Video

The Spanish Actor opens up about giving humanity to his character, confronting fan reactions, and how the Culpables trilogy challenged him as an actor.

By Olive Walton

Meet Gabriel Guevara, the breakout star of Amazon Prime Video’s hit film trilogy Culpables. Guevara shot to fame following the massive success of the first installment, Culpa Mía (My Fault), which launched the series to become the #1 most-streamed Spanish-language franchise on the platform. Culpables quickly became a global phenomenon, with international audiences captivated, and even a UK remake currently in the works due to the original’s success.

Guevara takes the spotlight as Nick, a conflicted, soft-hearted bad boy who finds himself falling for his newly acquainted stepsister. In the final instalment of the trilogy, Culpa Nuestra (Our Fault), which premiered on October 16th, Nick and Noah reunite after years apart. But things have changed, and it’s clear they can’t return to how things once were. This final chapter tests whether their love can endure, or if, ultimately, they’re better off apart.

Now firmly in the spotlight, Guevara is more than just a rising actor – he’s part of a new wave of Spanish talent and has become a cultural reference point for a new generation, with a following that continues to grow both in Spain and internationally. As the star of a global hit trilogy and the ambassador of Rabanne’s 1 Million, the young Spanish actor could easily sit back and enjoy the moment. Instead, he’s focused and intentional, aiming to “work internationally, and take on roles that allow [him] to show new sides of [himself] as an actor.”

In conversation with Imagine, Guevara opens up about bringing humanity to his character, navigating intense fan reactions, and how the Culpables trilogy challenged him as an actor. 

Olive Walton: Your mother and father were both performers, was growing up around them and their work something that inspired you to become an actor yourself? 

Gabriel Guevara: Yes, completely. Growing up surrounded by artists had a huge influence on me. I was always around rehearsals and sets, watching how much effort goes into bringing a story to life. That world fascinated me since I was a kid, and it made me realize how powerful it is to move people through art. Acting came naturally because I had lived in that atmosphere all my life.

OW: You studied performing arts at Instituto Lope de Vega. How did your studies prepare you for your career as an actor, and what is something you could only learn from real on-set experience?

GG: My studies gave me the technical foundation I needed; things like voice work, body awareness, and discipline. It also taught me to respect the craft and the effort that goes into every performance. But there are lessons you can only learn on set: how to adapt when something changes last minute, how to connect with your scene partner, how to deal with nerves, and how to make a moment feel alive in front of the camera. Those are things that only experience can teach you.

OW: Your television debut was in Skam España. What was it like being in a series role for the first time?

GG: It was exciting and also a little overwhelming at first. Everything was new to me, so I tried to absorb as much as I could. Skam España was my first real experience being part of a professional cast and production. It taught me how to handle long shooting days, how to develop a character over time, and how essential teamwork is to bringing a story to life. It was a great introduction to the industry, and I have really fond memories of that project, as well as many good friends from it.

OW: How did you first hear about Culpa Mía and what was the audition process like for the role?

GG: I heard about the project through my agent. The audition process was intense because they were looking for the right chemistry between the two leads, which was such an important part of the story. From the beginning, I felt a strong connection with Nick as a character, and during the auditions I tried to show both his confidence and his vulnerability. They actually told me during the casting process that the role was pretty much mine.

OW: How did it feel stepping into a fandom that already existed around the books? Was that challenging, and did you feel a lot of pressure?

GG: There was definitely pressure because when a story already has such a loyal fanbase, you know people have very clear expectations. But that pressure also motivated me. I wanted to respect what readers loved about the books while also making Nick my own. The fans’ passion for the story was incredible, and their support gave me the energy to give everything I had to the role.

OW: Your co-star from Skam España, Nicole Wallace, is also your co-star in the Culpables films. Did having that pre-existing relationship help your on-screen chemistry? How did you feel when you found out you’d be starring alongside Nicole?

GG: It helped a lot. Having already worked together meant we understood each other’s way of acting and communicating. There was trust from the beginning, which is very important when you’re playing such an intense relationship. When I found out we’d be doing this together, I was honestly very happy. It made everything feel more natural and comfortable from the start.

OW: What were some ways you worked on your on-screen chemistry with Nicole?

GG: Our chemistry developed naturally, but we also had very clear direction from the team. They guided us on how they wanted Nick and Noah’s relationship to evolve in each scene, including the rhythm, the tension, and the emotional balance. Having that structure helped a lot. Since Nicole and I already knew each other, it was easy to trust each other and follow the direction while keeping the moments genuine. The result felt organic, even though it was carefully guided.

OW: Was it easy to get into Nick’s mindset? What helped you prepare and did you have any character references or techniques for building his character?

GG: I didn’t read the books, but I listened to the audiobooks to get a sense of Nick’s personality and emotions. Domingo, the director, also gave us very clear guidance on how to approach our characters and how he wanted Nick to be portrayed. That direction helped me understand his mindset and allowed me to focus on bringing his confidence, intensity, and vulnerability to life.

OW: For fans who criticize Nick for some of his more “toxic” traits in Culpa Tuya, how would you explain or defend his actions? His relationship with Noah can be quite intense and polarizing – what was your intent behind those more heightened scenes?

GG: I don’t think Nick should be defended, but understood. He’s a character who acts out of pain, jealousy, fear, and love, all at once. He’s not perfect, and that’s what makes him real. My intention in those scenes was to show that intensity honestly, not to romanticize it. Relationships can be messy, and portraying that complexity was part of the challenge.

OW: Did you have to learn any new skills for the role (such as fight choreography) and what was that process like?

GG: Yes, there were some physical scenes that required preparation, especially those involving action or confrontation. We worked with choreographers to make sure everything looked real but safe. It was also about learning to control my body and energy for the camera, which was something new for me. It was demanding but a lot of fun.

OW: In the final film of the trilogy, Culpa Nuestra, a few years have passed since we last saw Noah and Nick. Are we going to see a more mature version of Nick here? How has he progressed since we last saw him?

GG: Yes, he’s definitely more mature. Time has passed, and Nick has had to face the consequences of his actions. He’s learned more about responsibility and about what love really means. He still has the same fire inside him, but he’s more aware of who he is and what he wants. This film shows a more reflective and grounded version of him.

OW: Has the way you approach scenes or develop your character changed from the first film to this final one in the trilogy?

GG: Absolutely. In the first film I was still discovering the character and finding the right tone. By the second and third films I already knew him deeply, his rhythms, his emotions, and his reactions. I also grew as an actor during that time, so my approach became more detailed and instinctive. Each film taught me something new.

OW: Outside of your on-screen work, you’ve also been active in theatre. What draws you to that type of performance?

GG: Theatre gives you something unique, the direct connection with the audience. There are no second takes, everything happens in the moment. It forces you to be completely present and to feed off the energy of the people watching. It’s challenging but also very fulfilling and it reminds you why you love acting in the first place.

OW: You’re bilingual in French and Spanish, would you like to take on any French-speaking roles?

GG: Definitely. I would love to explore roles in French, it’s a language that feels very natural to me. Working in another language and culture would be an amazing opportunity to grow and reach new audiences.

OW: You’re already a multidisciplinary artist, you act and dance. Are you interested in exploring other roles behind the scenes? Does the idea of producing, directing, or writing excite you?

GG: Yes, I’m very curious about that side of the industry. I love acting, and in the future I’d also like to explore storytelling from behind the camera, directing, and maybe writing. It’s something I want to pursue when the time feels right, but for now I will stick with acting.

OW: Now the Culpables trilogy has come to an end, what’s next for Gabriel Guevara? Is there a type of role you’d like to take on next?

GG: I’d like to do something completely different from Nick. Maybe a thriller, something darker, or a project that challenges me emotionally in a new way. Maybe even a villain in a James Bond-type movie. I want to keep growing, work internationally, and take on roles that allow me to show new sides of myself as an actor.

Talent GABRIEL GUAVARA

Photographer and Videographer SASHA OLSEN 

Stylist ALEJANDRA GOMBAU 

Grooming ÁLVARO SANPER 

Camera 1st Assistant SIMONE CALISI

Set Designer LUIS CAMPOS 

Styling Assistant ANTO MARTOS 

Styling Assistant JERÓNIMO ALMA 

Shoot Location THE PALACE MADRID 

Video Editor JARVIS LEUNG

By Phillza Mirza

COLE DOMAN: VULNERABILITY, FEARLESSNESS, AND FINDING COMPLEXITY IN THE MASTERMIND

It’s a grey Friday afternoon when Cole Doman joins our call, dialling in with the kind of calm presence that feels rare in an industry often defined by noise. Known for roles that carry both raw vulnerability and striking strength, he’s quickly become a name synonymous with stories that cut deeper than the screen. After eight months on Apple TV+’s much-anticipated The Savant alongside Jessica Chastain, Doman could easily rest on the prestige of his new project. Instead, he’s thinking about risk, resilience, and what it means to keep pushing into new territory.

We talk about everything: theatre beginnings, queer storytelling, and the difficult balance between empathy and darkness. At every turn, Doman comes across as quietly fearless,  though he’ll be the first to tell you that fearlessness only exists because of vulnerability.

Phillza Mirza: You’ve trained in both theatre and film. How does live performance inform the way you approach screen work? Do you find yourself craving that immediate connection with an audience?

Cole Doman: I was working on The Savant for eight months, and when it wrapped, I was asked to do an experimental off-Broadway play in New York. I was so excited because after being on a TV set, that return to the theatre felt electric again. People who do theatre definitely crave that instant connection; the cheers, the breath of the audience, their responses. But my goal has always been to do all three: theatre, film, and television. Each one feeds a different part of me. Theatre shaped the way I act; it taught me discipline, because you have less time. That immediacy lives in me even when I’m on set.

PM: You’ve been described as someone who brings both vulnerability and strength to your roles. Do you feel more connected to one side of yourself?

CD: I would say that the vulnerability came maybe a little bit easier to me. I was a very sensitive kid, and so I think I was able to tap into that earlier on. The fearlessness has come through, I think, as I’ve built trust with myself and released control about what the performance should be and relied on my directors and writers to say, okay, if you think I can do this, I’ll give it everything I have, I’ll throw it all out the window. And that’s been whenever I’ve been able to get myself there and do that, it’s the greatest payoff, not only for the final product, but also just becoming more skilled as an actor. In the end, I think that they coexist with each other because fearlessness really requires vulnerability to fail. And if anything, acting is about being totally comfortable with failure, you know? 

PM: In Henry Gamble’s Birthday Party and Uncle Frank, you helped tell deeply queer stories. How has living openly shaped the roles you take and the way you approach them?

CD: When I started out, about 15 years ago, being out felt really valuable, almost urgent, because visibility was rare. There’s a reason I mostly started my career in theatre: I didn’t even think being in movies was possible for me. When it did happen, I wanted to be open about who I was. Now the industry is more inclusive, so my identity feels less like a precious thing I need to protect. I want to play any role I can, but if I’m doing a queer project, it has to say something new. So I think when these roles come to me, because they do and I’m so grateful, It’s a balancing act. I want to challenge myself as an actor and I’m always looking for the next big challenge. And if that is in a queer film with an amazing director who has something really specific to say, then I’m all on board. We’re such complex people. And of course being gay is a huge part of who I am, but it’s not the only part of who I am. 

PM: Your new project The Mastermind has been described as a darkly compelling story about ambition, morality, and survival. What drew you to this project, and what can audiences expect from your role in it?

CD: The immediate draw for me was to work with Kelly Reichard, whose work I’ve been a massive fan of since I first saw Wendy & Lucy about 15 years ago. I’ve watched all of her films with great admiration. The script was humorous but also menacing, and I was excited about the chance to work alongside Josh O’Connor. My role is certainly different from what people may expect from me.

PM: How did working on The Mastermind differ from your past projects, either in terms of the character you play, the story’s themes, or the overall atmosphere on set?

CD: First, on a practical level, I worked with the great Liz Himelstein to be able to lock into the Worcester, MA dialect. Then once I got to set, Kelly creates an environment that is somehow both relaxed but also diligent. She’s been working with a lot of the same crew since the beginning of her career, so there’s a shorthand everyone has with each other. Once Kelly is happy with the take, we move on. I love a director who knows how to economize everyone’s time and energy – it takes confidence and skill to be able to do that. And she certainly has both of those things. 

PM: So talking about your other new project that you’ve completed, congratulations, by the way. Let’s talk about The Savant. What drew you to it personally, its story, and your character in it?

CD: Honestly, when I saw Jessica Chastain was attached, I was a super fan already. Then I learned Melissa James Gibson, a playwright I admired in New York, was writing, and Matthew Heineman, who usually works in documentaries, was directing. I thought, what an interesting group of artists. The story itself felt layered, complex. My character, Steve, was nothing like me, to the point where my agent had to reassure me, “They know what you look like; don’t worry.” That challenge was exciting.

For me, Steve’s struggle with masculinity and belonging resonated. He wants a family, love, authority over his life, but he doesn’t have the tools. That kind of lack makes him vulnerable to indoctrination and hateful rhetoric. I don’t condone his choices, but I understood the outsider energy he carries. I’m not interested in playing someone who’s just hateful for the sake of it. I want to find humanity, even in the darkest corners.

PM: Without giving too much away, do you think audiences will see a new side of you in this performance?

CD: Absolutely. Five years ago, I don’t know if I would’ve believed I could play this role. But I’ve been building towards that kind of fearlessness we talked about earlier. I’m throwing it all at the wall. If it doesn’t land, fine. But I gave it everything. And I think people will be surprised.

PM: Beyond The Mastermind and The Savant, what kinds of stories do you think are missing from the cultural conversation?

CD: I think the problem is that studios aren’t taking enough risks on young talent, especially black and brown voices, LGBTQ voices. If more diverse people were at the top with the money, that money would flow into new, exciting stories we don’t even know exist yet. That’s what excites me: the scripts that land in my inbox that feel completely unfamiliar, that don’t just recycle the same machine. With IP culture and superhero fatigue, audiences are ready for something new.

PM: So let’s get into fashion a little bit. How would you say that fashion factors into your self expression? And is it your armor? Is it your storytelling? Or is it simply something you like to have fun with?

CD: I’ve always loved fashion. It was a way, when I was younger, to differentiate myself from the banality of suburban Philadelphia. It was declarative. It was saying, ‘I don’t belong here. I need to get my ass to New York City’. And so when you speak about armor, I think it was actually more punk than that. When I was younger, it was like, you will see me in an expression that makes you maybe feel a certain type of way. And now it’s something that I admire more, mostly as this incredible expression of art. How I choose to self express says a lot about who you are and I think that that is tied to being an actor. How do you want the world to see you? What a powerful thing to have some choice in that. What do I want to be putting out into the world? And that’s made available mostly through fashion because it’s the first thing that people look at when they see you. What are you wearing? Immediately people can sink into that. They can place you, they can understand you, they can judge you. And I don’t mean that in a pejorative sense. I mean it in a connective sense. Also I just love the luxury of it. I think it’s fabulous.

PM: Lastly, what’s the best piece of advice a friend or mentor has given you? 

CD: If we’re talking about acting techniques, there’s an expression: hold on tightly and let go lightly. So hold on to your intention as fully as you possibly can and the minute something else comes into your orbit that moves you, let go of it as soon as you can and move on to the next thing and hold on to that really tightly. It’s like taking everything personally, moving through things. That expression really landed for me.

I also had a teacher when I was studying at Steppenwolf, Audrey Francis, and she’s now the artistic director of Steppenwolf. I think I was struggling a little bit with getting these contemporary American plays sent to me and feeling like- especially back then, having a little bit more insecurity about being a gay male actor. I was like, oh, there’s not a role for me. I don’t feel like I can do this. And she said, if the play doesn’t explicitly say this role is written for a six foot five black man. Essentially, if there’s no physical attributes that prevent you from playing this part, there is a version of that play that exists with you in it. A version. And that sort of unlocked the door for me. I realised I don’t have to be the idea of what I think this should be. I just need to play this part. I know how to do it. Because maybe somewhere someone is going to say, that’s the version of the play that I want to see. 

_____

Cole Doman has a way of threading empathy and thoughtfulness into every answer, even when he’s talking about a character whose actions repel him. Vulnerability and fearlessness, in his telling, aren’t contradictions but a symbiosis, one feeding the other. As The Savant prepares to land, audiences will meet a version of Doman they haven’t seen before. One who refuses to flatten even the darkest characters into caricature, insisting instead on finding humanity where most would look away.

Talent COLE DOMAN

Photographer BRENDAN WIXTED

Hairstylist CHIKA NISHIYAMA

MUA YUUI VISION

Stylist KIMBERLY NGUYEN Kimberly Nguyen

Styling Assistant DANIEL JACINTO DA SILVA

Editorial and creative Director HUW GWYTHER

Editor-in-Chief OLIVE WALTON

Photo Editor & Production Director EMMA CHRISTOPHER

It’s not every day that a series about being Queer in the military comes along — far from it — so when Max Parker got the call from Netflix’s Boots, he stood to attention.

Writer Ciarán Howley, October 2025

Born and raised in Manchester, Max recalls being a ball of energy as a child, energy which his parents encouraged him to channel into acting and the performing arts. Viewers today may remember him from turns in Emmerdale and Doctor Who, but for the 33-year old English actor, playing the guarded yet formidable drill instructor Sergeant Liam “Bobby” Sullivan was a mission of a different calibre. Alongside Sullivan, the series follows a band of new recruits in the 1990s trying to survive the gruelling trials of bootcamp, all while living under the long shadow cast by the ban on gay service members in the military. 

Created by showrunner Andy Parker, the series takes its inspiration from the 2015 memoir, The Pink Marine, detailing author Gregg Cope White’s real-life story as a young gay man navigating the hypermasculine world of the U.S. Marine Corps, and finding belonging within one of America’s most rigid institutions. In Boots, White’s story is reimagined through Cameron Cope, (Miles Heizier) who flees his neglectful mother Barbara, (Vera Farmiga) for military bootcamp without her knowledge. Alongside loyal friend Ray, Cameron forges friendships, rivalries and romantic entanglements with fellow recruits from every walk of life. Yet none rattle him quite like Sergeant Sullivan, whose mission to harden Cameron into manhood soon exposes the drill instructor’s own fault lines, unearthing ghosts he’s long kept buried. For Max Parker, it’s a star-making performance. His portrayal of Sullivan is both magnetic and menacing — a layered anti-hero whose every scene commands attention— yet it’s difficult not to root for him, in spite of his many flaws. 

Speaking from a hotel room overlooking Central Park, where Max is preparing for a jam-packed press junket, his voice brims with anticipation. Even amid a fraught cultural and political landscape, Boots feels like a breakout moment —one that reflects both his own evolution and the broader strides in Queer representation.

Ciarán Howley: We’ll get to Boots, but I wanted to start off with your beginnings in acting. I read that you trained at ArtsEd and started off in musical theatre — Matilda, Kiss Me, Kate. How did your background performing on stage influence you as an actor moving into film and television? Was it a big adjustment?

Max Parker: Yeah, very different — but I started young. I had a lot of energy as a kid, and my parents wanted to get rid of it, so they put me in dance and singing classes with my sisters. I loved it and just followed that path all the way up until I was about eighteen. At that point, I knew if I was going to do it seriously, I needed to start while I still had the energy.

I did about five years in musical theatre. I got to do some amazing things like the Royal Variety Performance, and a show with Cynthia Erivo, who’s obviously smashing it now. But TV and film have always been my real passion. I get bored quite easily, and I love that on set, every day is something new. One day you might be getting run over by a car, the next day you’re doing a scene with your idol. It’s the only thing I’ve never got bored of. I don’t know if I’ll be going back into theatre anytime soon, but I always remember it really fondly.

CH: Growing up then, who were your icons? Any posters on your wall?

MP: I actually didn’t have many posters on my wall. I loved Ian McKellen, I think he’s incredible. I’ve always loved fantasy. I’d love to play a kick-ass elf someday.

CH: So, your first major TV role was as Base Newman on Casualty. His storyline ended quite sadly — involving drug abuse and suicide. Was it difficult to tackle something that heavy for your first big role?

MP: Everyone finds different things challenging. What I loved about playing Base was that you really feel sorry for him — you see his journey, he’s trying to get through. When you get a character like that on the page, it’s exciting. When I told people I was playing a heroin addict on Casualty, they assumed I’d die in one episode, but I actually had a really nice arc where you almost think he might make it out. It was a great first job. I didn’t really have any training in TV, so being on set was a baptism of fire. I remember one time, the crew said, “Okay, artists, step off set.” I didn’t know what that meant, so I went back to my dressing room and started getting changed — I thought we’d finished filming! They called me back like, “We’re ready for you on set.” So yeah, real learning-on-the-job stuff.

CH: I’ve always wondered — are soap operas as intense as they seem? 

MP: Yeah, Casualty was a bit different — it’s a serial drama, one episode a week. But when I did Emmerdale, that was a whole new skill. It’s like speed learning — sometimes you get so much material at once, and it changes on the day. It’s filmed with a three-camera setup, which adds its own challenges. Every job I’ve done has been a new learning curve, and I’m really grateful to the soaps — not just for the experience, but for the sense of family you get from them.

CH: So, onto Boots — where were you when you first got the script? When you read it, did you immediately feel it was going to be a great part? 

MP: When I first got the audition, they only sent one scene, from episode one. I remember thinking it was such a ball ache to learn because there was so much interjecting — every line had a military command in between. It was like trying to pat your head and rub your tummy at the same time.

At first, I didn’t really see myself as Sergeant Sullivan. We usually see drill instructors in movies as those classic American types — grey hair, ex-military, very intense. But as I went through more rounds of auditions and got to read more of the script, I started thinking, I really want this. I could see myself in it. By the time they told me there was another round, I was like, “Please, no more! Just give me the job!”

CH: How many rounds did you do in total?

MP: A lot. I think I was the wildcard — they wanted to see what I could do. From start to finish, I probably did about eight rounds.

CH: Is that standard?

MP: Not really. In musical theatre, you might do that many, but most of the TV and film jobs I’ve had came from had one or two auditions, sometimes even just a self-tape. But this one was definitely a marathon.

CH: The character is so intense — when we first meet him, he seems almost unhinged, but there’s so much more going on. How did you find preparing for that kind of role — especially the drill instructor persona?

MP: Yeah, the preparation was intense. I did a lot of research, and they sent me this three-page document where every line was a link to an hour-long video of real military training footage. We also had an incredible team of military advisers on set. Some were still serving, some retired, and they were always on hand to help with the technical stuff — making sure everything we did was authentic.

Before filming, we went through a proper boot camp. I actually trained with the recruits rather than the other DIs, because I wanted to understand what they were going through — how they’d be feeling. I did the obstacle courses, fired the weapons, everything they did, so I could drill them properly on screen.

CH: So, you basically got a real taste of military life? 

MP: I mean, I don’t come from a military background, and I’m not American, but it gave me a huge respect for what those guys do. You realise how important accuracy is to people who’ve served; they really wanted it portrayed correctly. We didn’t go through the psychological side — like being screamed at — but the physical training was great fun. I’m competitive, and a lot of the guys on the show were too. We’d be racing through obstacles, seeing who could do the most pull-ups. 

CH: Set against the 1990s, Boots explores the dark history of homosexuality being criminalised in the military. Did being part of that project shape how you think about masculinity, sexuality, and identity, or the pressures around both?

MP: Yeah, definitely. When you’re filming something like that, you take away so much more than you expect. Watching the show back, what struck me most was how every character’s story felt like a different flavour — everyone’s there for a reason. Some of them are running from family, some are there because it’s either that or prison, and then you’ve got Cameron — played brilliantly by Miles — who joins with his best friend, not realising it’s illegal for him to even be there because he’s gay. It’s really powerful to see the bond between them, the acceptance, even in that era. And it’s that connection — that sense of unity — that gets them through, which is a great metaphor for life. There’s a RuPaul quote that goes something like, “You have to use every colour in the crayon box.” I’ve probably butchered that, but it’s true — Boots is serious and moving, but it’s also funny and full of heart. People will be surprised — it’s not just a show about the military or about being gay. 

CH: I went in expecting this really heavy, tragic story, but it’s actually warm, and full of laughs. Stepping aside slightly, there’s been a lot of debate lately about whether non-Queer actors should play Queer roles. What’s your take on that?

MP: Queer stories are important. Although I have been moved by performances like the ones seen in Call Me By Your Name, both played by straight men, it’s about finding the person who can tell the story best and tell it truthfully and authentically. Queer artists should be given more opportunity to play Queer roles. There are so many of us, why wouldn’t we be chosen?

CH: Back in 2020, you came out in Attitude magazine. There’s often talk about actors in Hollywood feeling pressure to hide their sexuality. Why was it important for you to come out publicly at that time?

MP: I think there’s always a right time to come out — and it’s different for everyone. Sometimes people don’t come out because they’re not in the right environment, or they don’t have the right support network. I didn’t know how it might affect my career, but I wanted to live happily and authentically. So far, it’s been great. It’s always better to live openly than in shame. You see that same pressure in Boots — the way Cameron tries to hide who he is, and how it eats away at him. It’s like a pressure cooker. No one should have to live like that.  I was lucky — I had a great group around me, my family was accepting, and I was willing to take the risk. 

CH: When it comes to new projects, what do you look for? What’s a sign of a good script or a well-written character for you?

MP: Weirdly, I’d say tingles. You know when you read something and it just clicks? Sometimes I get an audition and I know right away whether I can see myself in it or not. When you’re juggling a few self-tapes at once, you don’t always have time to dive deep — I’m a slow learner with lines — so I have to slam down the dialogue and get through the script. But if I’m pressed for time and still find myself wanting to read more, that’s when I know it’s a good one. The best scripts always have well-rounded characters. It’s hard to get into a story if you don’t actually like or believe the people in it.

CH: So, if you could work with any actor or director — your dream collaboration — who would it be?

MP: Actor-wise, Leonardo DiCaprio. Director-wise, Peter Jackson. I think Ryan Murphy is a genius — I’m really excited for his new Monster series on Netflix.

CH: Is this the one about Ed Gein?

MP: Yeah, that’s the one. Apparently a lot of famous horror films were inspired by him — Psycho, for example. 

CH: Would you play a serial killer if you were offered the role?

MP: Honestly, that’s kind of the dream! It sounds weird to say, but serial killers are such dark, fascinating characters — a real challenge to explore. I watch so many true-crime documentaries, I feel like I’ve already done my research! They say if you fall asleep to murder documentaries, it’s a sign you’re a psychopath…Maybe that’s not a good look!

CH: And if you hadn’t become an actor, what do you think you might have done instead?

MP: I used to want to be a vet — until I developed a fear of needles! I also really wanted to be a detective. I’m still desperate to play one on screen someday. I did photography for a while too, so I think I would’ve done something creative regardless. There are the achievable dreams, like photography, and then the slightly far-fetched ones — like being a private investigator!

CH: Hey, never say never. This year you turned thirty-three, which is said to be something of a milestone age, depending on who you ask. Did you have any big revelations or turning points?

MP: Yeah — I got married! That’s a big one.

CH: Congratulations!

MP: Thank you. That, and Boots coming out — it feels like my first real break into the American market. Thirty-three is meant to be a magic number, so maybe that’s good luck! I’m excited for 34.

CH: What’s next? Anything you can tease for the year ahead?

MP: I can’t really talk about what’s coming, but I’m very excited. It’s a tricky time to be an actor — there’s a mix of talent and luck involved, and the industry’s constantly changing. But I just hope people love Boots and that it opens doors for everyone in the cast. There are so many newcomers in the show who deserve big opportunities — they’re so talented.

CH: I was surprised by how many new faces there were — aside from Vera Farmiga, obviously, who’s an icon. Conjuring stans rise! 

MP: Oh, absolutely. 

CH: And now that you’re in New York, what are your plans while you’re here?

MP: It’s non-stop press at the moment, but exciting stuff. We’ve got a full junket today, and tomorrow the cast is heading to Times Square to see our billboard, which is surreal. I came here when I was twenty, and I remember driving through Times Square from the airport — I got emotional because it felt so iconic. Now to be going back there and seeing my face on a billboard. It’s wild. This view, this city… What the fuck, honestly!

Talent MAX PARKER

Photographer PAWEL HERMAN

Stylist JUSTIN HAMILTON represented by A-FRAME AGENCY

Grooming BRADY LEA represented by A-FRAME AGENCY

Camera 1st Assistant CIARAN CHRISTOPHER

Styling Assistant LORNA LANE, KATIE SOMAVIA

From silent dreams to sold-out shows, Adéla turns defiance into art – ushering in a bold new chapter of experimental pop on her own terms.

By Zain Ké, October 2025

When we meet over Zoom, Adéla calls in from the UMG offices in London. She’s fresh off an appearance at Paris Fashion Week and preparing for two sold-out London shows, with a tour soon to take her across the pond. When we talk, there’s a quiet confidence about her – the kind that comes from knowing exactly who you are, even as the world is only just beginning to catch on.

At just 21, the Slovak-born artist has already lived several creative lives – from the rigid discipline of ballet to the high-gloss chaos of Dream Academy, the televised competition that sought to form a girl group and first thrust her into the public eye. Following her elimination, she entered a period of reinvention – one that tested her identity and ultimately redefined her artistry. Out of that chaos came clarity – and The Provocateur, her unapologetic debut EP that cements her as one of the boldest new voices in experimental pop.

Now collaborating with the likes of Grimes and Dylan Brady, Adéla is asserting her place in pop’s avant-garde as an artist in full command of her sound, image, and story. There’s a sharp self-awareness in how she speaks about her journey – the kind that suggests she’s constantly learning, evolving, and interrogating her own perspective. That blend of confidence and vulnerability runs through everything she does, carrying into our conversation as she speaks candidly about authenticity, creative freedom, and the power of turning chaos into creation.

Before looking ahead, Adéla turns back to where it all began – to the world that shaped her, and the roots of the defiance that now define her art.

Zain Ké: You’ve spoken about growing up in Slovakia, where the culture was quite conservative. How did that environment influence the way you understood identity and authenticity – both as a person and eventually as an artist?

Adéla: Being somewhere you feel like you don’t belong can actually be a huge motivator. It pushes you inward. I was a big daydreamer as a kid, I spent a lot of time in my own head, but I believe that’s how the best ideas are born. I was obsessed with American pop culture, but I didn’t tell anyone – it felt strange in this post-communist country where barely anyone spoke English. I learned the language in secret by studying Western shows, music, and media. Looking back, it was a blessing – it gave me space to think for myself, to figure out what I loved and who inspired me. I moved out at fourteen, but those years before that were incredibly formative. Between the ages of nine and thirteen, my philosophies were already forming through what I was consuming. I was completely liberalised, watching Ariana Grande talking about feminism, seeing Miley Cyrus in her Bangerz era pushing ‘free the nipple’, and Lady Gaga being a gay icon. All of that consumption shaped how I saw the world, how I understood self-expression, and what it truly means to be free. But no one else around me thought like that. I’d have these conversations with my family where I’d try to liberalise them, and they’d resist, and I just didn’t understand why no one else seemed as open or curious. It made me realise early on that I thought differently – that I had this other perspective shaped by pop culture and language and art. I’m sure there were others in Slovakia who felt the same way, but at that age, I didn’t have a community to connect with. It was just me, figuring it out. I think that’s where my relationship with authenticity really began. I had to define what was real for me, what felt true, and hold onto that even when it didn’t fit my environment. That instinct to stay true to myself became the foundation of everything I create now.

ZK: It sounds like you always had that pull toward music and pop culture, even when it wasn’t encouraged around you.

A: I’ve just always fucked with pop music – I wanted to do it so badly. But I never told anyone, because I knew people would push back. I think it’s so important not to let that kind of energy affect you. I was scared that if I heard too many opinions, it would make me feel like I couldn’t achieve it, so I stayed quiet for a long time. To my parents and friends, it just looked like a hobby, but deep down, I knew it was my path.

ZK: It shows such wisdom at that age – knowing you had to protect that dream and vision from other people’s doubts.

A: Daydreaming and having goals for myself has kept me alive – it’s always been my north star. If you have to dream in silence, do it. Just don’t let anyone fuck with what matters to you.

ZK: Even if you kept those pop dreams to yourself, you were still expressing yourself creatively in other ways. You started ballet at just three years old – it’s such a disciplined, structured art form. Now you’re making experimental pop. What did you have to unlearn creatively to make that shift?

A: I think the reason I feel so free now is because I was contained for most of my life. It took years to understand how important creative expression and freedom are to me. Growing up in a small country, I thought in a really limited way – like, nobody’s ever done what I want to do, so maybe I should just take what I can get. I told myself, if I have to put my head down and do what people tell me for a while to make it, I’ll do that. But after years of ballet and then being on Dream Academy, I realised I didn’t have to settle. My expression means everything to me, and I want to do it as authentically as possible. I’ve always been outspoken – even in my personal life. You could see it on Dream Academy as well; I was always the one who spoke up. So it only makes sense for me to do the same in my art. It was a journey to get here, though. Looking back, I can see that what I was really craving was creative control – to be able to express myself fully. I’ve always craved singing, music, making something that’s mine.

ZK: Speaking of the show – you’ve mentioned that the period after your elimination was one of intense rebuilding for you, both artistically and personally. You’ve even called it one of the hardest years of your life. I’ve always believed the most fruitful periods come after hardship. How did that time of rediscovery and turbulence change your perspective or trajectory as an artist?

A: There were a few years after the show that were really, really hard. I didn’t feel like I was doing what I was meant to be doing. And yeah, I agree with you – once you come out of that kind of hardship, it feels incredible. I think everyone has to go through tough periods – having doubt, not knowing what you’re doing, making mistakes, trying things that don’t work. It’s essential. Even if it’s not working out – you’re still trying, and that means you’re doing something. For me, all of that – ballet, the show, all the experiments – it helped me realise what wasn’t right. It taught me to trust my gut. Everything really does happen for a reason. It’s easy to look back and feel bitter or think you wasted time, but that mindset will only hold you back. The people who keep going, who stay open and keep moving forward – those are the ones who succeed and grow.

ZK: I completely agree. Failure should still be celebrated – it means you’re trying. It’s all trial and error before finding your place eventually. You have to keep pushing through it, which is exactly what it sounds like you did.

A: Absolutely.

ZK: Okay, we need to talk about The Provocateur – I’m obsessed. I’ve been playing it nonstop.

A: That makes me so happy!

ZK: For readers discovering you for the first time, how would you describe your sound?

A: Honestly, I’d rather people just listen. I don’t love describing it – it’s pop music, but a little experimental. Harder pop, I’d say.

ZK: If you don’t want to define it – is there a specific feeling you hope to evoke in people? Some artists want listeners to take what they want from the music, while others hope to inspire something like freedom or joy. What about you?

A: I think I’m one of those artists who’s like – whatever it means to you, that’s what it is. But my hope is that people see me, my story, and my project and feel inspired. I want them to feel like it’s okay to be themselves, to try, to fail, to be misunderstood – and to know that being misunderstood doesn’t mean you’re wrong. It’s okay to stand in your truth, relentlessly. There are things I wish people understood, sure, but I also love hearing all the different reactions – the love, the critique, even the hate. It all tells me something about people, about where we are culturally. I really appreciate conversation more than anything.

ZK: I feel like that takes a lot of pressure off you as an artist – because you can just create from a place of freedom. It’s like a form of surrender: take what you want from this, I can’t control how you perceive it anyway.

A: Exactly.

ZK: The whole EP feels really raw but also unapologetic and self-possessed. They almost feel like chapters in a story. What story were you trying to tell?

A: This project is… messy – but in a good way. It’s not perfectly cohesive, and that’s kind of the point. It feels very meta to me because you can literally trace everything that’s happened in real time. You saw me on Dream Academy, then you saw me release my first song, then my second – that one really took off – and then I signed with a label. My third song was a response to things people were already saying about me because of the show. So the EP almost became this living document of that first moment I was being perceived – the first year of stepping into the public eye and figuring out who I am within that. It captures that transition: the show, the noise that followed, the growth, and everything I’ve learned about myself through it. Some of it even reaches back to earlier experiences, like ballet, and how that shaped my sense of discipline and identity. Sonically, it’s varied – ‘Homewrecked’ sounds completely different from ‘FinallyApologizing’ – but it all connects. It’s like a snapshot of everything that’s brought me here. In that sense, this EP feels like a preface – it’s me saying, ‘Here’s where I come from, here’s what I’ve been through, and here’s how I got here.’ It’s the foundation of who I am as an artist. I’ve touched on that a bit with this EP, but I think I’ll go even deeper on the album. I just want people to understand the background – where I come from and what I’ve dealt with.

ZK: It really does feel like a personal introduction.

A: Exactly. I just trust my gut and write about what feels important. I mean, I have a romantic life – I could write about the guy I’m dating – but I was like, who the fuck cares? That’s not the most important thing that’s happened to me. It’s not what’s shaped me. There’s so much other shit I’ve been through that I feel needs to be said first.

ZK: You describe the EP as an introduction – a way of showing where you’ve come from and what’s shaped you. Let’s talk about how that comes through in the music itself. ‘Superscar’, the opening track, came from feeling controlled and exploited as a performer. How has taking creative control – even co-directing your visuals – helped you reclaim that power?

A: I feel more confident and self-assured than I ever have – more me than ever before. I’ve always craved control over my art. I’m outspoken by nature; if I have an opinion, you’re going to hear it. It took me years to understand how important creative freedom really is. In ballet, and later on the show, I didn’t have much control. But through making this EP, it finally clicked – that creative direction and ownership are non-negotiable for me. Having that agency made me feel powerful in a way I hadn’t before.

ZK: That sense of control really comes through across the project – even in how you explore power and performance. ‘SexOnTheBeat’ feels like empowerment wrapped in exhaustion; you’re performing the fantasy the industry demands, but it reads like protest. What does that tension mean to you personally?

A: There’s always that tension for me, because I genuinely love what I do. That song captures the battle between loving performance and questioning it. I’m a sexual person – I express my sexuality naturally through my music and performance – but it’s important that I’m doing it because I want to, not because anyone tells me to. It made me think about how much of that expression is authentically mine versus how much comes from what I’ve absorbed. I believe we’re all mosaics – built from everything we’ve consumed. I’ve grown up on art that’s hypersexual, especially from female performers, and I was thinking about how historically that came from the male gaze – male executives deciding what was ‘sexy.’ Now women can own that narrative, but I still wanted to question it: What does sexuality look like when it’s entirely mine? What does ‘sex’ mean in its rawest form? If I’m going to be sexualised regardless, then the way I reclaim that power is by speaking on it openly – by confronting it before my career really begins. I kind of wanted to make people uncomfortable, to push it to the edge where you can tell I’m in control. That felt more authentic to me than just leaning into the ‘sex kitten’ trope. I can play that role sometimes – and I probably will – but I wanted my first project to show that I’m already questioning and reclaiming that dynamic on my own terms.

ZK: I love your analogy of being a mosaic of everything you’ve consumed. What composed your mosaic during the making of this EP – what creative works, films, art, or music were inspiring you at the time?

A: Honestly, I don’t really watch movies or shows. But I do go to museums and galleries a lot. Some of the visuals for ‘Superscar’ were actually inspired by exhibitions I’d seen. I’m also obsessed with Pinterest. I make a lot of mood boards and vision decks with Chris Horan, my creative director. We build the world for each project together – everything’s very message-first. We always ask, What are we trying to say? before we go into visuals. I think my fans can feel that – everything is thought through, and the visuals always tie back to the meaning. In terms of what I was listening to, definitely a lot of 100 gecs – Dylan Brady actually produced a bunch of the songs on the EP. I was really into the whole PC Music world – A.G. Cook, SOPHIE, Caroline Polachek, Imogen Heap. a bit of Arca. I listened to a lot of Charli XCX, especially Brat and How I’m Feeling Now. And then, of course, the classics – Madonna, Gaga, Beyoncé, Ariana – they’re always in rotation.

ZK: There are so many incredible collaborators involved in this project – people like Dylan Brady, who you mentioned, and Grimes – how do you approach being in the room with artists like that?

A: I had this thought the other day – like, I’m just some random girl from Slovakia making music, and now I get to work with people who really know their craft. That’s insane to me. So when I’m in the studio with collaborators, I always listen first. I’m a student first. I love to learn from the people around me. I think it’s so important to stay self-aware – because if you walk in thinking you’re always right, that gets annoying fast. I’d hope I’m a good collaborator, someone who keeps it real and stays open. Sometimes I’ll even admit, ‘Okay, maybe I don’t know what I’m talking about,’ and that’s fine.

ZK: I feel like that openness – that willingness to learn – is what’s going to help you master your craft.

A: I agree. Being a student is one of the most important things you can be as an artist. Honestly, it’s important in life in general.

ZK: Are there any artists you dream of collaborating with – people you’d love to learn from creatively?

A: There are so many. Obviously Ariana, Beyoncé, Gaga, Madonna – the greats. That would be the craziest thing ever. But right now, I don’t think I should collaborate with anyone. I want to focus on my own music and really build my identity first.

ZK: There’s something powerful about taking the time to define your sound first. Looking ahead – I know you’ve mentioned working on your album and discovering your sound – but what else is next for you, creatively or personally, as you move into this new chapter?

A: I think I’m still experimenting – still figuring things out. I just hope whatever comes next feels even more potent and authentic than this last project. I want it to be an even clearer window into who I am. This EP was amazing for me because I got to be completely myself – no filter, no fucks given. But now I’m interested in finding new ways to reach people, without compromising what feels honest. I’m curious to see how to evolve while staying true to who I am.

Talent Adéla

Photographer Kenneth Van De Velde & Giel Domen 

Photo Assistant, Videographer & Video Editor Laura Berrou

Stylist Erik Ziemba

Hair Stylist Christian Marc 

Makeup Artist Vittorio Masecchia represented by Opus Beauty using Haus Labs 

Manicurist Marielle Co represented by The Only Agency 

Styling Assistant Lucia Foshee

Writer Zain Ké

Benito Skinner and Owen Thiele want you to start holding hands again.

By Patrick Grady, 2025

Chaotic. Cunty. Camaraderie. Three words that sum up this conversation between Overcompensating co-stars, and, more importantly, best friends – Benito Skinner and Owen Thiele.

You may think, what would there be left to talk about when they’re already as close as it gets, have starred in a show together and are now writing their own movie (yes, you read that right)? Well, buckle up. The pair, who first met at a restaurant with their respective partners, quickly became intertwined in each other’s personal and professional lives. So much so, Thiele, known for Adults,  made a lasting impression as George, the lovable gay fairy godmother, in Skinner’s semi-biographical Amazon Prime series Overcompensating. Looking ahead, it’s almost as impossible to picture Benny without George (Thiele’s character) as it is to picture Benny without Owen IRL.

As they chat, the conversation jumps to where things might pick up in season two,  the return of platonic intimacy, and their unabashed obsession with nostalgia, cult teen movies and the pop girlies that have paved the way for these two to own their spotlight.

Owen Thiele: So, first of all, where are you right now, Benny?

Benito Skinner: I’m in Cape Cod. Isn’t that crazy?! I’m on vacation but no one believes I’m actually on vacation.

OT: I believe you. By the way, you’re posting the hottest things ever.

BS:  It kind of seems like I’m fully on vacation alone and I’m just wearing outfits and walking around the property – which isn’t inaccurate, I guess. I’m just doing it to get your attention. I miss you. 

OT: And I swipe up every damn time.

BS: When you heart it, I’m like “Got him”.

OT: Wait, let’s dive into this amazing show that you made that you very kindly put me in and that I love so deeply. Even if I wasn’t in it, I would love it.  So obviously, Overcompensating is about your life. How the hell did you remember it all? Did you write it all down when it was happening? 

BS:  You know what’s funny? I’m rereading The Velvet Rage right now, which is this life changing book, and I think everyone should read it, especially gay men. There’s this part of it where the author talks about that stage in your life of being in the closet and then, as you tiptoe out of the closet, how those relationships stay with you for the rest of your life. Falling in love with a straight man and meeting my best girlfriend in college are all things that are in my DNA at this point. I’m completely blanking on the author name [Alan Downs] because I really don’t read that much, sadly.  I went back to old Facebook albums. I watched old videos of me talking with such a low register. It’s so disorienting and so cringe. And unfortunately, I’ve used my phone and filmed just about everything in my life, so I had a lot of footage. 

OT: I feel that. Did it ever feel really weird to dive back into that headspace? Like, “ Holy shit. I’m straight again and I need to break out of this.” 

BS:  I think the experiences were traumatic at the time. I was scared at how I would feel looking back, but then I was so relieved in the end. I started to forgive myself for some of the things I did.  I remember when we were going to shoot the end of episode five, I had this really strange experience where I sat in my trailer and I was like, “Oh, this is really sad.” I was trying to get back into that feeling and then I had this really beautiful moment where I was like, “How lucky am I that I get to do this?”

OT: Ben, if you could take one scene from the show and put it into a snow globe that you could look back on forever, what one would you choose?

BS:  I love the black parade montage. That was so fun to shoot and partially get to be a part of the creative direction.  It’s such a cathartic scene of truth of people who have tried so hard to be loved in all the wrong ways, but for the right reasons.  I haven’t watched the show since we turned in the final edit, but I’ve had this desire to go back and rewatch some scenes now that I’ve had some space from it and like get to like, ’cause people have told me their favorite moments and kind of get to go back and now see it as a show.  I also love us laughing in the finale. I think that one’s really sweet before it gets sad.

OT:  What you did on set was incredible. You cultivated the most loving, free environment where none of us felt embarrassed to do anything. Like we would’ve stripped naked and spread our asses for you because the environment that you created and cultivated was so warm. Thank you. It was just perfect, Benny.  Even the craziest scenes that I can think of didn’t feel crazy at all while shooting because we were surrounded by friends, you know?

BS: Completely.  I remember when we were doing the scene where you tell Benny that you’re not friends and I really do think that it’s such a gift to be able to do it with friends. Especially because those scenes are hard to do and they make you feel sick.  I love that scene where you’re with Wally [Baram] and she’s watching porn and just, I, I wasn’t there that morning, but I remember getting a text from Wally and she’s like, “I can see why you guys are best friends.”

OT:  She’s amazing. Switching gears a little, but it’s a question that I’ve never asked you and I always hear actors ask other actors this, so I just need to ask you.

BS: This is so our Actors on Actors.

OT: It’s our Actors on Actors, but we’ve made it Hot Ones Versus.

BS: A hundred percent. 

OT:  My love. What is the best piece of advice you’ve ever gotten from somebody in this business?

BS: I remember Natalie Portman had this really great quote a long time ago, “My pet peeve is people saying, ‘I know exactly how you feel’, nobody knows exactly how you feel.” I weirdly find that quote very helpful. I really try to avoid having expectations of people, specifically, how they’re going to feel or how they’ll react to something. I think it’s about trusting your gut. I think everyone feels a little imposter syndrome; it’s very common for queer people to show up in these spaces and feel like we have so much to prove. I think I’ve let go of perfectionism. I’ve always done things alone, I filmed and edited all of my videos alone, obviously, I did stand-up alone so to trust people enough with something I was creating was really special.  I knew it was always gonna be Mary Beth [Barone] as my sister, and I knew it was gonna be you as George.

OT: Since the day I met you in that restaurant, while I downed a piece of grilled salmon, I was like, “This kid is so fucking talented and so brilliant.” It seems like you’ve always had an instinct for all things pop culture. In your head, what will be the next thing to rock our world?

BS:  I will say with the dawn of Taylor Swift’s new album coming, I did think that a form of recession pop was looming where someone was gonna make an album that was all bangers and it was just about joy. It’s not that I don’t think that cunty will still be a part of the lexicon and a part of culture, but I think things feel a bit more friendly and like we are all kind of coming more into our communities and trying to help each other out and be like, sweet. I think there will maybe be less of an addiction to being like a serve, you know what I mean? 

OT:  One hundred percent. I’ve been saying for years, we have to start holding hands again. 

BS: That was literally us at [Lady] Gaga, we were like, “Why don’t you just hold me?”

OT: Right! I remember it perfectly, there were literal tears falling down our faces and we were like “.. and we’re crying.” We were announcing the fact that we were crying. That’s so back

BS: Cringe is so back. A vibe of corny and cringe is so delicious right now, like, I need that. It’s so fun.

OT: I wanna see long ass captions again.

BS:  I want quotes from a book highlighted and posted to grid and, I would say like one photo on grid that’s gonna be huge. And I know you and I can do it. 

OT: Ben, obviously, we’re so close now. You’re literally one of my best friends in the whole world. Do you think you and I would’ve been friends in college? 

BS: Maybe not at first. I think maybe it would’ve been a Benny and George situation. I would have been so lucky to have you in my life back then. What’s weird is that, through this process, we kind of have gone back to college in a way. It does feel like I got to do a redo. I think about the fact Adults and Overcompensating exist, and will live on forever.

OT: You opening that door, looking the hottest you’ve ever looked, will forever be on Prime Video. So that’s that. 

BS:  [Laughs] And your ass cheeks with Julia Fox. Like, sorry. It’s been a huge year.

OT: So, Ben, I was of course a fan of yours before meeting you, and then to become friends and work with you on your show, and now to be writing a movie together is crazy. What can we say about that without giving it away?

BS:  I mean, I’m kind of fine to give everything away. Do you know what I mean? It’s so us to give everything away. 

OT: What are we excited about?

BS:  Writing this with you, this is maybe the first time where I fully know who’s playing the specific parts and getting to write to someone’s voice, I think is so inspiring. Knowing the wheelhouse of somebody and what would be unexpected for them and also what they could just do in their sleep.  It’s funny what you just said about if we had been friends in school, that is so the ethos of this. For some background, people might want to know,  you and I were getting drinks somewhere and we got chatting about the idea of, “What if we had been in each other’s lives forever? Like, who would we have been? What would my life have been like if I met you in kindergarten?”  This movie is an exploration of two gay men who have had a beautiful friendship and the protection of each other, which allows them to be themselves. 

OT: What would you say is the inspiration behind our project?

BS:  Well, we talked a little bit about Romy and Michele. I don’t think you get better than that film. I’d say Paris, Texas, definitely.

OT: What’s so funny is you’ll send me  gorgeous Pinterest boards with the most gorgeous images I’ve ever seen in my life. And literally, I will scroll thinking there’ll be 12 images and it’ll be like 200 images. They never end. 

BS: My entire being is making Pinterest boards. The Velvet Rage is another one, and then early Andy Warhol, right now. Your podcast as well, that shrine of the girlies was my dream wall growing up.

OT: We’re big nostalgia kids. Anything nostalgic gets our dicks hard. 

BS: No, honestly. 

OT: I know you can’t say much about a season two, but tell me how are Benny and Carmen? 

BS:  Oh my God. I think they both have so much to experience both together and separately. That’s something I’m really sitting with a lot, especially in terms of Carmen. I’ve been thinking maybe less about just her relationship with Benny, but more about the relationship with her parents and her whole backstory. I think we just skimmed the surface of grief and what that is like for someone, specifically someone who’s in this coming-of-age period in their life. That’s what I’m thinking. What does it look like when they’re separate and have to figure out this new version of themselves?  Right now, I’m very inspired by the music around and what kind of songs we’re gonna do.  Also, spring break. You’re so not ready. God knows what I’m gonna make you wear for spring break. Sorry. Get ready for that Pinterest board.

OT: You should see the actual pictures of me on spring break. Wait, I’ll send them to you. 

BS: No stop, literally send them to me right now.

OT:  How lucky are we? I would work with you for the rest of my life, my love. 

BS: And you’re gonna. Sorry. You’re so brilliant, and I absolutely love you.

Talent BENITO SKINNER 

Photographer HARRY EELMAN

Stylist CHRISTOPHER CAMPBELL represented by OPUS BEAUTY

Hair Stylist NATHANIEL DEZAN represented by OPUS BEAUTY using COLOR WOW

Makeup Artist LOFTJET represented by FORWARD ARTISTS

Camera 1st Assistant DAVID ARDILL

Videographer KEVIN ISIOMA IJEH 

Video Editors KIMATHI, ARCHIE DALZIEL

With Wednesday Season 2 and Evil Dead Burn on deck, Hunter Doohan is done playing it safe.

WRITER:  Yale Breslin 

We caught up with Hunter from his home in Los Angeles to talk about rage, reinvention, revenge, and what happens when your life changes overnight.

When Netflix’s Wednesday premiered in 2022, no one could’ve predicted just how massive it would become—not even the cast. But within days, the show was dominating streaming charts, launching a thousand TikToks, and turning its young stars into global names. At the center of the chaos: Hunter Doohan as Tyler Galpin, the charming barista with a much darker side.

By the end of Season 1, Tyler’s shocking reveal as the monstrous Hyde left fans reeling. Now, nearly three years later, Doohan is stepping back into the role—and this time, he’s unleashed. With Wednesday Season 2 and a horror feature (Evil Dead Burn) on the horizon, the Arkansas-born actor is digging deeper into layered, haunted characters—and finding catharsis along the way.

We caught up with Hunter from his home in Los Angeles to talk about rage, reinvention, revenge, and what happens when your life changes overnight.

Yale Breslin: Where do we find Tyler at the start of Season 2?

Hunter Doohan: He’s been locked up in the insane asylum, Willow Hill, since the end of Season 1—which is a little bit deserved, maybe. He feels totally abandoned by everyone, so he’s really kind of volatile.

YB: Are you excited to finally release it?

HD:  Yes. Avoiding spoilers is killing me. I’m also very apologetic. It’s taken almost three years, so I feel like the fans of the show deserve to finally have it. I just can’t wait for it to be out—it feels like it’s been forever.

YB: What’s the dynamic like between Tyler and Wednesday this season?

HD: It feels like Wednesday is maybe the only person who wouldn’t be afraid of who Tyler is. He’s been abandoned by his dad, by Christina Ricci’s character—his master—so there’s a kind of cat-and-mouse thing between them. He thinks maybe she’s coming to help or still cares, but he finds out she’s just there to get info about his dad’s murder. So, he can’t help her there. She leaves him too—and he becomes hell-bent on revenge.

YB: What new sides of Tyler are we going to see?

HD: The first half of the season is a lot of anger. At the end of Season 1, Tyler felt in control, like everything was going to plan. This time, we see him literally trapped and furious. But in the second half of the season, we see Tyler without a master for the first time. He has quite the journey, and you finally get to see what’s really driving him.

YB: What did you love most about playing Tyler?

HD: He’s super complex. There’s this real confidence—he feels powerful and knows what he can do in any moment. But underneath that, there’s a lot of pain. His dad basically doesn’t love him because he’s the same thing as his mom. His mom died, and he’s been lied to his whole life about the real reason. That layering is really fun to play with.

YB: Did you tap into anything personal to play him?

HD:  I tried to ground it in something real. Like connecting Tyler’s love for his mom to something personal, or the feeling of someone you trust completely—like Christina Ricci’s character—abandoning you. It’s about finding those side-by-side comparisons. No one ever knows what you’re thinking about to get there emotionally. That’s the fun of it.

YB: Was there a scene this season that really pushed you?

HD: There’s one in part two that really had a lot bubbling up, but I don’t want to spoil it. In general, though, it was really enjoyable being in the full Tim Burton world this time. In Season one, I was mostly playing the nice guy while he directed the first four episodes. This time, I was on these huge, practical sets with chains on the walls—it was like an actor’s dream.

YB: What was it like working with Jenna Ortega again?

HD: She’s the best. So fun and so talented. The show wouldn’t work without her. You never doubt that she’s living in that heightened world, which makes reacting to her so much easier.

YB: Off set—what was the vibe with the cast?

HD: We were all just excited to be back together. It had been two years. We actually all went to Greece together during the break between Part 1 and 2. Everyone was really glad to be back at it. We shot in Dublin, and the local crew was amazing—we drank so much Guinness. Like, so much.

YB: Tell us about Evil Dead Burn.

HD: I’m so excited for it. Sebastian’s first film Infested was incredible—he’s going to kill it. The character I’m playing is totally different from Tyler, which is really fun too.

YB: How did that role come about?

HD:  I did a Zoom audition, and then a director session over Zoom as well because he was already in New Zealand prepping. I leave in two days to go shoot it.

YB: You’ve been taking on some heavy roles lately. Are you drawn to that?

HD: Yeah, I am. Something about Your Honor, Wednesday, and Daredevil—it’s always kind of the guy who looks like it wouldn’t be him… but is. Evil Dead is totally different though, and I just did The Wilderness, which is a very real, grounded story.

YB: What’s The Wilderness about?

HD: It’s based on our writer-director Spencer King’s real-life experience in the troubled teen industry. My character is ripped out of bed and dropped in the middle of the Utah desert. You hike, build your tent, make your food—until they decide you’re “better.” There’s no oversight on these camps. A lot of abuse can happen. It’s heavy, but important.

YB: Was it rewarding to be a producer on The Wilderness?

HD: Yeah. It was the first time I’ve been involved as a producer. I got to help with casting, and I reunited with Lamar Johnson from Your Honor—he’s unbelievable in the film.

YB: Do people recognise you more now?

HD: Yeah, and I can usually tell what it’s going to be based on who’s approaching. Your Honor fans are mostly guys at the gym, 20s to 50s, who love Bryan Cranston. But Wednesday has fans of all ages—it really surprised me how broad the appeal is.

YB: Are you surprised by the success of Wednesday?

HD: Yeah, none of us expected it. There’s so much content out there, and somehow Wednesday just cut through. I think it struck a chord in a way we didn’t expect.

YB: What was it like when the show blew up?

HD: It came out over Thanksgiving, and I was in Arkansas with my family. It just exploded overnight. I’ve been really grateful. I waited 10 years for anyone to care what I was doing. So I’m just glad people are connecting to it.

YB: Are you excited for people to see Season 2?

HD: Definitely. In Season 1, I was playing a character playing another character. The most fun was Episode 8. This time, I start there—and turn the dial up. A lot of people loved Tyler when he was being nice, so I’m curious how they’ll react now that he’s gone through even more.

YB: What’s next for you?

HD: I leave for Evil Dead Burn, then The Wilderness comes out October 17. And hopefully Wednesday Season 3—if people like Season 2. Which, I hope they do. [chuckles]

TALENT Hunter Doohan 

PHOTOGRAPHER Tyler Matthew Oyer

STYLIST Hunter Clem

GROOMER Robert Scheppy

PRODUCTION MANAGER Lucy Jessica

VIDEOGRAPHER Robert Marrero

James Olivas in conversation with Rosie O’ Donnell

WRITER:  Patrick Grady

When Rosie O’Donnell rang James Olivas to chat, the conversation was never going to be ordinary. One’s a Broadway legend, the other a rising star in Jamie Lloyd’s stripped-back, searing revival of Evita – and what followed was a heartfelt exchange about ambition, identity and the power of performance. 

From growing up in Texas with dreams of engineering to commanding the West End stage alongside Rachel Zegler, Olivas opens up about rewriting expectations, building his confidence (and his physique), and finding purpose in art that dares to say something. As Rosie says, she’s seen everything since 1973 – and James? He’s one to watch.

Rosie O’ Donnell: Hi James, how are you?

James Olivas: Hi Rosie, I’m so good. Really excited for this conversation!

RO’D: I am too, I’ve got to say, I can’t stop thinking about your Evita Performance. It was so lovely to meet you. Actually, I’m back in London at the end of the month and have booked to see it again.

JO: No way! That’s so nice to hear. I’m so happy we were able to meet last time. 

RO’D: I’m curious about how you got into theatre. What was the first show you ever saw?

JO: I think the first show I ever saw was probably a production of Jersey Boys on the national tour. It was such a mega musical, with big flashing lights and numbers. I remember sitting there and being like, “Wow, I want to do what they’re doing.”

RO’D: How old were you at that point?

JO: I was in high school at the time. Must’ve been a sophomore or a junior. It was actually a birthday present from my parents and I brought along a friend, who was not interested in theatre at all, but he loved me, so he came along. Looking back, that was a really big turning point for me. It was a huge shift in perspective and kind of a discovery of real passion. 

RO’D: Do you think it was right after that performance that you knew that was what you would want to do?

JO: Surprisingly, no, I don’t think so. I grew up in Texas and my father’s a mechanical engineer. Growing up, I always had the mentality that I would do the same. There was a clear path I was supposed to be following. So, it took a little while to allow myself to ponder the idea of following my passions. My thought process at the time was that I’d do theatre and act at the weekends and be an engineer during the week. It’ll just be my creative outlet. It wasn’t until I had done a few shows over a couple of years and had applied and gotten into UCLA, where it finally hit me – “What if I actually did this?” It was a huge leap of faith, moving away from the traditional journey I had always envisioned but I’ve never looked back.

RO’D:   Were your parents supportive of this decision or did they try to dissuade you at all? Was your desire to be a mechanical engineer – like your dad – your decision or did you feel like you were supposed to because your family instilled that in you? 

JO: Honestly, I think both. I’ve always wanted a family and I’ve always wanted to support them through a reliable career.  It’s very ingrained in Mexican American households to be able to provide for people and to be able to take advantage of the opportunities that generations before you didn’t have. I remember my father and grandfather out delivering newspapers on Christmas morning to make money and so I felt that responsibility to really make something of myself.  I think it took a little while for maybe all of us collectively to recognise that there is more to life than being an engineer or being a doctor or being a lawyer. And while those are all very crucial parts of society – we read books, we listen to music, we enjoy art and that is also part of our survival. We are not human without our creative outlets. 

RO’D: I also wanted to know,  when did you get into physical fitness? Because your body and your physique, as an instrument for an actor, is extraordinary. You were such a commanding presence physically on the stage. Have you always had that kind of muscle naturally, or did it involve a lot of work?

JO: The specific Mexican half of me has always been a bit thicker and stockier and naturally wants to be a little heavier. I played a lot of sports growing up and was a very strong kid.  When I went to college, I was 50 pounds heavier than I am now and it took a bit of life happening to me – struggling with people’s perception of me and my own journey with how I was perceived to start the fitness journey. I started on the treadmill, with demons chasing me. 

We’re in a shallow industry and how you look unfortunately plays a huge part. I think I’ve been able to separate my own personal self worth from maybe how I look on stage or how I present. It brings me a lot of joy. It has become a very meditative thing for me to be able to go in and get my exercise done and completely shut out all of the noise.

RO’D: I remember when you walked out with tiny little Rachel [Zegler], and I was like, “Wow, look at that man’s physique.” You almost looked like one of those power lifters, Mr. Universe –  which you don’t often see on Broadway. Do you think that’s helped in terms of your career so far?

JO: Yeah, I think with this role specifically. It was interesting to approach it as an actor. Figuring out how to establish this presence and make an impression on the audience with a very little amount of material to work with. You know, I’m not singing a ton, I’m not saying a ton, I’m not even really moving a ton. So, how do you convey this same sense of authority and intimidation? I really struggled with that early on, but I really leaned into it and I think even since you’ve seen it last, it’s really continued to progress. It comes down to the mentality as much as it does the physical side of things. As a larger person, I’ve always been concerned about how much space I’m taking up and trying to make myself smaller. Now, I feel liberated by it and really allow myself to exist on stage, unapologetically. It’s been a wonderful growing experience for me. 

RO’D: Truly, it’s a beautiful show. I cried my eyes out, I was just so moved. I saw the original when I was in high school and was completely blown away by the whole thing. It really imprinted on me. I remember lying between the Hi-Fi speakers on the shag rug and blasting it as loud as I could and getting every single word. It’s quite something for you guys to do it the way you are. That director [Jamie Lloyd] is a genius. He’s unbelievably original and the array of dancers made such an effect. The strong women throwing themselves at each other – you could never tire of it.

JO: Jamie Lloyd is unbelievable. I’d seen his work in Sunset Boulevard on Broadway and immediately knew I wanted to work with him. So when this opportunity came along, I couldn’t have been more excited. I was a  little thrown at first to learn that the age difference had changed and now Juan was something I’d be going in for. But especially with the idea of making something as divisive and controversial as the political situation in Argentina at the time and making it relevant in the year 2025 and ring true and relatable in a lot of the themes that you see. I think we strive to make it as topical as we can. We have a responsibility to respond to all that’s going on in the world. There are too many things happening in the UK, in the United States, all across the world not to have something to say about it.

RO’D: Yes and what an amazing vehicle Evita is to tell that story and to see how fascism, authoritarianism, corruption and politics intersect. It’s frightening times for everyone. I think that this production is beyond needed and I’m so happy that it’s so brilliant. You know, I’ve seen everything James. Since 1973, I’ve pretty much seen every musical that’s come along. It’s been the greatest part of my life, the addition of theatre. I’m so fueled by it. So, I want to thank you because you inspired me so much creatively that opening night show.

JO: That means the world. I’m so glad that we got to meet you. I feel so lucky to be part of a show with so much representation. Rachel [Zegler] is Colombian American and to have me and Diego [Andres Rodriguez] being Mexican American and being able to push back on the aggressive narrative of us contributing negatively to society. There’s a bunch of people out there ready to rise to the occasion – we just have to give them a chance.

RO’D: Yes. It’s so vital for there to be messages of truth amongst all of the lies that are being perpetrated against Hispanic people. Is there a role that you think, “This is what I’d love to do?”

JO: You know, I’ve struggled with this question before and I think it’s ultimately because I think the role of that magnitude for me hasn’t been written yet. I think it’s still out there. I love being part of new work and being on the ground floor of the developmental process.  What I found really feeds my soul is being able to be a part of something that feels bigger than myself. 

RO’D: Good for you. I think it’s so wonderful to see the next generation of actors come up. You know, that Rachel [Zegler], my god in heaven. What can you even say about the talent of that young woman? 

JO: A force of nature. I am blown away by each and every performance, at how astonishing she is. I mean, I run out of words to describe how impressive the work she does is.

RO’D: How was the audition process for this role? Were you living in New York or were you in LA at that time?

JO: I had recently come to New York, which was very fortunate because I was able to attend the callback in person. Looking back, through the process of auditioning, callbacks and work sessions, I experienced a bit of imposter syndrome. It was through conversations with Jamie [Lloyd] that helped overcome that initial apprehension.

RO’D: With the uncertain, crazy times we find ourselves living in today, do you ever worry about politics and how it might affect your career in terms of silence culture?

JO: I think Rachel [Zegler] is a wonderful example of someone who demonstrates the importance of being outspoken about things that are meaningful to you. To give credit where credit’s due, you are one of the sole voices unafraid to speak up publicly and I look at Rachel in the same way in the sense she’s outspoken about things that are not supposed to be talked about. It takes people like you, with these platforms, to stand up for what they believe. With myself and politics, I find my art and my politics very closely intertwined. The idea that we as artists should just shut up and provide escapism is a foolish endeavour. I think it is so incredibly important to connect with the communities around us and to ultimately give a damn about the world around you and recognise that we have a responsibility to look out for each other and speak up when we see injustice anywhere. 

RO’D: Beautiful answer. Thank you for asking me to do this. I’ve thought of you many times since I saw you perform and I’m very glad I got this chance. If you need anything, ever, you can always call me hunny.

JO: That means a lot. Thank you so much, Rosie.

TALENT James Olivas

PHOTOGRAPHER Jesse Crankson

STYLIST Justin Hamilton

GROOMER Louis Byrne

STYLING ASSISTANT Lorna Lane

STYLING ASSISTANT Munachiso Obu

PRODUCTION MANAGER Lucy Jessica

VIDEOGRAPHER Casper Griffin

EDITOR Archie Dalziel

Simon Lööf doesn’t blink

WRITER:  Patrick Grady

Simon Lööf isn’t afraid of the dark; in fact it’s calling out to him and he’s ready to answer. The Swedish born and raised actor, best known for his breakout role in Threesome, is now prepared to take to the global stage. Enter Netflix’s An Honest Life – premiering July 31st. The film sees him take on his most complex role yet – a character who, by coincidence or fate, shares his name and some of his own inner conflicts.

As he spoke with IMAGINE – on a train gliding through the Swedish countryside, no less – there was an undeniable, captivating intensity to the 29-year-old. There’s a clarity to the way he talks about his ambitions – he knows exactly where he wants to go and he’s ready to put in the work to get there. Lööf isn’t driven by the lure of fame; instead, he’s focused on longevity, on carving out a career that endures beyond his time on the screen. There’s a mature self-awareness to him, as if he’s already made peace with the long game.

 And then there’s the thrill of darkness. When he says his dream role is a psychopath, there’s no wink, no irony –  just pure conviction. He knows that’s where he’ll thrive, and somehow, you know he’s right. It’s a bold vision, but one that feels inevitable. With An Honest Life, Simon Lööf isn’t just proving his range – he’s announcing himself as a force, ready to explore the shadows and everything they reveal.

Patrick Grady: Hi Simon, how are you?

Simon Lööf: Hey! I’m really good, thanks. I’m on a train, so you’ll have to let me know if the sound goes.

PG: Will do. I’d love to start with your upbringing, you were big into hockey as a kid, weren’t you? How has that shaped your approach to acting?

SL: In so many ways. Obviously, making films is all about being part of a team. I wouldn’t be able to do anything without the team, both in front and behind the camera. You end up putting so much trust into everyone involved and vice versa, which can add an incredible amount of pressure. I realised that pretty early on and it’s stayed with me.

PG: Are you someone who thrives under pressure or do you find yourself running from it?

SL: I need it. If I don’t feel a certain pressure, what’s the point? 

PG: One of your first big roles was in Threesome. How did you emotionally prepare for a project like that?

SL: Since it was my first thing, I was kind of in the dark. It’s funny, Lisa [Linnertorp], the director and creator, brought me in like 20 times. I thought that was just how things were done. The standard audition process but we had like eight hour workshops, where I was really pushing my limits. She really tested me and I think she knew I needed that. Not only for her to confirm that I could do it but also to prepare me without me even realising it was preparation. After that whole process, I had no doubt in my mind that I could do it.

PG: Wow, it really sounds like she gave you a lot of her time and energy, which you don’t always come across in your industry.

SL: She is one of a kind. I’ve never met anyone so engaged. She really gives you her life when you’re working with her, which is so amazing. I can’t wait for the world to see what she’ll do in the future.

PG: Tell me about An Honest Life. What was it about that project that drew you in?

SL: I auditioned and when I was told they wanted me to do it, I read the book. I thought it was so interesting, also the character’s name is Simon, so that helped. I could see myself in a lot of his decision making and his struggles, so I was really excited to try and tell that story the best way I could. Getting the chance to work with Mikael [Marcimain] was also a huge bonus.

PG: This role kind of feels like a turning point, it’s a complex lead role. What would you say it’s taught you about yourself as an actor?

SL: I’ve done projects before and tough ones at that but after shooting An Honest Life, I think I’ve matured in terms of how I navigate the work. I realise now that I’m going to do a lot of things differently in terms of other roles that are coming up. I’ve learned a lot about who I want to be. 

PG: Your character takes a lot of big risks in this film. What’s been the biggest risk you’ve taken in your own life?

SL: Quitting reliable work and deciding to lean into acting. It’s a huge risk to decide to do something that you have no experience in. 

PG: Did you find yourself second guessing yourself or did you just jump in?

SL: Weirdly, I didn’t second guess myself. There was nothing else I could imagine myself doing. I do think I was lucky though, it was only six months before I landed my first project. If it had been a year or two, it might’ve been a different story. I knew something would come up eventually, it just happened so quickly.

PG: What sort of roles are you most excited to explore in the next few years?

SL: I want to explore some darker roles. I feel like they’d be fun. Maybe they’re not fun at all but I want to reach as far as I can into the dark. Besides that, I want to do some fantasy or explore stories from thousands of years ago. I want to do everything.

PG: Growing up, was there a film you remember seeing and thinking, “God, I’d love to be able to do that.”?

SL: The one I always come back to is the Joker. It’s a character I would go crazy with. Heath Ledger was just out of this world. It is one of the strongest characters I’ve ever seen in a film.

PG: What was it about Heath Ledger that inspires you the most?

SL: He had range. I mean, he was literally able to go to the darkest place but at the same time, you can see him in so many other roles where he’s the opposite of that. I think he was so pure. He had the ability to show different sides of himself. I really respect that. 

PG: If you had the opportunity to ask him one thing, what would you want to ask him?

SL: Wow, what a question. Geez, now I’m just trying to think of something smart. Maybe I should just keep it simple and ask him, “How are you, really?” You know? I think that would be more important. I think that’s it.

PG: When you’re preparing for roles, what interests you more, the psychology of the character or their more physical form?

SL: Varies from role to role really, but I would say the psychology is more interesting to me. That’s where I tend to start; the rest will fall into place after I’ve analysed their mental state. I try not to overthink it either though, if the script is strong, it’ll naturally take you there and you just have to let it happen.

PG: Lastly, where can we expect to see Simon Lööf in the near future?

SL: An Honest Life is out on Netflix on the 31st of July. Besides that, I’m doing as much as I possibly can. I’m excited for what’s still to come. 

TALENT Simon Lööf

PHOTOGRAPHER Jesse Crankson

STYLIST Justin Hamilton

HAIR STYLIST Kei Takano

GROOMING Natsumi

STYLING ASSISTANT Katie Somavia

VIDEOGRAPHER Alex Tang

VIDEO EDITOR Archie Dalziel

In this exclusive online feature, photographer Karolina Wielocha and stylist Alison Flora Carmichael come together to create a visual story that’s both intimate and arresting. Through a series of striking stills and an accompanying video by Nurun Nisa, the duo capture a mood that’s confident, considered, and effortlessly refined — a celebration of instinctive style, creative chemistry, and the power of image in motion.

Photographer KAROLINA WIELOCHA

Video NURUN NISA

Stylist ALISON FLORA CARMICHAEL

Photo Assistant GUILLEM FORN

Make-up Artist NIBRAS

Make-up Artist Assistant DANIA YASIN

Hair Stylist JR SLANE

Lighting OLIVER MATICH

Set Designer EMILY TYRER

Studio THE NOOK

Models AMANDA SHIEK / JANNI LIMA / SKYE MCDUFFUS at W MGMT / GRACE ACLADNA

Music FIFEHEAD MAGDALEN  –  “MARK LAMBAID”

 The allure of Eiza González

WRITER:  Patrick Grady

I knew there was something unapologetically authentic about Eiza González when she logged onto our scheduled Zoom call at 2pm on a Thursday with the words “I just fell into the pool…fully clothed.” Straight off the bat, she was setting the tone for what was to come; total transparency, no less.

Find the full interview in print—grab your copy now at imaginemagazine.co/shop

PHOTOGRAPHER Jason Kibbler

STYLIST Julia Múller

MAKE-UP Misha Shahzada

HAIR Danielle Priano

MANICURE Maki Sakamoto

DIGITECH Charley Parden

PHOTOASSISTANT Andy Boyle and Iain Gomez

STYLING ASSISTANT Izabella Passero

VIDEO Tyler Rabin

EDITOR Archie Dalziel

CAMERA OPERATOR Jabari Browne

STUDIO DIRECTOR Hannah Flynn

PRODUCTION Emma Christopher

STUDIO Salt Studios

Breaking the Boyband Mould, with Hits and Heart

WRITER: Patrick Grady

Thrown in at the deep end as something of a guinea pig experiment (what happens when you drop five boys from across the UK into the K-Pop machine?), the result? Utter brilliance.  They know exactly where they want to sit in the new music landscape, and they’re ready to make some noise. Not your typical boyband (no cookie-cutter choreography or matching outfits here), they’re carving out something different. In February, the lads debuted their first hit, Ariana – and a hit it was. So much so, even the namesake herself, Ms. Grande took notice.

Find the full interview in print—grab your copy now at imaginemagazine.co/shop

PHOTOGRAPHER Simonas Berukstis

VIDEOGRAPHER Jay Seba

EDITOR Archie Dalziel

STYLIST Adele Cany

HAIR STYLIST Jr Slane

MAKE-UP ARTIST Eliza Clarke 

PRODUCTION ASSISTANT Benjamin Stone

DIGI TECH Alex Kim

1ST CAMERA ASSISTANT Madison Blair

2ND CAMERA ASSISTANT Alejandro Martinez-Campos

STYLING ASSISTANT Indy Davy

STYLING ASSISTANT Savannah Jones

Ceara Coveney on Embracing the Spotlight, On and Off Screen

WRITER:  Patrick Grady

The highest of fantasies and one of its leading women: Ceara Coveney, a true force to be reckoned with. As she returns to her royal roots for The Wheel of Time season three, the actor sat down with co-star Ayoola Smart for a candid chat about what’s in store for the next installment. And if their conversation is anything to go by, we’re in for one hell of a ride.

The Swindon born and raised actor first graced our screens as Elayne Trakand in season two as the unyielding queen-in-training and immediately exuded a certain assurance. But, when you’re taking on a role with such an established legacy – thanks to the best-selling books by Robert Jordan and combine that with the fact it was her first big gig – there’s little room for learning on the job. Still, the actor has continuously found her character’s willpower and self-confidence rubbing off on her personal life, a welcome bonus! Her honesty speaks volumes of the passion she has for this particular project. As her role develops in season three, so too does her willingness to dig deeper into Elayne’s constantly evolving state of mind.

Coveney has been steadily honing her craft over the past few years, gradually building a name for herself with roles in Young Wallander and The Amazing World of Emma. Now, having earned her place at the high table, she’s acting alongside the likes of Rosamund Pike. In her refreshingly sincere conversation with Smart, the mutual respect between the two go-getters is palpable and we finally get an insight into what challenges are in store for the enchanting role that’s defined Ceara’s career thus far. If one thing is clear: she’s more connected to her character than ever before. 

Season three promises new horizons and growth for Elayne, and Coveney is here for all of it. As she looks back at how far both she and her character have come, there’s an undeniable excitement about what’s next, not just for the role, but for her own journey as an actor. Trust us, she’s one to watch.

Ayoola Smart:  Hi, how are you? How are you feeling about the show coming out so soon?

Ceara Coveney: I’m good thank you! I’m really excited, genuinely. I think we all feel as though the show has taken another huge step forward, like each season seems to be getting better and better. It’s so exciting to be able to celebrate everyone’s work this season and be able to really talk about it. Ultimately, it really feels like a celebration. Especially because we worked on it so long ago, and now the time has come for everyone to see what we’ve been up to.

AS: Yeah, definitely. As you said, we filmed so long ago, so it’s nice we get the chance to finally talk about it. It feels incredibly joyful to see season three coming out and be able to shout it from the rooftops. How have you found the shift, both in terms of Elayne but also as an actor, having been introduced last season and now we’re familiar with her –  how has that been for you?

CC: I think that’s really interesting because there’s been a real mirroring between Elayne and myself. The scenario in which she was introduced in season two was very much out of her comfort zone, and I feel like that’s how I felt arriving on set. Meeting all of these fantastic people and exploring this whole new environment because it was my first major job! Returning this season, I found a whole new confidence. There’s less navigating of new things and I think that’s exactly where Elayne is at as well. She’s really come into her own. Having survived what she felt was unsurvivable. It was exciting to be able to get into her more this season and explore what makes her tick.

AS: Definitely, you can really see that in this season.  I think as an actor, sometimes we get to play these characters that feel very close to us or feel like a huge departure from us but when you’re both going through transitional phases, you get to kind of influence each other a little bit, which is so lovely.  Have you ever played a character where you’ve felt a kinship, like, with Elaine or does this feel like a first?

CC:  I think Elayne is probably the strongest kinship that I’ve felt to a character. But every character that I’ve played has allowed me to explore a certain part of myself, I maybe wouldn’t have without them. There hasn’t been a part that’s felt vastly different from who I am behind the camera and it almost feels like there is an element of therapy within playing these characters. Elayne is so confident and holds so much strength and I feel like she continually pushes me to find my own. This season was really a continuation of that growth.

AS: Absolutely, we have to really step into the part for it to feel truthful which can force you to confront some things inside of you. We get to see more of an insight into Elayne’s background through her family this season – how did you find that?

CC: It was great to see her family being introduced. I feel like it allows the viewers to see so much more about her and what’s truly going on in her world. The family scenes are so great – they feel so rooted and I feel like you really come to understand how special Elayne is against the backdrop of all of these incredible characters. Especially in terms of the visuals as well. To see all of these gorgeous red hues and the amazing work from the costume, hair and make-up departments expands the idea people might have of Elayne. We’ve only ever really seen her in her novice whites and to suddenly see these elaborate, opulent costumes. It really is a feast for the eyes.

AS:  Is there anything from season three that resonated with you from the books, a helpful phrase, or something that stood out to you in a significant way when preparing for this season?

CC: One phrase that really stood out to me, especially for the earlier episodes was her being described as a ‘tower between two dogs’. Between the White Tower and Siuan and her mother. It’s such evocative imagery – I really drew on that. Another passage that jumped out to me was a scene where the bravery of the women around her is revealed and we see Elayne doubt herself not only as a woman, but as the heir to the throne. Her vulnerability really resonated with me. Her figuring out whether she’s ready to ascend the throne and fulfill her role as future queen or whether the path she’s been following, or the one set out for her might not be sufficient. I would say those were my main driving forces for this season. 

AS: For sure, there are so many strong female identifying characters who hold such powerful individual journeys and complexities in this show.  If you had to be one of the quote-unquote villains, who would you be in season three? 

CC:  I would love to be Moghedien. Laia Costa, who plays her, is just absolutely incredible and not only that – she just seems to have so much fun with it. Every time she’s on set, she’s really playing around with what she does because that is Magedian, you know, she’s like, this child-like creature.  I think that would be so fun to play and really exciting to explore that type of character because obviously I don’t know if they believe that they are bad people.  So, I think it would be such interesting psychology. 

AS:  Was there a particular part of this season that you enjoyed filming the most? 

CC:  I really enjoyed filming episode six because the characters go to Tanchico, which is just so vastly different to anywhere we’ve seen on the show. It’s really dangerous and dirty, and has this vibe that is just really fun to explore and be immersed in. We see all these new colours  in a really dark and twisted energy.  She also gets up to some mischief in Tanchico.  She really lets her hair down and that was just so much fun to film. 

AS:  We had a fan screening recently. How did you feel about going into that scenario knowing that all of these fans, both from watching the show and reading the books would be there. And how have you found that experience of interacting with our fans in general, does it make you cautious at all?

CC:  I actually really enjoy it. I think it’s really lovely to put faces to the people watching the show and it really helps because we’re so disconnected when we’re filming. We’re away in this bubble and we’re working so hard and doing these really long hours and everyone really wants to do their best and do justice to these characters. So to get to actually meet the people that watch and appreciate the work that we do is just really special. It really reminds you like, ah, this is what all of that hard work was for, because these are the people that are going to appreciate it the most. I think they’re the kindest audience but also the toughest audience as well. Naturally, there’s always a little bit of apprehension or uncertainty but, overall, I think those are the experiences I love the most about doing the show.

AS:  It’s such a special thing to get that live feedback from them – to be able to sit with them and watch it was really beautiful. I’m so glad we were able to do that!  Do you have any particular unexpected or funny moments from when you were filming this season that you think back and giggle?

CC: Wait, I just remembered something the other day that was actually hilarious. So, obviously my mother in the show is called Queen Morgase  and I remember there was a day on set when over the radios, someone said, ‘no Morgase on set’, and everyone got really offended because they thought they were saying ‘no more gays on set’.  Just the thought of someone on the radio being like, no more gays allowed on set is just so outrageous. And someone had to go around and explain that, the character’s literally called Queen Morgase. It was just the funniest thing. Sometimes I just remember that and I’m like, oh my god.

AS:  On days when you aren’t feeling the most confident, or when you feel like a scene may be getting away from you, is there anything that you do or any kind of wisdom that has been given to you over the years that helps you through those moments?

CC:  I think I’m not amazing at pulling myself back. I have to say, it’s definitely something I’m working on, for sure. I think in those moments,  I kind of just remind myself that I’m capable and I wouldn’t be here if I wasn’t the right person for this and it’s within my capability. And honestly maybe a bit of  tough love. I kind of tell myself, the only person who can do this is me and I have to do it or I don’t do it so I need to kind of pull it out the bag from somewhere.  The idea of being like, how sad would it be if the reason this didn’t work was just because I wasn’t willing to try, I wasn’t willing to throw myself in and see what happens. And I think that’s a good way to approach life in all aspects. Definitely, definitely on set.

PHOTOGRAPHER Conor Clarke  

VIDEOGRAPHER Bella Kemp 

EDITOR Archie Dalziel 

CAMERA ASSISTANT Billy Carr 

MAKE-UP AND SKIN Victoria Bond 

HAIR STYLIST Sophie Sugarman 

STYLIST Justin Hamilton 

STYLING ASSISTANT Lorna Lane 

STYLING ASSISTANT Katie Somavia 

The many lives of Antonia Desplat

WRITER: Chris Saunders

At 29, Antonia Desplat is living many lives at once – fashion muse, indie darling, blockbuster star, behind-the-scenes powerhouse. One minute, she’s striding through Chanel’s couture show in a leather-trimmed dream; the next, she’s stepping into the smoky cafés of 1920s Paris as Johnny Depp’s latest leading lady. Effortlessly cool but never predictable. She’s got that rare ability to slip between worlds like she’s just changing jackets (and if you’ve seen her collection of vintage coats, you know she takes that seriously).

Born in France but raised between Paris and London, Desplat grew up in a household where creativity wasn’t just encouraged – it was the norm. Her father, Oscar-winning composer Alexandre Desplat, filled their home with film scores, while her mother, a violinist, introduced her to the magic of live performance. Acting was a natural fit. She booked her first role at 10 and never looked back, training in classical theatre before throwing herself into the world of film.

Her latest role? Running the show at a high-end fashion house in Made in France, a TV drama steeped in luxury and backstabbing ambition. Fitting, considering she’s fresh off the Armani Privé runway circuit, where she mastered the art of looking both powerful and effortlessly chic. But beyond the couture fittings, Desplat is diving deep into the world of historical cinema, playing Beatrice Hastings – writer, rebel, and Modigliani’s notorious muse – in Modì, Three Days on the Wing of Madness. Spooky coincidence: she grew up in Brancusi’s studio which was visited often by Modigliani. Fate? Maybe.

And the list doesn’t stop there. Up next: a gritty turn in BBC’s The Gold, based on one of Britain’s biggest heists, and a Wes Anderson project (The Phoenician Scheme) that reunites her with her legendary composer father. As she rides this unstoppable wave, Antonia chats with us about fashion, film, and that time she got an email with “Depp / Desplat” in the subject line. Casual.

Chris Saunders: Growing up in a family of musicians, how did your parents’ artistic careers shape your decision to pursue acting?

Antonia Desplat: Growing up with a family of musicians meant that I got to witness their world from a very early age. I watched my mum get ready backstage with her violin in theatres and concert halls, and I was mesmerised by the buzz, the excitement, the nerves, the mess, and the joy happening backstage. I also watched my dad create music from film images that hypnotised me. He is a big cinephile too, so I was introduced to the world of performing arts and films very early on. I was performing all the time, and it very quickly became apparent that acting was the direction I was going to take. I got my first job when I was 10 for a French TV show, and I fell in love with being on set instantly.

CS: You’ve mentioned being classically trained in various disciplines from a young age. How have these early experiences influenced your approach to acting? 

AD: Being classically trained has really shaped the way I approach my work and my work ethic in particular. Classical music training is all about technique and repetition and rehearsals in order to be able to let go and really feel the music that you are playing. In both music and acting, you start with a music sheet/page that you dissect and analyse in technical terms, you can then bring life and emotion to it and fully embody it. It’s exactly what I do for acting; every single tool and technique that I learnt at the conservatoire and at drama school is being used in creating my characters, and then I can let it all go because that information sits somewhere in my body, and I can just be present in a scene and bounce off my partners and let the work come to life.

CS: In the French miniseries Made in France, you play the executive of a luxury fashion brand. How does this role reflect your personal relationship with fashion, and has fashion played a major role in shaping your identity over the years?

AD: I used to play dress-up a lot and would steal my mum’s clothes and parade around the house, but apart from costume playing, fashion hasn’t played a major role in shaping my identity at all actually. I actually used to hate going shopping. Some days what I wear will definitely reflect how I feel, but most days, you’ll principally see me in vintage Levis jeans and Blundstones – but with a great coat. I do have a passion for great coats. Going back to acting, costumes are so important in shaping the characters, so I guess that can apply in everyday life too, and I’ve started doing it a little bit! When I go to fashion shows now, because I get intimidated easily by the photo calls and all, I decided to play characters based on the clothes I’m dressed in, and I find that quite fun now.

CS: What specific preparation did you undertake for your role in Made in France?

AD: Research is so important to me. You need to understand the world the character lives in – political, social, historical, fashion, all of it. So for Made in France, I dove into the fashion world, learning about designers, their process, watching documentaries, going to fashion shows, and getting to know that world. I observed people a lot.

CS: If you had the chance to collaborate with any fashion brand on your own collection, which would you choose, and what would you want that collaboration to represent?

AD: I think Chanel. Chanel has this timeless elegance, femininity with a little bit of edge to it. If I could collaborate with them, I’d do a collection that would represent the power of a woman’s silhouette through coats and beautiful textiles like Fortuny. It’s not about what shape or height is underneath the coat, all you see is a strong silhouette with a beautiful textile and fabulous shoes. It’s like the cover of a book. You don’t know what’s inside in a way, but the cover alone can draw you in. 

CS: What’s your favorite piece in your wardrobe right now, and why does it stand out to you?

AD: A vintage leather coat and some high-heel Chanel boots. Both leather. I have a bit of an obsession with leather at the moment. It makes me feel powerful in some ways.

CS: You’ve worked as an actor, writer, and producer. How do you balance these roles, and do you find that one informs or influences the others?

AD: I love every aspect of filmmaking. I think having an understanding of every department needed to create a movie is incredibly useful. They absolutely do inform and influence each other. I’ve also been a camera assistant on shoots I wasn’t acting on. I just wanted to be on set in whatever shape. I’m fascinated by every facet of it. When I’m on a job abroad and I’m not shooting, I go on set and hide behind a monitor and I watch. I love it. It’s like in theatre – you come to rehearsals every day even if you’re not in the scene.

CS: What’s the most meaningful connection you’ve had with a character you’ve portrayed? Did that role affect how you view your own life?

AD: I think my character in Shantaram. Karla was such a strong and powerful character, she gave me confidence and strength. She is a loner, and I really discovered so many parts of myself in trying to understand and experience that aspect of her personality. I travelled to India, Australia, and Thailand with that role, and already just that experience of traveling and discovering these cultures shaped me in some ways.

CS: Looking ahead, are there particular genres or types of roles you’re eager to explore in your career that you haven’t touched upon yet?

AD: To be honest, I’m interested in any genre as long as the story and the character are interesting and have depth. I do have a penchant for character-building roles—I love a challenge and a physical transformation. Being interested in all types of genres and roles means it’s always different, and you learn so much by being taken out of your comfort zone every time. I strive for that!

CS: What would you say has been the most surreal moment so far in your career?

AD: Receiving an email entitled “Zoom meeting: DEPP / DESPLAT” – my heart stopped for a second. And then receiving a text from one of the producers of Modì casually saying, “Hey, Al [Pacino] wants to have dinner with you on Thursday, are you free?” Are you freaking kidding me?!. I’d fly across the world to be there. These two actors have been my idols since I was a child, and being in their orbits for the last year and a half has been pretty absurd and surreal, I have to admit. The little girl in me is still screaming.

CS: What has been your most challenging role to date – can you share a memorable lesson you’ve learned from it that you still carry with you today?

AD: The most challenging, I think, was the role I actually wrote for the short film I co-produced and created with Edward Japp entitled Held for a Moment. It’s about a young woman who has a stillbirth. We teamed up with a charity called Sands and interviewed women and families who have lost their babies to try to raise some awareness. I felt an immense need to do justice to their stories and help educate people about it. I devoted my whole being to making that film. My heart broke for these women but the impact that the film had and the response we received made it all worth it. But in the future, I’ve learnt that when I do go to such deep emotional places for a part, I need to protect myself and have the right support system in place so I can keep the process a little bit safer. As actors, we are emotional sponges, so we can easily create a trauma that isn’t ours, and our body will believe it to be ours. I tend to switch off in nature after a job now, even just for a couple of days with some good books, and it really helps me to recenter myself.

CS: Do you have any quirky rituals or superstitions that help you prepare for a role or performance?

AD: Playlists! They feed the world I create for my characters! I always have a hidden object in my pockets or bag that I attribute to my character, and I write a diary as my character during the shoot.

CS: What do you have coming in the near future? Is there anything you can share with us?

AD: I have three projects coming out in the next few months – Plaine Orientale, a new show about the Corsican mafia for Canal+; The Gold 2 for BBC; and Modì: Three Days on the Wing of Madness by Johnny Depp. The rest… I leave it to the universe! I’ll manifest in the meantime.

DIRECTOR Jorge Higgins

COLOURIST Dan Beddoe

FILM PROCESS & SCAN on8mil

LIGHTING SHL London

PHOTOGRAPHER Finn Waring 

CAMERA ASSISTANT Amy Beastley

HAIR Ken O’Rourke 

MUA Scarlett Burton

STYLIST Prue Fisher 

STYLING ASSISTANT Charlotte Kelsey 

PRODUCTION COORDINATOR Benjamin Stone

NAILS Trish Lomax 

GAFFER Chay McGill 

SPARK Joe Morgan 

LOCATION MANAGER Thomas Ridge 

STUDIO KATANA STUDIOS

Isn’t Done Kicking Ass Yet

INTERVIEWER:  Chris Saunders

WRITER: Patrick Grady

Tanner Buchanan isn’t one to sit still. Whether he’s tapping his feet between takes, pushing himself to his limits in karate, or prepping to produce his own projects – Buchanan thrives in that sweet spot between comfort and challenge.

Upon bidding farewell to Robby Keene, the angsty rebel he played for five seasons in Cobra Kai, Buchanan took the time to chat with us about the role that’s shaped so much of his career — and what it means to close this chapter. “Saying goodbye almost seems like a death, like I’m losing a friend.”The Ohio native has been an integral part of the martial arts series Cobra Kai since it first hit screens on YouTube Premium in 2018. A sequel to the Karate Kid trilogy, the series follows the same themes of redemption, rivalry, and mentorship — and people really couldn’t get enough. It wasn’t long before Netflix picked it up, where it’s been a hit ever since.

Now, after a short ‘n sweet break, he’s ready to get back to it. He’s gearing up for a project he’s been quietly working on for the past three years. Besides that, he’s probably dreaming about riding his motorcycle through the hills of Spain — who could blame him, really?

Chris Saunders: Before getting into acting, you started out as a tap dancer – do you still practice to this day? 

Tanner Buchanan: I still tap to this day, however with such a crazy schedule I don’t get to go to classes and learn as much as I would like. But I’m constantly tapping my feet around anywhere I go and especially on set when there is some downtime.

CS: How much has dance influenced your growth as an actor, especially when it comes to using movement to build layered characters? 

TB: I think it has helped so much. It helps me stay confident and relaxed – I’m able to be free in a scene and move around however I think that character might move. I also make sure each character I play has little physical things – ticks, movements – unique to them. 

CS: If you could star in any musical, which one would it be and why? 

TB: If I could do any musical it would be Singing In The Rain. Whether that be a remake of the movie or a stage production. I would love nothing more than to do a version of it because that’s the movie that made me want to start acting. 

CS: With Cobra Kai coming to an end, how does it feel to say goodbye to Robby Keene?

TB: It feels weird not being able to play that character again. Robby has been seven and half years of my life and something I have put so much time and love into. Saying goodbye almost seems like a death, like I’m losing a friend.

CS: Looking back at your first day on set compared to now, how different do you think you are from that version of yourself? Has much changed?

TB: So much has changed from the first day until now, we all grew up on this show and went through such formative years of our life. This has been the best experience and wouldn’t have wanted to be anywhere doing anything else other than Cobra Kai. 

CS: You earned your black belt while working on Cobra Kai, which is an incredible achievement – especially since your mum earned hers back in the ‘80s. What did that moment mean to you? 

TB: It meant the world to me. We have really been training over the past seven years and to have the opportunity to receive my black belt was a true honor. I have so much passion for karate and want to continue to do it for the rest of my life. 

CS: Filming the final season must have been an emotional rollercoaster. Was it tough to keep it together? Were there any tears once it all wrapped?

TB: It was so hard to keep it together all season. Each and everyone of us were feeling the big emotions and nostalgia the entire time we shot and just tried to soak everything up. My last day there was definitely a lot of tears. I ended the day with a series wrap and as soon as it was announced I just broke down and started bawling and didn’t stop for a couple hours. 

CS: What’s been your most memorable scene or moment from the entire series?

TB: Honestly everything about this show is so memorable it’s always hard to pinpoint just one moment. But if I were to pick one now off the top of my head it would be the last fight of the show watching Billy get to fight in the tournament and win. 

CS: Now that filming is over, what will you miss the most about being on set?

TB: I’m gonna miss how much everyone hung out. The cast and crew were around each other for months on end and we never got tired of each other – we all worked together and hung out 24/7. Obviously we all still hangout, but can’t day-in and day-out now, so that has been a little weird – not just having access to being with everyone at a moment’s notice. 

CS: Has it been difficult adjusting to a new routine after Cobra Kai? Have you had much downtime, or have you already jumped into new projects?

TB: It definitely has been hard adjusting. We had such an intense schedule that I have definitely taken time to relax and allow my body to rest but I was eager to start working again. I probably only rested for a couple months and that was enough for me, I was ready to jump right back into something else. 

CS: You’ve mentioned wanting to work behind the camera more, especially as a producer. What about that side of the industry excites you?

TB: Well as an actor you are introduced into projects halfway through the process and get to see it through to the end. However I would love the opportunity to produce and be a part of projects from the very beginning. Getting to experience and create fun meaningful stories for the world to see!

CS: Would you say you put a lot of pressure on yourself, or are you more relaxed when it comes to your career?

TB: It’s interesting because I would say both. I am constantly sitting in comfortable, uncomfortably. If that makes sense. I always want to do better and continue to learn and challenge myself not only in life but in terms of this career and the only way to do that for me is to sit in an uncomfortable spot that isn’t too uncomfortable but just right. That perfect sweet spot.

CS: I read that you’re into motorcycles – do you have a dream bike, or have you already found the one?

TB: I actually don’t have a dream bike. I am more of a collector of bikes. I want to experience everything. Each bike has its own feel and ride and I just love it and I love getting to experience the differences within the feeling that you get from each and every specific motorcycle. 

CS: If you could take your bike on a road trip anywhere in the world, where would you go? 

TB: The next place I would like to go and see on motorcycle would probably be Spain. We got to go there for Cobra Kai but we were only there for three days and I found it so beautiful. I would love to ride around the country and see all of the amazing sites. 

CS: What’s next for you for the rest of 2025 – anything exciting coming up you can share with us?

TB:  I’m currently working on a project that I’ve been working on for the past three years. We still don’t know when it is going to come out, but it should be soon and I’m so excited for people to get to experience it. 

PHOTOGRAPHER Harry Eelman 

VIDEOGRAPHER Tyler Rabin

VIDEOGRAPHER VHS Jabari Browne

EDITOR Archie Dalziel

PHOTO ASSISTANT Isaac Schell 

STYLIST Britt Mccamey 

STYLING ASSISTANT Eliza Jane Flynn 

STYLING ASSISTANT Gaia Menichini

GROOMER Isaac Davidson

PRODUCTION ASSISTANT Laura Brunisholz

Finding peace and purpose with Pauline Chalamet

WRITER: Chris Saunders

Pauline Chalamet is in a season of her life where peace is the priority. As a new mother, it’s no surprise that she’s embracing a slower rhythm – one that, for her, is best found in Paris. When she joins our Zoom call, settled into a chair that radiates ease even through the screen, there’s a quiet assuredness about her. With political unrest gripping the U.S., France – though not without its flaws – offers a stability and sense of community that resonates deeply with her values.

Though Paris is now home, Chalamet’s career has taken her across the world. Best known for her role as Kimberly Finkle in The Sex Lives of College Girls, she quickly became a fan favourite, striking the perfect balance between comedic awkwardness and heartfelt sincerity. But while the HBO series introduced her to a wider audience, her creative journey has been anything but conventional.

Raised in a family steeped in the arts, Chalamet’s first creative discipline was ballet – a world of rigorous precision and unrelenting passion. Yet, it was acting that ultimately captured her imagination, offering a space to explore different perspectives and embody complex characters. After studying theatre and political studies at Bard College – a place that, as she later jokes, “taught her how to read” – she gravitated toward independent cinema, drawn to its intimacy, rawness, and unpredictability.

Her early career unfolded in a patchwork of short films and experimental projects, where she honed her craft both in front of and behind the camera. That hunger for creative autonomy eventually led her to co-found Gummy Films, a production company dedicated to telling offbeat, audacious stories. Even as her profile grew, she remained committed to projects that felt personal, seeking out filmmakers who shared her vision for nuanced, unconventional storytelling.

Now, fresh from collaborating with French fashion house Patou on a series of short films, Chalamet finds herself in conversation with one such filmmaker: Janicza Bravo (The Listeners, Zola, Lemon, Atlanta). Known for her razor-sharp storytelling and singular visual language, Bravo’s work – spanning film, theatre, and television – has long been a source of admiration for Chalamet. What follows is a conversation about art, ambition, and the unexpected ways their creative paths have intertwined.

Pauline Chalamet: How did we first meet? I think it was the time I went to the first fashion show [Patou] ever had, and I met Deborah, who was their PR. She was talking about who were friends of the brand, and she said you were. And I said, “Janicza is my idol, the person I want to meet more than anyone”. And she said, “Oh, I invited her to the show – hopefully, you guys will be able to meet.” But I think you were working, and we didn’t get to meet at that first show. But then we met at someone’s birthday party. And then we saw each other again at the next Patou show. You don’t understand how much I was freaking out.

Janicza Bravo: So this interview for you is actually just you telling me that you like me?

PC: Exactly. I actually just finished watching The Listeners. But I think the first things I watched of yours were short films that were on the Criterion Channel. And I was like, “Who is this person?” And there was Pauline Alone. They were all so good. And I was like, I need to meet this person. Lemon had already come out, so then I watched Lemon, and then my whole life energy was going toward meeting you. And then we met at the thing, and you thought you were meeting Kimberly Finkle.

JB: No, I mean, I was meeting the real person, but I was just so excited because I really love TV. I OD on TV. I remember Jeremy O. Harris telling me, “Oh, I think you would really like this show.” I think I had asked him, “I just need something. I need content”. 

It was also really wild to be watching it as the political climate was changing in the U.S., because the show paints a picture of a very inclusive world. And I found it was making me a little sad. Because I thought, there’s been this question of “Is the work going to change over the next four years?” due to what’s about to happen.

PC: Yeah, I think that’s very interesting. I think it was a very big wish of how a college campus could be. Because even though I believe that through it all, we will continue to make progress, pendulums swing from one extreme to the next. And it’s very easy to feel like this has never happened before, but that feeling is actually kind of dangerous. Because things like this have happened before. And I think that what Justin and Mindy did with the show is, they really created what Justin wished his college experience had been like. But the truth is, no college campus is as inclusive, as joyous, and as filled with as many incredible themed parties as Essex. But it gives you this utopia, in a way. It’s weird to exist in this space where we’re so accepting of all these things and then go back to reality, where Donald Trump is about to start a second term.

JB: It created a real bubble. It was already a bubble, obviously, but it really felt like one. It felt like I was watching a daydream. I was like, “Oh, that feels imagined.”

PC: Yeah, it felt that way when we were doing table reads, too. Because there’s so much acceptance, and anything is possible, and then instant contrast to the outside world.

JB: What was your actual college experience like?

PC: I went to Bard, upstate New York. It was nothing like Essex, but it was very small. No parties, no frat or sorority life. The parties were house parties. Very rural. I actually became a good student in college.

JB: Were you not a good student before?

PC: No, I got by. I didn’t dislike school, but I didn’t care about it. In college, I really got into academics. I believe I learned how to read.

JB: This sounds like an advertisement for Bard. “Bard taught me how to read.”

PC: [Laughs] Bard taught me how to read Reading comprehension. I remember reading Paradise Lost. It gave me a community where I had to read a few chapters or stanzas, come back, talk about it, analyse it. 

But college is weird. It’s this weird part of the American dream where you’re told anything is possible. Then you get to college, and they say, “Take your time figuring out what you want to study.” But you don’t really have that time. Let’s be real. You graduate, a lot of students have immense debt, and you have to spend those years figuring out what you want to do just so you can start making money to pay it back.

JB: Do you feel that’s the North American relationship to higher education? You’re in Paris now, you live there. Among your French or European friends, does it look similar?

PC: It’s completely different. The cost of school in the U.S. is unfathomable anywhere else. Take our northern neighbors in Canada, or our southern neighbors in Mexico. No one is paying as much as people do in the U.S. No one is paying as much for daycare or boarding school. There’s this very strange relationship between money and education.

JB: Is that part of why you left? Why did you leave home?

PC: Why did I leave home? Ah… I don’t know. I think part of me understands the value system in France more.

JB: Can you define what that value system is?

PC: I don’t know if I can. It’s more about what matters in life, right? You can be someone who is work-obsessed, who loves their work – and that’s amazing, and you should be rewarded for that. But the gap between those who work just to live and those who are workaholics shouldn’t be so big that they can’t even communicate anymore. When you’re in a place with more of a social system, that communication still happens on a more level playing field. It’s changing across Europe, but there’s still much more communication. Also, I just learned this: The taxes you pay in France and in California? Exactly the same. And in France, those taxes give you healthcare. Free daycare. Schools with good education, including meals. So many things that serve the system. I just like the idea of a social system. I like it. I think it’s nice. you make more money, you pay more in taxes to help those who don’t have as much.

JB: You’re pro-socialism.

PC: I’m really pro-socialism. Sure, maybe you make a little less personally, but I think you’ll be happier.

JB: Has motherhood changed you? Obviously, it has, but I mean in terms of how you view the whole world?

PC: No. You’d think it has, but I don’t think it has…

JB: You don’t think motherhood has changed you?

PC: No, I don’t. I don’t know.

JB: Oh my God. Breaking news! It hasn’t messed with your brain at all?

PC: No. Just my sleep [laughs]! But no, I don’t feel that way. I feel very natural in this role. I always knew I wanted to be a mum. So it was just like, okay, now I have that thing I wanted. Like, I really wanted that dress for a while, then I got the dress, and now I wear the dress.

JB: The baby’s the dress?

PC: The baby’s like the dress.

JB: That’s a dress for a long time! You say you knew you wanted a baby for a long time. What did that look like?

PC: When I was young and playing, I only cared about what was real. I never wanted to play House because it wasn’t real. I didn’t care about fake babies. I put on plays with friends, and I didn’t want to pretend to put on a play – I wanted real performances, with real audiences.

But we played house, the only thing I cared about was being pregnant and pretending to give birth. But I wanted it to be real. And I also knew that I loved my work.I have so many different types of projects I want to work on and roles I want to play, and I also knew it was very important for me to have a family. I wanted to do it as quickly as possible, to be honest, so I could grow both things simultaneously. That was my thinking. It’s also really hard because, out of my closest friends, I’m the only one who has a child.

JB: Has that been alienating? I’m so curious about this. I’m in my 40s now, and a decade ago, a lot of my friends were having kids, but many didn’t. Now, I have girlfriends having children, and I wonder – does it feel isolating, or do you find a new community? 

PC: Oh, interesting. I’m going to bring it back to France because this is what I’m realizing. In our industry, with all the travel and last-minute work calls, you need a good amount of money to maintain the career and lifestyle you want – especially as a woman. I see how easily you could give up your career to raise a child because it’s a full-time job.

JB: You mentioned making a handful of shorts with Patou. What did that look like, and how did it come to be?

PC: We went to the last show in June. We saw each other, went to eat. It was very fun. The show was inspired by the French New Wave. I left with Rhys, my partner, and we thought, “Is there something we could do with Patou’s clothes and film?”

We had this idea to shoot a short film using all Patou’s clothing. We pitched the idea to Guillaume, the designer, and it just so happened that they were brainstorming how to promote their next show. So we combined the ideas – this short film and a promo for the new outfits.

Rhys came up with three separate stories and scripts. Then we reached out to actors we wanted to work with, and Patou helped us contact them. Everything came together, and we shot these three shorts. It was really fun.

JB: Had you and Rhys worked together before? Beyond, you know, family life and making a child.

PC: I don’t know because he was at AFI, still in school, and then it happened very naturally. We got to work with Irène Jacob and Ruth Negga, and I was just like, “Pinch me”.

JB: Do you feel like it’s the beginning of something?

PC: I think so, yeah. We’ll see how life unfolds.

JB: It seemed like a synergistic thing, not forced, right?

PC: No, it was just fun. It was great to get the creative juices flowing. This was a project we could do while we were here, so we thought, “Okay, let’s do it”.

JB: This connects to what we discussed about College Girls. Do you and Rhys think about how to maintain artistic integrity while also being aware that we’re in a business – one that’s selling to an audience?

PC: I know, but that’s where you’re my role model. It’s so hard. I don’t really get it. I don’t speak the language. I look at filmmakers like you—individual voices who built their work from the ground up. But as projects grow, the business becomes part of it, right? Bigger studios, bigger producers.

It’s hard. That’s something I struggle with in L.A. The business of it all can feel intimidating, and I sometimes worry I don’t know how to navigate it. But then when I leave L.A., I wonder – Am I missing out?

Photographer ANDREW ARTHUR

Videographer MAX HULL 

Make-up Artist  CHRISTYNA KAY 

Hair Stylist JEANIE SYFU   

Stylist ARUT ARUSTAMYAN 

UNFILTERED

WRITER: Lauren Dickson

INTERVIEW CONDUCTED BY: Chris Saunders

The actor has been on the come up for a while, but with The Sex Lives of College Girls, she’s firmly in the spotlight – British charm and razor-sharp wit intact.

Confidence isn’t just a quality Mia Rodgers possesses – it’s something that feels innate, stitched into the way she carries herself both on and off screen. With natural charisma and a knack for delivering sharp, unforgettable one-liners, she’s been quietly making waves for a while now. From her debut as Jasmine Marks in BBC’s Trauma, where she held her own alongside heavyweights like John Simm and Adrian Lester, to her captivating performance in Caroline Hajny’s Diary of a Ghost, Rodgers has steadily carved out a space for herself as an actor with depth, nuance, and a magnetic screen presence.

But it’s her role as Taylor in The Sex Lives of College Girls that has truly put her on the map. As a character who effortlessly dismantles fragile male egos while navigating the often-overlooked struggles of being a queer college student, Taylor resonated with audiences in a way that felt both refreshing and necessary. And for British fans, there was an extra thrill in seeing Rodgers fully embrace her London accent on screen, grounding her performance in something that felt unmistakably her own.

At just 24, Rodgers has already established herself as an actor with staying power. She’s effortlessly cool but refreshingly self-aware, delivering humour with razor-sharp precision while never shying away from the emotional vulnerability that makes her characters feel real. There’s an ease to her performances – something warm and familiar – that makes it feel like you’re watching a friend on screen, someone you’ve always known.

Before Rodgers found herself playing Taylor in The Sex Lives of College Girls, she had dabbled in just about everything – fashion, prop buying, retail, even singing. But acting, she says, always felt the most natural. Now, with her first major role under her belt, she’s reflecting on what it means to step into the spotlight, navigate new experiences, and find confidence in her own voice – both on and off screen.

Chris Saunders: Hey Mia! Let’s start easy. We obviously know you’re British – where in the UK are you from?

Mia Rodgers: I live in North London, like the Arsenal bit of North London. I love it. I’ve lived here my entire life. I don’t think I could leave it. I’m bad at change.

CS: So, does that mean a future move to America is off the cards?

MR: I mean, I’ll go wherever the wind, or work, takes me. I love traveling, I really do, but it’s always nice to have a base. I spent some time there last year. I feel like it’s a process of becoming comfortable with your surroundings in a new place. When I first arrived, I thought, I’m never going to feel comfortable here, but of course, the longer you stay somewhere, the more natural it feels.

CS: It’s interesting, growing up in London. I feel like it gets such a bad rep. I grew up here too and feel I was super lucky in that aspect to be in such a vibrant city.

MR: We won the lottery already. It’s amazing. It’s my favorite city in the world.

CS: So, I read that when you were growing up, you were performing at first – you used to sing and then switched over to acting. I also read you tried to get into fashion for a little bit at some point. Tell us about that?

MR: Yeah, I’ve had so many careers. I’ve done fashion, prop buying, waitressing, the whole singing thing, retail – like, honestly, you name it, I’ve tried. Acting kind of felt like a natural trajectory from singing. I feel like most actors can sing, or dance. I have two left feet, so dancing was never for me. I can sing, but I felt way more comfortable acting than singing. I find singing extremely exposing and revealing. I used to get such stage fright when I would sing, but acting, on the other hand, is so freeing. I didn’t have to be me whatsoever, and over time it’s worked out, but it definitely took some time to get here.

CS: Would you say overall there’s less pressure on acting in comparison to singing?

MR: I don’t think so in the grand scheme of things at all, but for me personally, yes. I found I was very insecure when singing because I went to an all-girls school, and there was always shame put on you for trying something new. So, as a pre-pubescent teen, naturally my acting just kind of flourished over the vulnerability of singing. In more recent years, I’ve gone back to singing. I’ve missed it so much, and I’m glad that I came back on my own accord rather than – because you know when you’re slightly good at something half the time, you resent it in a weird way – and now I’ve gotten to a place where all I do is miss it and want to be back there, but I have to start from the beginning. So, I’m slowly getting back into it, which is nice.

CS: What would be your karaoke song?

MR: Oh my God. For years, it was ‘Creep’ by Radiohead. Such a classic. However, I’m no longer allowed to sing it because I had a really drunken incident during karaoke one Christmas, where I had to be pulled off stage, and I told everyone to “fuck off” because they tried to take the mic off me. I apparently followed that with a rendition of ‘Teenage Dirtbag’ as well, which I have no recollection of. So, I’m slightly scared of karaoke nowadays.

CS: And in terms of being a creative person, were your parents also creative, or were you the complete opposite?

MR: Yes, my family are all creatives. I think if I turned around and said, “Hey, I want to be a scientist,” they’d be extremely confused. My mum worked in advertisement photography for years, and my dad studied as a tailor, and now owns his own creative agency. Then my brother is an artist and prop maker – so, kind of in the same field, but an extremely creative household.
My dad’s agency is very fashion-oriented, so it’s a big part of my life, and it will forever continue to be. You asked earlier if I’d tried fashion at some point, I wanted to be a designer, a journalist, a fashion buyer, and then I just decided that I didn’t want to do fashion. I love it as a hobby, I don’t think I can make it my career. Luckily, a lot of what I’m doing now brings me into the fashion world slightly. So it’s kind of the best of both worlds.

CS: It’s probably nicer that way, you’re still part of it but don’t have to worry about going through the whole super intense academic route.

MR: Yeah, the idea of going to Uni was never for me, even when I was in primary school.

CS: What was the first thing you wanted to do when you were younger? Was it singing?

MR: No, actually, I wanted to be a teacher when I was a kid. I just loved school. I used to come home and make my mum play teachers and students. She would be the student, and I’d be the teacher. I’d read the register and sit on my little chair, and she’d answer in different voices, being like, “here” or “absent.” And then it was to be a fashion designer, and then it was to be a singer. I’m not very good at making decisions.

CS: Moving to more modern times, you’re starring in The Sex Lives of College Girls. Now that the series is aired, have you had much time to reflect on the whole experience?

MR: Yes, definitely. With the show being out in America first, airing from October, I had time to internally process it being out. When I go over to America, people would say, “Hey, I watched it,” which is just nuts in itself, but it wasn’t yet in my daily life, whereas now my friends and family have watched it, and all of their responses are making it more real, especially as this is my first big job. For my family and friends to see it and have such a positive opinion of the show made it all more real.

CS: I can imagine. Did you watch it with your family and friends?

MR: I did. I had a watch party with my parents and my girlfriends on the day that it was released. We had drinks and pizza and watched the first couple of episodes. We caught ourselves fast-forwarding and rewinding to see my parts, which was really funny.

CS: Amazing, assuming they all have very positive things to say?

MR: Yes, and if they don’t, they’ve definitely not told me!

CS: What was it like joining an existing series? I can imagine it’s a bit like being the new kid at school?

MR: Definitely. I got the role within days of auditioning, so it happened so quickly. Then, getting the official green light, getting my visa, and actually heading to shoot was about 6 weeks. I didn’t really have time to think about the grandeur of it all. My main focus was just getting there and knowing my lines. Then I arrived on the lot [of Warner Bros.], which was just iconic. There’s history everywhere you look. I got hit with such impostor syndrome. But everyone was so nice and really took me under their wing. But yeah, now you mention it, it was totally like the first day at school. The show is a lot of sex, drugs, and rock and roll, but the story follows the girls’ friendship, and the cast felt the same. They gave me instant advice and made me laugh, which was so comforting.

CS: Being British, we always look over to America and see that crazy college experience, and I kind of wish I could do that. You obviously didn’t get to experience it authentically, but you had a taste of it. How was that experience?

MR: 16-year-old me would be so gassed to be in a frat party, holding a red cup. The sets are so realistic, so yeah, it was so fun to have that American college experience. Also, looking at it from a British 24-year-old’s perspective, I was just thinking, “This is mad, if half of this is real, how on earth do they get any work done?”

CS: Did you go to any American parties beforehand to prepare for your role?

MR: Unfortunately not. When I was there, I was a bit of a hermit because everything was so crazy, and I equally didn’t really know anybody at the beginning. As time went on, the girls in the show took me out, and I made some really nice friends. But definitely no frat parties, that’s for sure.

CS: You said in an interview Taylor being unapologetically herself was inspiring to you. I wondered if you find it difficult to be yourself unapologetically sometimes, and did playing Taylor awaken that part of you?

MR: Yeah, I think it’s such an interesting one, because I moved there not knowing anyone, so naturally I had to step out of my comfort zone. Like I said earlier, I’ve lived in the same area my whole life, so to turn that on its head and do the complete opposite was something I didn’t realize I would struggle with. My character Taylor is unapologetically herself – open-minded, strong-willed, super sarcastic – all these incredibly strong traits. I thought I was as Mia, and I am, but it was conflicting. Taylor and myself were both taking on new parts of the world, starting new journeys, and it was a weird, serendipitous crossover. After a while, I was able to process those insecurities alone.

CS: You were also recently in a short film called Diary of a Ghost, which is massively different from The Sex Lives of College Girls. What was it like jumping between two such different genres?

MR: So, Carrie, the director of Diary of a Ghost, I’d met briefly 6 years before. When I finished drama school, she messaged me telling me I’d be perfect for the role of Hayley in her short film. I read the script and loved it. Short film is just such a great medium, and something that I think every actor needs to do to get their foot in the door. The biggest difference when it came to shooting, in comparison, was most scenes just took one take, unlike The Sex Lives of College Girls, where it’s like 30 takes per scene. I also think the differences between American and British sets are very apparent. The way they run is so different. But it’s a piece of work that I’m really proud of. It’s hopefully going to be made into a future film. It’s just all about funding, but it’s done really well in the film festivals.

CS: I also wanted to have a quick talk about Trauma, which I read is the first role you ever got booked for. Looking back now, how did that experience help shape the person and actor you are today?

MR: Honestly, when I got that role, I was so ecstatic. I thought I’d made it. The BBC, John Simm, Adrian Lester. I was like, “I’m a big deal.” It was amazing. I cried! Small roles on big productions are good – you just learn so much because there’s less pressure on you, and you have more time to take everything in and learn. I’m such a fan of John Simm and Adrian Lester too, who I used to watch with my dad. I just thought he was the coolest guy in the entire world. And then to go to running lines with him, that’s when I was like, “This is exactly what I want to do.” And I think getting to know what you want to do for the rest of your life at such a young age is such a privilege.

CS: What are the rest of your plans for 2025 – not just career-wise? Any new skills you want to learn? Anything you want to tick off the bucket list?

MR: Yes! I want to learn to drive so badly. I’ve tried a few times, but I’ve never actually sat my test. I’ve also fallen out with two driving instructors for saying women can’t drive. My reaction, I think, is totally fair. So, I would like to learn that skill, definitely. And focus more on music and singing. 

Photographer BARTEK SZMIGULSKI 

Videographer EWAN MCINTOSH

Stylist JUSTIN HAMILTON 

Styling Assistant LORNA LANE 

Styling Assistant ANAIRN KAINES

Make-up Artist KELLY CORNWELL 

Hair Stylist JOSH KNIGHT

Isn’t Chasing Fame – He’s Chasing Feeling

WRITER: Patrick Grady

Lucas Bravo is a refreshingly chill guy. Though he may be known as the misunderstood, brooding  chef Gabriel from the show everyone (and their mother) first binged back in the lockdown days – Emily in Paris – he’s now looking beyond job security, in pursuit of a career that feels wholeheartedly successful.

The French actor joins me on a spontaneous Zoom call where he spills the beans on the show that put him on the map, the projects he’s been a part of in between seasons and offers a peek into the kind of person he is behind the scenes — all while eating his breakfast on a rare grey day living right under the Hollywood sign (which he kindly attempted to show me… still waiting on that picture, Bravo.) 

It’s abundantly clear, he takes the whole fame thing in his stride. Unfazed, even, by the madness constantly encircling his industry. For him, satisfaction lies not in the spotlight, but in the quiet privilege of being able to work on projects that strike something deeper – something true. As he puts it, “I don’t want to feel safe. I want to feel alive.”

As for what’s next? Don’t stress, ‘hot chef’ will be gracing our screens once more and in Bravo’s eyes, he’s hoping to bring back the very charm and charisma that made us all fall for him in the first place. In the meantime he’s got some things up his sleeve that will keep us all on our toes. 

Patrick Grady: Hi Lucas, how are things in LA?

Lucas Bravo:  Gloomy – but always nice to be here.  I used to live here, I moved when I was 18, stayed for five years before moving back to Paris.

PG:  Wow. So you actually lived in LA – how did you find the industry compared to Paris? 

LB: When I first moved here, I wasn’t in the industry at all. I just moved because I wanted to experience a different culture and speak a different language. 

PG: What about LA was calling your name in particular?

LB: I always wanted to go to New York, but a friend of mine had a friend in LA. I was in law school in Paris, and he was like, “Do you wanna come to LA, and we’ll just stay there for a week and see how it goes.”  I just never left. I liked it that much. I guess there’s the magic of LA – mostly what it used to be because I feel like it has changed a lot. But also I was 18 and it was my first experience of freedom and being away from home without having to justify any of my actions.  I was kind of intoxicated by the idea of being free in this crazy city.

PG:  Now that you are acting. Would you be tempted to move back at any point? 

LB:  I might. I come back pretty often for press and also to see my partner. She’s in LA, so I tend to visit a lot.

PG: Looking back, when did you know acting was it for you? 

LB: I think first as a kid, it’s as close as it gets to playing doctor and nurse, you know, and getting paid for it. Life is a game and this is the game within the game and it’s just fascinating because it’s the only job where you get to play human, while actually living. Also, it was quite therapeutic because as a kid I was traveling a lot –  my father was a professional soccer player and would be transferred a lot. So every city I would visit, I had to reinvent myself. At a certain point, it just became an emergency. Because when you look for a part –  when you’re looking for a character –  you also use tools that you then can apply to yourself to know who you really are.

PG:  So did you first start navigating the industry while in Paris? 

LB:  I started in Paris with improv class. Which I loved. I’m an introvert and was very, very shy, so to have the occasion to be on stage and be humiliated on a daily basis? It really made me. Now, fear is more of an indicator where I’m supposed to go. I really rely on it. I started in Paris;  I was in a commercial agency, so I would do commercials to pay the rent. Little by little, little role by little role, until the big break with Emily in Paris. 

PG:  Do you remember exactly where you were when you found out you landed Emily in Paris?

LB:  I was in my kitchen having breakfast like I am now. I got a call from the casting director and I remember feeling very peaceful. I thought to myself – if I had gotten this news five years back, I would’ve jumped everywhere and called everyone. But, you know, I feel like life doesn’t give you what you want unless you’re ready to receive it. I wasn’t [necessarily] ecstatic about getting the role. It was more like, “Okay, so now I’m getting a chance, let’s make something out of it – because getting it is not enough.”  I remember putting some music on and I went for a five hour walk through Paris. I wanted to look at everything and everyone through that different prism. The prism of everything’s going to be fine for a while. It’s one of the happiest memories of my life.

PG:  That’s a really lovely and refreshing way of looking at it! Did you know much about the project at the time?

LB:  I had read episode one and I knew that Darren Star was involved. I was a big fan of Sex And The City. I knew that Lily Collins was in it. I was a big fan of Lily – I really love her movie To the Bone. I was also aware it was the first time Paris was going to be filmed from an American perspective. I wasn’t sure how accurate it was going to be – but I knew it was going to be beautiful. 

PG: Now that we’re approaching season five – can you believe people are still obsessed with the show? What do you make of its success? 

LB:  I’ve hardly digested season one. It’s the fifth season and sixth year because we started in 2019 and then there was covid. It’s crazy how time flies. Typically it’s five months to film a season. It’s very demanding. It’s like half a year with that one character. By the time the season ends, you’re like, ‘Who am I? What do I do in my free time? Who are my friends?”  Emily has taught me a lot about the industry and about myself. It’s the best school I’ve ever had. Definitely. 

PG:  We left Gabriel in a pretty inconclusive way in the last season. What do you, as Lucas, hope he’s able to find in the next season? 

LB:  I just hope he finds peace. He’s been on a journey for a while. He has been intertwined with a lot of dynamics that weren’t necessarily his own. He’s been in the middle of a lot of crossfires and I just hope he finds peace. In the first seasons he was kind of cheeky and happy and I hope he finds his smile back.

PG:  You’ve obviously done other projects since and in between – are you excited to continue to play roles beyond ‘hot chef’? 

 LB: Emily in Paris has made a lot of noise because it’s on Netflix, so it’s international and there’s a lot of visibility, which I’m beyond grateful for – but for me it’s just one project. As an artist, I want to challenge myself. I want to explore different things. I want to do a western, I want to sword fight, I want to go to space. It’s a game and I want to play it fully. 

PG:  Working alongside huge names like George Clooney and Julia Roberts – do you ever feel intimidated or are you able to completely compose yourself?

 LB: Once you’re on set, you have to get into character, so you forget about all that. But I have to say – when I first stepped on Ticket to Paradise in front of Julia and George, that’s the first time I was completely starstruck and intimidated. Luckily, they happened to be the nicest, kindest people I’ve ever worked with. The most generous – they really take it upon themselves to make everybody comfortable. And when you have examples like them, you just want to perpetuate that.

PG:  I read that you badly injured your shoulder when you were filming Freedom. How did you keep going? Because you continued filming didn’t you?

 LB:  It was a big scene where I’m like falling backward into a big giant inflatable mattress. They wanted to do a test to see how I fall in between the scenes, so they made me climb a few stairs. It was super high but It looked okay once I was up there. I was supposed to jump and kind of fall on my back, but I messed up my jump and started plummeting head first. So, I put my hands first to protect me, and my shoulder just went straight back. Then I had to shoot the rest of the movie for a month with a hanging shoulder, which was crazy because I had so many action scenes. 

PG: Wow, that sounds so intense. If something like that were to happen again, would you continue filming or would you take a little breather?

LB: I would. I don’t really care about injuries. I care much more about the truth of what I’m shooting and the character and what I can bring to him beyond feeling safe. I don’t want to feel safe. I want to feel alive. We redid that jump, it was the last scene we shot. I really prepared myself for it. I warmed up correctly and worked out a lot beforehand.  I really wanted to succeed.  I think I jumped about 16 times in a row that time. They were like, “Okay, that’s a wrap. The movie’s wrapped,” and I was like, “No. Just one more. Just one more.”

PG: Ten years down the line – what do you want people to think of when they hear the name Lucas Bravo?

LB:  He was a good man, and he never left anyone behind.  I just want to be there for the people I love and ultimately want people to have empathy and consideration. It’s not so hard.  I wish that was sexy again, you know, to be just kind. 

PG: Couldn’t agree more. Where can we expect to see you in the coming months?

LB:  I have a movie coming up in Canada with bears, which I’m excited about. I’m heading out in April, for a month to get accustomed to the little cubs. Then we start shooting for two months. Then I’m doing a Second World War movie in Paris, and then I might do a Western. I don’t know yet. We’ll see. I’m having a lot of fun.

PHOTOGRAPHER  / DIRECTOR Theo Gosselin

CAMERA ASSISTANT Jules Pandolfi

DRIVER / CAR Lasko Show

DOP Gwendal Peron

FASHION DIRECTOR Justin Hamilton

STYLING ASSISTANT Lorna Lane

STYLING ASSISTANT Rhia Kapoor

The Sweet Disposition of Fred Hechinger

WRITER: Dio Anthony

When Fred Hechinger left his home in New York for summer camp some umpteen years ago, he had high hopes. S’mores by the fire, sweaty nights full of chatter, and the beginning of a profound and indestructible bond with all those he’d share these experiences with. “I realized I wanted the movie
version of things, which has happened a couple times in my life.”
Today, at 25 years old, this facet of his personality remains. He is still seeking this version—except now he’s creating it too. In what seems like a love letter to his younger self, Hechinger is a bona fide actor—adding to an invisible reference list of “movie versions” with every role he takes on and every cinematic universe he helps build. There is a common thread to his it factor, a throughline of sorts. A glimmer that lives within, peeking through with every performance. Talking with Hechinger, I can surmise that this glimmer is one of curiosity, a sensibility that propels him forward, all the while managing to carve out a space for him and only him.
A quick search of his social media profiles quickly reveals that he is part of the rare crowd of young people who are choosing to live offline rather than on. Preferring to create experiences in person and using his phone as a means to do so. This isn’t to say that he’s been formally excused from the tight grip
technology has on us and our attention spans. He simply recognizes it is not where he wishes to spend his time. Lucky for us, he’s too busy being inspired by film and by the collaborators that surround him. Lending his talents and all-consuming love for storytelling to anyone who will listen. And reader, when he’s talking, you really ought to listen.

Fred Hechinger: How’s it going?

Dio Anthony: I’m good! Hanging out. I’m excited to talk to you today. I watched your new film this morning, and I loved it so much.

FH: Thank you so much for watching.I’m so happy about that.

DA: I am too! I instantly had a question about the movie. Those photos in the film of a younger Jason, your character, at camp, they looked exactly like you. Those must have been your actual photos, right?

FH: The ones where Jason is looking kind of wistfully, yeah, in a cabin—there’s one or two that we tried to take. Oh, but actually, no, the ones you’re talking about are from when I was really at camp. I only went to camp as a kid for one summer. It was a fun experience, but I don’t think it meant as much to me as it does to Jason. I kind of wanted to have this relationship with summer camp like that, but in reality, I didn’t feel like it was that way. So, it’s funny that those photos got repurposed within the story.

DA: That’s actually hilarious to me. I know that sometimes productions can alter a photo to suit the story. However when watching this scene you just mentioned I felt that this had to be a real moment–an actual photograph from your life. I’m curious why you only attended for one summer? And What sticks out to you from that whole experience in general?

FH: That’s a great question. I thought of this romantic idea of summer camp, and then I got there, and it was more sporty than I am. It felt more varsity sports centered. I wanted to be around the campfire. I think what I realized, which has happened a couple times in my life, is that I really like the movie version of it, you know? I wanted to go to the movie version of a summer camp. Then when I got there, it was all these sports and I couldn’t even watch movies. I remember being like–oh, I kind of miss home. I will say though,
a fun highlight of using those photos in the in the film was that my friends from that summer camp, who are really wonderful, both my friends and then the great counselors from that time, I reconnected with them in getting the rights to use the photos, which was funny, because we had a reunion through securing this photo for the movie.

DA: That’s so interesting, I also feel like I would have probably had the same experience if I went to summer camp and it was more sports in a big way. I’d think, this isn’t the vibe. I don’t know if I love this. Much like you, I feel like I also always think things are going to be like the movie versions of things. Which is a very movie lover thing to say. Something else I want to talk about is, I’m fascinated by this idea of you not really having an active instagram. It got me thinking–are you spending much time on your phone at all? Or are you very anti-phone use?

FH: I mean, I admit it feels hard to live in the modern world without some contact on my phone. And I waver between having periods where I’m working and probably use the phone significantly less than normal. But I do use it. I try to just use it a pragmatic amount. I use it as a way to contact people to create experiences in person. As a means of doing that you could say. It’s nice to keep in touch with people. But I really like making things and I find that when you are able to tell stories, you are able to kind of craft longer things that take a while to make. For that reason, I probably care less about making stuff on the phone because it’s shorter.

DA: I feel that when people aren’t spending as much time on the phone, specifically on social media, you have a greater abundance of time. Time that would usually go to hobbies. Time that would have been already free if the element of social media wasn’t there to begin with. Is that the case for you? What could you be found doing at any given day when you have some downtime?

FH: Something I love about acting and telling stories, is that I think it allows for a general curiosity of the world. I feel very lucky that I can follow my curiosities and go down different rabbit holes of interests. Actually, that’s the kind of online phone stuff that I probably am most partial to. The curiosity of–what is this building? After seeing a building on a walk. Why is it a landmark? And suddenly you’ve read everything that architect’s ever done, and it’s like four hours later. I do remember when I went to summer camp, that even though we weren’t allowed to bring phones, I did sneak in a Game Boy at the time.

DA: Classic!

FH: Yeah, [laughs]. And we would share this Game Boy, passing it around camp, playing Super Smash Bros in the wee hours of the morning.

DA: I read that you mentioned 2024 felt like a reflection year for you. Now that we’re a few months into this new year, how do you feel it’s shaping up for you personally—not so much in terms of your professional life, but just in general?

FH: I think I said the reflection part because I had a lot of different work come out, that had been made over a longer period of time. It all serendipitously came out around the same year. I feel very grateful to
do what I do. I guess I feel focused at the moment to build work that speaks to me at least, and I hope speaks to others.

DA: I love that. I feel like I’ve just been reading a lot about you…

FH: [laughs].

DA: One thing that I read about was that you were a kid reporter growing up. I don’t know how accurate the internet is sometimes, but it stood out to me, and I thought it was very fascinating. What exactly was that about?

FH: You know, It is true. When I was in middle school, there was a–do you remember Scholastic?

DA: Of course, the Scholastic Book Fairs. They were amazing.

FH: Exactly! Well, it was through Scholastic. At the book fair thing, you could apply to be a kid reporter. I didn’t think it would ever happen, but I wanted to talk to artists and write. I’ve always wanted to write or tell stories in some way. So I applied, not knowing what would happen with it, and then I had the opportunity to do it. It was just this funny thing because I was truly a child. They send all the kid reporters the trademark red shirt that you would wear to these junkets and stuff. I’d go to these press junkets and interview actors. Or I would write articles for the Scholastic blog and website about issues and things that were going on. For that, I would go around with a tape recorder and ask people questions.

DA: That’s amazing! Honestly, I’m kind of jealous that I never did anything like that as a kid.

FH: Well, look, maybe it’s good you didn’t, because now you’re a professional.
DA: [laughs], Thank you. I’ve gathered that you are a movie lover, outside of your life as an actor. What movies do you feel like you can watch over and over again and never grow tired of?

FH: That’s another great question. There’s so many. Just the other week I did a rewatch of Steven Soderbergh’s Ocean’s trilogy, and they’re just wonderful. They’re so impeccably made and so fun, and also a really great example of a trilogy where each of the films are completely different, even though they
fit perfectly as a trilogy, none of them are doing the same thing. Rewatching it the other night I was very impressed by that mix of expertise and risk taking.

DA: Did you by chance catch his latest film Presence?

FH: I’ve yet to see it, but it’s at the top of my list. I’m a little behind on new releases. But I love his work and I’m really eager to see this one.

DA: Oh, it’s a good one! I think you’ll love it, especially if you’re already a fan of his. There are so many little tidbits to it. I spoke to an actor from the cast, and I was told that the crew was very small—Steven was actually behind the camera the whole time. Really fascinating, cool stuff. Okay, so the second part of that question, which you kind of touched on is: How long after the first viewing do you usually rewatch a good film? I’m a movie lover myself, and even though I know I’m going to rewatch a movie a lot after seeing it the first time, it’s still so clear in my head that I’m still riding the high of that first viewing. I don’t feel the need to see it super soon. You know what I mean? What do you think?

FH: I do know what you mean. For me, it’s more emotional than it is intellectual. I remember seeing Magnolia for the first time–on the big screen, and then it was showing again the next week at the same theater, and almost without thought, as if my feet were just leading me back there, I went and saw it again. I couldn’t resist not seeing it a second time. It’s just one of those film experiences where you feel so inspired but also connected to life. Oh! A movie I saw recently, which I can’t wait to rewatch is Hard Truths, Mike Leigh’s new movie.

DA: Oooh, yes, I’ve been reading about that film. But I have not watched it yet.

FH: I’m so excited for you to see it. It’s so moving and brilliant and funny and wonderful. And Mary Jean-Baptiste’s performance, everyone’s performances in that film are incredible. But that’s one where, the moment it ends, you know that it will live with you. It’s so connected to life. It’s so connected to the
practicalities and the difficulties and realities of life—that you know it will walk with you after the movie ends. And also makes me want to go back to.

DA: Also–what a great title, no? It makes you think. I could be speculating, but I feel like you have an affinity for horror. Would that be an accurate thing to say? What do you like about the horror genre?

FH: Something I really love about Horror films, and something that I really love about comedies is that both genres are meant to be experienced in the movie theater, you know what I mean? They are made for an audience. Laughing and screaming are both reactions of an audience that as an audience member, you don’t have control over–so there’s this communal aspect to them. With Hell of A Summer, we really made this movie for the theater. We made a movie that’s a horror-comedy meant to be experienced that way with people. I really like going to the movies. You meet up on a weekend and plan with your friends to go see this thing and have this shared experience together. It was also really exciting because the characters in the movie remain themselves in all their messy, strange ways. Even though these horrific things might be happening to them, it doesn’t turn them into traditional horror movie heroes—it just reveals more deeply who they actually are; at their best and at their worst.

DA: That’s a really good point, and I think partially why I enjoyed it so much. How did it feel? Was it any different at all, working with two filmmakers that are so young and close to your age? I think that’s one of the coolest things I love about the movie–you have these individuals making films for their actual
demographic, and that’s not always the case. Did you feel like there was a different feel with the process or on set? Versus your experiences working with a director that is maybe 10 years your senior.

FH: I’m so glad you felt that and picked up on that. Finn [Wolfhard] and Billy [Bryk] and I were in our early 20s when we made this movie, and they’re both experts. They live and breathe movies, and both of them being actors themselves, they both really understand what an on-set environment can be in its best form. Honestly, we filmed this during the summer time and at an actual summer camp where we all stayed. So it was this familial, really beautifully designed production. So much of our cast and crew were young
filmmakers and that was a really major aspect of making the movie. It felt very homegrown and really fun and personal in that way.

DA: Another thing I picked on was how sharp the dialogue was. It makes sense that it was, since this was coming from people that were very close in age to the characters on screen. Not that you have to be of a certain age to be able to write well for other walks of life. It just felt very real and reflective to those behind the words. I thought it was very funny.

FH: To that point, I think no matter what the subject or the characters are, the worst thing you can do in a movie is condescend your characters and by extension, your audience. I think every character in a movie deserves the full dignity of being a person. And I think with any audience member, their meter for this type of thing is pretty good, and it goes up if the characters we see are doing stuff, not because it’s true to the character, but rather serving a story or an idea of an age or whatever it may be. So I think it’s really important to do right by your characters.

DA: I love how you put that.. The idea of an age. That’s very true. I really like the choices you’ve made as an actor in terms of career trajectory. A lot of my friends are actors, and I feel that when writers or reporters ask actors questions like, ‘What brings you to a role?’ The answer is often just–It was a job. But I feel like it might be a little different for you. I’m wondering if there’s a certain element that draws you to a role. I thought your role in Hell of A Summer was really funny—it just felt so right for you. I also loved your
role in Fear Street, I thought it was hilarious. It felt like a different variation of Jason. With roles like that, I wonder: Is there something specific that attracts you to them? Is there a common thread, or is it more
random?

FH: I think I follow original filmmakers. That’s what I get most inspired by. Scripts and stories that are written with a creative personal edge. I don’t mean autobiography when I say personal, but I mean more that thing of–oh, the person that’s going to make this movie feels it in their gut that they need to make this movie. They have something unique to themselves that they want to say, but it’s hard. It’s a weird alchemy sometimes–what you gravitate towards at each moment in your life as an artist. I try and follow
the people who inspire me. I also think there’s an element of risk that’s important, where you’re always trying new things. I think it’s no fun to yourself or anyone else, if you’re repeating yourself. I think you want
to pave your own path and push your head in those specific ways. It still sounds a little vague, but I will say there’s no plan in place. It’s more about which artists really inspire me.

DA: That’s really great. I really enjoyed hearing you answer that. And no, it doesn’t feel vague at all. I’m curious about your role as producer on Hell of A Summer–at what point in the process did you come on to
the film?

FH: Interestingly, Finn and Billy wrote the script, and they’d been writing it for a long time, and sent it to me. We then met in person for the first time. We went to this Thai restaurant and sat there for like four hours or something. I think I had like three kettles of tea, [laughs]. We just talked for a really long time about the story and how they wanted to do it. We talked about it a lot and sort of built it in that way together. It was a really, really fun way of working. It contributed to what you asked earlier, about how it
felt. We built a real summer camp in a way. Every actor lived in the same Bed & Breakfast that we took over, right next to the camp. Sometimes we’d even sleep at the camp. It was a real close-knit crew and we were in the forests of Ontario in the thick of summer. We all left home to film this like we were going to actual summer camp.

DA: I’m so glad I asked because these are such great anecdotes to how this all came about. You guys were basically the counselors in a way and then slowly brought everyone else in.

FH: Totally, yeah [laughs]. Another thing that stuck with me about this is that it’s a story about young people, but it’s also, to me, about the first time that a young person realizes they’re starting to get old. It’s
that first stage of the feeling. You’re like, I’m still technically young, but I can’t live in this summer camp forever. The feeling of—I might be a little bit old for the first time. I have to jump onto another train now and keep moving. That coming of age aspect of it, I think, was something that was personal to all of us through making it.

DA: I felt like that was a really important bit too. I got a real kick out of the line where they have Jason tied up and say something like–you’re like 45 and you’re still here. He’s like, I’m only 24! I thought it was so
funny but also held so much hidden heart and meaning. Jumping back to the topic of rewatches– I actually just rewatched Eighth Grade recently with my niece, who’s in eighth grade.

FH: Oh wow!

DA: Yeah, I really wanted her to see it and watch it with me. I hadn’t realized how long it had been since I last rewatched it. That was your first official credit, right?

FH: Yeah, the first time acting on film.

DA: That’s amazing. I’m so curious about that mall scene. Was that improvised? Can you speak to that a little bit?

FH: It was so fun. We filmed that at this mall in White Plains, New York. Someone recently told me that the mall actually closed. I don’t know if it’s true or not, but I just heard that recently. It was so long ago, I’m trying to remember what was improvised. Bo Burnham wrote the most brilliant script. I remember reading that screenplay and crying and thinking, I so want to be a part of this film. I think what happened was, in casting, we wanted to build that group, and even though it’s just one scene, we kept adding more people.
There may have been some improv, but by the time we got to filming, it was pretty tightly scripted. We improvised a couple of things, maybe at the beginning or end of the scene. That was also one of those
experiences where we got close with the other actors. We all felt really happy to be there and to start out that way. I was very inspired by that group of actors. I remember that so fondly. Also seeing Bo as a young person directing that movie was really inspiring to me. I felt like he gave us a great kindness. Both in sharing the story with us and letting us play those parts. But also I remember feeling like he kind of pulled back the curtain of how he was directing the movie as well. I remember when I was doing a little bit
of ADR for that scene. I think he could tell that I was interested in the practicalities of editing itself. He then let me stay around and watch him edit the next scene. He was really open about the process, and that left an impression on me. Because he was someone that was as young as he was, he was an inspiration to a lot of young people. So to see him direct his first film was really, really awesome. What were your niece’s thoughts? What did she say about it? Sometimes kids in that age, it’s almost too close
to home, but I’m curious how she felt.

DA: I think it was too close to home, too. I think she just didn’t really resonate with Kayla and kept saying, “Well, why isn’t she doing this?” or “Why is she being weird?” And I’m like, “She’s not being weird, she’s just awkward.” And she’s like, “Okay, well, that was weird.” But I feel like that’s exactly what the people at the school shown in the film would think—they’d be like, “Stop being weird,” or “She’s being weird.”

FH: [laughs]

DA: I’m like, it’s more than that, you know? Like when she goes up to the two friends at school, or the two girls she wants to be friends with, and just tries to start a conversation with them—she was like, “See, that was weird.” But she’s too in it at the moment. I think if she watched it a couple of years from now, she would probably feel slightly different, maybe even just one more year later. Eighth grade is so specific. That being said, she did like it. I enforced a no-phone rule for it. We just had to watch—no phones allowed, and she was intrigued. She just thought Kayla was weird. And I’m like, “You’re not getting it,” but I think that’s probably because it was so good, you know? That it felt too personal. But it also speaks to what we talked about earlier—how I feel like it speaks to the genius of an original filmmaker. Because, I mean, Bo wasn’t an eighth-grade girl, and he was able to write this and make it feel so real, and to really have it pass the test of time. That’s really cool.

FH: Yeah, I love that. I’m so glad you watched it with her, even if she didn’t love it.

DA: We’ll re-watch again soon. I’m determined to make her love it.

FH: Yes, and call me. Call me in a couple years and tell me how that goes.

DA: Deal. On another note, I have to ask, because you’re a true born and raised New Yorker. What are some of your favorite places in all of New York? Little things that really feel like home to you?

FH: I love this city so much.

DA: One thing I love about New York is the random one-liners you hear while walking down the street. They’re always so different, especially in the summer when people are on the phone or chatting with friends. These passing lines are always the craziest things, and you can assume so much about their
lives just from that one moment.

FH: I had an acting teacher who said, when you’re preparing a role, just walk around New York, sit at a coffee shop, sit outside on the corner and just listen. The amount of details and the kind of overflow of lives that you’ll pick up, it’s like a radio. Everywhere you turn, you’re catching a wave of a person’s life. It’s
very inspiring. I love all of it. There’s this bench in Central Park that my grandmother used to sit on. It was very meaningful to her and my grandfather, who I never met. He passed away before I was born. But I
would walk with her, and we would sit on that bench sometimes. Every time that I’m biking around the park or taking a jog, and I pass it, I sometimes will just stop and sit there for a little bit because it’s wild to think that this one bench is a place that he also sat, so many years ago. New York’s just filled with that. I heard a Martin Scorsese thing once, where he talked about how New York is an incredible place to film, because you could put all of the money into building a soundstage–millions of dollars, and it won’t even
come close to what you get if you walk down the streets of New York and started filming for free. The amount of truth and life that would just immediately be captured by that camera is significantly more
impressive than anything you could build.

DA: One more thing. What are some Fredisms that those closest of you would agree with, but those who aren’t wouldn’t know about you? One thing for me is that I’m always losing things. I lose glasses all the time. I’m always having to get new ones because I either lose them or break them. And those are very
Dio things. What are some of yours?

FH: There’s a great Jazz Standard song called, Why Try To Change Me Now? And there’s a line in it that goes–I go to the corner, I end up in Spain. The idea being, I’ve one little mission, I’m just gonna go down the block, and then suddenly I’m miles and miles away. Sometimes I feel like that, where I just get lost in whatever is happening and kind of follow the instinct or the impulse or something–and suddenly I’m miles
away.

DA: That’s really poignant—I love that. My last question honestly feels like it connects back to the film in a perfect way. How is life feeling for you today at 25? How would you describe how you feel?

FH: I feel that I love telling stories. I love the community that I’m building. I look around at the friends and collaborators in my life, and I feel very moved to be able to work closely with them. Right now I’m scared for the state of the world. I feel that there’s a real responsibility to protect people who are in need and tell stories with full humanity on display. The full dignity of every person. It feels to me like there’s so much violence, and I think we need to tell stories that don’t overlook that. So that you can feel the cost of all of it. I feel very protective, and I feel like we all have to be very protective of communities in need right now.

DA: This was a really great conversation. I had a lot of fun, and I feel like I’m leaving a little bit more inspired, and I can’t wait to watch the movie again.

FH: Thank you for that rewatch, Dio. And thank you for your questions, it was so lovely talking to you.

PHOTOGRAPHER Brendan Wixted

GROOMING Jess Ortiz

STYLIST Britt McCamey

STYLING ASSISTANT  Eliza Jane Flynn 

TAILORING Ying Chu

VIDEO  Mynxii White

Thanks to Dylan Bachelet, Baking Has Never Been This Cool.

WRITER: Chris Saunders

When you think of The Great British Bake Off contestants, “cool” is probably the last word that comes to mind. With an average age of 37 and a premise built around, well, baking, the show isn’t exactly a breeding ground for trendsetters. But that’s what makes it all the more fascinating when a contestant is cool – it’s like spotting a penguin in the desert. Unexpected, a little out of place, but undeniably intriguing.

Enter Dylan Bachelet. The 21-year-old who became an overnight sensation on the show’s 15th series in 2024, finishing as runner-up but cementing himself as its breakout star. His culinary talent was undeniable, but it was his aesthetic that really set him apart. With his flowing locks, signature goatee, and a bandana or baker boy cap perpetually perched on his head, he was quickly dubbed “the Captain Jack Sparrow of baking.” He didn’t just bring skill to the tent – he brought style.

Bachelet is far from just a pretty face, though. Throughout the series, he won two Star Baker accolades and three technical challenges – record-breaking numbers. When it comes to his culinary skills, he takes heavy inspiration from his family heritage, with his mother being Indian and his father Japanese-Belgian, alongside pulling from his experiences travelling during his gap year. His inventive approach saw him push the boundaries of Bake Off’s typically cosy creations, delivering ambitious, high-concept bakes that blended global flavours with bold artistic vision. From an Egyptian canopic jar cake to a gravity-defying hanging masterpiece inspired by Murano’s crumbling plasterwork, his work was as much about storytelling as it was about taste.

Rather than cashing in on his reality TV fame with cookbooks or influencer deals, Bachelet has opted for something more hands-on. He’s now working as a Chef de Partie at The Five Fields, a Michelin-starred modern British restaurant in Chelsea. Known for its meticulous attention to detail and emphasis on seasonal ingredients, The Five Fields is a far cry from the playful chaos of the Bake Off tent. Here, precision is everything, and mistakes come at a cost.

It’s a steep learning curve, but one Bachelet is embracing. Unlike the tent, where he had the freedom to experiment, professional kitchens demand consistency, speed, and an ability to perform under relentless pressure. But for someone who thrives on pushing himself creatively, it’s the perfect environment to refine his skills. He’s swapped the pastel workstations and gentle encouragement of Paul Hollywood for the adrenaline of a fine-dining brigade, where every dish must meet the exacting standards of both head chefs and discerning diners.

Chris Saunders: So, to start off, I wanted to get a bit of a gauge on the first moment you realised you had a passion for cooking. What was that moment for you?

Dylan Bachelet: I think I really noticed that I had an inkling I wanted to do it during lockdown, but then I did my A-levels, went to uni, and then I dropped out – that’s when I knew I really wanted to do it. I didn’t want to carry on working and doing a degree only to end up in a job that I knew I didn’t really want to do.

CS: Do you remember the first dish you ever made?

DB: I remember one of the first things I ever tried to make by myself – my mum used to make this thing called lemon sauce when I was a kid. I just used to have it on everything. It’s lemon, garlic, and olive oil blended up to make almost like a dressing. And because I loved it, I just thought, “Oh, I’ll make it myself.” I was pretty young at the time, and I didn’t peel the garlic properly – I left a lot of the skin on, so it tasted horrible. There were just all these chunks of garlic skin that wouldn’t blend up. But that was probably one of the first things I remember making by myself.

CS: Things have definitely improved since then! You were the runner-up in Bake Off – what pushed you to apply for that?

DB: With Bake Off, I just applied on a whim. I was at uni, and everyone was saying, “Why don’t you just apply?” I didn’t think I would even make it past the first stage, to be honest. I just kept going, stage after stage, until I got to the final audition. And then they said, “If you do well on this, you’ll be on the show.” I didn’t really think of it as a big decision at the time. I wasn’t like, “Oh, is this the right decision for me?” It was more like, “This is a rare opportunity – I should go for it.” Looking back, it was one of the biggest decisions I’ve made, but at the time, I took it really lightly. I just did it. And because I kept getting through the stages, I carried on with it. It was a very spontaneous decision.

CS: Now that the show is over, you’ve gained over 200,000 followers on Instagram. How has it been adjusting to all these new eyes on you?

DB: At the beginning, I didn’t think about it at all. I just thought I’d carry on as normal. But now that time’s gone on and the show’s ended, now it’s just me – I have to create my own image. There isn’t a show doing that for me anymore. It’s weird because I wouldn’t say it showed a different perception of me, but I never really used social media much before. Before I went on the show, I never posted pictures of myself – I wasn’t a very public person. And then suddenly, I was on TV, and people had an idea of who I was. And it is fun, I do enjoy the social media aspect, but it’s so different from what I would have done if I hadn’t been in this situation. I’ve tried to be as authentic as possible, but I also realise now that people have an image of me from Bake Off that isn’t 100% me.

Other people talk about how social media is idealistic and that you shouldn’t try to live up to it because it’s not real. I never really felt that before when looking at other people’s profiles, but now I feel it when I look at myself. I see my own social media and think, “Bloody hell, that guy looks perfect.” But I know that’s not the reality [laughs].

CS: I can imagine it’s an almost impossible task. You can’t go too much one way or the other – but it’s all a learning process. I read in an interview that you’re working at The Five Fields in Chelsea. Are you still working there now? And were you there before Bake Off?

DB: Yeah, I’m still working there. I think I applied for this job before the show even started airing, but I did my trial as the show was coming out.

CS: And what’s the biggest difference between working in a kitchen like that compared to Bake Off?

DB: The difference between here and Bake Off is – the show is very calm, right? I mean, it’s not that the kitchen isn’t calm, but Bake Off comes with different expectations. The expectations were all my own. If things didn’t go right, it was annoying, but it wasn’t the end of the world. Whereas here, if things don’t go right, it’s not just my own expectations – it’s the restaurant’s. That’s why it has a Michelin star. You have to uphold those standards, and there’s pressure to do that. That’s part of the job. It’s not like Bake Off, where you can turn up and mess up, and it’s fine. Here, if something goes wrong, it really matters.

The Bake Off tent, for me, was really calm – I was just having fun. But in a professional kitchen, it’s much more intense. It’s still fun, especially once you start getting to grips with things, but when I first started, it was a real challenge.

CS: I think it’s fair to say you gained a bit of a sex-symbol status on the show. How do you feel about fans and the media putting that label on you? I imagine it’s not something you expected when applying for a cooking show!

DB: I didn’t really expect it at all [laughs]. I suppose that’s probably the right answer to say, but it’s also the truth. I didn’t think anything like that would come from it. I didn’t think people would pay much attention to me in comparison to the other contestants. I remember being on the show and just being myself, but all this stuff started coming, like you said, all this “hot heartthrob” kind of thing. I don’t mind it, but I wouldn’t say I enjoy it or lean into it. Nothing’s come of it that’s been creepy or anything, so I don’t have a problem with it. But I don’t see myself in that way.

CS: Have you ever used your culinary skills to impress a date?

DB: I haven’t, actually. I’m honestly really bad with girls. I haven’t cooked on a date – ever. And I barely ever meet up with girls to do that kind of stuff [laughs]. So no, unfortunately, I haven’t!

CS: You mentioned earlier about dropping out of your degree – how did your family feel about that? Were they always supportive of you pursuing cooking?

DB: They were very supportive. My mum was a fashion designer, and my dad actually dropped out of uni when he was younger. So they understood. My mum always told me, “Whatever you do, just do it to the best of your ability.” And that really stuck with me, especially when I was deciding whether to drop out. They could see I was miserable at uni, even when I didn’t realise it myself. My mum would visit me and be like, “Are you sure you want to stay here? You don’t look happy.”

CS: So, in terms of the future, what does that look like for you? You’ve got an amazing job in the industry, you’ve been on TV, you’ve got a big social media following. But is there one sort of avenue you’d like to focus on?

DB: My plan is very much not a plan, but I have a goal, which has been my goal for ages. I want to open a restaurant, get some [Michelin] stars, and just make some really good food. But my immediate plan is just to take things as they come – which is proving to be a worse strategy than I originally intended. Taking things as they come is very hard when things come in quickly, without much time to deal with them. But the opportunities that Bake Off has given me have been amazing, and I’ll always be super grateful for that. My focus will always be on food. Any opportunities I can get from the show to improve my cooking and knowledge of food – that’s where I want to position myself. That’s my main goal – just learn as much about food as I can and be able to create it.

PHOTOGRAPHER Bartek Szmigulski 

VIDEOGRAPHER Bohdan Rohulskyi

STYLIST Justin Hamilton 

STYLIST ASSISTANT Lorna Lane

HAIR STYLIST Lee Patrick Devlin 

GROOMING Rosie McGinn 

STUDIO MANAGER Karolina Wielocha

STUDIO The Nook