Chloe

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Chloë Grace Moretz tied the knot with her longtime girlfriend over Labor Day weekend.

The “Kick-Ass” actor married model and photographer Kate Harrison during a private ceremony, reports Vogue, which was on site when the brides were doing the final fitting in Paris for their custom Louis Vuitton wedding dresses.

Moretz posted photos of herself on Instagram rocking a baby blue gown along with images of Harrison wearing a white dress with a sweetheart neckline and a birdcage veil. Both gowns were designed by Nicolas Ghesquière, longtime artistic director for Louis Vuitton’s women’s collections.

“It just feels like me,” Moretz told Vogue. “I never really envisioned a wedding dress in my mind growing up, so when we started talking about what that would look like, I knew I would do something non-traditional, and not wear white, and kind of have it feel different, and I think it really does.”

Chloë Grace Moretz, left, and her now-wife, Kate Harrison, right, with Huma Abedin, center at the 2024 Democracy Heroes at Rockefeller Foundation in New York last year.

(Craig Barritt / Getty Images)

In the Instagram post, the star of “The Miseducation of Cameron Post” also showed off her after-party look, a custom jacket with cut-outs and trousers, which was inspired by a 2019 Louis Vuitton runway look. She accessorized her outfit with a white cowboy hat. Meanwhile, Harrison, who has modeled in campaigns for J. Crew and Topshop, wore a bodice and trousers with a sheer overlay on top.

“A big part of the wedding [is about] sharing things that Kate and I love with everyone that’s going to be there,” Moretz told the magazine. “So there’s fishing, horseback riding, and poker. Kate made a custom poker mat herself, so we’re going to kind of be leaning into it. Our second day is going to be line dancing and everything.”

Moretz came out publicly as a gay woman in November of last year via Instagram, but she and Harrison have been dating since 2018. The couple gave curious fans a peek into their mostly private relationship when Moretz announced their engagement in a New Year’s Day post this year on Instagram.

“We’ve been together for almost seven years and making this promise to each other in a new way, and exchanging these vows,” Moretz told Vogue. “I think it’s important to just stay every day choosing each other.”

TELLURIDE, Colo. — It’s customary at Telluride for a director premiering a movie to step onstage, say a few words and slip away before the lights go down. On Friday night, before unveiling her new film “Hamnet,” Chloé Zhao admitted she couldn’t find the right words. For a film centered on William Shakespeare, the most famous wordsmith in history, that felt oddly fitting.

Instead, the 43-year-old Zhao led the packed Palm Theater in a meditative “ritual” she and her cast had practiced throughout the shoot, from before the script was even written until the final day on set. She asked the audience to close their eyes, place a hand over their hearts and feel the weight of their bodies in the seats and the surrounding Rocky Mountains holding them safe. Together, the crowd exhaled three long, loud sighs, then tapped their chests in unison, repeating softly: “This is my heart. This is my heart. This is my heart.”

By the time the film ended, those same hearts were left aching. Adapted from Maggie O’Farrell’s 2020 novel, “Hamnet” tells the story of Shakespeare’s marriage to Agnes (played by Jessie Buckley) and the devastating death of their 11-year-old son, Hamnet. Paul Mescal plays Shakespeare — not the untouchable bard of legend but a husband and father reckoning with grief. At once grounded and dreamlike, the film drew perhaps the most rapturous and unanimous response of any debut in this year’s lineup.

Eight years ago, Zhao came to Telluride with “The Rider,” fresh from Cannes and still largely unknown. In 2020 she returned with “Nomadland,” which received a Telluride-sponsored drive-in screening at Pasadena’s Rose Bowl due to the pandemic and went on to win best picture and make Oscar history, with Zhao becoming only the second woman — and the first and only woman of color — to win the directing prize. Then came Marvel’s “Eternals,” a massive undertaking that thrust Zhao into the franchise machine and brought with it a bruising critical reception. With “Hamnet,” she’s back to a smaller canvas, trading cosmic spectacle for intimate human drama.

On Sunday morning in Telluride, still processing the reaction to her latest film, Zhao sat down to talk — speaking so softly that even in a hushed room her words can be hard to catch — about why she took on O’Farrell’s story, how she approached Shakespeare’s world and the delicate task of turning heartbreak into art.

Jessie Buckley, center, in the movie “Hamnet.”

(Agata Grzybowska / Focus Features)

When I interviewed you for “The Rider” in 2018 you said you’re a very pessimistic person and when you get a good review, you’re just waiting for the bad one to drop. What are you feeling right now? Did you expect anything like the reaction “Hamnet” has received?
I was nervous. I’ve walked through fires. I’ve been through the fire — a very painful fire — and I think there is probably a bit of fear around that.

What was the fire? You mean the reaction to “Eternals”?
I’m not going to say out it loud, because when I do, things always get … [trails off]. Let’s just say we were very scared.

I think the fear mainly came from the fact that we felt so sure of what we experienced. It changed all of our lives and mine so profoundly that it’s still reverberating. You think: Were we crazy? And no one else will get it but us?

You go through this long, treacherous journey to deliver these things to safety and now it’s very tender because you look back at all the loss and the sacrifices along the way and you haven’t really had time to process it.

I’m curious what your history was with Shakespeare growing up in China and then moving to England and later Los Angeles as a teenager. What kind of early impression did he make on you?
Shakespeare is very revered in China. In Chinese theater, they do Chinese versions of his plays. When I studied in the U.K., I didn’t speak English at the time and I did have to learn Shakespeare, which was very difficult. I don’t think I’m anywhere near where Paul and Jesse are with their understanding of Shakespeare. The language was always a barrier but the archetypal element of his stories was big for me — particularly “Macbeth.” In high school in Los Angeles, I performed Lady Macbeth’s speech on the stage because everybody had to do some kind of monologue for a project. And I barely spoke English.

You’ve said you initially weren’t sure that you were the right person to direct this movie. What was your hesitation?
There were three elements to that. One is that I’m not a mother. I never felt particularly maternal. People in my life say, “That’s not true, Chloé,” but I don’t see myself stepping into that archetype at all. The second was the idea of a period film — how can I be authentic and fluid in a period film, where you can’t just make things up in the moment, you can’t be spontaneous? The third was Shakespeare. I wondered if I needed to be scholarly.

So how did you come around?
I was driving near Four Corners, New Mexico, when Amblin called. I said, “No, thank you.” Steven [Spielberg] really wanted me to consider it. Then my agent said Paul Mescal wanted to meet me. I didn’t know his work. “Aftersun” was the secret screening here [in Telluride 2022], and we went for a walk by the creek. I watched him talking and thought, “Could he play young Shakespeare?” He already read the book. Then I read it and thought, if Maggie [O’Farrell] can write this with me, she can show me that world. As soon as I read the book, I said, “Can you set a meeting with Jessie Buckley?” I couldn’t see anyone else but her as Agnes.

Paul Mescal as William Shakespeare in the movie “Hamnet.”

(Agata Grzybowska / Focus Features)

You’d just come off “Eternals” after making small films like “Songs My Brothers Taught Me” and “Nomadland.” Now you’re back with something more intimate again. Did it feel like a reset?
Every child has its own beauty and troubles. This budget was maybe six or seven times “Nomadland,” but much less than “Eternals.” But it’s also a period film, which has its own challenges. I come from a tradition of: Tell me how much money you have and I’ll make something with it.

But I changed a lot after “Nomadland” and “Eternals.” In my 30s, I wanted to chase the horizon. I didn’t want it to ever end. I’d just keep running. Then, at the end of “Eternals,” I felt I couldn’t film another sunset that would satisfy me the way in the way it had with “The Rider” and “Nomadland.” I went through a lot of difficult personal times and pushing midlife, I realized I’d been running like a cowboy, like a nomad.

When you stop running and stop chasing horizons and you stay still, the only place you can go is above or below. I descended pretty heavily these last four years. By the time I got to “Hamnet,” I was ready. The difference now is a different kind of humanity: older, more vertical.

We know so little about Shakespeare or his son. Some parts of your film are grounded, others dreamlike. How did you balance that?
First of all, what’s real? Ancient mystics tried to understand what is being. “To be or not to be” goes beyond suicidal thought — it’s about existence itself. Every film has its own truth. For me, the truest thing is what’s present in the moment. I hired department heads and actors with knowledge of the history, but also the capacity to stay present and shift as we go. If someone came in too factual and literal, I said no. I wanted people who could do the research but also stay alive to the present.

Shakespeare’s name isn’t even spoken until late in the movie. This isn’t the icon — he’s a husband and father. Was it appealing to free him from the iconography?
Maggie’s book laid the foundation, really focusing on Agnes. For the film, I wanted it to be about two people who see and are seen by each other. They’re archetypal characters. I’ve studied Jungian psychology and Hindu Tantra — the energies of masculine and feminine, being and doing, birth and death. If we don’t have a healthy connection to our roots, those forces battle within us. By creating two characters who embody that, the story can work at a collective level and an internal one. The alchemy of creativity lets those forces coexist. Hopefully it becomes something more than a story about marriage or the death of a child.

Jessie Buckley and Paul Mescal in the movie “Hamnet.”

(Agata Grzybowska / Focus Features )

The loss of a child is hard to film and for audiences to watch. We’ve seen it tackled in different ways on screen, from “Ordinary People” to “Manchester by the Sea.” How did you approach portraying that kind of grief honestly without it being too much for the audience to bear?
It might be for some people, which is understandable. I love both those films you mentioned very much and watched them multiple times. I’ve been making films about grief for a while. I don’t think about what’s too much or too little. Agnes’ wailing — I could do that right now in front of you. We should be allowed to. The silence for thousands of years has done great damage.

How do you mean?
Think about ancient warriors coming back from battle — they danced, screamed, healed together. In Tantra, sexuality was part of healing. Now it’s: Talk to a therapist, take medication, go back to your family. The body is restricted. Telling a woman to be quiet when she gave birth and pinning her down. We know why this control happens. But I think people are responding to films where actors are embodied, because we miss that.

How do you see grief as a through-line in all your films?
All my films start with characters who’ve lost what defined them: dreams, home, purpose, faith. They grieve who they thought they were in order to become who they truly are. That’s grief on an individual and collective level. I wasn’t raised to understand grief. So I made films to give characters catharsis and through that, myself.

My friend [“Sinners” director] Ryan Coogler, who knows me so well, sat me down after seeing “Hamnet” and he said, “The other films were beautiful but you hid behind things. This is the first time I saw you in there. You’re finally being seen.” It took four films, working with that kind of grief and fear to get to that point.

The Oscar chatter has already started. You’ve obviously been through this before. How do you tune that out and just focus on what’s in front of you?
The same way that me, Paul and Jessie were doing on set. We made the film by being present. It’s difficult, so I’m trying to take that practice daily — just saying, “OK, today is all we have.” It’s flattering and nice but after what I’ve experienced in my career, you cannot possibly predict how things are going to go. I never expected “Nomadland” to go on that journey. So I surrender to the river.

Do you know what you’re doing next?
I just wrapped the pilot on the new “Buffy the Vampire Slayer” series, which is set 25 years later. My company is part of developing it. The fandom is so special to me and I’m excited about how that’s going to go into the world. Then I think I want to do a play. I was working on “Our Town” and I had to let that go in order to do “Hamnet.” But I figured maybe I’ll learn something from this film and come back to the stage.

The industry feels pretty shaky right now: fewer jobs, studio consolidation, anxiety around AI. As a filmmaker, how do you see the state of the business and the art form?
I sense we’re at a threshold — not just the film business, everything. It’s uncomfortable. We’re like Will standing at the edge of the river when, at least in our film, the “to be or not to be” monologue was born. We can’t go back and we don’t know how to go forward. In physics, when two opposing forces pull so strongly, a new equilibrium bursts out. That’s how the universe expands. I think we’re there. We can kick and scream or we can surrender, hug our loved ones and focus on what we can do today.

Hopefully I’m not so pessimistic now. Or at least a little bit less.

Taylor now takes on a fresh opportunity at Liverpool, who finished seventh in the Women’s Super League last season.

There is work to do, he acknowledges, having taken a few months to get his appointment over the line because of contractual issues from his previous post at City.

During that time, Liverpool’s star player Olivia Smith was sold to Arsenal for a world record £1m fee, joining vice-captain Taylor Hinds, who ended her five-year stint with the Reds.

“Those players go with our best wishes. You never want to retain a player that probably has her eye on a move and we understand that completely,” said Taylor.

“There is work to do, for sure. We don’t want to lose top players like those two but it makes the challenge a little bit more difficult.

“Ideally [myself and my staff] would have been here a little bit earlier but it is what it is. In the days we have been here, we have seen big strides.

“The engagement from the players has been fantastic. They are a really good group of girls. The people here are incredible. The club is top class in that sense.”

Liverpool are rebuilding to try to close the gap between themselves and the WSL’s top four.

“The challenges here will be different to any other club. But what we have here is a very good opportunity to start to build something,” said Taylor.

“The environment at Melwood is incredible. The girls are really hungry to learn and to create an identity. That’s the key thing. That process is not a quick one.

“It takes time and it takes struggles, unfortunately. It’s clear that will happen. But we’re really understanding of that and we’re here to support the players and staff as much as we can to be as quickly aligned as we can be.”

Over the course of her three-decade career, Chloë Sevigny has built an eclectic résumé playing complex women whom she describes as “the moral compass” or “the salt of the earth” in a story.

But in the second season of Ryan Murphy and Ian Brennan’s “Monsters,” which reexamines the story of the Menendez family for a new generation, Sevigny plays the role of victim and villain in equal measure. An unflinching exploration of abuse and privilege, the Netflix limited series reconsiders the lives of Lyle (Nicholas Alexander Chavez) and Erik Menendez (Cooper Koch), who were convicted in the 1989 killing of their wealthy parents, José (Javier Bardem) and Mary Louise a.k.a. Kitty (Sevigny).

“The most challenging part was that each episode was a different person’s idea of her, so I had to switch gears as to who I think she was to serve the way that they were telling the story,” Sevigny says. “I’ve never had to do that before, and as an actor, you want to find the truth of the character, and then there was, of course, not one singular truth to her. And plus, nobody really knows what happens.”

After working together on two seasons of “American Horror Story” and then “Feud: Capote vs. the Swans,” Sevigny received a call from Murphy, who felt strongly that she should play the mysterious Menendez matriarch.

“From the very get-go, he pitched me having this opus kind of episode, where I get to really examine alcoholism and abuse and a lot of complicated issues that people don’t necessarily like to face,” Sevigny says of the sixth episode, which chronicles José and Kitty’s relationship against the backdrop of family therapy sessions. “I think that’s not how we justify doing these kinds of [true-crime stories], but we hope that they can give someone the courage to speak out if they are in a position where they’re being mistreated.”

Sevigny with Javier Bardem in “Monsters: The Lyle And Erik Menendez Story.”

(Netflix)

As one of New York’s “It” girls of the ’90s, Sevigny barely spent any time at home watching television, but she still remembers seeing photographs of the Menendez brothers during their murder trials on the front pages of newsstands. In preparation for the part, Sevigny revisited the era. She read writer Dominick Dunne’s buzzy Vanity Fair stories about the trials. She read a few books about Kitty’s upbringing, which revealed her history of self-medicating. She even watched the brothers’ trial testimony, in which they alleged that José had sexually abused them as children.

At a Vanity Fair party, Sevigny met a director whose wife had been close friends with Kitty and claimed that Kitty had genuinely loved her children. But while “Monsters” offers a brief glimpse of maternal love at the very end, the series as a whole takes a decidedly different approach.

“There were aspects of the character that I tried to lean into that I thought, ‘Oh, you don’t often see a mother complain about her children in the way that she does, like, “I hate my kids. They ruined my life.”’ There are certain things that you never, or rarely, see on TV,” Sevigny says. What was more difficult for her to wrap her head around was the thought of a mother who is willfully blind to child abuse: “What kind of person does that, and how do you access that kind of emotion, or the strength, for lack of a better word, or the cowardice to behave in that way in those certain situations?

(Larsen&Talbert / For The Times)

“The series is also an examination of the cycles of abuse and how hard it is for people to break out of those cycles,” adds Sevigny, who found it easy to act frightened when confronted with Bardem’s high intensity. “She had been abused, and her mother had been abused by her father. Her mother left her father, and she was raised without a dad. I think that can often be a reason for women to stay with their husbands because they think, ‘Oh, maybe just having a father around outweighs the abuse,’ which is not true, obviously.”

“Monsters” has not been without controversy, however. Last September, Erik publicly criticized the series for its inaccuracies and for implying an incestuous relationship between him and Lyle. (Erik has formed a bond with Koch, with whom he has remained in touch, and Lyle has since commended the series for helping viewers understand the long-term effects of child abuse.)

“The Netflix team had given us all these talking points, and we were supposed to stay very disengaged [from the brothers] — and Cooper did not listen to them,” Sevigny recalls with a laugh. “I was like, ‘Wow, this young boy, this is his first [big] thing, and he’s coming out the gate just speaking his mind.’ Being a woman and an actress, and growing up in the ’90s, we were all silenced and muzzled in a way, so it’s interesting to watch these young people have the agency and advocacy to speak up for themselves.”

In May, the brothers were resentenced to 50 years to life in prison, which makes them eligible for parole. Sevigny is no stranger to being part of zeitgeisty shows, having played one of the wives of a polygamous fundamentalist Mormon in HBO’s “Big Love” around the time that Warren Jeffs was convicted of child sexual assault: “You want to make art, hopefully, that gets people talking and engaged, and I think [‘Monsters’] has done that to the umpteenth.”

Sevigny found out that she had been nominated for her first Emmy while driving to the airport in Los Angeles, where she has been shooting Peacock’s “The Five-Star Weekend” opposite Jennifer Garner. The actor ultimately sees the show’s 11 total nominations as an acknowledgment of Murphy’s enduring creative vision.

“I respect all the diverse shows that he makes, and that he hires the same actors, artisans and craftsmen over and over. To validate his choice in me for that part also felt really important, because I think that he sticks his neck out for people a lot,” says Sevigny, who celebrated the achievement with a small Champagne toast during her flight back to New York. “The kinds of stories that he’s trying to tell are often challenging and people shy away from them, and the work that he does is important. And now maybe he’ll hire me again!”

Chloe Kelly has spoken out about what she would like to do following her major football victory and could be following in the footsteps of former Lioness Jill Scott

Chloe Kelly has revealed her hopes for a big career move following her England win. The Lioness, 27, brought it home for England when she scored the winning spot-kick following two huge saves from goalkeeper Hannah Hampton, in what became a historic victory for the women’s national team.

The sports star made an appearance on ITV’s This Morning on Thursday where she joined hosts Dermot O’Leary and Rochelle Humes to discuss her achievements and career so far, alongside a group of aspiring young footballers. When one of the children asked Chloe what she would be doing if she was not a footballer, she admitted that she has a wish to carve our a career in the world of sports media. At first, she said: “If I weren’t a footballer, what would by job me? I’m not too sure, I’ve never really thought about it,” before adding: “I enjoy the media, so hopefully I could be interviewing another footballer maybe? And I’d definitely be in the stadium with the fans.”

If Chloe were to start up a career in the media, she would be following in the foosteps of Jill Scott, who captained England in 2021, and then went onto win I’m A Celebrity…Get Me Out Of Here the following year. She is now a regular pundit across both men and women’s matches, captains the team on sports-comedy series A League Of Their Own, and has occasionally appeared as a panellist on Loose Women. It comes just days after Jill herself delivered her verdict on the England team shortly before they enjoyed their Euros success.

READ MORE: Chloe Kelly issues apology for Lionesses victory parade incident – ‘Emotions got better of me’READ MORE: England’s Euro 2025 winners to lose major chunk of prize money after return home

Meanwhile, Chloe was also asked about how she manages to stay so calm during intense moments in the match, and she admitted: “I’m more nervous sitting here than taking a penalty, actually! I stay calm by just sticking to my process.

She added: “I train that process a lot. I breathe, I take my breath and I either score or I miss, and that’s the worst that can happen. That’s the way I see it, it’s just me against the goalkeeper so I’m very relaxed.”

Establishing herself as an England legend in the showpiece event, Chloe confidently dispatched her penalty past Spain’s Cata Coll to secure victory. BBC Sports commentator Vicki Sparks captured the moment perfectly: “This is it, this is the moment for Chloe Kelly. Can she be England’s heroine? Chloe Kelly… yes she can!”

Kelly rose to the occasion magnificently, rescuing England from perilous situations on three separate occasions. Teaming up with emerging talent Michelle Agyemang, the duo rekindled the country’s belief in achieving a magnificent triumph that delivered a “proper English performance” culminating in continental success.

Following the trophy presentation, Chloe was heard declaring: “The first time was so nice, we had to do it twice.” Yet beyond the football field, she remains remarkably private about her personal affairs. Having wed her long-time partner last year, early 2025 almost witnessed her departure from professional football entirely.

Kelly was joined by her England team-mates for a victory parade down The Mall in London on Tuesday. The team had the Euro 2025 trophy with them on an open-top as they were greeted by an estimated 65,000 supporters in central London. Manager Sarina Wiegman and captain Leah Williamson then led the squad up onto a stage outside Buckingham Palace, where they were interviewed by Alex Scott. There were some heartwarming moments, including Wiegman doing a duet with Burna Boy and Williamson holding back tears as she spoke.

But there was also a moment where Kelly – the scorer of England’s winning penalty against Spain on Sunday – turned the air blue. She said: “It feels so good to stand side by side with each and every one of these girls.

“It’s so f****** special. It’s incredible to stand here today with a winners’ medal around our necks and I’m so proud to be English.”

It wasn’t the first time that the Arsenal forward had been caught on camera swearing, having dropped the same word after picking up her winners’ medal from Prince William in Basel. This time she quickly took to social media, writing: “Ooops. Emotions got the better of me. Sorry for the F bomb. Love, CK x.”

Hampton, who has been playing her first major tournament as England’s first-choice goalkeeper, had big shoes to fill in Switzerland.

Earps – twice named as the best women’s goalkeeper in the world – had played significant roles in England’s victory at Euro 2022 and on the way to the 2023 World Cup final.

But Hampton, who looked likely to start at the Euros even before Earps’ retirement, has proved she deserves the number one shirt.

“At the start of the tournament did you think Hannah Hampton would be the star? Perhaps not. You wondered how she was going to do,” ex-Manchester City defender Nedum Onuoha said.

“Look how well she has done on the biggest stage. To save those penalties – and these were really good saves. She backed herself 100%.

“An amazing moment to see her be that important to the team.”

Just months after England’s Euro triumph in 2022, Hampton was dropped from the squad.

Reports suggested it was because of her behaviour, and she had to wait until March 2023 for a recall, when Wiegman said Hampton had “sorted out personal issues”.

Speaking to BBC One following her shootout heroics in the 2025 final, Hampton said: “All I can really say is thank you to Sarina [Wiegman] for all the belief and faith that she’s had in me.

“She knew what I was capable of and she really put that in me to really go and showcase what I can do.”

Hampton, who helped Chelsea win a domestic treble this season, has shown exactly what she is capable of throughout the tournament.

After losing their opening game against France, Hampton was instrumental in helping England bounce back against the Netherlands – with a sublime defence-splitting pass starting the attack for England’s first goal and setting the tempo for a statement 4-0 performance.

Then, in their quarter-final against Sweden, she pulled off two brilliant saves in the shootout to help keep England’s title defence alive.

“The girls have run around for 120 minutes, so the least I can do is save a couple of pens here and there and help the team out in any way I can,” Hampton told BBC Radio 5 Live after the final.

She added on BBC One: “There’s still a lot more to come from me. For my first major tournament, to win it is not too bad.”

England’s Chloe Kelly says she is ‘so proud to be English’ after she scoring the winning penalty in the final of Euro 2025 as the Lionesses beat Spain.

FOLLOW: England defend European title with dramatic shootout win over Spain – reaction & report

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Celebrities definitely know how to party but now a new destination is proving more popular than Ibiza. Famous stars like Dua Lipa and Chloe Sims from The Only Way is Essex have all holidayed there and it’s less pricey too

While Ibiza in Spain is still the top celebrity vacation spot, leading in both celebrity visits and 20million Instagram tags, it’s not the only party destination attracting the ‘in crowd’.

A recent study by Otherworld has identified the top celebrity-approved holiday spots of 2025 based on confirmed celebrity sightings from 2023 to 2025. These destinations were ranked using Instagram hashtag counts, Google searches, number of fine dining venues, and average cost per night at a 5-star hotel.

And while the Dominican Republic came in second, you may be surprised by which destination slipped into third.

Tulum in Mexico has a spectacular coastline, overlooks the Caribbean Sea and has welcomed famous holidaymakers including Lottie Moss and Austin Butler to name just a few. It’s slightly more popular on Instagram than the Dominican Republic, with 9.4 million tags.

READ MORE: Father’s Day ideal gift as dads get FREE day of adventure this weekend

But what really sets it apart is the cost, at $251 per night – or £186 – for a five-star hotel, making it the most budget-friendly luxury spot on this list.

However, some visitors warn this magical paradise is losing its appeal because it’s becoming overrun with tourists.

Tulum attracts close to two million visitors every year – a number expected to rise sharply following the opening of Tulum International Airport.

Travel experts over at Lonely Planet still hail the destination for its ‘cobalt water’, stunning beaches, and close proximity to ancient Mayan ruins as well as the underground world of cenotes.

Often dubbed ‘the new Dubai’ by the flock of influencers flying out there to impress their fans. You can fly to Tulum, Mexico from London, Manchester and Birmingham – with most routes including a stopover in New York.

A spokesperson from Otherworld commented on the study: “Some places attract stars because they’re remote and private, others because they’re easy to post about. What’s interesting is how much that mix varies.

“You’ve got destinations where everything’s built around luxury, and others where it’s about vibe and visibility. That difference is shaping how people, celebrity or not, think about where they want to go next.”

Meanwhile, Ibiza, Spain is one of the top celebrity-approved vacation spots of 2025, with stars like Leonardo DiCaprio and Kendall Jenner spotted there in the last two years.

The spot has over 20million Instagram tags, and offers the most fine dining options (136). Five-star hotels average $695 a night, which is less than many other luxury destinations.

The Dominican Republic stands out for its number of luxury stays, with over 3,200 resorts and villas, more than any other place here.

It may not be as Instagram-famous as Ibiza, but it still pulls strong celebrity interest, including Jennifer Lopez and Shakira. At $359 per night, it also offers some of the lowest five-star rates.

READ MORE: Dunelm’s stylish plug-in wall light that doesn’t need an electrician has 20% discount

LOVE ISLANDER Jack Fincham and former Towie star Chloe Brockett are back together – after splitting for the sixth time.

The reality couple broke up in April following a string of heated rows, with Jack moving out of their shared home.

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But I can now reveal they were spotted shopping at Swanley Market in Kent.

A source said: “Chloe and Jack have been on and off for months but have finally put their differences aside to give their relationship another chance.

“They really want to make it work so have been enjoying some low-key dates as they gradually build the trust.

“They have realised they have something special so want to put their time and energy into making it work.”

Earlier this week they sparked rumours of a reunion when they shared snaps on their respective Instagrams from the same East London market.

Jack posed outside the Birdcage pub at Bethnal Green’s Columbia Road Flower Market on Sunday.

Then Chloe posted from the same spot with a huge bouquet of flowers.

Just last month Jack had told The Sun that he still loves Chloe.

He shared: “I don’t know what will happen between us.

“I still love her. I doubt it’s over for good.”

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Chloe Kelly said she considered taking a break from football before Arsenal “put the smile back on my face” and transformed her difficult season “from a real low to a real high”.

Kelly started Saturday’s Champions League final as the Gunners stunned holders Barcelona to win a first European title in 18 years.

The England international came through the Gunners’ youth ranks between 2010 and 2015 and was given a chance back at the club after struggling for game time with Manchester City, making just one start in the WSL before her deadline day loan move to north London.

She said she “wanted to be happy again” in a social media post and then-City boss Gareth Taylor said it was “really disappointing” how the bitter transfer saga between Kelly and the club came to an end.

“I said I was coming to this club to find happiness with football and I have a medal round my neck,” an emotional Kelly told BBC Sport’s Jo Currie. “Every day that I come into the club I’m smiling. They put the smile back on my face so I will forever be grateful for that.

“I took a step to try and make things better for myself and I’m grateful for the people around me that supported me to take that step. This one is for everyone that helped me do that.”

Kelly has made 13 appearances in all competitions since re-joining Arsenal, scoring twice.

She helped the Gunners secure a second-placed WSL finish and now has Saturday’s triumph in Lisbon to celebrate.

“Definitely up there,” Kelly, who scored England’s winning goal in the Euro 2022 final, added on where the victory ranks. “The journey it has taken to get here, it’s definitely been a battle.

“Now to celebrate this moment with the girls, with Arsenal Football Club but also my family that have been there through the dark days to now, I’m just really grateful.”

On whether taking a break from football was a real option before her January move, Kelly said: “It definitely was. I don’t think people understand at times the emotions that sometimes go through people’s minds.

“It’s hard to explain but we’re here now and we’re at the other side of it. It’s football, sometimes there’s high, there’s lows and there’s bits in between. From a real low to a real high, I am very grateful for Renee Slegers.

“The first thing I said to Renee when we beat Lyon in the semi-final was ‘thank you for this opportunity’.”

Kelly’s contract at City expires in June and her loan move was only until the end of the season.

On whether fans can expect to see her in an Arsenal shirt again next season, she added: “Who knows. I just know I have given my all for the club and the club has given their all for me, so I’m always grateful.”