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THE Sun’s Hols from £9.50 are back and this year, one of the best ways to bag your favourite cheap summer break is through Sun Club.

Members can skip the token collecting and also get access to booking early – giving you a better chance of bagging the top holiday parks.

With the winter chill biting, thoughts are turning to summer breaks – and The Sun’s legendary £9.50 Hols are amongst the best-value, most family-friendly holidays in Britain.

To book your £9.50 Hols this way, simply head to thesun.co.uk/club and sign up to Sun Club for just £1.99 a month.

Or £12 for an annual subscription unless you cancel at least 7 days before your next billing date.

Millions of our readers have enjoyed our fabulous breaks from £9.50 and, with over 300 holiday parks across the UK and Europe to choose from you’re sure to find a break you like.

SUN HOLIDAYS

What are Hols from £9.50? Your guide to booking 2026 breaks with The Sun

ISLE GO

Isle of Wight breaks with Hols from £9.50 have white sand beaches & £2.50 trains

There is something for the whole family to enjoy, whether you are after a relaxing break, action and adventure or bowling and bingo.

Breaks are available for spring, summer and autumn 2026.

In addition to £9.50 holidays, Sun Club members also get access to savings worth up to £800 – including tickets to theme parks such as Alton Towers, Chessington World of Adventures and Legoland, plus attractions like the London Eye and brilliant value theatre cinema tickets.

As a Sun Club member, you will have unfettered access to all the best Sun content, with more than 300 exclusive stories a month, as well as Q&As and newsletters.

Once you have joined, head to the Offers Hub and click ‘Book’ on the Sun Hols from £9.50 offer from Tuesday, January 13 (a day early).

You will be taken to the Sun Holidays website to choose from thousands of breaks at over 300 parks across the UK & Europe. 

Sun Club members do not need to collect any codewords or Sun Savers codes. 

Our new £9.50 Hols Agony Aunt Tracy Kennedy, who runs the Facebook group “£9.50 SUN HOLIDAYS” with more than a quarter of a million followers recommends booking through Sun Club for the early access.

In her new guide to getting the best £9.50 Holiday, she told us: “To be in with the best chance of getting the one you want, you should set an alarm.

“I book through Sun Club which opens earlier – at midnight, so I make sure to stay up.

“I definitely recommend joining Sun Club to get first dibs.”

If you fancy asking Tracy something else about the Sun’s Hols from £9.50, she’ll be answering your questions in her new agony aunt column in Sun Club.

One top question each week will be rewarded with a £100 Amazon voucher – use the form further down to send her your question.

SCHOOL support staff worker Nicola Sennett boasts Sun Holidays are in a class of their own.

The 40-year-old mum of three rolled back the years and couldn’t resist a photo opportunity with Syd the Seagull and Sparky – just two of the colourful, larger-than-life members of the Starland Krew who keep kids entertained at Parkdean Resorts Camber Sands in East Sussex.

Nicola and her two daughters and son enjoyed a great getaway with the youngsters making a splash in the swimming pool, having plenty of adventures in the adventure playground as well as taking in all the entertainment organised by Sid and Sparky and the rest of the gang.

“It’s absolutely brilliant,” says Nicola, who explains she has been going on the bargain breaks for 20 years and reckons she has had more than 60 Sun Holidays since she first sampled them in her early twenties.

“I saw them being promoted in the newspaper and thought it must be worth a try. I remember we had such a good time that I got hooked and have been chalking up around three trips a year ever since. 

“Living in Birmingham I am perfectly placed to visit parks in every direction and that’s exactly what I have done. Now we go as a family and we still get a great buzz from the holidays. 

“There is a fantastic choice and all the parks we have stayed on have been of a very high standard. I have been all along the south coast, to the east of England, to Wales in the west and right up into Scotland.

“The staff are brilliant and make sure all the children are involved in the entertainment and mums and dads can join in too – if they’ve got enough energy!”

Nicola is quick to tell all her friends about the unbeatable value for money when it comes to family fun and holidays to remember.

That’s why she says: “Sun Holidays get full marks from me!”

Discover the very best of the UK, from the beaches of Cornwall and Devon to the highlands of Scotland and much more.

We’ve partnered with fantastic holiday parks that offer everything from British seaside charm to remote, natural beauty.

And when you get there, choose from evening entertainment, on-site pubs and restaurants, family activities and sports.

Or if you’re looking for some guaranteed sunshine, venture further to explore top European destinations including France, Spain and Italy.

You don’t just get early access to Hols From £9.50 with Sun Club – as well as exclusive content daily, members get a range of benefits including discounted tickets to the UK’s top attractions like Alton Towers, Thorpe Park and Chessington World of Adventures.

Plus there’s regular competitions and offers, saving you hundreds every year.

You can even get four FREE racing tickets to top race days across England and Scotland every three months – that’s four race days a year, on the house!

You’ve got great deals on other entertainment too, with up to 70% off West End show tickets from London Theatre Direct.

Plus discounts on railcards and train tickets with Trip.com and a FREE grüum self-care set bundle worth up to £35.50.

Competition is open to UK residents (excluding Northern Ireland), aged 18+ only. Competition ends at 23:59pm on Saturday, January 31 2026. See here for the full Terms & Conditions.

In a new partnership with chipmaker Nvidia, Universal Music Group plans to introduce what it calls “responsible AI” that could change music discovery and creation.

The companies will begin research on how to advance human music creation and compensation for rights holders in the age of AI, as revealed in the deal announced Tuesday. With this technology, the new partners say they hope to leverage AI-powered tools to aid and protect artists’ work, instead of using hands-off generative AI.

“We look forward to working closely with NVIDIA to direct AI’s unprecedented transformational potential towards the service of artists and their fans as we work together to set new standards for innovation within the industry, while protecting and respecting copyright and human creativity,” said Sir Lucian Grainge, Universal Music Group’s chief executive, in a press release.

Universal Music Group will use Nvidia’s Music Flamingo program, a large audio-language model designed to understand music in-depth. It was launched in November and can understand musical elements like structure, harmony, instrumentation and lyrics. The program can process songs up to 15 minutes long and will also be able to capture the historical and cultural context, as well as various emotional arcs.

With the program’s ability to process songs thoroughly, Universal Music Group aims to use this tool to help connect artists and fans. Instead of relying on typical genres or tags, Music Flamingo allows listeners to discover new music in a more automated fashion.

There are also plans for Nvidia and Universal Music Group to begin developing an incubator in which artists, songwriters and producers will help design and experiment with new AI tools. The company said it hopes this process will help AI tools fit into creative processes with greater ease.

Universal Music Group, with its corporate headquarters in the Netherlands and another office in Santa Monica, was founded in 1996. The music giant behind artists like Taylor Swift and Billie Eilish is valued at roughly $40 billion on the U.S. stock market, with shares selling around $25.35 each. The deal with Nvidia follows several other AI agreements that Universal has inked with companies like Klay and Stability AI.

Nvidia was founded in 1993, with the original goal of bringing 3D graphics to video games and multimedia projects. As the tech industry has continued to evolve, Nvidia has emerged as the leader in computer chips designed to power AI tools and applications.

“By extending NVIDIA’s Music Flamingo with UMG’s unmatched catalog and creative ecosystem, we’re going to change how fans discover, understand, and engage with music on a global scale,” said Richard Kerris, the general manager for media and entertainment at Nvidia, in a statement.

“And we’ll do it the right way: responsibly, with safeguards that protect artists’ work, ensure attribution, and respect copyright.”

SEOUL, Jan. 5 (UPI) — Korea Land and Housing Corp. said the state-run company selected several private-sector enterprises as preferred bidders for a large-scale city development project in Vietnam.

Among them were the country’s leading contractors, Hyundai E&C and POSCO E&C, along with JR Asset Management. Public-sector involvement is also expected through the Korea Overseas Infrastructure and Urban Development Corp.

The Vietnamese government is seeking to attract investment to move forward with a multibillion-dollar project to construct a new city in the fast-growing Southeast Asian country.

The initiative is designed to transform a 2,000-acre site in Bac Ninh Province, about 12 miles northeast of Hanoi, into a self-sufficient urban center capable of accommodating more than 100,000 residents.

Midway through 2024, LH signed a memorandum of understanding with Bac Ninh Province to pursue the development. Last August, it asked the provincial government to issue an investment policy approval.

Once the approval is secured and related administrative procedures are completed, LH plans to establish a special purpose company with Vietnamese partners to implement the 50-year phased initiative, which is scheduled to conclude in 2076.

Early last year, LH estimated the project’s value at $4.1 billion, but the company noted that the figure would be subject to change depending on project scope and other factors.

The Seoul administration has expressed high hopes for the initiative. For example, President Lee Jae Myung cited it during a meeting with To Lam, general secretary of Vietnam’s Communist Party, in Seoul last August.

“We will provide full support to advance cooperation on the Bac Ninh new town development,” Lee said at the time.

Wainwright has made 129 appearances for Dragons since making his debut in October 2017 and has only won 29 matches with 93 defeats and seven draws.

He turned down other offers in favour of signing a new Dragons deal in January 2024.

Now Wainwright is expected to decide to try another challenge and link up with fellow Wales back-rowers Tommy Reffell and Olly Cracknell at Leicester.

Wainwright will still be available for Wales because he has 62 international caps.

Welsh rugby’s 25-cap rule says anybody below this tally cannot play international rugby if they sign for a club outside of Wales but Wainwright easily exceeds that bar.

A significant proportion of Steve Tandy’s Wales side already ply their club trade in England with 13 non-home-based players involved in the autumn squad.

Wainwright, Lake and Morgan are joining the likes of Dafydd Jenkins, Louis Rees-Zammit, Tomos Williams, Rhys Carre, Nicky Smith, Nick Tompkins, Jarrod Evans, Max Llewellyn and Freddie Thomas, who all play for English clubs, while lock Adam Beard is at French side Montpellier.

Leicester had also been keen on recruiting Wales fly-half Dan Edwards, but he is close to committing his future to Ospreys.

Edwards, 22, would be ineligible for Wales selection if he went to play in England because he has only played seven internationals.

Christmas is three days away, and you’re running out of time to get a gift for the Angels fan in your life. How about a Dodgers cap?

If ever a winter posed a loyalty test, this one could. The Dodgers spent $69 million on Edwin Díaz, the best closer available in free agency, and another $2 million in championship parade costs. The Angels spent $2 million on a closer who put up an 8.23 earned-run average last season.

Next year the Dodgers will try to become the first National League team to win three consecutive World Series. The Angels will try to end baseball’s longest postseason drought at 11 years, still without much of a plan beyond rushing first-round draft picks to the major leagues while treading the financial waters until Anthony Rendon’s contract runs out.

On Sunday they missed out on Japanese slugger Munetaka Murakami, who signed with the 102-loss Chicago White Sox. Of the Angels’ five acquisitions this winter, three did not play in the majors last season, and not because they are up-and-coming prospects.

If you’re an Angels fan and you’re sick and tired of this, should you reconsider your loyalty?

Jim Bowden believes you should.

Bowden, formerly the general manager of the Cincinnati Reds and Washington Nationals, serves as a baseball insider on several media platforms. On “Foul Territory” last week he suggested fans of small-market teams have an option that might be more constructive than getting angry.

In Pittsburgh, for instance, the owner would rather complain about the lack of a salary cap than spend enough money to build a winner around generational pitcher Paul Skenes.

“You don’t have to be a Pirate fan,” Bowden said. “You can retire as a Pirate fan, or trade yourself to the Dodgers.

“If you want to see your team win, right now the Dodgers have got the best chance to win a World Series again. As a fan, you can root for any team you want.

“You don’t have to root for the team in your home city. You can see the Dodgers play in your home city. They’ll come into Pittsburgh and beat you.

“If it bothers you that much, just become a Dodger fan. It’s fine.”

Dodgers pitcher Yoshinobu Yamamoto celebrates with teammates, coaches and owners after the Dodgers’ World Series victory over the Toronto Blue Jays on Nov. 1.

(Robert Gauthier/Los Angeles Times)

The Angels no longer operate as a large-market team, and their circumstances could get even more dire in the near future.

On Sunday, Sports Business Journal reported that the parent company of FanDuel Sports Network is in jeopardy of shutting down if it cannot complete a sale to streaming service DAZN. The Angels would not disappear from your screens and streams, but it likely would mean the Angels would take a big cut in local broadcast revenue for a second consecutive year.

The Dodgers’ bandwagon shows no sign of slowing. The Dodgers set a franchise attendance record last season. They offer stadium tours in English, Spanish and Japanese. They launched a fan club in Japan.

So, as a frustrated Angels fan, you could hop on that bandwagon. Or you could try another large-market team — say, the New York Mets.

Mets owner Steve Cohen is worth $23 billion, according to Forbes. When Cohen bought the Mets in 2020, he said this: “If I don’t win a World Series in the next three to five years — I’d like to make it sooner — I would consider that slightly disappointing.”

The Mets still have not won a World Series since 1986. On Friday he took to social media to criticize “the usual idiots misinterpreting a Post article on Mets payroll.”

On Sunday, given the Mets’ losses of Díaz and beloved slugger Pete Alonso in free agency, New York Post columnist Mike Vaccaro shot back, comparing Cohen to greatly unloved former owner Fred Wilpon in this adaptation of a Christmas carol: “Steve’s beginning to look a lot like Wilpon/Mets fans say ‘Hell, no!’/What’s the point in being so rich/And a ruthless sonofabitch/If you don’t spend dough?”

The concept of fan free agency — essentially what Bowden suggested — is not new. Every now and then some disgruntled fan will publicly disown his favorite team, then invite rival teams to suggest why he should support them. If you’re creative enough, rival teams will send you some free swag.

That level of desperation is what many Dodgers fans felt a decade and a half ago, when former owner Frank McCourt needed a loan to cover payroll, hired a Russian physicist who channeled positive energy toward the team and “diagnosed the disconnects” among baseball operations personnel, and disparaged as “un-American” the league’s refusal to approve a television contract that he said would have provided the revenue to keep the Dodgers out of bankruptcy court.

Fans wearing Shohei Ohtani Dodgers jerseys wait to enter Angel Stadium before a game between the Angels and Dodgers on Aug. 12.

(Luke Hales / Getty Images)

In 2011, the year McCourt took the team into bankruptcy, the Angels outdrew the Dodgers for the only time. The Dodgers fans did not bail on their team. They waited for better days.

That is where Angels fans are now — and, for that matter, where Pirates fans are too. Bowden’s suggestion that unhappy Pirates fans exhausted by the perennial futility try the Dodgers did not go over well in Pittsburgh. At the Pirates’ fan site Rum Bunter, Emma Lingan wrote: “Fandom isn’t a streaming subscription you cancel when the content gets bad.”

This year’s World Series was the best and most dramatic I ever covered. But the one that was the most fun was the 2002 World Series: the underdog Angels, the Disney team no one projected for a happy ending, rampaging through October and toppling giants. As The Times’ headline on the Game 7 victory put it: “Fantasyland!”

If you were there in 1982 and 1986, when the Angels had six chances to win one game to clinch their first World Series appearance — and lost all six — then you could have a greater appreciation of 2002. And, if you were there for McCourt bankruptcy, you can have a greater appreciation of Guggenheim majesty.

So get that Angels fan in your life an Angels cap. That fan will be able to wear that cap proudly one of these years, and all the tears will make the cap fit that much more snugly.

Real Madrid and Brazil forward Endrick has agreed to join French side Lyon on loan until the end of the season.

The highly-rated 19-year-old signed for the Spanish giants in the summer of 2024 from Palmeiras after winning back-to-back Brazilian league titles.

However, after making 37 appearances in the 2024-25 campaign he has seen his opportunities limited at the Bernabeu this term under Xabi Alonso, featuring on just three occasions.

The teenager has scored three goals in 14 matches for Brazil but his last international cap came in March during a 4-1 World Cup qualifying defeat against Argentina in Buenos Aires.

Endrick will be hoping that his switch to Ligue 1 allows him to impress and force his way back into the Brazil squad in time for next summer’s World Cup in the United States, Canada and Mexico.

Even the most accomplished actors sometimes feel out of their depth on a movie.

Gwyneth Paltrow, who returns to the big screen this fall as an Old Hollywood star trying to make a new start in “Marty Supreme,” was “way out over her skis” in her early 20s when she played a Park Avenue wife opposite older co-star Michael Douglas in “A Perfect Murder.” Jennifer Lopez, who showcases her triple-threat skill set in the musical “Kiss of the Spider Woman,” felt a “huge” responsibility to get it right when portraying Tejana icon Selena Quintanilla in the 1997 biopic about the late singer. And Emily Blunt, who goes toe-to-toe with Dwayne Johnson in the mixed martial arts saga “The Smashing Machine,” had to avoid being typecast as the go-to “acerbic British bitch” after the success of 2006’s “The Devil Wears Prada.”

These and many more tales from inside the maelstrom of megawatt stardom were the subject of The Envelope’s 2025 Oscar Actresses Roundtable, where Paltrow, Lopez and Blunt were joined by Sydney Sweeney, who transformed physically and emotionally to play boxing legend Christy Martin in “Christy”; Tessa Thompson, who tries to keep up appearances as the title character in “Hedda,” Nia DaCosta’s acclaimed new adaptation of “Hedda Gabler”; and Elle Fanning, who plays an American star struggling to find her way into a Norwegian art film in “Sentimental Value.”

In conversation with Times critic Lorraine Ali, the six performers discussed how they deal with bad press, resist being put in career boxes and inhabited some of the most-talked-about film roles of the year.

Jennifer, you play the title role in “Kiss of the Spider Woman,” a story set in Argentina during a military dictatorship. It takes place in a political prison where the men imagine themselves in a glamorous, sweeping musical. As producer on the film, why was it important for you to tell this story now?

Lopez: It’s never been more relevant, which is really scary. Manuel Puig wrote the novel in the 1970s about these two prisoners during the uprising in Argentina. It really is a love story about seeing the humanity in another person, like two very different people with different political views. One is queer, and the other is a political revolutionary. The two of them were like oil and water. But they escaped into the [fantasy of] a movie, which is “Kiss of the Spider Woman.” They slowly come together and see each other’s souls instead of who they were on the outside. I think with everything that’s happening in the world right now, especially in this country, with Latinos and queer communities being targeted, demonized — there’s never been a more important time to say, “Look at me on the inside. Stop with all of this divisiveness. See people for who they are.”

Gwyneth, “Marty Supreme” is set in the 1950s. You play Kay Stone, a faded starlet. Who did you base her on?

Paltrow: She’s an amalgam of a few ideas, but principally Grace Kelly, who also had this amazing movie career and was this incredible star, and then walked away from it for marriage. My character does the same. When I was looking at photographs [of Kelly during] her films, and then photographs after she got married, it was like the light dimmed. She lost something. My character had a very rough road to get to stardom, so she walks away from this big career to marry an unsuitable but very wealthy man. And then her son dies, so she has a lot of tragedy.

Sydney, “Christy” is the story of Christy Martin, a pioneer in popularizing women’s boxing in the 1980s and 1990s. You really transformed for the role. Can you talk about that transformation?

Sweeney: Her story is probably one of the most important stories I’ll ever get to tell, so I felt that immense importance. I needed to fully transform myself. I trained every day for three months leading up to shooting. I put on 35 pounds. And I got to spend time with her, and now she’s like one of my best friends. I just kinda lived and breathed Christy for the entirety of the whole thing.

There’s so much violence in her world, particularly outside the ring. Was the real-life Christy there when you shot the domestic abuse scenes between her and her husband, Jim Martin (played by Ben Foster)?

Sweeney: To protect her, we didn’t have her on set when we were shooting the last part of the movie where the domestic violence came into play. The following Monday, we had her come to set, and the entire crew stood up and just started applauding. It was so beautiful. Then after that, she was on set all the time. We would be in the ring, and she’d be sitting [outside the ring], and I’d hear her say, “Hit her with the left hook, Sydney!”

Lopez: She was coaching from the sidelines?

Sweeney: Oh, yeah. We were having a blast. And in the fights, we actually fought. My No. 1 thing with all the girls was that I don’t want this to be fake because so much of Christy comes to life in the ring. I didn’t want to have [the camera] at the back of my head or have to cut to fake the punches. Every single one of those girls, they’re badasses. They punched me, and I punched them. We had bloody, broken noses. I had a concussion.

Blunt: Sydney broke someone’s nose.

Sweeney: I got a concussion. I’m not going to confirm [what else happened]. But I definitely caused some, uh, bruises and blood.

Emily, with “The Smashing Machine,” you play Dawn Staples, girlfriend to Mark Kerr, who was a pioneer in the field of MMA fighting. How much did you know about that world before taking on the role?

Blunt: I knew very little, and I was moved that Mark Kerr was my first window into [MMA] because he is such a juxtaposition to the violence of the world. This is a man who headbutted people to oblivion, and when you meet him, he’s like [subdued tone], “Hi, how are you?” He’s so nice. And I said to Mark one day, “How did you do that?” And he goes, “I know, it was nasty.” He’s just so sweet and dear and eloquent. But I think he was sort of filled with this uncontrollable rage that he hardly knew what to do with, and he struggled so much with his own demons. The movie is more about struggle and fragility than it is about fighting.

Tessa, “Hedda” is an adaptation of Henrik Ibsen’s play “Hedda Gabler” and you play the title role. Your castmate, Nina Hoss, said the role of Hedda Gabler is for women actors what Hamlet is for men. Do you agree?

Thompson: I like to say that Hamlet is the male Hedda, just because I think it’s a nice reversal. But people say that because the truth is that we don’t have that many [roles] that are canonical in the same way that Hedda Gabler is, so it feels like this behemoth. It’s one of the parts in theater that feels like a mountain to climb. There’s a kind of complexity to the character that has compelled audiences and actors for centuries … which is the case with both [Hedda and Hamlet]. But I think the comparison is kind of boring, frankly. I remember an actor saying to me, “Oh, I learned in drama school you have to have your Hedda ready.” And I did not have my Hedda ready, but I got it ready.

The wardrobe and sets in “Spider Woman,” “Hedda” and “Marty Supreme” are beautiful. Did you swipe mementos when the films wrapped?

Paltrow: No, you can’t.

Lopez: I mean, you can.

Paltrow: I tried the Birkin bag from “The Royal Tenenbaums” [but I could not], so I took the loafers instead.

Blunt: Not the same. Not quite.

Thompson: [To Gwyneth]: I was almost you [in “Tenenbaums”] for Halloween, but I couldn’t get it together in time and I wanted do you justice. But one day …

Paltrow: Next year. I’ll lend you the loafers.

Elle, in “Sentimental Value,” you play a Hollywood star who’s cast in an art–house European production. In reality, you were shooting the massive production “Predator: Badlands” when you joined “Sentimental Value,” a smaller European film. Were the parallels with your character, Rachel, apparent at the time?

Fanning: I got a call that “Joachim Trier has a part for you and would like to talk over Zoom, and here’s the script.” I was like, “Oh, my gosh, Joachim Trier [who made] ‘The Worst Person in the World.’” I would’ve said yes to one line. But I was already doing “Predator.” I was about to go off to New Zealand, but it’s very important for Joachim to rehearse, so he [wanted me] to come to Oslo. I wasn’t sure which movie I could do, and I wanted to do both. So, of course, there were parts to the character that I could relate to. I kept thinking, “There’s a lot of meta-ness going on in this film,” particularly for my character, being the Hollywood actress coming to Oslo for the first time, working with a Norwegian director. And coming off of this action-packed film to go to this very intimate, emotional foreign film, they fed into each other in ways that I didn’t expect them to.

How do you all deal with rough reviews?

Paltrow: I try to never read anything about myself, full stop, ever. Period.

Lopez: Wait, not anything about yourself? Ever? Period? Because I don’t read reviews of my films either, but people will bring it to you it when it’s good and you’re like, “Oh, nice.” But there’s other things they’ll bring you …

Paltrow: Sometimes I’ll come upon it.

Lopez: And you want to die.

Paltrow: Want to die. Like when someone forwards you a link to something really horrible about yourself, and they’re like, “Oh, this is bull—.” I do try to avoid [that kind of stuff]. I deleted Instagram.

Blunt: Me too.

Lopez: You need to cleanse every once in a while.

Sweeney: Sounds nice. I can’t do that.

How do you push the negative stuff about you or your personal life aside and focus on your work?

Sweeney: It helps when you love what you do. Like, if you’re loving the characters that you get to play, you’re loving the people you get to work with, and you’re proud of what you’re doing, then it’s just outside noise. When we walk on set, the world kind of disappears and we get come to life in a different kind of way. Those are the moments and the relationships that matter. Everything else is just people we don’t know.

Paltrow: [To Lopez] I want to hear your answer to this question.

Lopez: From the very beginning, for whatever reason, I’ve been a lightning rod for nice things and a lot of negativity. And it’s hard because you say to yourself, “These people don’t get me. They don’t see me. They don’t understand me.” Then all of a sudden they do. And then they don’t again. Even from when I was very young, I would always say, “I know who I am. I’m a good person. I know what I’m doing. People wouldn’t hire me if I wasn’t good at what I do.” I was always affirming myself and keeping my feet on the ground. Luckily, I had a great mom and dad who really instilled in me a sense of self. And what Sydney was saying, I’d have to block out the noise so I can put my head on the pillow at night and go, “I did good today. I was a good person. I was kind to people. I worked really hard. I’m a good mom.” That has always helped me through.

Thompson: Not having your sense of self or identity entangled in this other self that belongs to the public seems like such a healthy thing. I’m still trying to figure out my balance with that. When I was acting in some projects, I felt like I was delivering a lump of clay that got sculpted by somebody else. So if someone was harsh on the final [product], I was like, “Well, I didn’t sculpt it. I’m just the material.” But now that I produce, it’s a completely different thing. It’s building it from the ground up and feeling so much responsibility to the people that you’ve made it with. You made a baby and sent it into the world, and you just hope it doesn’t get misunderstood.

Gwyneth, you’re stepping back into the film world with “Marty Supreme” after seven years doing other things, such as Goop. Were you nervous coming back into the fold?

Paltrow: I [had been] doing things like “Iron Man” and “The Avengers,” which are totally fun, but it’s like doing a TV show where you go back in and you know the character. It’s not that difficult. So it had been a really long time, and I was like, “How did I used to do this? How are you, like, natural?” And then I did the camera test and I was really nervous. I felt like a fish out of water. And then luckily the first scene that I shot for real was a scene in the movie where she’s rehearsing a play. And I started in the theater, and I did a million plays before I ever did a film. The camera was far away, and I had my mom’s voice in my head. She’s like, “You’re on the boards, you know, just let the energy come through your body.”

Can wardrobe and styling help you embody the emotional core of a role?

Blunt: Dawn’s got a vibe for sure. It was that very overt ’90s, overglamorized thing, and everything was so revealing. I feel like my t— looked like two heads by the time they were done with the Wonderbra. They were just up under my chin. That helps you stand different, walk different. And the nails helped me. She had this incredibly long, square, chunky French tip manicure, and she’d talk with her hands. And the spray tan and the wig. It’s all fabulous. It’s such an amazing thing to look at yourself and go, “Who’s that?”

Thompson: [In “Hedda”], the construction of those dresses in the ’50s, there’s so much boning. We had Lindsay Pugh, who’s a brilliant costume designer. I also started looking up the starlets of the time and what their waist sizes were. It was like 20 or 21 inches. They were extreme. In the beginning, when we were constructing the dress, I was like, “I’m going to try to get down to that Dior-like silhouette,” which is impossible. Then we [fell in] love with the idea that the dress doesn’t actually fit her, because she’s inside of a life that doesn’t fit her. But the sheer sort of circumference of the dress makes her a woman who comes into a room and takes up space. A big part of [a woman’s] currency was their beauty and their body. That felt very foreign to me to inhabit. I didn’t recognize or had maybe suppressed the idea of using that part of me to gain power in the world.

The 2025 Envelope Oscar Actresses Roundtable: Top row, left to right, Tessa Thompson, Gwyneth Paltrow and Elle Fanning. Bottom row, left to right, Sydney Sweeney, Jennifer Lopez and Emily Blunt.

Hollywood likes to put people in boxes, particularly women. What boxes has it tried to stuff you in?

Fanning: I was in “Maleficent” and I played Sleeping Beauty, so like Disney princess in pink. Blond.

Blunt: But look at that face. Come on!

Fanning: But I can be mean too! In “The Great,” [I played] Catherine the Great, she was a queen, but she was raunchy. It was such a delicious show in that way. People were like, “Whoa.” They were surprised [seeing me like] that.

Blunt: If there’s a movie that takes off, you will have to carve out space away from that. I remember after “The Devil Wears Prada,” I got offered every acerbic British bitch. I’m like, “I should not do that for a while.”

Paltrow: When I stepped back to be an entrepreneur around 2008, I really confused and upset people. Nobody understood what I was doing, and I faced a lot of criticism and confusion over the course of the 17 years since I sent out my first Goop newsletter. I really do think that women, we are so incredibly multifaceted. We are all the archetypes. We’re not just a mother, or an artist, or an intellectual. We’re all the things. So I’ve always kind of tried to make it my mission to say, like, “No, don’t put us in boxes. We get to define who we are.”

Blunt: Was it hard for you to keep going and ignore it?

Paltrow: It was really hard. Some days I was like, “Why did I do this? The headwinds are so extreme and I’m so misunderstood. I had a perfectly good job. People did my hair. Why on earth did I do this to myself?”

Thompson: And you also did it before there was a cultural appreciation for people doing multihyphenates and starting businesses.

Lopez: I think our generation started thinking, like, “We need and want to do other things.” Even when I started acting and I had done my early films, “Out of Sight” and “Selena,” and then decided I wanted to record music, and it was such a big deal. People were like, “They’re never going take you seriously as an actor ever again.”

Paltrow: And you had the No. 1 movie and the No. 1 album in the same time, right?

Lopez: It was in the Guinness Book of Records. But that’s the thing, everybody’s always trying to tell you: “You can only do this,” or “You can only do that.” I had my perfume line. I had my clothing lines. I have my J Lo beauty now. You have to just do what feels good for you. It doesn’t mean it’s for everybody. Somebody wants to just act their whole life, that’s beautiful too. That’s fantastic. I still want to direct. I still want to write more books. And I don’t ever feel like there’s somebody who can say to me, “No, you can’t.”

Blunt: Say that to Sydney and she’ll break their nose.

Flanker Morgan, 25, came through the academy at Scarlets and made his senior debut in 2019, before joining rivals Ospreys two years later. He made his senior Wales bow in a victory over Scotland.

Hooker Lake, 26, has 26 caps and made his debut in the 2022 Six Nations opener against Ireland.

“The Ospreys is a club that means a lot to me on so many different levels so making the decision to move was something that I spent a lot of time thinking over,” he said.

“My whole career to this point has been with this team and there have been so many special moments on the way.

“Coming through the pathway, making my debut, the first time I captained the side and the friendships I’ve forged with players and staff, will all live long in my memory for the rest of my life.”

The moves come at an uncertain time for Welsh rugby, with the number of professional clubs in the country set to be reduced from four to three by 2027.

There will be one in Cardiff, one in the east of the country and one in the west – which is expected to result in a straight survival fight between Swansea-based Ospreys and Scarlets in Llanelli.

Another option that has now emerged is Ospreys owners, Y11 Sport & Media, taking over WRU-owned Cardiff, which could produce the desired number of three professional sides.

There are currently more than 80 Wales-based players out of contract at the end of the season.