This little town in Yorkshire is ideal for fans of Emily Bronte’s gothic story thanks to its wild and rugged surroundings, and nearby attractions that might just be haunted…
Whitby has long been known as a dark and brooding place(Image: Getty Images)
Sometimes, when a storm hits the UK, rain batters the pavements and wind whips the trees, it’s easy to feel swept up in the kind of awe-inspiring conditions that helped Emily Brontë to write her classic novel, Wuthering Heights.
There is a little town in Yorkshire, 100miles from Cathy and Heathcliff’s home, but steeped in as much Gothic drama, where every day feels like you’ve tumbled into such dark Victorian melodrama.
As I stepped aboard my coach bound for Whitby, I imagined a sleepy seaside town, much like those down south that slowly emerge as you drive along the road towards the sea. What I got was very different.
Just getting to Whitby was a beautiful journey. The town is nestled between the rugged expanse of the moors and the wild thrashing of the North Sea. In days gone by, travellers would only be able to access it if they hiked for miles along the hills and valleys of the North York Moors or braved the violent waves of the sea. Now, we have cars and trains, but both still take you over the moors.
As my coach sped through the twists and turns of the roads across the moors, I was like a child, with my face pressed against the window. There wasn’t a soul for miles, just acres and acres of heather. Once in Whitby, when you hear the waves crash against the sea defences and feel the wind whistle past your ears, it’s easy to see how someone might think a faint voice calling for Heathcliff was coming over their shoulder.
The town itself is split into two halves. The newer section was built following the Second World War, but much of the town is older and filled with Georgian terraces. Even older is Whitby Abbey, whose ruins stand proudly at the top of a cliff and have inspired many a tale, including Bram Stoker’s Dracula.
If you walk along the coast from the nearby villages of Saltmoore and Sandsend, the gothic ruins stay within your sightline. Lucky hikers will get to see the sea fog – which locals used to believe was the fiery breath of a dragon – come in to cover the abbey. You’ll feel like you’re trekking the same paths Heathcliff did as he searched for Catherine’s ghost, not least because Emerald Fennell’s new film was shot about two hours away, in the Yorkshire Dales.
The most remarkable sight comes when you walk back towards Whitby, as when the fog clears, the Abbey can be seen looming through a gap between the cliffs. It’s terrifying and awe-inspiring all at once. I felt drawn towards the ruins, much as Cathy is drawn to Heathcliff or as an entranced Lucy is drawn to Dracula. How could anyone resist such a terrible sight?
Indeed, not Whitby residents of years gone by. Whitby Storyteller, Rose Rylands, who tells of the myths of the moors. When Rose spoke about the ghostly figures said to appear on the hilltops, goosebumps pebbled my skin, as if I was walking with them myself.
The tale of Bram’s inspiration in Whitby was similarly haunting. During a holiday, the author stayed on the West Cliff, offering views of the Abbey, which he felt suited the Gothic atmosphere of his story. One day, he turned to the local library to research a shipwreck, only to discover the name ‘Dracula’ in the records. Its meaning in the Wallachian language, Bram learned, is ‘devil’.
When Rose told us these tales, the winter’s night pressing against the hostel windows, my heart started to beat faster. I began to wonder if I, too, would soon be hallucinating the ghost of lost love calling to me.
Of course, Heathcliff’s hallucinations of Cathy’s ghost all happen at night, and there really is nowhere better to see the stars than the North York Moors. The national park is a designated International Dark Sky Reserve, one of only 25 in the world, protected from light pollution and able to provide clear horizons, clouds permitting. As someone who grew up in London and finds it hard to sleep without the orange glow of streetlights coming in through the curtains, just standing in complete darkness is a wonder. When the stars are visible, there are no words.
We went to Castle Howard, a stately home that has served as a filming location for Brideshead Revisited and Bridgerton, to see the stars. Except for the enormous house, there is nothing around for miles, leaving the sky unpolluted by light. Inside, the house is equally beautiful.
The entrance hall is a vast space whose domed ceiling has been painted with the most gorgeous fresco of cherubs – it’s similar to Michelangelo’s painting The Creation of Adam, which decorates the Sistine Chapel. The whole place feels like an art gallery, really. I couldn’t wrap my head around the fact that people actually live there, but they do. The family is very involved in ensuring the house and its heritage remain standing strong.
Flouncing around the house, through the rooms, and then eventually into the cold and dark night definitely made me feel like I was Cathy after she had married Edgar Linton. Castle Howard has all the opulence of Thrushcross Grange, and it was easy to slip into the role of the new wife enjoying her surroundings. Heading out to see the stars, with the house behind me, had my heart racing, as though I could really see Heathcliff across the moors at Wuthering Heights.
If you want to really live in the kind of luxury that the Earnshaws did (without the madness and rooms where the wallpaper is modelled after Margot Robbie’s skin), the Saltmoore Hotel and Spa is the place to go. Just slightly removed from the touristy bustle of Whitby, the hotel is extremely peaceful. My room was a huge and managed to fit in a double bed, a giant shower (with underfloor heating) and two incredibly comfortable armchairs where you can sit and you listen out for ghosts at the window.
Additionally, the staff couldn’t be more helpful. They even lend you wellies for a walk along the beach. Fingers crossed the next time I go, I’ll be better prepared. And best believe, I will be back. For costume drama fans, there really is nowhere better to be.
Ensure our latest lifestyle and travel stories always appear at the top of your Google Search by making us a Preferred Source. Click here to activate or add us as your Preferred Source in your Google search settings.
“How to Make a Killing” boasts an opening so strong that it buys enough audience goodwill to coast through nearly its entire running time. That’s priceless in a screwball murder movie in which everyone’s soul is for sale.
Death row inmate Becket Redfellow (Glen Powell) is four hours away from execution. A priest (Sean C. Michael) solemnly arrives to take his final confession and finds the condemned man lounging in a sleeping eye mask, griping that his last meal served him the wrong flavor of cheesecake. “Kill me now,” Becket quips.
This will be a tale of crime and punishment told in flashback, rewinding to Becket’s mother, an heiress excised from an eleven-figure fortune for giving birth as an unwed teenager. And it will be, as Becket insists, “a tragedy.”
But while the story’s framework is familiar, what gives this intro sequence zip is Powell’s sly nonchalance, the little bounce he makes on his cot when Becket pivots to give the flabbergasted priest his full attention. He has ours, too. Powell has yet to find his perfect role (this one’s close) but his confidence is why the industry is convinced that he’s the reincarnation of a classic leading man: Tom Cruise or Cary Grant if we’re lucky, or at least Bugs Bunny.
Writer-director John Patton Ford’s morally bleak comedy is itself a reincarnation of the 1949 British caper “Kind Hearts and Coronets,” which egged on an exiled sire as he avenges himself upon his royal family by murdering everyone between himself and dukedom. The 21st century American privilege that Becket is chasing in the remake doesn’t rely on formal titles. He wants cold hard cash, plus a couple of private islands, planes and ultra-luxury yachts. Besides, he’s already got a first name that sounds like a last name, signifying the American upper crust.
This Dickensian vengeance setup gives us an awful lot of people to murder, all caricatures of the elite. The original “Coronets” offed a posh feminist who scattered political leaflets across London from a hot air balloon, Ford spins that passé joke into a gag where Becket’s spoiled cousin (Raff Law) hovers in a helicopter sprinkling money over a pool party and then for good measure, cannonballs into the water to stuff bills in the crowd’s open and appreciative mouths. (For his next trick, perhaps Ford will remake Terry Southern’s outlandish satire “The Magic Christian,” which has a scene like that but five times filthier.)
Lore goes that when Alec Guinness received the “Coronets” script with an offer to play four of the ill-fated tycoons, he wrote back greedily and said, “Why not eight?” To our good fortune, Guinness did play all eight, even the suffragette. “How to Make a Killing” shares the wealth, giving cameos to a very funny Zach Woods as the scion who fancies himself a hipster artist (he takes photos of the unhoused) and Topher Grace as the Redfellow who found faith or, rather, a more sanctimonious spin on grift as a megachurch pastor. Likening himself to Jesus, Grace’s bleached blond huffs, “Don’t hate on me just because my dad’s a big deal.”
There’s a tease of real-world critique in how the preacher has decorated his office with framed photos of himself with various presidents and drug-runners, alluding to the inescapable suspicion that the world is run by a powerful club whose only admissions requirement is a bank balance with plenty of zeros. The jabs stop at allusions — they’re entertaining but as thin as a communion wafer. Still, I guffawed when Becket popped back into his present-day cell to poke fun at his audience, the Catholic priest: “The last thing the Church wanted was an investigation,” he says with a smirk. “I’m sure you know all about that.”
Like his lead character, Ford himself had to ascend in clout to direct this script, which he launched on the Black List in 2014. He instead made his debut with the much-smaller 2022 indie “Emily the Criminal,” which starred Aubrey Plaza as an art student desperate to pay off her student loans. His heart is with the strivers who find that our K-shaped economy makes it impossible to go straight.
Yet he hasn’t cracked whether the corpses in “How to Make a Killing” are victims themselves. The rich Redfellows get dispatched one by one in scenes that are fun but empty — neither cathartic nor comic, simply boxes to be checked off to great big poundings of thunder and harpsichords.
Surely, I thought, the film will figure out how it feels by the time it offs a Redfellow who’s merely ordinary-terrible: Bill Camp’s drunken, cowardly banker. But it doesn’t and the real victim of the indecision is Powell, who is rarely given a reaction to play. (Guilt? Rage? Glee?) He needs to give us an extra hint how he’s feeling — as an actor, Powell is so slick that even his regular smile comes across phony. I’d say he couldn’t be sincere if he tried, except Powell actually does try for one scene and the bleary, terrified look in his eyes is devastating.
While the promise of that gangbusters opening sequence goes a tad unfulfilled, “Killing” has two strong twists and plenty of reasons to enjoy the romp. I suspect that the movie might be too smart for its own good, or perhaps hemmed in by a cynicism that, everywhere we look lately, it appears that crime does pay. As Becket says early on, “We’re all adults here.” Ford sees all the wrong moves and isn’t sure-footed in choosing the right one, even though I think he has. Today’s crowd wants to smash Marie Antoinette’s cake and eat it, too.
At least along the way, there’s a playful love triangle between Julia (Margaret Qualley), the privileged nightmare who’s had Becket wrapped around her pinky finger since grade school, and Ruth (Jessica Henwick), a humble school teacher. Both characters stake out their polarized corners — the rich bitch versus the sweetheart — with Qualley somehow always arranging her legs to be seductively horizontal in her too-few scenes. Henwick is saddled with the more prosaic role and dialogue (“It’s scary to dream small,” she says). Nevertheless, her presence is so compelling that we root for Ruth every time she’s onscreen.
I’m glad that Ford is part of today’s guillotine crew making capers about economic inequality. But the best shot in the movie shows his promise as a romantic comedian: Becket and Ruth bump into each other in the rain and just as they make eye contact, the sun comes out and they share a smile. It’s a tiny moment of magic that gives you hope that these young lovers can work it out. Better still, it even gives you hope for humanity, even if the movie’s overall forecast for society is stormy.
‘How to Make a Killing’
Rated: Rated R, for language and some violence/bloody images
Ahead of episode 5 of the Game of Thrones spin-off, showrunner Ira Parker has admitted they decided to cut one scene that fans have argued is key to understanding the heart of the story.
It comes after one fan pointed out that the HBO and Sky Atlantic show hadn’t included a notable exchange between Ser Duncan the Tall (Peter Claffey) and Steely Pate (Youssef Kerkour) in the build-up to the fateful Trial by Seven from George RR Martin’s Tales of Dunk and Egg novellas.
In the books, Dunk passes the Smallfolk on the way to the joust when he asks Pete “Why? Who am I to them?” before Pete replies: “A knight who remembers his vows.”
Posting in a Reddit AMA, the fan noted that many readers view this to be “the soul and the moral of the entire novella”, with showrunner Parker admitting he had some regret over cutting the scene from the original script.
“Honestly it was a mistake on my part,” he responded. “Not my first, not my last on this show. That scene was in the script at one point, then fell out.
“I agree that ‘a knight who remembers his vows’ is the soul of this story, but I think that is still very much at the core of the show, even if I stupidly left out this scene… it may not be said explicitly, but Dunk’s actions remain the same.”
Fans respected Parker’s refreshingly candid answer, with one observing: “It’s been so long since the last time i saw showrunner being able to admit they made a mistake.”
Get Sky’s new TV and Netflix bundle
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
This delivers live and on-demand TV without a satellite dish or aerial and includes hit shows like A Knight of the Seven Kingdoms
The Trial by Seven requires Dunk to find six other knights to battle the cruel Prince Aerion Targaryen (Finn Bennett) after the hedge knight attacked the royal in order to save young actress Tanselle (Tanzyn Crawford) from his wrath.
HBO’s synopsis for episode 5 suggests we will get some insight into Dunk’s origins, as it reads: “Before Ser Duncan the Tall can learn the fate of his future, he must relive his past.”
The accompanying teaser also shows flashbacks to Dunk’s childhood and his friendship with a young girl, who tells him not to lose his nerve in following the path that lies ahead of them.
A Knight of the Seven Kingdoms episode 5 airs on Monday, February 16 on Sky Atlantic and streaming platform NOW at 3am GMT.
**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**.
Six months and 16 Oscar nominations ago, Delroy Lindo hopped on a Zoom call with the awards consultants running the campaign for Ryan Coogler’s genre-defying American horror story, “Sinners.” Actors don’t often participate in these meetings. But Lindo had received so much love for his turn as bluesman Delta Slim since “Sinners” premiered in April, he figured, “Why not sit in?” Mostly, he just wanted to ask one simple question: How can we make the most of this moment?
“I don’t know what their answer was, but it seems to have worked,” I tell him over lunch recently.
Lindo starts rapping on the wood table separating us and doesn’t stop until I ask if he’s a man given to superstition.
“Can I tell you where I think it comes from?” he asks. “I’m acutely aware absolutely nothing is promised. There’s no such thing as a sure thing. Anything can happen. So in knocking wood, one is trying to increase one’s chances that the outcome will be what one wants.”
So you’ve been knocking on wood for the last six months?
Now I’m the one who’s laughing, which Lindo appreciates. But he has more to say on the subject.
“You have to understand something,” he continues. “When an actor does a piece of work and it really touches people and has an impact like it did with Delta Slim and ‘Sinners,’ you can’t help but think how it might be broadened. I try to maintain an emotional distance because I have no control over much of it. Awards season.” He shakes his head. “So …” Lindo pounds on the table again. “Knock … on … wood.”
You want an illustration of the unpredictable nature of the acting profession? Lindo and I wouldn’t be at this table talking and rapping and toasting the first Oscar nomination of his long career if one particular cut of “Sinners,” the version Coogler showed him at the Imax headquarters in Playa Vista more than a year ago, had gone out into the world.
Lindo, left, on the set of “Sinners” with co-star Michael B. Jordan and writer-director Ryan Coogler.
(Eli Ade / Warner Bros. Pictures)
If you’ve seen the film, you’ll no doubt remember Delta Slim delivering a monologue in the car riding to the juke joint with Stack (Michael B. Jordan) and Preacher Boy (Miles Caton) where he recalls the lynching of a fellow musician. The scene ends with Lindo breaking into a guttural humming and drumming, expressing pain that transcends words.
When Lindo saw the movie that first time, the monologue had been truncated, and the scene preceding it, where their car passes a chain gang and Delta Slim stands and exhorts the prisoners to “hold your heads,” was gone too.
After the credits finished rolling and the lights came up, Coogler asked Lindo what he thought of the film. Lindo looked at him. “Can we talk, man?” They went outside, and Lindo laid out in his steady, resonant baritone why he thought Coogler needed to reinstate the chain-gang scene, which reveals Delta Slim’s origin story — and surely, since the chain-gang scene is intertwined with the monologue in the car, that should go back into the movie too.
“What Ryan did so brilliantly is he took the time to introduce all of the main characters in their native environments so the audience gets invested in them and what they mean to the community,” Lindo says. “For Delta Slim, those scenes were the fundamental building blocks.”
“The Delta Slim monologue had a lot of ‘Is it in, is it out?’ debate,” “Sinners” film editor Michael P. Shawver says. “But I knew in my heart and soul I was never going let the movie out without that being in it.”
Coogler, it turns out, saw it that way too.
Delroy Lindo.
(Bexx Francois / For The Times)
“I couldn’t imagine making a movie about the blues without giving some deeper context on what that music really signifies,” Coogler writes in an email. “It’s easy to get lost in the rhythm and the artistry of it all, but the blues was born from a lot of pain and adversity in a particular time and place. When I wrote the script, I felt like I needed a living, breathing embodiment of that, and Delroy nailed it.”
“We could have filmed that monologue a thousand different times and it would have taken on new life with each take,” Coogler continues. “The gut-punch way he ends it, going from telling the story of a lynching to drumming along and humming … it’s macabre, sorrowful and beautiful all at the same time. It shows you exactly why Delroy’s such a masterful actor. If you ever needed to give someone the world’s fastest lesson in what the blues is about, he gives it to you right there.”
“God bless him,” Lindo says.
“Working for the camera, we’re at the mercy of the editing process,” Lindo notes. He speaks slowly, deliberately, always choosing his words carefully because language is important to him. It’s his currency.
How does he feel about that loss of control?
“It’s scary,” Lindo says. “One had better make one’s peace with that very quickly. If you don’t, you will get your feelings hurt. It’ll be a problem.”
Asked to pinpoint when he came to terms with that, Lindo remembers “Clockers,” the 1995 Spike Lee crime drama in which he played the intimidating drug kingpin Rodney Little. It was his third collaboration with Lee, following “Malcolm X” and “Crooklyn,” and the two enjoyed a mutual respect and rapport. But Lee still cut three of Lindo’s scenes, which Lindo understood — “kind of, sort of.” Lee was looking at the larger story. Those scenes weren’t essential.
“Making one’s peace with it is not the same as accepting it and being happy with it,” Lindo says, raising an index finger, a gesture he often makes when telling you something he considers important. “It’s just the way it is. It’s a fact of life.”
When talking about his career, Lindo, 73, tells me more than once that “it’s not where you start, it’s where you finish.”
The first time he tells me this we are talking about one of his early lead acting turns, starring in the 1983 Yale Repertory Theatre production of “A Raisin in the Sun,” the story of a struggling Black family dealing with discrimination in 1950s South Chicago. Lindo played the frustrated patriarch, Walter Lee, and won some strong reviews. But he felt like he was the “weak link” in the production. In a GQ profile, it was written that Lindo, born in London, couldn’t convince himself that the African American experience was his to interpret.
“Nope,” Lindo says. “I did not say that.” Again, the index finger. “You’re giving me the opportunity to set the record straight.” He pauses and closes his eyes. “Doing that play, I had an inner monologue playing in my head that cast doubt on my ability to play the part successfully. And it continued and it grew. It became a tape and then an album and then a series of albums. It eroded my confidence.”
“You know what it was?” he continues. “It was a self-esteem issue. It was an issue of me saying to myself, ‘You’re not good enough. You want to do one of the great parts in the theater? No. You don’t have it.’ Now, what’s the root of all that?” Lindo laughs, clasps his hands together and raises them. “The roots of that are food for myself and a therapist.”
But there is a happy ending to the story. Lindo was cast once more as Walter Lee, for a production of “A Raisin in the Sun” mounted at the Kennedy Center in 1986. Lloyd Richards again was directing, indicating to Lindo that maybe he wasn’t as bad as he thought he had been. Richards did tell Lindo that he needed to jettison some of the neurotic choices he was making as an actor.
“Those are the words he used, ‘neurotic choices,’” Lindo says, shaking his head. He pauses. “Man, I’m giving you a lot here. But it’s OK. You know why it’s OK?”
Because you’re enjoying our conversation? I venture.
Delroy Lindo.
(Bexx Francois / For The Times)
“No,” Lindo says. “I’m not particularly enjoying telling you about my failures. But this was an absolute period of growth for me as an actor all because I learned the most important thing: preparation, preparation, preparation.”
For his reprise of “A Raisin in the Sun,” Lindo called musical multihyphenate Oscar Brown Jr. and asked if he could fly to Chicago and pick his brain about life on the city’s South Side in the 1950s. Lindo walked the streets where “Raisin” playwright Lorraine Hansberry lived, steeping himself in what it meant to exist in that place and time. After that, the tape was no longer playing in his head, even when co-star Esther Rolle’s face fell after she realized that Lindo had been cast as Walter Lee. She thought she’d be headlining with Glynn Turman, but Turman had dropped out.
“Eight days, maybe nine into rehearsals, Esther turned to me — and this is when I knew it was going to be all right — and she said, ‘You’re a nice actor,’” Lindo remembers, smiling.
Preparation, preparation, preparation. For Delta Slim, Lindo read books on the blues, listened to Son House, Muddy Waters and Howlin’ Wolf and immersed himself in the culture of the Mississippi Delta. When it came time to shoot that monologue in the car, he was ready. On the next-to-last take, Lindo improvised, letting music take the place of words. Jordan went with it, turning to Caton in character, saying, “You got that guitar in your hand, don’t you, boy?” Caton begins playing.
“Man, we were all in the work,” Lindo says.
Where did that improvisation come from? I ask.
“It’s the musical manifestation of the pain I’m feeling,” Lindo says. “It’s the only thing I know how to do in that moment.”
It’s the blues.
“It’s the blues, man,” Lindo says. “I’ve heard it said numerous times: That’s where the blues comes from. And as an actor who participated in that moment, communicating that is extraordinary and profoundly gratifying.”
Los Angeles police officers must turn on their body cameras at the scene of federal immigration enforcement operations and preserve the footage, according to an executive directive issued by Mayor Karen Bass on Tuesday.
Since June, federal immigration raids have disrupted neighborhoods and communities across Los Angeles and around the nation, including at work sites, along neighborhood streets and in commercial areas.
Often, police officers have responded to the scene to try to keep order amid tensions between immigration agents and community members.
“The point that we’re trying to make here is that ICE enforcement is not welcome here,” Bass said at a news conference Tuesday morning. “We have resisted against it since this terror started, and we will continue to do that.”
In addition to recording the federal immigration agents’ actions, LAPD officers must document the name and badge number of the agents’ on-scene supervisor, summon emergency personnel if someone at a scene is injured and take reports from the public about federal agents’ alleged misconduct, Bass’ five-page directive states.
The directive also prohibits federal immigration agents from using city property and imposes a fee on owners who allow federal agents to use private property.
The effort builds on a previous Bass directive that aimed to restrict the city from assisting federal immigration agents. The LAPD has a long-standing policy that its officers should not be involved in immigration enforcement.
The Department of Homeland Security did not immediately respond to a request for comment.
Bass noted that officers are supposed to turn on their body cameras anyway, including when they’re responding to a call from the public or when another law enforcement agency asks for assistance.
“We’re saying we really want you to do that, even if you are there and there’s not a disturbance that breaks out, if you’re there on the scene,” Bass said.
The LAPD did not immediately provide comment. The Los Angeles Police Protective League, which represents rank-and-file LAPD officers, did not respond to a request for comment.
In Chicago, the mayor issued a similar directive in January, instructing the Police Department to “investigate and document” alleged illegal activity by federal agents, said Tania Unzueta, political director of Mijente, a national group that organizes within Latino and Chicano communities.
“ICE’s power must be challenged at every level, and local governments have a critical role to play in holding the line against federal enforcement,” Unzueta said.
But in Los Angeles, immigrant rights advocates expressed concerns about requiring the LAPD to police another agency.
Maegan Ortiz, executive director of the Institute of Popular Education of Southern California, or IDEPSCA, cited the LAPD’s history of using excessive force against civilians and said that in the recent immigration raids, officers have sometimes inflamed instead of defused tensions.
“Are they really the best people to determine what is excessive use of force, given the literal millions of dollars that we’re seeing paid out in settlement because of use of force by LAPD?” Ortiz said. “Can we trust this police department to police others when they can’t police themselves?”
James “Jim” Willis, a former LAPD detective who later worked for the L.A. Police Commission’s inspector general’s office, said he agreed with the directive’s intent: to bring greater accountability to Immigration and Customs Enforcement operations. But he has questions about how it would work in practice.
For one thing, he said, it’s unclear whether LAPD officers are supposed to respond whenever an ICE operation is underway. Doing so would put further strain on a department that is down hundreds of officers from a few years ago, he said.
It’s also unclear what will happen with the recorded footage.
“Who’s going to audit this?” he asked. “Do you now create a new group, a new division and new section?”
Since rolling out the tiny recording devices in 2015, the city has spent millions of dollars, both on the body cameras themselves and data storage for the digital files. LAPD officials have conceded that the vast majority of the footage gathered by officers goes unwatched, since there isn’t enough manpower to review it.
At Tuesday’s news conference, Jocelyn Duarte, executive director of the Salvadoran American Leadership and Educational Fund, praised Bass’ directive and called on the Los Angeles Board of Commissioners, which provides civilian oversight of the LAPD, to ensure that officers “protect Angelenos from lawless federal conduct.”
“Local law enforcement must not be complicit through silence or inaction when federal agents overstep legal and ethical boundaries,” Duarte said. “Now it is imperative that our commission and LAPD fully implement this directive and make it clear that our city will not allow for fear-based enforcement to define life in our neighborhoods.”
Ortiz said she is excited that the directive imposes fees on private property owners who allow federal immigration agents to use their property. The Institute of Popular Education of Southern California has been a leader in calling for a boycott against Home Depot, which has not taken a public stance against repeated raids at the day labor centers that the organization runs at the stores.
“I do think that something does need to be done with these huge billion-dollar corporations who are allowing this and are choosing to stay silent while their customers are being dragged away and disappeared,” Ortiz said.
WE took three hard-boiled eggs from the hotel breakfast bar – two made it safely to the Innsbruck’s bobsled track in Austria.
The third egg sadly exploded in a runny mess in my youngest son’s pocket.
Sign up for the Travel newsletter
Thank you!
I recreated the famous Cool Runnings bobsleigh scene at top European tourist attraction in InnsbruckCredit: Rob GillThe Jamaica bobsleigh team kissed a “lucky egg” before hitting the ice in Cool Runnings – so we did tooCredit: Rob Gill
I’m pretty sure you know where this is going – the Jamaica bobsleigh team kissed a “lucky egg” before hitting the ice in Cool Runnings.
So of course we had to do the same before hopping in a four-man “taxi bob” for the craziest minute of our lives.
Feel the rhythm, feel the rhyme, get on up, it’s bobsleigh time.
Innsbruck is one of the fastest tracks on the IBSF World Cup calendar, featuring a wild 360-degree bend – one of only four in the world – and an even wilder left-right-left labyrinth section reaching up to 75mph and 4.6g.
Let’s just say bobsleigh athletes are a special breed.
The thing is, YOU can experience it too.
A pro driver and a brake man will take two guests down the full Olympic track at a cost of €119 (£103.56) per person.
It’s all over in a minute but it’s totally worth it, a huge shot of adrenaline that’s right up there with driving a Formula 1 car.
Another really cool experience is the Innsbruck ski jump just down the road.
This time only as a spectator, the views from the Bergisel SKY restaurant at the top of the jump are incredible and you might get lucky and see some Austrian Eddie The Eagles in full flight mode.
Innsbruck was just a 30-minute train ride from our base up in the mountains in Seefeld.
This small, friendly ski town is one of my favourite places in the world.
It has five sunny slopes for all abilities, cross-country skiing tracks, ski schools, rental shops and free ski buses that take you all around the local area.
The brilliant tourist office at seefeld.com will help you find accommodation to suit your budget and suggest a lot of things to do when you’re not on the piste.
Innsbruck is one of the fastest tracks on the IBSF World Cup calendar reaching 75mphCredit: Rob GillAnother really cool experience is the Innsbruck ski jumpCredit: Rob GillYou can also go tobogganing in Hammermoosalm nearbyCredit: Rob Gill
We went tobogganing at Hammermoosalm – free bus, short hike, coffee, grab a toboggan (£6.96) and go.
We also went on a torchlit walk (£12.18) through a forest in Mosern and even made full use of the outdoor heated pool at the Olympic wellness centre.
There are plenty of bars and restaurants in the town, plus market stalls serving locally-sourced honey glühwein and raclette (who doesn’t love melted cheese) and other traditional Austrian treats.
Taking the family on a ski holiday doesn’t need to break the bank.
We bought our ski gear from Lidl, booked easyJet flights from Manchester to Innsbruck, and grabbed lunch most days from the local supermarket.
That gave us the budget for a cheeky Radler (beer and grapefruit) half way down the Rosshuette ski run.
Then another Radler at the igloo-shaped apres-ski bar at the bottom.
My family will never forget that bobsled run, the views from the ski jump, the winter wonderland that is Seefeld, and the runny egg.
And heading skiing doesn’t have to be expensive either – we bought our ski gear from LidlCredit: Rob GillA pro driver and a brake man will take two guests down the full Olympic track at a cost of €119 (£103.56) per personCredit: Rob Gill
This season’s Oscar nominees for film editing have one thing in common: coping with trauma. The Envelope invited editors from each film to break down a pivotal scene that showcased their craft.
‘F1’
“F1” builds momentum for its underdog tale with an intricately constructed racing montage.
(Warner Bros. Pictures)
Editor: Stephen Mirrione Scene: The montage in which Brad Pitt’s washed-up racer Sonny Hayes begins his winning streak through a momentum-building Grand Prix swing.
“There were more than a dozen structural versions of how we were getting through this story,” said Oscar winner Mirrione (“Traffic”). The three-minute, high-octane montage benefited from 5,000 hours of footage, captured with 20 cameras around the tracks. It was treated like a massive puzzle, with the racing order moved around for maximum impact. The key was seamlessly integrating in-camera footage with broadcast footage from actual races that offered happy accidents such as rain and a crash. “At one point, it was more focused on rookie driver Joshua [Damson Idris],” added Mirrione. “But then we realized that Sonny was more interesting, visually, in terms of his arc about dealing with the trauma of his near-fatal crash. And then once we saw it in context, it was not just about the two of them and their rivalry but also the team coalescing around Sonny.”
‘Marty Supreme’
A dinner in “Marty Supreme,” starring Timothée Chalamet as Marty Mauser, leads to a startling flashback.
(A24)
Editors: Ronald Bronstein, Josh Safdie Scene: The jarring dinner scene/Holocaust flashback introducing nasty businessman Milton Rockwell (Kevin O’Leary)
In this scene from the 1950s-set psychological drama, we get a glimpse of Marty’s (Timothée Chalamet) motivation for his obsessive pursuit of table tennis: Jewish pride and survival instinct. “The adversarial impulse of the Rockwell dinner scene involves several characters, each with a distinct subjective agenda,” said Bronstein. “The act of cutting the scene [with close-ups and extreme close-ups] became inseparable from its sensations and emotions.” Yet Bronstein pushed it to extremes with the bizarre Auschwitz flashback involving Marty’s dinner guest, Béla (Géza Röhrig). Thanks to his table tennis prowess, Béla disarms bombs for the Nazis in the woods. But when he discovers a beehive, he shares the honey with his fellow prisoners by smearing it over his body. “That’s like a carrot on a rope that’s hanging in front of me at all times, and when I get to the end of that exchange, I’m allowed to break free and go into an entirely new set of tools, which are much more expressive,” added Bronstein.
‘One Battle After Another’
Leonardo DiCaprio as Bob Ferguson, nearing the conclusion of “One Battle After Another’s” climactic car chase.
(Warner Bros. Pictures)
Editor: Andy Jurgensen Scene: The climactic roller-coaster car chase
Jurgensen assembled the best VistaVision car chase in history for Paul Thomas Anderson‘s turbulent father-daughter actioner. That’s where teenage Willa (Chase Infiniti) becomes the hero by outsmarting and killing the hired muscle (John Hoogenakker), who chases her up and down the rolling hills followed closely by Willa’s flummoxed ex-revolutionary dad, Bob (Leonardo DiCaprio). Shot at shaky high speeds, the scene actually took shape as a result of the unique San Diego location called the Texas Dip, which looks epic in the 8 perf/35mm horizontal format. The Hitchcockian cross-cutting among the three cars, favoring Willa’s POV, was achieved with close-ups from rearview and side mirrors. The layering of the propulsive soundscape and Jonny Greenwood’s percussive score completed the adrenaline rush. But the tender father-daughter reunion at the end required reshooting. “The moment Bob pulled up to the crash site, when we first did the scene, he ran over to her right away, and they embraced,” Jurgensen recalled. “When we watched the dailies, it just didn’t feel authentic. So we reshot it with more meat: Willa second-guessing everybody and Bob having to earn her trust by proving his identity with the secret code.”
‘Sentimental Value’
Renate Reinsve’s Nora plays a part in her father’s new film in “Sentimental Value.”
(Kaspar Tuxen Andersen)
Editor: Olivier Bugge Coutté Scene: Actor Nora Borg’s (Renate Reinsve) early stage fright breakdown
Joachim Trier’s family drama finds Nora confronting the Borgs’ generational trauma when she reunites with her estranged director father, Gustav (Stellan Skarsgård). After an opening montage on the layered history of their Oslo home, which Nora once wrote about in a school essay, our introduction to the adult Nora is conveyed by the chaos and humor of her panic attack before a performance. But finding this arresting sequence first required trimming a very long setup of patrons entering the theater and sitting down, and the camera discovering Nora, frozen in fear, in the back of the dark stage. “It was so boring,” Coutté insisted. “But here we’re starting right on Nora’s face. Where are we? Has she become an actress? And then you slowly understand. There are no rules; just rhythm.”
‘Sinners’
Jayme Lawson performs “Pale, Pale Moon” in a pivotal scene from “Sinners.”
(Warner Bros. Pictures)
Editor: Michael P. Shawver Scene: Pearline’s (Jayme Lawson) violence-inducing “Pale, Pale Moon” performance
In Ryan Coogler’s Imax spectacle, where the blues collides with vampires, the monstrous transformation commences with Pearline’s siren call: “Pale, Pale Moon.” This was Shawver’s boldest sequence, cross-cutting her mesmerizing performance with the rhythmic crowd stomping, the brutal beating of a card cheater and newbie vampire Mary (Hailee Steinfeld) seducing and murdering Stack (Michael B. Jordan). “When this was first cut together, it was about three or four times as long as the actual song that had been recorded and performed,” explained Shawver. “And so Ryan watched it and he liked what he saw, but he wanted to cut it to the length of the song. That first moment I wondered if I was the right editor, but that fear and anxiety gives you a bit of freedom to find those spiritual connections that built to this climax at the end. It was really just about Ryan’s ability to engage audiences on a personal level and unlock those things and find the ways that they can go together.”
EastEnders sees Jake Moon back in Walford next week in scenes with his stunned cousin Alfie Moon, which our soap expert says is ‘crucial’ for both the characters and fans
EastEnders sees Jake Moon back in Walford next week(Image: CREDIT LINE:BBC/Jack Barnes/Kieron McCarron)
A familiar face returns home on EastEnders next week, as Jake Moon is reunited with his cousin Alfie Moon.
Fans will remember the character was killed off, or so it seemed, back in 2006. In a case of mistaken identity, or at least a misunderstanding, he was tracked down and seemingly killed.
So imagine the shock on fans’ faces in 2024 when he suddenly returned to Walford, very briefly, with his former flame, and current flame, Chrissie Watts. Jake never died, and despite his family being left to think he was dead he was very much alive.
Spoilers for next week have now confirmed he’s back in Walford, and he finally reunites with Alfie who is under the impression his cousin died 20 years ago. Our soap expert revealed fans can expect “emotional” scenes, and a “crucial” moment that has been a long time coming.
They shared: “It’s a huge moment for fans, but also for Jake and Alfie. It’s a crucial moment that has been a long time coming, and is something both the characters and viewers deserve.
“The mystery about Jake’s fate and for him to then return two years ago with no scenes with Alfie, no closure, was a slight injustice that will finally be corrected. They haven’t seen each other in so long, and Alfie thought his cousin was dead.
“To learn he’s alive and doing well is a great relief to Alfie, and it paves the way for some emotional scenes for them.” His return comes about after he visits Zoe Slater in prison, desperate for answers about what happened with her and Chrissie at Christmas.
He’s not sure he can stay with Chrissie having found out what she’s done, calling time on their romance. Our insider teased Zoe’s words to Jake could shock him.
They said: “The last person Zoe’s expecting to see is Jake Moon. She’s been stopping Kat from tracking down Chrissie out of fear that it could land Jasmine in trouble.
“So when Jake shows up and demands answers about Christmas, Zoe’s forced to decide whether to give him the true events or send him packing. What she has to say leaves Jake reeling, and with a decision to make.”
Jake’s soon catching up with Phil Mitchell too. Fans may recall that Jake accidentally killed his brother Danny Moon who was about to murder Grant and Phil on the orders of Johnny Allen, just like he killed Dennis Rickman.
As he tries to lay the ghosts of his past to rest, Jake comes face-to-face with Phil who offers him guidance about Chrissie. Our expert said of the moment: “Phil has guidance for Jake, and soon he comes to a huge decision that could change everything.
“Whether Chrissie will return to Walford again given what’s happened there, especially at Christmas, remains to be seen. Jake and Kat unite, hoping she will show her face and that it could help Zoe.”
THE disappearance of the mother of Today show co-anchor Savannah Guthrie is being investigated as a crime scene as investigators race against time to locate the 84-year-old.
Nancy Guthrie, the elderly mother of the beloved morning host, has limited mobility and is in dire need of her daily medication, which if she does not take could be fatal, police said.
Sign up for the Showbiz newsletter
Thank you!
Savannah Guthrie and her mother Nancy Guthrie, 84Credit: Instagram/savannahguthrieNancy Guthrie was last seen on Saturday evening with her family members, authorities revealedCredit: Facebook/Savannah GuthrieSavannah Guthrie on NBC’s Today Citi Concert Series at Rockefeller Plaza in May 2025 in New York CityCredit: Getty
“We need her back. We need to find her and time is very critical,” Pima County Sheriff Chris Nanos said during a morning press conference on Monday.
Guthrie was last seen at around 9:45 pm on Saturday after her children dropped her off at her home in Tucson, Arizona, authorities said.
Nanos said the department received a distressing call at noon on Sunday informing them of Guthrie’s disappearance.
The sheriff said evidence recovered from Guthrie’s home was “concerning” to authorities, who are now investigating the case as a “crime scene.”
“As I said yesterday, we saw some things at the home that were concerning to us,” Nanos added.
“We believe now, after we processed that crime scene, that we do in fact have a crime scene, that we do in fact have a crime, and we’re asking the community’s help.”
The sheriff did not disclose additional evidence about why investigators are probing Guthrie’s disappearance as a crime.
Nanos said he was “not ruling out” foul play.
A neighbor of Guthrie told the Daily Mail that the community fears the elderly woman could have been “abducted.”
“We heard that the front door was left open,” neighbor Paul Arnaud told the outlet, adding that he heard Guthrie “vanished shortly after being dropped off from a church function by a friend” on Saturday evening.
“So a lot of us are worried that it was an abduction because they did a thorough search throughout the entire day and early evening of the entire area and they could not find her.”
RACE AGAINST TIME
Guthrie suffers from physical ailments, Nanos said, adding that she could not walk 50 yards by herself.
She is also in need of her daily medication, which if she does not take within 24 hours could be fatal.
“She needs her daily medication and anybody that sees anything that even looks, maybe that’s her, just take a quick picture, take a video, send it to us,” the sheriff added.
Despite Guthrie’s “limited” mobility, Nanos stressed the 84-year-old is of “great sound mind” and does not suffer from cognitive impairments.
“She is as sharp as a tack. This is not somebody who just wandered off. Her physical limits are just based on age. It’s more physical. She is clearly as sharp as a tack,” said Nanos.
He said evidence from the home suggests Guthrie did not “voluntarily walk out of her home.”
Savannah Guthrie and mother Nancy Guthrie pictured at NBC’s studios in June 2023Credit: GettySavannah Guthrie is in Arizona assisting authorities with the search for her motherCredit: Facebook/Savannah Guthrie
SAVANNAH’S PAIN
Guthrie’s family, including her daughter, Savannah, have been cooperating with Pima County Sheriff officials.
Savannah Guthrie skipped Monday’s edition of the Today show amid her mother’s disappearance.
The Today co-anchor, 54, released a statement during the show, saying, “On behalf of our family, I want to thank everyone for the thoughts, prayers and messages of support. Right now, our focus remains on the safe return of our dear mom.”
Savannah is on the ground working with the Pima County Sheriff’s Department in its attempt to locate her mom, Nanos said.
The search effort included volunteers on the ground, drones, K9 units, and a helicopter, said the sheriff.
“We’ve pretty much just thrown everything at this that we can,” he added.
During the 10 am block, a shaky-voiced Jenna Bush Hager opened by saying Savannah’s mother was still missing.
“We are thinking of our dearest, dearest Savannah and her whole family this morning,” Jenna said.
Savannah’s new co-host, Sheinelle Jones, recapped the information thus far on the case, and added that Guthrie has medication she needs to take daily.
The Pima County Sheriff’s Department confirmed to The U.S. Sun that Border Patrol agents are assisting with the search.
The FBI is also on standby, although the federal agency has not officially joined the search effort.
Guthrie is described as 5 feet 5 inches tall, weighing about 150 pounds, with brown hair and blue eyes.
It’s unknown what she was last wearing when she disappeared.
Timeline of Nancy Guthrie’s disappearance
Nancy Guthrie, the 84-year-old mother of Today show co-anchor Savannah Guthrie, disappeared from her home on February 1, 2026.
Timeline:
January 31: Family members dropped off Guthrie, 84, at her home in Tucson, Arizona, at around 9:45 pm.
February 1: The Pima County Sheriff’s Office received a 911 missing person call at noon.
Pima County Sheriff Christopher Nanos said the scene found at Guthrie’s home caused “grave concern.”
February 2: Nanos said investigators are probing Guthrie’s case as a crime, adding that officials do not believe the 84-year-old voluntarily walked out of her home.
The Pima County sheriff said Guthrie has “limited mobility” and is in dire need of her daily medication, which if she does not take could be “fatal.”
Savannah Guthrie released a statement to her co-hosts at Today, saying, “On behalf of our family, I want to thank everyone for the thoughts, prayers and messages of support. Right now, our focus remains on the safe return of our dear mom.”
Savannah missed the February 2 edition of Today as she flew to Arizona to assist in the search for her mother.
Milo Boyd explored M De Megève, a luxury hotel in the French Alps beloved by the mega-rich that rivals any White Lotus setting
Milo Boyd takes a ski trip to the ski resort of Megeve
White Lotus is making a comeback for a fourth season, this time heading to the Château de La Messardière – a genuine palace-turned-hotel nestled on 32 verdant acres of jasmine, cypress trees and parasol pines in France’s Saint-Tropez.
Whilst there’s no question that the programme will continue to captivate, excite and astonish on the Mediterranean, the show’s brilliant creator Mike White has overlooked a golden opportunity.
There exists a resort 300km to the north that presents a far more abundant tapestry of historical glamour and nouveau riche intrigue that forms the backbone of the HBO sensation, whilst also providing grounds for introducing a yodelling theme tune.
That destination is Megève and the particular hotel, the M De Megève. The compact ski resort is nestled 1,400 metres up the French Alps, beneath the shadow of Mont Blanc.
Milo Boyd
Milo Boyd
Although the village of 3,000 might be less renowned than Tignes or Val d’Isère, it remains cherished by the ultra-wealthy and French nobility.
Indeed, Megève’s exceptionally affluent origins trace back to the late 1910s when Noémie de Rothschild – weary of encountering German arms dealers in Switzerland’s Saint Moritz – resolved to place the tiny and rural settlement on the map.
In the 100 years since, dozens of ski lifts have emerged across 400 km of interconnected pistes; several Michelin-starred chefs have established themselves in Alpine life there; and luxury hotels matching those showcased in White Lotus have welcomed the global elite. This January, I managed to slip in amongst the international elite for a weekend at M De Megève, a five-star establishment that belongs to the prestigious Small Luxury Hotels of the World club.
It is a truly enchanting destination.
Upon arrival, a porter swiftly collects your luggage and a beverage is offered as you’re escorted to the crackling fire in the entrance hall. A welcome pairing after travelling from London on Eurostar’s Snowtrain, despite the smooth and agreeable nature of the trip.
Drink finished and cases transported upstairs, it’s time to begin discovering.
The M De Megève comprises 42 rooms arranged around a lengthy reception space that opens into a bar area by the entrance, a bistro at the rear and a fondue restaurant to the side. Friendly staff, many of whom spend their winters grafting in the Alps before heading back to Cannes or Marseille for the summer season, are available to help, converse or simply beam a greeting.
In the intimate Grand Crus de Fondue, they’re prepared to provide some more particular guidance. “How do you like your cheese,” the hotel’s sommelier-style Cheese Chef enquired of my partner and I, before conjuring up a pot of bubbling, stomach-fillingly potent fondue that nearly floored us there at the table.
Who knows what would’ve occurred if we’d chosen the Champagne or pear cider base, rather than playing it safe with a classic white wine blend. Equally scrumptious and more traditional cuisine is offered at the bistro, where we feasted on extraordinary plates of French onion soup, mushroom risotto and sea bream, accompanied by a glass or two of Pommery Champagne.
M De Megève enjoys a special partnership with the Reims château, as it does with Clarins. Visitors are showered with complimentary face creams and balms from the premium French skincare brand, and pampered with its complete range down in the spa.
I genuinely question whether my masseuse, who left me floating on clouds and resolved a weeks-long bout of troublesome skin, was practising sorcery.
The enchantment persisted in the timber alpine lodge-style quarters, where drapes are controlled by a bedside button and the lavatories are delightfully interactive.
“Our Asian and Middle Eastern guests insist on it,” a staff member informed me.
White Lotus producer David Bernad recently dashed hopes of a ski season when he declared, “Mike does not like the cold”.
Fortunately for him, the M De Megève’s sauna, hammam and hot tub are sufficiently steamy to warm his joints and, naturally, provide enough ‘actors in swimsuits’ screen time to satisfy the fans.
Yet it is in a different type of suit that Megève’s visitors are at their finest.
Venture out onto the cobblestones of the village and you’ll discover high-fashion brands aplenty. We’re talking Dior, Hermès, Rolex. We’re talking an average month’s wage to kit out each of the piste posers in a white ski-suit, designer label of choice adorned in diamanté on the back. “Megève is a place to be seen,” a Canadian heir explained in the queue for a drag lift.
And he’s right. What’s so intriguing about the hotel is that, despite sitting just 100m from the Chamois lifts, many guests do not ski. Instead, they come to shop, to parade through the village on horse-drawn carriages, and to telecabin up in platform Uggs to a hillside grill flogging £200 steaks and £9 bottles of Evian.
I adore skiing. For the unmatched physical excitement it provides on days brimming with powder-fresh thrills and stunning panoramas.
And for the opportunity to glimpse into a contrasting realm. A realm of Brits debating whether they’d manage to expense a €5,000 club table whilst tucking into the previously mentioned steak; of an Alpine settlement that hosted Emily in Paris; of sharing ski lifts with multilingual families switching between Italian, French and English.
It represents a realm of sophistication and fascination, practically begging to be White Lotused.
Eurostar Snow train tickets for the 2025/26 season start at £99 each way (£198 return) in Standard class, running weekly from Dec 20, 2025, to Apr 5, 2026, from London St Pancras to the French Alps via Lille. Visit eurostar.com/uk-en/train/ski-train.
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.
1
2
3
4
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.
