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THEY kept their romance under wraps for weeks, and now Kim Kardashian is about to meet Lewis Hamilton’s mum.

Just one week after The Sun revealed their top- secret relationship, the motor-racing ace and US reality star Kim went public at Sunday’s Super Bowl.

The pair were seen together at the Levi’s Stadium in Santa Clara, California, alongside Kim’s half-sister Kendall.

And now their relationship is public, they are moving at lightning speed, with Lewis telling Kim during the game that he was ready to ­introduce her to his mum Carmen Larbalestier.

The 41-year-old Ferrari-driving F1 star was seen turning to Kim and saying: “I don’t take just any girl to my mum. I mean you’re going to meet some day. She is very excited to see you.”

Bashful Kim, 45, grinned and replied: “OK,” before turning her attention back to the Seattle ­Seahawks, who beat the New England Patriots 29-13.

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Insiders told The Sun the pair’s relationship had been hotting up over the past few days, with Lewis ­spending time with her in LA.

We first reported last week how Kim had flown Lewis back to her home city following a whirlwind three dates in the Cotswolds, London and Paris.

The couple headed to Kim’s £40million Hidden Hills residence, which she shares with children North, 12, Saint, ten, Chicago, eight, and six-year-old Psalm.

A source said: “Kim and Lewis’s relationship is intense but they are both keen to keep moving forwards.

“He wants to spend as much time with her as possible, especially as he’ll be back getting ready for the new F1 season in a couple of weeks.

‘Want to see Kim happy’

“Lewis has been in LA, spending time with Kim and her family.

“They all adore him, especially her mum Kris [Jenner], who has loved having Lewis around.

“They’re all really approving of this relationship. They just want to see Kim happy.”

Of Lewis’s family, they added: “Lewis and his mum are incredibly close. Wanting to introduce Kim to Carmen shows how serious he is.”

Kim and Lewis were seen chatting with Kendall, 30, at the game in a VIP box which also included other celebrities such as Justin and Hailey Bieber, and musicians Tyler The ­Creator and Dave Grohl, as well as Apple boss Tim Cook.

Despite knowing they would be seen, the pair went to some lengths to keep their arrival quiet.

The Sun understands that, having travelled to the stadium in the same car, Kim and Lewis entered it within seconds of one another.

Kim and Lewis’s relationship is intense but they are both keen to keep moving forwards

A source

Over the past few days, Lewis has tried to throw fans off the scent of their fledgling romance.

On Sunday he shared a video on Instagram of him running in London and appeared to try to show it was filmed in real time, captioning it 06.26am.

In fact, he was in the US with Kim.

Lewis’s fans have rounded on his romance and cited the “Kardashian Curse”, which is said to negatively affect men who date the famous ­reality TV sisters.

Following Lewis’s most recent Instagram post, one fan wrote: “Focus on yourself, King. Kim will ruin your season.”

Another added: “Ferrari and ­Kardashian curse is a recipe for disaster.”

Lewis has been in LA, spending time with Kim and her family

A source

A source said: “Kim and Lewis know there is a huge amount of interest in them and he’s aware of the backlash online. His social media accounts have been flooded with comments from his followers about the Kardashian curse and, to be honest, it’s boring him and he’s not interested.

“They had wanted to try to keep things as low-key as possible — and hard-launching at the Super Bowl made sense.

“There, they could be seen together but not be approached.

“Fans who were questioning their relationship before now have it laid out in front of them. Kim and Lewis are very happy and are just navigating this together.”

Although they have never been romantically linked before, Kim and Lewis have been friends for more than a decade.

The Sun understands their friendship started to evolve into romance at the end of last year.

We first revealed the pair were dating on February 2 — with the pair spending a lavish evening together in the Cotswolds on ­January 31.

They stayed at the £1,000-a-night Estelle Manor, where they enjoyed a couple’s massage and dinner in a ­private room.

‘Like military operation’

The following day they travelled to London and holed up in a £7,000-a-night suite in the Rosewood Hotel near Covent Garden.

Insiders said the couple were driven straight into the five-star hotel’s underground car park to avoid being seen by snappers.

Kim was later seen in London at a Selfridges event to promote a collaboration between her brand Skims and Nike, while Lewis stayed at the hotel and waited for her.

From there, on the Monday Kim readied her £100million jet to fly them to Paris where she was ­opening another NikeSkims pop-up at the 10 Rue de Turenne gallery.

Kim absolutely loves spending time in Paris and wanted Lewis to go with her

A source

The couple booked into the five-star Le Bristol hotel — where Kim usually stays in the Paris suite, which costs £21,000 a night.

A source said: “Kim absolutely loves spending time in Paris and wanted Lewis to go with her.

“Her work is so important to her but it’s all things she can slot around spending time with Lewis.

“They are both used to travelling all over the world while working so doing it together means they can spend proper time with each other. They kept things super low-key in Paris and spent most of their time together in their room and ordered food there.”

Those close to Kim and Lewis said they were keen to keep their dates under wraps and had pulled out all the stops to avoid being ­pictured together.

A source added: “Kim and Lewis have been using side entrances at hotels, or are using hotels which have underground car parks. They’ll then use lifts straight to their room.

Lewis is a massive fan of Nineties culture and fashion — and Kim was clearly going all out to impress

A source

“It’s like a military operation moving them from place to place but Kim has her two bodyguards and Lewis has his close protection officer on hand to help things run smoothly.”

Insiders said Kim was keen to impress Lewis, and even channelled his love of the Nineties with her hairstyle at the Super Bowl.

Her long-time hairdresser Chris Appleton shared a photograph of her “Super Bowl bangs” on Instagram ahead of the game.

He previously created the style on her for the 2023 Council of Fashion Designers of America awards and said it was inspired by “Nineties Pammy” — Pamela Anderson.

A second source added: “Lewis is a massive fan of Nineties culture and fashion — and Kim was clearly going all out to impress.”

The Sun understands Lewis will be leaving the US in the coming days as his Ferrari team starts preparations for the F1 season, which gets under way with the Australian Grand Prix in Melbourne on March 8.

Tomorrow, testing begins across all the F1 giants in Bahrain, with Ferrari yet to confirm which of their drivers will be taking part.

MINNEAPOLIS — For days, Luis Ramirez had an uneasy feeling about the men dressed as utility workers he’d seen outside his family’s Mexican restaurant in suburban Minneapolis.

They wore high-visibility vests and spotless white hard hats, he noticed, even while parked in their vehicle. His search for the Wisconsin-based electrician advertised on the car’s doors returned no results.

On Tuesday, when their Nissan returned to the lot outside his restaurant, Ramirez, 31, filmed his confrontation with the two men, who hide their faces as he approaches and appear to be wearing heavy tactical gear beneath their yellow vests.

“This is what our taxpayer money goes to: renting these vehicles with fake tags to come sit here and watch my business,” Ramirez shouts in the video.

A spokesperson for the Department of Homeland Security and Immigration and Customs Enforcement did not respond to inquiries about whether the men were federal immigration officers. But encounters like Ramirez’s have become increasingly common.

As the sweeping immigration crackdown in Minnesota continues, legal observers and officials say they have received a growing number of reports of federal agents impersonating construction workers, delivery drivers and, in some cases, anti-ICE activists.

Not all of those incidents have been verified, but they have heightened fears in a state already on edge, adding to legal groups’ concerns about the Trump administration’s dramatic reshaping of immigration enforcement tactics nationwide.

“If you have people afraid that the electrical worker outside their house might be ICE, you’re inviting public distrust and confusion on a much more dangerous level,” said Naureen Shah, the director of immigration advocacy at the American Civil Liberties Union. “This is what you do if you’re trying to control a populace, not trying to do routine, professional law enforcement.”

A ‘more extreme degree’ of deception

In the past, immigration authorities have sometimes used disguises and other deceptions, which they call ruses, to gain entry into homes without a warrant.

The tactics became more common during President Trump’s first term, attorneys said, prompting an ACLU lawsuit accusing immigration agents of violating the Constitution by posing as local law enforcement during home raids. A recent settlement restricted the practice in Los Angeles. But ICE deceptions remain legal elsewhere in the country.

Still, the undercover operations reported in Minnesota would appear to be a “more extreme degree than we’ve seen in the past,” said Shah, in part because they seem to be happening in plain sight.

Where past ruses were aimed at deceiving immigration targets, the current tactics may also be a response to Minnesota’s sprawling networks of citizen observers that have sought to call attention to federal agents before they make arrests.

At the Bishop Henry Whipple Federal Building in Minneapolis, the city’s central hub of ICE activity, activists told the Associated Press they had seen agents leaving in vehicles with stuffed animals on their dashboards or Mexican flag decals on their bumpers. Pickups with lumber or tools in their beds were also frequently spotted.

In recent weeks, federal agents have repeatedly shown up to construction sites dressed as workers, according to Jose Alvillar, a lead organizer for the local immigrant rights group, Unidos MN.

“We’ve seen an increase in the cowboy tactics,” he said, though he noted the raids had not resulted in arrests. “Construction workers are good at identifying who is a real construction worker and who is dressing up as one.”

Using vintage plates

Since the start of the operation in Minnesota, local officials, including Democratic Gov. Tim Walz, have said ICE agents had been seen swapping license plates or using bogus ones, a violation of state law.

Candice Metrailer, an antiques dealer in south Minneapolis, believes she witnessed such an attempt firsthand.

On Jan. 13, she received a call from a man who identified himself as a collector, asking if her store sold license plates. She said it did. A few minutes later, two men in street clothes entered the shop and began looking through her collection of vintage plates.

“One of them says, ‘Hey, do you have any recent ones?’” Metrailer recalled. “Immediately, an alarm bell went off in my head.”

Metrailer stepped outside while the men continued browsing. A few doors down from the shop, she saw an idling Ford Explorer with blacked-out windows. She memorized its license plate, then quickly plugged it into a crowdsourced database used by local activists to track vehicles linked to immigration enforcement.

The database shows an identical Ford with the same plates had been photographed leaving the Whipple building seven times and reported at the scene of an immigration arrest weeks earlier.

When one of the men approached the register holding a white Minnesota plate, Metrailer said she told him that the store had a new policy against selling the items.

Metrailer said she had reported the incident to Minnesota’s attorney general. A spokesperson for the Department of Homeland Security did not respond to a request for comment.

A response to obstruction

Supporters of the immigration crackdown say the volunteer army of ICE-tracking activists in Minneapolis has forced federal agents to adopt new methods of avoiding detection.

“Of course agents are adapting their tactics so that they’re a step ahead,” said Scott Mechkowski, former deputy director of ICE enforcement and operations in New York City. “We’ve never seen this level of obstruction and interference.”

In nearly three decades in immigration enforcement, Mechkowski said he also hadn’t seen ICE agents disguising themselves as uniformed workers in the course of making arrests.

Last summer, a Homeland Security spokesperson confirmed a man wearing a high-visibility construction vest was an ICE agent conducting surveillance. In Oregon, a natural gas company published guidance on how customers could identify their employees after reports of federal impersonators.

In the days since his encounter, Ramirez, the restaurant worker, said he has been on high alert for undercover agents. He recently stopped a locksmith who he feared might be a federal agent, before realizing he was a local resident.

“Everybody is on edge about these guys, man,” Ramirez said. “It feels like they’re everywhere.”

Offenhartz writes for the Associated Press.

Tehran, Iran – Iran’s economic outlook appears increasingly grim more than three weeks after the start of what became one of the most comprehensive and prolonged state-imposed internet blackouts in history, impacting a population of more than 90 million people.

Iranian authorities abruptly cut off all communications across the country on the night of January 8, at the height of nationwide protests that the United Nations and international human rights organisations say were suppressed with the use of deadly force.

Most of Iran’s internet bandwidth, local and international phone calls and SMS text messages have been restored over recent days. But most of the country is still unable to freely connect to the global internet amid heavy filtering by the state.

The increased bandwidth allows more people to circumvent state restrictions using a variety of proxies and virtual private networks (VPNs), but solutions are often costly and temporary.

Last week, Information and Communications Technology Minister Sattar Hashemi told reporters his ministry estimates that the Iranian economy suffered at least 50 trillion rials (about $33m at the current exchange rate) in damages on a daily basis during the blackout.

But the minister admitted that the true toll is likely much higher, and said that other ministers and economic officials have privately offered heftier estimates that he did not expand upon.

‘Can’t do anything without the internet’

The government of President Masoud Pezeshkian has said the decision to fully block connectivity was taken outside of its control by the Supreme National Security Council.

Pezeshkian, who had made scaling back internet filtering a main campaign promise, has refrained from talking about Iran’s largest internet blackout to date, instead focusing on economic reforms and cash subsidies.

The administration has promised to offer online businesses financial support, but the losses have already been sudden, acute, and too heavy to bear for many.

Simin Siami, a travel agent working in Tehran, told Al Jazeera that her company lost most of its income and had to lay off a number of employees.

“Most international flights were cancelled, and there was no way to purchase tickets or compare existing flights,” she said, adding that her company was also unable to book hotels for customers, who were initially even unable to renew their passports.

“Unfortunately, that limited our services to selling tickets for local flights and booking local hotels, and cancelled all our previous international tickets and bookings.”

Saeed Mirzaei, who works at an immigration agency in the capital, said 46 employees at his company had to go on mandatory leave for weeks amid the shutdown.

He told Al Jazeera that they suddenly lost all contact with foreign counterparts, were unable to get updated information from embassies, and missed deadlines to apply for universities on behalf of their customers wishing to leave a heavily sanctioned Iran for better opportunities.

“We can’t do anything without the internet because our work deals directly with it,” Mirzaei said.

National internet a ‘bitter joke’

During the blackout, Iran’s theocratic establishment even struggled to sustain basic services using the so-called National Information Network, a limited nationalised intranet.

The connection to the intranet was slow and patchy, many companies remained disconnected from it, and those that were allowed to connect retained only a fraction of their customer base amid general economic stagnation across the country.

Hashemi, the communications minister, said a demand by hardliners within the establishment to move away from using the international web in favour of a domestic connection was a “bitter joke” that is not feasible to enforce.

He said his ministry estimates that the country’s online businesses could survive under a blackout for roughly 20 days, signalling that the state had no choice this week but to gradually restore internet bandwidth.

Figures for economic damages incurred by the blackout published by officials reflect only the visible costs and do not account for hidden losses, according to Abazar Barari, a member of Iran’s Chamber of Commerce.

“In the import and export sector, processes are heavily dependent on the internet from the very initial stages – such as price negotiations, issuance of pro forma and other invoices – to coordination with transportation companies and the verification of documents. As a result, the internet shutdown effectively disrupted foreign trade,” he told Al Jazeera.

“During this period, customer attrition also occurred, with the damage being particularly severe in certain food commodities, as many countries are unwilling to tie their food security to unstable supply conditions.”

‘They have no right to do this’

In a tumultuous country with one of the highest inflation rates in the world, numerous Iranians who tried to make money online to stay afloat are now deeply anxious as well.

From owners of small online businesses to teachers, chefs, crypto traders, gamers and streamers, people are taking to social media to ask others for extra support after the gradual reconnect this week.

Mehrnaz, a young video editor in Tehran, said she only went back to work this week after her company put her on forced leave without pay from the start of the protests in the city’s business district in late December.

“I was on the verge of having to move back to my parents’ house in another city. I’m only 25, and I hit near-zero for the second time this year. There might not be another time,” she said, pointing out that the first time was during the 12-day war with Israel and the United States in June.

Iran’s National Post Company announced on Sunday that postal deliveries experienced a 60-percent fall at the height of the blackout, mainly damaging small and home-based businesses that depended on mailing their products.

But beyond livelihoods, many in Iran are also angered by the fact that the state can cut off communications on command, violating the people’s right to benefit from the internet.

“They had the nerve to create a tiered internet and decide which type of use is ‘essential’,” said a woman who asked not to be identified for safety reasons.

“My child wants to search about his favourite animation movies, my mom wants to read news on Telegram, and my dad wants to download books. I want to go online and write that they have no right to do this.”

Ray J is under doctor’s orders to stay on bed rest, take all his prescribed medications and avoid drinking alcohol or smoking because of his damaged heart.

The R&B singer, who revealed this week that his heart is pumping at far below capacity because of damage from his heavy use of alcohol and other substances, shared those directives with TMZ in an interview published Thursday. Doctors told him he likely has only months to live, with the former “Love & Hip-Hop: Hollywood” star predicting that he would die by 2027.

Doctors told Ray J — real name William Ray Norwood Jr. — that he should prepare for the chance that he might need a pacemaker or defibrillator soon, the singer told the celebrity site. He expects to get an update when he goes back in two weeks for a check-up.

The brother of actor-singer Brandy said that if he manages to survive his current health crisis, he expects to emerge a “stronger and a better person.”

Ray J told followers in a video posted Sunday that he wanted to “thank everyone for praying for me.”

“I was in the hospital,” he said. “My heart is only beating like 25%, but as long as I stay focused and stay on the right path, then everything will be all right.”

He said elsewhere that his heart was beating at 60%. The number likely refers to Ray J’s heart’s ejection fraction, which measures the volume of blood coming out of the heart’s left ventricle or being drawn into the right ventricle when the heart beats. Right-sided heart failure is far less common, according to WebMD.

The man who was with Kim Kardashian in her career-launching sex tape said in other video livestreams that the right side of his heart was “black. It’s like done.”

“I thought I could handle all the alcohol, I could handle all the Adderall,” he said. Now, he told TMZ, he’s been taking eight different drugs, including Lipitor, Jardiance and Entresto, and physicians’ warnings for him to avoid smoking and drinking are a challenge.

Doctors have told him he has only months to live, Ray J said in his recent livestreams, and he believes he won’t last past this calendar year.

He is 45.

This article contains spoilers for Part 1 of Season 4 of “Bridgerton.”

Luke Thompson and Yerin Ha are lounging on a blue velvet couch in a swanky green room inside of Netflix’s offices in New York, bracing for the whirlwind that inevitably envelops every pair of actors who become the central couple in a season of the popular romance drama “Bridgerton.” And they’re still settling into the idea of being romantic leads.

“It doesn’t feel real,” Ha says fresh into their first press day in early December. “Because for a very long time, I didn’t think that it was possible for me — maybe I should have dreamed bigger. To keep saying that I’m the lead of a season feels really bizarre.”

“But maybe that’s a way of coping with it,” Thompson says. “I remember in Season 1, I just finished a Zoom call and I just sat in my living room and it was the first time I really touched into the idea that millions of people are watching this thing. Millions of people. And I never did it again.”

“You just did it for me now,” Ha says with a smidgen of dread that launches the pair into laughter. “That’s not really helping.”

Thompson, though, isn’t feeling the pressure of keeping the romance alive and extremely meme-able as they take up the mantle of the Regency-era fairy tale.

“It’s a show that’s proven time and time again that there’s huge appetite for romance,” he says. “It was a genre that might have been, not looked down on, but not really taken very seriously. To be able to incarnate some projection of romance for people, particularly in January and February, when people are feeling a bit miserable, maybe, it’s lovely to be part of that.”

The duo play Benedict and Sophie, affectionately dubbed #Benophie, a couple whose story gives the classic Cinderella tale a bit of steam and is one that readers of Julia Quinn’s “An Offer From a Gentleman,” which inspired this season, know well. Thompson’s Benedict, whom “Bridgerton” viewers have come to know as the artistic, pansexual second-oldest son of the Bridgerton clan, has long shown disinterest in settling down or adhering to societal norms. But then in Part 1 of Season 4, released Thursday, he meets Sophie Baek, a maid in her abusive stepmother’s home, at a masquerade ball hosted by his mother. Viewers eventually learn Sophie’s servitude is forced after her parentage is revealed — she’s the illegitimate daughter of an earl.

Yerin Ha as Sophie Baek and Luke Thompson as Benedict Bridgerton during their masquerade ball meet-cute in Season 4.

(Liam Daniel / Netflix)

Showrunner Jess Brownell says this season, they were is interested in prodding the wish-fulfillment fantasy many of us were introduced to at a young age.

“We learn about them as children from Disney movies,” she says. “For us, though, in interacting with this trope, it was really important to interrogate it a little bit. I think what our interrogation hopefully reveals is that oftentimes it’s the prince figure or the man of a ‘higher station’ who … needs to do some work on himself, to step out of his fantasy life a little bit and step more into reality to be worthy of the love of a Cinderella-type. It’s not to say that the Sophie character doesn’t have her own journey to go on, I think that she absolutely has to let her walls down and has to allow herself to dream of and believe in the possibility of love.”

Over a video call from that cozy couch inside Netflix’s offices, Thompson and Ha discussed navigating the spotlight as the newest “Bridgerton” couple, this season’s very unromantic declaration of love and trying to capture a swoon-worthy meet-cute behind an oversized mask.

The excitement for this season is already in full effect. How are you feeling about Benophie as the couple name? Am I even pronouncing it right?

Thompson: I don’t know!

Ha: I think that is right. I initially said Ben-off-ee like Banoffee pie, but then I realized it wouldn’t make sense because it’s So-fee. So Ben-o-fee would make more sense.

Thompson: There’s been a couple of fun AI pictures.

Ha: I actually just got one yesterday from my mom about our kids, our future kids. [Thompson laughs.] And I was like, “Mom, why are you on the internet looking at these things?” So it’s really out there, and I’m really being fed it out of my own will, but it’s amazing to see people already so excited about it and wanting to create things and future possibilities. It’s quite amazing. And the fans are actually so lovely.

Thompson: I think that’s one of the best things about social media, actually; that whole aspect of people projecting or imagining themselves or creating stuff sometimes. That’s something that we never used to be able to really get a handle on, but to be able to see the amount of energy and thought that people put into it is kind of amazing.

Ha: Also creative artistry. So many fans are drawing, sketching. It’s incredible. The amount of talent that people just share with us, it’s really beautiful.

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1. The “Bridgerton” couples over the seasons: Simon Basset (Regé-Jean Page) and Daphne Bridgerton (Phoebe Dynevor) in Season 1. 2. Kate Sharma (Simone Ashley) and Anthony Bridgerton (Jonathan Bailey) in Season 2. 3. Colin Bridgerton (Luke Newton) and Penelope Featherington (Nicola Coughlan) in Season 3. 4. Benedict Bridgerton (Luke Thompson) and Sophie Baek (Yerin Ha) in Season 4. (Liam Daniel / Netflix)

Luke, you’ve had three seasons to observe how others have taken on this mantle. Did Jonathan or Luke impart any words of wisdom as you stepped into lead duties? Did you have any observations in watching them navigate the spotlight and the intensity of this?

They were always very, very open to offering advice — Regé[-Jean Page, who led the first season as Simon Bassett, the Duke of Hastings], as well; all three of them. That’s been really, really helpful to know that it’s there. In terms of observing them, that’s why I’ve had a bit of a lucky ride, really, because I got to watch them. I mean this in a positive way — Regé is very serious. There’s something about the nature of the show that could encourage you to be a bit more light about it, but I think he really took it very seriously. Johnny [Jonathan Bailey, who plays Anthony Bridgerton] has this amazing energy that’s extremely contagious. I watched that and how that affects the atmosphere on set. And then Luke [Newton, who plays Colin Bridgerton] is very sensitive and he’s very careful and clued in terms of how and when he expresses himself. I’m so lucky I got to watch all of them do it and admire them and think about them and think also about how it would work for me.

What about you, Yerin? You’re a newcomer to this fictional world being thrown into the deep end. Did you get any useful feedback from Nicola Coughlan or Simone Ashley?

I didn’t have the years of looking at the other leads actually experience it. But Nicola and Simone, from the get-go when I was cast, they offered to give me advice and be like, “We’re here for you if you need it.” But the thing about it is, everyone is so different and unique with what they actually struggle with and what is going to be their challenge. I didn’t really know what I wanted advice about, but it was just always so nice and supportive to know that they were there if I needed them. But also, Luke, who was my main scene partner, was in “Bridgerton” for years, so I was able to also lean on him and also the other fellow castmates if I felt insecure or if I didn’t really know how to go about things.

Luke Thompson on “Bridgerton”: “It’s a show that’s proven time and time again that there’s huge appetite for romance,” he says. “To be able to incarnate some projection of romance for people, particularly in January and February, when people are feeling a bit miserable, maybe, it’s lovely to be part of that.”

(Tyler Twins / For The Times)

This being “Bridgerton,” the chemistry between Benedict and Sophie is so crucial to the magic of their story and how it develops over time. Tell me about the chemistry read. What do you remember about meeting each other?

Thompson: It was like this.

Ha: You’re third wheeling with us.

Thompson: It was on Zoom.

Ha: I was in Korea. It was 11 p.m. and I was trying to manage my nerves the entire day, which was quite stressful. And then I logged on, you [Thompson] were there. You had a striped shirt on, I remember — quite vividly, actually. I said that he looked quite tired. Maybe it was me projecting, thinking that he was having lots of auditions, reading with lots of people by then.

Thompson: I’m trying to think how many; we hadn’t auditioned that many people because it’s a very particular part. What we were asking or looking for was fairly particular. That’s the other thing I thought: How are we going to be able to do a chemistry read on Zoom? With all the awkwardness of doing it on Zoom — having to pretend that you’re turning your back and there’s a lake and having to sort of mime in front of the camera is so, so cheesy — despite all of that, I just remember reading scenes with you and feeling very relaxed. You know it when you see it. As soon as the Zoom call ended, I told you, Tom Verica [an executive producer and a director of the series] was a bit teary, and we were like, “Well, obviously it’s her.”

Ha: Obviously the stakes are so high on my end, because he’s already in the show, so I was so focused on just trying to be present and not trying to force anything. I think that’s when it gets a little bit weird. I just remember looking at you in the screen, and Luke’s such an open person anyways, and so it was quite easy to do the scene, despite that there was lots of interjections in the audition scene that we had to do, but we just pushed through.

What were the scenes that you had to do together that day? The lake scene —

Thompson: The lake scene and the tea scene. Just two.

In Season 4, viewers know Sophie (Yerin Ha) is the lady whom Benedict (Luke Thompson) meets at the masquerade ball, but he hasn’t connected the dots when they meet again later.

(Liam Daniel / Netflix)

In the world of romance, how two characters meet is often as important as how they get together. And the masquerade ball holds a lot of excitement and expectations for fans of the book. How did you feel tackling that scene? Did the masks help alleviate any nerves?

Ha: For me, it was a bit more pressure in the sense that my mask is so big [Thompson laughs], it’s hard to actually be quite expressive when your cheekbones are hidden under this mask. I just remember sometimes Tom would be like, “You got to express more with your eyes and your lips.”

Thompson: It’s basically like you were wearing a paper bag.

Ha: Yes! So, that was a challenge, but also, in a way, sometimes masks make you feel a little bit invincible … Sophie, especially in that night, the mask makes her brave and courageous; when she takes off the physical mask, that’s when the metaphorical mask actually comes into play.

Thompson: You’re right. The mask thing is integral to how they both meet. They even talk about it when they’re on the gazebo, the terrace; they have that whole scene where it is all about asking questions, not answering questions. To Benedict, [with] Sophie you’re constantly like, “Is she in earnest? Does she actually not know how to dance? Is she joking that she doesn’t know how to dance? Is she playing the role of someone?” There’s so many different questions about it — and I think that’s what’s so romantic about it. It’s so recognizable because that’s always what love at first sight is. It’s not that in that moment, two people completely see each other; there’s a game that starts happening. It’s all about what they allow the other to see or not, and sometimes there’s these really nice bits where they keep missing each other. There’s that amazing bit … when she’s spying through the door, and then just as she leaves, Benedict looks. It’s the pattern of their relationship, it’s how it’s always been — and it starts in this amazing little dream.

I imagine there was there a lot of discussions on what these masks should look like?

Ha: Yes. The costume team are incredible; they had, like, five different versions of it. Some of it was just completely covering my face with material. And then they were like, “Maybe not.” Because obviously Benedict sees her later as Sophie, and so why doesn’t he recognize her? They had to play this really fine line. But they are so creative and quick to change and adapt and bring in new designs. It turned out really beautifully.

Thompson: One of my fears actually reading the book was, “Oh, is it going to seem a little silly [that] Benedict doesn’t recognize her?” But actually, it’s so ornate, the mask is such a thing. When I since watched the episodes, I was like, yeah, I buy that he can see and feel something. He just can’t put it together.

Yerin Ha on becoming a leading lady in “Bridgerton”: “It doesn’t feel real,” she says. “Because for a very long time, I didn’t think that it was possible for me — maybe I should have dreamed bigger.”

(Tyler Twins / For The Times)

Yerin, our first glimpse of you as Sophie was as she’s putting on the mask — she’s a mystery to both Benedict and the viewers in that first episode, but we come to learn her story, which has echoes of Cinderella. What excited you about Sophie?

Ha: The thing for me is Sophie’s character and morals; it’s the fact that despite all the obstacles and the challenges, she’s still able to lead and live the world with a really caring heart. She’s still witty and she still has a bit of humor to her. But to be honest with you, the thing for me that I really connected with Sophie was her journey and discovery into self-love and knowing that she’s also deserving of it. That’s something I, at least, talk about a lot with my friends — and what does self-love look like and feel like and mean to me? I learned a lot through Sophie, as well, and knowing that it’s who you decide to bring into your life. Love is not just in someone, it’s about the people in the community that you created.

Benedict’s sexuality, his fluidity, has been something the writers have explored in building his overall arc. How will that be discussed or addressed as his relationship with Sophie develops?

Thompson: It’s a tricky one, right? Benedict is quite striking as a character — I can understand why people see all sorts of identities and words that would apply to him in a modern context. A lot of particularly male sexuality, generally, can be portrayed in quite a box-y, angsty way — where it’s like, “Oh, you’re either gay or you’re straight, or this or that.” What’s nice about a character is that it’s a unique construction. It’s not a representation of any particular experience. It seems like, for him, his sexuality isn’t necessarily a big determiner of his identity; it is a symptom of him wanting to explore. He’s curious and he’s open. I guess what I’m trying to say is, if you’re truly open, that means you can form a connection with anyone. You could argue that it’s a force that has kept him, so far, at least, in a relentless chase for freedom and dodging the falling in love part, and I think I’m more interested in that.

About that — let’s get into his misguided declaration of love at the end of Part I. You read the books, you knew it was coming. It was the moment we‘ve come to expect from this show — until the last line where he asks her to be his mistress. How did you decide to play that moment?

Thompson: It is contextual, historically. There’s that scene in the Gentleman’s Club where, clearly, he can see that there are people who have that arrangement and do love each other. But I also think that’s a cop-out. That’s maybe trying to soften what is essentially Benedict’s main flaw. He’s been shown to be caring in many ways. But I also think the problem with someone like that is, if you’re charming to everyone, how can you develop something specific with one person? All of his front makes it very difficult for him to fall for someone, and to really engage and really commit to someone. Him saying that thing can be seen as him trying to have his cake and eat it — like, I’m going to splice the sort of fantasy I’ve got and the real world, and just mash it together and that will work.

He’s a bit blind. Season 4 is about his blindness, literally, in terms of recognizing her, but also that he can’t see that that wouldn’t be a perfect solution. He is maybe a bit blind about it and doesn’t necessarily consider how that might feel for Sophie. I would also say that he doesn’t have the information he needs from Sophie at that stage about being the lady in silver, which is an interesting tension. It’s fascinating because it’s a really dumb move from a character that you wouldn’t necessarily think would come from a character like that, but actually, to me, it makes complete sense that it would come from him. Benedict’s dad died very early, so he has an image of a loving relationship as something pretty terrifying, so you can understand why he’d want to avoid that, or want to find his way to escape the real commitment … but also have his cake.

Yerin, how did you feel about it?

Ha: I was so disappointed. I remember when we were doing the scene, I did actually feel genuinely angry. Benedict lives more in the fantasy realm, and Sophie definitely lives in more of the reality realm, but in that moment, it’s almost like she’s getting drunk on his words. She’s almost imagining as if there’s going to be a proposal, even though she knows that back in those days, that wouldn’t even really work. But she’s hoping and dreaming. But the minute he says that, she wakes up and she realizes, “Actually, this can never be”; her walls are back up. It almost takes her back to a place of her childhood and how she feels as a kid … It brings a lot of trauma back for her. I just remember doing that scene and feeling like I wanted to slap Benedict.

Thompson: We should have tried it. One take. I think people would have loved that.

At the end of Part 1, Thompson’s and Ha’s characters share a declaration of love gone wrong: “I remember when we were doing the scene, I did actually feel genuinely angry,” Ha says.

(Tyler Twins / For The Times)

Did you work with an intimacy coordinator for that scene? How was it to film that first moment of intimacy between the characters?

Ha: It was really hot on the set — literally, metaphorically. It was hot. It was the candles, and the air traveled up and it was a tiny, narrow set. But Lizzie, our intimacy coordinator, she is the best, she is incredible. There’s different ways that you can kind of go about it, where it’s paint by numbers or a blueprint, and just find your way to like A, B and C, which is more the vibe that we went through. She’s so amazing in the energy and space that she creates. She guides us and listens to each of us and what we need and how to make it maybe look a little bit nicer or rougher or whatever it is. I really lean on her as an intimacy coordinator, and felt very safe in those scenes because it is quite vulnerable and exposing.

Thompson: It was a security blanket, isn’t it? It’s just nice having someone to monitor it, so you’re not just stuck, just you two, or you and the director, who sometimes, in my previous … experience, directors are often quite embarrassed about those scenes, which drives me mad because I’m like, “You’re not the one that has to do this.” It’s all about trust. It’s very important to have that person there to facilitate and to have an outside eye on it because what feels good doesn’t necessarily look good. You need to have them choreographed because the actors can only really relate from the inside out, so they don’t know what stories being told outside.

This season’s story has hints of “Cinderella” in it. Did you channel any classic romance heroes, heroines or stories as you prepped?

Thompson: The masquerade ball made me think about Romeo and Juliet a lot. It’s Romeo and Juliet-coded, the way they meet and just going off somewhere private. I don’t think consciously, I thought about that, but when we were doing it, it really brought that into my head.

Ha: I guess because it’s the constant “Cinderella” nod, I really relied heavily on “Cinderella.” It does veer off from the “Cinderella” story. And I do want to acknowledge that it’s a starting point, not the actual plot line. She was my favorite princess growing up. I had a full dress with a Cinderella icon on it. I would wear that every second day.

Thompson: That’s so sweet.

Ha: I just wanted to meet my prince.

The first half ends with Benedict and Sophie at a crossroads, an impasse.

Thompson: Benedict and Sophie meet in dream scenarios. They meet in the masquerade ball, which is Sophie’s dream. Then they meet in [Benedict’s] cottage, which is sort of Benedict’s dream place. Then in [Episode] 4, they have to go back to the ton and the real world. It’s a struggle that everyone knows very well, when you fall for someone, and there’s the honeymoon period where you’re spinning this story together. Then it’s like, how do you deal with the real world, and how do you deal with getting bored with each other or getting angry with one another? It’ll be interesting to see how they find each other again.

Ha: Even reading the scripts, I was like, how are they going to make this work, especially acknowledging the class difference as well, nobility and her being a servant. Fans will really want to see how it all plays out. When society tells you can’t be with someone, what are you going to do about it? Are you going to surrender to that or are you going to fight for it? That’s going to be the journey for Part 2.

With any fandom, parasocial relationships form. There’s an attachment and shipping of fictional characters, but it can sometimes extend to the actors outside of the characters. How do you navigate that?

Ha: I think we’re just being us. What’s really lovely about Luke is that I have so much love for him as a human being, but I can’t control what people project and I can’t control what people will think and create a narrative and story. But I know my truth, and I know that I respect Luke as a human, as an actor, as a colleague, as a friend. We’re very professional, but we’re also good friends.

Thompson: That’s right. It’s nice to have stuff projected on you — that’s the joy of being an actor. You want people to look at you, want them to get lost in some idea of you. My point of view is always to absolutely welcome that and also say, but I don’t have to set the record straight for anyone. It’s their show. Even when I meet fans in the street, I don’t really think, “Oh, they’re coming for me.” They’re seeing the show. It’s a slightly overused word, but it is just about getting those boundaries straight in your head. You can’t really enjoy the attention that you get from fans because you think it’s coming for you. But actually, if you’ve got that nice boundary, you get to enjoy the attention from the fans.