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Senegal beat Mali 1-0 to reach AFCON 2025 semifinal where defending champions Ivory Coast or record winners Egypt await.

Recalled striker Iliman Ndiaye scored in the first half to give Senegal a 1-0 victory over 10-man Mali in Tangiers on Friday in the first 2025 Africa Cup of Nations quarterfinal.

Mali hopes were dealt a severe blow in first-half added time when Yves Bissouma was sent off after being shown a second yellow card.

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The only goal followed a blunder by Mali goalkeeper Djigui Diarra, who then made a string of superb saves to prevent Senegal increasing their lead.

Senegal now face defending champions Ivory Coast or record seven-time winners Egypt, who meet on Saturday, in the semifinals.

Malian Lassine Sinayoko appealed for a penalty just three minutes into the first half, alleging he was fouled by Senegal captain Kalidou Koulibaly, who was back after a one-match suspension.

However, the South African referee waved play on, and VAR confirmed his decision was correct. Big-screen replays showed Sinayoko was guilty of simulation.

Mali captain Bissouma was yellow-carded midway through the half for fouling veteran Senegal striker and twice African player of the year Sadio Mane.

Sinayoko then broke clear only to be foiled by a superb sliding tackle from fellow French Ligue 1 player Krepin Diatta.

The deadlock was broken after 27 minutes on a cold, cloudy evening in the Mediterranean city thanks to Ndiaye.

He was involved three times in a move which ended with goalkeeper Djigui Diarra allowing a Krepin Diarra cross to slip under his body, and Ndiaye struck the loose ball into the net.

While the goal was a gift, it gave Senegal a deserved lead as they had dominated possession in only the second AFCON clash between the countries. The first was drawn at the group stage in 2004.

Pape Gueye, who scored twice for Senegal in the last-16 victory over Sudan, was just off target with a shot from outside the box.

Then, for the second successive knockout match, Mali were reduced to 10 men before half-time with Bissouma shown a second yellow card, followed by a red.

The Tottenham Hotspur midfielder fouled Idrissa Gueye in midfield, and Malian pleas for the incident to be reviewed by VAR were rejected.

Mali displayed tremendous spirit when reduced to 10 men against Tunisia in the round of 16, and it was evident again against the Senegalese as the second half progressed.

They came close to levelling on 55 minutes when defender Abdoulaye Diaby advanced for a free-kick. His close-range shot brought a reflex save from former Chelsea goalkeeper Edouard Mendy.

Diarra atoned for his first-half blunder by making several superb saves to keep alive Malian dreams of winning a maiden AFCON title.

With 15 minutes of regular time remaining, scorer Ndiaye was substituted. In his place came 17-year-old Paris Saint-Germain forward Ibrahim Mbaye, whose goal sealed victory over Sudan.

Diarra rescued Mali again as time ticked away, blocking a shot from substitute Pathe Ciss, who had broken clear.

The Malian goalkeeper made another outstanding save during seven minutes of added time by pushing away a Lamine Camara volley.

The method has has been praised by some but others say it’s a really bad idea

A controversial technique to avoid getting a seat you do not want has been criticised by a number of passengers. Many airlines charge more for seat selection on the plane – or automatically put you in a middle seat.

However, according to one travel specialist, there is a method that can stop the system from giving you a middle seat. And they say it comes without paying anything on top.

Jorden Tually explained the technique in a video on his TikTok account (@jordentually). He said low-cost airlines often automatically assign middle seats to those who select “random seat allocation”.

He says that this encourages passengers to pay for a window or aisle seat. Yet he argues that there is a technique that can help here – although it has been criticised by some online.

He says the method stops the airline’s system from automatically assigning you a middle seat. First up, he said he looks at how many seats of this type are still available on the flight when checking in.

In a test of the method, he said he found a total of 10 middle seats available on a flight. He said the next step is to simulate the purchase of that number of tickets.

“I go straight to the website and pretend to buy 10 more middle seats,” he said. He said when doing this, he enters the name of each made-up passenger.

You can just put in ‘a bunch of letters in there,’ he said. Then, in the seat assignment, he selects all the middle seats or those he wants to avoid and clicks ‘continue’.

He said ‘the system is going to hold those seats for about 10 to 15 minutes.’ This is the amount of time users will have to actually check in and get a better seat.

When passengers select ‘random seat allocation,’ the system will not be able to assign the seats it has previously blocked. He said: ‘It only took me two minutes, and now I have a window seat. It has never failed me and is 100% successful when done correctly.”

He advises completing the process from a computer and says it is more effective if done as close to the check-in date as possible, as there are fewer seats available.

But while some praised the technique, others pointed out the obvious consequences it would have. One commenter online said: “OMG, the self-entitled brigade again. If this does work, everyone will now try it, freezing up loads of seats and could stop genuine people wanting to book that flight, all because you think you deserve a better seat than those who have paid.”

Others criticised the idea and said it would lead to prices going up where dynamic pricing is used, which sees prices fluctuate according to demand. One person commented on the YouTube post put up late last month to say: “Don’t you know about airlines’ dynamic pricing??” Yet another echoed this, saying: “Damn, that will spike up cost by 10-20%”

Another person said: “Now you delayed your flight 10 minutes while they wait for the computer queue to clear so other passengers can select their seats.” A further commenter agreed, saying: “This is not a good hack, cause your ticket costs more when the system thinks it’s fully booked.”

Another added: “Congrats. Due to dynamic pricing, you’ve just raised the price of your ticket by 50%”

An upcoming Netflix thriller based on a bestselling series of novels is a must-watch for streamers this year

Netflix has confirmed a new thriller series based on an iconic series of books is in the works – and it’s shaping up to be a must-watch release for 2026.

Starring Watchmen’s Yahya Abdul-Mateen ll, the seven-episode first season follows former Special Forces soldier John Creasy, who’s looking to turn over a new leaf.

However, he must first battle his own personal demons before he can live the life he wants to lead.

Man on Fire will stream on Netflix at an undisclosed date in 2026. Based on the 1980 novel of the same name by A.J. Quinnell, the original book has spawned a bestselling series and a film adaptation starring Denzel Washington.

Joining Abdul-Mateen is Billie Boullet (World-Breaker) and City of God star Alice Braga in major roles.

Plus, True Detective’s Scoot McNairy and Only Murder in the Building’s Bobby Cannavale will also star in recurring roles.

Director Steven Caple Jr, who has helmed the blockbuster films Creed II and Transformers: Rise of the Beasts, will direct the first two episodes.

An official synopsis from Netflix reads: “Man on Fire follows John Creasy, who was once a high-functioning and skilled Special Forces Mercenary known for surviving even the most desolate situations.

“However, John is now battling extreme PTSD and personal demons. As he attempts a fresh start, he’ll find himself back in the (metaphorical) fire and fighting harder than ever.”

Actress Boullet will portray Poe Rayborn, a young woman “growing at a rapid and confusing pace” who reluctantly moves to Brazil when her parents relocate.

Spending her days with a class of wealthy international school friends, her worldview is totally thrown off its axis after witnessing a terrifying event and she’s forced to ally herself to John.

Braga is portraying Valeria Melo, “a professional driver with familial connections to a gang running a local favela. After Creasy hires Melo, she quickly becomes his right hand in protecting a young girl and pursuing terrorists.”

Cannavale will take on a guest role as Paul Rayburn, an ex-Special Forces soldier with an uncanny ability to read people. McNairy is guest starring as an intelligent and manipulative CIA agent, Henry Tappan.

If you still need to be sold on this action-packed new series, Quinnell’s series of novels have built up a huge following of die-hard readers over the years who will surely be first in line.

One fan on Goodreads gave the first book a five-star review and said: “Few books are perfect action films but this is one of them.

“I have not felt this engrossed while reading a story in a long time. If you enjoy action or revenge movies you will dig this book.”

Netflix has just released a first-look at Abdul-Mateen in action, but stayed tuned for more details coming soon.

Man on Fire premieres in 2026 on Netflix.

Experts have discovered which side of the plane offers more legroom without the need to pay extra for an upgrade, with right-hand seats offering up to an inch more space

Most of us yearn for that bit of extra legroom on a flight, but it often comes with an added price tag. However, travel experts have shared a nifty trick that could bag you that much-desired additional space on your next flight without having to fork out any extra cash.

When booking flights, travellers are frequently offered the chance to upgrade their seat to one with more legroom or even to premium economy. This usually incurs an extra fee, ranging from £15 to £50 depending on the airline and the specific flight – an additional cost many would prefer to sidestep.

This is why many passengers opt to select their seats 24 hours before take-off when it’s typically free with most airlines. Alternatively, some leave their seating fate in the hands of the airline.

However, if you’re keen to secure your seat and snag some extra legroom without parting with any more money, there’s a particular side of the plane you should be eyeing up. According to the experts at Which? selecting a seat on the right-hand side of the plane, specifically those labelled D, E, or F, as opposed to the left side with A, B or C, could grant you that crucial extra space.

Which? conducted research revealing that standard plane seats on the right-hand side across various airlines, including Ryanair, can offer anything from an extra half-inch to an inch of legroom compared to seats on the left. And we all know how precious that extra space can be during a flight.

This implies that when the opportunity to select your seats for free becomes available 24 hours prior to your flight, it’s wise to choose a seat on the right rather than the left. Moreover, seats located in front of a bulkhead, along an exit row or at the rear of the aircraft typically offer more room.

To get ahead of the game and secure a prime spot, you can utilise AeroLOPA with your specific plane model number to examine your flight’s seating plan. This will enable you to verify if this clever trick applies to your flight and pinpoint the best seats to reserve.

Sky News also discovered that passengers aboard Ryanair’s Boeing 737-800s can relish in 29.5 inches of legroom in seats D, E and F in rows 3-15, compared to a slightly less comfortable 29 inches in the same row on the left-hand side. Furthermore, they found that those jetting off on an easyJet A321neo can bag an extra inch of legroom on the right-hand side.

Seats in D, E and F on rows 3-17 on the right boasted a generous 29-inch space, while those on the left between rows 30 and 40 were limited to just 28 inches. Sky News also unveiled that passengers on an easyJet Airbus A320-214 can gain an additional half-inch on the right-hand side in rows 14 to 29.

Have you got a travel story you want to share with us? Email us at webtravel@reachplc.com

Have you heard of Orange County? It’s where the good Republicans go before they die.

It should come as no surprise that Orange County, a beloved county for the grandfather of modern American conservatism, Ronald Reagan, would be the fertile landscape for far-right ideology and white supremacy. Reaganomics aside, the O.C. has long since held a special if not slightly off-putting place, of oceanfront leisure, modern luxury and all-American family entertainment — famed by hit shows (“The Real Housewives of Orange County,” “The O.C.” and “Laguna Beach,” among others). Even crime in Orange County has been sensationalized and glamorized, with themes veneered by opulence, secrecy and illusions of suburban perfection. To Eric Lichtblau, the Pulitzer Prize winner and former Los Angeles Times reporter, the real story is far-right terrorism — and its unspoken grip on the county’s story.

“One of the reasons I decided to focus on Orange County is that it’s not the norm — not what you think of as the Deep South. It’s Disneyland. It’s California,” Lichtblau says. “These are people who are trying to take back America from the shores of Orange County because it’s gotten too brown in their view.”

His newest investigative book, “American Reich,” focuses on the 2018 murder of gay Jewish teenager Blaze Bernstein as a lens to examine Orange County and how the hate-driven murder at the hands of a former classmate connects to a national web of white supremacy and terrorism.

I grew up a few miles away from Bernstein, attending a performing arts school similar to his — and Sam Woodward’s. I remember the early discovery of the murder where Woodward became a suspect, followed by the news that the case was being investigated as a hate crime. The murder followed the news cycle for years to come, but in its coverage, there was a lack of continuity in seeing how this event fit into a broader pattern and history ingrained in Orange County. There was a bar down the street from me where an Iranian American man was stabbed just for not being white. The seaside park of Marblehead, where friends and I visited for homecoming photos during sunset, was reported as a morning meet-up spot for neo-Nazis in skeleton masks training for “white unity” combat. These were just some of the myriad events Lichtblau explores as symptoms of something more unsettling than one-offs.

Lichtblau began the book in 2020, in the midst of COVID. He wanted to find a place emblematic of the national epidemic that he, like many others, was witnessing — some of the highest record of anti-Asian attacks, assaults on Black, Latino and LGBTQ+ communities, and rising extremist rhetoric and actions.

“Orange County kind of fit a lot of those boxes,” Lichtblau says. “The horrible tragedy with Blaze Bernstein being killed by one of his high school classmates — who had been radicalized — reflected a growing brazenness of the white supremacy movement we’ve seen as a whole in America in recent years.”

Bernstein’s death had been only two years prior. The Ivy League student had agreed to meet former classmate Woodward one evening during winter break. The two had never been close; Woodward had been a lone wolf during his brief time at the Orange County School of the Arts, before transferring due to the school’s liberalness. On two separate occasions over the years, Woodward had reached out to Bernstein under the pretense of grappling with his own sexuality. Bernstein had no idea he was being baited, or that his former classmate was part of a sprawling underground network of far-right extremists — connected to mass shooters, longtime Charles Manson followers, neo-Nazi camps, and online chains where members bonded over a shared fantasy of harming minorities and starting a white revolution.

“But how is this happening in 2025?”

These networks didn’t appear out of nowhere. They had long been planted in Orange County’s soil, leading back to the early 1900s when the county was home to sprawling orange groves.

Mexican laborers, who formed the backbone of the orange-grove economy (second to oil and generating wealth that even rivaled the Gold Rush), were met with violence when the unionized laborers wanted to strike for better conditions. The Orange County sheriff, also an orange grower, issued an order. “SHOOT TO KILL, SAYS SHERIFF,” the banner headline in the Santa Ana Register read. Chinese immigrants also faced violence. They had played a large role in building the county’s state of governance, but were blamed for a case of leprosy, and at the suggestion of a councilman, had their community of Chinatown torched while the white residents watched.

Leading up to the new millennium brought an onslaught of white power rock coming out of the county’s music scene. Members with shaved heads and Nazi memorabilia would dance to rage-fueled declarations of white supremacy, clashing, if not worse, with non-white members of the community while listening to lyrics like, “When the last white moves out of O.C., the American flag will leave with me… We’ll die for a land that’s yours and mine” (from the band Youngland).

A veteran and member of one of Orange County’s white power bands, Wade Michael Page, later murdered six congregants at at a Sikh temple in Wisconsin in 2012.

“It’s come and gone,” says Lichtblau, who noticed these currents shifting in the early 2000s — and over the years, when Reagandland broke in certain parts to become purple. Even with sights of blue amid red, Trump on the landscape brought a new wave — one that Lichtblau explains was fueled by “claiming their country back” and “capturing the moment that Trump released.”

It can be hard to fathom the reality: that the Orange County of white supremacy exists alongside an Orange County shaped both economically and culturally by its immigrant communities, where since 2004, the majority of its residents are people of color. Then again, to anyone who has spent considerable time there, you’ll notice the strange cognitive dissonance among its cultural landscape.

It’s a peculiar sight to see a MAGA stand selling nativist slogans on a Spanish-named street, or Confederate flags in the back of pickup trucks pulling into the parking lots of neighborhood taquerias or Vietnamese pho shops for a meal. Or some of the families who have lived in the county for generations still employing Latino workers, yet inside their living rooms Fox News will be playing alarmist rhetoric about “Latinos,” alongside Reagan-era memorabilia proudly displayed alongside framed Bible verses. This split reality — a multicultural community and one of the far-right — oddly fills the framework of a county born from a split with its neighbor, L.A., only to develop an aggressive identity against said neighbor’s perceived liberalness.

It’s this cultural rejection that led to “the orange curtain” or the “Orange County bubble,” which suggest these racially-charged ideologies stay contained or, exhaustingly, echo within the county’s sphere. On the contrary, Lichtblau has seen how these white suburban views spill outward. Look no further than the U.S. Capitol insurrection on Jan. 6, also the book’s release date.

While popular belief might assume these insurrectionists came from deeply conservative areas, it was actually the contrary, as Lichtblau explains. “It was from places like Orange County,” he says, “where the voting patterns were seeing the most shift.” Some might argue — adamantly or reluctantly — that Jan. 6 was merely a stop-the-steal protest gone wrong, a momentary lapse or mob mentality. But Lichtblau sees something much larger. “This was white pride on display. There was a lot of neo-Nazi stuff, including a lot of Orange County people stuff.”

As a society, it’s been collectively decided to expect the profile of the lone wolf killer, the outcast, wearing an identity strung from the illusions of a white man’s oppression — the type to rail against unemployment benefits but still cash the check. Someone like Sam Woodward, cut from the vestiges of the once venerable conservative Americana family, the type of God-fearing Christians who, as “American Reich” studies in the Woodward household, teach and bond over ideological hate, and even while entrenched in a murder case, continuously reach out to the victim’s family to the point where the judge has to intervene. The existence of these suburban families is known, as is the slippery hope one will never cross paths with them in this ever-spinning round of American roulette. But neither these individuals nor their hate crimes are random, as Lichtblau discusses, and the lone wolves aren’t as alone as assumed. These underground channels have long been ingrained in the American groundscape like landmines, now reactivated by a far-right digital landscape that connects these members and multiplies their ideologies on a national level. Lichtblau’s new investigation goes beyond the paradigm of Orange County to show a deeper cultural epidemic that’s been taking shape.

Beavin Pappas is an arts and culture writer. Raised in Orange County, he now splits his time between New York and Cairo, where he is at work on his debut book.

Goals either side of half-time by Junior Tchamadeu and Christian Kofane took Cameroon through to the Africa Cup of Nations quarterfinals at South Africa’s expense, as the Indomitable Lions edged their last-16 clash 2-1.

Tchamadeu opened the scoring in the 34th minute at Al Medina Stadium in Rabat on Sunday, and teenage Bayer Leverkusen forward Kofane headed in the crucial second goal two minutes after half-time.

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A late rally from South Africa saw Evidence Makgopa pull one back, but it is Cameroon who go through. The five-time champions now play the hosts, Morocco, in a heavyweight quarterfinal on Friday.

They can go into that match in a relaxed mood, knowing all the pressure is on Morocco as they look to win a first AFCON title in 50 years in front of their home support.

For Cameroon, reaching the last eight means their AFCON is already a success after a chaotic buildup in which Samuel Eto’o, the football federation president and Indomitable Lions legend, sacked the coach, Marc Brys, replacing him with David Pagou.

The new coach got the better of South Africa’s Hugo Broos, who had promised to show no mercy to Cameroon, nine years after leading them to their last continental crown at the Cup of Nations in Gabon.

Bafana Bafana, who finished third at the last AFCON two years ago in Ivory Coast, will be hugely disappointed, but they can console themselves by turning their attentions towards the upcoming World Cup.

Yet, South Africa had chances to take an early lead, with Relebohile Mofokeng squandering a golden opportunity inside seven minutes.

Cameroon defender Che Malone failed to deal with a simple ball forward, to leave Mofokeng in on goal, but the Orlando Pirates forward blazed over.

Lyle Foster then had the ball in the net only to be denied by the offside flag, and instead, Cameroon went in front just after the half-hour mark.

When the South African defence could only partially clear a corner, the ball fell to Carlos Baleba on the edge of the area.

He took a touch and tried a shot which was deflected into the path of Tchamadeu, and the London-born full-back with Stoke City rolled home from close range.

That goal – confirmed after a long VAR check – was celebrated by the Cameroonian fans, who made up the majority of the 14,127 crowd, with two-time AFCON winner as a player Eto’o among those in attendance.

South Africa would have hoped for a strong start to the second half, but instead, Cameroon scored again within two minutes of the restart.

Substitute Mahamadou Nagida crossed from the left, and Kofane headed in his second goal of the tournament so far.

Cameroon goalkeeper Devis Epassy then made good saves from Samukele Kabini and from a Teboho Mokoena free-kick, before Makgopa turned in a low cross by fellow substitute Aubrey Modiba on 88 minutes.

That set up a grandstand finish, but Cameroon nervously held on.

Morocco see off Tanzania

Earlier on Sunday, Brahim Diaz scored his fourth goal for Morocco at the 2025 Africa Cup of Nations to put the hosts into the quarterfinals with a nervous 1-0 Round-of-16 victory over Tanzania in Rabat.

Morocco dominated possession, but ⁠Tanzania had opportunities too, and it took a fine strike from Diaz to book a ​place in the last eight.

Captain Achraf Hakimi fed Diaz on the right side of the box on 64 minutes, and the Real Madrid playmaker worked his way to the byline before firing into ‍the goal from ⁠a tight angle when most expected a cross.

Morocco wasted several other chances, but were also fortunate that Tanzania were wasteful too, with Simon Msuva and Feisal Salum missing gilt-edged opportunities for the East Africans, with the score at 0-0.

It was far from a vintage performance from the home side, who have yet to click into top gear at the tournament, but they did enough to keep their campaign on track.

“The ​competition is hotting up, and we faced our toughest opponent in ‌this Tanzania team,” Diaz said.

“Not everything worked, we know that, but fortunately, we managed to secure our qualification [to the next round]. Now, we are going back to work to be fully ready for the quarterfinals.”

Mali win penalty shootout after a 1-1 last-16 draw to set up Africa Cup ‍of Nations quarterfinal with Senegal.

El Bilal Toure scored the winning spot-kick as a 10-man Mali beat Tunisia 3-2 on penalties to reach the Africa Cup of Nations quarterfinals after their last-16 tie had finished 1-1 at the end of extra time.

It looked as if Tunisia had got the job done on Saturday against a Mali side forced to play most of the game a man down when substitute Firas Chaouat headed the Carthage Eagles in front in the 88th minute.

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Mali had defender Woyo Coulibaly sent off in the 26th minute at the Mohammed V Stadium in Casablanca, but earned a reprieve when they were awarded a stoppage-time penalty.

Lassine Sinayoko converted from the spot to take the tie to extra time and, eventually, on to the decisive shootout.

Captain Yves Bissouma, the Tottenham Hotspur midfielder, blazed Mali’s first kick over the bar, but Ali Abdi then missed for Tunisia before Eagles goalkeeper Djigui Diarra saved two further penalties and Toure won it.

Tom Saintfiet’s Mali advanced to a quarterfinal next Friday in Tangier against West African neighbours Senegal, after the 2022 champions came from behind to beat Sudan 3-1 earlier.

Mali have never won the Cup of Nations, and their prospects here were not helped when right-back Coulibaly, currently based in Italy’s Serie A with Sassuolo, was shown a straight red card for raking his studs down the back of Hannibal Mejbri’s calf.

Yet, the game remained goalless and extra time was looming when Tunisia finally made their numerical superiority count as Elias Saad flighted a ball into the box and Club Africain striker Chaouat stole a march on his marker to head home.

That goal was celebrated by the majority of the 41,982 crowd in Morocco’s largest city, with many locals choosing to give their backing to their fellow North Africans.

And yet, a tie that appeared to be over took a dramatic twist in injury time, with South African referee Abongile Tom pointing to the spot when the ball struck the arm of Tunisia defender Yassine Meriah inside the area.

Auxerre forward Sinayoko kept his cool through a long delay as the official consulted with the VAR team before converting the penalty, with the match in the 96th minute.

Tunisia toiled to create chances in extra time as heavy rain fell. The conditions forced many spectators in the largely uncovered stadium to abandon their seats.

Chaouat had the ball in the net again at the start of the second period of extra time, but was this time denied by the offside flag.

A penalty shootout appeared inevitable, and so it transpired, with Bissouma and Nene Dorgeles failing from the spot for Mali.

However, Abdi’s miss and Diarra’s saves from Elias Achouri and Mohamed Ali Ben Romdhane allowed Mali to win it, when Toure, who had failed to score a penalty in the same stadium against Zambia in the group stage, stepped up to score.

Viewers have been praising a BBC drama that’s been gripping them for months. Some say it’s so good they keep rewatching it, with it being deemed “better than Night Manager”

If you’re hunting for gripping viewing to see you through the bleak January evenings, BBC viewers are currently singing the praises of a particular drama series. While the broadcaster’s iPlayer platform boasts an impressive catalogue, certain shows have a knack for completely capturing audiences.

One such gem recently sparked discussion on Reddit when a user shared their obsession with a particular miniseries. They revealed they’d become utterly absorbed by it, watching it multiple times and discovering something new with each viewing. Since then, others have admitted how gripping it is, with some claiming it’s “even better than Night Manager”.

It’s not the only BBC drama to have audiences enthralled recently. Another adaptation of a well-known novel earned widespread acclaim just months back.

The Reddit user gushed: “The Little Drummer Girl is superb. At the risk of being a pretentious bore, the show really struck a chord with me. I watched it, and then immediately rewatched it. Now I’m watching it again.

“There’s a huge amount of depth here. It’s not Homeland, but it’s seriously good. Strongly recommended.”

The post triggered an enthusiastic response, with another viewer saying: “I agree with everything you just said! I LOVED Little Drummer Girl. Florence Pugh is fantastic in it. Very moving.”

On a separate thread, someone else declared: “I thought it was fantastic, one of the best spy thrillers I’ve ever seen. I chase the high of that show sometimes from other things, but nothing ever quite scratches the itch.”

A third gushed: “It’s a classic. My first exposure to Florence Pugh and loved her moments in just as she’s sassing Skarsgård. All episodes enraptured me to the very end. Excellent acting from everyone, excellent story, plot, masterful directing. Definitely would rewatch again. Recommended to anyone who enjoys political thrillers, espionage and/or spy fiction.”

Meanwhile, a fourth shared: “I watched the show first because I am a huge Park Chan-Wook fan and that is actually how I discovered Le Carré. I absolutely loved it. I thought the performances, cinematography and direction were phenomenal.

“Funnily enough, I haven’t actually read the book yet. When I tried to, I only read a few pages and put it down. Wasn’t in the right headspace for it, and was afraid I might dislike it.”

Other viewers have hailed the series as “magnificent”, calling it essential viewing. The stellar cast has also received widespread acclaim.

What’s the storyline?

For those unfamiliar, The Little Drummer Girl is a British spy thriller series adapted from John le Carré’s 1983 novel of the same title. The initial six-part series premiered on BBC One in 2018 and remains popular with audiences, still streaming on iPlayer.

The narrative unfolds in 1979, following a young English actress who gets recruited by Mossad. Her mission involves going undercover to infiltrate and dismantle a Palestinian organisation planning terrorist attacks across London and elsewhere in Europe.

The series features an exceptional cast, with stars such as Michael Shannon, Alexander Skarsgård and Florence Pugh all earning acclaim from viewers for their performances.

In certain cases, audiences have gone so far as to suggest the adaptation surpasses the original novel – remarkable praise by any measure. One viewer commented: “The book is a bit too long and meandering in parts, but the TV series definitely is worth watching.”

Another added: “Thought it was more engaging than Night Manager.”

Has the new series of BBC’s The Traitors got you yearning for a Scottish staycation? We took a history-filled trip to Edinburgh and found a surprisingly affordable hotel

Looming over the city from up high and lit up in dramatic red lights at night, Edinburgh Castle looks like it could be straight out of a Traitors scene. Tickets (£21.50 for adults) get you access to all parts of the 900-year-old site, including the Scottish crown jewels, St Margaret’s Chapel (the oldest building in Edinburgh, dating back to 1130) and the Prisons of War exhibit.

It’s off The Royal Mile, however, that we found our favourite tourist attraction in Edinburgh: The Real Mary King’s Close. This guided tour takes you back in time through some of the city’s former residential streets, which were built over in 1753 to construct the Royal Exchange above them. Interesting for adults and older children alike, the guides are engaging and it’s fascinating to see how people lived here over 400 years ago, including through devastating plague years.

Where to eat in Edinburgh

When it was time to rest weary feet – and Edinburgh’s streets are notoriously steep – and fill up rumbling stomachs, we loved Ka Pao for its delicious Southeast Asian sharing dishes (don’t skip over the fried Brussels sprouts, which even had our party’s sprout-hater converted). Booking is essential, as there was a two-hour wait for walk-ins on the Friday night we visited.

For traditional pubs, head to the historic Grassmarket area and nearby Rose Street. For fancier cocktails served with flair, we loved Commons Club (part of the Virgin Hotel), Panda & Co, a cool, speakeasy-style establishment posing as a barber shop, and The Last Word, a romantic, candle-lit gem with an impressive whiskey list in Edinburgh’s upmarket Stockbridge area.

Where to stay in Edinburgh

We stayed at The Bruntsfield, about half an hour’s walk from the city centre, or a cheap taxi ride. Although the hotel could do with a bit of an update (we’re told there are plans for this), the rooms are very big for an affordable city hotel, and come with a complimentary dram of whiskey and square of crumbly Scottish fudge. There’s also a bar and kitchen downstairs serving casual pub-style dishes.

Perhaps the highlight of our stay, however, was the warm and friendly reception staff that welcomed us, pointing out a bowl of help-yourself Tunnock’s Teacakes, handing us a map of the city and, later, helping us successfully locate a bag we’d left in the back of a taxi.

How much does it cost to stay at The Bruntsfield?

Rooms at The Bruntsfield start from £90 per night.

Has the new series of BBC’s The Traitors got you yearning for a Scottish staycation? We took a history-filled trip to Edinburgh and found a surprisingly affordable hotel

Looming over the city from up high and lit up in dramatic red lights at night, Edinburgh Castle looks like it could be straight out of a Traitors scene. Tickets (£21.50 for adults) get you access to all parts of the 900-year-old site, including the Scottish crown jewels, St Margaret’s Chapel (the oldest building in Edinburgh, dating back to 1130) and the Prisons of War exhibit.

It’s off The Royal Mile, however, that we found our favourite tourist attraction in Edinburgh: The Real Mary King’s Close. This guided tour takes you back in time through some of the city’s former residential streets, which were built over in 1753 to construct the Royal Exchange above them. Interesting for adults and older children alike, the guides are engaging and it’s fascinating to see how people lived here over 400 years ago, including through devastating plague years.

Where to eat in Edinburgh

When it was time to rest weary feet – and Edinburgh’s streets are notoriously steep – and fill up rumbling stomachs, we loved Ka Pao for its delicious Southeast Asian sharing dishes (don’t skip over the fried Brussels sprouts, which even had our party’s sprout-hater converted). Booking is essential, as there was a two-hour wait for walk-ins on the Friday night we visited.

For traditional pubs, head to the historic Grassmarket area and nearby Rose Street. For fancier cocktails served with flair, we loved Commons Club (part of the Virgin Hotel), Panda & Co, a cool, speakeasy-style establishment posing as a barber shop, and The Last Word, a romantic, candle-lit gem with an impressive whiskey list in Edinburgh’s upmarket Stockbridge area.

Where to stay in Edinburgh

We stayed at The Bruntsfield, about half an hour’s walk from the city centre, or a cheap taxi ride. Although the hotel could do with a bit of an update (we’re told there are plans for this), the rooms are very big for an affordable city hotel, and come with a complimentary dram of whiskey and square of crumbly Scottish fudge. There’s also a bar and kitchen downstairs serving casual pub-style dishes.

Perhaps the highlight of our stay, however, was the warm and friendly reception staff that welcomed us, pointing out a bowl of help-yourself Tunnock’s Teacakes, handing us a map of the city and, later, helping us successfully locate a bag we’d left in the back of a taxi.

How much does it cost to stay at The Bruntsfield?

Rooms at The Bruntsfield start from £90 per night.

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We might rarely get to see snowfall in Los Angeles, but logging onto social media in December means the arrival of a different kind of flurry. The one where our friends, both close and parasocial, excitedly share the year-end music-listening data dumps of their Spotify Wrapped.

Spotify Wrapped only represents the culmination of our listening habits on a single music platform, but every shared Wrapped post seems to come with some self-evident clarity about our personal identity. Spotify Wrapped bares our souls and provides us the opportunity to see ourselves deconstructed via our musical inclinations. By most accounts, it’s an irresistible delight. Oh, Spotify, you rascal, you’ve got us pegged.

For anyone in Los Angeles, 2025 has been one hell of a year to get the Wrapped treatment. We’re still processing the aftermath of the devastating Eaton and Palisades fires — and haunted by ICE raids and the federal administration’s ceaseless attacks on California. Not to mention Jimmy Kimmel getting silenced.

Maybe it’s not such a bad idea to take that temperature check.

But listening to music can be a passive experience — one enjoyed in tandem with folding laundry, or driving a car. To really learn about ourselves and how our year has been, we might want to turn elsewhere, to a habit with more intention. I’m talking, of course, about reading.

While there’s apps for tracking our reading habits, like StoryGraph or Goodreads, I’m devoted to a wholly analogue tracking method that’s helped me churn through books faster and with more intent than ever before: the book stack.

Starting every January, whenever I finish a book, I place it sidelong atop a shelf in the corner of my living room. With each new book I conquer, the stack gets taller, eventually becoming a full tower by December. A book stack, low on analytics, can’t tell me the total number of pages I’ve read, or how many minutes I spent reading, but it’s a tangible monument to my year’s reading progress. Its mere presence prods me into reading more. It calls me a chump when the stack is low and cheers for me when it reaches toward the ceiling.

My first book stack started in 2020, a wry joke to demonstrate the extra time we could all devote to reading books during a pandemic. The joke barely worked. I ended up reading just 19 books that year, only a few more than I had the previous year (though it could’ve been more if one of those books wasn’t “Crime and Punishment”).

Still, the book stack model gamified my reading habits and now I give books time I didn’t feel I had before. I bring books to bars, movie theaters and the DMV. If ever I have to wait around somewhere, you better believe I’ll come armed with a book.

The pandemic may have waned, but my book stack count continued to climb, peaking in 2023 after reading 52 books, averaging one per week.

But, hey, it’s about quality, not quantity, right? If there’s a quality to be gleaned from my 2025 book stack, you’d see that I’ve been looking for hot tips on how to survive times of extreme authoritarian rule. Some were more insightful than others.

In the stack was Carl Bernstein and Bob Woodward’s “All the President’s Men,” a landmark true story about two intrepid reporters who brought down the president of the United States by repeatedly bothering people at their homes for information. Fascinating as it is, it also feels like a relic from a time when doing something like that could still work. Philip Roth’s “The Plot Against America” tells the story of a Jewish New Jersey family in an alternate timeline where an “America First” Charles Lindbergh beats Franklin Roosevelt in the 1940 presidential election, ignoring the threat of Hitler in Europe and giving way to a rise in antisemitism at home. Roth paints a dreary portrait of how that scenario could have played out, but the horrors are resolved by something of a deus ex machina rather than by any one character’s bold, heroic actions. Then there’s Anthony Doerr’s Pulitzer Prize-winning “All the Light We Cannot See,” about the converging stories of a German boy enlisted in Hitler’s army and a blind French girl during World War II. Sadly, this novel reads less like a book about living under fascist rule than a thirsty solicitation to become source material for Steven Spielberg’s next movie.

Each of these titles have merit, but this year’s book stack had two gems for anyone who wants to know how best to resist tyranny. Pointedly, there was Timothy Snyder’s tidy pocket-sized handbook “On Tyranny” filled with 20 short but fortifying chapters of practical wisdom like “Do not obey in advance,” “Defend institutions” and “Believe in truth.” Each is applicable to our current moment, informed by historical precedent set by communist and fascist regimes of the past century. This book — well over a million copies sold — came out at the start of Trump’s first term in 2017, so I came a little late to this party. The fact that Snyder himself moved to Canada this year should give us all pause.

Practical advice can also be found in great fiction, and on that front I found comfort and instruction in Hans Fallada’s “Alone in Berlin” (a.k.a. “Every Man Dies Alone”), based on the true story of a married couple living in Berlin during World War II who wrote postcards urging resistance against the Nazi regime and secretly planted them in public places for random people to discover. Under their extreme political conditions, this small act of civil disobedience means risking death. Not only is the story riveting, there’s also great pleasure in seeing the mayhem each postcard causes and how effective they are at exposing the subordinate class of fascists for what they truly are: nitwits.

Also notable in “Alone in Berlin” is the point of view of both the author and his fictional heroes. Neither a target of persecution, nor a military adversary, Fallada nevertheless endured the amplified hardships of living under Nazi rule during World War II. His trauma was still fresh while writing this book and it’s evident in his prose. He survived just long enough to write and publish “Alone in Berlin” before dying in 1947 at the age of 53.

If I’ve learned anything from these books, it’s that it’s in our best interest to not be afraid. Tyrants feed on fear and expect it. A citizenry without fear is much harder to control. That’s why we need to raise our voices against provocations of our rights, always push back, declare wrong things to be wrong, get in the way, annoy the opposition, and allow yourself to devote time to do things for your own enjoyment.

And in that spirit, my book stack also includes a fair amount of palate cleansers in the mix: Jena Friedman’s “Not Funny,” short stories by Nikolai Gogol, Jhumpa Lahiri’s “The Namesake” (whose main character is named after Gogol), and a pair of Kurt Vonnegut novels. Though it’s hard to read Vonnegut without stumbling upon some apropos nuggets of wisdom, like this one from his novel “Slapstick:” “Fascists are inferior people who believe it when somebody tells them they’re superior.”

Zachary Bernstein is a writer, editor and songwriter. He’s working on his debut novel about a poorly managed remote island society.

CHRISTMAS and New Year’s sales are starting to emerge and this means you could grab some bargain flights.

EasyJet has already launched its Big Orange Sale with up to 20 percent off flights departing between January 5 and December 13, 2026.

If you grab a bargain today, it could even make the ideal last-minute Christmas gift.

You can book discounted fares for as little as £14.49 from now until February 3, 2026.

Destinations include some of the budget airline’s newest routes, such as Tbilisi in Georgia and the Scandinavian Mountains in Sweden.

Alternatively, if you wanted to head off on a ski trip you could fly to top ski destinations in Europe, such as Grenoble in France, Geneva in Switzerland and Innsbruck in Austria.

Perhaps cold holidays aren’t your thing? Then why not head off to some winter sun spots including Enfidha in Tunisia, Sharm el Sheikh in Egypt and Marrakech in Morocco.

Specific flights include London Gatwick to Palma, in Majorca, from £18.99.

As the capital of the Balearic Islands, Palma is known for its Gothic Cathedral, historic Old Town and of course, pretty beaches.

Or if you fancy relaxing, head to Palma Beach, which is just a short distance from the city centre and boasts turquoise waters, soft sand and a number of nearby restaurants.

If you live near Bristol, you could head to Bordeaux in France for just £14.49.

Known as the wine capital of France, Bordeaux is home to the UNESCO World Heritage ‘Port of the Moon’ with 18th century architecture.

Across Bordeaux, you will find around 6,000 wineries, producing mostly red wine.

If you happen to live in or near Birmingham, for £17.99 you could head to one of the major fashion capitals of the world – Milan, Italy.

While in the city, Duomo di Milano (Milan Cathedral) is also worth visiting; it has Gothic features and you can climb the roof for panoramic views of the city.

From Manchester you could head to Madrid from £21.49 per person.

The capital of Spain is home to many sites to explore that are ideal for history lovers, such as the Royal Palace, Plaza Mayor and Retiro Park.

There are also several museums, such as the Prado Museum – the main Spanish national art museum – and Reina Sofia Museum home to a collection of 20th-century art.

And if you fancy a holiday package, easyJet is also offering up to £400 off of all easyJet holidays.

For this discount to apply you have to spend a minimum of £4,000 though.

Or you could get £300 off of a £3,000 spend, £150 off of a £1,500 spend, £100 off an £800 spend and £50 off a £500 spend with the code ‘BIGSALE’.

You will need to book before 11pm on March 3, 2026, and then travel between now and October 31, 2027.

All easyJet holiday packages include flights and a hotel, with 23kg luggage per person and transfers if booking a beach holiday.

Kevin Doyle, easyJet’s UK country manager, said: “By launching our Big Orange Sale today, customers can take advantage of our great value fares and make plans for a well-deserved break to look forward to in 2026.

“With over 45 new routes from the UK available for next year, customers can choose from flights and package holidays to up to 140 destinations across Europe and beyond, whether that’s to return to their top holiday hotspot, or discover somewhere new.

“We look forward to welcoming millions of customers onboard in 2026 and we remain focused on providing them with low-cost travel, flying them where they want to go, and always aiming to make the travel experience easy.”

In other aviation news, there are six new holiday destinations getting Wizz Air flights – and one is a UK-first.

Plus, seven short-haul destinations perfect for a January holiday with flights from £14.99.

Skyscanner recently shared insights into the best and worst times to buy flight tickets

Securing affordable flight deals can often seem impossible, but assistance might just be at hand. Skyscanner recently unveiled insights on the best and worst times to purchase international tickets, spotlighting both seasonal patterns and particular weekdays.

The travel search engine analysed historical data to reveal these trends and also addressed an ongoing debate in holiday planning: is it better to book early or to hold out for last-minute bargains?

Unfortunately, there isn’t a straightforward answer to this, as Skyscanner stressed that it largely depends on the route. Whilst quieter journeys or off-peak days may see price reductions as the departure date approaches, popular routes are likely to witness prices soar dramatically.

Irrespective of the season, Fridays and Sundays consistently emerge as the worst days to book flights due to high demand. However, statistics showed that cheaper fares are usually discovered on Tuesdays and Wednesdays, when bookings drop off.

“Based on past pricing trends, fares have dropped on Tuesday mornings after Monday deal releases,” Skyscanner wrote earlier this year, according to the Daily Record. When asked if prices decrease nearer a departure date, it added: “Sometimes, especially if seats are still available.

“But prices also tend to rise as departure nears. Last-minute deals exist, but they’re never guaranteed. You can also use the Skyscanner Savings Generator to find the best time to book flights based on your route.”

Skyscanner recommended that travellers book short-haul flights at least one to three months in advance to avoid disappointment. For long-haul journeys, it’s best to secure tickets two to six months before the trip.

Those wishing to monitor fluctuating flight prices can utilise Skyscanner’s alert system. To activate it, simply select a preferred route and click the ‘Get Price Alerts’ button located at the top left corner of the website.

To use this feature, you’ll need a Skyscanner account as alerts will be sent to the email linked with your account. Google also offers a similar alert system within its flight price tracking tool.

Google’s current advice states: “You can track flight prices for specific dates or, if your plans are flexible, any dates. To get flight alerts for a specific round trip, choose your dates and flights and select Search. Then, you can turn on price tracking.”

For more information on Skyscanner’s price-tracking tool, click the link here.

For the latest money-saving tips, shopping and consumer news, go to the new Everything Money website.

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Chef Zachary Pollack is ringing in the New Year right with a variety of dinner options at his new Santa Monica spot, Cosetta. Choose from three seatings, including an early, all-ages a la carte option; a low-key, four-course menu from 6 to 7:30 p.m. for $75; and a five-course Capodanno feast with Champagne and caviar from 8-11 p.m. for $120 per person. On New Year’s Day, the restaurant will transform into “Aloha, Cosetta,” an all-day Hawaiian BBQ celebration from 12 to 7 p.m., featuring dishes such as coconut shrimp, risotto Spam musubi, macadamia-chile pork ribs and tiki-style cocktails. With three price tiers, the top CHIEFTAIN tickets ($100) include tomahawk steaks, lobsters and a 24-ounce mai tai in a keepsake mug. Book New Year’s Eve on the website, and New Year’s Day via Resy.

It’s been an uneasy year for science. While there were significant milestones, like breakthroughs in gene editing for rare diseases and novel insights into early human evolution (including fire-making), the U.S. science community at large was rocked by institutional challenges. Drastic federal cuts froze thousands of research grants, and the Trump administration began actively working to dismantle the National Center for Atmospheric Research. Meanwhile, fraudulent scientific research papers are on the rise — casting a shadow over academic integrity.

Thankfully, we can still turn to our bookshelves — and podcasts — to ground us. We tapped science doyenne Alie Ward, the host of the funny cult favorite “Ologies” podcast, to share her picks for the best science books of 2025.

Spanning fascinating subjects from bees to human anatomy, Ward’s insightful list reminds us that books remain a timeless vessel for truth and knowledge.

“Ferns: Lessons in Survival From Earth’s Most Adaptable Plants”
By Fay-Wei Li and Jacob S. Suissa
Hardie Grant Books: 192 pages, $45

“Dr. Li is the botanist of our dreams… the way he talks about ferns and why he loves them, and about growing up in Taiwan (in essentially a fern forest), and how the sexual reproduction of ferns has been a great way to draw attention to the LGBTQ and nonbinary community is so charming and funny. They even named a whole genus after Lady Gaga because they were listening to ‘Born This Way’ a lot in the lab and also because there are sequences in their DNA that are ‘GAGA.’

“Laura Silburn’s illustrations are gorgeous — they really put a lot of texture into some of these plants that are really tiny. Every page is like looking at a botany poster. As we’ve seen so much science research being underfunded, especially in the last year, there’s this big question by the culture at large of why does it matter? Why does studying the fern genome matter? It has real-world impacts — that’s fewer pesticides on your crops because we figured out something from a foreign genome. I always love when something is overlooked or taken for granted and because of someone’s passion and their dedication to studying it, we learn that it can change our lives.”

“The ABCs of California’s Native Bees”
By Krystle Hickman
Heyday: 240 pages, $38

“Krystle is an astounding photographer and an incredible visual artist. Her passion for native bees is infectious. A lot of people, when they think of bees, they think of honeybees. And honeybees are not even native to North America. They’re not native to L.A. They’re not native to this country. They’re feral livestock. What I love about her book is it opens your eyes to all of these species that are literally right under our noses that we wouldn’t even consider — and that a lot of people wouldn’t even identify as bees.

“The other reason why I love this book is that she puts these essays into it that are about her experiences going to find the bees. So you’re getting to see these gorgeous landscape pictures. You’re getting to see what it took to find the bee, how to look for it, and more about this particular species. It’s organized in these ABCs that you can pick up at any chapter and check out a bee you’ve never heard of before.”

“Humanish: What Talking to Your Cat or Naming Your Car Reveals About the Uniquely Human Need to Humanize”

By Justin Gregg

Little, Brown: 304 pages, $30

“Justin is hilarious. He is such a good writer, and his voice is really, really approachable. The way that he writes about science is through such a wonderful pop culture and pop science lens. You feel like you’re reading a friend’s email who just has something really interesting to tell you.

“This book is all about anthropomorphizing everything from our toasters to why we like some spiders but hate other spiders. This is a discussion that is so important in this time when we literally have bots on our phones that are like, ‘I’ll be your best friend.’

“Justin speaks to human psychology and our need to want to be friends or villainize objects —or technology or animals — and project our own humanity onto them in ways that are sometimes helpful and sometimes dangerous.

“As a science communicator, you can tell people the most fascinating facts and can give them the best stories. But unless you can give people a takeaway, then a lot of times it doesn’t stick or the interest isn’t there. He really addresses the question of ‘Well, what does this mean for my life?’”

“Replaceable You: Adventures in Human Anatomy”
By Mary Roach
W.W. Norton & Co: 288 pages, $28.99

“I’m a long term simp for Mary Roach.

“The humanity that she brings is such a wonderful base for how our bodies fail us sometimes and what we are trying to do to bring them back. From her being present during orthopedic surgeries and the way that she describes the sound of hammer on bone (and just the kind of jovial atmosphere in an operating room that, as a patient, you would never be clued in about because you are passed out half dead on a slab). She really soaks up a vibe that you would never have access to. She goes to Mongolia to learn about eye surgery there in yurts. She takes you to places you would never be able to go. She’s rooting around in archives and old papers — she just makes anything interesting.

“Mary really is both an ally and an outsider, and I think that that’s a really beautiful thing in her book.”

“The Double Tax: How Women of Color Are Overcharged and Underpaid”
By Anna Gifty Opoku-Agyeman
Portfolio: 256 pages, $29

“Anna Gifty Opoku-Agyeman is an absolute force. I’ve followed her work in economics and in equity for years, and I was really excited for this book to come out. We did an episode on kalology, which is the study of beauty standards, years ago and I have always loved the conversation of how different members of society have a certain tax on them — these extra resources that they are expected to provide.

“I was really excited to read about specifically women of color, because that is something that I don’t feel is discussed at large. Anna combines the sociology of it with the reality of her experience and other women of color. Because she is so deft when it comes to policy and economics, she also considers, ‘What can we do about this?’ It’s not just enough to discuss this, but what can be done?

“She has totals of what the gender gap is and what the double tax is, and it’s written up like a receipt. This book really addresses the double tax in a way that, even if you have no insight or it’s something that you haven’t thought about — or you are someone who hasn’t experienced this — it’s laying it out economically in a way that is really accessible and has a lot of impact.”

Recinos is an arts and culture journalist and creative nonfiction writer based in Los Angeles. Her first essay collection, “Underneath the Palm Trees,” is forthcoming in early 2027.

Brits looking for cheap holidays in 2026 may want to check out Loveholidays latest deals which includes some winter sun breaks under £150pp in January and February

January can be a gloomy month, and it helps to have something to look forward to. If you’re looking for an inexpensive break in early 2026, loveholidays currently have a sale on that includes winter sun escapes for less than £150 per person.

The bargains on offer include short breaks to Portugal, Malta, and sunny southern Spain, with dates between January and March. While you may not get the same intense heat as the summer, these are great spots to enjoy sunny days and mild spring weather.

These bargain breaks could even be the perfect last-minute gift for those difficult to buy for people who already have everything they need. Loveholidays are also offering packages with deposits from £19 per person and pay monthly plans.

Here are some of the package deals on offer for those dreaming of winter sun in the New Year.

Algarve, Portugal

Portugal’s Algarve can be packed during the summer, but early in the year it’s much more peaceful and laidback. Mild days reach about 16C in January and February, and you’ll enjoy six hours of sunshine to top up your vitamin D. While there can be rain, it’s generally short showers that pass quickly.

Loveholidays’ current Portugal offers include four nights at Muthu Clube Praia Da Oura, flying from London Gatwick, which comes in at £119 per person for February dates. Or there’s a package offering four nights at Vilamoura Golf Apartments, flying from East Midlands, from £129 per person in January.

Malta

The island of Malta has long been a winter sun favourite thanks to its 16C weather and five to six hours of sunshine a day in the early months of the year. Loveholidays have a package that includes four nights at Xemxija Bay Hotel in St Paul’s Bay, flying from London Gatwick, from £129pp in March.

Spring is a great time to visit Malta and enjoy its cultural attractions. Explore the historic cities of Valletta and Mdina, which include medieval buildings and fascinating museums. The island has some of the most ancient religious sites on Earth, including Ħaġar Qim, a megalithic temple complex which dates back as far as 3600–3200 BC.

Spain

Spanish resorts such as Benidorm are still buzzing in the winter months, and while it’s not usually the weather to lie on the beach, there’s still plenty of sunshine and fun to be had. Stay at the Benidorm City Olympia for four nights, flying from Manchester, from £139 per person in February.

If you prefer the quieter parts of Spain, try Costa de la Luz, which is a great place to experience authentic Andalusian culture. Coastal Cádiz has a lovely mix of sandy beaches and culture, and one offer includes four nights at Hipotels Gran Conil & Spa, flying from Bristol, priced at just £149 per person in February.

Prices are subject to availability and may change. Find more package holidays in the loveholidays sale.

Have a story you want to share? Email us at webtravel@reachplc.com

When Fernando Mendoza won the Heisman Trophy this weekend with another Latino finalist looking on from the crowd, the Cuban-American quarterback did more than just become the first Indiana Hoosier to win college football’s top prize, and only the third Latino to do so. He also subtly offered a radical statement: Latinos don’t just belong in this country, they’re essential.

At a time when questions swirl around this country‘s largest minority group that cast us in a demeaning, tokenized light — how could so many of us vote for Trump in 2024? Why don’t we assimilate faster? Why does Supreme Court justice Brett Kavanaugh think it’s OK for immigration agents to racially profile us? — the fact that two of the best college football players in the country this year were Latino quarterbacks didn’t draw the headlines they would’ve a generation ago. That’s because we now live in an era where Latinos are part of the fabric of sports in the United States like never before.

That’s the untold thesis of four great books I read this year. Each is anchored in Latino pride but treat their subjects not just as sport curios and pioneers but great athletes who were and are fundamental not just to their professions and community but society at large.

Shea Serrano writing about anything is like a really great big burrito — you know it’s going to be great and it exceeds your expectations when you finally bite into it, you swear you’re not going to gorge the thing all at once but don’t regret anything when you inevitably do. He could write about concrete and this would be true, but his latest New York Times bestseller (four in total, which probably makes him the only Mexican American author with that distinction) thankfully is instead about his favorite sport.

“Expensive Basketball” finds Serrano at his best, a mix of humblebrag, rambles and hilarity (of Rasheed Wallace, the lifelong San Antonio Spurs fan wrote the all-star forward “would collect technical fouls with the same enthusiasm and determination little kids collect Pokémon cards with.”) The proud Tejano’s mix of styles — straight essays, listicles, repeated phrases or words trotted out like incantations, copious footnotes — ensures he always keeps the reader guessing.

But his genius is in noting things no one else possibly can. Who else would’ve crowned journeyman power forward Gordon Hayward the fall guy in Kobe Bryant’s final game, the one where he scored 60 points and led the Lakers to a thrilling fourth-quarter comeback? Tied a Carlos Williams poem that a friend mistakenly texted to him to WNBA Hall of Famer Sue Bird? Reminded us that the hapless Charlotte Hornets — who haven’t made it into the playoffs in nearly a decade — were once considered so cool that two of their stars were featured in the original “Space Jam?” “Essential Basketball” is so good that you’ll swear you’ll only read a couple of Serrano’s essays and not regret the afternoon that will pass as quickly as a Nikola Jokic assist.

I recommended “Mexican American Baseball in the South Bay” in my regular columna three years ago, so why am I plugging its second edition? For one, the audacity of its existence — how on earth can anyone justify turning a 450-page book on an unheralded section of Southern California into an 800-page one? But in an age when telling your story because no one else will or will do a terrible job at it is more important than ever, the contributors to this tome prove how true that is.

“Mexican American Baseball in the South Bay” is part of a long-running series about the history of Mexican American baseball in Southern California Latino communities. What’s so brilliant about this one is that it boldly asserts the history and stories of a community that too often get overlooked in Southern California Latino literature in favor of the Eastsides and Santa Anas of the region.

As series editor Richard A. Santillan noted, the reaction to the original South Bay book was so overwhelmingly positive that he and others in the Latino History Baseball Project decided to expand it. Well-written essays introduce each chapter; long captions for family and team photos function as yearbook entries. Especially valuable are newspaper clippings from La Opinión that showed the vibrancy of Southern Californians that never made it into the pages of the English-language press.

Maybe only people with ties to the South Bay will read this book cover to cover, and that’s understandable. But it’s also a challenge to all other Latino communities: if folks from Wilmington to Hermosa Beach to Compton can cover their sports history so thoroughly, why can’t the rest of us?

One of the most surprising books I read this year was Jorge Iber’s “The Sanchez Family: Mexican American High School and Collegiate Wrestlers from Cheyenne, Wyoming,” a short read that addresses two topics rarely written about: Mexican American freestyle wrestlers and Mexican Americans in the Equality State. Despite its novelty, it’s the most imperfect of my four recommendations. Since it’s ostensibly an academic book, Iber loads the pages with citations and references to other academics to the point where it sometimes reads like a bibliography and one wonders why the author doesn’t focus more on his own work. And in one chapter, Iber refers to his own work in the first person — profe, you’re cool but you’re not Rickey Henderson.

“The Sanchez Family” overcomes these limitations by the force of its subject, whose protagonists descend from Guanajuato-born ancestors that arrived to Wyoming a century ago and established a multi-generational wrestling dynasty worthy of the far-more famous Guerrero clan. Iber documents how the success of multiple Sanchez men on the wrestling mat led to success in civic life and urges other scholars to examine how prep sports have long served as a springboard for Latinos to enter mainstream society — because nothing creates acceptance like winning.

“In our family, we have educators, engineers and other professions,” Iber quotes Gil Sanchez Sr. a member of the first generation of grapplers. “All because a 15-year-old boy [him]…decided to become a wrestler.”

Heard that boxing is a dying sport? The editors of “Rings of Dissent: Boxing and Performances of Rebellion” won’t have it. Rudy Mondragón, Gaye Theresa Johnson and David J. Leonard not only refuse to entertain that idea, they call such critiques “rooted in racist and classist mythology.”

They then go on to offer an electric, eclectic collection of essays on the sweet science that showcases the sport as a metaphor for the struggles and triumphs of those that have practiced it for over 150 years in the United States. Unsurprisingly, California Latinos earn a starring role. Cal State Channel Islands professor José M. Alamillo digs up the case of two Mexican boxers denied entry in the United States during the 1930s, because of the racism of the times, digging up a letter to the Department of Labor that reads like a Stephen Miller rant: “California right now has a surplus of cheap boxers from Mexico, and something should be done to prevent the entry of others.”

Roberto José Andrade Franco retells the saga of Oscar De La Hoya versus Julio Cesar Chávez, landing less on the side of the former than pointing out the assimilationist façade of the Golden Boy. Mondragón talks about the political activism of Central Valley light welterweight José Carlos Ramírez both inside and outside the ring. Despite the verve and love each “Rings of Dissent” contributors have in their essays, they don’t romanticize it. No one is more clear-eyed about its beauty and sadness than Mondragón’s fellow Loyola Marymount Latino studies profe, Priscilla Leiva. She examines the role of boxing gyms in Los Angeles, focusing on three — Broadway Boxing Gym and City of Angels Boxing in South L.A, and the since-shuttered Barrio Boxing in El Sereno.

“Efforts to envision a different future for oneself, for one’s community, and for the city are not guaranteed unequivocal success,” she writes. “Rather, like the sport of boxing, dissent requires struggle.”

If those aren’t the wisest words for Latinos to embrace for the coming year, I’m not sure what is.

Journalist and author Lou Cannon, who was widely considered the nation’s leading authority on the life and career of President Reagan, died Friday in a Santa Barbara hospice. He was 92.

His death was caused by complications from a stroke, his son Carl M. Cannon told the Washington Post, where his father served for years as a White House correspondent.

The elder Cannon covered Reagan’s two-term presidency in the 1980s, but his relationship with the enigmatic Republican leader went back to the 1960s, when Reagan moved from acting to politics.

Cannon interviewed Reagan more than 50 times and wrote five books about him, but still struggled to understand what made Reagan who he was.

“The more I wrote,” Cannon told the Reno Gazette-Journal in 2001, “the more I felt I didn’t know.”

Cannon was born in New York City and raised in Reno, Nev., where he attended the University of Nevada in Reno and later San Francisco State College.

After service in the U.S. Army, he became a reporter covering Reagan’s first years as governor of California for the San Jose Mercury News. In 1972, Cannon began working for the Washington Post as a political reporter.

Cannon recalled first encountering Reagan in 1965 while assigned to cover a lunch event for reporters and lobbyists and being surprised by Reagan’s command of the room when he spoke.

Reagan was beginning his campaign for governor by proving he could answer questions and “was not just an actor reading a script.” At the time, the word actor was “a synonym for airhead. Well, Reagan was no airhead,” Cannon said in a 2008 interview at the Richard Nixon Presidential Library & Museum.

To Cannon’s surprise, the reporters and lobbyists mobbed Reagan after the event was over to get his autograph. Cannon introduced himself.

“I remember those steely eyes of his. I thought he had this great face, but his eyes are tough,” Cannon said. “His eyes are really something.”

On the phone later, Cannon’s editor asked him what he thought of Reagan. He replied, “I don’t know anything, but if I were running this thing, why would anybody want to run against somebody that everybody knows and everybody likes? Why would you want him to be your opponent?

“I predicted that Reagan was going to be president, but I didn’t have any idea he was going to be governor,” Cannon said. “I was just so struck by the fact that he impacted on people as, not like he was a politician, but like he was this celebrity, force of nature that people wanted to rub up against. It was like seeing Kennedy again. They wanted the aura, the sun.”

In 1966, Reagan was elected governor by a margin of nearly 1 million votes and Cannon found himself “writing about Ronald Reagan every day.”

Reagan’s political opponents in California and Washington consistently underestimated him, assuming the former actor could be easily beaten at the ballot box, Cannon said. Reagan ran for president unsuccessfully twice, but had the will to keep trying until he won — twice.

“Reagan was tough, and he was determined, and you couldn’t talk him out of doing what he wanted to do,” Cannon said. “Nancy couldn’t talk him out of what he wanted to do, for god’s sakes. And certainly no advisor could or no other candidate. Ronald Reagan wanted to be president of the United States.”

Cannon’s first book on the president, “Reagan,” was published in 1982. In 1991 he published “President Reagan: The Role of a Lifetime,” which is regarded as a comprehensive biography of the 40th president.

Cannon also authored a book about the LAPD and the 1992 Rodney King riots in Los Angeles, in addition to chronicling a range of tales over the years, including the federal bust of a 1970s heroin kingpin in Las Vegas.

Mr. Cannon’s first marriage, to Virginia Oprian, who helped him research his early books, ended in divorce. In 1985, he wed Mary Shinkwin, the Washington Post said. In addition to his wife, he is survived by three children.

In the latest episode of The Envelope video podcast, Oscar Isaac opens up about the connection he forged with director Guillermo del Toro for “Frankenstein” and Wunmi Mosaku reflects on the way her own heritage informed her work in “Sinners.”

Kelvin Washington: Hello, everyone, and welcome to a new episode of The Envelope. Kelvin Washington here, and you know who we have: We have Yvonne Villarreal, we have Mark Olsen, and you as well, so thank you for being here. Happy holidays to the both of you. First off, the green memo [gestures to Villarreal].

Mark Olsen: I feel like you guys have left me off the group text again.

Washington: We did.

Olsen: I’m not getting these messages.

Washington: By the way, tomorrow will be Christmas trees — but we’ll talk about that later. Don’t worry about that. Quickly, Christmas list. One thing you’re looking for.

Villarreal: A break. …. Sorry, I answered before you even finished.

Washington: You know our bosses and producers are looking at us right now. You deserve one. Mark, you?

Olsen: That sounds good, sure.

Washington: All right, that was it, thank you for watching this episode of … All right, let’s get into it. Yvonne, you had a chance to speak with Oscar Isaac, who’s taking on the role, of course, as Frankenstein in Guillermo del Toro’s adaptation of this classic. Tell me a little bit more.

Villarreal: He plays the brilliant but egotistical scientist Victor Frankenstein, who creates life with this monstrous experiment, and the result is the Creature, played by Jacob Elordi. It was really nice speaking with Oscar about some of the themes that the film explores, the father-son dynamic and breaking cycles of generational trauma. And he was talking a lot about where he pulled from, the conversations he had with Guillermo about what they wanted to delve into. And it was really fun also hearing him talk about the rock star inspiration, for his take on Victor. So it was fun.

Washington: All right, we’re looking forward to that. We’ll get there in just a moment. Mark, I swing to you. You had a chance to speak with Wunmi Mosaku, who in my mind was the kind of the breakout star of Ryan Coogler’s vampire thriller “Sinners.” I want to hear more about what you had to talk about.

Olsen: Exactly. I mean, this has been such a breakout role for her. Obviously, the film was a huge hit when it came out earlier in a year. And she, you know, she’s been acting for years now. I think a lot of people know her for when she was on “Lovecraft Country,” another sort of horror-themed story. Here she plays Annie, the former partner of Smoke, one of the two characters by Michael B. Jordan in the film. And just on a practical level, it was great to hear her talk about working with Michael, where he’s playing these two parts and the way he made it seem so effortless to shift back and forth between them. But then also on an emotional level, you know, she was born in Nigeria, raised in England, lives here in Los Angeles, and yet she just forged such a deep personal and emotional connection to this character from 1930s Mississippi. And so to hear her talk about that, there was just something really wonderful in the conversation. It was really terrific.

Washington: This happens all the time, as you all know, that moments like this, scenes like those in the movie, like she’s gonna become someone that’s, “Hey, you know what? We need to look into her more.” So I’m happy for her to have that breakout moment. All right, without further ado, here’s Yvonne and Oscar.

Villarreal: Oscar, thanks so much for being here.

Isaac: Very happy to be here.

Villarreal: I have to say, driving down the 110, I came across buses with your face wrapped around them.

Isaac: I’m so sorry.

Villarreal: It was a pleasant sight in L.A. I know you encounter a level of this with each project, but this does feel a little bit different. How you’re feeling in this moment with “Frankenstein”? How do you take stock of the small moments in this big production?

Isaac: There aren’t too many small moments with this, to be honest. Everything’s very big-sized. In a way, it’s the most I’ve really done to support a movie. I’d say even more than “Star Wars” to a certain extent, because it straddles so many things. It’s a big fun popcorn movie. It’s also an intense emotional drama. It’s a platform release, a few theaters then the streaming platform itself. So there’s been a lot of things to do for that. And it can be tiring, but the thing is when it’s in service of Guillermo [del Toro, the director] and his vision and it’s his love letter to cinema, it’s the story he’s always wanted to tell — that’s an energizing thing. Being able to do it with him. And with Jacob [Elordi] and Mia [Goth].

Villarreal: Have you come across a bus with your face on it yet?

Isaac: Maybe not a bus. I’ve seen billboards. I’ve seen bus stops, but the actual moving thing itself, no, I haven’t yet.

Villarreal: I know Guillermo has said that he has long seen you as the person to play this role of Victor, even before there was a screenplay. What do you remember about that lunch you had with him? What did he say that he saw in you for this?

Isaac: I wish I could really go back and like just parse it all out. We just immediately started speaking as friends, as fellow Latinos, as immigrants trying to navigate our way through this industry, as both having very intense relationships with our fathers and the way that’s changed over time, both becoming fathers and wanting to not necessarily follow in some of the same footsteps, but also recognizing what an incredible source of of life our fathers have been. But all the pain that came from that, and forgiveness. We talked about those things without any relation to a movie in my mind. It wasn’t until after that where he started talking about this project and he said, “I think you need to play Victor Frankenstein.”

Villarreal: I feel like Mary Shelley’s “Frankenstein” is so steeped in the culture because the creature, the monster, is such a part of pop culture. When did you first encounter the book? Did you have to read it in high school?

Isaac: I encountered it a little later. It was shortly after high school. I wanted to have a read because it’s such a famous, legendary, iconic book. I enjoyed it, but it didn’t really hit so hard for me. When I left that that meeting, Guillermo gave me Mary Shelley’s “Frankenstein” and the Tao Te Ching. He’s like, “Read these two books.” Going back to the book again, reading it, really hearing her voice, really hearing her voice in all of the characters — I thought that was very interesting, that everybody kind of sounds a little bit like her. And I love that Guillermo took that idea and did the same thing with his movie. He made it very autobiographical.

Villarreal: For “The Card Counter,” you also had to read a book about the way that we store trauma. Did you find yourself returning to that at any point?

Isaac: “The Body Keeps Score.” That’s right. Incredible book. I did, very much. Also, parts therapy. This idea that we’re all these different parts and different voices and we’re not any one thing. And gestalt therapy, this idea of, like, being able to hold that child-self of you that’s broken. For me, that was a very big one in thinking of the Creature. The Creature is a reconstruction of Victor’s broken child that has to chase him down to forgive him — to make him look at him, face him and forgive him.

Villarreal: Did you find that you wanted to understand both Victor and the Creature?

Isaac: Guillermo and I spoke very explicitly about the idea that they’re one and the same. That there are two halves of one full person. And that actually was really helpful in the playing of it, particularly in that one scene when the Creature comes back and demands a companion. That scene in particular was played on my part as if that’s his voice, his inner child, his addict, that darkness within him that he’s trying to suppress.

Villarreal: How did you both discuss Victor in terms of, is he a reliable narrator telling the story?

Isaac: We spoke that he’s very much an unreliable narrator. It is his remembrance. It’s a memory play. Did Elizabeth really look like his mom? Probably not, but that’s how he remembers it. That’s who he saw. And the sets are these massive archetypal Jungian visions that feel very much like they’re part of his inner conscious, his subconscious, and not so much objective reality.

Villarreal: I want to talk about the the look and vibe of Victor. I know that you’ve talked before about looking to some rock icons for inspiration, whether it’s Prince or David Bowie. I think Guillermo mentioned Mick Jagger at one point. How did you both arrive at that and what were the videos or the performances that you locked in on?

Isaac: That first meeting that we had, it wasn’t so much like he saw me and he’s like, “You’re my Victor.” It’s a conversation. And out of that conversation, inspiration starts to happen. That is what ultimately led for this thing to happening between us. And that conversation just keeps going. As he writes it, he has a few ideas, I look at a few scenes, I see where he’s going with it, we start talking about it more. He starts talking about the way he wants Victor to occupy space, especially in his memory, that he remembers himself like conducting a concert, like a rock star, like holding court and having this punk rock, iconoclastic energy. He’s like Mick Jagger. And suddenly “like Mick Jagger” becomes, “well, like a rock star.” Well, how does he move? What is it about Mick Jagger? What is it about these other musicians, these artists that that’s the form of expression to think about? Not so much the scientist or the mad scientist, but the passionate artist. Then those ideas mix with the incredible genius Kate Hawley, who does these costumes, who also is bringing in all of her ideas of punk rock in London in the ’60s and Jimi Hendrix and those bell-bottoms and those hats that have a bit of a Gothic-Romantic thing going for it. Then these little boots. And then suddenly I see these boots and I see this hat, but for me that looks more like prints to me. All these things are just conversations and pieces and things being put together that create a character. It is this amazing collaboration that happens, this collage that gives the impression of a character, and that’s really special.

Villarreal: You’re working opposite Jacob Elordi, and I think a lot of people come in with preconceived notions about maybe who he is as an actor based on his past work. He’s such a revelation in this film in terms of the work and prep that he did to get here. First, talk to me about seeing him as the Creature for the first time, but also what he was like as a scene partner.

Isaac: We only met briefly in Guillermo’s office at one point, and he seemed like a nice young fella. He had his little 35mm camera, was taking a lot of analog pictures, which was cool. And the first scene we shot was the last scene of the movie. That was the first time I saw him in the full getup. So he walked in and immediately I was really moved by how graceful he was. I remember him coming in, like, fingers first; his hands were like animals, like [a] sea anemone. There’s just like incredible movements that were happening and I found it really lonely and heartbreaking. I thought it was an amazing coincidental, if you believe in those, opportunity that that was the first scene that we were going to get to do together — the last scene, the time when these characters finally actually see each other for the first time. He was amazing and then so graceful and gentle and very emotionally available.

In between takes, I’d see this big lumbering monster taking photos with his little camera, which was incredible. What was incredible about that too is that he was loose. He was just taking everything in. And that’s a very hard thing to do in those high-pressured situations. People can kind of get, like, tunnel vision and narrow in and try just to do the thing that they want to do, but he was [operating from] open awareness, which is a place that we all hope to start from as artists.

Villarreal: Did you both have an idea of, “Do we need to approach this a certain way to be true to these characters, with the friction or tension that they have, or can we turn that off in between takes?”

Isaac: There was no need to do any of that. That would have been just extra work, more like an ego idea. It was very free on set, and that’s Guillermo; that comes from the top down. He’s ebullient, he’s joyous, he’s loud, he’s inclusive of everything. So there’s no secrets. If he likes something, everybody knows it. If he doesn’t like something, everybody knows it. Whatever he’s working on, everybody knows it. And so it feels like a team. There wasn’t really space for this kind of sheltering away or trying to manufacture some kind of dynamic.

Villarreal: Did your view or perspective on Victor shift over the course of making this film? As a son and as a father, how did you see him in the beginning and how did it change by the end?

Isaac: It’s funny because I have a lot of friends that have kids that have texted me saying, “Wow, man, that made me feel really guilty watching you do that,” because we can all think of those moments where we lose our patience and we yell or we get angry at these very innocent beings that didn’t ask to be here and yet they’re being forced to conform to these rules. And the idea that what we think is right trumps everything and that our children are just extensions of ourselves, accessories, things to be judged in relation to us, as either prideful or shameful. That horrible cycle that happens and those patterns that we fall into. So that became more and more evident, especially in those scenes with Jacob as the Creature, with the shaving and the washing and the being tired and all things that were additions from Guillermo that are not in the book. Because in the book, Victor leaves right away. But this is more of like a slow retreat from the responsibilities of bringing somebody into the world.

Villarreal: I want to unpack that more, because it’s been interesting to see the discourse online of people very much relating to this element of Guillermo’s take, the themes of generational pain and a father’s desire for redemption. Obviously, Victor is physically and emotionally abused by his father, and we see how the cycle repeats itself with the Creature. This idea of breaking generational trauma, like you said, it’s something that we try to be mindful of in how we work every day. Did you find yourself unpacking some of those emotions in the process, or is it just something that you’re sort of reflecting on now that it’s over?

Isaac: We spoke about those things at that first meeting, so that was actually like the touchstone of the whole thing. That’s what kept everything grounded. It’s a very heightened performance. It’s not naturalistic. It’s meant to be quite expressive. It also brings in modalities and forms of telenovelas and and Mexican melodrama. We watch those things very carefully to bring some of those elements out in this kind of fever dream that is this film. But we were only able to do those kinds of things knowing at the core it is about this generational trauma and this idea of what we inherit from our fathers or from our parents. And as much as we try to run away from them, we get blinded often by our own constructions of ourselves and our own egos and our own desires and are blind to repeating these exact same things again. And especially as artists — I can definitely relate to the idea of “Well, if I can just figure out this one thing, this character, this piece, if I can find the breakthrough here, then everything will make sense. Everything will be worth it, all the limbs that I’ve cut off, all the villages I’ve burned. The trail of debt I’ve left behind me will will mean something if I can figure this thing out.” Then you get to the other side of that and that’s not the answer. We very much were conscious of that.

Villarreal: I guess I ask because the interview I was referencing before, your interview with Terry Gross, which was around the time of “The Card Counter,” I was so struck by you talking about your [father and] upbringing in an evangelical household and this feeling like doom was around the corner. And I was so struck by how you talked about that. And you talked about your home in Florida being demolished by the hurricane. In my rewatch of “Frankenstein,” being focused on you and your character in particular, I was thinking about how much of that was playing in your head, especially in the scene where the place is burning down. Like, do you go directly to those kind of moments? How was it playing in your head?

Isaac: I don’t necessarily try to summon that specific moment. I think part of the preparation is reading and feeling; as I read through the script and as I think about it, where I connect with it emotionally. And sometimes if something feels far away, I do have to be like, “OK, well, how do I bridge the gap to this thing? How can I relate to it? Oh, well, I guess, yeah, I had to deal with this in my life. And how did I respond to it? Well, how would Victor respond to it? How would I respond to it if I had Victor’s circumstances?” That is some of the fun of meditating on the piece and thinking about what all the possibilities are. But with this, I didn’t find myself, like, literally reaching to stories in my past. I just allowed that to be available.

I did a bit with the last scene, thinking about, “When was the last time I was at a deathbed with a loved one?” And what was that like and what do I remember physically of that, what was the energy and what was the tone of that and how is it appropriate with this and how is it different? You use whatever’s available, and sometimes just the other person across from you is enough and sometimes you need to kind of summon it from the ancestors or from wherever to get through that performance ritual.

Villarreal: When you’re channeling those intense emotions, is it, like, hard to keep them under control sometimes for the good of the scene?

Isaac: Well, actually, that happened with this last scene. I’d spent a a day getting into that mode and summoning, and we did the scene and it was quite volatile sometimes. A lot of the emotions would come through and Guillermo would say, “OK, let’s do another one, but maybe tamp that down a little bit.” It’s like, “OK, let’s try that again.” We did it a bunch of different ways. And funny enough, even though it was a great day and everyone was happy, we ended up coming back and reshooting it. And it was done last minute. I didn’t have time to do all of this preparation, and we just went and that’s actually what ended up being in the movie. Because I wasn’t expending any energy trying to reach for something. It just was more reactive and it was a bit more sober and less an idea. It’s that balance sometimes between wanting to get to something, explore something, but also letting it go and allowing something to emerge that is not willed.

Villarreal: I want to talk more about the collaboration with Guillermo. What does that look like in practice? What is a note from him like? I saw another interview where you mostly spoke in Spanish with each other. How did that allow you to understand what he’s after more easily?

Isaac: That first meeting we only spoke in Spanish. So it set the tone. And my Spanish is good, but it’s like maybe seventh-grade vocabulary.

Villarreal: I feel a kinship.

Isaac: I would speak in Spanish to my mom. That was the person that I would only speak in Spanish to. And then when she passed eight years ago, I kind of lost that. I have my aunts and I talk to them, but it kind of starts to go away. So to suddenly have Guillermo show up, and that was the way that we really first interfaced. And with him, even though he could hear me sometimes, doing it in Spanglish or trying to get to it, he just was committed. It’s like, we speak in Spanish. He didn’t have to say it. That’s just what it is. It just created this real, almost, like, subconscious intimacy because it’s the mother tongue. That is the first thing that I heard. Even though when I learned to speak, it was in the United States, it was both always at the same time, then the English took over. But it just hits something different to have to communicate, to have to try to find a way to express myself in Spanish to Guillermo, talking about really difficult things. What would be great about it is it forced me to be simple and just, like, get to the f— point, and not like all this intellectual stuff around all these definitions and acting terms and all this. That was a really special thing.

Villarreal: We’ve talked a little bit about we’re working through, for lack of a better term, some daddy issues during the making of this. I know that “Hamlet” is such a seminal text in both your personal life and in your career. And obviously, this is a film that has parallels. With the passing of your mom, and working on this, especially with that last scene, how did you feel your mother while working on this project?

Isaac: Wow, that’s a very kind question. So, so, so much. She would have loved this movie. The last movie we saw actually was “The Handmaiden.” Super erotic too. I was like, “Mom, we’re sorry; close your eyes, Mom.” But it was so beautiful and kind of dark and opulent — she loved that stuff. She was always incredibly, incredibly present. Even the Elizabeth character — my mom had red hair as well. And this is in Mary Shelley’s text about the feminine and the masculine and those warring kind of energies. And for Victor, ironically, really tapping into more of the feminine energy with him in some ways. What he does is obviously — the penetrating nature, is a masculine thing, but at the same time, that freedom and the liquidity of that femininity was very important too. That last scene, it was interesting. That first time we did the scene, there was a lot of my mom there. Then when I had to let it go and I had to just respond, suddenly dad showed up. And that was really wild. There’s a bit of that warring energy with Victor all the time, and that was really surprising.

Villarreal: There was also the the detail that people really picked up on, which was the drinking of the milk. How did that inform you as you played Victor?

Isaac: Once his mom dies, he gets stunted. He never grows from that point on. His body grows. What he’s doing, his intellect grows, but emotionally, he stays that little boy that’s been hit in the face by his dad and rejected. And rejected by his mom because she died. It’s not rational, but that’s what it is. He’s orphaned. That’s also why mom feels so present. He’s just always looking for her. He’s always looking for her everywhere, everywhere, everywhere. The milk is just looking for her. It’s just comfort. La lechita. It’s also very funny because it’s so simple too. He likes playing with the saint-sinner thing, this guy that paints himself as the victim. He’s not a drug addict. The only thing he does is milk. And milk’s good for you, right? He starts off as Jesus Christ and ends up as Charles Manson. That’s what that milk does.

Villarreal: Do you have a sense — especially with a little bit of hindsight now, though I know you’re still in the whirlwind of it — what the character of Victor has done for you?

Isaac: What was surprising is that he is a sadist, but in like the Marquis de Sade kind of way. That wasn’t something that I thought about, but as it progressed, what was surprising to me was the pleasure that the character was giving me. For someone that is so dark and has such capacity for cruelty, the fact that he just felt so good, it was so free and so energized and kind of joyful. And I asked Guillermo at one point, I was like, “Maybe something’s wrong here? Because, like, shouldn’t it be a little darker and heavier?” He’s like, “The movie tells you what it needs.” You listen to the movie, and this is somebody that doesn’t have any doubts. And that feels pretty good to not have any doubts, until he crashes. He wakes up from this dream, this fever dream of no consequences. There’s no consequences, nothing matters, the rule of nature is dominance and cruelty, and actually pain is the same as pleasure. And the more perfect the crime, which is against something that’s virtuous and innocent, the more perfect an act that is, philosophically, nihilistically. So that is pure freedom. Pure freedom and pure pleasure, it’s like f— it. To play somebody like that, and to allow myself to be blind to the feeling of consequence and to just shoot like a rocket, that was incredibly freeing and pleasurable. Then suddenly to stop back and look back and be like, “Oh, what an awful thing. What awful things he did. He couldn’t see what he was doing.” But in the moment, that was unexpected.

Villarreal: We talked about the intensity of filming that last scene. What was the scene where you just felt so free and happy or excited?

Isaac: Creating the creature. Creating the creature was just like the rain coming down, the running up and down the stairs in the little high-heeled boots, the screaming at Christoph Waltz, you know, and his body flying down and him being like, “f— it, gotta throw him in the freezer, gotta keep this thing moving.” That energy, you know, climbing up the tower, putting the spear up there. He’s like a Gothic hero, a Gothic superhero. That kind of mutability within the character — it’s kinda like what I was saying about the artist. It’s like, “This I know; I know how to do this, and if I can do this, everything will make sense.” So that moment of just purely going for that thing, that was a really exciting moment. And also in that set, in Tamara [Deverell’s] incredible set, with Dan [Laustsen’s] lighting and Guillermo sitting there in the corner like this little crazy Mexican Buddha, just wanting more, more, more, that was electrifying. Pardon the pun.

Villarreal: I’ve wondered what it’s like walking into one of his creations, those sets. I can’t imagine. It feels like you’re in a dream.

Isaac: You do, and what’s the most incredible thing is that he’s surrounded himself with people for the last 30 years that are like an extension of himself. Through a process of elimination, he’s gotten these people that are just as passionate, just as detailed, and have ownership of the movie. The set decorator, the painter, the greens person that puts the moss in is like, “Do you see where I put the moss right there? You see the moss right there?” That kind of artisanal passion over it. So you walk in, sure, it’s inspiring for the imagination, but it’s also inspiring as a crafts person to be like, “OK, how do I bring the same amount of detail and passion and love for it?”

Villarreal: I’m asking this teasingly, but what’s the worst thing about Guillermo as a director? Is it that he wants so many takes, or is it that he just thinks you can do anything?

Isaac: I was gonna say what was challenging was to have somebody quilting the movie as we were shooting it. So that you would do a take and sometimes it would go straight into the edit and he could show you it in the movie itself. And as an actor, that could be tough because you’re like, “Oh, I’m not ready to see that yet.” But he was making it as it goes because the camera was always moving, so he needed to see that it was always connecting to the next thing. I had never experienced that before. For instance, that last scene, we did it, the next day he came in, and it was all edited with some temp score on it and I saw it, I was like, “Oh no, I don’t think that’s… “ But in that case, it was good that I saw it and had that reaction because we got to have another go at it. But it is dealing with like, “How much do I want to see? How self-conscious am I?” But it’s his openness. He’s not afraid.

Villarreal: Was he open with Jacob having his dog Layla on set?

Isaac: Yeah. That’s the thing. He was just free. He was really free. He’s like, “Whatever you need, man. Whatever anybody needs, that’s it.” He would embrace everything. Every mistake, he’d embrace.

Villarreal: Before we wrap things up, we’ve talked about swirling in this space of loss and renewal. In addition to tapping into that with “Frankenstein,” your wife, who’s a filmmaker, Elvira Lind, has this documentary, “King Hamlet,” where she documented a very transformative period in your life as you dealt with the loss of your mother, but also the birth of your child, while working on a staging of “Hamlet.” How has it been to sort of live in this space and have these parallel moments between these two projects?

Isaac: In a way, it’s like the father and the mother of these projects here. And the strange synchronicity of when they’re coming out at the same time, it’s kind of a beautiful thing, because “Frankenstein” is this massive thing, it’s very expressive, it has a lot of people, so much energy behind it. Having to do that and then flying to New York and showing a small group of people this tiny little movie made by just a handful of people, mostly my wife, this incredible documentary filmmaker, but made by her again by hand about this really small, quiet time of a play that we did that maybe a few thousand people saw, there is something quite grounding about that. It also feels generous because it’s about something that she’s made. But also it’s about showing a little peek for anybody, but also for artists as well, at what it costs sometimes and what it takes and how this particular family dealt with all this happening and the desire and the need to process it and create something out of it.

Mark Olsen: “Sinners” obviously opened earlier in the year, and it’s really just hung in there. It’s a movie people are still talking about. What does it mean to you that the movie has already had such an enduring life?

Wunmi Mosaku: Oh, it means so much to me. I feel like you take a job because you believe in it and you trust the filmmakers and you’re excited, and then you get on set and you do your best and then all of a sudden you remember that it’s going to be out there and people are going to judge it and they might not like it and they may not like you and they might not respond to it. And we would turn to each other sometimes and be like, “Do you think they’re going to feel how we feel about this? I really hope so.” Because we really felt like it was so special. And so seeing the reaction has been so affirming and pretty magical because it’s not always the case that it translates the same as how it feels for you, that the audience feels that too.

Olsen: And what do you think it is that audiences are responding to? Mosaku: I think Ryan Coogler, his way of creating art is always based in truth and connection and honoring the people on the screen and the people that they represent in and around his life. And so I feel like people are responding to the fact that it feels truthful. Even though it’s got horror aspects and a musical aspect, it really just has heart and depth and it’s about community, it’s about freedom, it’s about the price of freedom. It’s about so many things that affect people every day. Capitalism, selling out, cultural appropriation. It’s deep and it’s layered, and it’s all rooted in truth.

Olsen: And now when you say that as you were shooting the movie, it felt special to all of you — can you describe that for me? What do you think you were feeling as you were shooting the movie?

Mosaku: I felt a deep connection to my ancestry, to my purpose, to how what I do today will reverberate in the future. My lineage, my child’s future. I just felt the film links the past to the present. It links West African traditional spirituality and it connects it to hip-hop and blues and all these different types of dance and culture. It feels kind of sprawling and encompassing of the Black diaspora experience. And it makes you feel connected to everyone in the diaspora. I felt really awakened to my position in that web of creativity. And artists like Ryan, who have this visionary, revolutionary way of creating, they just kind of feel like guiding lights, diamonds, in this web of us. It feels like, “Oh wow, he really is this jewel to be cherished, and I’m connected to that now.” So it was very multilayered, the connection I felt.

Olsen: That does sound like more than just a typical day at work. Mosaku: There was nothing typical about it. It felt like, vibrationally, it changed all of us.

Olsen: As I understand it, when you auditioned for the film, you were given this seven-page scene that introduces your character of Annie. It’s you and Michael B. Jordan’s character of Smoke, and from that scene you thought the film was a romantic drama. What did you make of it when you found out what the movie was really about?

Mosaku: Ryan explained the movie to me in and around the scene, and my mind was blown because it made complete sense, but it came completely out of left field for me. I had the themes that we see in the movie of the evolution of blues to modern-day music and ancestors and future ancestors, they weren’t quite there when he was explaining it to me, but it was there in the spirit of what he was explaining to me. So I knew it was epic and that there was depth, but then there was also vampires. I can’t explain how he explained it, but I felt the weight of all of the themes and messages, and it seemed to work with the idea of vampires coming in and taking blood. It was a surprise, but it made sense. I was completely hooked and in from the first scene, but his description, I was like, “This is genius.”

Olsen: I like the idea that you were still able to process your story in the movie, Annie’s story, as that of a romance. Even with everything else that’s happening in the film, there still is that story at the core of it. Mosaku: Because he only works with truth. Even in a fantastical world of vampires and spirits, he still works within the truth of relationships and character dynamics, and so their love is the community, the love and the bond between all of the characters, that is the heart of the movie. Sammie’s desire to leave the plantation and see the world, that’s the heart of the movie. These two people who love each other dearly and are insatiable for each other but can’t be together because of racism and the color of their skin, that heartbreak is the heart of the movie. A woman who just wants to sing and is young and is married to this old church type — that line I think is cut from the movie, but Jayme [Lawson]’s character says he’s older, church type — and she just wants to be completely free on the stage. That she gets to explore and to have this thrilling night in the community in the juke joint, I mean that’s the heart of the movie too. These relationships are the beating heart.

Olsen: But there’s something I’ve heard you talk about, that Annie relates to the character that most of us know as Smoke, as both Smoke and Elijah, his given name. Can you untangle that for me? It’s really compelling to think that she is relating to both sides of his personality. Mosaku: Well, everybody has a representative, right? Like, this is my representative. And then there’s Wunmi at home without the glam, the truth. So yes, she met Smoke. She fell in love with Smoke, but she knew Elijah. In Yoruba, we have your given name and then you get given an Oriki name, and the Oriki name is a pet name that your grandmother or your mom would call you and when they call you by that name, when you hear someone speak your Oriki name, you can’t say no. It’s like, “That person knows me like no one else, and they’ve used this name for a purpose.” So almost like Elijah is his Oriki name because everyone knows him as Smoke. He has his defenses up, he has his heart guarded, Smoke’s been through war, Smoke’s been through the gangster stuff in Chicago, but Elijah lost his daughter. So when she calls him by his name that’s like calling his Oriki. Olsen: You’ve spoken as well about how much you feel you’ve learned about yourself in playing this role, that it changed you. How so? Mosaku: I mean, even the fact that I can talk about Oriki names. I didn’t have an Oriki name. I didn’t understand the meaning of the Oriki name until I really just kind of immersed myself more in my culture that I feel like I had no choice in not being a part of. I came to England when I was 1½, and you try and assimilate, you try and fit in. And that is at the expense and the tax of your birth culture. And that’s something people don’t really pay attention to, what’s lost in order to feel safe in another culture. Researching Annie, I had to look back at where I’m from, because she’s a hoodoo priestess and hoodoo is a derivative of Ifa, and Ifa is the traditional Yoruba religion. That is where my people come from. That is part of my survival, that’s why I’m here. Their knowledge, their belief systems, that is why I’m here. And so having to research that just opened up a whole treasure trove of truth for me and inquiry and self-reflection and self-love and admiration of all the people that came before, the difficult decisions my parents made, and then the difficult decisions I’ve had to make in navigating being an immigrant in another country.

Olsen: What does it meant to you to connect with that part of yourself?

Mosaku: I’m unable to put it into words. It’s changed me profoundly. It’s changed my relationship to the world, my culture, my home. I feel inspired in so many different ways to reconnect, feel connected. I’ve been doing Yoruba lessons for five years, and only in the last year has it really stuck. And I think the sticking is because of the exploration, the real exploration, not just an intellectual “trying to learn a language.” It’s unlocked something emotionally in me. The language is sticking.

Olsen: “Sinners” is rooted so specifically in the world of the Jim Crow South here in America. Was that still something that you could relate to? Were there aspects of the story that still felt familiar to you?

Mosaku: Yeah, I can relate to being Black in America, I can relate to being Black in a different culture. But there’s a lot of research that has to be done. A lot of people in the cast were pulling upon the people that they knew in their history and their ancestry, whether it was Ryan and his uncle James who inspired the movie or Miss Ruth [E. Carter, costume designer, who] said my dress, the velvet dress was inspired by a picture of her grandma in a velvet dress on the stairs with her grandfather. They have different things they can pull on that are really from the time and the people. I do research in a different way, because I don’t have that same history to pull from, but I have an admiration and a love of the African American culture. My daughter’s African American. So I feel I have a respect and a duty to do my research, not just for my character work but for my family. I can relate to aspects, but I don’t have that shared cellular memory that the rest of the cast do.

Olsen: So what did you draw on for research? Mosaku: I spoke to hoodoo priestesses and that was really my main research, was kind of the faith, because that is who she is. That’s her foundation. And that’s her power. So that was my main research. Obviously, researching the era, Prohibition, Jim Crow South, the Great Migration. For me it’s about respect and honoring as truthfully as I can, if someone has trusted me with this role. And also I’ve said no to roles that I don’t think should be played by Black Brits or Nigerians. I’ve said no to roles that I think should be specifically for African Americans. There’s something about Annie that feels really close to me and really important to me, and I think she’s like a bridge, and I do think of myself sometimes in that way, of in the middle. I’m someone who was born in Nigeria but was never raised there, someone who was raised on a land that has never felt like my own, and then someone who’s come here and has, not inherited, but I have a daughter with this inherited history. And so I have a responsibility for her to understand all three aspects, and then I’m sure there are more aspects of her history that I am yet to figure out what they are. It’s my responsibility to understand that and guide her with it.

Olsen: When you’re shooting these kind of stories or dealing with sort of heavy topics, do you have anything that you like to do at the end of the day to pull yourself out of it?

Mosaku: I talk to my husband and I spend time with my daughter. I speak to my family. I go home.

Olsen: And I don’t think I’m spoiling anything, but I want to be sure to ask you about your last moments in “Sinners.” It’s deeply moving. You reappear in the film as a vision to Smoke. You’re nursing your infant daughter. Can you talk to me about that moment in the film and what it means to you?

Mosaku: It’s purity. He drops his representative, he drops Smoke. He has to drop Smoke in order to join us. The initial cost of this never-ending life as a vampire, it sounds like there’s a glamour to it, there’s a capitalism to it. Stack and Mary are still young and beautiful but there is such a great cost. They never get to see the sun, they never get to hold their loved ones again. And actually they’re not truly free. Whereas Smoke and Annie have chosen true freedom that fully incorporates everything that they love truly. It’s not money, it’s not eternal life, it’s not eternal darkness. They are basking in the sun with their ancestors and it’s purity, it’s love, it’s freedom.

Olsen: I have to ask you about the musical number where sort of the past and the future sort of collapse in on themselves. What did that read like in the script? And what was it like to be on set that day?

Mosaku: It read very much like it felt when you watched it. I had read a version without the future and past ancestors, where it was just about the two brothers and their women and reconnecting and it was beautiful. I loved it. And then before the read-through, we got given another draft, and it had the ancestors and the roof going on fire, and I threw the script down and I ran into my living room and was like to my husband, “Oh, my God, oh, my God, it’s amazing, it’s amazing. I think this is the most amazing thing I’ve ever read. I think it’s the most amazing thing that’s ever going to happen onscreen.” That’s how it felt. And on the day filming it, it very much felt magical. Sammie and Delta Slim have this scene where Delta talks to him about his gift and where it comes from. It comes from the homeland, it comes from your ancestors, it comes from home, Africa. And it’s such a powerful gift and to really guard it with all he has. Then Miles [Caton], who plays Sammie, is talking to the the older guy, Papa Toto, who plays his past ancestor. Who has the little guitar behind him, I don’t know what it’s called, like the original guitar. And he’s behind him in the scene, and then I kind of wander over to them, and Papa Toto basically does the exact same speech, never having read the script, to Miles about his gift and where it comes from and like how he should cherish it and keep it protected. That’s what they’re both talking about, protecting their gifts. And I was just like, “Oh, my gosh, this is magical. He doesn’t even know that this is the scene in the script.” It was a really special day.

Olsen: I’m going to ask this as politely as I can, but I found “Sinners” to be a much bawdier movie, it’s a much more sensual and sexy movie, than I expected. I’m curious how you found those scenes in the script and in particular what it was like for you shooting your scene with Michael.

Mosaku: It explores so many different emotions and feelings. It feels palpable, it feels tangible, it feels like it’s pulsing. It also feels kind of inevitable. Again, it just felt true, and it wasn’t difficult because we created such a safe space for everyone, and there’s no nudity in it, and it just feels really sensual and safe.

Olsen: What was it like shooting scenes with Michael where he’s playing both Stack and Smoke? I would imagine just him having to switch out for the scenes, how did that impact the rhythm and the momentum for the rest of you? Mosaku: It was pretty easy for us, honestly. We didn’t have to do anything. Michael had a stand-in, Percy Bell, and both would learn both twins’ lines, and then Michael would shoot as Stack, and Percy would do Smoke, and we would lock this, we would rehearse it, rehearse it, rehearse it, and then shoot it, shoot it, shoot it, find the one we liked and lock it. So then, if this is Percy and this is Stack, what they would do is he would go get changed, be Smoke, and we would kind of mime the scene. It was really harder for Mike, I don’t know how he did it. We would kind of mime the scene. They would play the scene back so he was responding to us in the real time of the scene that they had chosen. That was it. That was the only scene that we were going with. And then he would trace Percy’s steps and physique to make sure he wouldn’t step on Stack or whatever. So it was very easy for us. Like, we just had to play the scene. And I honestly don’t know how Mike did it. I have no idea how he did it.

Olsen: What has the response to the movie been like for you professionally? Do you find that you’ve gotten some offers? Are you finding yourself in rooms that maybe you wouldn’t have been in before? Mosaku: Everyone has been so complimentary and lovely about the movie. I think work has come from it, and I was in a room at the Governors Awards with Tom Cruise and Debbie Allen and Phylicia Rashad. I was like, “Well, this is new.” Me, Jayme [Lawson], Hailee [Steinfeld] got awarded one of the Elle Women in Hollywood awards yesterday, which was again really surreal, like, “Oh, hey, Jennifer Aniston. Hey, Rose Byrne. Hey, everyone. Hi, we’re in this room with you. Cool.” So a lot of really lovely things have come of it. Very grateful.

Olsen: And what does it mean to you that it’s for this movie in particular? Mosaku: This is the movie that just keeps on giving. I loved it from the first time I read those seven pages and I have grown as a person, as an actor, as a mom, as a wife. And now I’m experiencing this, which is really lovely, really nice. Olsen: You also have an upcoming role in “The Social Reckoning,” Aaron Sorkin’s sequel to “The Social Network.” Is there anything you can tell us about your role in the movie? Mosaku: I have no idea what I’m allowed to say about it. I’ve not been prepped on press for that yet, so I’m sorry. Olsen: You shot your part? Mosaku: I’ve shot a lot.

The UK banking group has shared advice for people who connect to wi-fi during hotel stays

NatWest has urged customers staying in hotels to always check the guest book before connecting to wi-fi. With the festive season in full swing, many Brits will be on the move, whether they’re travelling home to visit family, attending Christmas parties, or travelling abroad for a seasonal holiday. For those staying in hotels or similar accommodation, it’s essential to be vigilant, as criminals may target hotel guests when plotting scams.

According to advice shared on NatWest’s website: “Scammers sometimes set up fake hotel networks with names that are very similar to the genuine one.” As such, it’s important to ‘make sure the network name is the one printed in official hotel guest books’, says the bank.

NatWest also advises customers against entering any personal information when connected to open Wi-Fi networks. “When using open Wi-Fi networks, stick to messaging and browsing, and avoid entering any personal information.”

“These networks are usually open, which means anyone can log on or that many people have the password. This makes it easier for fraudsters to see any details you enter on the same network,” the bank explains.

Cybersecurity company Norton has similarly highlighted the risks associated with hotel wi-fi. Advice on the brand’s website states: “Malicious hotspots, or rogue access points, are deceptive networks that trick users into connecting by mimicking legitimate Wi-Fi names.

“For instance, if you were staying at the Goodnight Inn and wanted to connect to the hotel’s Wi-Fi, you might mistakenly select ‘GoodNight Inn’ (with a capital N) instead of the correct network. By doing so, you risk connecting to an ‘evil twin’ network set up by cybercriminals to access your internet traffic.”

According to Norton, public Wi-Fi hotspots could also pose a risk, especially if criminals target unencrypted networks to gain access to sensitive banking information. “Many public Wi-Fi hotspots are unencrypted networks that transmit data in plain text, making it vulnerable to cybercriminals with the right tools. Hackers on the same network can intercept your online activities, including banking information, login credentials, and personal messages.”

While criminals might try to take advantage of people using their wi-fi, it’s just one of several tactics that scammers might employ. For holidaymakers spending their Christmas in another country, NatWest also offers advice on staying safe while exchanging money and dining out at restaurants.

The banking group advises customers to always pay in local currency where possible and to be mindful of potential restaurant scams, which could result in people being overcharged for food or charged for food that seemed complimentary.

NatWest suggests checking reviews ahead of time before choosing a restaurant, checking prices when placing an order, only eating and drinking what was ordered, and requesting an itemised receipt. The bank also recommended looking out for any additional charges, such as water charges or cover charges.

Housed in a historic building in Old Town Tustin, Arvida Book Co. feels like it was plucked out of a romance novel — as though at any moment, strangers could reach for the same title, high school sweethearts could have a holiday run-in or an urban transplant could fall for a beloved homegrown barista.

Maybe it’s the brick exterior, or maybe it’s the heartfelt used book inscriptions, but bookstore co-owners Sam and Mike Robertson said Arvida is indeed the setting of many a first date and has even seen some proposals. For Sam, a self-declared “softie,” watching life unfold within Arvida’s walls has been a sweet surprise.

“This was always the dream, but I didn’t realize how much being the backdrop for people’s lives was going to affect me personally,” the bookseller said. She recalled recently watching one boy reading in the store and thinking to herself, “I remember the day you were born.”

As independent bookstores struggle in an Amazon-dominated market, Sam said she’s grateful for the support of a community that treasures that “third space” aspect of Arvida as much as she does. And where some do turn to “the giant that we shall not name,” as Sam dubbed Amazon, for lower prices, the bookseller said sales at the in-store Tolima Coffee Company cart fill in the gaps.

While Sam herself is a graduate of Peet’s Coffee — “coffee college,” as she called it — Mike is the true barista extraordinaire and even created a signature “Bookshop Blend” in collaboration with Stereoscope Coffee Co. Mike specializes in “coffee-forward” drinks, but he also recommended the matcha spritz and local-favorite ube latte for those with a sweet tooth.

With a cozy children’s nook and ample plush chairs to boot, Arvida is a perfect spot to spend a lazy weekend morning. If you need a better reason to make the trek from L.A., the bookstore’s charming Old Town neighbors are also fabulous for afternoon browsing.