famous

IF you’re dreaming of going somewhere picturesque and peaceful, there’s a certain stunning cottage calling your name.

Residing in one of Wales‘ beautiful peninsulas, the white-washed home – known as Bwthyn Trehilyn – is incredibly popular for holiday bookings.

This isn’t only because it boasts six bedrooms, scenic views and the perfect step away to disconnect from the hubbub of busy, daily life.

It just so happens to be owned by a famous TV star.

Comedian, actor and television presenter Griff Rhys Jones took ownership of the now-beautiful cottage when it was in a rather derelict state.

It was once part of a collection of stone properties that collectively formed a working Pembrokeshire farm.

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But now Bwthyn Trehilyn is enjoying a new lease of life as a holiday rental, thanks to becoming the fifth property renovated by Griff.

Under the Thatch, a company who curate collections of the most refined holiday homes in Wales, announced Bwthyn Trehilyn as the top-selling accommodation for 2025.

Visitors adored the charm of the building, as well as its thoughtfully updated interiors including its adjoining servants’ wing, a former mill, and a granary.

Interior designers did their best to keep some of the interior’s original character, incorporating vintage furniture relevant to the period and restoring wooden ceiling beams.

Though one of the main sells for travellers was its location, being only a short walk away from the Abermawr beach.

The beach features a private lake, ideal for watching a stunning rural sunset melt into the water or an evening of fishing.

It only took a stroll through the area back in 2004 for Griff to decide he just had to snap up the cottage and return it to its former beauty.

KHLOÉ Kardashian has dropped some hot tea about changes to the family’s infamous Christmas Eve Party. 

The Good American co-founder spoke on her podcast, Khloé in Wonder Land, that the venue for the lavish affair might move, but the budget won’t.

“We all equally split the cost of the party,” Khloé said in the podcast. “Because it’s a family [thing].” 

She also admitted that the famed Kardashian-Jenner family’s iconic Christmas Eve party is getting ready for some significant changes this year. 

Momager extraordinaire, Kris Jenner, who spoke as a guest on the podcast, verified the changes to the party she has been hosting since 1978. 

“It gets really crazy,” Kris stated. “I think one of the most fun things, too, is to be able to share things with our friends. We’ve always been able to give out some amazing gifts at the end of the party.” 

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While the glam vibes might stay the same, the annual A-list Hollywood party is going to look very different. 

As the family prepares to create another unforgettable evening, the exciting news is that Kendall Jenner will be stepping into the hosting role this year at her stunning Beverly Hills mansion. 

This is the second year Kendall has taken on the role of host. 

Last year, she had a “smaller” cozy affair at her, chock-full of her 818 Tequila.  The new role as hostess comes with its own delightful challenges, especially since the family’s other homes are currently being renovated.  

“It’s pretty much the usual,” she recently told People magazine. “Last year, we did a smaller Christmas Eve party, and it was super lovely. Usually, they’re kind of these blowouts for the last, like, since I was born. But we’re doing a smaller one again this year, and I’m really happy about it.” 

Kris created this tradition in the 1970s as a joyful occasion for family and friends, and it naturally grew as the family expanded. 

The early 2000s marked a significant transition for the party, as it really took off following Kris’s marriage to Caitlyn Jenner. 

The event gained prominence, particularly with the success of the Keeping Up With The Kardashians reality show, which launched in 2007.

As time went on, Kris graciously passed the baton to her talented daughters. 

The party has been hosted at various times by Kim, Kourtney, Khloé, Kendall, and Kylie, with each of them bringing their unique flair and creativity to the festivities.

“Christmas is our World Cup,” Khloe said in a video posted to Instagram.

The video had the caption “Merry Kristmas!!! Come celebrate the holidays with us in Wonder Land.”

Fans are surely reminiscing about the fabulous past celebrations, beautifully documented in social media posts that have showcased glamorous outfits and exquisite decorations. 

One fan wrote, “Kris is the Christmas queen.”

Another follower wrote, “Kris should have her own wrapping paper line.”

“We’re cool with being ‘random people’ at the party, just saying,” a third fan pleaded.

This year’s changes promise to infuse fresh energy into their beloved holiday traditions, and we can’t wait to see what the Kardashian-Jenners have in store.

AN iconic tourist attraction in Europe is set to introduce its first ever entry fee – but only for tourists.

The historic Trevi Fountain in Rome dates back to 1762, built to provide both water to citizens and to show off the Catholic Church’s wealth.

But new plans could see it charge tourists to visit from next year.

The fountain – while always drawing large crowds – has always been open to the public.

Around 5.3million tourists visited the fountain in the first half of 2025.

Proposed plans will enforce a €2 (£1.76) entry for holidaymakers, with a separate entrance from citizens

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Locals will not have to pay a fee to visit it.

It is suggested the rules could be going ahead as soon as January 7.

However, Rome‘s city council said they were considering the new fee but that there was no confirmation it would be going ahead next month.

The new rule has divided people with some backing it in the hopes to reduce crowds.

One person said on social media: “Good idea. I tried walking through the area last November and could barely move, so many people.”

However, most said it would “ruin the charm” of the fountain.

Others said: “Nothing like taking away from the beautiful view of the fountain.”

Another agreed: “More companies making money!”

A third said: “How does one completely ruin and destroy the beauty of historical Italian architecture and monuments? Stick an ugly turnstile entrance and barriers in front of it.”

Most people visit it to throw a coin in, with legend saying one coin to return to Rome, two for love and three for marriage.

All of the coins are donated to a local charity, with thousands taken every years.

And it isn’t the only place introducing fees does tourists.

The famous courtyard and balcony of Romeo and Juliet in Verona is introducing strict new fees.

Tourists will have to pay €12 (£10.54) to enter – previously free – and only be allowed to visit the balcony for 60 seconds.

The museum will reduce capacity to just 100 visitors at a time.

And Venice charges day trippers to visit the famous city – here’s how much.

A new hotel and resort, owned by a famous chain with properties around the world, is set to open in the heart of the British countryside, offering ‘free desserts’ every day for guests

There’s a catalogue of luxury hotels dotted all over the UK, but there’s one that might just stand out from them all after it opens its doors to Brits. The Swiss brand Mövenpick Hotels & Resorts, known for offering guests an hour of complimentary desserts every day, is set to open its first hotel in the UK.

Dubbed the ‘chocolate hotel’, Mövenpick has establishments all over the world, from Asia, the Middle East, Africa, Europe, and even as far as the Pacific in Australia and New Zealand. In an exciting move, the well-known chain, owned by Accor, will open a new hotel in late 2027 at the Old Thorns Estate & Resort in Liphook, Hampshire, across 400 sprawling acres.

After a full renovation, the luxury hotel and resort will boast 194 bedrooms, a championship-level golf course, four restaurants, a wellness centre with spa, 2,500 square metres of conference and meeting spaces, and a ballroom accommodating more than 500 guests.

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Mövenpick is known for its premium and varied ice cream, which was acquired by Nestlé. Guests staying at the hotel can expect to enjoy an extensive selection of delicious treats, including éclairs, truffles, and brownies, as well as a chocolate fountain, during the brand’s famous ‘chocolate hour’, along with other food offerings.

What’s more, these desserts are famed for being complimentary for guests every day for 60 minutes. What makes the hotel chain stand out is its in-house chefs, who provide various workshops, demonstrations, and experiences for their guests, from truffle rolling to cupcake icing during the famed ‘chocolate hour’.

Graham Dodd, VP development for UK and Ireland, premium, midscale and economy brands at Accor, said: “Bringing Mövenpick to the UK marks an important step in strengthening our premium brand portfolio and reinforcing our growth commitment for this important market.

“Mövenpick is a world-renowned brand that is recognised for its culinary excellence and environmental responsibility, which align perfectly with the expectations of UK guests. The Old Thorns estate provides an exceptional backdrop to introduce the brand in this incredibly important destination for Accor.”

Renovations are expected to take place over the next two years to transform the former Old Thorns Estate & Resort into a new Mövenpick property in the heart of the Hampshire countryside, just an hour from London. The chain aims to expand its leisure and wellness facilities, elevate the dining experience, and restyle the guest bedrooms, all with an approach rooted in its Swiss-inspired hospitality.

Israr Liaqat, group CEO of Select Group, added: “This property stands as a landmark of character and opportunity. Its celebrated history aligns seamlessly with Mövenpick’s commitment to authentic experiences and Swiss-inspired hospitality. Together with our trusted and established partner Accor, we will elevate this iconic property into a world-class resort destination, blending heritage with the sophistication of the Mövenpick brand.”

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

QUIRKY culture and divine dishes make Iceland’s capital cooler than ever, says writer Margaret Hussey.

From the famous Blue Lagoon to mustard and malt whisky herring – Reykjavík is a perfect destination for a weekend break.

Take a dip

Bathing culture is huge in Iceland, and most flock to Reykjavík to take a dip in the famous Blue Lagoon, naturally heated by geothermal activity.

Entry costs from £61.50 (Bluelagoon.com).

For a cheaper option, try Nauthólsvík Geothermal Beach, with its lagoon, steam baths and hot tubs, all for just £5.60 (Nautholsvik.is).

The local pools are great, too.

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At Sundhöllin, the city’s oldest purpose-built one, you can swim, hot tub, sauna, cold plunge and steam for less than a tenner (Reykjavik.is/en/sundholl-reykjavik-pool).

Tuck into herring

Get up early to sample the lush (and huge) pastries, from £5, at Instagrammable Sandholt Bakery, while indulging in some top-notch people-watching (Sandholt.is).

Later, mix and match small dishes at buzzy Jómfrúin, where mustard and malt whisky herring, £15, pairs perfectly with local Boli beer, £8 (Jomfruin.is).

Elsewhere, at Grandi Food Hall you’ll find everything from Nigerian to Nepalese.

Grab the nasi goreng, £15, from Eldhús Iru and soak up the bustle of local life (Grandimatholl.is).

Follow the puffins

Perfect for a flying visit is the Puffin Express – a boat to Akurey Island – to spy its cute namesakes, in residence April to August while they mate.

Partners for life, they always return to the same burrow to hatch a chick.

Trips cost £47.50 (Specialtours.is).

At the fascinating Perlan museum, learn about everything from geysers to glaciers.

The ice cave replica is brilliant, as is the planetarium, where you’re guaranteed to glimpse the Northern Lights, albeit in film form.

Entry costs £38.30 (Perlan.is).

FlyOver Iceland is also fantastic fun, where state-of-the-art tech has you “flying” over mountains and waterfalls, complete with spray and wind in your face.

Tickets cost £34.60 (Flyovericeland.com).

Learn about BJöRK

If you prefer to keep your feet firmly on the ground, Hafnarhús Art Museum is brimming with modern works by the likes of Icelandic artist Erró, known for his colourful pop-art style.

Entry costs £14.80 (Listasafnreykjavikur.is/hafnarhus).

Björk fan? If you know she used to perform with The Sugarcubes, the Icelandic Punk Museum is for you.

Housed in a former public loo, here you’ll learn how the punk movement took off.

Entry costs £12 (Facebook.com/Bankastraeti0).

And while the Icelandic Phallological Museum might give you the giggles, it’s actually an informative insight into penises across the animal kingdom – including that of Jimi Hendrix!

A replica cast of the singer’s member, made by artist Cynthia Albritton in 1968, is on display here.

Entry costs £21.30 (Phallus.is).

Shop troll tales

Mjúk means “soft” in Icelandic, so at this shop nab the plushest angora and merino headband, £18 (Mjukiceland.com).

Then stop by Verslunin Bræðurnir Eyjólfsson, AKA The Old Bookstore, for tales of trolls and work by Icelandic crime writer Ragnar Jónasson (Bookstore.is).

Finally, at Nomad, pick up cool earrings, £15, and arty magnets, £4 (Nomadstore.is).

Stay central

Center Hotels Laugavegur is walking distance to everything, plus beds are super-comfy.

Expect a buffet of fruit, granola, Skyr yoghurt and great coffee, as well as bacon and eggs at breakfast.

Doubles cost from £130 B&B (Centerhotels.com).

Man Vs Baby has just been released on Netflix with subscribers more curious than ever to find out about Rowan Atkinson’s life.

Rowan Atkinson is a British treasure, so it’s no surprise devotees are keen to learn everything about the 70-year-old performer.

Man Vs Baby landed on Thursday, December 11, on Netflix, a four-episode comedy following Trevor Bingley (portrayed by Rowan Atkinson) as he unexpectedly becomes guardian to an abandoned infant in London.

The sitcom may have only just arrived on the platform but has already soared to Netflix’s top spot, demonstrating that audiences remain captivated by the Mr Bean icon.

As fans carry on devouring Man Vs Baby this weekend, here’s everything worth knowing about the legendary Rowan Atkinson.

Unexpected career

Whilst everyone recognises Atkinson primarily for his comedic work, breaking into acting wasn’t his original plan.

He first pursued electrical engineering at Newcastle University and embarked on a PhD at Oxford University when he uncovered his love for performing.

During his Oxford years, he encountered the writer of Four Weddings And A Funeral, in which Atkinson made a brief appearance, and also co-penned the beloved Blackadder.

Stutter

The Man Vs Baby performer has lived with a speech impediment throughout much of his life but has apparently discovered it troubles him less whilst he’s on stage.

Atkinson generally avoids the limelight regardless, but he also steers clear of numerous interviews due to his stammer.

He told Time magazine: “It comes and goes. It depends on my nerves, but it can be a problem.

“I find that when I play a character other than myself, the stammering disappears. That may have been some of my inspiration for pursuing the career that I did.”

Mr Bean

Beyond his memorable role in the Blackadder series, Atkinson’s early work centred on the wordlessly chaotic persona of Mr Bean.

It’s thought that Mr Bean draws from nine year old Atkinson’s experiences after being bullied at school by youngsters who thought he resembled an alien, earning him cruel nicknames such as Doople and Greenman.

Speaking to The Independent, he said: “There’s a lot of Mr Bean in me. He’s socially inept, selfish and has no manners – yet he can be sweet, innocent and well-meaning.”

Personal life

Atkinson was married to makeup artist Sunetra Sastry who he first met in the 1980s during filming of Blackadder’s second season.

Sastry worked as makeup artist for his co-star Stephen Fry, but it wasn’t long before Atkinson formed a connection with her, and they married in 1990.

The couple remained together for 24 years and welcomed children Benjamin and Lily before divorcing in November 2015.

During the divorce proceedings, the pair were midway through building an £11 million property in Oxfordshire.

The star met his current girlfriend Louise Ford in 2013 – who was then dating comedian James Acaster – whilst working on the West End production Quartermaine’s Terms.

Ford, who is roughly 30 years younger, has appeared in Horrible Histories, The Windsors and Crashing. The couple, who became parents to their darling daughter Isla in December 2017, have chosen to keep her away from the public gaze.

Man Vs Baby can be streamed on Netflix.

In the latest episode of The Envelope video podcast, Tonatiuh discusses the grassroots efforts he spearheaded to get “Kiss of the Spider Woman” in front of communities Hollywood may not always reach, and “Song Sung Blue’s” Kate Hudson explains what makes a good music movie.

Kelvin Washington: Hello, everyone, welcome to another episode of The Envelope. Kelvin Washington here. You know who I’m with: Yvonne Villarreal, Mark Olsen, glad to be here with you. Thanks for watching and listening.

All right, let’s get it started. Mark, you had a chance to talk to Tonatiuh. And of course, this is a big moment for him. This is something he worked hard for and now getting a lot of recognition for — “Kiss of the Spider Woman.” Tell me a little bit more about your chat.

Mark Olsen: That’s right. So earlier this year at the Sundance Film Festival, there just was this great moment at the premiere of Bill Condon’s adaptation of the musical version of “Kiss of the Spider Woman,” where just to see a showcase like this for someone is so exciting. Tonatiuh, he’s acting, he’s singing, he’s dancing. There’s like so much in this performance. It’s wonderful to to see. He has a lot of poise and charisma just simply in conversation. So it made for a really exciting talk.

Washington: And also the difficulty playing multiple roles, right? I mean, I would imagine that would have been challenging.

Olsen: That’s right, in the structure of the film, he plays a political prisoner in a South American jail and he’s explaining a favorite movie of his to his cellmate, played by Diego Luna, and then he also becomes the dashing leading man of that movie [within] the movie.

Washington: Right. Diego, also Jennifer Lopez, so obviously around some big stars. I swing over to you — speaking of big stars, Kate Hudson has been one for for a long time.

Villarreal: I thought you were talking about me!

Washington: You thought I was talking about Kate? You and then Kate, of course.

Villarreal: Obviously.

Washington: Kate Hudson, a big star for for some years now, half of a tribute band for Neil Diamond, “Song Sung Blue.” Tell me a little bit about this.

Villarreal: I feel like it’s the perfect pairing to have both these guests in this episode. This one also showcases, you know, her singing abilities and her performing abilities as an actor — two of her passions. She recently released an album, and with this movie, we really get to see Kate onstage and embodying what that’s like. We see this couple who find success as this Neil Diamond tribute band, but in the middle of the height of that, her character Claire suffers a big tragedy and it really derails everything, and she has to find her way back to that. And it was a really touching conversation to hear Kate sort of embody that and her own thoughts on, you know, when you come from a world like this, it’s not a guarantee, and you have to really have passion for that. Hearing her talking about spending time with Neil Diamond at his cabin. And she sang for us a little bit. When you leave that film, I feel like there’s an instinct to go home and just listen to Neil Diamond. I know I did. Hopefully we can go karaoke at some point.

Washington: “Sweet Caroline…”

Villarreal: Do you have a Neil Diamond go-to, Mark?

Olsen: Well, I love the “Hot August Night” album recorded live at the Greek Theatre here in Los Angeles, so I’ll go with any of the tunes from that one.

Washington: I’m still upset with the both of you that I there was no “Bah, bah bah…” [to continue his “Sweet Caroline”].

Villarreal: Hugh Jackman’s character would not go for that. I’m just saying.

Washington: Would have joined me? Or not going for it, like you two leaving me hanging?

Villareal: He doesn’t want us to start with “Sweet Caroline.” You gotta go further than that. But I’ll allow it now.

Washington: Deep cuts?

Villarreal: Deep cuts.

Washington: All right, we’ll talk some more about it while you enjoy Mark and Tonatiuh.

Tonatiuh in “Kiss of the Spider Woman.”

(Roadside Attractions)

Mark Olsen: It seems like you’ve been approaching your career with such a sense of intentionality and purpose. And I would imagine, especially as a young actor starting out, you’re not necessarily in control of the roles that you get, what you could do. What have you done or how do you feel like you are trying to take that control and have that sort of intentionality in the roles that you take and what you’re doing with your career in this industry?

Tonatiuh: Well, I think I’ll pivot a little bit and say I’ve been working for 12 years as a working-class actor. I’ve been on an ABC show [“Promised Land”] as a series regular. I was in “Carry-On,” which at the time it was the No. 2 most-watched movie on Netflix, but I think we’re now at No. 5. “KPop Demon Hunters” slayed. But the only control that I really have is saying yes or no to auditions. I’m not necessarily getting offered roles. I’ve had an entire career where if I sit around and wait for someone to come knocking on my door, I will starve. And I didn’t get into this for the celebrity. I got into this because of the social impact that it had on my own life. Art to me is a mirror as to who we are as a country and who we are as people. And so it gives us an opportunity to really reflect on that, but it also gives us a destination to where we want to be. A lot of my sense of humor came from the TV shows and films that I watched growing up. And I was introduced to cultures that were different than mine. …

I think with this specific project, with “Kiss of the Spider Woman,” it was a role of a lifetime. Bill Condon wrote a fantastic script where we not only got to tell one movie but we get to tell two. We time travel and go back into a 1950s-style musical, and I get to live my Gene Kelly, Errol Flynn, Montgomery Clift fantasy with the character of Kendall Nesbitt. But then with the character of Molina, I get to be this almost genderless expression. In the totality of the film I get to play the gender spectrum. Hypermasculinity, classic masculinity, very Hollywood masculinity with Kendall, a genderless expression with Molina. And then at the very end you get a little surprise of a full female fantasy.

Olsen: Whether intended or not, this film is being released to a specific cultural and political moment. In particular, as someone who identifies as nonbinary and is the American-born child of an immigrant family, how are you processing the moment the movie is coming out to?

Tonatiuh: It comes in waves. It’s different waves. At first it was “Wow, how crazy relevant our film is,” and that’s powerful. And when I accepted the role, we’re giving the Hollywood treatment to a bunch of marginalized communities and we’re telling truly with our film, “Latinos are Hollywood.” In that era, in the 1950s, there weren’t very many, if at all, Latin stars, especially those who were allowed to be the leads in those films. And so with this we’re almost kind of rewriting history and subversively saying, “No, no, we’ve always been here” and reminding people of the dignity and the beauty of that. But, comma, we also are doing that for the queer experience. So Molina, in my view, is what we would consider in 2025 genderqueer. And we’re putting Molina right at the center, at the heart of the film. And my mission statement, and the whole reason I lost 45 pounds in 50 days, was to ensure that we can focus on their heart and their eyes and not even consider thinking about what their gender possibly could be. You’re just falling in love with a form, a person.

Olsen: This role, of course, in the original film was played by William Hurt. Do you feel it was important to have a queer performer in the part of Molina? What does that do for the story?

Tonatiuh: There’s a lot of lived experience that can go into the DNA of a character, right? But there’s also a sense of responsibility. I have met so many incredible, beautiful, gender-diverse individuals in my life. And so being able to center someone like that and to tell it with as much love, it’s just a little bit more icing on the cake. And there’s creative conversations as things are being built where you have to add and pitch perspectives that maybe someone missed because they don’t necessarily have that exact experience. I don’t necessarily subscribe to, “You always have to cast the person for the thing.” Although I relate and understand Molina, I’m an artist and my job is to bring that humanity to them. I don’t have to be identical to that person. That’s where my artistry comes from. But I think that the reverence and the respect and that sense of responsibility is what makes this unique.

Olsen: Your final number in the movie you begin in a tuxedo and you end in a dress.

Tonatiuh: With a 26-inch waist, mind you. Clock the waist.

Olsen: And there’s just something extremely powerful about that.

Tonatiuh: I mean, there’s something really cool about it. People weren’t expecting the flip with Kendall. So all of a sudden it’s like, “Wait, that’s the same guy. Now he’s looking dapper with a mid-Atlantic accent.” And then at the very end it’s a quite shocking revelation when we look down the barrel of the camera and she’s gorgeous. But that was the beauty of it. Molina dreams of being a Hollywood starlet. And I think, for me as an artist, this will probably be the only time in my life where I get to play a leading lady and a leading man at the same time. It was really special.

Olsen: Molina doesn’t really see themselves as a political person in the beginning of the film —

Tonatiuh: No, not at all.

Olsen: And part of the the journey of the film is Molina coming to realize that they are part of this fight whether they want to be or not.

Tonatiuh: Well, I think Molina falls in love. I think Molina felt like a loser in their own life who wasn’t capable of even defending themselves, right? They were just trying to survive. And there’s this twisted internalized messaging that children of marginalized groups or people who have been bullied, they start doing it to themselves as a way of protecting themselves from the world. Like, “I’ll punch myself first before you can, and I’ll make it funnier. Actually, it’ll be my whole personality.” And I think that there’s something healing in that. Valentin’s character says, “I’m disgusted when you’d make fun of yourself like that. Where’s your self-respect?” And I don’t think that they understood self-respect because I don’t think they experienced it before. And so it took living in a prison cell to find dignity again. And these two men who are diametrically opposed were able to drop all facades. They were stripped of their comforts, they were stripped of the very masks that they used to protect themselves and were forced to see each other in order to connect. And I think that’s a larger theme that’s happening in the world. I think we’re constantly being told that we’re divided and we’re not similar. But I think at the end of the day, we all want similar things. We want to feed our children. If something, God forbid, happens to us, we don’t want to go into medical debt over it. We want joy, we want community, we want connection, and I think that vulnerability is the price we pay for that connection.

Olsen: I was at the premiere of the movie at the Sundance Film Festival —

Tonatiuh: Were you really? Oh man, I wasn’t. I was fully disassociated that day.

Olsen: And something happened in that room. I think the entire audience felt they had seen someone arrive. What have the past few months been like since then?

Tonatiuh: I don’t know if I’ve arrived with this role. I’ve been preparing for this moment my entire life. I am an artist and I love what I do. And one of the biggest gifts that I got was I got to meet people, yes, at the top of their game like Jennifer Lopez and Diego Luna. But every dancer in our film was a person of color, a Latin dancer, people from the Black community, and they are also at the top of their game on Broadway. And that’s the beautiful part. I’ve met so many artists who were just dying for the opportunity. I feel like all of us are in waiting. And so it’s not for lack of talent, it’s for lack of opportunity. And with this, I am very proud of the work that I’ve done. I don’t know if I’ve arrived. People still have to see the movie, you know? And I have to get the next job. So we’ll see when that comes. But as an artist, I am feeling more emboldened to continue telling the stories that I want to tell and to continue sharing this 15 seconds of limelight with the things that I value. I think that’s what my mission statement is as an artist.

Olsen: What was it about this role that made you realize from the start that you were going to really grab it with both hands?

Tonatiuh: Well, I have no choice. No, no, no. After the strikes, after COVID. And I don’t wanna make this sound like a pity party, but the roles tend to go to the same 15 people. And I don’t come from nepotism. My mom was an immigrant in this country. She worked at a Jack in the Box drive-thru when she first got here. But I had a dream, and she and I and a bunch of my friends and community along the way just kept pushing and trying to make it happen. And so when you get three-dimensional characters, two, when you get three-dimensional characters and a really dynamic script. You gotta take it and fight. And I wanted to give it all. And it also was so important. We’re centering people who are currently being called terrorists for simply existing in this world. How can I not give them honor? This is our love letter to them. This is our way of saying we love you, we see you, and you’re not alone.

Olsen: Tell me about some of the outreach you’ve been doing to get the film in front of people and communities Hollywood may not always reach.

Tonatiuh: So I partnered with a couple of great individuals. It started off with my friend Ruben Garcia, who owns this incredible company called Mosaico. And we wanted to activate the Latin community and get people excited to come and see it. But then I kept thinking, “Man, our community has been going through a lot recently. And the country as a whole is experiencing some financial difficulties.” So I kept asking myself, “How do we give a little love and entertainment to folks?” So I reached out. I started calling friends. I started calling nonprofits. I started calling corporations and just saying, “Here’s what the mission is. We’d love to just gift things to people.” And so we created a small impact fund where we received some donations and we handed out QR codes. We just wanted to treat people for opening weekend, and we gifted tickets to the L.A. LGBT center because they have a youth services program. Los Angeles [has] one of the country’s biggest populations of unhoused queer youth. And it was important for me that they see themselves onscreen, that this is possible for them, that they get the Hollywood treatment. We gifted it to organizations that are helping with immigrant defense funds. We gifted it to their staff because they also need a little joy in their life.

And then another personal favorite was the very high school where I started acting, West Covina High School, is a public school. Their Teacher, Kim Battersby, was always going above and beyond, spending countless hours after school, over the weekend, and then she even had kids along the process. It is the performing arts programs that helped me see more of who I was. I felt like a weird little queer kid, I call it queer-do, in high school. And it was the on the stage where I felt I could practice being other people and seeing what worked and what didn’t and to learn more of who I was. I brought them out to the Grove and we filled it up with them and they dressed to the nines. They all got dressed up as if they were going to a premiere of their own. It was so sweet. And after the film, I thanked them and we took pictures and they were crying. Because they saw themselves. I taught some of them. And it was so sweet. And some of them shared their hearts with me and said that they’ve been scared of leaving the house because of what’s happening. That they’re walking around with their passports. That some of them feel like they’re invisible and that with this movie they felt seen. It was really touching.

Olsen: What does that mean to you? What do you hope those audiences receive from the film?

Tonatiuh: I mean, I think watch it. And be pleasantly surprised as to what the movie’s about. I don’t want to give too much away, naturally, because of course it’s fun to be surprised at a film. But I think our film does two wonderful things. It does hold up a mirror and it also reminds us of what we’re really about. And it creates so much joy. I mean, Jennifer, Diego, Bill, Colleen [Atwood], the incredible costumes; you get to see something that feels out of this time. And I think we could use a little Hollywood glamour right now.

Olsen: Can you talk about the challenge of this being essentially two performances — Molina in prison and then Kendall in the fantasy sequences?

Tonatiuh: Completely different performances. There are two different films with two different acting styles. And two different worlds to build. So let’s look at the movie. The first one, we were transported back into the 1950s, classic Hollywood. And so the first thing that I did as soon as I got the script is I called Bill and I said, “All right, give me every movie you want to reference, and I’ll watch as many of them as I could while preparing for it.” And I thought to myself, “Who is a wonderful tortured soul” — because Kendall’s really tortured — “that I could emulate?” And I instantly thought of Montgomery Clift, in “The Heiress” specifically. And I was just like, “Man, I want his energy, but I want to dance like Fred Astaire and Gene Kelly. And so preparing before set, I would just watch as many of these films as I was getting ready in the hair and makeup trailer. But there, you know, it’s down to the mannerisms, the small microexpressions, really trying to nail that acting style because it’s proscenium. But the crazy part is we’re a shoestring budget movie. I mean, it’s a musical, so it’s a little bit bigger than other independent films, but we only had about 20 days to shoot 12 musical numbers. And Bill wanted to shoot it in that style, which means if he could get away with a single take, he was gonna try to get away with a single take. And it took a powerhouse like Jennifer Lopez, but also Diego and myself, to really focus and nail those moments. And there’s one moment in particular, “Give Me Love,” [with] Jennifer in the Cyd Charisse green dress, making a nod to “Les Girls” and also “Singin’ in the Rain,” where I wasn’t even called to set and I was just there watching nonstop because I was like, “My God, this feels like I’m watching Marilyn or Rita or Cyd herself doing it.”

But then the second part was a naturalistic drama — well, a little bit of a fantasy, but inside of an Argentinian prison. And like I said, my mission statement was to make Molina as genderless as possible. I had just come off of “Carry-On,” so I had to lose 45 pounds in about 50 days. And this is not a commercial for Ozempic. I wish GLP-1 was sponsoring this because that would have been helpful. But no, I did it the old-fashioned way. I starved. But it was worth it. I really wanted to get that look and find his voice and the accent and transport us back into Argentina in the 1980s.

Olsen: But at the same time, is there some point of connection? Are the things that you’re doing in the two halves of the movie meant to bring them together?

Tonatiuh: Well, the two films are intrinsically connected. It’s Molina’s favorite film, but it’s also their diary. It’s their confession. Oftentimes it’s easier for us to say I love you through someone else’s song, or to say I’m scared. We look to films and music to transport us, to heal us. And so it starts off with Molina just sharing a little bit about who they are through their favorite film, but then it ends up becoming their confessions and their soul.

Olsen: Can you talk about the audition process and what it took to get this role?

Tonatiuh: I never feel really qualified to talk about the audition process because for me, this is how it went. They had been looking for months. I didn’t know about the project. I didn’t hear about it until Dec. 18 or 19, something like that. At that point, Hollywood’s completely shut down. I’m confident I was like the last person to hear about this audition. And then I locked myself up in a room after reading the material and just working it over and over and over again, until I found that throughline. ‘Cause there’s so many ways of telling a musical. Dec. 22, literally days before Christmas, I got a call saying, “You’re gonna come to New York. Jan. 2nd, 9 a.m.” Next thing you know, I’m doing a tango and a Bob Fosse number and singing in front of Bill Condon and [producer] Bernie Telsey. And then a little table read with Diego Luna and I get a text message from Bill saying, “Call me.” And I was like, “Oh man, it’s either ‘Call me, I’m sorry’ or ‘Call me, you got it’ and it was ‘You got it.’

Olsen: And then what was your audition number? What song did you do?

Tonatiuh: “She’s a Woman.” And with that number, it was so interesting because there were so many ways of telling that as well. My audition actually was from more so the point of view of Molina singing it, but within the context of the film, Kendall sings it. And so there becomes this almost “Victor/Victoria” moment where it’s Molina’s “I Want” song through Kendall Nesbitt. but played by Molina because he hated the original actor who was Kendall Nesbitt. And so it was really a thought process to think, “OK, well, how would the original Kendall do it and pay nods to him? But if Molina was able to take over his body and tell it, how would then he say it?”

Olsen: Jennifer Lopez’s performances in the musical numbers is a great reminder of why she is who she is. What was it like to see that up close?

Tonatiuh: What’s the quote? I feel it was like watching lightning strike. It was powerful and awe-inspiring. I mean, it was just incredible. But it was one of those moments, as soon as they say, “You’re gonna be singing and dancing with Jennifer Lopez,” it was like, “Oh, OK. Time to level up.” It felt like I was getting an invitation to the Olympics. I mean, these are some of the greats. Jennifer’s fantastic. Diego Luna is a phenomenal actor. Bill Condon is a master at this craft, specifically with musicals. And then even Colleen Atwood, who did all of our costumes, and Christine Cantella. They transported us with those fabrics, you know. And so it was really one of those moments like, “Oh wow, I’m I’m finally getting the invitation to go into the ring,” and it was either level up or die.

Olsen: And I know that in some ways they were almost two production units.

Tonatiuh: There were completely two different different productions.

Olsen: What was it like having to shift gears between the musical fantasia of the story within the story and the prison scenes that are, as you said, these very naturalistic, very dramatic scenes with Diego. How did you manage that?

Tonatiuh: I always joke around because people are like, “How did you start acting?” And I’m usually like, “My acting was a trauma response,” you know, just to survive and code-switch in the world. But jokes aside, I think that being able to shift quickly allows me to go from culture to culture, set to set, and just adapt quickly to that. We had a wonderful crew in Uruguay, which was amazing. But Bill Condon is an actor’s director. Once we went to Uruguay, he sat us down and we did traditional theater table reads. We sat at the table for a week and a half and we just talked about the script, beat by beat, moment by moment, really carving out what our thoughts were and his thoughts were. Sometimes we disagreed. Things in the script changed. He was so open to our perspectives — like we [were] the heads of the department for our individualized perspective, essentially. And the beauty of what we did was we shot this in order. It’s a two-man play. And so the first time that you see Molina entering the cell, meeting Valentin, was the first time that Diego and I ever saw each other in full character. These two people are discovering who they are with every passing scene and dropping the facades. But we as actors were learning to depend on one another. I always joke around that this is like the Stanford prison experiment, because we were in the cell before the sun went up, and we were out of the cell after the sun went down, straight to the hotel and back. And we were shooting in the dead of winter in Uruguay, so there was very little sunlight to begin with. So it was one of those moments where it was like we needed each other, and we created amongst ourselves a deep and and very personal bond.

Olsen: And tell me more about working with Bill, especially on the musical numbers. There are some extremely long and extended pieces of onscreen dancing.

Tonatiuh: He’s incredibly meticulous. In a good way. He has already thought about exactly what vision he wants. Down to the very film that plays in the theater at the end was a deliberate choice. And so it was really exciting because he invites you to his world and because he prioritizes the table reads, we’re able to fully understand what he’s trying to sell. So then we already know, we’re finely tuned to it. But everybody on the set, and those sets alone were just glorious. I felt like I was walking into the Titanic. It was incredible. And our choreographers, Chris Scott, Sergio Trujillo, Brandon Bieber, they also worked with Bill to basically do a dance between the camera and the dancers themselves. Because if you look back at old movies with Fred Astaire or with Gene Kelly, specifically Fred Astaire, they would zoom out just to show you from head to toe, we are dancing. This isn’t edited. It’s not done in the cut. Which was really, really cool.

Olsen: With everything that you’ve put into this project, how do you move forward from here? What is it that you see for yourself moving forward?

Tonatiuh: Well, with this project specifically, I think what I want is to get it into the hands of the people who I know will absolutely love it because I think that there’s a healing process in watching this, especially watching it in cinemas. It’s communal. The energy shifts and the technicolor washes over you in a way that a cellphone could never. But moving after that, I’m excited. My favorite thing is to transform. I’ve literally sat in theaters this weekend where people had no idea I was sitting next to them and that was me onscreen, and then I wait in the lobby to take pictures. Some people come up and they’re shocked that I’m there, A, but B that I look so different. And I didn’t get fat. I’m back to my normal weight, OK? I lost weight for Molina. But I love to transform. And up until this point in my career, I’ve only I’ve had a limited amount of ability to transform. I hope to be completely unrecognizable in my next role. And I don’t know what that’s gonna be. If I want to be a hero, if I want to play a villain, do something in the sci-fi world, an action world. I don’t know exactly what that is. And of course, I’d love to also go to Broadway. There’s one play in particular that I’ve been circling now for the last eight months, and I’m inches from putting it up. I’m inches from getting the rights. But I’m saying it on here because I am going to do that one way or another.

Hugh Jackman and Kate Hudson in “Song Sung Blue.”

(Focus Features)

Villarreal: Do you like doing podcasts as a fellow podcast host?

Hudson: I like talking to people. I like connecting, so I’m always down for for this. [With] podcasts you get to have more time to really unpack.

Villarreal: Has it made you appreciate the art of the interview?

Hudson: I’ve learned a lot. I was so used to being on the other side, being the person that’s being asked all the questions and having to navigate the right way to answer something and not get yourself into trouble. So when it flipped and we [she co-hosts “Sibling Reverie” with her brother, actor Oliver Hudson] started to interview, when I would listen to our podcast, I’d cut everything out. I’d be like, “Jesus, shut up, Kate.” I’d cut out so much. I’ve also learned that sometimes, you gotta get to the point. You gotta keep everybody on track. Oliver, my brother, is a great podcast host. He’s so funny. I feel so lucky to have him to be my partner.

Villarreal: Well, we’re very glad to have you here to talk about “Song Sung Blue.” This is a film that’s about love of self, love of others, love of music and finding your way back to all that after tragedy. Tell me about why this was the right movie for you at this point in your life and career.

Hudson: It’s a great question. These things aren’t calculated. You have these opportunities, you read something, you hope you get to play the part because you believe in the story and you believe in the filmmaker and you believe in your co-star. And then you just hope that it comes together. And with this, the story was there. [Writer-director] Craig [Brewer] wrote a great script. For me, as an actor, it gave me all the colors, all of the things that I love and have been doing for so long [and allowed me] to be able to do in one movie. And the thing that was weighing on me was that if the love story doesn’t work, if we don’t believe these two people are madly in love with each other and needing each other — they’re quite codependent — the movie’s not going to work. It didn’t matter how great the script was. And I said [to co-star Hugh Jackman], “Look, how comfortable are you with getting to know me? Because I really feel like this movie’s not gonna work if we don’t work. And we kind of have to, like, be really intimate with each other and get to know each other really well … and let me know if I ever make you uncomfortable.” I’m incredibly tactile. He felt the same way. And that actually became the easiest part, was our connection and how much we trusted each other and how connected we felt. Something happened on the set. We kind of knew that it was a special, what was starting to unfold was something really special. Then you just cross your fingers and hope that the movie, that it became what we felt like we were making. I remember seeing the movie and just going, “Oh, my God, this movie makes me miss movies.” I just feel so happy and humbled to be a part of it because you never know.

Villarreal: Tell me more about building that foundation with Hugh, because the film is based on a true story of these two Milwaukeeans who fall in love, start this tribute band of Neil Diamond music. How did the bond with Hugh take form? Were you sharing playlists?

Hudson: We do share a love of of music. The first thing we did was record music. In the last two years, I’ve been very immersed in music and writing and just saying, “I have to make music” because if I don’t, I’m not fulfilling my creative output, input — all of it. I have to be making music. So I’ve been spending a lot of time in the recording studio. So I was very excited that that was where we were starting. Hugh has a different side of the story, which is it appears to him [that] it came much easier to me than it did to him. I disagree with that, but I’m sure that’s what he would say. But it was great because we got to sing together. When you can sing with someone and you sound good together and you start to connect through music, it’s a very different kind of language. And that was the beginning of us being like, “Oh, this is gonna feel really good.” Energetically, we’re both very spirited people and we had a blast in the studio. It was a great initial connection. But the movie itself is about people who love music, and who don’t necessarily get the opportunities to make that this huge success that maybe once when they were younger they dreamed of. One of the things I love about Craig and what he understands, and what I understand about music as someone who’s lived it my whole life, whether it be through partnership or myself, is that you along the way meet all these incredible, incredible musicians — way more talented than you are or I am — that don’t have the opportunities that maybe have been put in front of others or myself. And when you see that and you live it and you know it and you love it — I have a profound respect for that musician, the one that is the session player or the one that is the tip-drawer musician, the one who ends up being an interpreter because they didn’t make it as their own artist. And I think that’s what Claire and Mike Sardina really are in their hearts. They’re musicians. And Hugh has that in him. He loves being onstage. He loves performing. He loves giving his art out. And I think musicians, some musicians, love that. So we connected there and we connected to the characters very much so, with that essence of believing and loving something so much that you just have to do it, no matter what.

Villarreal: Do you remember the first song you guys did together in those recording sessions?

Hudson: I think it might have been “Forever in Blue Jeans” or maybe it was “Cherry Cherry.” We did so many songs, but I think it was one of those.

Villarreal: Are you ready to ask him to be on your next album?

Hudson: We’re already like, “We’re taking this on the road. We’re going to go sing all kinds of songs.” You don’t have to twist our arms to get in front of a mic and start singing. And a good music movie is really hard to do.

Villarreal: Why?

Hudson: You have to understand the language. Craig is, in his heart, a musician, even though he’s not a musician. He lives and breathes music. He’s a Memphis, Tenn., boy. Most of his world is around music. That’s how I fell in love and met Craig. I was young when I met him. We’ve been trying to work together for 20 years. I was married to Chris [Robinson, of the Black Crowes] at the time. We’re music people in our blood. Some people don’t have any real connection to music. Music isn’t something that they can relate to. But there’s two types of music lovers: There’s the fan, you feel music in your bones that you can’t explain and it moves you to places that you couldn’t live without it; then there’s people who have music in them and it has to come out of them. That is another language that you can’t explain to someone unless they were born with that or have that in them. Craig has it in him. And so it translates onto the screen. It’s like Cameron Crowe. It’s like PTA [Paul Thomas Anderson]. He has music in him. You can tell by the way he directs and his use of music. There’s certain directors that really understand musicality. Craig has that, so he was able to access that for this movie.

Villarreal: What was that like connecting on that front with Claire when you met with her? At what point in the process did that come?

Hudson: I really did not want to get too close with Claire because I don’t want things to feel like [I’m] mimicking. It’s not a Bruce Springsteen or Bob Dylan or that kind of biopic. And it was important to Craig too, to make Mike and Claire their own characters. I got to know her while we were shooting, and then she’d come to set, and I’ve got this footage of us sitting and laughing with each other. And it’s so funny because there’s an energy there where you’re like, “Oh, my God, I am playing her.” You can see it sitting in the director’s chairs. It was good to get her essence, but then to create another version of Claire, the movie version.

Villarreal: Did you ever get to sing with her?

Hudson: No. I had to miss the wrap party, which really was upsetting. And apparently there was a lot of karaoke singing at the wrap party. We’ll do a redo. But Claire’s had a really interesting life. Her life has been hard. Their life is and was hard. And they somehow found a way to believe in each other and have this beautiful love and life together. Claire, when she comes and she talks about Mike, he still really lives in her every day. It’s like he’s almost still here. It’s an amazing thing to see.

Villarreal: What was your relationship to Neil Diamond‘s music coming into this?

Hudson: Like most people that aren’t hardcore Neil Diamond fans, I obviously knew his biggest songs. When I read the script, I did like a big deep dive into [him] and I was like, “Whoa, what a catalog.” So many great songs and what a great songwriter. And when you hear some of — like the last song of the movie [“I’ve Been This Way Before”], I’d never heard that song before. Neil loves that we use that song because it’s very rare. People don’t usually talk about that song. And even “Forever in Blue Jeans,” I forgot about that song. I forgot about, “Girl, You’ll Be a Woman Soon.” There’s so many songs.

Villarreal: I wanted to ask if “Soolaimon” is still playing in your head? Because it’s like an earworm for me now.

Hudson: Oh, my God. [Singing] Soooooo. Soolaimon. Oh, yeah. That song is fantastic. It’s such a great live song. And I didn’t know that song until we started the movie. Getting to know Neil’s catalog was really honestly an honor. And for him to give us the opportunity to sing all of it and to use it, so wonderful.

Villarreal: You also spent time with him … on your porch? His porch? I saw the Instagram post.

Hudson: I grew up in Colorado and he is my neighbor. But I’ve never met him. My whole life. And then I was talking with his son the other day who was at the premiere, and I was like, “It’s so weird we’ve never met.” He lives like 15 minutes from where I grew up. So we just sat on his porch and had lemonade, and we held hands and talked for hours.

Villarreal: What do you talk about with Neil Diamond?

Hudson: He was very open, and he’s in a place in his life where he did a lot of listening, and then he told me great stories about his childhood that I feel very honored that he shared with me, about where he grew up and how he grew up. And the one thing he did say, which I love — I asked him what his favorite song was to perform, then I asked if he missed performing. He said that he’s done so much and he feels good about what he’s done, but the song that he loves is “I Am … I Said.” He said that it’s like God wrote that song. It just came through him, and he was having a very hard time when he wrote that song and he was conflicted, he was having a hard time writing it, then all of a sudden it just poured through him. I loved the privilege of hearing that story from him. He said that his life has gifted him with these different eras where his music got new life. And he was just incredibly grateful to us, say[ing], like, “I know that this is gonna give my music another chapter.” Then Hugh went. I said to Hugh, “You have to go see Neil.” And so he went and flew to Colorado and sat with him. I feel so happy that he got to see the movie and he loves it and that we did good by him.

Villarreal: You asked him what his favorite song was to perform. What was yours? There’s the moment where Mike and Claire are playing alongside Eddie Vedder that really stands out in the film. And what do you feel when you perform?

Hudson: It’s been really great to exercise a new muscle, performing muscle. For the last two years, from the first time I had my first show to now, it feels very different. I get really excited. When something goes horribly wrong is actually kind of fun because that’s what live shows are, you get to not be perfect even though you’re striving for something great and to give something out that’s great. It’s not always going to be what you hope it’s going to be. Something’s gonna go wrong, it’s gonna sound weird, you’re not gonna hear this, the guitar’s not gonna [do that], and there’s something about that live experience when you’re performing that just feels so alive. One of the greatest feelings for me is when you see people singing your words back to you. I couldn’t believe the first time I saw people that I’d never seen know my music. I don’t care how many people that is. Even one person that you can see that actually is feeling something that you put out into the world is such a wonderful feeling. Performing is a blast. Singing with Hugh at Radio City, and you get to play all these cool venues and places that, as a music lover, you look around and what a bucket-list moment to sing in this historic venue. I’m so happy that I, like, had the courage to do it because I wouldn’t have had all of these experiences that I’ve had. I don’t think I would have been cast in this movie if I didn’t make music, if I didn’t go out on a limb and make an album.

Villarreal: We see in the film that, at the height of their stardom, Claire suffers a tragic accident and it upends their world. She’s in a state of depression and she’s being confronted with, “Who am I? And does this change everything about who I am because I’m not up there? And how do I get back there?” What was that like for you to delve into that headspace as a performer? For you, either as an actor or a singer, can you relate to that feeling of it being intrinsically a part of who you are and the fear of never doing it again?

Hudson: Like any role, there’s a lot of things that you can relate to or substitute. I sometimes substitute, you know, something that I can’t relate to with other things, as my own process. Meryl Streep always says you have to honor the character as much as you would honor your own life. That’s how you create a character. But then when you’re telling someone else’s life story, it’s almost like a double whammy because of the pressure that you’re sort of holding someone’s life. They’re giving you an opportunity to portray something that you don’t want to know let them down, especially with something as intimate and as vulnerable as what Claire went through.

I felt a responsibility to her struggles and how we looked at them — to have a family, to constantly be struggling to keep food on the table, to have the ups and downs of mental health. What I love about this movie is Craig doesn’t really hit you crazy over the head with Claire’s mental health struggles, but it is implied that she is up and down and is on medication and has been, and so when Claire’s up, she’s up; and when she falls it’s pretty dark. Everybody experiences trauma differently. Some people are better at pushing through or being optimistic in the face of tragedy. Claire is faced with that [idea that] nothing will ever be the same … Claire always said — we don’t say this in the movie — “Mike was a leg guy.” He would talk about them. And when that accident happened, she felt so unattractive to him. It’s like something was lost that she knew that he loved of her. Then it just hit everything from her inability to move, to be the partner she wanted to be for him, to the kids, to the drugs, to the the pain. It just was an awful spiral. I just wanted to do that as much justice [while] holding on to Claire’s inevitable optimism. She’s a very optimistic person.

Villarreal: Have you ever felt that fear of it being taken away from you? It’s one thing to decide to leave something that you love.

Hudson: I’m very stoic. I have a amazing family. I have a big support system and entered this industry knowing that if I don’t really love what I’m doing, if I’m not happy singing in that Thai restaurant, then this is not the right industry for me. If I’m not happy doing community theater or doing sketches with my friends at the local theater, I’m not in the right business. If you love it like that, then you are in the right business, because you know that it’s always gonna let you down. There’s the other side, the spiritual side, which is that I really live my life like we are all gonna die. It is inevitable. If there’s anything that’s inevitable, it is tragedy. We will meet it at some point, whether it be parents dying, whatever that is, we all will experience it at some point. So the harder thing is where the joy sits. How do we live now with joy and happiness and intention and positive intention? It’s something that I really live, authentically. So no, I don’t think about it because the reality is, if I did, then I’d be living in fear and anxiety and I choose to not do that.

Villarreal: Give me tips, Kate. I’m a worrywart.

Hudson: I worry about my kids. But life is too short. Time is so short. Lightning can strike twice. It’s the Claire line. You can’t live in that.

Villarreal: It really does feel like you are living in that sort of joy. Between this film, the album, you recently recorded a Christmas song, you’ve got the new season of “Running Point,” the podcast with your brother. I’m still waiting for “Something Blue” [the follow-up to “Something Borrowed.”]

Hudson: Oh, my God, me too. You know what? Ginny [Goodwin, her co-star in the film] and I — she was just on the podcast and we were talking about it and we were like, “We need Emily to write us in our 40s now.”

Villarreal: Who’s the villain? In “Something Borrowed.”

Hudson: Great question. Aren’t we all the hero and villain of our own story? Isn’t that how this works?

Villarreal: But you seem really happy.

Hudson: I am very happy. Age does that. You start to grow up and you realize you can go one of two ways: You can enjoy your life and your life experience. I’m on the back half — almost the back half. But you get to a certain point in your life where you have choices to make of either, you lean into enjoying everything, every blessing, or you’re miserable and you get more miserable. I want to enjoy my life and my kids. I love watching my kids grow up. And honestly, I love the decision that I made for me to make art differently than I was in my early 20s and 30s. Life presents itself the way it’s supposed to present itself. Opportunities as an actor come as they do. It’s a hard thing as an actor to wait for things to come to you because, as any actor knows, you’re at the mercy.

Villarreal: You could be waiting forever.

Hudson: Creatively, you have to, at some point, make the moves and take the risks to do things your way. Whether they’re liked or not liked, you have to do it. I think something happened in my 40s where I’m like, “I’m just gonna take the risks and make art and do things the way, tell stories the way, I’d like to do them.” And really enjoy what it is. It’s magic. Making movies is magic. And you can tell when people love doing them. You can tell when someone’s in it for something other than the art form of it. And sometimes we get them really right, sometimes we get them horribly wrong. But we gotta keep telling stories.

A FAMOUS hotel chain known for serving free desserts every day is opening its first ever UK location.

Mövenpick Hotels has locations across multiple continents and became famous for its guests getting to eat free desserts for 60 minutes daily.

The hotel will be located at the Old Thorns Estate in Liphook, Hampshire, and is expected to open in late 2027.

Graham Dodd, VP development for UK & Ireland, premium, midscale and economy brands at Accor, said: “Bringing Mövenpick to the UK marks an important step in strengthening our premium brand portfolio and reinforcing our growth commitment for this important market.

“Mövenpick is a world-renowned brand that is recognised for its culinary excellence and environmental responsibility, which align perfectly with the expectations of UK guests.

“The Old Thorns estate provides an exceptional backdrop to introduce the brand in this incredibly important destination for Accor.”

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Mövenpick, a Swiss hospitality brand, will be running the property in Hampshire which was acquired by a Dubai-based real estate firm, Select Group, earlier this year.

Mövenpick, which is known for their wide range of ice-cream flavours, offers guests a free “dessert” for an hour every day.

Guests staying at any of the hotels can enjoy Chocolate Hour all kinds of treats such as éclairs, brownies, truffles, chocolate fountains and other snacks which change on a regular basis.

In-house chefs also host live demonstrations and experiences which include rolling truffles to icing cupcakes during the hour.

The Old Thorns Estate will be transformed into a 194-bedroom hotel and resort.

The improvements will include a championship golf course, 2,500 sq m of conference and meeting spaces, four restaurants, a wellness centre with spa, and a ballroom accommodating over 500 guests.

Renovations of the 30 acres property are expected to take place over the next two years.

Mövenpick was founded in 1948 by Swiss restaurateur Ueli Prager and has since grown into a portfolio of over 120 hotels globally in over 35 countries.

Its ice cream business was acquired by Nestlé in 2003.

Mövenpick Hotels & Resorts was bought by Accor 2018 and is now part of its premium brand portfolio.

The brand offers its culinary experiences in countries like Germany, Switzerland, Egypt, and many others across the world.

Israr Liaqat, group chief executive of Select Group, added: “Together with our trusted and established partner Accor, we will elevate this iconic property into a world-class resort destination, blending heritage with the sophistication of the Mövenpick brand.”

Mövenpick Hampshire – Old Thorns will join Accor’s existing portfolio of more than 5,700 hotels across 110 countries.