there’s something so much more resonant about it. That’s why we talk so much over the course of this season about “Even if we are able to defeat Vecna, what does that look like for all of us?” Because this Vecna and the evil in the Upside Down brought all these people together.
Matt: In terms of the parallels to the show ending, that’s really a complicated and confusing mix of emotions. Everybody’s sad to move on, but then there’s that sense that you have to move on. We try to capture that feeling.
I need you to tell me what the workflow is like on a show like this. It’s lore, science and nerd-heavy. What are the checks and balances of making sure you’re not messing things up?
Matt: The challenge, especially as the lore and mythology has gotten too complicated, is to ensure that it’s not weighing down the show and that there’s enough room for the characters. That is more important than anything. What we’ve been trying to do as much as possible with this season, because there is so much mythology, is tie it into characters and their growth.
Ross: For instance, the Jonathan-Nancy scene — the melting lab was not an idea we had and then thought, “Oh, we could put Jonathan and Nancy in the situation.” We know we want this conversation with Jonathan and Nancy. How do we get there? Then going, “Oh, what if the dark matter makes the lab unstable?” Most of the time, you’re starting character first, and then we’re adjusting the mythology in order to make those character moments work.
Matt: But also, a melting lab is cool! Everybody was super enthusiastic about that — Netflix, our production designer.
Ross: Other dimensions, everyone was fine with the wormholes. But when we suddenly go, “The lab is going to melt,” everyone was like, “Excuse me?” No one knew how to do it.
Matt: We had to fight for that melting lab, from a production and cost standpoint.
I thought we were going to have a “Titanic” situation.
Ross: Oh, “Titanic” was a reference. But we wanted them both on the table.
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1.Max Mayfield (Sadie Sink), left, and Holly Wheeler (Nell Fisher).2.Jamie Campbell Bower as Vecna.(Netflix)
There’s a massive culture of forecasting and dissecting — it can be overwhelming to me as a viewer because I feel like I’m not watching closely enough. But I also love seeing how people interpret things.
Ross: Especially with the superfans, the tiniest of detail is picked up on. I think it’s fun for them because they’re rewatching this over and over again, so every little minute thing is seen as something significant even when that wasn’t our intention — not that we don’t plant things for later and do Easter eggs, but 99.9% of the writers’ room is just talking about these characters in the story they’re on. That is hopefully how you’re going to be watching the show because it can get overwhelming when you see this stuff online. But at the end of the day, we’re having people engage with a long-form story, so it makes us generally happy.
Matt: But you hit on something important, which is everybody experiences the show very differently. Sometimes I go, “What show are you watching?” Whatever show they’re watching is a completely different show than the show we thought we wrote. Then sometimes, some are on exactly our wavelength. And you see this with debates over the season. Season 3 is either the best season ever or the worst season ever. This is why you can’t write to fans, because which fan are you writing to? It would be impossible. Ross and I just try to write what we think is cool and what our writers think is cool.
There are so many theories out there about how the show is ending. Has there been one where the person got it or close to it?
Ross: I remember Season 4 someone early, very early, before we’d even released it, had figured out the Henry-Vecna-One thing, which was pretty impressive. This season, though, I have not seen anyone get the ending correct, which is, hopefully, a good thing.
Matt: I think it’s good. We’ll find out. I like that the ending is not obvious to people.
My understanding is the final scene of the series is one you’ve had in mind for about seven or so years. In the end, did you reach it the way you thought you would?
Matt: Yes. The show changed a lot in the course of seven years, so aspects of it certainly changed. But I think the fundamental state, more or less, the scene is what we always thought it was going to be.
Ross: I would say there was a key idea that we came up with, breaking [Season] 5, that wasn’t in there seven years ago. There was one element that we changed, but generally it is what we always hoped it would be. After the finale is out, we’ll be happy to tell you.
Matt: It didn’t change the scene, it just added something that I think was really important.
You spoke earlier about the circle of people that you share episodes with. How do you know you’re on the right path?
Ross: It’s such a small group. It really comes down to just our group of writers. What I love about our writers’ room is, even with Matt and I, people are very happy to tell us that an idea is not working. It’s usually everyone building off of each other, and then someone synthesizes those ideas, pitches it out to the room, and you feel this collective relief and excitement within that room. And when that happens, we go, “That’s it. That’s the idea.”
Matt: This is how we’ve always worked, once the draft is written, Ross and I will do multiple passes to the point where we’re really happy and confident. We don’t like turning in anything even remotely rough to Netflix. But the final episode, that was actually weird. We didn’t get any notes from Netflix or the producers. It is that first draft that we turned in. We did multiple drafts of it, but once we turned it in, that was it.
Were you on time with that draft?
Matt: We’re never on time, as you can tell with the gaps between seasons. Ross and I are not the fast. We were actually writing it in the midst of shooting, which was not a great idea. But Ross and I do the best work when we have a gun to our heads.
Ross: There’s not a single finale of the show that wasn’t written in the midst of production, but we like it because it allows us to get a sense of what the season is, what’s working, how the actors are performing, and we can really write to that. If you look at our season finales, generally, they’re some of our better episodes, part of it because the story is culminating, but also because we’ve learned over the course of the season what this season really is, what is really clicking. Then you can lean into that.
Matt: The only weird thing to have is because we were behind, and this has never happened before, is the Holly sequences that are in Henry’s mind, that’s in summer, so we couldn’t wait to shoot those. We were shooting any scene in the woods with Holly before the script was done. That was odd because we were handing actors scripts and scenes when they hadn’t even finished the episode. But it worked out quite well.
But now, I don’t know if it’s because of us, but Netflix won’t start shooting a season of anything until all the scripts are written. I do think they’re missing out on something because … like the sense of discovery that it allows. That’s the nerve-racking thing to me about doing a movie next, is we won’t have that ability to have it evolve.
What was the reaction at the table read for the series finale that stood out to you?
Matt: As nervous as we are of how the audience is going to react, it will never match the nerves we had in terms of how the actors were going to react to it. They’ve been in it with us since the beginning and they’re so invested in these characters. I think everybody was crying. Noah started crying first, then it just spread from there.
How do you feel you’ve changed since starting the show?
Matt: It’s hard to know. You have to try to remember back to how we were 10 years ago. We were really green. We had only directed one movie before. And we never directed television before. We’ve become, hopefully, better leaders and more confident and better at communicating. Ross and I, because we’re twins, we were really good at communicating with each other, but not with other people, and I think we’ve gotten a lot better at working with a large group of people, and hopefully we’ve evolved as as filmmakers.
Ross: There was a lot of fear making that first season. It was almost out of panic and fear both, if we get this wrong — our first movie was a failure — if we mess up, we’ll never be able to tell a story again. And the lack of experience, especially in terms of production. Production was scary because our production on the movie was such a challenge and it was a traumatic experience. Now, we know so much more. We keep making it hard for ourselves because we keep raising the bar in terms of the scale of the production [and] the number of people we’re hiring. But at this point, we can walk into a set, we’re much more flexible now if actors are coming in with ideas that are different from what we had planned, there’s a lot more ability to explore.
Caleb McLaughlin, left, Finn Wolfhard, Millie Bobby Brown and Gaten Matarazzo when they were much younger in “Stranger Things.”
(Netflix)
To expand on the learning curve, there was a recent report that said Millie Bobby Brown had filed a complaint of bullying and harassment against David Harbour. As first-time showrunners, how was it helming a show with young actors and figuring out how to balance the responsibility of making sure they feel safe and cared for on set?
Matt: Ross and I just love working with kids, and it was fun this season to go back to that, in terms of bringing in a new generation of kids. Mostly what we try to do is treat them respectfully and listen to them and listen to their ideas. I think you just get so much better work out of them that way. We’ve become very close because we got to know them when they were really young. It feels less parental and more like an older brother situation, and we try to make it very relaxed so they’re not nervous around us, and they certainly are not. I think what’s been challenging, and mostly challenging for the kids, who are no longer kids anymore, is when the show became bigger and [dealing with] social media. I think if something’s been damaging, it’s social media. I saw it happening with Jake [Connelly], who plays Derek this year.
Ross: And Nell [Fisher, who plays Holly], as well. That is something you feel more helpless about. But what has been beneficial for them, for Jake and Nell, [is] the kids that have been through it can help them through this more. Millie’s been through it. Finn’s been through it.
Matt: That’s the thing — yes, they have us, but they also have each other to get through this. I always think that that’s the key in terms of how they all turned out as grounded as they are. We were with all of them on this press tour, and I’m constantly impressed by how level-headed and grounded they are, and how ego-less they are; that they’re not broken by what they’ve been through. It’s been great with Jake to see it completely turn around. But that doesn’t excuse what people were doing before. It’s disgusting. I wish they had gone through this without social media.
A big talking point in Hollywood right now has been the bidding war for Warner Bros. Discovery. You have forged relationships with both Paramount and Netflix, the companies vying for it. How are you feeling about this moment and where things seem to be headed?
Matt: It’s just so hard to know what things are going to be like. It’s hard to say anything right now. Ross and I have been pretty open about wanting to make sure that the theatrical experience is preserved. For as long as stories have been told, it’s often in front of a group. There’s something about the communal experience and I just don’t want people being isolated. But as long as things are getting in theaters, I think it’s going to be OK. I’m trying to be optimistic about it.
Ross: I think the two fears are, with whatever happens, is you want to try to protect theatrical, which is in not the best state right now. And if you keep shrinking these windows, it just continues to de-incentivize people to go to the theater. That is not something we want to see. It’s a reason why we’re making a movie for theaters next; we believe in it and want to fight for it. The other is you need competition for artists because that’s the whole reason “Stranger Things” exists in the first place. If it’s too much consolidation, then shows like this are just going to become increasingly extinct.
Was it an easy sell, getting Netflix on board with releasing the series finale in theaters?
Matt: Yeah, actually. This is where the internet can frustrate me because something starts as a rumor and then goes around, then it’s fact. We pitched the idea to Netflix marketing — it was mine and Ross’ idea, then [Chief Content Officer Bela Bajaria] called us — it was only about five days [later] and [she] said, “Yeah, let’s do it.” We’re really grateful for them for supporting us. I cannot wait to go sneak into some theaters and watch it.
A traveller discovered that paying a small fee to choose your specific room at Travelodge can get you a noticeably larger space in the same category – without upgrading
You can get a bigger hotel room at Travelodge for an extra £3.50(Image: Getty Images)
When booking a hotel, aside from selecting your room category, you’re often left in the dark about what room you’ll end up with. But I’ve stumbled upon a nifty trick that could land you a larger hotel room for just £3.50.
Securing a hotel for any occasion, be it a city break with mates or a romantic weekend getaway, can be a bit of a headache, given the vast array of options available. And even after you’ve picked your preferred hotel, you then have to decide on your room category, which is usually dictated by price (let’s face it, we’d all opt for the premium suites if our wallets allowed).
But what if I told you there’s a way to bag a bigger room when booking through Travelodge, without having to rely on the whims of the booking system? This little gem came to light during a trip to London with my pals earlier this year.
We were staying overnight after catching an evening show, so I booked us into a Travelodge on Central City Road in London. As there were three of us, I opted for a triple family room – the most budget-friendly choice for a Saturday night in the capital.
A few days prior to our stay, I noticed an option in my booking that let me ‘choose my room’ before checking in. Initially, I was a tad sceptical, but I’m chuffed I decided to delve a bit deeper.
For a mere additional £3.50, I discovered that I could handpick the exact room my mates and I would bunk in during our getaway. In the spirit of investigation and intrigue, I coughed up the trifling £3.50 and was directed to a site map showcasing all the available rooms within my category, enabling me to select our quarters.
What took me aback was that, despite all the rooms displayed falling within the specific category I’d booked, a handful were markedly larger as per the floor plan. So naturally, I opted for the most spacious room on offer.
Even at this juncture, I was sceptical about whether we’d actually be allocated this room upon check-in, given that I’d shelled out less than a fiver and it was significantly roomier than the rest. So you can imagine my delight when I checked in on Saturday afternoon and they handed over the keys to the exact room I’d chosen – it was absolutely worth the extra £3.50.
We found ourselves in a sprawling room equipped with a double bed and two single beds, despite never altering the room category. Plus, it afforded us crucial additional space for prepping for a night on the town without having to splurge on an expensive upgrade.
This nifty trick can be employed at over 575 Travelodge hotels, and it’s not just for securing extra room. You can opt to ‘choose your room’ to ensure you’re lodged near family or friends, secure a particular view, guarantee a top or ground floor room, or ensure you’re close to a lift.
Not only does this trick potentially offer the bonus of a larger room, as I discovered, but it also eliminates any check-in uncertainty. However, it’s crucial to bear in mind that this hack depends on the hotel’s availability and layout.
Some Travelodge hotels may not have a bigger room available in the category you’ve booked, but it’s definitely worth enquiring. Furthermore, the cost can fluctuate depending on the hotel, room type and duration of stay, but it’s applicable for a range of Travelodge room categories.
Got a travel story you want to share with us? Email us at webtravel@reachplc.com
Imax is having a moment. More than 50 years after debuting at the 1970 Osaka world’s fair with the 17-minute experimental film “Tiger Child,” the format has become the ascendant king of spectacle. Today, Imax counts 1,829 screens in 89 countries — just 1% of theaters — yet makes up an increasingly vital part of the theatrical box office, with 50% market share growth since 2018 and an estimated $1.2-billion take in 2025. And the company shows no signs of slowing down.
“As long as there are filmmakers who are fans as well as studios who are fans, we’re going to make a difference,” says Chief Executive Richard Gelfond, who acquired the company in 1994 with business partner Bradley Wechsler.
Breaking into mainstream Hollywood didn’t come easy. For decades Imax films were largely documentaries, often about space exploration, nature or discoveries, with systems installed in museums and science centers. The flash point came in 2008 with Christopher Nolan’s “The Dark Knight,” which featured 28 minutes filmed with Imax 70mm cameras. Film buff and industry content creator Lizzy Gonzalez vividly remembers when the Joker (Heath Ledger) unmasks himself during the chaotic bank heist. “It was my earliest Imax experience, and my jaw dropped in awe,” she says. Ever since, she’s been hooked, admitting the premium format is “the only legit movie experience that immerses you in the story.”
Directors are now leaning in, with the “Filmed for Imax” (FFI) lineup expanding to 14 titles in 2025 — doubling last year’s total. The program lets filmmakers shoot with Imax cameras or other approved cameras and provides additional production support, such as a longer window with the equipment and more publicity during release. “In previous years, Imax used to do about 10% of the box office in North America, but [with] FFI movies we’ve averaged about 15%. It means more dollars to whoever makes them and more profit to the studio,” says Gelfond.
Regina Hall in “One Battle After Another.”
(Warner Bros. Pictures)
Not all movies exhibited in Imax formats are shot under the FFI banner — indeed, from James Cameron’s original “Avatar” to Paul Thomas Anderson’s “One Battle After Another,” the majority of Imax releases are instead enhanced using digital media remastering. But movies that take advantage of FFI, including “Sinners,” “Superman” and “F1,” are seeing box-office benefits and a palpable moviegoing experience.
“Today’s audiences are searching for an emotional connection; they want to feel something, to step inside the filmmaker’s vision. That’s exactly what we wanted to give them by shooting in 65mm Imax,” says “Sinners” cinematographer Autumn Durald Arkapaw, who was the first woman to shoot in the format. “When you sit in a dark theater and take in a full 1.43:1, 15-perf Imax image, it fills your field of view, and you finally understand what cinema can be.”
Claudio Miranda, the cinematographer behind Joseph Kosinski’s “Top Gun: Maverick” and “F1,” agrees. “For me, Imax is all about immersion. It brings audiences more into the movie than any other format, surrounding them from the north, south, east and west with the film, which is needed for a story of the size and scope of ‘F1.’ Joe and I operate under the shared understanding that audiences react more viscerally to a film that’s been shot authentically, and they can feel it in their bones if it’s not. So we gravitate towards telling immersive, human stories.”
Imax is improving technical capabilities too, including a new Imax 70mm film camera system nicknamed “The Keighley” in honor of late Chief Quality Officer David Keighley, who oversaw hundreds of Imax projects. Its most significant improvement is reduced noise. The previous model was bulky, heavy and notoriously loud. Thanks to the quieter design, Nolan’s “The Odyssey” will become the first theatrical movie shot entirely on Imax film cameras, something he couldn’t achieve on “Oppenheimer” due to sound issues.
“Brad Pitt” in “F1.”
(Warner Bros. Pictures)
Nolan’s adaptation of Homer’s epic has already caused a stir, as most Imax tickets sold out a year before its release next July. Imax superfan Shane Short, who saw “Oppenheimer” 132 times and once sat next to Arkapaw during a screening of “Sinners,” says it’s a good thing. “What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.”
Of course, Imax is not the only big-screen game in town. There’s AMC Prime, Cinemark XD, Regal RPX, Dolby Cinema, Real3D and 4DX, to name a few. All share one thing in common: an extra premium for a ticket. “The upcharges for a lot of people are worth it,” says Comscore senior media analyst Paul Dergarabedian. “When you go into Imax or other premium formats, it’s really about the sound and vision coming together. And for the right movie, the right screen, fans who don’t go to the movies every day are going to splurge.”
How much that will cost audiences going forward is left up to theaters. “By way of our agreement, it’s not our place to get involved,” says Gelfond about pricing. “We believe there could be more elasticity if it’s a big release, but again, it’s up to the exhibitor.” Any indication of a price squeeze on consumers will likely surface in the next two years with the forthcoming “Project Hail Mary,” “Supergirl,” “The Batman: Part Two” and “Dune: Part Three,” for which director Denis Villeneuve shot scenes using the new Imax 70mm cameras.
