worth

It can be difficult to choose which class to go for when booking Eurostar. Recently, I tried Plus, and while it was a pleasant experience, here’s why I think it’s not worth the money

Eurostar offers a fast and efficient way to get from London to the continent, and if you’re doing a day trip or a short break, it can be much more time-efficient than flying.

When you choose your Eurostar train time, you’ll usually be presented with three fare options: Standard, Plus, and Premier. Recently, I took two trips in the space of a week, one on Standard and one on Plus to see how the two classes compare. With Plus tickets often costing double, triple, or even quadruple the cost of a Standard ticket, is it worth the upgrade?

I took the Eurostar Standard from London to Lille, which at just 90-minutes is the shortest journey from London St Pancras. I managed to pick up tickets for £35 one-way in a flash sale, so going to Lille was cheaper than visiting many UK cities by train.

Standard

Standard is a no-frills service. You get a luggage allowance of two bags up to 85cm long on routes to and from London, plus a small item such as a handbag and laptop bag. There are no weight or liquid limits like you’d find on planes, although you do need to heft your bags up and down the steep train steps, so keep that in mind before stocking up on wine at the supermarché.

There are two rows of two seats, which are comfier than most UK trains and have headrests and footrests. Impressively, Standard tickets are flexible up to an hour before departure, so if your travel plans change you can swap your ticket for no fee. You simply pay the difference for your new fare.

Seats come with a power outlet, and you technically get access to WiFi, although on all my journeys, this barely worked, so bring a book. Once settled in, we had some snacks and the journey flew by, and we stepped off the train into the centre of Lille ready for a city break.

Eurostar Plus

A few days later, I tried the Eurostar Plus, this time on a journey from London to Paris. The journey through St Pancras station is exactly the same, you don’t get access to a priority queue, lounge, or boarding, so you don’t really notice the difference until you board. Luggage allowances and rules around flexibility are also the same as Standard class.

The carriages are also very similar to Standard, except with one less seat in a row, so you have two seats on one side and single seats on the other. The single seats seemed popular with business travellers who quickly whipped out their laptops, although with the patchy WiFi, I’m not sure how much work they got done.

Unfortunately, I think I had bad luck with this train: half the toilets were out of order, and the other half were less than pleasant. I had to wobble my way up and down the aisles with a child in tow, trying to find a loo.

The main upgrade on Plus is that you get breakfast or a light meal, plus a choice of drinks, including wine and beer. Dishes are served cold, so they tend to be salads with chicken or fish or pasta dishes. My salmon and lentils were tasty enough, but about on par with what you’d get in Marks and Spencer at the station.

The staff on Eurostar Plus are also extremely friendly and helpful, and it was nice to sit back and be served a meal with wine and coffee on a well-presented tray. But is it worth the upgrade?

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However, I will admit that the Plus carriage did have a slightly calmer, more business-like vibe, so if you’re on the way to an important meeting, it might be worth the money. Likewise, if you’re traveling alone and don’t want to risk ending up with a chatty neighbour, the thought of booking a single seat might appeal.

Otherwise, take your own sandwich and save your Euros for when you arrive at your destination.

Have a story you want to share? Email us at webtravel@reachplc.com

Judy Reyes is making every moment count.

Earlier this year, the Bronx-born Dominican actor reprised her breakthrough TV role as Carla Espinosa on the reboot of the beloved ABC medical sitcom, “Scrubs.” For just four episodes, she returned to Sacred Heart Hospital as head nurse and an exhausted mother of four daughters, whom she parents alongside her onscreen hubby, chief of surgery Dr. Christopher Turk (played by Donald Faison).

While fans only caught a quick glimpse of Carla — who is said to be picking up extra shifts elsewhere — her name lingers in the script.

“I’m like the Lord,” said Reyes on a recent video call with The Times. “Just when you think you’re getting away with something, there’s Carla!”

In reality, Reyes has been splitting her time on set with another ABC workplace drama. Now in its second season, “High Potential” sees Reyes leading a top-notch team of crime solvers as Lieutenant Selena Soto, opposite Kaitlin Olson and Daniel Sunjata. “I don’t know any other way to be!” she said of the role. “Latinos are lieutenants and nurses and doctors, et cetera!”

When The Times connected with Reyes, she was crouched down backstage at the Lovinger Theatre at Lehman College in the Bronx. We spoke merely hours before the debut of “Freestyle: A Love Story,” a stage production that follows two lovers who meet at a freestyle show — then reconnect at a concert 20 years later.

Created and directed by George Valencia, with Reyes as one of the executive producers, the story interlaces the history of freestyle music: a Latin hip-hop and pop hybrid genre popularized in the 1980s by acts like Lisa Lisa & Cult Jam, George Lamond and Judy Torres.

“Our very existence is political no matter what. Our joy is a problem for a lot of people,” said Reyes. “It’s really important for us to tell our stories.”

Between the passion project and two highly-rated Hulu shows, which continue to stream on the platform despite eventual plans to merge into the Disney+ app, Reyes is not taking her spotlight for granted — especially amid a sinking Hollywood industry model that’s made it difficult for some to find work — “I’m milking it for all it’s about,” she said.

This interview has been edited and condensed for clarity.

How were you able to film both the “Scrubs” reboot and Season 2 of “High Potential”?
ABC was willing to make it work. “Scrubs” had been in the works for a long time. From Zach Braff and Donald Faison doing their podcast [during the pandemic], to the T-Mobile commercials … A whole new generation became interested in and got hitched to “Scrubs.”] It just so happened at the same time that “High Potential” was happening. My manager was wonderful about making sure [filming] was accommodating.

“I’m so honored and so thrilled to be part of what I consider a television history,” said Judy Reyes of her role as Carla Espinosa on the ABC medical sitcom “Scrubs.”

(Jeff Weddell / Disney)

 Did it feel natural to return as your character Carla on “Scrubs”?
 It did. They did right by making all these characters older. We were all older with each other. We’re all friends that don’t necessarily talk to each other every day [except] Zach and Donald — they’re pretty much married — but it was like we never left.

 What has changed in Carla — and what hasn’t changed?
What’s changed in Carla is that she’s got four kids and she’s tired and she’s older. The consuming passion of her work is not what it used to be because it’s physical. Life is catching up. Her kids are older, so everything changes and she’s not able to work her ass off the way she used to and she has to confront that.

In season 2 of “High Potential,” your character Lieutenant Soto faces a moment of defeat when she’s not chosen to be captain. What thoughts popped into your head as you rehearsed the scene?
It’s extremely well-written. Defeat is very relatable as a woman — [and] as a woman of color, as a woman of a certain age and as a woman of a certain position. I think we can all, as actors, relate to not getting something you are sure you deserved. But there’s also the surrendering. It’s opening up to all the [possibilities] because if you don’t do that, then you get paralyzed. It stops you in your tracks. “Well, what if I feel this defeat again?” You might, you know, but what’s your alternative?  You gotta eat s— to move ahead.

Judy Reyes portrays Lieutenant Selena Soto in “High Potential,” leading a top-notch team of crime solvers opposite Kaitlin Olson and Daniel Sunjata.

(Jessica Perez / Disney)

There are some moments in “High Potential” when your character is holding up a mug with the Dominican Republic flag. How do you find other ways to incorporate your Latinidad in the story?
When we did the “High Potential” pilot, the props department said I got a mug in the scene and if I wanted anything on it. I was like, “Hmm, no one ever asked me before. Can you do a Dominican flag?” That was in Vancouver and I’ve had it since. The Dominicans lose their f— minds on social media and I love it. It fills my heart.

The other stuff is just being me, which is the purpose of being an artist. I don’t know how much sense it makes to throw in the Spanish word, unless you have other Latino people with you.

Latinos haven’t historically been represented as leaders in Hollywood. Has it evolved?
Things progressed before DEI collapsed. There was an active attempt and pursuit of putting people of color in leadership roles. I’m grateful it’s happened. I’m sad it’s retreated a little bit, but I think it has to start behind the camera. We need to champion writers, directors, producers and the stories or get risky and daring with casting.

 What has changed in Hollywood and what has not changed in your perspective?
Many things have changed from the way we view television. Everything is streamed. Now everything is a limited series. There’s such a political impact in what gets seen and what doesn’t. It’s very hard for people right now and I feel challenged to say how it is better, because I’m working. I see how hard it is. The best thing I can do is seize the platform and connect with other creatives who want to go ahead and take a chance and make investments in stories.

Now with the growing monopolies in the entertainment industry, I’m sure that’ll likely change Hollywood too.
It continues to affect the workforce. The workforce is gonna be severely impacted. The more you merge, the more people you fire and the more machines you put in their place. It’s a frightening moment.

I’m grateful I saw Noah Wyle represent against the [Paramount-Warner Bros.] merger. I’m motivated, because I think we ultimately have to protect each other and protect the art for as long as we can.

What grounds you and your art in an era that is often trying to strip you away from your creative liberties?
My company GoodTalk Films, myself and my partner and husband George Valencia are working with the Watford F.C. Women’s League to launch a Latina Women’s Football Club here in L.A.. We [want to] train Latinas to be coaches. That’s another way to reach out to the community and help people see themselves. That keeps you grounded in the creative process.

I see a lot of theater. I make a lot of trips to New York. I just saw [the Broadway adaptation of] “Dog Day Afternoon,” produced by Stephen Adly Guirgis. My kid is in the arts and I hang out a lot with him and help him sing and perform.  The process is what brings joy in working with other people interested in the same thing.

The limited edition Shohei Ohtani souvenir cup available at Dodger Stadium concession stands this season is pretty cool.

And at a mere $68.99, it’s a real bargain too … at least for people planning on attending enough Dodgers games to make the season-long free refills worth the cost. With fountain drinks running about $11.99 each this season, those babies pay for themselves in around six refills.

It’s definitely a better deal than on Opening Day, when the same Ohtani cups were being sold for $74.99. Photos posted on social media show concession stand signs stating that free refills were available only on the day of purchase. (Here’s hoping that no one attempted to make that investment pay for itself in refills all in one day.)

Two days later, the item was discounted by six dollars. The Dodgers confirmed the price drop to The Times but declined further comment.

On Saturday, an Instagram post from Dodger Stadium Hospitality revealed that the cups actually can be refilled for free at every 2026 home game.

“Limited Edition Collector’s Cup available now! Purchase your cup and receive fountain soda refills all season long,” read the post, which also featured photos that showed off a cup made to look just like Ohtani’s jersey, complete with his name and No. 17 with textured and raised plastic for an even more realistic appearance.

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As pricey as the Ohtani cups may be, there appears to be a lucrative resale market for them. As of Tuesday morning, five of those items are listed as sold on eBay at prices that range from $199.99 to $290. At least nine others are listed for sale with asking prices that range from $185 to $339.

Seems like a crazy amount to spend on a cup, especially since one could still be purchased at Dodger Stadium going into Monday night’s game against the Cleveland Guardian. Maybe the buyers are huge Ohtani fans who live in, say, Japan and can’t quite make it out to Chavez Ravine to add to their collection of memorabilia.

Or maybe they’re local fans who have a thirst that only 20-plus refills can quench.

SCREEN star Sydney Sweeney is rolling in dollar frills — after her new lingerie line helped to quadruple her fortune. 

The American actress is now worth $40million, up from $10million just two years ago. 

The news came as Sydney, 28, showed off a range of sexy pink and white underwear from her Syrn brand. 

The Seductress line launches next week after her original designs sold out in the US. 

Sydney launched the business on the back of becoming one of Hollywood’s most in-demand stars. 

She was worth some $10million in 2024 thanks to roles in black comedy The White Lotus, teen drama Euphoria and the rom-com movie Anyone But You. 

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Lucrative deals with Armani Beauty, Ford and Samsung followed — while controversial adverts for clothing brand American Eagle saw sales shoot up, along with Sydney’s profile and potential earnings. 

Last year she raked in $7.5millon for her role in hit psychological thriller The Housemaid. 

Sydney launched Syrn in January in a bid to take on fellow celebs Rihanna and Kim Kardashian — who have become billionaires through their clothing brands Savage x Fenty and Skims. 

The star’s racy photo shoots have seen her criticised for not being a “girl’s girl”. But hitting back, Sydney said: “People will say, ‘Oh, she’s doing this for guys’. 

“I’m like, ‘What’s more ‘girl’s girl’ than owning your body and doing it for yourself?’.”