In a recent cast interview with Fandango, the Barbie actor opened up about what it was like to work alongside Elordi. “I'm so codependent with people I work with, and I love everyone so much, and I'm always that person who's so devastated when a job's over and I never want it to end,” she said. “I think I developed that quite quickly with Jacob, too.”Robbie then recalled the Saltburn actor’s behavior on set, noting how he was always around whether he needed to be or not.“I don't know if Emerald told you to do this or you did this,” she told Elordi while referencing the film’s director, Emerald Fennell. “But I remember the first couple days on set, he would just be always in the vicinity where I was, but like in a corner, watching Cathy.”“I didn't tell him to do that,” Fennell chimed in. “I actually had to ask him to leave.”The Suicide Squad actor continued, explaining that she had gotten so used to Elordi being around, she began to look for him and was “unnerved” when she discovered he was not watching her.“I felt quite lost, like a kid without their blanket or something,” she added.Elordi agreed that he felt the same way about his co-star, calling it a “mutual obsession.”“If you have the opportunity to share a film set with Margot Robbie, you're going to make sure you're within 5 to 10 meters at all times, watching how she drinks tea, how she eats her food ... She's just like an elite actor,” he said. (Brittany Miller)
Three tracks from Charli XCX have been released so far in anticipation of her upcoming album Wuthering Heights. This piece will focus on Wall of Sound, her latest release. Taken together, the three tracks feel like a kind of loading screen for the album. The first two tracks, House featuring John Cale and Wall of Sound, have a distinctly cinematic quality, as if they exist mainly to build atmosphere and tension. That said, they still sound great. Chains of Love feels like the most fully realized song of the three.As a die-hard Charli fan, these tracks give me no clear sense of where the album is headed. Wall of Sound in particular feels more epic and cinematic than anything I have heard from her before. The track unfolds like one long breakdown, stretching and hovering rather than resolving. Somehow, Charli has already sold me on the album before it is even out. Maybe she is a master at this, or maybe I am just easily persuaded.With Brat being such a massive success, it is hard to predict where Charli will go next. She may have been working on something entirely different alongside Brat, or perhaps its overwhelming popularity pushed her instincts in a new direction. Brat was undeniably influential. Like ripples spreading across water after an impact, its sound quickly echoed outward, with other artists drawing directly from Charli’s ideas. Watching this happen in real time has been fascinating. I have rarely seen other major artists so openly mirror one person’s work. I will not name names, but the point stands. It only underscores how influential Charli really is.In the end, Wall of Sound tells me almost nothing concrete about Wuthering Heights. It is soft, swaying, and leaves the album feeling wide open with possibility. In the next few weeks, Wuthering Heights will be released, and we will finally get some answers. (Peter Källman)
Want to see it first, before the masses? We’re giving away two tickets to the exclusive, highly anticipated red carpet Irish premiere in Dublin on Tuesday, February 10. With a special post-screening after party, we can’t think of a better way to celebrate the upcoming Valentine’s Day weekend.
Sister Charlotte is only the second most noteworthy Charlotte linked to the house — and by coincidence, she was born in the same year that her more illustrious namesake visited Norton Conyers. Charlotte Brontë came to the house in 1839, and was — according to her friend Ellen Nussey — much impressed by the house in general, and in particular a dark tale that was part of the Graham family history.'Like any good novelist, Brontë used her impressions of several houses to build up a picture of Thornfield, Mr Rochester's country seat in Jane Eyre,' Gervase Jackson-Stops wrote in Country Life in 1986, shortly after Sir James took over the the stewardship of the house. 'Yet Norton Conyers, which she visited in the summer of 1839, as governess to the then-tenants' grandchildren, contributed one of the most important ingredients in the book — the Graham family legend of a madwoman confined in the attics.'The woman in question was referred to as 'Mad Mary', as Lady Graham herself explained in a 2003 article in Country Life. 'Who she was, whether servant or family, is not known,' Lady Graham wrote. 'Perhaps she was a servant who had children by "master" and who suffered from epilepsy or post-natal depression rather than madness.'Although Brontë's connection to Norton Conyers was well known for many years, confirmation of the existence of the attic didn't come until part of the long refurbishment work undertaken by Sir James and Lady Graham removed some panelling to reveal a previously hidden staircase. Sir James — whose family have owned the house since the mid 17th century — asked for a hollow-sounding panel to be investigated, and his hunch proved correct: stairs up from the 'Peacock Room' to an attic room were uncovered.There seems little doubt then Brontë based her timeless tale in large part on Norton Conyers. ‘We believe that the house inspired Thornfield Hall and the mad Mrs Rochester in Jane Eyre,’ observes Lady Graham. (John Goodall)
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