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People are raving on about the drama series which is believed to be a ‘hidden gem’ and it’s available on a number of TV networks, including Disney+. So have you seen this before?

Looking for the next big TV series to binge-watch? It can be hard finding a new show to watch, especially if you’ve just finished something decent on Netflix or Amazon Prime.

Now people are raving on about a ‘hidden gem’ they found – and it’s available on a number of TV networks, including Disney+. After one TV fan asked for recommendations in a popular thread, many people flooded the comments section where they offered a number of suggestions, one of them being Will Trent, a American police TV drama. The series follows a Special Agent of the Georgia Bureau of Investigations.

As a child, Trent was abandoned and forced to endure a harsh coming-of-age in Atlanta’s overwhelmed foster care system. It was based on one of prolific New York Times author Karin Slaughter’s bestselling books.

The Reddit post read: “Any current network (CBS, ABC, NBC, etc.) TV shows that are any good? Most of the shows I currently watch are on streaming services and I’m wondering if there’s any hidden gems I’m missing out on.”

Many people shared their suggestions, including High Potential and The Rookie.

But plenty of viewers labelled Will Trent as a must-see. The series, which is also available on other network channels, can be streamed on Disney+ for subscribers.

The series was developed by Liz Heldens and Daniel T. Thomsen which stars Ramón Rodríguez and premiered on January 3, 2023, on ABC.

A year later in April, the series was renewed for a third season which landed on January 7, 2025. Then months later, the series was given the green light for a fourth season which finally premiered on January 6, this year.

The series follows Will who grew up in the Atlanta foster care system after being abandoned as a child. Despite being dyslexic and his upbringing having a lasting effect on him, he became a Special Agent in the Georgia Bureau of Investigation (GBI).

Will, a highly observant character, had been assigned a corruption case involving the Atlanta Police Department which shares an office building with the GBI.

The story also shows his on-again off-again relationship with APD Detective Angie Polaski, a childhood friend from the foster care system.

Will Trent has a 7.7 out of 10 rating on IMDb and 83% on Rotten Tomatoes. To watch it on Disney+, you must have a subscription on the streaming platform.

Expedia’s Air Hacks Report shows how holidaymakers can save hundreds on flights – including the cheapest day to fly, best time to book and most affordable month to travel

New figures from travel agency Expedia have uncovered how holidaymakers can knock hundreds of pounds off their flight costs, with Friday now officially crowned the most budget-friendly day to jet off. Expedia has put together a comprehensive guide of “Air Hacks” to help travellers secure the best bargains throughout the year.

The latest Air Hacks Report shows that travellers can pocket an average saving of 18% by departing on a Friday rather than a Saturday. Despite being the busiest travel day of the week, Friday delivers the strongest value for money. Meanwhile, Tuesday emerges as the quietest day for flying but most expensive to book.

According to the report, the best day to book is Sunday, as this gets you the best deal and June is the most affordable month to fly, with flights 68% cheaper on average than December, which represents a potential saving of £250 per ticket.

For optimal booking, the most affordable window for domestic economy flights is between 31 and 45 days before departure, which will save people around £38 compared to booking six months out.

For international travel, adults can save an average of £93 by booking between 15 and 30 days ahead of time instead of six months, though purchasing tickets 31 to 45 days before can still yield a saving of £85.

Regarding UK airports, the cheapest to fly from, on average, are Belfast (£170), Liverpool (£171), and Bournemouth (£171). Conversely, the most expensive airports to fly from are London Heathrow (£533), Humberside (£420), and Manchester (£404).

Melanie Fish, a spokesperson from Expedia, said: “We are very excited to release these new findings and share our top air hacks for 2026 to ensure holidaymakers get the best value for money, as well as an enjoyable travelling experience.

The report also uncovered emerging travel trends. Twenty percent of travellers have booked an “extreme day trip,” which involves a roundtrip flight within 24 hours to visit a new destination.

Over half (51%) of international flyers now opt for morning departures, with only 15% choosing an evening flight. Furthermore, a third of travellers now fly with only a carry-on bag, and 29% admit they wear extra layers to avoid baggage fees.

The company, which launched a ‘Flight Deals’ feature to help users find flights 20% below the norm, hopes these insights will help holidaymakers navigate the overwhelming and expensive process of planning a trip.

A travel enthusiast and On the Beach worker shared the cheapest time to book flights and hotels

People hoping to get the best deal on their summer holiday might need to set an early alarm. A travel influencer claims he knows the ‘cheapest time’ for booking flights and hotels – and it’s bad news if you like to sleep in.

The tip was shared on social media by Rob Brooks, a travel enthusiast and influencer with the travel company On The Beach. He is well-known online for providing budget-friendly travel advice, hotel reviews, and holiday tips, which has helped him amass a significant following on social media, especially on TikTok where he goes by the username @Robonthebeach.

In a recent video, Rob shared ‘three bad holiday booking habits that could be costing you £100s’ and explained how the timing of your holiday booking can affect the price. Introducing the three tips, Rob said: “I look through holiday bookings every single day, and I see these mistakes all the time.”

For his first point, Rob suggested that people shouldn’t book their holidays in the morning unless they get up early. “Your first bad booking habit is booking holidays in the morning,” he claimed.

“We see so many people book holidays between 7am and 10am in the morning. Often, that’s people booking just before work, on the commute, or even at the desk with their first coffee. And I get it, it feels like you’re being really productive and taking off something big right at the beginning of the day.

“But not many people know it’s actually one of the most expensive windows to book, because you’ve got loads of people searching at the same time. Everyone’s had the same idea, which means demand spikes, flight prices spike too, and then package prices follow.”

Rob continued: “The best times to book are statistically in the evening, between 8pm and 10pm. And actually the very cheapest time to book is first thing in the morning, between 4am and 5am. But no one’s setting their alarm for that habit.”

Continuing his video, Rob shared two more mistakes that he said holidaymakers should be wary of. In his second tip, he suggested people shouldn’t wait when they find the right deal for them.

“Don’t forget, when you find a really good deal, it’s very likely that someone else has found the same deal too. So waiting doesn’t protect you; it usually just means that the best price then disappears. So I would say this: when you find a holiday that you think is a really good price and you’ve checked it against other people, don’t wait, just get it booked,” he advised.

Finally, the travel influencer warned people against being ‘super rigid’ with their holiday dates. Rob pointed out that switching your holiday from seven days to six days, for example, could make a big difference to the price.

Michael Silverblatt, the longtime host of the KCRW radio show “Bookworm” — known for interviews of authors so in depth that they sometimes left his subjects astounded at his breadth of knowledge of their work — has died. He was 73.

Silverblatt died Saturday at home after a protracted illness, a close friend confirmed.

Although Silverblatt’s 30-minute show, which ran from 1989 to 2022 and was nationally syndicated, included interviews with celebrated authors including Gore Vidal, Kazuo Ishiguro, David Foster Wallace, Susan Orlean, Joan Didion and Zadie Smith, the real star of the show was the host himself, the nasal-voiced radio personality who more than once in life was told he did not have a voice for his medium.

His show represents one of the most significant archives of conversations with major literary powerhouses from the late 20th and early 21st centuries.

But Silverblatt knew that he was as much a character as the people he interviewed.

“I’m as fantastical a creature as anything in Oz or in Wonderland,” he said during a talk in front of the Cornell University English department in 2010. “I like it if people can say, ‘I never met anyone like him,’ and by that they should mean that it wasn’t an unpleasant experience.”

Born in 1952, the Brooklyn native learned to love reading as a child when he was introduced to “Alice’s Adventures in Wonderland.” Neighbors would see him walking the streets of Brooklyn with his head in a book and would sometimes call his parents out of fear he might get hurt.

But until he left home for the University at Buffalo, State University of New York, at the age of 16, Silverblatt has said, he had never met an author.

His college, however, was filled with such famous authors as Michel Foucault, John Barth, Donald Barthelme and J.M. Coetzee, who were all working as professors.

Silverblatt was shy and too embarrassed to speak during class because of his inability to clearly pronounce the letter “L,” which appears three times in his own name. Yet he considered the authors to be his friends, even if they did not know it yet, he said during the Cornell talk.

He would approach them after class to speak about their work.

Despite his interest in literature, Silverblatt’s parents wanted him to become a mail carrier, he said. The summer after his freshman year, Silverblatt worked a New York City mail route, delivering letters to the mayor’s mansion on an Upper East Side route that took him past numerous old bookstores and used-books shops. During that job, he said in the Cornell talk, he purchased the complete works of Charles Dickens.

Silverblatt moved to Los Angeles after college in the mid-1970s and worked in Hollywood in public relations and script development.

Like many young writers in Los Angeles, he wrote a script that never got made.

It was in Los Angeles that Silverblatt met Ruth Seymour, the longtime head of KCRW.

Seymour had just returned to the United States from Russia and was at a dinner party where everyone was discussing Hollywood. There, she and Silverblatt became immersed in a one-on-one discussion of Russian poetry.

“He’s a great raconteur and so the rest of the world just vanished,” Seymour told Times columnist Lynell George in 1997. “Afterward I just turned and asked him: ‘Have you ever thought about doing radio?’”

For the next 33 years, that’s exactly what he thought about.

“Michael was a genius. He could be mesmerizing and always, always, always brilliant,” said Alan Howard, who edited “Bookworm” for 31 years.

“It’s an extraordinary archive that exists, and I don’t think anyone else has ever created such an archive of intelligent, interesting people being asked about their work,” Howard said. “Michael was very proud of the show. He devoted his life to the show.”

Silverblatt once dreamed of being on the other side of the microphone, as a writer in his own right, Howard said. But he faced bouts of writer’s block through his 20s and gave up writing.

“Eventually, he came to find peace with the reality of that,” Howard said.

Instead of writing, he became an accumulator of a vast amount of other writers’ work — in his library as well as the repository in his head. He had an incredible memory for the books he read.

Silverblatt converted the apartment next to his Fairfax apartment into a library where he kept thousands of books, Howard said.

“It was heaven,” he said. “It was a fabulous library.”

“He was such a singular person,” said Jennifer Ferro, now the president of KCRW. “He had a voice you would never expect would be on radio.”

Alan Felsenthal, a poet who considered Silverblatt a mentor, called Silverblatt’s voice “sensitive and tender.”

Felsenthal said the show was about creating a space of “infinite compassion,” where writers could share things they might not share in everyday conversation.

“Michael was one of a kind, truly singular. And his voice is too,” Felsenthal said.

One of the most important tenets of Silverblatt’s approach was that he not only read the book he was discussing on his show that day, but also read the entire oeuvre of the authors he interviewed.

“A significant writer would come in and be bowled over by Michael’s depth of vision of the work at hand,” Howard said.

David Foster Wallace, in one interview, said he wanted Silverblatt to adopt him.

Silverblatt said he strove to read an author’s entire body of work, but he never claimed to have read it all if he hadn’t.

“In general I try to read the author’s complete work. … That’s not always true, and I never say it if it isn’t true. But more often than not, I have, at least, read the majority of the work. And sometimes it’s a superhuman challenge,” he said in the 1997 Times column.

The voracious reader said that the best books, those that brought him happiness, were not the ones that ease our way in this strange and difficult world.

“The books I love the most made it harder for me to live,” he said.

Silverblatt is survived by his sister, Joan Bykofsky.

SACRAMENTO — Gavin Newsom writes in his upcoming memoir about San Francisco’s highborn Getty family fitting him in Brioni suits “appropriate to meet a king” when he was 20 years old. Then he flew aboard their private “Jetty” to Spain for a royal princess’s debutante-style party.

Back home, real life wasn’t as grand.

In an annual performance for their single mom, Newsom and his sister would pretend to find problems with the fancy clothes his dad’s friends, the heirs of ruthless oil baron J. Paul Getty, sent for Christmas. Poor fit. Wrong color. Not my style. The ritual gave her an excuse to return the gifts and use the store credit on presents for her children she placed under the tree.

California’s 41st governor, a possible suitor for the White House, opens up about the duality of his upbringing in his new book. Newsom details the everyday struggle living with his mom after his parents divorced and occasional interludes into his father’s life charmed by the Gettys’ affluence, including that day when the Gettys outfitted him in designer clothes at a luxury department store.

“I walked out understanding that this was the split personality of my life,” Newsom writes in “Young Man in a Hurry.”

For years, Newsom asserted that his “one-dimensional” public image as a slick, privileged politician on a path to power paved with Getty oil money fails to tell the whole story.

“I’m not trying to be something I’m not,” Newsom said in a recent interview. “I’m not trying to talk about, you know, ‘I was born in a town called Hope with no running water.’ That’s not what this book is about. But it’s a very different portrayal than the one I think 9 out of 10 people believe.”

As he explores a 2028 presidential run and basks in the limelight as one of President Trump’s most vociferous critics, the book offers the Democratic politician a chance to write his own narrative and address the skeletons in his closet before opponents begin to exploit his past.

A book tour, which is set to begin Feb. 21 in Nashville, also gives Newsom a reason to travel the country, meet voters and promote his life story without officially entering the race. He’s expected to make additional stops in Georgia, South Carolina, New York, San Francisco and Los Angeles.

The governor describes the book as a “memoir of discovery” that sent him interviewing family members and friends and digging through troves of old documents about his lineage that his mother never spoke about and his father smoothed over. Learning about his family history, the good and the bad, Newsom said, helped him understand and accept himself. Mark Arax, an author and former Los Angeles Times journalist, was his ghostwriter.

“I’ve changed the opinion of myself,” Newsom said when asked if he believed the book would revise his glossy public image. “It kind of rocked so many parts of my life, and kind of cracked things open. And I started to understand where my anxieties come from and why I’m overcompensating in certain areas.”

Newsom writes that his interest in politics brought him and his father, William, closer. His mother, Tessa, on the other hand, didn’t share his father’s enthusiasm.

She warned him to get out while he still could, worried her only son would eschew his true self.

“My mother did not want that world for me: the shrewd marriage of tall husbands and tall wives that kept each year’s Cotillion Debutante Ball stocked with children of the same; the gritted teeth behind the social smiles; the spectator sport of who was in and who was out based on so-and-so’s dinner party guest list,” Newsom wrote.

At the heart of her concern was her belief that Newsom’s “obsessive drive” into business and politics was in response to his upbringing and an effort to solve “the riddle” of his identity from his learning disorder, dyslexia, and the two different worlds he inhabited.

“As I grew up trying to grasp which of these worlds, if either, suited me best, she had worried about the persona I was constructing to cover up what she considered a crack at my core,” Newsom writes. “If my remaking was skim plaster, she feared, it would crumble. It would not hold me into adulthood.”

Newsom’s mother was 19 years old when she married his father, then 32. He learned through writing the book that his mother hailed from a “family of brilliant and daring misfits who had carved new paths in botany and medicine and left-wing politics,” he writes.

There was also secret pain and struggles with mental health. His maternal grandfather, a World War II POW, turned to the bottle after returning home. One night he told his three young daughters to line up in front of the fireplace so he could shoot them, but stopped when his wife walked in the door and took the gun from his hand. He committed suicide years later.

Newsom’s father’s family was full of more traditional Democrats and Irish Catholic storytellers who worked in banking, homebuilding, law enforcement and law. Newsom describes his paternal grandfather as one of the “thinkers behind the throne” for former California Gov. Edmund “Pat” Brown, but his family never held public office despite his dad’s bids for the San Francisco Board of Supervisors and the California Legislature.

The failed campaigns left his father in financial and emotional turmoil that crippled his marriage when Newsom was a small boy. A divorce set the stage for an unusual contrasting existence for the would-be governor, offering him brief exposures to the wealth and power of the Gettys through his dad.

Newsom said he moved casually between the rich and poor neighborhoods of San Francisco as a boy.

“It was a wonder how effortlessly I glided because the two realms of my life, the characters of my mother’s world and the characters of my father’s world, did not fit together in the least,” Newsom writes.

Mayor Gavin Newsom and his dad, Judge William Newsom, have lunch at the Balboa Cafe in San Francisco.

(Christina Koci Hernandez / San Francisco Chronicle via Getty Images)

Though William Alfred Newsom III went on to become an appellate court justice, Newsom’s father was best known for his role delivering ransom money to the kidnappers of J. Paul Getty’s grandson. He served as an adviser to the family without pay and a paid administrator of the $4 billion family trust.

The governor wrote in the book that the ties between the two families go back three generations. His father was close friends with Getty’s sons John Paul Jr. and Gordon since childhood when they became like his sixth and seventh siblings at Newsom’s grandparents’ house.

Gordon Getty in particular considered Newsom’s father his “best-best friend.” Newsom’s dad helped connect the eccentric music composer “to the outside world,” the governor wrote.

“My father had this way of creating a safe space for Gordon to open up,” Newsom writes. “He became Gordon’s whisperer, his interpreter and translator, a bridge to their friends, a bridge to Gordon’s own children.”

San Francisco Mayor Gavin Newsom and his sister, Hilary Newsom, in a promotional portrait for the Search for the Cause campaign, which raises funds for cancer research, on Nov. 21, 2025.

(Caroline Schiff/Getty Images)

His father’s friendship with Gordon Getty exposed Newsom and his younger sister, Hillary, to a world far beyond their family’s own means. Gordon’s wife, Ann, and Newsom’s father organized elaborate adventures for the Gettys’ four sons and the Newsom children.

Newsom describes fishing on the Rogue River and riding in a helicopter while studying polar bears on the shores of the Hudson Bay in Canada. He recalled donning tuxedos and carrying toy guns pretending to be James Bond on a European yacht vacation and soaring over the Serengeti in a hot air balloon during an East African safari.

Throughout his travels, Newsom often blended in with the Gettys’ brown-haired sons. He wrote that the actor Jack Nicholson once mistakenly called him one of the “Getty boys” at a party in a 16th-century palazzo in Venice where guests arrived via gondola. Newsom didn’t correct him.

“Had I shared this encounter with my mother, she likely would have asked me if deception was something I practiced whenever I hobnobbed with the Gettys,” Newsom said in the book. “Fact is, I was always aware of the line that separated us from the Gettys. Not because they went out of their way to make us aware of it but because we, as good Newsoms, paid constant mind to the distinction.”

Newsom wrote that his mother seemed to begrudge the excursions when her children returned home. She raised them in a much more ordinary existence. Newsom describes his father’s presence as “episodic.”

“For a day or two, she’d give us the silent treatment, and then we’d all fall back into the form of a life trying to make ends meet,” he wrote. “After enough vacations came and went, a cone of silence took hold.”

Newsom’s mother worked as an assistant retail buyer, a bookkeeper, a waitress at a Mexican restaurant, a development director for a nonprofit and a real estate agent — holding as many as three jobs at once — to provide for her children. His mother’s sister and brother-in-law helped care for them when they could, but he likened himself to a latchkey kid because of the amount of time he and his sister spent alone.

They moved five times in 10 years in search of a “better house in a better neighborhood” with good schools, taking the family from San Francisco to the Marin County suburbs. Though his mother owned a home, she often rented out rooms to bring in extra money.

Tired of his mother complaining about finances and his father not coming through, Newsom wrote that he took on a paper route.

In the book, Newsom describes his struggles with dyslexia and how the learning disorder undercut his self-esteem when he was an emotionally vulnerable child.

Eager to make himself something more than an awkward kid with sweaty palms and a bowl haircut who couldn’t read, Newsom mimicked Remington Steele, the suave character on the popular 1980s detective show. He chugged down glassfuls of raw eggs like Sylvester Stallone in “Rocky” and ran across town and back like a prizefighter in training.

He found confidence in high school sports, but his struggle to find himself continued into young adulthood. Newsom wrote that he watched tapes of motivational guru Tony Robbins and heeded his advice to remake yourself in the image of someone you admire. For Newsom, that became Robbins himself.

“Find a person who embodies all of the outward traits of personality, bearing, charisma, language, and power lacking in yourself,” Newsom described the philosophy in the book. “Study that person. Copy that person. The borrowed traits may fit awkwardly at first, but don’t fret. You’ll be surprised by how fast the pose becomes you, and you the pose.”

His father scoffed at the self-help gurus and nurtured his interest in business.

More than a half-dozen friends and family members, including Gordon Getty, invested equal shares to help him launch a wine shop in San Francisco. Newsom named the business, which expanded to include restaurants, hotels and wineries, “PlumpJack,” the nickname of Shakespeare’s fictional character Sir John Falstaff and the title of Gordon Getty’s opera.

“Gordon’s really inspired me to be bolder and more audacious. He’s inspired me to be more authentic,” Newsom said. “The risks I take in business … just trying to march to the beat of a different drummer and to be a little bolder. That’s my politics. But I also think he played a huge role in that, in terms of shaping me in that respect as well.”

Newsom described Gordon and Ann Getty as like family. The Gettys also became the biggest investors in his wineries and among his largest political donors.

In an interview, Newsom said there are many days when he feels his mother “absolutely” was right to worry about the facade of politics and the mold her son stuffed himself into.

Gavin Newsom heads for his home neighborhood on Nov. 3, 2003, to cast hisvote for San Francisco mayor.

(Mike Kepka / San Francisco Chronicle via Getty Images)

He described the day the recall against him qualified for the ballot amid the COVID-19 pandemic as humbling and humiliating, though it later failed by a wide margin. Still today, he said, there’s a voice in his head constantly questioning why he’s in politics, what he’s exposing his wife and children to and doing with his life.

By choosing a career as an elected official despite his mother’s warnings, Newsom ultimately picked his father’s world and accomplished his father’s dream of taking office. But he said the book taught him that so much of his own more gutsy positions, such as his early support for gay marriage, and his hustle were from his mother.

Newsom said he’s accepted that he can’t control which version of himself people choose to see. Writing the book felt cathartic, he said, and left him more comfortable taking off his mask.

“It allowed me to understand better my motivations, my purpose, my meaning, my mission… who my mom and dad were and who I am as a consequence of them and what truly motivates me,” Newsom said. “There’s a freedom. There’s a real freedom. And it’s nice. It’s just so much nicer than the plaster of the past.”

In its opening credits, Oscar-winning director Emerald Fennell’s “Wuthering Heights” self-identifies as “based on the novel by Emily Brontë.”

Yet as Fennell has proved in a slew of interviews about the already polemical film, released Friday, the relationship between Brontë’s Gothic epic and its latest adaptation is more complicated than that.

Penned by a young female author perpetually adrift in the dark world of fantasy, “Wuthering Heights” is a transgressive novel today and was exponentially more so at the time of its publication in 1847. Its protagonists are vengeful, and its romances — including Catherine Earnshaw (Cathy) and Heathcliff’s — are ridden with violence, both psychological and physical. While Fennell’s film anchors itself in Brontë’s narrative landscape, it also takes creative liberties in service of approximating the director’s personal experience reading it as a teen.

Whereas Brontë’s novel contains “mere glimmers of physical intimacy,” Fennell’s picture is erotic, laden with steamy scenes inserted from the director’s imagination.

“They’re part of the book of my head,” Fennell recently told The Times. “I think they’re part of the book of all of our heads.”

Some book purists beg to differ with Fennell’s interpretation. Well in advance of the film’s release, the director was criticized for casting her former “Saltburn” collaborator Jacob Elordi as Heathcliff, who is repeatedly described throughout Brontë’s novel as non-white. Brontë fans have also accused the director of reducing a complex work rife with social critique into a popcorn romance.

Perhaps anticipating such backlash, Fennell in a recent interview with Fandango explained her decision to enclose the film’s title in quotation marks, saying, “You can’t adapt a book as dense and complicated and difficult as this book.”

“I can’t say I’m making ‘Wuthering Heights.’ It’s not possible,” the director said. “What I can say is I’m making a version of it.”

Here are seven ways Fennell’s interpretation of “Wuthering Heights” differs from its source material.

Fennell’s Heathcliff is white

Brontë’s “Wuthering Heights” leaves Heathcliff’s racial identity ambiguous, with characters referring to him as a “gipsy brat,” “lascar” and “Spanish castaway” at different points throughout the novel. But one thing is clear: He is not white.

As the Lousiana State Unversity professor Elsie Michie writes in the academic journal article, “From Simianized Irish to Oriental Despots: Heathcliff, Rochester and Racial Difference,” Heathcliff’s racial othering is how “he becomes, for others, a locus of both fear and desire.” In other words, Heathcliff’s role in the novel, and thus his fraught romance with Cathy, is predicated upon his non-white identity.

Fennell’s film instead relies on class differences — and a meddling Nelly (to be discussed later) — to form the rift between its love interests.

Cathy’s brother dies young

When Mr. Earnshaw presents a young Cathy with her companion-to-be early in the film, she declares that she will name him Heathcliff, “after my dead brother.”

For the remainder of the film, Brontë’s character Hindley Earnshaw is subsumed into Mr. Earnshaw. Rather than Hindley, it is Mr. Earnshaw who devolves into the drunk gambling addict whose vices force him to cede Wuthering Heights to Heathcliff. Mr. Earnshaw’s abuse of young Heathcliff in the film makes the latter’s revenge plot more personal than his book counterpart’s against Hindley.

Cathy meets Edgar Linton as an adult

In Brontë’s novel, Cathy and Heathcliff first encounter their neighbors, the Lintons, after an outdoor escapade gone awry. Cathy gets bitten in the ankle by an aggressive dog and stays at the Lintons’ for a few weeks to heal.

Cathy sustains a similar injury in the film, but this time, she’s an adult woman, who falls from the Thrushcross Grange garden wall after attempting to spy on its grown residents Edgar and Isabella. (In the book, the two are siblings. Here, Isabella is referred to as Edgar’s “ward.”)

Aside from providing some comic relief, Fennell’s revision also fast-tracks the marriage plot that severs Cathy and Heathcliff.

Nelly is a meddler, and a spiteful one

Whereas Brontë writes Nelly as a largely passive narrator, Fennell abandons the frame narrative structure altogether and instead fashions the housekeeper into a complex character with significant control over Cathy’s life.

It is she who ensures Heathcliff overhears Cathy as she laments how marrying him would degrade her, causing him to flee Wuthering Heights and leave Cathy to marry Edgar. Nelly’s ploy comes shortly after Cathy demeans the housekeeper, claiming that she wouldn’t understand Cathy’s predicament given she’s never loved anyone, and no one has ever loved her. Thus, Nelly is characterized as vengeful toward Cathy — although, as the latter lies in her death bed, the two share a brief moment that complicates their relationship to each other.

Regardless, Fennell gives Nelly and Cathy’s relationship psychological depth that Brontë’s novel doesn’t seem to afford them.

Cathy and Heathcliff have sex (and a lot of it)

Brontë’s Cathy and Heathcliff never explicitly (in the text) consummate their professed undying love, save for a few kisses just before Cathy breathes her last.

Fennell’s “Wuthering Heights,” on the other hand, grants them an entire Bridgerton-style sex montage — they even get hot and heavy in a carriage. It’s nearly impossible to keep count of the “I love you”s exchanged during the pair’s rendezvous.

These smutty sequences certainly validate the Valentine’s Eve release.

Isabella is a willing submissive

One particular still of Alison Oliver’s Isabella is already making the rounds online, and for good reason. The shot, which depicts the young woman engaging in BDSM-style puppy play, is a stark contrast to Brontë’s characterization of Isabella as a victim of domestic violence.

In Brontë’s book, Isabella marries Heathcliff naively believing he might shape up into a gentleman and flees with their son when she realizes that is out of the question. In the film, Heathcliff is clear from their first romantic encounter that he does not love Isabella, will never love her and pursues her only to torture Cathy — and the young woman still chooses to be with him.

There is no second generation

Perhaps Fennell’s most glaring diversion from her source material is her complete omission of the second half of Brontë’s novel, which centers on a second generation comprised of Cathy and Edgar’s daughter Catherine Linton, Heathcliff and Isabella’s son Linton Heathcliff and Hindley and his wife Frances’ son Hareton Earnshaw.

In her introduction to the Penguin Classics edition of “Wuthering Heights,” Brontë scholar Pauline Nestor writes that many literary critics interpret the novel’s latter half as “signifying the restoration of order and balance in the second generation after the excesses and disruption of the first generation,” while others contend the violence that stains Cathy and Heathcliff’s relationship is bound to be replicated by their children. Either way, the structure of Brontë’s novel encourages readers to interpret each half through the lens of the other.

Fennell’s film instead ends where Brontë’s first act closes, hyper-focused on Cathy and Heathcliff. In the same way the doomed lovers see each other, Fennell figures them as the center of the world.

AS millions tune in to watch this year’s Winter Olympics in Milan, it is inspiring Brits to try out some of the sports for themselves.

Ski chalet specialist, Ski Beat, report a post-Games flurry with a spike in traffic during the global event.

According to Ski Beat’s Laura Hazell: “100 years ago, the Chamonix Winter Olympics inspired Brits to try out skiing for the first time – in fact the origins of modern-day ski holidays can be traced back to those early days.

“The same effect is true today. Throughout the competition we see spikes in website traffic.

“There’s a real buzz, with many people who have never skied engaging in the sport, our phones are busier, and we this year we expect that what is already a good ski season will continue right into April.”

According to Inthesnow.com, the UK’s leading ski and snow sports website and magazine, spending in Europe’s winter sports destinations is up 14.3% year-on-year, with France, Italy and Austria among the strongest performers.

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France remains the most popular destination for UK skiers, accounting for almost half of British ski trips.

Nearly seven in ten Brits say the Winter Olympics inspire them to try winter sports, and 45 per cent say their interest has increased over the past decade.

Around a third of UK adults booked a winter sports experience in the last year, with most choosing to travel abroad rather than stay in the UK.

The good news? There is no need to wait for next winter’s snow globe to settle as there’s still time to ski this season – and arguably the best weeks are just ahead.

Laura continued: “Spring skiing is the Alps’ best-kept secret. As the mercury softens, so do the prices, with late season deals on ski holidays making high-altitude getaways more attainable.

“The weather is kinder too: bluebird mornings, sunnier terraces, and longer daylight hours that stretch skiing well into the afternoon.

“With the half-term crowds gone, lifts hum more quietly and pistes feel wider, creating a relaxed rhythm that suits beginners finding their edges and families enjoying the snow together.

“Add in mountain restaurants serving lunch in shirtsleeves and you have a late season winter holiday that’s less about bracing for the cold and more about all about basking in the glow of it all.”

Skiing in February post the half term holidays means you can make the most of the tail end of the winter chill.

Wrap up well and go high altitude for the best snow where pistes and lifts are fully open.

If you wan to go in March, days are lengthening, temperatures rising and layers and outerwear can be lighter.

Pistes will be busier over Easter, which is around March 28 , so don’t hang around if school holiday dates are important.

If not, plan in a week mid-month for optimum conditions and fewer crowds.

But skiing in April is just as fantastic. There is plenty of ski mileage to be had, aim high (above 2000m is ideal) and enjoy more daylight hours, long, lazy days, bluebird skiing, and lower ski holiday prices.

High factor sun cream and anti UV eye-protection are essential, pack a few t-shirts and lighter layers too, but be ready to layer up when the sun goes down.

Here are some of Ski Beat’s top last minute deals to sneak in one last ski holiday this year.

February 21: 7 nights La Plagne, £994pp (saving £304pp)

Includes a chalet host to prepare breakfast, afternoon tea and three course evening meals with wine, return Gatwick flights and transfers, based on two sharing a twin or double ensuite room at Ski Beat’s Chalet Sorbier.

February 28 : 7 nights skiing in French Alps, £1143pp (saving £136pp)

Includes return Gatwick flights, transfers and accommodation at high altitude Chalet Gentiane in Plan Peisey, with a chalet host to prepare breakfast, afternoon tea and three course evening meals with wine, based on two sharing a twin or double ensuite room.

March 21 : 7 nights in Three Valleys resort, £999pp (saving £98pp)

Incudes accommodation in Chalet Vallon Blanc in La Tania. Prices include a chalet host to prepare breakfast, afternoon tea and three course evening meals with wine, based on two sharing a twin or double ensuite room, return Gatwick flights and transfers.

Or fly on March 7 and March 14 for £1125pp, saving £100pp.

April 11: 7 nights in La Rosiere for £716pp (saving £307pp)

Ski Beat’s has 30 per cent off April 11 ski holiday departures.

Staying in Chalet Perdrix in high altitude La Rosiere on the French/Italian border, includes return Gatwick or Manchester flights, a chalet host to prepare breakfast, afternoon tea and three course evening meals with wine, based on two sharing a twin or double ensuite room.

However, be wary of booking any ski holidays that seem too good to be true for the price.

Laura warned: “With skiing it’s all about value, rather than price.

“Bargain ski holidays can result in an inferior lift infrastructure, a resort that’s in the valley and requires buses or lifts before the skiing even starts, or lower altitude skiing where the snow is less reliable, especially late season.”

Other top ski tips include:

• Choose a high-altitude resort with reliable late-season cover
• Look for resorts with north-facing pistes that retain the snow longer
• Line up lessons in advance to build confidence from the first glide
• Warm up before departure, with time in an indoor ski slope to acclimatise
• Plan in a few visits to the gym, some power walks, or home exercise to get muscles in tone
• Check out spring packages inclusive of flights, transfers, accommodation and meals.
• Pack lighter layers and outerwear for sunnier slopes
• Invest in UV-protective sunglasses and goggles to protect against sun and snow glare
• Cover up with top-tier SPF defence to keep skin totally protected on bluebird days
• Start early, linger late, make the most of firmer morning snow then ease into long lunches on sunny terraces once the slopes soften.
• Book slopeside accommodation, a ski chalet close to ski schools, lifts and kindergartens is ideal, with a chalet host to point skiers in the right direction.
• Weigh up the advantages of catered accommodation; save time, money and energy on shopping, and let someone else do the cooking, cleaning and catering.

Ski Beat’s Laura Hazell adds, “While the aspiration to fly like an Olympiad is still fresh in mind, make the medal-winning moments a cue, not just an inspiration.

“The mountains are still very much open for business right until the end of April, and there’s no better time to answer their call.”

Recently released video shows the butler of Jeffrey Epstein trying to sell a supposed list of victims and clients during an FBI sting in 2009, revealing details of the billionaire’s operations well before the public became aware over a decade later.

Emerald Fennell’s adaptation of “Wuthering Heights” could only have been created by a true fan. The British filmmaker wanted to evoke her youthful experience reading Emily Brontë’s 1847 novel when she was 14, which she describes as “the most physical emotional connection I’ve ever had to anything.” Her bodice-ripping, visually sumptuous version, in theaters Friday, incorporates some essential literary elements, but also imagines what’s in between the lines of Brontë’s writing, including sultry moments between the protagonists.

“I’m fanatical about the book,” Fennell says. She’s speaking over Zoom alongside Margot Robbie, who stars as Catherine Earnshaw (and who also produced the film), and Jacob Elordi, who plays Heathcliff. “I’m as obsessive about Emily Brontë as everyone else. She gets inside you.”

The director, 40, recalls going to the Brontë Festival of Women’s Writing in West Yorkshire, England, in 2025 and feeling completely at home. “I was like, ‘These are my chicks,’” Fennell says. “We all want to sleep in a coffin.” Robbie laughs, despite likely having heard the story before.

“We are, all of us, breathless, up against a rock,” Fennell continues, referencing a particularly evocative scene she imagined for her film. “I care so deeply about this that I couldn’t hope to ever make a perfect adaptation because I know my own limits.”

Margot Robbie and Jacob Elordi in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

What she could do is make a film that recalled the visceral feeling of reading the novel as a teen. “That would mean it had a certain amount of wish fulfillment,” she admits. The novel is famously austere, with mere glimmers of physical intimacy. “The Gothic, to me, is emotional and it’s about the world reflecting everyone’s interior landscape. This is my personal fan tribute to this work.”

“Wuthering Heights” marks the third collaboration between Robbie’s production company, LuckyChap Entertainment, and Fennell. Robbie, 35, produced Fennell’s 2020 feature debut “Promising Young Woman,” which earned Fennell the Oscar for original screenplay, and 2023’s class-envy thriller “Saltburn.” Her style is confrontational and seemingly fearless, often provoking hugely divergent reactions from critics and fans. She’s a filmmaker who goes full-on.

Despite their history, however, Robbie had never acted in one of Fennell’s films.

“When I read this script, I did find I was putting myself in Cathy’s shoes and reading the lines and thinking, ‘How would I play it?’” Robbie says. “I do that often when reading scripts, but my heart sank when thinking about the casting. So I threw my hat in the ring.”

Margot Robbie in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

“It’s a bit like asking your friend to date you,” Fennell chimes in. “It’s taking something a step in a different direction. You don’t want to be the person who blows up the thing that you have that works so well. But I was desperate for Margot to play Cathy. I was so relieved that it was her who made the first move.”

Fennell did make the first move with Elordi, 28, recently Oscar-nominated for his monster in Guillermo del Toro’s “Frankenstein.”

“Emerald texted me and said, ‘Do you want to be Heathcliff?’” Elordi recalls. “That was it. I said, ‘Yeah.’ And then when she gave the screenplay, I read it and wept. That’s how you dream of making movies.”

Not only did Elordi look like the version of Heathcliff on the cover of Fennell’s edition of the novel, but she had witnessed his potential for the role while making “Saltburn.”

Jacob Elordi in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

“Felix is a character who does something awful in every scene,” Fennell explains of Elordi’s charismatic rich boy in “Saltburn.” “But it needed somebody who could make everyone in the audience forget that. And Jacob was the only person who came in and did that. Heathcliff is an extreme antihero. He’s cruel and he’s violent and he’s relentless and he’s vengeful and he’s spiteful. Jacob has a sensitivity and tenderness and groundedness that makes us forgive all that.”

Fennell knew the film hinged on the casting of Cathy and Heathcliff, two iconic literary characters who have been portrayed by a multitude of actors over the years, including Laurence Olivier, Juliette Binoche and Ralph Fiennes. It’s been broadly debated whether the novel actually is a love story between the snobbish Cathy and the glowering Heathcliff. For some, it’s a tale of toxic fixation, for others a revenge plot or a tragedy. But Fennell’s version is undeniably a big-screen romance.

“We were looking for outsized charisma and outsized talent, people like Burton and Taylor,” director Emerald Fennell says. “A combination of actors who are explosively brilliant. And it’s these two.”

(Shayan Asgharnia / For The Times)

“We were looking for outsized charisma and outsized talent, people like Burton and Taylor,” Fennell says of the classic onscreen pairing of Richard Burton and Elizabeth Taylor, famously tumultuous. “A combination of actors who are explosively brilliant. And it’s these two.”

“That’s the coolest thing to say,” Elordi says, covering his face with his hands. “This after years of hearing nothing,” he quips. (Fennell says she is sparing with praise.)

“Wuthering Heights” reunites several of Fennell’s repeat collaborators. Actor Alison Oliver, who appeared in “Saltburn,” plays Isabella Linton, Edgar’s ward who becomes a problematic fixation for Heathcliff, and the filmmaker reteamed with cinematographer Linus Sandgren, production designer Suzie Davies and editor Victoria Boydell. Fennell also brought in new faces, including Hong Chau as Nelly Dean, Cathy’s companion, and Shazad Latif as wealthy businessman Edgar Linton. She and Robbie aimed to create a creatively safe set.

“It’s very exposing, especially for the actors,” Fennell says of making an audacious film like this. “You need to be able to forget that and feel that you have the ability to make mistakes and try something different.”

Fennell’s direction was often unexpected.

“I remember she prepped us for the long table scene and said, ‘It needs to come to life,’” Elordi says. “Heathcliff was brooding but she said, ‘What if he wasn’t brooding?’ All of a sudden there was this electricity at the table. As an actor, that pushes me out of my comfort zone. And every time it works.”

“What I like about working with Emerald is: I like going too far,” Robbie agrees. “My instinct is to go really hard and then have someone tell me to pull it back. She rarely tells me to pull it back. She wants the maximalist version and I relish that. She would say, ‘Now you’re in a sensible period film.’ And then she’d say ‘Now do it like you’re Ursula the sea witch.’”

That was the take that made the final cut. “Part of it is there,” Fennell confirms. “Usually I use only a little moment of something but that’s the crucial one. Because we’re all so crazy in life, aren’t we?”

“And Cathy so is Ursula the sea witch,” Robbie says.

“She’s such a little sea witch,” Fennell agrees.

Fennell’s reimagining of “Wuthering Heights” amps up the existing emotions in the novel. She abridges its plot, removing the second-generation narrative that bookends Brontë’s writing. The torment of Cathy’s abusive brother shifts to the hands of her father, played by Martin Clunes.

Meanwhile, the longing between Cathy and Heathcliff, who can’t be together due to his lowly station and her spiteful decision to marry the wealthy Linton, accelerates dramatically into fervid sex scenes. The doomed couple erotically embrace on the Yorkshire Moors, in the back of a carriage and even inside her bedroom at Thrushcross Grange — all moments that are not part of the book.

Margot Robbie in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

“They’re part of the book of my head,” Fennell says, adamantly. “I think they’re part of the book of all of our heads. With all the love and respect and adoration I have for the book, I also wanted to make my own version that I needed to see.”

“It is totally that wish fulfillment,” Robbie says. “And if you can’t have the wish fulfillment in movies, where are you going to get it?”

Fennell imbued the film with tactile visuals that evoke the sexual tension between Cathy and Heathcliff. There are close-ups of hands kneading dough, a snail sliming its way up a window and Cathy prodding a jellied fish with her finger. The director tested numerous fish before selecting the one that is seen onscreen.

“Why I love working with these guys so much is we’re all detail perverts,” Fennell says. “I am obsessed with every single thing. That fish that Margot fingered — I fingered about 50 different fish before then. Tiny fish, big fish, fake fish, jelly that was wet, jelly that was soft, jelly that was firm.”

“You think she’s joking but she’s not,” Robbie says.

“My finger smelled so bad the whole time that we were making this movie,” Fennell adds.

Ultimately, though, it was the best possible fish. “We did the takes with a couple of fish, but we all knew the right one when it happened,” Robbie says of the scene, which mirrors the sexual disappointment in Cathy’s marriage. “We all felt it in the same moment. Everyone went, ‘That’s it.’”

Jacob Elordi and Margot Robbie in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

The film’s aesthetic is bold and brash, featuring brilliantly hued red floors and walls designed to look like Cathy’s freckled skin. It lands somewhere between Disney fairy tale, ’80s romance paperback art and old Hollywood glamour. Atmospheric mist pours across every scene. The estate of Wuthering Heights is foreboding and dark, with rocks splintering through the walls, while Linton’s Thrushcross Grange bears a Victorian aesthetic, containing the outside world. “It’s nature coming in and nature being kept out,” Fennell says. “And it’s about what that means emotionally and metaphorically for the story and for these characters.”

There is purposefully no adherence to historical accuracy, particularly in the costumes. Designed by Jacqueline Durran, the wardrobe was elaborately wild to underscore emotional truths rather than period relevancy.

“You couldn’t not scream,” Robbie says about trying on each piece. “And then Emerald would come up with a platter of jewels and start decorating me like a Christmas tree.”

“There was so much screaming every day,” Fennell says. “I always want people to have permission to go too far, to do something that’s in bad taste, that’s not subtle. I’m really interested in pushing until that squeaking point where you’re like, ‘OK, that’s too far.’ It takes a lot of bravery to do that.”

Even Elordi joined in the excitement. “I was screaming at all the dresses,” he says. “Margot and Alison’s dressing rooms flanked me so I’d often get caught in the hallway.”

Although the world of the movie is heightened and beautifully garish, the romance is more grounded. You can feel how desperate Cathy and Heathcliff are for each other in their own twisted way, and despite their horrible machinations you want them to be together. The film ends differently from the novel, but it shares with it a sad inevitability.

Fennell inherently understood what makes these characters so desirable.

“I was led by my own feelings,” she says. “On set, we were all trying to find that thing that made us get goosebumps. One of the earliest scenes we shot was where Heathcliff breaks the chair to build Cathy a fire.”

To help a shivering Cathy, Heathcliff rises from his wooden seat, smashes it on the floor and tosses the pieces into the fireplace. It’s a moment of devotion from Heathcliff, but triggers a lustful response in Cathy.

“I looked around and all of these professionals, women and men, were agape. Everyone felt the same way as Cathy. That’s what I was looking for every day.”

“He actually broke the chair,” Robbie says. “Cathy’s reaction is my genuine reaction.”

Elordi understood the challenge of embodying such an iconic character, who has existed both on the page and on the screen for generations. He also didn’t want to let Fennell down.

“I knew how personal the story was to Emerald and I knew the screenplay that she had written was extremely good, but I was like ‘What makes you think I can do this?’” Elordi remembers. “I had a lot of nerves but I jumped into it. This is a director you’re really able to give everything to. The images that come from her head are so unique and singular. The first time I watched ‘Saltburn’ with her, I sat back and I realized I was in the presence of something truly great and original. To be able to investigate with her two times is a gift.”

Says Robbie, “My hope is always: There’s got to be one person that watches this movie and thinks ‘That’s my favorite of all time.’ I want to make a movie that is someone’s favorite movie of all time and I’ll know how much that means to them. That it might save them in whatever ways movies can save you.”

Fennell’s “Wuthering Heights” shudders with feeling. And however audiences perceive it, its maker has done exactly what she intended.

It turns out timing does matter, with a TikTok travel expert revealing that even a few minutes can make the difference between overpaying and bagging a bargain.

Ever wondered when the best time of day is to book a holiday? A TikTok travel expert has the answer — and his viral video is doing the rounds online.

Rob, known as @robonthebeach online, has built a reputation for clever holiday hacks that save travellers money, but on of his more recent tips is truly ground-breaking. In a clip posted last month, he revealed the best and worst times to book, and the results might just surprise you.

In the video, Rob — who says he “works in travel and looks through holiday data every single day” — explains that timing isn’t just important by the day or week, but down to the hour and even the minute. This is a big win for the night owls!

“According to the data, the most expensive time to book a holiday is between 9 and 10am in the morning,” he said. That’s the dreaded office-hour scroll, and it could be costing travellers dearly.

Rob claims bookings made in that hour were around 30% more expensive than those made at the cheapest time of day. His advice? “No more booking holidays as soon as you get to the office.”

The cheapest time, however, comes much much earlier: “[It’s] early morning, like really early morning, between 4 and 5 am”. He explains how airline pricing systems effectively reset overnight as demand from the previous day drops off, pushing prices closer to their base level before creeping back up as searches increase throughout the day.

And for those searching for the ultimate saving, Rob revealed the exact time where prices are at their lowest: “The single cheapest minute to book a holiday is 2.48am,” he noted. Booking at that precise moment was, on average, 60% cheaper, though he stressed this won’t magically slash the price of each and every trip.

If you’d rather not set a 4am alarm, Rob points out there are other cheaper times, including late evening between 8pm and 10pm, which is still noticeably cheaper than the morning rush.

The video sparked a wave of reactions online, with one user confirming: “On those insomnia nights, can confirm the early hours are cheap,” while a second joked: “Now everyone is going to book at this time and it won’t be cheap anymore.”

Others offered additional tips, including: “Remember to clear your cache,” as another summed it up with “cheap as chips, fair play”.

Brits are certainly keen holiday bookers. Research from YouGov shows that around 35% of UK travellers book their holidays one to three months in advance, while a further 23% book four to six months ahead.

While data from IPA suggests the average UK adult books a holiday roughly 17 weeks before travelling, with online bookings now dominating. ABTA claims that around 78% of adults take at least one holiday each year.

How did a gay hockey romance made by a little-known Canadian streamer become a global cultural phenomenon?

The answer, as it turns out, was by leaning into female and queer audiences. Since the debut last November of “Heated Rivalry,” which chronicles the clandestine love story between two fierce hockey rivals, the drama series from Bell Media’s Crave has emerged as an unlikely success story, defying a broader industry trend of media consolidation and waning commitments to diversity in Hollywood.

The mastermind behind the show’s success is Jacob Tierney, who read author Rachel Reid’s “Game Changers” series during the COVID-19 pandemic and then optioned all of the books after reading a Washington Post story about the proliferation of romance novels. After writing a pilot on spec, he approached the executives at Crave — where he had previously produced “Letterkenny,” “Shoresy” and “Canada’s Drag Race” — about green-lighting a series. From the outset, the gay writer-producer had a clear idea of how he wanted to adapt the “smutty” story for TV, starting with casting relative newcomers Hudson Williams and Connor Storrie as Shane Hollander and Ilya Rozanov, respectively.

“Jacob was very open to our feedback, but his common [refrain] back to us was, ‘We need to be true to the source material because the built-in fan base will expect certain things from us, and that includes the appearances of these actors and their ages,’” says Justin Stockman, Bell Media’s VP of content development and programming. “He’s like, ‘We found them. These are the people from the book.’ And that’s where we had to trust him.”

Brendan Brady, Tierney’s producing partner through their Accent Aigu Entertainment banner, notes that the Canadian TV model diverges from the American one, in that the producer retains ownership of the IP while collecting a licensing fee from the broadcaster. To fund the series, Tierney and Brady reinvested their personal fees to cover about 10% of the budget, while another 30% was sourced from tax credits. This included the Canada Media Fund, a resource derived from government and industry contributions that national broadcasters can allocate at their discretion. The rest of the financing usually comes from third parties.

But Tierney recalls that the notes from potential financiers did not align with his creative vision. Some wanted to delay the graphic depictions of gay sex and expand the world to include more characters. Someone even suggested introducing Rose Landry (Sophie Nélisse) earlier and putting her in a love triangle with Shane and Ilya, because they believed “this show won’t work without a female entry point,” Tierney recalls. Ultimately, Bell Media opted against a co-financier, instead covering the remaining costs through its new distribution branch, Sphere Abacus. But, Brady says, the budget was still “far south” of CA$5 million (approximately $3.6 million) per episode. “It’s so much less than that, it’s almost silly,” Tierney adds.

Sean Cohan, an American executive who worked at A&E Network and Nielsen before being appointed president of Bell Media, does not think “Heated Rivalry” could have been made in the U.S. For starters, “green-lighting” stateside is a “slower” process; Tierney could have been stuck in development hell for years. The show also contains numerous Canadian references — cottage country, loons, McGill University — which would have not made sense outside of the Great White North.

From left, stars Connor Storrie and Hudson Williams, creator Jacob Tierney and executive producer Brendan Brady on the set of “Heated Rivalry.”

(Sabrina Lantos)

For his part, Tierney doesn’t believe that “Heated Rivalry” would have even been made at another Canadian network or streamer. “There’s lots of ways to put your fingers in and get them sticky and screw things up, and these executives wanted the same show that we wanted to make and they supported us 100%,” he says. Those executives were so confident in the show’s success that they decided to move up the premiere date from February to late November to take advantage of the increase in viewership around the holidays. The accelerated release schedule meant that Tierney delivered his cut of the Season 1 finale a week and a half before it aired.

At the time of our interview, Tierney was already trying to break the story for Season 2, which he and Brady say will not premiere until spring 2027. “As much as I appreciate how rabid and interested people are at this point, the first season worked because I trusted my gut with this, and I’m going to do that again,” Tierney says.

Like the audience, Bell Media executives are waiting with bated breath for the next chapter of “Heated Rivalry.” And given that Accent Aigu has optioned all of the “Game Changer” novels (including Reid’s forthcoming “Unrivaled”), everything is on the table — more episodes or seasons, one-off specials, maybe even a spin-off. “We’re open to anything that keeps the quality where it was, but also brings our show back as quickly as we can,” Stockman says. (HBO Max will not be involved financially and remains merely a distributor.)

Tierney declines to reveal whether he will split “The Long Game” into one or two seasons, but he volunteers that he does not see himself making more than six episodes per season. “I don’t need to do 10. I would always rather tighten the belt than get loosey-goosey,” says Tierney, who will have a co-writer for Season 2 but continue to direct all the episodes himself. “I would rather be like, ‘Let’s see how much story we can pack into these episodes.’”

“We want everybody to be left yearning,” Brady adds. “That’s what everybody loves about this show. Less is more!”

“Heated Rivalry” may center on Shane and Ilya, but there will “absolutely” be “diversions” to other characters in the canon. “Just like you can’t tell the story without Scott Hunter, you can’t really tell the story without Troy Barrett,” Tierney says, alluding to a character from Reid’s books who is yet to appear in the TV series. And while there may be a lot more incoming calls about higher-profile casting, he adds, “We need Canadian talent, and we love Canadian talent. It’s not a burden, but it’s also something we literally have to do to get our financing.”

For Cohan, “Heated Rivalry” is valuable proof of concept as he attempts to convince more Canadian creators to return to their roots, regardless of where they now live in the world. “It certainly helps to feel like we’ve got a dramatic illustration, a data point — a pretty good one too — to say, ‘Yeah, look, we Canadians, not just Bell, can make great, global and profitable [shows], and we can do it by being authentic,’” Cohan says.

It’s never too late to book a last-minute escape during the upcoming February half-term, even more so as an expert has revealed the exact time to secure the best deal – and it’s this week

The February half-term is just around the corner, with mere weeks until schools across the country have the first break since Christmas. Ahead of the week off, many families will be looking to book an escape to catch some winter sun, and an expert has revealed it’s not too late to book, as one upcoming date will offer the best savings.

When it comes to booking a getaway, whether that’s a last-minute escape or planned in advance, many of us search for the most affordable flights available, and if any package holidays are on offer. A vast number of airlines and travel booking sites offer excellent deals, helping us save even more cash without sacrificing a holiday.

Yet another efficient way to save money is by booking a getaway on a specific date.

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Ahead of the half-term, from February 16 to 20, travel booking expert Chris Bradshaw at AttractionTickets.com has revealed the exact date and time to book a last-minute holiday that will maximise savings. The expert predicted that Sunday, 8 February, at around 6am will be the best day to book.

Chris Bradshaw, director and travel bookings expert at AttractionTickets.com, explained: “It’s a common misconception that earlier always equals cheaper. In reality, airlines continuously adjust fares based on demand, and savvy travellers can benefit from those fluctuations, even just one or two weeks ahead. There’s still time to save on last-minute half-term travel if you know when to book.

“Our analysis of historical pricing patterns, alongside industry travel reports, shows that Sunday is likely to be the most cost-effective day of the week to book. Airlines typically release discounted fares and adjust inventory over the weekend, and booking on a Sunday has been known to save travellers up to 23% versus Fridays.”

He continued: “Industry data also suggests that booking flights within a window of 8 to 23 days before departure can offer some of the most competitive prices for international travel, especially when it comes to places like Florida, so this timeline is essential to consider.

“Alongside this, we see a consistent trend that early morning is likely to be the best time for snagging low fares. Flights booked around 6:00 a.m. (your local time) tend to be more affordable, as it’s often when airlines drop fresh fares before the day’s search traffic spikes.

“Taking all these factors into consideration, Sunday, 8 February, falls perfectly in alignment, making this the optimal date to give you the best chance of securing those last-minute affordable family holiday bookings ahead of this half-term.”

The expert’s tips for booking a last-minute escape during the February half-term:

Best day to book: Sunday, 8 February

Best time to book: Around 6:00 am (local time)

Avoid: Booking on Fridays, when prices typically spike due to business travel and higher demand

Do you have a travel story to share? Email webtravel@reachplc.com

The flash sale launches today and offers up to 20% off peak date ski trips for 2026/27

Ski fans and families looking to hit the slopes for the 2026/27 season can get ready to bag some big deals, as Club Med has announced its highly anticipated Winter 2027 sale. Short but sweet: the sale will run from today until February 6, 2026.

The promotional deal offers up to 20% off all Ski Resorts for stays between three and 28 nights. Those looking for a bit of luxury can bag 20% off premium rooms (including deluxe rooms, suites, and villas), while standard superior rooms are discounted by up to 15%.

With a travel window running from November 14, 2026, to May 5, 2027, this three-day flash sale offers plenty of flexibility for shoppers. Crucially for parents, the discounts also apply to peak dates, meaning half-term and Christmas holidays are also included.

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The travel experts at Club Med are promising a “worry-free” winter by locking in all-inclusive prices now. Premium mountain getaways start from £1,085 per person, including several “hidden extras” that usually send ski budgets racing downhill.

Club Med offers families a way to hit the slopes, with children under 4 staying for free and bookings secured with a £150 per person deposit. Their premium all-inclusive packages eliminate hidden costs by covering dining, drinks and a range of sports and activities, and Kids Clubs are included for those aged four to 17, with additional childcare services also available.

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Kids under 4 stay free, with bookings secured from £150pp, and guests can enjoy a premium all-inclusive experience with food, drinks, sports, activities and Kids’ Clubs (extra cost for under-4s).

A spokesperson for Club Med said: “With our upcoming Winter 2027 sale, we are offering our best deals of the season across all dates. By booking during this window, guests can secure their dream room and preferred peak dates at a price that simply won’t be beaten later in the year.”

For those looking to hit the French or Italian Alps, several top-tier resorts are expected to be popular next winter. Nestled at 1,460 metres behind spruce trees, Club Med Valmorel features architecture inspired by traditional Beaufortain mansions with stone roofs and colourful facades.

The resort offers plenty of activities ranging from sledding and skiing in the Grand Domaine to snowshoeing through the Aigueblanche valley and relaxing in the indoor pool. Guests can upgrade to the “Le Lodge” Exclusive Collection space to enjoy elegant suites, private ski rooms and luxury perks like champagne service from 6pm.

Elsewhere at Club Med Alpe d’Huez in the Savoie ski area, serious skiers can enjoy direct ski-in/ski-out access to a vast 250km domain featuring Europe’s longest black run. The resort is designed for all generations and abilities though, with the “Happy Lounge” and indoor pool with adult-only sanctuaries such as “La Bulle” and the PAYOT spa.

Guests can enjoy panoramic mountain views from private balconies or take part in unique alpine experiences including dog sledding and vibrant après-ski at the lobby bar. For a real touch of luxury, Club Med Val d’Isère is the only Exclusive Collection Resort in the French mountains, offering a stylish blend of stone and wooden chalets nestled in a legendary alpine valley.

The resort caters to ski enthusiasts and wellness seekers alike with world-class slopes, yoga and a luxury spa, all within a setting designed for privacy and relaxation. A highly regarded resort for upscale skiers who appreciate the finer things in life, guests can enjoy enhanced premium services, including a dedicated concierge to cater to every need and a private shuttle service to the village centre.

Another choice is the Club Med La Rosière, perched 1,900 metres high with 180° south-facing views in the Haute-Tarentaise Valley. Families can explore the Espace San Bernardo – a cross-border ski domain once traversed by Hannibal – or enjoy the village’s famous Saint Bernards and freestyle competitions. For ultimate luxury, the Exclusive Collection space offers premium balconies overlooking the Tarentaise Valley in the shadow of Mont Blanc.

If the Italian slopes are calling, Club Med Pragelato Vialattea is a charming Piedmont resort designed like a traditional Italian hamlet, featuring clusters of cosy chalets set around a village fountain at 1,600 metres. The resort provides direct access to the Olympic slopes of the Via Lattea and Sestriere domains, complemented by alpine activities such as snowshoeing through pine forests and relaxing in a Finnish sauna. Families can experience the authentic Italian mountain lifestyle, pairing days on the slopes with après-ski treats like Genovese focaccia and evenings in the resort’s lounge.

Alternatively, Club Med Saint-Moritz Roi Soleil provides a glamorous Swiss Alps experience at 1,750 metres, just a short distance from the prestigious lake and high-end boutiques of St Moritz. The resort offers access to 350km of slopes that have hosted the Winter Olympics and World Championships, with activities including cross-country skiing, snowboarding and snowshoeing through the Engadine valley.

Families can enjoy mountain-top lunches, horse-drawn carriage rides, and traditional Swiss fondue dinners, all included alongside premium amenities like a heated indoor pool and sauna. For skiers who are looking to go further afield, Club Med’s first North American mountain resort – Club Med Quebec Charlevoix – offers a unique “sea meets peaks” experience with contemporary Canadian architecture and sweeping views of the St. Lawrence River.

Located in the Charlevoix region, experienced skiers can tackle challenging slopes with direct ski-in/ski-out access, while year-round trails provide diverse opportunities for both winter sports and summer hiking. The resort is designed to immerse guests in an unspoiled natural landscape, blending premium all-inclusive comfort with the raw beauty of a UNESCO-designated biosphere.

Club Med’s ski holidays offer a fully all-inclusive getaway that most ski operators don’t match. But for ski fans looking for something different, TUI offers a range of ski holidays across Europe. Offering a range of hotels and self-catering accommodation, guests can book ski and lift passes, equipment passes and more before they travel.

Alternatively, British Airways has some European deals worth considering, including ski holidays in Bulgaria. As one of Europe’s best value resorts, Sofia is a good choice for skiers on a budget.

Ski fans who have already hit the piste with Club Med have left thousands of glowing reviews on TripAdvisor. One traveller who stayed at Val d’Isère left a five-star review, saying: “Stayed here recently and would certainly recommend.

“Such a good location, with pistes from the door, which is rare in Val d’Isere. Easy walk to town too if you fancy it. Bus stops at the front door too, if you don’t want the walk. Catering was the usual Club Med quality buffet, with loads of choice and variety every day.”

Another who visited Club Med La Rosière, was also delighted, sharing: “Club Med, all included and you don’t want for anything. It makes things very simple. The hotel is beautifully presented, looks very classy and modern, yet still comfortable. It was spotlessly clean and a comfortable temperature throughout. Staff are very friendly and always say hello and are very helpful if you have a query.”

However, a visitor who stayed at the Alpe d’Huez resort was less impressed, noting: “Everything is perfect except the noisy dining room. Lots of people, but the fact that the tables are very close exacerbates the problem.”

While another visitor at the same resort was bowled over, adding: “Of all the rest of the network that I have hosted, in fact, the ClubMed Alpe D’Huez is the best. The offer of services, the party climate and especially the team of ski teachers, plus an amazing piste made – at least for me – the best choice among the hotels of this network for a family looking to enjoy the trip with friends, have fun and even improve their skill in skiing.”

Travel expert claims to have found the best time to book holidays in 2026 after analysing pricing data – and it could save you up to 60%

Booking a getaway is thrilling, but when planning our escapes we’re always keen to ensure we’re securing the best deal possible. Nowadays, many holidaymakers turn to online platforms to arrange trips overseas instead of visiting traditional travel agents.

This has afforded travellers greater freedom to make reservations at any hour. Yet an expert has cautioned that prices for identical holidays can fluctuate depending on what time of day you book.

The amount you fork out for your break could hinge entirely on when you hit that booking button.

Travel guru Rob.onthebeach shares his insider tips on social media, and reckons he’s discovered the most economical time to reserve a holiday in 2026.

Rob has scrutinised data daily to pinpoint the cheapest and priciest booking windows, right down to the exact minute, reports the Express.

Based on Rob’s findings, the most costly period to book a holiday falls between 9am and 10am. He elaborated: “Booking in those hours came in 30% more expensive than the cheapest hour of the day”.

Disclosing the most budget-friendly slot, Rob revealed it’s actually in the early hours. The window between 4am and 5am emerged as the optimal time to bag a bargain.

Rob explained: “Overnight, airline pricing systems basically reset. The interest and the demand from the day before all drops off, prices return closer to their base level, then as the day goes on more searches, more clicks, more people just having a look, and prices start to creep back up again.”

The expert conceded that most of us wouldn’t fancy setting our alarms for 4am just to secure a getaway, so he also identified the optimal booking window during reasonable hours.

He discovered that late evening – roughly between 8pm and 10pm – proves “noticeably” more economical than the morning price surge.

Yet if you’re truly after a steal, Rob pinpointed the precise moment that delivered the lowest costs. Rob disclosed: “The cheapest, single minute to book a holiday is 2:48am.

“Booking at that exact moment came out 60% cheaper.”

Despite his research, Rob cautioned that reserving at 2:48am won’t render every single holiday “automatically 60% cheaper”.

He continued: “But the pattern is really clear, if you really want to save money on your holiday, the early hours beat the office hours every time.”

Even the Harry Potter star in the cast failed to save this 1990s film from ridicule

A forgotten period drama based that was slated by viewers has just been made available for free streaming.

Emily Bronte’s classic and controversial novel Wuthering Heights has inspired countless film and TV adaptations, with the most recent starring Margot Robbie and Jacob Elordi hitting cinema screens in a matter of days.

However, years before Emerald Fennell adapted the page-turner for the big-screen in 2026, there was another that released back in the nineties. It starred Ralph Fiennes as the brooding Heathcliff opposite Juliette Binoche as Catherine Earnshaw, while Peter Kosminsky sat in the director’s chair.

Despite the starry cast, the 1992 release struggled to win over critics in particular with one calling it a “failed” adaptation. Meanwhile another described Fiennes’ take on Heathcliff as “demonic”.

“Peter Kosminsky’s Wuthering Heights is a drone, depressing, and exhaustively revolting excuse for entertainment,” another peeved critic penned.

At time of writing, it has a measly 33 per cent critics’ score on review site Rotten Tomatoes, while audiences gave it a more optimistic 66 per cent.

One fan described it as a “masterpiece”, adding: “Very well put together and the chemistry between the actor was awesome!” while another said it was their “favourite adaptation.”

Meanwhile a third shared: “Not a single adaption has ever truly done it justice – but this is my favourite of the adaptions for two reasons. 1) Ralph Fiennes manages to capture the essence of Heathcliff better than any other actor ever has and 2) Ryuichi Sakamoto’s soaring score together with the authentic filming locations really do bring the book’s atmosphere to life.”

A fourth, not convinced by the film, said: “Absolutely unwatchable. Could not make it 20 minutes in, terrible acting, strange casting. Don’t waste your time.”

Fans wanting to give it a go can now do so entirely for free, as the film has just been added to Pluto TV. The streaming service has also added three extra adaptations of the story to its library if the nineties flick doesn’t hit the spot.

Wuthering Heights (1970) starring Timothy Dalton and Anna Calder-Marshall; Wuthering Heights (1998) starring Robert Cavanah, Orla Brady, and Sarah Smart; and Wuthering Heights (2011) starring James Howson and Kaya Scodelario are all available to watch now.

Wuthering Heights (1992) is now streaming for free on Pluto TV. For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website.

The couple quit their jobs and sold all their belongings so they’d be free to travel the world and on a recent adventure, they decided to book a ‘giant waterslide’ but it was very different to what they expected

A couple booked what they believed to be a “giant waterslide” while abroad on holiday – but the reality of their booking was jaw-dropping. Many people plan adventure holidays or book to go travelling in a bid to see more of the world.

Couple George and Crissa decided to quit their jobs and sell all their belongings so they could jet off on “the journey of a lifetime”. Originally from Tampa in Florida, US, they document their adventures on YouTube and other social media platforms like TikTok and Instagram.

On their YouTube channel, they explained their adventures initially began with the purchase of an RV, which they used to drive across North America for a year. In a recent clip, shared on TikTok, the couple shared their experience of a popular attraction in New Zealand.

New Zealand has long been a bucket list destination for countless people, thanks to its expansive, unspoiled natural scenery that’s seen it branded the “real Middle Earth”, a nod to the part it played in the making of the beloved Lord of the Rings trilogy.

It’s got a rich Maori culture, breathtaking fjords, varied wildlife, decadent and acclaimed wines, and much more. It’s also home to some exciting adventure hotspots and attractions, with George and Cris learning their perception of a “giant waterslide” was different to ZORB’s in Rotorua, NZ.

In a video shared on TikTok, the couple showcased the popular “slide”, which sees people jump into a giant inflatable ball and be pushed down “slides” made from the grassy, green hills.

Over the top of the clip, the couple added text which reads: “POV [point of view]: your husband books a ‘giant waterslide’ then realises that means something very different in New Zealand”.

In the caption, they explained: “Did you know you can roll down a massive hill inside a giant inflatable ball in New Zealand?! ZORB is one of New Zealand’s most iconic bucket list experiences.

“Spinning, bouncing, and laughing your way downhill in a transparent orb. It basically feels like you’re in a hamster ball water slide.”

Of the cost, they revealed they “did the ‘four ride combo’ for NZ$155/US$100 (£72)” but added “there are several other packages” on the ZORB website.

In the comments section, fellow TikTok users were keen to share their thoughts. One person joked: “I can’t explain it… but I know I would drown.”

Another said: “I’ve done this … it’s like being inside a washing machine [crying laughing emoji] very fun even though you feel like you’re gonna drown half the time”.

A third had a different perspective and commented: “I’ve done this and it was the worst experience of my life”.

A fourth said: “Yeah you wouldn’t catch me dead in one of those. I’m actually panicking at the sight of this”.

Someone else shared: “I did this back in 2018 and it was so fun! My life did briefly flash before my eyes though when I got stuck underwater beneath my two friends”.

One TikTok user revealed: “I got so much anxiety doing that, felt sick, was horrible, will never do it again”.

Another added: “Tempted to fly to New Zealand exclusively for this.”

When “The Great British Baking Show” returns for another season later this year, the tent will welcome a new judge alongside the freshest batch of competitors.

British cookbook author and TV personality Nigella Lawson will join the beloved baking competition as a judge, succeeding Prue Leith, who announced her departure from the series last week. “The Great British Baking Show” (alternatively titled “The Great British Bake-Off” in the United Kingdom) unveiled Lawson’s appointment Monday on Instagram. She will co-judge alongside longtime “Bake Show” fixture and bread expert Paul Hollywood.

“I’m uncharacteristically rather lost for words right now!” Lawson said in a joint Instagram post. “Of course it’s daunting to be following in the footsteps of Prue Leith and Mary Berry before her, great dames both, but I’m also bubbling with excitement.”

“The Great British Baking Show” first aired on the BBC in 2010, with Hollywood judging competitors’ bakes alongside Mary Berry. Berry departed the series when it moved from the BBC to commercial broadcaster Channel 4 and Leith began her tenure in 2017.

During her “Baking Show” days, Leith became known among fans and competitors for her affinity for boozy bakes and colorful fashion and accessories. Notably, she and Hollywood co-judged the series in its 11th season, which was filmed and aired amid the COVID-19 pandemic.

Leith, announcing her exit, said “Bake Off has been a fabulous part of my life for the last nine years” and looked forward to a new chapter in her life.

“But now feels like the right time to step back (I’m 86 for goodness sake!), there’s so much I’d like to do, not least spend summers enjoying my garden,” she wrote, adding later in her caption that she believes her successor will “love [the show] as much as I have.”

Lawson, a former journalist and Margaret Thatcher cabinet member Nigel Lawson’s daughter, comes to “Baking Show” with some history with Channel 4. The broadcast aired her series “Nigella Bites” in the late 1990s and early aughts in tandem with the release of her book of the same name.

Her television credits also include hosting her series “Nigella Feasts,” “Nigella Express,” “Nigella Kitchen” and “Nigellissima” and judging on shows “Iron Chef America,” “The Taste” alongside Anthony Bourdain and “MasterChef Australia,” among others.

She has penned more than a dozen books, most recently 2020’s “Cook, Eat, Repeat.”

“The Great British Bake Off is more than a television programme, it’s a National Treasure – and it’s a huge honour to be entrusted with it,” she said on Monday. “I’m just thrilled to be joining the team and all the new bakers to come. I wish the marvellous Prue all the best, and am giddily grateful for the opportunity!”