Any millennial will remember Chad Michael Murray and Sophia Bush’s heartbreaking divorce, separating just five months after their 2005 marriage, calling an end to one of our favourite onscreen couples from the noughties, One Tree Hill‘s Lucas and Brooke.
But it wasn’t their age that led to their short-lived marriage, with Sophia being 22 and Chad being just 23 when they tied the knot. Instead it was their relationship, with Sophia, now 35, revealing in an interview earlier this year that she felt pressured into marrying her ex husband.
‘It was not a thing I actually really wanted to do,’ Sophia explained of marrying Chad, in an interview with Andy Cohen on Sirius CM Radio Andy, going on to explain why she went through with it. ‘Because how do you let everybody down?’ she explained. ‘When you have bosses telling you that you’re the only person who gets a person to work on time and 200 people either get to see their kids at night or they don’t because our days start on time?’
Chad shouted down the claims as ‘ludicrous’, with his new wife Sarah Roemer getting involved, but now Sophia has spoken out once more about their relationship, this time opening up about the ‘ugly’ aftermath.
During a recent episode of Dax Shepard’s Armchair Expert podcast, the split came up in conversation – something that Sophia was clearly hesitant to discuss.
‘Are we really going to discuss this one?’ She asked. ‘The reason why I don’t talk about it, A. is because everyone’s been 21 and stupid, but if you’re in our job, for some reason, people want to talk to you about like, when you’re fully-fledged adults who’ve done really amazing shit with your lives, they want to talk to you about the dumb thing you did in college basically, which doesn’t make sense to me, ’cause like, in any other realm, if a CEO is having a meeting, no one’s gonna ask about the time they went to a kegger in college.’
She continued: ‘What’s complex about this issue for me is the person I was 21 and stupid with is also an actor. And I got asked about this on a radio show back in the summer, and I talked about my experience. I don’t speak my ex’s name, I’m not talking about anybody else’s experience but my own, and what it was blown up into, and what it was made into … It was made into this story that everybody serviced for his opinion, and not for mine. All I’m doing is talking about my experience.’
Going on to talk about the aftermath of their split, Sophia explained: ‘[The producers] were really deeply inappropriate to both of us about it. They ran like TV ads about it. It was really ugly. They made practice of taking advantage of people’s personal lives — and not just for me and for my ex, for other actors on the show who would share deeply personal things that were happening in their lives. They would wind up in storylines. It wasn’t OK. I imagine that was hard for [Chad] as well. It was a very ugly situation, on their part.’
Meghan Markle has a difficult relationship with her father, Thomas Markle, something that has plagued her first few months as a royal.
The Markles as a whole have created a lot of drama around the now Duchess of Sussex, from estranged nephew Tyler Dooley naming his cannabis business after her to estranged half sister Samantha Grant rumoured to be appearing on Celebrity Big Brother and choosing Meghan’s due date to release a tell-all book about her half-sister.
It is Meghan’s dad however, who has caused the most drama, with it even reported that the royal family has been forced to consider an ‘aggressive strategy’ to stop his constant involvement with the press.
There was the ongoing drama of whether he would be walking her down the aisle, his staged photographs for the press, and of course the multiple TV appearances, even talking about Princess Diana in some controversial comments this month, announcing it would be his last ever interview. Then of course he opened up about a heated phone call with Prince Harry and reportedly launched a clothing line.
Unsurprisingly, this week he spoke out again, and this time it was to talk about Prince Harry and Meghan Markle’s May wedding – an event he didn’t even attend.
Apparently Thomas alleged that the couple’s wedding favours that were handed out to guests each contained a ‘baggy’ of cannabis – a pretty controversial claim.
‘It’s illegal, but it’s no big deal in Jamaica,’ Thomas reportedly told the Daily Mail in an interview. ‘It’s almost customary down there. I don’t smoke weed and to the best of my knowledge, nor does Meghan. I don’t know what I did with mine. I think I gave it away.’
This interview has surfaced at the same time as it has been reported that Meghan has given her father an ultimatum – she would reportedly like to rebuild a relationship if he stays away from the press.
But William has chosen not to wear a wedding band for one very simple reason, and it’s completely understandable.
Why has he forgone the bling? To put it plainly, he just doesn’t want to wear one. Simple.
While the royal couple announced that he would be going ring-free ahead of their wedding eight years ago, people are just starting to notice that he doesn’t wear the traditional piece of jewellery.
‘He’s not one for jewellery,’ explained a Palace aide. ‘He’s never worn any. He decided he didn’t want to wear one now. It’s all down to personal preference.’
We don’t know how we missed the announcement but it has divided the internet with lots of people taking to Twitter to voice their sadness on the subject.
Prince William’s decision, however, is not an uncommon one with more and more men choosing to go wedding ring-free.
The Royal Family
In fact, it turns out that it’s a common decision in the royal family with William’s grandfather, Prince Philip, also opting out of wearing one. However, Prince Harry has broken the royal tradition by wearing a simple platinum band on his left hand, made by the Cleave and Company, the same jeweller behind Meghan Markle’s engagement ring.
We doubt Kate is worried about Will’s decision, though – it seems highly unlikely that Prince William will have to remind anyone that he is a married man with 26 million viewers tuning in to watch their Royal Wedding.
Plus, luckily she has enough bling for the two of them, never seen without Princess Diana’s 12-carat blue Ceylon sapphire engagement ring on her finger.
There’s a reason why you always see Prince George in shorts, apparently
Whether it’s ecstatically blowing bubbles or pushing his face up against a plane window as he comes home from Canada, there’s one thing we can all agree on – Prince George is ridiculously cute.
And while it may well be a combination of those golden locks and chubby cheeks, Prince George’s super cute dress sense is definitely a factor. Most often spotted sporting sweet little shorts and adorable knee high socks, George’s outfits have influenced a generation’s dress sense as people rush to replicate his look. Just like his mother, Kate Middleton, Prince George has the ability to sell out a piece of clothing instantly.
Prince George in his signature blue shorts
In fact, Prince George’s continual appearance in shorts hasn’t gone unnoticed. Experts in royal etiquette have speculated that it comes down class, arguing that it is only the middle classes who dress their boys in trousers and citing Prince Charles, Prince William and Prince Harry, who all similarly wore shorts until there were around eight, as examples of royal tradition.
But according to Dr Ed Owens, historian at the University of Lincoln and expert in the monarchy’s relationship with the media, this sartorial choice might be far more calculated than you think.
Here he is in a cute pale blue pair for a public appearance
‘Shorts symbolise the idealisation and innocence of childhood,’ explains Dr Owens. ‘This boy will one day be king, so it’s key that he’s seems to be as ‘ordinary’ as possible before he assumes his role as king, which the media always characterises as burdensome and difficult.
‘This change in portrayal from carefree child to burden adult has characterised the royal family’s image since the 1930s, and is integral to generating public empathy for them.’
To put it simply, Prince George’s shorts have a more important role than simply making out hearts melt – they’re pivotal for continuing public support for the royals.
If only we had a wardrobe which was half as powerful.
Prince Harry and Meghan Markle are undoubtedly the world’s most closely-watched couple, with people across the globe arguably paying more attention to the royal relationship than their own. Especially now that they’re expecting – the Duke and Duchess of Sussex have everyone talking about them and their upcoming baby.
Even we have to admit that we can’t draw our eyes away from their public displays of affection (they look so happy, always).
But while Harry and Meghan have no reservations when it comes to hand-holding in public, our other favourite Royal couple, Prince William and Kate Middleton, seem to avoid affection altogether.
While it would make sense to think that their choice to avoid PDA is down to Royal protocol, there are no official rules against them making physical contact in public.
So, why is there such a marked difference between the two royal couples?
Body language expert, Robert Kermode, explained to the Daily Mail why the couple choose not to hold hands in public. It’s all because of the Queen.
Queen Elizabeth and Prince Philip, despite being married for almost 70 years, are rarely seen holding hands, their personal choice setting a precedent that the rest of the royal family are following.
‘Because Meghan isn’t a member of the Royal Family, she wasn’t attending the Invictus Games for business reasons,’ The Sun reports. And Prince Harry, although on official duties, was technically not representing the Royals so the couple were free to be publicly affectionate.
There are of course times when Prince William and Kate Middleton do surprise us with a public display of affection, their most famous being on the day of the Royal wedding where they gave the cheering crowd outside of Buckingham Palace TWO kisses from the balcony.
Let’s just revisit that for a second.
Since Prince Harry and Meghan Markle tied the knot, things appear to have been significantly more affectionate between William and Kate when they’ve been out and about in the public domain.
They were spotted looking very sweet at a recent royal visit, and were caught briefly holding hands at Princess Eugenie’s wedding.
Maybe Harry and Meghan’s PDAs are rubbing off on the couple?
The Queen is a woman of many names, addressed in formal settings as ‘Your Majesty’ or ‘Ma’am’. In private she’s been Lizzie, Liz, even Shirley Temple – an affectionate nickname by King Edward.
One of her most common names, however, is said to be ‘Granny’ a nickname used by Prince Harry, Princess Eugenie and a lot of the rest of the royal family.
Columnist Richard Kay recently revealed that unlike his cousins, Prince William used a different (and very special) name for his grandmother, and it’s hilarious.
Recalling a moment from William’s childhood, Kay wrote in an article for the Daily Mail:
‘After a fall at Buckingham Palace, the Prince cried out for “Gary, Gary.” When a guest asked who Gary was, the Queen stepped in and explained: “I’m Gary. He hasn’t learned to say Granny yet.”’
We wish more than anything that the nickname had stuck, passed down to Prince George to keep up the tradition, but according to the Duchess of Cambridge, George has his own nickname for his great-grandmother, calling her ‘Gan-Gan’.
The Duchess of Cambridge has previously spoken about what a loving great-grandmother the Queen is, explaining in the ITV documentary, Our Queen at 90, ‘the Queen is very fond of Charlotte and takes an interest in what she gets up to. Every time we stay with her, she leaves a little gift for George and Charlotte in their rooms. I think that just goes to show her love for [the children] and for the family.’
Prince William also can’t sing his grandmother’s (or Gary’s) praises enough, stating, ‘She’s been a very strong female influence and having lost my mother at a young age, it’s been particularly important to me that I’ve had somebody like the Queen to look up to.
He continued: ‘[She’s someone] who’s been there and who has understood some of the more, um, complex issues when you lose a loved one. She’s been so incredibly supportive and I really appreciated her guidance.’
We just hope more than anything that Prince William still calls The Queen ‘Gary’ from time to time.
She’s the Marvel Universe star who grew up in social housing and speaks with a cut-glass accent. Hayley Atwell tells Jude Rogers about her role as a slave owner and speaking out for Justice4Grenfell
Hayley Atwell is hiding in the corner of a London restaurant on a wet autumnal afternoon, snatching half an hour between Shakespeare’s Measure For Measure performances at the Donmar Warehouse. And it turns out she’s quite the contrarian. ‘When people want to project ideas on to me, my rebellious streak goes, whoom! When they say I’m shy, I get loud. Or they’ll go: “She’s really confident”. So I’ll go… Her voice quivers, right on cue. “I’m reeeally vul-ner-a-ble!”’ Despite her humble upbringing in London’s Ladbroke Grove, Atwell’s cut-glass English vowels ring like bells down the line: ‘I want to come across like a human, you know? And if you don’t ask me about the work I’m doing – which is the most exciting thing about me – you’ll just get me at home washing my pants with my dog.’
Funny, warm and direct, Atwell, 36, is an arresting lead actor. Earning her thespian chops in drama remakes such as Brideshead Revisited and Howards End, via an Olivier Award-nominated turn in Lindsay Posner’s A View From The Bridge, she’s set to dominate our TV screens this Christmas.
First up, there’s the BBC’s big-budget adaptation of Andrea Levy’s novel The Long Song, the story of a Jamaican woman, July, looking back on her experiences of being a slave in the mid-19th century. Atwell plays Caroline, a wealthy British slave owner. ‘She’s this hysterical monster at the beginning, incredibly fearful of the slaves around her,’ the actress explains, detailing the nuances of her character excitedly (she’s obviously a born student). But it was an upsetting role, too. ‘There were times we’d finish a scene… I’d just feel horror in myself. And I was shocked at my ignorance of this much darker part of British history. But having the chance to investigate what slavery did to generations of people…’ She sounds hungrily driven at the prospect. ‘That’s what I want to do.’
‘In a world that often seems isolating and divisive, intolerance for others, based on their socioeconomic group, is just inhumane’
Atwell’s own upbringing was unconventional, and rather less posh than she sounds. The only child of an English mum and American dad, who were New Age-loving bohemians, they split when she was five. Atwell was then brought up by her mum in social housing in London’s Ladbroke Grove, only seeing her dad every summer. Living where the rich rubbed shoulders with the poor was to shape her immeasurably. ‘I had the Sultan of Brunei’s nephew in my sixth form college [The London Oratory School], but every day I’d see people living on the streets. I also got to know the Portuguese, Caribbean and Irish communities – I was very lucky that way.’ Atwell also knew people who lived and died in Grenfell Tower; she’s been a vocal champion of the Justice4Grenfell campaign ever since. ‘After the fire, I felt moved to speak out about what social housing can give people,’ she says. ‘It enabled my mum to get somewhere to live when I was little. In a world that often seems isolating and divisive, intolerance for others, based on their socioeconomic group, is just inhumane.’
Atwell’s CV has grown increasingly eclectic, from wowing comic fans as Agent Peggy Carter in the Marvel Avengers film and TV empire to nailing one of the most talked-about episodes of Charlie Brooker’s Black Mirror (‘I begged to do that – I’m such a huge fan’). Her turn as Evelyn Robin alongside Ewan McGregor in Christopher Robin also saw her emerge as something of a TV chat-show guest of dreams, following a memorable appearance on Jimmy Kimmel Live!. But as I’m quickly learning about Atwell, appearances can be deceptive.
A shy, sensitive, introverted child to whom acting was a joyful means of escape, Atwell caught the bug as a 16-year-old schoolgirl, although the Jacobean play she and her classmates put on was only part of the appeal. ‘The backstage dressing room, proper costumes and lighting – I just loved it!’ She wasn’t ever ‘jazz-handy’, she adds quickly, and some friends at London’s Guildhall School of Music and Drama helped ground her, among them Jodie Whittaker, who was in her year. ‘I’m so proud of Jode [sic]! At uni, she was equal parts tomboy and girlie girl – we’d go to fancy dress parties together. But she was also really good at going, “I don’t understand that word in that script, what does that mean?” I’d be too embarrassed to ask. She taught me it’s OK to not get things.’
Within eight months of graduating from drama school, Atwell landed a role in a Woody Allen film, Cassandra’s Dream, in 2007 (she has since said she wouldn’t work with him again). Then, last year, a rumour swirled that Harvey Weinstein had once told Atwell to lose weight. She loudly, publicly denied this, although she admits she did have some bad experiences early on. Once, a ‘powerful film director’ threatened that she’d lose her job if she took time off for her grandmother’s funeral, for instance. Atwell went to the funeral anyway.
‘I’m still very much an apprentice. And I want to make mistakes and burst any bubbles about what an “actor” should be’
‘I was still skint then, paying off my student loan, and terrified,’ she says. ‘I remember on the plane back learning my lines perfectly, thinking, “I’m going to blow his mind because he’s going to be waiting to catch me out”.’ She won’t tell me who it was, for a reason. ‘It was awful. Really shit. But the point of the story is not to name names and go into gossip, but to realise that moments like that are potentially life-changing and character-building – and that you can grow from them.’
And she’s still growing, and getting older, she says brightly, makes things easier. ‘When people think you’ve made it for this long, this far, I get the sense they’re not going to mess with you.’ Despite her career already spanning more than a decade, Atwell refuses to feel like a grand dame. ‘God, no. I’m still very much an apprentice. And I want to make mistakes and burst any bubbles about what an “actor” – she pronounces the word with humorous hamminess – should be.’
Atwell isn’t starry and rarely hangs out at after-parties when doing West End theatre shows, preferring to go home and check in with her mum. She’s also got a boyfriend – a childhood friend who’s a doctor – who she won’t talk about or take to awards ceremonies, so that they can preserve their private lives. ‘I’ve learned not to open that door! I think the best actors are ones who are present, who listen and engage with ordinary life anyway.’ A rebel to the end, and charming with it – welcome a bona fide star for our times.
Her portrayal of intrepid war reporter Marie Colvin taught actress Rosamund Pike some valuable life lessons. Here, she tells Martha Hayes about overcoming fear, embracing female anger and knowing your worth
Rosamund Pike is looking at me suspiciously. ‘What are you doing?’ she enquires, as I tap into the interview questions on my iPad. ‘Are you playing solitaire?’ We both laugh when I realise that yes, that’s exactly what it looks like. For the record, I’m not, but top marks to Pike for her journalistic eye for detail.
Inquisitive, tenacious and disarmingly direct, the 39-year-old actress would make an excellent reporter. It stands her in particularly good stead playing the iconic lead role in A Private War, which pays tribute to Marie Colvin, the legendary Sunday Times war correspondent whose career successfully spanned 30 years until her tragic death during the bombardment of Homs, Syria in 2012. Not since the critically acclaimed Gone Girl (2014), which won Pike an Oscar nomination for her chilling portrayal of Amy Dunne, has there been this level of buzz around a film she has starred in. Role of a lifetime is an understatement.
The remarkable feature debut of documentary maker Matthew Heineman follows Colvin for the last ten years of her life at the forefront of conflicts in Sri Lanka (where Colvin famously lost sight in her left eye in a blast, and continued to work wearing an eyepatch), Iraq, Libya, Afghanistan and Syria. In our post-truth world, Colvin’s story resonates hugely and alongside the obligatory press commitments and premieres, Pike recently found herself interviewed by world-renowned correspondent and news anchor Christiane Amanpour.
Meeting at a French bistro around the corner from the north London home she shares with her partner Robie Uniacke and two young sons Solo, six, and Atom, four, Pike recalls it was Amma Asante (who directed her in 2016’s A United Kingdom) who first told her a film about Marie Colvin was on the cards and urged Pike to get involved. ‘She said to me, “A lot of people think of you as quite refined… but I know there’s much more to you.”’ You only need to watch her in action – or read on – to realise Asante is spot on.
Given how recent the loss of Marie Colvin is to all who knew her and how inimitable she was, you must have felt an enormous responsibility portraying her.
‘At the end of the film, Marie says, “Fear comes later when it’s all over.” And now I’ve done it, sometimes I think, “How did I have the audacity?” There were definitely times I felt at a loss in the preparation; that it was too big, that there was too much to change. The voice, the smoking, the head gestures, her laugh, her walk, her brain… everything, really.’
Colvin is often described as fearless, so I was interested to hear Lindsey Hilsum [author of In Extremis: The Life of War Correspondent Marie Colvin] say she wasn’t fearless, but motivated enough to overcome her fear.
‘I agree. She had tremendous fear, but pushed through it anyway. The idea that she was motivated to suppress it is highly relevant. Paul Conroy [Colvin’s loyal photographer who survived the blast that killed her] acknowledged that there were moments where she would go terribly quiet before they were about to move location and he would know she was terrified. You can talk yourself down from the ledge of fear, but it’s only a free pass − it will come back eventually.’
That feels very relatable. Is fear something you battle with?
‘I battle with fear constantly. I try not to let it control me, but it is always waiting, trying to control us.’
Colvin was popular and had lots of close female friends (including the journalist Rosie Boycott and politician Jane Bonham-Carter) who you were able to consult. How did that help?
‘Rosie lent me a sweater that was Marie’s [to wear in the film], which was very moving. There’s a horrible fear that you’ve dared to tread in their dear friend’s shoes, and that can make you feel quite apologetic at times, although in this case, I’m not apologetic because we’ve made the film with the fiercest integrity. Gradually, people trusted that Matt [Heineman, the director] and I were committed to depicting their friend truthfully and not for any Hollywood-isation.’
You had a big seal of approval from Paul Conroy (played by Jamie Dornan), who visited the set…
‘He was full of funny stories about her, and they were a clue to Marie’s humour. Little details like finding an egg when you’ve been in Misrata for two months. Marie was like (adopts deep, gravelly voice), “Paul! I have an egg! Don’t let anyone see that I have an egg!” And so began a row over whether to scramble or fry it. But it was also a relationship where, here’s this strong woman and this handsome man, and it’s not about sex.’
That’s so refreshing. What the film does brilliantly is capture the paradox of Colvin. She was brave, but flawed; she struggled with the very thing that drove her. What do you make of that?
‘I can relate to it. There’s an ambivalence guilt to sharing people’s pain; to bearing witness to suffering but knowing all the time that you can go home. Occasionally, I think that bothered her so much that instead of going back to London, she went deeper in. Is that reckless? To take that home? It’s so complicated.’
Extreme jobs come at a cost.
‘And what is the emotional fallout of pushing yourself to any kind of extreme? I think Marie was particularly tortured by the discrepancy between her romantic ideals and the reality she found. She wanted to live everything to the fullest and often life fell short. She couldn’t always live up to the myth of Marie Colvin. Sometimes, I think it pained her. Other times, she was having the time of her life, wildly happy and free.’
If she worked hard, she played hard, too. She was always the last to leave the party. When she lost her sight in one eye, she said, ‘What I want most, as soon as I get out of hospital, is a vodka Martini and a cigarette.’ I love that.
‘She was someone you’d want to be your friend; she was never the good girl. After her second marriage, all the wedding presents were still wrapped up under the stairs [in the sense of], “If I unwrap the toaster, am I domesticating myself in a way that I don’t believe in?” Of course, the detail that sticks out for most people is after she lost her eye, and her editor saw a picture of her in a hospital bed and asked, “What’s with the lacy red bra?’ and she said, “What are you talking about? That’s a cream bra soaked with my blood.” This woman is metal!’
And she needed to be, in such a male-dominated world. As a woman doing the job better than men, how did they react to her?
‘I think she was a difficult person, whether that’s because she was a woman, I don’t know. She was a frustrating person because she didn’t do things on time. It was a huge liability for the editor, who’d have a hole on the front page wondering if she was going to file copy. Brilliance was certainly there, but is it OK to be brilliant and a frustrating, unreliable person? Most people forgave her, I’m sure there were some who didn’t, but you don’t have to admire everything about an admirable person.’
That reminds me of Amy Dunne in Gone Girl. Yes, she was a sociopath, but she was also true to herself, which makes her kind of admirable in a culture where women are labelled hysterical.
‘I’ve always embraced female anger. This is my latest read [scrolls through her phone to find it] – Good And Mad: The Revolutionary Power Of Women’s Anger by Rebecca Traister. I wrote about anger when I was doing a play called Gaslight at The Old Vic in 2007. I can’t remember what my argument was or whether I was just hinging it on the play to make a point about feeling angry.’
Do you think things are changing and that anger can be viewed as a good thing?
‘I’ve never been frightened of anger. I think anger can be liberating. I encourage my children to say, “I am angry because…” Before you attack verbally, you could feel empowered. People are taught that anger is bad. It’s not an emotion we’re very educated in. Sometimes we feel upset or disempowered or weak, and what we’re actually feeling is angry but we haven’t deciphered it.’
I often think crying is anger you can’t express.
‘And anger-management classes − are they about trying to suppress it or articulate it? I’ve no idea. One of Marie’s great lines in the film is when someone says, “I don’t know that you should go into Syria,” and she says, “It is so anger-making it’s worth it.” I wrote that out on the top of my script. Anger can be a terribly constructive feeling if harnessed in the right way. Indifference is the great destroyer, but anger can be very creative.’
You’ve spoken in the past about your frustration that male actors play supporting roles to other men, but are less likely to support a female lead. In 2016, you said you were comfortable playing number two. Do you feel any differently now?
‘Yes, I think that probably bespoke a certain fear, didn’t it? It suggested that if a film fails and you’re number one, then it’s on your head. That’s the pressure of being number one on the call sheet.’
Did you feel that pressure with Gone Girl?
‘I wasn’t number one on the call sheet, I was number two [to Ben Affleck]. I’ve played two lead women in the past year [as well as Colvin, Pike will play Marie Curie in Radioactive, out in spring] and I’ve had great male actors support me. Now I’m like, “Yes, I’m ready for this.”’
How has the #MeToo movement affected you?
‘What I’m most conscious of is making sure I’m a touchstone for younger women on set. Sometimes − especially as a girl, I think − you can seem a lot more together than you feel. It’s important for me now to look at these young women who appear really sure of themselves and remember that they’re probably not. When I was 21 and doing a Bond film [Die Another Day in 2002], I looked calm and confident but I didn’t feel it. I always felt wrong, that somehow I was an imposter.’
I wonder when that feeling stops?
‘I was just thinking about Christiane Amanpour cited everywhere she went as being the highest paid woman in TV. At one time, a woman might have felt embarrassed about that, but I think now they should embrace it: “Fucking yes, I am the highest paid woman”. Contractually, there is more parity between men and women now − agents have woken up to that.’
Are you vocal about it?
‘I haven’t drawn up any contracts since Time’s Up. I might do some digging, now we’re talking about it. I’ve never found it very easy to talk about money, that’s just the way I was brought up. I’ve always felt lucky to be working at what I love doing…. don’t print that, nobody will pay me again! For a woman to say, what am I worth? I think it’s better to say, what is my time worth? That’s the way we should rephrase it.’
Your Marie Curie role is up next. She won two Nobel Prizes and, in discovering polonium and radium, changed the course of the 20th century. Is she the real-life wonder woman?
‘She was so cool, I don’t think people have any idea. But she was also really odd. She had no filter and did not give a damn about whether anybody liked her. I’ve got a wonderful recording of my son saying, “Marie Curie is not alive so they had to have you, and your hair was too bright so they changed your hair’. I went into his school to do a talk about her with a load of glow sticks − radium was green and polonium was blue. I think they might end up thinking that Marie Curie invented glow sticks.’
That’s brilliant! Where do you go from here?
‘I just want to sit back for a bit. Pretending to be someone else is quite fragmentary, so it’s important to just be you for a while. And I want to work with the directors who have blown me away this year. Roma by Alfonso Cuarón is the most beautiful piece of work. I’d love to work with him. Why not say it? He might think I’m awful but if you never say it, you never find out. You have to speak your truth.’
Chrissy Teigen has never been one to shy away from confrontation, known for shutting down twitter trolls, calling out bullies and making her stance on the Donald Trumps of the world known.
Like a lot of celebrity mums, Chrissy has been a victim of mum-shaming, receiving online criticism for all manner of things relating to her parenting techniques – and Chrissy being Chrissy, is having none of it.
This week the divisive subject was head shaping helmets, something that Chrissy and John’s baby son Miles was announced to be trying just this week, reportedly suffering from flat head syndrome.
‘My baby bug got his head shaping helmet today. Please don’t feel bad for him if you see photos. He is a happy bug and we’re just fixing his flat!’ She posted to Instagram alongside a photo of Miles in his helmet.
She then later took to twitter to announce, ‘Baby Miles getting fitted for a little helmet today for his adorable slightly misshapen head. So if you see pictures, don’t feel bad for him because he’s just fixing his flat and honestly he’s probably gonna be even cuter with it somehow.’
Social media users still came out in their thousands however to share their thoughts, with the public opinion completely split.
Many parents shared photos of their children in their baby shaping helmets to reassure Chrissy that she wasn’t alone, explaining the good results they had got. Others however, criticised the mother, accusing her of putting her son through an unnecessary treatment.
And on closer inspection, are head shaping helmets necessary or a step too far?
The NHS reportedly don’t recommend head shaping helmets but they are common and many have found them to work. Besides, it’s Chrissy and John’s choice and that should be respected.
‘Good morning trolls! Just a friendly reminder that you do not indeed know absolutely everything,’ Chrissy announced after receiving a tirade of abuse. ‘Miles has been seeing a physiotherapist – we didn’t just go straight to helmet. We tried muscle work and will continue. Also your flat headed kid turned out fine yes yes yes I agree.’
She continued: ’Just didn’t want you guys to see pictures and wonder. Not promoting anything. Just sharing our story! Thank you back to your bridge now.’
Most parents are praising Chrissy and John for raising awareness around flat head syndrome and uniting people in similar positions online.
Princess Charlotte might only be three years old, but she’s already one of the most popular members of the royal family, known for her signature sass.
And whether it’s debuting her royal wave to photographers on the way to meeting her newborn brother, attacking a balloon wall on camera or telling the press at Prince Louis’ christening that they weren’t invited, she never fails to be the centre of attention.
This – we hasten to add – is for all the right reasons.
This week, the miniature royal was back in the limelight, as she and Kate Middleton, Duchess of Cambridge, were seen having a mother-daughter day at the Royal Opera House, attending a special viewing of The Nutcracker.
But it wasn’t Charlotte’s sass that was getting her the attention. Instead it was her good manners, with the three-year-old patiently holding her mother’s hand as Kate talked and laughed with fellow guests.
Their attendance was unsurprising given that Kate is a known Nutcracker fan, attending last year’s show when she was pregnant with Prince Louis. Not to mention, Princess Charlotte is reportedly fond of dance, along with her brother Prince George.
‘She absolutely loves it,’ Kate explained of her daughter to Tamara Rojo, the director of the English National Ballet, going on to explain how her children get their fondness for dance from their late grandmother.
‘She loved dancing, she was a fantastic dancer,’ Prince William went on to explain about his mother, Princess Diana, with a passion for dance clearly running in the family. ‘We’ve been going through her music collection recently and there’s some quite eclectic stuff in there. She was elated by the skill.’