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This city offers stunning hidden walkways, picturesque views and a world-class cuisine – it’s also far less crowded than other destinations in Europe so it’s worth adding to your bucket list

If you’re looking for your next city break destination, then this is one place you must visit. When you think of weekend getaways, Barcelona, Paris and Budapest are among the most popular spots for Brits.

Whether you’re keen for an eating holiday or exploring some picturesque streets, this European city has it all. And the best part is, you don’t have to worry about too many crowds as you would if you were visiting Madrid or Berlin. So the place we’re talking about is in France and it’s none other than the gorgeous city of Lyon.

It is the third largest city in France and unlike the other major tourist hotspots, it certainly has fewer crowds. It does experience distinct peak times during weekends, summer holidays and of course, major festivals.

But in August, locals leave for holidays and international tourism may peak, but it’s still not enough to put you off. One woman recently flocked to the city on a trip – and she was not disappointed.

Speaking with her 21,600 TikTok followers, Reanna said: “Why is no one talking about this European city? Welcome to… Lyon.”

She explained why Lyon had won her over after spending four days as she “couldn’t get enough of how picturesque it is”.

Exploring Picturesque Streets and France’s Culinary Capital

The travel content creator added: “From the colourful streets and hidden passageways to incredible views, there’s so much to explore.”

Not only is it the third-largest city in France, Lyon is also the country’s culinary capital so if you love food, then you have to visit.

Reanna continued: “The Old Town is UNESCO-listed and full of beautiful Renaissance architecture. It’s also considered the birthplace of cinema, thanks to the Lumiére brothers.”

Lyon has no shortage of attractions, from strolling through secret covered traboules (covered pedestrian shortcut) to taking in the breathtaking hilltop Basilica of Notre-Dame de Fourvière.

Kick things off with some sightseeing by strolling through the cobbled streets of one of Europe’s largest Renaissance old towns. Keep your eyes peeled for hidden shortcut passageways that wind through buildings and corridors.

Make sure to hop on the funicular for breathtaking views across the city. When it comes to food, there’s an absolute wealth of choice on offer. Tuck into local meat dishes and pink praline tarts at traditional eateries.

Top Attractions, Parks, and Flights from the UK

A visit to Les Halles de Lyon Paul Bocuse is well worth your time, where you can browse bustling indoor food stalls brimming with local cheese, wine, and meats.

For parks and museums, the Parc de la Tête d’Or boasts a vast lake, botanical gardens and a free zoo area. Many visitors also flock to the Musée des Confluences, a striking modern museum perched at the junction of the city’s two rivers.

A direct flight to Lyon from the UK will take about 1 hour and 45 minutes on average. If, for example, you’re departing from London this might take slightly less than if you were going from up north.

Many airlines offer multiple flight times to the French city, like British Airways and easyJet.

When you fly to the destination, you will land at Lyon-Saint Exupéry Airport (LYS) which is considerably close to the main city, taking around 45 minutes with public transport.

If you want to stay close to the city centre, prices range from £30 to £45 per night for budget hotels and basic rooms.

As for a standard hotel, this will cost about £200 or slightly more depending on what star you go for.

Jessica Williams always goes to bed laughing.

“Everything’s so sad,” the actor explains. “Not taking yourself seriously is the only way, because otherwise I would just be upset, especially as a Black woman in the year 2026. I hate when people are on ‘The Bachelor’ and they’re like, ‘I love laughing,’ but it’s true. I really love it.”

Williams, 37, knows a thing or two about making others laugh. A three-time Emmy nominee for supporting actress in a comedy series for her work on “Shrinking,” she’s made an art of it. On a show about grief and mental health, Williams is often on hand to bring the funny.

Curled up in a chair on the top floor of The Times’ offices in El Segundo, looking down on the runways of LAX boiling in the late July sun, Williams gives runway fierceness against the beige office walls. She is just like the pop of bubblegum pink polish on her toenails as she strikes a pose in a chic all-black linen ensemble — a delightful burst of cheer in a subdued environment, something effervescent amid so much inoffensive sameness. She’s always been that way.

I would know; I’ve known her since we were 12 years old, awkward adolescents in Marcia Barryte’s Dodson Middle School drama class. As we catch up, I remind her of a PG-13 scene she caused in eighth grade science class during an earthquake drill. (To be fair, the drama students were asked to play standardized patients, and she was assigned “hysteria.”) While the class collected our backpacks, she broke into an award-worthy performance, wailing about not wanting to die a virgin.

“No!” she gasps, covering her mouth but unable to hide the mischievous grin that’s broken across her face at the memory. “That’s very inappropriate. I love that.”

Under slightly different circumstances, it’s a storyline that could belong to her “Shrinking” character, Gaby Evans, a therapist who brings her sunny demeanor, audacious sense of humor and enviable stores of energy into every room. That’s partly because so much of who Gaby is has been carefully honed by the writers and Williams to align with the actor’s voice.

“We can write almost anything and Jessica can make it sound like it has stemmed from Gaby,” says series co-creator Bill Lawrence. “She’s in charge of Gaby’s voice — and it’s a tremendous safety net for us as a writing staff.”

Jessica Williams in “Shrinking.”

(Apple TV)

Williams agrees this has been her experience, one she’s grateful for in an industry often dead set on ignoring perspectives like hers. “At the end of the day, white guys are in charge of this business,” she says. “Progress in film and TV requires them to go to bat for us. I feel really lucky to be on a show where Bill pulled me aside and was like, ‘If I’m doing my job right, the first couple episodes, we write these stories, and then, there’s a moment where it switches to being your character and you are the shepherd of her.’ It made it really collaborative and a safe space for me to play.”

Three seasons in, the set has become the world’s best playground. For instance, the writers gave Williams ample runway in a scene where Gaby turns the tables and proposes to her boyfriend, Derek (Damon Wayans Jr.), after discovering an engagement ring in a desk drawer (and getting it stuck on her finger). “Look, if you’re a television writer and you have a proposal scene and you don’t let Jessica Williams run with it, you’re cheating yourself,” quips Lawrence.

That mutual trust doesn’t mean that Gaby and Williams are the same person — just that Williams’ lived experience has shaped who Gaby is. “The point of a scene is we don’t know what it’s going to be,” she says. “We learned our lines. We’re going to show up. The director’s here. They have an idea. We’re going to make this thing together. We’re going to ‘Yes, and?’ until we get the scene up.”

Her ability to take the ball and run with it is what caught Lawrence’s eye in the first place, discovering Williams as a correspondent on “The Daily Show.” “She works very hard at making it seem like it’s off the cuff,” he emphasizes. “She is quick to call the writing staff with questions and is always looking to improve things. That’s not always the truth with everybody. She works her ass off.”

Jessica Williams. (Ryan Pfluger / For The Times)

That work ethic was essential for her Season 3 arc, which found Williams facing some of the toughest acting challenges of her career. Gaby bonds with a new, albeit reluctant, patient, Maya (Sherry Cola), only to be devastated when Maya takes her own life. It’s the heaviest storyline of the season — and a heartbreaking look at the realities of suicide, loss and trauma in the lives of mental health professionals.

One of the show’s consultants had experienced a similar loss, and their insights helped the writing staff find dramatic resonance. For Williams, it was a chance to showcase what she always believed she was capable of. “For women, people of color, queer people, any minorities, we just want the opportunity to show what we can do,” Williams says. “I was rubbing my hands together. Like, ‘F— yeah. Let’s go.’ But I was also really nervous. Sometimes when I get scenes that are a bit more difficult, I wake up and I wonder if I can do it. Every single time it’s proving to myself that I can. It felt like I didn’t get to rest last season in a way that was really nice. Most times I feel like I’m just goofing, but that felt like, ‘Oh, I’m an actor.’”

That’s an inevitable side effect of appearing on a Bill Lawrence show. His blend of humor and pathos demands a high-wire act from his ensembles. “With Bill, you have to have the acting chops to be able to do the drama, but then be able to turn a joke very quickly,” says Christa Miller, who’s been married to Lawrence since 1999 and played major roles on “Scrubs” and “Cougar Town” before “Shrinking,” in which she stars as Liz. “You really have to be able to do it on a dime.”

Lawrence clocked early on that Williams had the chops to hold her own against heavyweights like Harrison Ford. “We knew comedically she would crush it. The only question mark was about who she was as an actress,” says Lawrence. “But she was great from the second she set foot onstage. It would’ve been a massive mistake not to let her showcase that stuff.”

The storyline also pushed Williams to reopen an old wound. In 2019, she lost her longtime boyfriend to a heroin overdose. “He had a therapist who had come recommended from my therapist,” she says. “I don’t remember that time that much because it was so intense and traumatic. I do remember my therapist was helping me work through it, but she was also like, ‘I’d like to check in with his therapist and see how he’s doing.’ That was the first place I went when they told me about that storyline. It was a good opportunity to work through that a little bit.”

Even though her grief was readily accessible, it also churned up emotions that Williams often tries to quiet. “There’s always something when someone dies, whether it’s suicide or an accident, where you feel guilt,” she reflects. “‘What could I have done?’ It was something that I’ve processed and am still processing, and it was easy to transfer that into Season 3. Grief is so ongoing. It’s a wound that I have forever, and I would give anything to not have it. But now I have it, and I live with it. It’s like an old friend.”

Williams describes the days filming those scenes as different for her, harder to shake. Driving home from the set in Burbank, she’d often take side streets back to her house in Eagle Rock, getting lost in music and her environment. “It felt like trying to shed it,” she explains. “I really felt it. But so many people responded to it in a way that was what I wanted. It’s such an intimate thing, this job, and to be able to portray something [that resonates], that’s the whole point.”

One emotion the work generated that she wasn’t expecting? Embarrassment. “I’m usually not embarrassed doing comedy,” she says. “I’m like, ‘There’s no rules. We can try anything.’ It doesn’t feel as vulnerable, whereas acting, there’s something fundamentally so indulgent about it.”

It’s a surprising admission; though I haven’t spent substantial time with Williams in years, she always seemed fearless to me. Willing to do whatever it took to get a laugh. It’s why our drama teacher invented an entirely new role for her in our spring musical, to showcase her generational comedic talent.

Williams agrees she was a cutup in class, but she never got the chance to do any capital-A acting in middle school. “I would get a part, and then I wouldn’t be able to do it,” she recounts. “Mrs. Barryte would have to call my parents and be like, ‘She did not do her homework. She has bad grades. She can’t do the play.’ I let people down. I remember feeling really sad about it.

“That taught me I’m a part of a team,” she reflects. “I have to be professional. I have to be ready. But I’m glad I don’t have to do my math homework to be able to perform. Public school’s tough — you had to be an awkward Black girl and get good grades to do the musical.”

That all changed when Williams found improv, joining the ComedySportz team at Harbor City’s Narbonne High (she continued on the college team while she was a student at Cal State Long Beach). “I cared about improv so much that I wasn’t not going to do my homework,” she says. “It just affected my life profoundly. I’m getting misty thinking about these programs that are underfunded, that s— really matters.”

Williams has also found reassurance in the response to her character. “She makes me more confident,” she admits. “Just seeing the response to Gaby. A lot of that is amazing writing, directing and an amazing crew, but it’s also my instincts.”

“The first time I was like, ‘Whoa, what the f—?’” she says of her three Emmy nominations for the role. “Second time, it was like, ‘OK, it wasn’t a fluke.’ And then the third time you’re like, ‘Oh s—!’ All the actresses that I admire are in this category, so I’m honored. But these are my peers too. So it’s like, ‘Oh, they see me.’ Gaby means something to people, it feels like — and that’s really nice. It encourages me to keep going.”

As for what that future will hold, besides at least one more season of “Shrinking,” Williams is hungry to do a play on Broadway, having not done theater since high school. Somewhere in there she’d like to capitalize on her tendency to play erudite characters and embody a detective in a thriller (preferably a paranormal one like her childhood faves “So Weird” and “The X-Files”).

Mostly, though, she just wants to keep doing what she’s been striving for since we were kids — “I want, when you watch me, for you to feel like you’ve seen something magic happen.”

Well, abracadabra.

Bravado, insecurity, deceit. These are the bitter ingredients that seasoned the chef Anthony Bourdain inside the pressure cooker of the restaurant industry. Set over one formative summer in 1975, Matt Johnson’s affectionately sleazy biopic “Tony” is a portrait of the culinary adventurer (who died by suicide in 2018 at the age of 61) as a snotty 19-year-old Vassar student who doesn’t know an oyster knife from his ego. “I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, badly in need of a good ass-kicking,” Bourdain confessed in his 2000 bestseller “Kitchen Confidential,” a scorching memoir that elevated him from obscurity to damaged saint. “Tony” opens with that quote and proves it with scenes of boozing, puking and petty crime. Miraculously, it’s the most heartwarming comedy of the year.

Teenage Tony (a feral Dominic Sessa of “The Holdovers”) claims he’s already writing the next great American book, a navel-gazing bildungsroman — his word, not mine — in the key of Kerouac. Really, he’s just a middle-class kid from New Jersey who doesn’t expect to work for a living. Stalking his high school crush Nancy (a grounded Emilia Jones) to Provincetown, Mass., he begrudgingly supports himself with a dishwashing gig at the Flagship, a humble seafood joint. The kid is ashamed of blue-collar labor. That his rowdy co-workers think he sucks at it is worse. This taste of humiliation would change his destiny.

Under the tutelage of the Flagship’s idiosyncratic unnamed chef (Antonio Banderas), Tony will discover the importance of punctuality. A devilish shellfish-shucker (Leo Woodall, an intoxicating scamp) will also introduce him to cocaine. That first bump hits Tony with such a rush that the soundtrack explodes with boogielicious disco.

Sessa was born to prowl around wild-eyed in retro polyester. He relishes the fast and funny dialogue, flinging around fancy words that don’t mean a thing. At low emotional tide, Sessa’s Tony can also be watchful and quiet. He makes us hear the character’s silent inner schemes as loudly as when he’s actually blabbering.

Director Johnson (“BlackBerry” and the maniacally brilliant “Nirvanna the Band the Show the Movie”) and his co-screenwriters Matthew Miller, Todd Bartels and Lou Howe have blended every hard-knock lesson that Bourdain learned across decades of job-hopping into one month of blood and sweat. Spiritually, it’s fantastic. Factually, it’s baloney, although “Tony” does restore the restaurant’s actual name — the Flagship — from Bourdain’s Dreadnaught, the pseudonym he gave it before he ever imagined future fans following him around the world. Mild spoiler alert: Readers of “Kitchen Confidential” will also know it’s dedicated to Nancy, who became his first wife.

The kitchen scenes are a combo platter of boot camp, frat house hazing ritual and kung fu movie. As Bourdain would later explain, he thrived in a setting where actions have instant consequences: a sore back, a sliced hand, a good meal. Burn the sandwich, toast it again; scrub every plate and punch out with pride. You can’t help but grin at Sessa’s hoot when his scrawny Tony finally manages to muscle a raw potato through a french-fry slicer. And at the end of a shift, he and his dysfunctional workplace family gather to share bowls of squid stew and taste the results of their work. Back in New Jersey, dinnertime with his biological family feels as cold and stale as their meal of frozen peas and store-bought white bread.

Banderas’ chef is the kind of mentor you’d expect to find on a mountaintop mediation retreat, starting over a half-dozen scenes coldly waking up the sleeping whippersnapper with a cold bucket of morning seawater to the face. As Banderas plays him, he’s a bearish marvel of a man with the kind of earthy soul that would have had Ernest Hemingway chugging salty dogs on his barstool all night. There’s a shot of Banderas biting into a tomato that’s pure bliss for him and us.

Whereas Tony talks a big game, squeezing Japanese words like boketto — the art of doing nothing — into conversation, Banderas shows us how to simply do it. (Likewise, a centerpiece montage makes penning a coming-of-age book look way lamer than than just living a full life.) Watching Banderas’ chef stare at the Atlantic, it may occur to you that a cook can no longer afford a waterfront shack on the sand. The film is too breezy to say so directly, but its emphasis on the value of honest work wants you to think it.

Watching Banderas spend a day simmering his own handcrafted ketchup simply to store it in repurposed Heinz bottles says everything about the guy’s devotion to food and his indifference toward marketing. It’s a little grating to see boorish Tony offer him business tips. It helps that some of his advice isn’t great.

“Tony” stays planted in its own immediate present, rarely hinting at the veers Bourdain’s biography will take. “Kitchen Confidential” won’t be published for another 25 years; his globe-trotting celebrity comes after that. Johnson keeps the tone so zingy and loose that you don’t have to know Bourdain at all to enjoy the movie. The ending even tacks on a let’s-save-our-hangout rally that could be Velcroed onto any ’80s comedy.

The script allows itself just two beats to squeeze out a knowing tear. The first comes when Tony describes his approach to writing: “I try to imagine interesting places I’ll probably never go, people I’ll never get to meet,” he says, unaware how much his horizons will one day expand. The second trickier and clumsier aside happens when Banderas’ chef tells Tony the tragedy of 17th century French cook François Vatel, who literally fell on his sword before serving a banquet to Louis XIV. Lore has it that Vatel didn’t have enough fish. The teenager doesn’t understand. “He killed himself? Why?” Tony repeatedly asks. That question will never have a satisfying answer.

Like a lazy Susan, today’s youth seem to be coming full circle to young Tony’s dilemma. He’s got one foot on the so-called safe path — college, white-collar isolation — and the other on a career that’s already covering him in well-earned scars. As employees are feeling insecure and replaceable, there are rumblings that the current crop of kids is gravitating back toward physical jobs and finding, as Tony did, that one can find fulfillment working with your hands. The stress of the kitchen didn’t make Tony a better man overnight. But it was the grit that grew a pearl.

“I love to eat street food so much,” said Thaim chef-owner Ruethai Boonlieng. “I go back to Thailand all the time, and I always ask my friends, “Hey, don’t take me to the mall — take me to street food. It’s a true food for my soul, and people make the street food with care.”

Boonlieng’s Thaim is a portmanteau of “Thai” and “I am.” While some of her recipes are traditional — such as her mom’s preparation of Sukhothai pad Thai — others are modern spins, like brightening her sweet-spicy mango salad with fresh dill or turning her childhood favorite, egg tofu, into a deep-fried egg custard.

The chef grew up in Bangkok and learned to cook by watching her mother prepare home meals, then took pastry courses in Thailand as an adult. Boonlieng studied finance but entered the restaurant industry to help an aunt and a friend open a Thai restaurant — then discovered she loved it. She opened multiple restaurants in the Bay Area, then moved to Los Angeles to help open another and never wanted to leave.

As an owner of sweets-focused cafe U Dessert Story, with two locations in the Bay Area, Boonlieng wanted to incorporate some of her signature desserts at Thaim, too. Look for Thai tea panna cotta, matcha lava cakes and more.

In a summer of Gen Z-driven blockbusters and ancient Greek juggernauts, the 38th entry in the Marvel universe can’t help smelling like your uncle’s sweaty Comic-Con ball cap. At least the core ensemble of “Spider-Man: Brand New Day” is still young, even after four “Spider-Man” movies together in nine years — unlike the mature super squad in last summer’s “The Fantastic Four: First Steps,” who boasted an average age of 42.

“Brand New Day” stars buzzy A-listers Tom Holland and Zendaya as Peter Parker and MJ Jones-Watson, sweethearts estranged after he was forced to save the multiverse by wiping all memories of his existence at the end of 2021’s “Spider-Man: Far From Home”. Adding drama to the couple’s onscreen breakup, the actors recently got married in real life. So kudos to the extras who steal scenes from them in the background, flailing like avant-garde dancers when a vicious mental parasite leaps from grandmothers to joggers to security guards on a quest to find something awful. Choreographed by Nathan Kim, the practical effect looks fantastic.

Fittingly for a film with body-snatching, director Destin Daniel Cretton (“Short Term 12,” “Shang-Chi and the Legend of the Ten Rings”) has made a story about letting people in. New York City’s brain-barging antagonist (“Stranger Things’” Sadie Sink in a fun character reveal) disrespects personal boundaries. Meanwhile, Peter, scarred by the murder of his dear Aunt May (Marisa Tomei) in 2021’s “Spider-Man: Far From Home,” keeps to himself in fear of revealing his secret identity. Forced to skip college while his former high school friends MJ and Ned (a lovable Jacob Batalon) attend MIT, this Spider-Man endures the rise-and-grind routine of an anonymous gig worker. His phone app pings; he puts on his protective mask and heads out wearily to fight crime. It’s a living. Barely.

Peter’s only physical connection to humanity is via webs and fists. Otherwise, he’s restricted to impersonal helpers — a detective (Liza Colón-Zayas) willing to take his phone calls, an AI assistant (ew) and a network of facial recognition cameras (double ew). He’s so isolated that his closest friend is a frenemy: Jon Bernthal’s Punisher, an equally lonely brute.

Screenwriters Chris McKenna and Erik Sommers add too much padding with their need to include the Hulk (Mark Ruffalo), the new Black Widow (Florence Pugh) and the government’s increasingly radicalized Department of Damage Control before this December’s “Avengers: Doomsday.” Perversely for a film with a two-hour-and-25-minute running time, the climax still feels rushed.

Cretton must shoulder an overburdened franchise. His film is likable as heck but never quite achieves liftoff. The soundtrack’s needle drops of Tame Impala and Bad Bunny add swagger. Better, Cretton seizes small moments to put his stamp on this installment. Just as Zendaya’s aspirationally chill MJ insists she won’t work for some “soulless corporation,” he’s quietly made a humanist super-flick: A shot of agents in black SUVs separating a telekinetic family could come right from the news. Likewise, Cretton allows the Punisher his rage while silently noting that the vigilante’s gun-toting tactics usually make things worse.

Peter’s inner despair gets externalized when he invents a genetic inhibitor neck implant to tamp down his sensitivity. The arachnid hormones in his body are surging, causing his pupils to turn black and his temper to explode. His emotions — and that sticky goo in his wrists — are about to burst. On a related note, between this second spider-puberty and Holland’s supporting turn as a mother-henned Telemachus in Christopher Nolan’s “The Odyssey,” will Hollywood ever allow 30-year-old Holland to play a grown man? I suppose when he proves he can carry his own movie. For now, he keeps squandering his Marvel breaks on whiffs like “Cherry” and “Uncharted.”

At least he’s an earnest, open-faced hero — the best live-action Spider-Man of the bunch. Holland holds onto his buoyancy even as his character battles the blues. His Peter fends off despair by insisting that he’s fine. The bruises on his body disagree. So does the glowing inhibitor on his spine, which seems to ask if we’re too quick to prescribe medication for our problems.

Cretton is the rare former indie filmmaker who pushes himself to stage clever action sequences. The web-slinging scenes in “Brand New Day” are designed to let the audience ride Peter’s mood swings. When he’s up, we soar from girder to girder in a tight POV that allows us to barely make out the tips of his boots. When he’s unsteady, every leap is perilously close to a free fall.

During the best fight scene, Peter takes on a squadron of gravity-defying ninjas in a brawl that takes place as much in the air as on the ground. Brett Pawlak’s camera spins a cartwheel alongside a flying kick, then plunges into the eye of a tornado of bad guys trapped in a web. Overall, there’s too much use of hurled rubble. But I dug how Cretton gooses our spidey senses with dramatic sound effects. The thud of a hammering Hulksmash rattles our seats; later, a cocked rifle is so crisp we perk up like a dog hearing the mailman.

“Brand New Day” manages a few strong images: a dive-bombing pigeon, a cityscape at dusk, a close-up of headstrong MJ getting yanked through the sky, still determined not to let a stranger sweep her off her feet. And, of course, there’s that army of extras each making the most of their five seconds of fame. After order is restored just enough to prod us to a sequel, Cretton circles back to those civilians in an end credits montage of normal New Yorkers hanging out on stoops and playing chess in the park. These faces couldn’t matter less to the plot. But Cretton’s affection for people over pixels is his entire point.

Samantha Morton didn’t mean to start humming during that scene in “The Odyssey,” the scene everyone is talking about, when, as the sorceress Circe, she turns Odysseus’ men into pigs, literally molding them into their true savage selves.

It wasn’t in the script. It just happened. And when Morton was done, she looked over to director Christopher Nolan, waiting for him to say something like, “Maybe try it without the humming, Samantha.”

But Nolan didn’t say anything, so Morton did it again and the music that was swirling inside her head, which she remembers now as a symphony of glass harmoniums and theremin, kept coming out as Circe went about her witchy business, altering her gluttonous guests, who are busy slurping and gulping down her stew.

“These are sounds that can make you go mad, apparently,” Morton, 49, tells me, reclining on her bed at the Hotel Chelsea in New York. “So to transform the men, the magic came not just from my hands but from my sounds.”

Samantha Morton as Circe in “The Odyssey,” directed by Christopher Nolan.

(Melinda Sue Gordon / Universal Pictures)

Morton unabashedly believes in magic. How else, she asks, can you explain how a girl who was shuttled between children’s homes and a dozen foster families, only to be living on the streets of Nottingham, England, at the age of 14 with a criminal record, be here talking with me now, sipping green tea at the Chelsea?

“That’s got to be guardian angels and love — and not that I suddenly became good at acting and got a job,” says Morton, a veteran who’s been at it for 35 years, dazzling audiences and stealing scenes for the likes of Steven Spielberg, Jim Sheridan and, now, Nolan. “I’ve always believed that anything is possible and there’s no doubt in here,” and she pats her heart, “because I’ve always felt this immense love for me from another entity.”

When Morton heard that Nolan wanted to meet her for “The Odyssey,” she says she wept. If that sounds dramatic, she makes no apologies. She likens it to being an athlete who qualifies to represent their country at the Olympics. She’d spent decades honing her craft for that phone call. When it came, she flew to Los Angeles in January 2025 during the wildfires, embarking on what would become the best job interview of her life.

I ask her what she remembers about that meeting.

“I think it went really well,” Morton answers, laughing.

Morton told Nolan she hadn’t read “The Odyssey,” which, when you quit school at the age of 12, makes sense. Flying back home to England — she and her husband live in East Sussex with their children, 18-year-old daughter Edie and 12-year-old son Teddy — she recalled that, yes, she knew a bit of “The Odyssey” from having seen it parodied on an episode of “The Simpsons.” (“We’re ‘Simpsons’ mad in our house,” she says. “Like, mad.”)

But Morton doesn’t believe in bogging herself down in research, not since starring in a British TV production of “Jane Eyre” when she was 19 and carried around a heavily highlighted copy of the Charlotte Brontë book, despairing whenever the adaptation deviated from the novel. From that point on, she stuck to the script and her own imagination.

“That’s got to be guardian angels and love — and not that I suddenly became good at acting and got a job,” says Morton of her career. “I’ve always believed that anything is possible.”

(Ebru Yildiz / For The Times)

Thinking about Circe, Morton recalled going to the library with her dad (“We had nothing and were beyond poor, but he always had a library card,” she says) and finding the Howard Pyle fairy-tale book “King Stork.” She remembers being mesmerized by the story’s wicked witch. She recalls other witches from folk tales like Baba Yaga, frightening characters but also, she says, “women possessing an innocence that had been eroded over the years by the harshness of life.”

Morton does a playful verbal evasion when discussing the nuts-and-bolts aspects of shooting the scene where Circe transforms Odysseus’ men, saying that back in the day when behind-the-scenes features were prevalent on DVDs, she routinely declined to participate.

“I didn’t mean to be tricky, but it was like: This is my private moment. This is for me,” she says. “I do like the idea of a little mystery.”

But then a beat later, she laughs it off and dives in, remembering that her husband showed her an Instagram post from Nolan’s set revealing how the movie’s Cyclops was, in fact, a puppet.

“Oh my gosh — I love puppets!” Morton raves, and off she goes, telling me how much she adores Jim Henson and how “The Dark Crystal” is one of her all-time favorite films.

What she will say about her “Odyssey” scene is that there were no digital effects. Everything was real and “in camera” and that she was so in the zone that she barely remembers any of it, only flashes.

“That’s not CGI,” Morton says. “That’s human brilliance and a connectivity of me as a performer, almost dancing and feeling one. And not to say that it was sexual, but I wanted it to be very sensual when she’s with the men and the animals, just like, you know, that she’s almost one with them.”

“What was lovely about that,” Morton begins and then stops, wondering if she should draw back the curtain on the creative process. She goes ahead. “There was a day on set when Chris was like, ‘OK,’ and he put his hand in because I was a little scared. It’s like that scene in ‘Raiders of the Lost Ark’ where he puts his hand in the thing, and you’re like, ‘Oh no!’ I was a little nervous, but Chris did it first. I think he actually cut his finger.” She giggles. “You know, he’s going to go in first, like getting into the cold water in the sea. I felt protected and supported in that whole process.”

When Odysseus’ men arrive at Circe’s home, hungry, asking to be fed, Circe seems frightened — understandably so. She’s alone, and these soldiers have a history of pillaging and taking what they want. And yet, she’s a powerful sorceress. Is Circe really scared or tricking them to lure them in?

“I played that like she was genuinely frightened because she was caught off-guard,” Morton says. “I also wanted to play somebody that was all ages, so I played her like a 16-year-old girl in that scene. And then in other scenes, I’m playing her as a 90-year-old woman or a 49-year-old woman or a sister or a mother, a grandmother. I just wanted her to be ageless.”

Morton, looking out for Circe, stresses that transforming Odysseus’ men was not purely vengeful.

“It’s not just hate,” she says. “It’s not just harm. It’s not just anger. It’s almost like a Zen master within the goddess role of the teaching as well. ‘Be careful what you wish for,’ gluttony, greed, all of these things.”

There’s a righteous feminist rage underneath the scene as well, a modernization that brings “The Odyssey” fiercely and disturbingly up to date. It’s another reason why people leave are leaving the theater talking about Morton.

“In some weird way, the film lived or died over that character,” says director Nolan of Morton’s Circe, a creation of pure acting and no digital sorcery. “She was the fulcrum.”

(Ebru Yildiz / For The Times)

Nolan thinks “The Odyssey,” in some weird way, “lived or died over that character — she was the fulcrum.” He told The Times that “after one of her takes, the crew gave her a great round of applause.” Emma Thomas, Nolan’s producing partner and wife, later recalled that the last time that had happened was with Heath Ledger on “The Dark Knight.”

Morton makes a point of telling me how much Ledger meant to her, having been cast opposite him (and Odysseus himself, Matt Damon) more than 20 years ago in Terry Gilliam‘s 2005 fantasy adventure “The Brothers Grimm.” Miramax chief Harvey Weinstein overruled Gilliam, dropping Morton from the film because, in his eyes, she wasn’t attractive enough.

“And Heath fought for me with such kindness and compassion,” Morton says. “He’s up there with Philip Seymour Hoffman for me. There’s something otherworldly personal about what they gave, such sincerity and vulnerability and an absolute dedication to craft. They leave a mark on your heart.”

It’s not the first time Morton has invoked the heart in our conversation. She brought her son, Teddy, to New York for the premiere of “The Odyssey” because she wanted to show him the place where her creative spirit was born. Morton first came to New York as a teen to do press for “Emma,” returned a year later to promote “Jane Eyre” and then couldn’t bring herself to leave, “sofa-surfing” at friends’ apartments so she could immerse herself in the city.

“New York stole my heart,” Morton says. It’s where she first got into literature, devouring Charles Bukowski, roaming the aisles at the St. Mark’s Bookshop, checking out movies from Kim’s Video and gobbling hash browns and eggs over easy at the Waverly Diner.

Not long after, Morton scored the role that would land her the first of two Oscar nominations (for now, at least), playing the mute laundress in Woody Allen’s “Sweet and Lowdown.” The production put her up in a Greenwich Village apartment and when it ended, she moved to the East Village.

Only the diner remains but Morton still plans on touring the Village with Teddy, showing off all of mom’s old haunts and, yes, having a cup of soup at the Waverly.

“Life is good right now,” Morton says, smiling. “Who knows? Maybe I’ll indulge in some hash browns.”

Emmerdale has aired two very similar scenes this year which both confirm similar twists, so what if it was intentional, and we’ve just uncovered a Graham and Serena link?

It’s Emmerdale theory time, and I may have just rumbled an explosive twist yet to be confirmed on the ITV soap.

It might be pretty far-fetched, but there could be something in it. Firstly, it’s Emmerdale, anything can happen, but secondly, there’s been two scenes recently that almost mirror each other.

The dialogue is different, but what is alluded to and how they both unfold is very similar. So much so, I’m wondering if I’ve answered two big questions by linking the scenes.

Now, cast your minds back to a few months ago, when Graham Foster was confirmed to be targeting Kim Tate. He drugged her, and a phone call with a mystery person, still not identified, confirmed he was working with or for someone to target Kim.

Graham had revealed the drugs had not killed Kim and so their plan had not worked. He’s since confessed all to Kim and seemingly dropped the plan, but we still do not know who he was talking to about it on the phone.

This week on the ITV soap, it was Serena Sugden acting shifty at Home Farm. She broke in and stole a USB from Kim, which she had checked before she returned it.

Since then, she’s been trying to find any reason she can to be at Home Farm. She too had a cryptic phone call, confirming she was working for or with someone.

Again, like Graham, she is seemingly targeting Kim, trying to find something. So far, she’s told the person on the phone that they’ve got nothing yet, so what are they looking for and why is Kim yet again being targeted?

So this all got me thinking, and I wondered if the person in cahoots with Graham is none other than… Serena. What if he got too close last time, and so has enlisted the help of Serena to sneak into Home Farm to make it less obvious it’s him, and also while he sorts other issues out.

What if Serena was talking to Graham this week. One thing doesn’t make sense about this theory. Graham lives at Home Farm so if the was after something, surely he could just get it himself.

But what if it’s all to throw us as viewers off the scent, or perhaps he has no idea where the mystery thing they are trying to find is? Then I thought maybe it isn’t Graham and Serena who have teamed up.

But what if the plots are still linked? What if Graham and Serena have, knowingly or unknowingly, teamed up with the very same person? The fact they were both in cahoots with someone who is out to get Kim, it seems, surely cannot be a coincidence.

So what if the person gave up on Graham’s help and has now switched to Serena. So is the caller for both characters the same person? Could it be someone in the village or a past character?

Theories have included Jamie Tate, Sadie King, or another character. After all, Emmerdale boss Laura Shaw did confirm a Tate would be heading to the show very soon – while she did not specify if it was a new Tate or a returning Tate.

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

I have been writing this newsletter, most weeks, for more than 10 years now. I wouldn’t even want to do the math on how many of them that would be, or just how many movies I have written about. That count is about to come to a close as this is the last one.

Don’t worry: I will still be covering the world-class scene of moviegoing in Los Angeles as well as writing about a broad swath of films and filmmakers, just finding new ways to go about it.

When this newsletter began, it was a catch-all for movie coverage and related events from The Times and eventually settled into a curated survey of the best new releases each week. We helped figure out what you should go see. As theaters reopened following the closures forced by the pandemic, the repertory scene in Los Angeles exploded, with new audiences turning out for old movies in astonishing numbers.

We followed their lead, flipping the focus of the newsletter to the rep scene while still keeping an eye on new releases. Venues around the city had a newly revived energy to match audiences’ enthusiasm. The Academy Museum opened with two gold-standard theaters, while the American Cinematheque expanded the number of screens it programs. (Just recently, it added the historic Village Theater in Westwood.) The Vista began bringing first-run films in 35mm and 70mm, along with classic movies. Vidiots opened in Eagle Rock, helping to redraw the map of L.A.’s movie-loving community.

The David Geffen Theater at the Academy Museum seats a thousand and is often fully attended.

(Ricardo DeAratanha / Los Angeles Times)

The city has also seen the rise of itinerant pop-up series such as Mezzanine, Acropolis Cinema and Hollywood Entertainment pulling off must-see events. Smaller venues such as Now Instant Image Hall, 2220 Arts + Archives, Eastwood Performing Arts Center, Brain Dead Studios and the Philosophical Research Society have made a home to all kinds of movies. The Laemmle and Landmark chains have continue to play traditional arthouse releases and international films, while the Frida and Gardena theaters bring great movies to the South Bay.

Entities such as Revival Hub and MovieTown do a vital job of collating extensive listings info. (We will also continue to give monthly overviews of the best movies to see.) This is simply an incredible time for going to the movies in Los Angeles, arguably the best ever.

My main takeaway from the experience of working on this newsletter is confirmation of my belief in the movies themselves and the community of people around them. I was recently at a sold-out screening of Akira Kurosawa’s “Ran” and the idea of sitting with nearly a thousand other people watching a Japanese movie from the 1980s, each connecting to the events on screen in their own way, was deeply inspiring.

Among my favorite recent developments is how many venues now name the show’s projectionists as part of a screening’s introduction, which is always met with an enthusiastic round of applause. It is a reminder that what this is really about is people, dedicated to something we love.

And since this isn’t really a goodbye, it seems fitting to turn to the movies once again, as another week demonstrates why the scene here in Los Angeles is so truly special.

A tribute to Sam Neill

Sam Neill and Nicole Kidman on the set of 1989’s “Dead Calm.”

(Michael Ochs Archives / Getty Images)

Anyone looking for an example of just how intimate the screening scene in Los Angeles can be should make their way to the New Beverly Cinema on July 24. The theater already had a three-night double-bill of Rob Reiner’s “Misery” and Phillip Noyce’s 1989 thriller “Dead Calm” booked when news broke last weekend that actor Sam Neill had died at age 78.

The New Bev quickly announced that it would make one of those screenings into a tribute to Neill, who co-stars in “Dead Calm.” Director Noyce, along with co-star Billy Zane and filmmaker Roger Donaldson (who worked with Neill on 1977’s “Sleeping Dogs”) will all be there to celebrate their friend and colleague.

“Dead Calm” is a tight thriller set within the confines of a small sailing boat. Reviewing the movie when it was first released in 1989, Sheila Benson wrote, “Neill is probably one of the screen’s most underrated actors … ‘Dead Calm’ was probably far and away his nastiest assignment physically, yet his presence, sexuality and all, is absolutely vital to the balance of the story.”

Remembering the actor as part of a rundown of his greatest performances, Glen Whipp described Neill in “Dead Calm” as “part Cary Grant, part MacGyver.”

Two by Ross McElwee

Documentary filmmaker Ross McElwee in his 1986 movie “Sherman’s March.”

(Music Box Films)

Documentary filmmaker Ross McElwee helped to reinvent the form with his 1986 film “Sherman’s March,” which comes with the explanatory subtitle of “A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation.”

Ostensibly a film about Union General William Tecumsah Sherman’s campaign of destruction during the Civil War, the movie actually ends up being about McElwee revisiting old girlfriends and forging a few new ones along the way, reflecting on his own campaign of romantic misadventure. As charming as it is revelatory, the movie is being rereleased in a new 4K restoration.

McElwee’s latest film, “Remake,” reflects on the death of his son Adrian and whether the director himself had a detrimental effect on the boy’s life. Reviewing “Remake,” Tim Grierson calls it “especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.”

A weekend with Robert Rodriguez

Quentin Tarantino, George Clooney and Salma Hayek in the horror movie “From Dusk Till Dawn.”

(Academy Museum)

The Academy Museum will present “A Weekend with Robert Rodriguez” to celebrate the 30th anniversary of “From Dusk Till Dawn” and the 25th anniversary of “Spy Kids.” It speaks to Rodriguez’s undersung range as a filmmaker that one movie is a bawdy, gory comedy about a criminals on the run who encounter an ancient den of vampires, while the other is a family-friendly tale of two siblings who discover their parents are secret agents and must rescue them from a supervillain.

Rodriguez will not only be present to talk about both movies, he will be performing music each day with a different band.

Reviewing “From Dusk Till Dawn,” which was scripted by Quentin Tarantino, Jack Matthews said it was “a film nerd’s fever dream, a Frankenstein’s monster of used movie parts, deliberately mismatched styles, and deliriously implausible characters.”

Elaine May’s secret success

Dustin Hoffman and Jessica Lange in the movie “Tootsie.”

(Everett Collection / Columbia Pictures)

One of the most exciting things about the ongoing revival of L.A.’s repertory scene is the upheaval of the notion of the “canon.” What are the most lauded movies of all time and who gets to do the lauding? Case in point is the now widely accepted coronation of Elaine May as a towering creative figure, no longer relegated to being merely a fringe character unfairly saddled with the commercial failure of “Ishtar.”

May is credited as director on only four feature films, though she’s an uncredited writer on a number of other projects, perhaps most notably 1982’s comedy “Tootsie,” starring Dustin Hoffman as a struggling New York City actor who finds success when he lands a part by secretly posing as a woman. Directed by Sydney Pollack, who also makes a tremendous turn as Hoffman’s agent, the movie will be playing at Vidiots on Saturday.

Finding new moves

Wiley Wiggins and Patrick Riester in the movie “Computer Chess.”

(Kino Lorber)

The very first thing I ever wrote under the banner of Indie Focus was about how independent filmmakers such as Andrew Bujalski and Alex Ross Perry were working on 35mm at a time when mainstream Hollywood was very much forcing the idea of shooting on digital. So it only seems appropriate that this final edition of the newsletter should include something on Bujalksi, who has long been one of my favorite contemporary American filmmakers.

“Computer Chess,” Bujalski’s oddball experiment in using antiquated video equipment to tell a heady, offbeat story about a weekend chess tournament in the early ’80s, will screen in a 35mm print at Brain Dead Studios on July 24, presented by Mezzanine. Bujalski will be present, along with Blair Barnes, a filmmaker who will be showing the L.A. premiere of his short “sitrep,” also shot on an analog-era tube camera.

New this week

Matt Damon and Zendaya in the movie “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Sure to be one of the biggest movies of the year, Christopher Nolan’s adaptation of “The Odyssey” opens today. Los Angeles audiences have multiple venues to choose from that are showing the film in Nolan’s preferred Imax 70mm format — these theaters are among only a small number across the world that are doing this. Presenting a movie in Imax 70mm isn’t the easiest endeavor. Eloise Rollins-Fife has a report on how that’s actually done. Get your epic on.

Reviewing the movie, Amy Nicholson wrote, “Nolan refuses to tremble before the canon. Grabbing mighty scissors, he cuts and rejiggers Homer and a bit of Virgil to transform these classical texts into his type of tale: one fixated on memory, self-identity, destructive genius and the slippage of time. As ever, it’s light on sex, heavy on wine-dark angst.”

Kenneth Turan spoke to Nolan about the movie’s origins, saying, “I’ve been telling this story in all my films for years. It’s a family story, a love story, a revenge story, a war story, a coming-of-age story. It’s a very strong foundational text for me.”

This article contains many spoilers for “Heartstopper Forever.”

In the early minutes of “Heartstopper Forever” — the feature film finale of Netflix’s hit teen romantic dramedy series — Charlie Spring (Joe Locke) notices a crooked photo strip on his boyfriend Nick Nelson’s (Kit Connor) bedroom wall. Gently pulling down the pictures, taken on the beach day they made their relationship official, Charlie smiles wistfully at their younger selves: “We look like babies.”

It’s a line that applies to the characters as much as it does to Locke and Connor. Four years after being catapulted into global stardom, the pair are bidding a bittersweet farewell to the roles that have defined their own coming of age.

“Season 1 does feel like an immensely long time ago that I do look back and think, ‘Yeah, we do look like babies,’” Connor says, with Locke nodding in agreement next to him on a recent video call from London. “‘Heartstopper’ itself was this tiny little show that was clearly something quite special to us, but we didn’t really think or know anyone was going to watch. And, suddenly, it became this thing that was immensely important to a lot of people.”

Adapted by Alice Oseman from her own bestselling graphic novels, which originated as a webcomic in 2016, “Heartstopper” chronicles the endearing love story between high-strung, gay overthinker Charlie and kind-hearted, bisexual rugby player Nick at an all-boys’ school in England.

Nick (Kit Connor) and Charlie (Joe Locke) in a scene from Season 1 of “Heartstopper.”

(Netflix)

Upon its debut in 2022, the show was lauded for its unabashedly joyful, tender portrayal of queer youth — a refreshing departure from the trauma-heavy narratives that dominate other teen dramas. Even as “Heartstopper” ventured into darker thematic territory, such as Charlie’s history of eating disorders and struggles with self-harm, Oseman’s writing never lost its deft, light touch.

From the outset, Oseman knew she wanted to end “Heartstopper” with Nick going off to university in Leeds and Charlie, who is a year younger, finding independence as head boy at school. But with her cast growing increasingly more in demand every year, the author-turned-screenwriter says it would have been logistically difficult to make a fourth and final season.

After Netflix greenlit a two-hour finale instead, Oseman elected to zero in on her protagonists — not unlike her comics — rather than give each character their own, heavily condensed arc. “I think that was definitely the right decision, because we really get to spend a lot of time with Nick and Charlie and not feel like we’re missing anything,” she says.

Directed by Wash Westmoreland (“Colette,” “Still Alice”), “Forever” finds the first loves grappling with the reality of an impending long-distance relationship, leading to a rash breakup and, ultimately, an emotional reconciliation. In a surprising role reversal, as Charlie confidently steps into a leadership role as an advocate for other LGBTQ+ students, Nick is left to discover his own identity and self-worth outside of being the protective, supportive boyfriend.

On the set of “Heartstopper Forever” as Connor and Locke film a scene from the movie.

(Samuel Dore / Netflix)

Connor, who also executive produced the film with Locke, felt Charlie and Nick’s romance would be better wrapped up in a feature-length format. “There were a few very important and crucial, but short and intense [plot points] — the breakup and the time apart, and the eventual makeup and the two of them discovering who they are without one another,” he explains. “Doing it in a shorter period, I thought, would make those things hit that much harder and feel that much more visceral.”

Unlike previous seasons in which she could rely on her existing comics as storyboards for the show, Oseman was working simultaneously last year on the sixth and final volume of the “Heartstopper” comics, released earlier this month, and the “Forever” screenplay.

Juggling the same story in two different formats turned out to benefit each end product. “When I finished writing the first draft of the script, it actually made me do a really big rewrite of the comic, because it helped me see which moments were really important and which moments didn’t need to be there,” she says. (One of the pivotal scenes was the Pride parade, filmed on the last morning of production.)

As first-time producers, Locke and Connor also provided script notes that directly influenced the story. For instance, “there was no scene between Charlie and Mr. Ajayi in the original script,” says Locke, referring to the gay art teacher, played by Fisayo Akinade, whose classroom became Charlie’s safe haven from bullying before he befriended Nick. “I was like, ‘That scene in Season 1 with them is so pivotal to the story. It would be really lovely to have just a little moment for them in the film that circles on that chapter of their relationship.’ And straight away, Alice was like, ‘Yeah, great idea. Let’s do this.’”

For his part, Connor always feared that the show’s “rose-tinted” approach, though part of the story’s appeal, “would not be nuanced enough to talk about the complexities of being human and being young.”

Locke says he proposed a scene with Fisayo Akinade, who plays art teacher Mr. Ajayi, as a way to circle back on their relationship.

(Netflix)

“There was one moment where I was like, ‘Oh God, I hope these young people watching “Heartstopper” don’t suddenly forget that these kids are human, and that these kids can make mistakes and still be lovely, delightful and good people,’” Connor says. With Oseman and Locke, Connor was adamant about “finding the place [where] these characters were being treated in a way that we all felt good about.”

According to Oseman, Locke and Connor were also heavily involved in selecting a new intimacy coordinator, Robbie Taylor Hunt. Over the years, the amount of sex — or lack thereof — in “Heartstopper” has been the subject of much discourse. “It always annoyed me slightly that people were like, ‘Oh, this is so unrealistic. They’re not having sex.’ They were underage. What do you want us to do?” Locke says with a wry laugh.

Oseman has learned to tune out that online chatter, accepting that she cannot please everyone — let alone represent the entire spectrum of the young queer experience. With each season and now this film, her creative team chose to age up the story slightly. After Charlie and Nick lost their virginity to each other at the end of Season 3, the film uses physical intimacy to reveal more about their maturing relationship.

Locke says those scenes were necessary to the plot. “The pier sex scene is this carnal lust between these two people who need to get it out. The sex scene in the pillow fort is a moment of connection for them,” he says. “And the big sex scene at the end of the film is the reconciliation of their relationship.”

In the end, Nick and Charlie decide to give their relationship another shot, confident that their love can defy the conventional wisdom that teen romances rarely last. But what they learn during their split is “that you can’t put all of your hopes and dreams, your mental health and your ability to survive into one person, because it’s not fair on yourself and on that other person,” Connor says.

Over the years, the amount of sex, or lack of it, in “Heartstopper” has been the subject of online discourse. The film shows more physical intimacy.

(Netflix)

The film’s epilogue, like in the comics, offers a brief glimpse of Charlie visiting Nick for a weekend in Leeds, ending with the two of them looking through the pages of a scrapbook that still has room for new photos. While Oseman has her own vision of Nick and Charlie’s future in 10 years — they’d be newly married with a dog, she believes — the actors who play them aren’t so sure.

“I feel like the beauty of ‘Heartstopper’ is that we get to see a chapter of these two young men’s lives, and it ends in a way that doesn’t promise anything,” Connor says. “Even if they were to not end up together eventually, it wouldn’t make the experience that they shared together any less special or pivotal to who they are as people. I think that’s kind of beautiful.”

Locke is reluctant to divulge his own interpretation of the characters’ future, preferring instead to let viewers make sense of the hopeful ending. “I hope they’re happy,” he says simply. (But for the record, the actors both believe that Charlie and Nick will stay together. “Of course, we all hope so,” Connor clarifies.)

Although she is ready to tell new stories, Oseman believes that she will be revisiting Nick and Charlie, who first appeared in her 2014 debut novel “Solitaire,” “in small ways for the rest of my life.”

“I think there definitely won’t be another 10-year-long webcomic — probably not — but I love thinking about what Nick and Charlie might be up to when they’re 40 or 60,” Oseman says. However, she adds, “I think the main story of ‘Heartstopper’ has concluded, and I do feel good about that.”

Like their high school characters, Locke and Connor are ready to graduate from the “Heartstopper” universe. Wary of being typecast, they have established themselves as versatile stage actors, making their Broadway debuts in “Sweeney Todd” and “Romeo + Juliet,” respectively. Onscreen, Locke joined the Marvel universe in “Agatha All Along,” while Connor has explored vastly different cinematic genres — his next major project, the film adaptation of the dark fantasy video game “Elden Ring,” will reunite him with “Warfare” director Alex Garland.

Even on the day of our interview, Connor and Locke looked a world away from Nick and Charlie. Locke wore an all-black designer outfit, while Connor — dressed in a light blue striped button-down over a white tank and khakis — had traded Nick’s signature floppy hair for designer stubble. Yet both actors have made peace with the reality that they will forever be linked to each other and their roles. “That’s part and parcel of the job,” Connor says.

Fittingly, the last scene Connor and Locke filmed as Nick and Charlie was the anniversary scene in the park where there is a fallen tree with the letters “N+C” carved into the trunk. “It was lovely because it was back to how a lot of the ‘Heartstopper’ experience has been, which is just me and Joe,” Connor says.

“I love thinking about what Nick and Charlie might be up to when they’re 40 or 60,” says creator Alice Oseman. However, she adds, “I think the main story of ‘Heartstopper’ has concluded, and I do feel good about that.”

(Netflix)

Would they be open to revisiting Charlie and Nick’s love story as older adults? “In 10, 15, 20 years, who knows? Maybe,” Connor says. “Even if Alice were to decide that they wanted to make a TV show about another character in the universe of ‘Heartstopper’ and they wanted us to cameo or something, then, hey, maybe.”

While the “Heartstopper” team expected the series to resonate with younger audiences, they have been particularly moved by the reactions of older queer viewers, who have marveled at the strides in LGBTQ+ representation onscreen. Coming from the world of young-adult fiction — where she notes stories of queer joy are abundant — Oseman recalls being surprised that “Heartstopper” was treated as an anomaly in mainstream media. Still, she is proud to have helped move the needle on LGBTQ+ representation, particularly when such characters remain underrepresented.

“My hope is that people will be able to look back … and say, ‘Hey, “Heartstopper” did really well. Let’s make another queer show that’s got the [same] ‘queer joy’ vibes,’” Oseman says. “I hope it’s been able to give that encouragement to the people in power to let there be more stories out there because we just need more, different kinds of queer stories.”

Connor believes that anyone can enjoy the show because “Heartstopper” simply captures the universality of “human beings being happy and being in love.”

“Obviously, the [queer] representation is incredibly important. I think that the very existence of the show and the comfort and safety that it can bring people is one of the things that makes it so special,” Connor says. And the demand for such stories “isn’t going to change,” he adds. “Queer people are always going to exist.”

Love Island fans think they have figured out exactly why Ellie Chadwick left the show before the latest dramatic scenes on the hit ITV2 dating show have even aired

Love Island fans think they have figured out exactly why Ellie Chadwick left the show. The real estate videographer, 24, had been taking part in the hit ITV2 reality dating series and was enjoying a blossoming romance with Finley Maddock but it all started to go wrong when he fell for a bombshell who entered the villa.

It recently emerged that her decision to quit the programme all together reportedly stemmed from hearing the results of a viewer poll for favourite boy and favourite girl, and, in dramatic scenes set to air tonight, viewers will find out exactly what happened – but bosses have already teased the action with a clip posted to YouTube and Instagram.

In the preview clip, host Maya Jama tells the contestants: “The public have been voting for their favourite girl and favourite boy. The Islanders with the fewest votes will be at risk of being dumped from the villa tonight,” as the stars all look on in shock and horror as they await their fate.

Maya adds: “The girl and boy with the fewest votes are…” before the trailer cuts off, creating suspense for it all to play out in Thursday night’s episode. Now, fans are sure that Finely was the one who got dumped by the public and Ellie chose to walk out shortly after.

In the comments section on social media, one fan said: “Marta, Jordan Elicia and Finley get voted off. Ellie walks,” whilst another said: “Ellie would’ve won if she just binned Finely!”

A third wrote: “Finley likely is gone to the vote so Ellie left walked out of the villa, the rest is up to guesswork but we can make educated guesses as to who is at risk.

Last night, the contestants had to play a brand-new game called If You Know, You Know, in which they all adorned blindfolds and headphones. When their phone vibrated, each couple had to make their way to a podium to read out a controversial statement and then guess who it was who said it in the first place.

One couple read out the claim that “One half of this couple is secretly bored but too polite to admit it” and it was then that Finley said he was “a bit bored.”

The dramatic scenes aired shortly after it was reported that Ellie had walked out of the villa for good, and shocked fans instantly took to social media to predict it was the catalyst. Taking to X, formerly known as Twitter, one fan said: “Finley has said he is bored of Ellie ??” and another said: “I don’t want to believe Ellie self-evicted for a man who literally said he got bored of her.”

Another said: “Omg Finley said that and they were all in ears to take Ellie back woow see how they are all in each other’s business but will be coming for Julia!”

Another wrote: “Oh was that boring comment to do with why Ellie left?” and a fifth said: “Finley said he’s bored with Ellie! That boy just keeps humiliating her!” On Facebook, one fan explained: “The received a statement that said this couple is one sided and one person is bored, which Finley had said to Kav in private apparently and it never came out, Ellie was clearly upset.”

Another replied: “OMG that heartbreaking for Ellie” and left a sad face emoji to emphasise how they felt. Just before the episode aired, it was reported that Ellie chose to quit the programme altogether, reportedly stemming from hearing the results of a viewer poll for favourite boy and favourite girl, even though she was not dumped by the public.

A source previousky said: “Viewers have seen Ellie threatening to leave across recent episodes, so the news of her now quitting won’t feel like a surprise.

“But in real time, her and Fin reconnected at the recoupling a few days ago so her decision to now leave is a shock. Viewers will see the dramatic action play out in an episode soon.”

The reality star had threatened to quit before, when it looked like Finley had begun to take an interest in Elicia Bailey. In Tuesday night’s episode, she was apparently back together with him, but that was all filmed days ago, and now Ellie has actually left.

Speaking to The Sun, the source added: “The whole fallout of the vote was electric and is going to make for amazing TV. Everyone was devastated that Ellie left, and viewers will definitely be left scratching their heads.”

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BIDDEFORD, Maine — A federal immigration agent fatally shot a motorist in Maine on Monday, the second time in a week that U.S. Immigration and Customs Enforcement officers have used deadly force.

Sen. Angus King, I-Me., said Homeland Security Secretary Markwayne Mullin told him the agent opened fire in Biddeford after the man tried to use his vehicle as a weapon against agents who were pursuing him for deportation.

“He was in a vehicle — pulled out in the vehicle, and the term the secretary used was “weaponized” the vehicle and was shot by an ICE agent,” King said.

Bystander video taken after the shooting showed agents trying to slow a white sedan that was going in circles in an intersection in Biddeford, a coastal city of about 23,000 people roughly 15 miles southwest of Portland. Images from the scene showed bullet holes in the vehicle’s windshield.

The agents involved in the shooting didn’t have body-worn cameras, King said, relaying information shared by Mullin. The FBI is leading the investigation, he said.

“The question is, what did he do with his vehicle,” King told reporters in Portland before boarding a flight to Washington. “Were officers threatened? Were the threats rising to the level that justified deadly force?

“That’s what this investigation is all about and I certainly intend to stay after it to do everything I can to be sure the investigation is as transparent and thorough as possible.”

In a statement, Sen. Susan Collins, R-Me., said the shooting “requires a full and impartial investigation of what happened.”

Maine House Speaker Ryan Fecteau, a Democrat, said in social media post: “This morning a shooting occurred in Biddeford. A person was killed. ICE was involved,” Fecteau wrote. “State Police and the Department of Public Safety are now on scene to gather details and would expect the FBI to investigate as well.”

The man shot was a 26-year-old from Colombia, advocates say

The man who was shot was a 26-year-old Colombian man who was authorized to work in the U.S. and had a Social Security number, according to a joint statement from advocacy groups Maine Immigrants’ Rights Coalition and Presente!

After the shooting, the man’s family contacted the Immigrants’ Rights Coalition through a hotline, according to Mufalo Chitam, the organization’s executive director.

“It’s a young family and he was leaving to go to work,” Chitam told The Associated Press.

The family is not ready to identify the man or speak publicly about the shooting, Chitam added.

“We are grieving, we are furious, and we will not allow his death to be treated as routine or inevitable,” Chitam said. “How much more harm must our communities endure before those with the power to act acknowledge that this has gone too far?”

Protesters gather near the scene

ICE and the Maine Department of Public Safety didn’t immediately respond to requests for comment. Kristen Setera, an FBI spokesperson, said the FBI “responded to assist on-scene immediately following this morning’s shooting incident in Biddeford, Maine,” but she declined to comment further.

Dozens of anti-ICE demonstrators had gathered in Biddeford by Monday afternoon.

Amy Goodman, who is from nearby Wells, arrived with a sign that said “Stop Killing Us” and directed it toward police working at the scene.

“Sadly, it’s something we’re seeing a whole lot more often lately, and I’m mad about it,” said Goodman, who was wearing a shirt that said “ICE is best when crushed.”

Project Relief, an immigrant rights group, wrote in a social media post that one of its community members was killed “during an encounter with ICE in Biddeford” and that it was in contact with the person’s family. The group described the person as “young,” but didn’t provide an age or other identifying details.

“This was a young person whose life was cut short,” the group said, calling for justice and support for the family and community.

Biddeford Saco for Racial Justice planned a noon protest against ICE in Mechanics Park, which sits along the Saco River in downtown Biddeford.

Police blocked access to the shooting scene, which is in a neighborhood of mostly multifamily homes, churches and businesses near downtown. Several protesters stood nearby, with some holding signs condemning ICE’s presence in the community and state.

Gov. Janet Mills issued a statement saying she had been briefed on the fatal shooting “involving Federal law enforcement” and that the State Police are at the scene and working with the state attorney general’s office, chief medical examiner’s office and federal officials to determine what happened.

“I know that situations like these are alarming and frightening,” said Mills, a Democrat.

A recent uptick in Trump’s immigration crackdown

The fatal shooting in Maine was at least the ninth death from an encounter with federal immigration officials since the start of the Trump administration’s immigration crackdown and the second in a week, following the killing of a Houston man.

The reported shooting comes amid a newly intensified push by the Trump administration to carry out its mass deportations agenda. During the five-day period at the end of June, ICE arrested more than 10,000 people. The figures indicate that while the administration is no longer cracking down on individual cities, the arrests continue and are surging.

Democratic Rep. Chellie Pingree, of Maine, said in a video posted on social media that she was driving to Portland to catch a flight to Washington when she learned of the reported shooting. She said she was seeking answers about the circumstances surrounding the shooting, including whether officers were wearing body cameras, adding, “More than anything else, I want to know, ‘Why are you in Maine?’”

Maine Secretary of State Shenna Bellows, a Democrat who is running for Senate, said on X that she would not speculate about the circumstances of the shooting but called for ICE to be removed from communities, writing, “It’s time to get ICE off our streets.”

Not Maine’s first brush with ICE

ICE had a significant presence in Maine earlier this year, which resulted in several large demonstrations against the agency.

The Department of Homeland Security, which oversees ICE, named the operation “Catch of the Day,” an apparent play on Maine’s seafood industry, just as it has done for other enforcement surges, like “Patriot” in Massachusetts, “Metro Surge” in Minnesota and “Midway Blitz” in Chicago.

Immigration officials said in late January that they had ceased “enhanced operations” in Maine after making hundreds of arrests. A Homeland Security spokesperson said at the time that some Maine arrests were of people “convicted of horrific crimes including aggravated assault, false imprisonment, and endangering the welfare of a child.” But court records painted a slightly different story: While some had felony convictions, others were detainees with unresolved immigration proceedings or who were arrested but never convicted of a crime.

The Trump administration’s immigration crackdowns received widespread condemnation last winter after the killings of Alex Pretti and Renee Good in Minnesota. Last week, an ICE officer fatally shot 52-year-old Salgado Araujo, of Houston, after he was pursued by federal agents driving unmarked vehicles while he was taking his construction crew to their latest job site.

Whittle and Willingham write for the Associated Press. Willingham reported from Boston. AP reporter Jack Brook contributed to this report.

Ricky Gervais today marked the 25th anniversary of the hit BBC sitcom with a countdown of his favourite 25 David Brent moments.

Ricky Gervais has crowned David Brent’s dance his favourite moment of The Office – but admitted it could have left him needing hospital treatment.

The co-creator of the show, along with Stephen Merchant, has marked the 25th anniversary of the hit BBC sitcom with a countdown of his favourite 25 David Brent moments.

In a specially curated retrospective on his YouTube channel Gervais had a training role play scene, Brent’s song Freelove Freeway and the dance by Brent as his top three.

Speaking about the crazy dance and how the scene was made, Gervais revealed: “It probably is the most famous single thing I’ve ever done, and when we had to do that, that’s three takes cut together, the first time they laughed, the second time I laughed, and then the third one we got to the end, and and then just cut it together in the edit using people looking like bewildered, but it sort of looked like one take.

“I sort of knew the type of thing I was gonna do. It’s totally improvised, obviously. I quite like the fact that it looked nearly real. Some of them looked a bit like dance moves, and I can’t believe how low I got when I did the crab, I couldn’t do that now.”

And anymore takes might have been dangerous. He added: “I remember after I filmed it, I was sat in a corner on a chair and they were fanning me.

“I was, I think I was the blobbiest I’ve ever been. I think I was like 14 stone, no muscles to speak of, just a blob, and you know, there was a small chance of heart failure.

“So, I think people were genuinely worried the way I was breathing afterwards. Tom Cruise jumps off buildings. Do I want to do a little dance? I’ll have go. It would f***ing kill me now. I’m glad I recorded it to show I did it once.”

The Gervais special is not the only celebration of the show, as the BBC also aired a programme called Remember… The Office.

On the second show Martin Freeman and Mackenzie Crook reflected on their time on the TV show. The pair spoke about how some of the scenes features small bits of improvisation which helped make them even more magical.

Freeman said: “The writing on it that they did was brilliant. But you only need to know us a little bit or know the process of it. We’re also in there, you know? It doesn’t mean it’s a co-credit. Doesn’t mean it’s improvised, but it’s nicely loose.”

Freeman, who played Tim, also said he had a good feeling about the show from the beginning.

He explained: “At the read-through, I remember thinking, ‘This script is really good, it’s brilliant’.”Despite huge success The Office was just two series long along with several Christmas specials. It inspired the award-winning US version, which ran for nine ­seasons

* The full countdown of David Brent moments is available to watch on Ricky Gervais’ YouTube channel.

America’s semiquincentennial came and went, and the Disneyland Resort marked the occasion with a transformation of its now-classic Soarin’ ride. Gone, for now, is Soarin’ Over California and Soarin’ Around the World. In their place is Soarin’ Across America, a lightly patriotic-themed journey from coast to coast.

There are flyovers of nationalistic symbols such as the Statue of Liberty, Mount Rushmore National Monument and the Washington Monument, but the majority of its dozen locations are national parks, making Soarin’ Across America a love letter to America’s natural and diverse beauty. And it felt like a four-and-a-half-minute celebration.

Soarin’ Across America has the strongest scene of any of the three attraction films, which envelop riders as they ascend in the sky on a hang glider simulator. That’s its opening, a shot of a rocket launch at Florida’s Kennedy Space Center. We start level with the spacecraft, and then follow its journey into the clouds. Being this close to a liftoff, and feeling the sensation of rising with it, creates an inspiring, rousing moment. As in any Soarin’ film, we are promised the great outdoors, but here we get magnificent ingenuity.

Is it the best Soarin’? I’d still rank Soarin’ Over California as No. 1, as it has a sort of goofball charm, such as tumbling skiers or a golf ball flying toward the audience. But Soarin’ Across America is a worthy successor. It takes a more patient approach, as the ride now seems to linger longer over certain locales, allowing us to take in the majesty of the Grand Canyon West or vibrancy of the Louisiana bayou without distraction. I appreciated the tonal shift, which makes it stand on its own and doesn’t try to force itself to capture the original’s whimsy.

A coastal scene from Soarin’ Across America.

(Disney Parks)

I also enjoyed the new smells. When hovering near the Hawaii coast, for instance, the tropical fragrances that wafted over guests seemed to reflect the gummy fruitiness of a mai tai. (No, that wasn’t just me longing for an afternoon break at Trader Sam’s.)

I went in with a bit of skepticism, and I’m relieved to say my fears weren’t realized. Well, fully realized. This is a divisive time in American history, and cultural works are increasingly viewed through a political lens. When announcing the attraction, Disney did so with symbolism of the American flag, a bald eagle and the Statue of Liberty, art that was admittedly bright and welcoming, but also could be read as giving it an uncomfortable, chauvinistic sheen.

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Not everyone in 2026 may be excited with a flight simulator that serves as a cheerleader for America. And I still question the inclusion of Mount Rushmore, which has a long, controversial history, and has been a fascination of President Trump’s. But aside from that scene, and some odd red, white and blue sparkler-like fireworks visible in the New York Harbor, which curiously distract from a view of the Statue of Liberty, Soarin’ Across America doesn’t lay on the jingoism. At least until the final moments, when we see an American flag in the sky above Disneyland’s Sleeping Beauty Castle.

I’ll take it. The vibe throughout is one of restraint. When we glide near a Maine lighthouse, the film seems to pause, allowing the rocky coast and long-standing structure to be the stars. A dip across the American plains takes us above a herd of bison, but by and large movement is kept to a minimum (here the scent is of grassy freshness, which I’m betting is not what a bison smells like). A train in the Ozarks, for instance, comes to us rather than the film rushing to trace its path.

Filmed primarily with helicopters and drone shots, Soarin’ Across America utilizes CGI, courtesy of Industrial Light & Magic, less than Soarin’ Around the World, and primarily on scene transitions when we appear to fly next to a bird. This is an attraction that leans more National Geographic, that is it is unobtrusive and unstaged, than past iterations of Soarin’. While some may miss more active visuals, I appreciate that each Soarin’ film takes a different approach. Long term, it will allow Soarin’ Across America to serve as a snapshot in time, of an America at a certain point in history.

Soarin’ Across America shows aerial vistas across the United States, and it’s arriving at a divisive moment in our nation’s political history.

(Disney Parks)

And that’s already true. For when the film takes us down in front of the Washington Monument, we can off in the distance ever-so-slightly glance at the Lincoln Memorial Reflecting Pool, caught before its current Trump adminstration remodeling. Depending on your point of view, it can be unintentionally uncomfortable or amusing to see a locale before it became a political lightning rod. But that’s sort of the appeal of the Soarin’ films. They’re glimpses of not just a moment in time, but of a constantly changing world.

In that sense, there’s something relatively quaint about Soarin’, especially for our fast-paced, thrill-focused world. Soarin’ was groundbreaking when it debuted in 2001, but today we have venues like Las Vegas’ Sphere and Inglewood’s Cosm, whose spherical screens are higher definition and can even create the illusion of movement. Soarin’ Across America charms — all four of my rides last week ended in audience applause — by simply being a calming, relaxed journey that stokes our sense of adventure.

This week in SoCal theme parks

Disneyland Park has now welcomed more than 1 billion guests.

(Christian Thompson / Disneyland Resort)

• Disneyland: More than 1 billion served. The Disneyland Resort over the weekend welcomed its 1 billionth guest. The distinction went to 8-year-old Andres Robles, who with his family was treated to a VIP tour of the park. Disneyland has updated its population sign atop the Disneyland Railroad’s Main Street Station. To help put into context how unfathomably large 1 billion is, it’s worth noting that it took Disneyland, which in recent years has been drawing around 17 million attendees, nearly 71 years to reach that number.
• The Cenobites are coming to Universal Studios Hollywood. The latest addition to this year’s Halloween Horror Nights has been revealed, and it’s a haunted house based on the “Hellraiser” franchise. Pinhead actor Doug Bradley will reprise his role for the walkthrough attraction by voicing the character’s representation in the house. Halloween Horror Nights is set to launch Sept. 3.
• Don’t miss this look into Disney history. PBS SoCal will on Friday, July 17, show the documentary, “Bob Gurr: Living by Design.” It’s a revealing look into the life of a key early Disneyland designer, as Gurr created the look and feel of the Haunted Mansion “Doombuggies,” the original Autopia cars, the bobsleds of the Matterhorn and, of course, the first Disneyland Monorail. Before you watch, get to know the colorful, outspoken Disney legend.
• A Disneyland deal for Anaheim residents. Good news for those who live near the Disneyland Resort. For a limited time from July 20 through Aug. 8, Anaheim residents will have access to a locals-only deal. Adult one-day tickets will start at $71, while child tickets will be $50. Park-hoppers for adults will sell for $104 while child tickets will remain $50. It’s a significant savings and a great way to see the start of the park’s Halloween season. The tickets go on sale July 16.

The best thing I ate at the parks

The al pastor pork chop at Lamplight Lounge.

(Todd Martens / Los Angeles Times)

One of Disneyland’s best dishes is currently available at Disney California Adventure’s Lamplight Lounge, its Pixar-decorated pub-like outpost. It’s a sliced al pastor pork chop served with cheese polenta, pineapple relish and a spicy red chili butter sauce ($32). The pork is soft, the polenta creamy and it carries just enough heat to give it a bit of an edge. While filling, it’s surprisingly not too heavy, and Lamplight is always a lively spot to take a break from the parks. I only wish the place had a non-hazy IPA.

Your questions answered

Disneyland’s Sleeping Beauty Castle on a crowded 2019 day.

(Jay L. Clendenin / Los Angeles Times)

Hi Todd, we went to the park [Sunday] and it was empty: walk on to Cars, walk on to Indy. Thirty minutes for Guardians. Everything else was down to about 5 [minutes] besides Tiki Room because it’s a 15 min show. Are they struggling this summer? I haven’t seen a day like that at Disney since I was a kid.
— Jake from Riverside

Disneyland has been unseasonably comfortable this summer (read: less people). And the Fourth of July holiday week was kind of a breeze, with low wait times at most attractions at both parks.

But I wouldn’t says struggling, as I have seen busy days in recent weeks and Sunday was particularly unique. Mexico and England were playing a much-buzzed-about World Cup match, which no doubt kept crowds at bay. But it’s true that Disneyland this summer has, on a whole, been more pleasant, crowd-wise, than in year’s past.

Ultimately, I attribute the potentially lighter attendance to a combination of factors. One, the park has likely hit the peak price it can currently offer guests (fingers crossed this is true, as I don’t think most Disneyland fans can absorb another yearly price hike right now). Two, the aforementioned World Cup is drawing away potential attendees. And three, everything is more expensive today, forcing families to choose between, say, an afternoon at Dodger Stadium or a day at Disneyland. It’s increasingly untenable to do both.

And people are hungry for different, approachable ticket options. Last week, for instance, Disneyland unveiled a new evening ticket deal for all guests. The $59 offer allows attendees to enter either Disney California Adventure at 5 p.m. or Disneyland at 7 p.m. Available Sundays to Wednesdays through Aug. 5, all dates sold out in six days, unless Disneyland allots more tickets for the deal.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

Universal Studios Hollywood’s new Fast & Furious: Hollywood Drift is set to open soon, and while many are excited, I’m curious to hear from those who live near the theme park. Universal has emphasized how it has instituted a number of noise-mitigating factors, from placing pea gravel in the tracks to building sound walls and creating shields designed to capture rider screams.

Theme park rides, however, can still be loud. If you’re in one of the neighborhoods surrounding the park, drop a line at todd.martens@latimes.com and let me know if Universal’s efforts have been enough, or if the coaster is a disruptive presence.

Gray Atkins has made a return to EastEnders as Toby-Alexander Smith reprises his iconic villainous role. He was last seen in the Square back in 2022

Gray Atkins has made a return to EastEnders as Toby-Alexander Smith reprises his iconic villainous role.

The villain was last seen in Albert Square in 2022 when he was sent to prison for murdering Chantelle Atkins, Kush Kazemi and Tina Carter. The serial killer has not been seen since, with Toby-Alexander Smith now reprising his role for a short stint.

Speaking about his return, he said: “It’s been very surreal returning to EastEnders and stepping back into Gray’s shoes.

“He’s one of the most complex characters I’ve had the opportunity to play and revisiting him after several years has been an exciting challenge to get my teeth into. Exploring who Gray is now has been, fascinating, and I’m excited for the audience to see this version of him and watch the storyline play out.”

Gray is currently serving a life sentence in prison but needs the help of his grandmother Sheila (Sheila Ruskins) to get close to ex-wife Chelsea Fox after Jordan’s harrowing accident.

With motives still unclear, there’s trouble ahead but what does Gray want?