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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.