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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.

Save 20% on deluxe rooms, suites and villas at all Club Med Ski resorts

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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!”