The Personal Edit of Henry Ashton: Between Westeros and London

#ThePersonalEdit

Henry Ashton Opens His Camera Roll From A Knight of the Seven Kingdoms

written LE MILE

For this edition of The Personal Edit, Henry Ashton opens his personal camera roll during the release of A Knight of the Seven Kingdoms. Stepping into the role of Daeron Targaryen, a greenseer navigating visions of past and future, Ashton enters the expanding world of Game of Thrones at a decisive narrative moment.

Between filming days, costume fittings, late-night script sessions and the anticipation surrounding the weekly episodes, his images document the atmosphere from within. Shortly after, he returns to screens in A Good Girl's Guide to Murder, marking another key chapter in his trajectory.

Built from spontaneous snapshots on his phone and paired with his own captions, The Personal Edit offers an intimate, behind-the-scenes glimpse into a rising actor’s world at the height of release momentum.

photo: Henry Ashton

Unfortunately I never got to do any sword training on the project, due to Daeron being a pretty ineffectual knight. But, during a horse ridding lesson, I got to see Pete and C.C do their thing.

photo: Henry Ashton

This is me getting a mould of one side of my face. Turns out getting your ear chopped off is quite an involved process.

photo: Henry Ashton

We went through quite a few different looks for Daeron, mostly with shorter hair. But eventually Pippa Woods decided on this one. I thought the greasy, long, Kurt Cobain-esque hair was perfect for him.

photo: Henry Ashton

Ser Steffon Fossoway, played by the incredible Edward Ashely, getting up close and personal with the dragon puppet.

photo: Henry Ashton

Pete and his weights.

photo: Henry Ashton

This photo of the amazing Finn Bennett makes me laugh. From the waist down he’s ready to ride into battle. But up top, he’s ready for party party in Berlin.

photo: Henry Ashton

Shaun and Pete practising lines. I love this photo as it sums up their relationship on and off camera. Just two friends helping each other out.

photo: Henry Ashton

Quite simply, the best wrap gift I have ever been given.

photo: Henry Ashton

Ed and Finn deep in a very tense game of chess. I forget who won. Probably Ed. The man’s a menace.

The Personal Edit of Justus Riesner: Berlinale 2026

#ThePersonalEdit

Justus Riesner Opens His Camera Roll From Berlinale 2026

written + styled KLAAS HAMMER

For this edition of The Personal Edit, Justus Riesner shares a glimpse into his personal camera roll from the Berlinale 2026. In Germany’s capital, he moved between film premieres, Prime Video’s “A Night to Remember” event, agency meetings, and an afterparty with Charli XCX, collecting impressions along the way and crossing paths with colleagues as well as international stars.

Having trained at the USC School of Dramatic Arts in Los Angeles, he first gained wide recognition through the hit series Maxton Hall – The World Between Us. A devoted film lover, he enjoys not only watching movies but also debating them and he clearly thrives in his profession. Maxton Hall was just the beginning for Justus - let’s see what this year will bring for him.  Built from spontaneous snapshots on his phone and combined with his reflections, The Personal Edit becomes an intimate chronicle of the Berlinale — capturing fleeting encounters, quiet in-between moments, and the unmistakable atmosphere of the festival through his own lens.

photo: Justus Riesner

photo: Justus Riesner

fitted in mm6 margiela for my first event with prime video

photo: Justus Riesner

posed on red carpets and flirted with the press

everything is accompanied by my talented friends

photo: Justus Riesner

and lots of bling bling
/@benfelipe

photo: Justus Riesner

klaas got me margielaaaasssss

photo: Justus Riesner

bad for the body, good for the soul. berlin in february demands controversial ways to remain sane

photo: Justus Riesner

cos meets jimmy choo

photo: Justus Riesner

this week’s form of transport consists of uber XLs and mini vans
/@benfelipe + @runa_goes_luna

photo: Justus Riesner

where arthouse auteurs meet haute couture

photo: Justus Riesner

attended „the moment“ after party with charli xcx and a special appearance by the one and only gaspar noé omggg

header image
seen by @hustlebush

The Personal Edit of Ewens Abid: Paris Fashion Week FW26

#ThePersonalEdit

Ewens Abid Opens His Camera Roll From Paris Fashion Week FW26

written LE MILE

For this edition of The Personal Edit, Ewens Abid opens his personal camera roll from Paris Fashion Week FW26. Moving between fashion shows, late-night gatherings and long walks through the city, Abid documents Paris as he experiences it: attentive, curious and instinctive.

Known for his roles in Andor and as Jonathan Harker in Dracula directed by Luc Besson, he shifts seamlessly between cinema and fashion culture, carrying the same sensitivity into both worlds.
Presented through images taken directly from his phone and paired with his own captions, The Personal Edit becomes a visual diary of fleeting moments, encounters and atmospheres that define Paris during Fashion Week — intimate, unfiltered and entirely his own.

photo: Ewens Abid

When wandering through the streets of Paris and getting lost, the walk unexpectedly led to art and a small coincidence: Rue Léon. Léon: The Professional, starring one of my favourite actors, Jean Reno, directed by Luc Besson, whom I happened to work with not long ago on Dracula.

photo: Ewens Abid

First event done, it was time to relax and enjoy a good old catch-up with friends, while admiring passers-by in their Paris Fashion Week best.

photo: Ewens Abid

Madly in love with Paris’ café culture. Just know that when you order a coffee here, a single espresso lands on your table. Espresso. What else?

photo: Ewens Abid

Let’s just say that one hit the spot just right.

photo: Ewens Abid

The red carpet at a fashion event, like the TATRAS AW26 Paris Fashion Week presentation, carries its own kind of charge. You simply step into it.

photo: Ewens Abid

I always like to go to the Basilique du Sacré-Cœur de Montmartre. The architecture, the view, the sense of calm — a perfect place after a busy day.

photo: Ewens Abid

It wouldn’t feel like Fashion Week without a party or two. Cutting shapes with friends, soaking up the vibrant atmosphere of Paris by night.

photo: Ewens Abid

The Magliano FW26 show was jaw-dropping. The excitement and suspense before it began gave way to a strong, elegant, dynamic performance — and within ten minutes, months of preparation, hard work, and chaotic commitment came to a close.

photo: Ewens Abid

Coming home to a Shiba Inu, one-on-one. First, the side-eye of “Where have you been?”, then an hour of attitude, and finally a little “I’ll cuddle, but I’m still mad at you.”

photo: Ewens Abid seen by Cedric Terrell

I had the chance to meet photographer Cedric Terrell for a street shoot, and we had a blast. For me, the best part of any shoot is the casual conversation along the way. I find meeting new people fascinating — everyone has a different story to tell.

INDIRA VARMA *on Characters, Control, and Creative Trust

That’s Where INDIRA VARMA Finds the Energy of a Character

interview + written ALBAN E. SMAJLI

Indira Varma has built a career defined by curiosity, risk, and an instinctive pull toward complexity. Across film, television, and theatre, her performances gravitate toward characters shaped by tension rather than certainty—figures who carry contradictions, secrets, and unresolved pressure. Whether navigating the quiet authority of a contemporary spy thriller or grounding emotion within worlds of heightened scale, Varma consistently seeks out work that resists ease and demands engagement.

That instinct is especially visible in her recent and forthcoming projects. In the return of The Night Manager, she steps into a new axis of power as Mayra Cavendish, a senior intelligence figure whose composure conceals shifting allegiances. Alongside this, Coldwater places her at the centre of a tightly wound domestic drama, where isolation and intimacy steadily collapse into something far more dangerous. Later this year, she enters the Austen universe in The Other Bennet Sister, before expanding into epic terrain as a major series lead in Dune: Prophecy.

Indira Varma wears a coat and dress by EDELINE LEE

In conversation, Varma speaks about process, collaboration, trust, and the pleasure of unpicking a character’s knots. Moving fluidly between genres and forms, she reflects on ambition, play, and an enduring attraction to roles shaped by complexity and open-ended tension.

Alban E. Smajli
When you think about the roles that have stayed with you longest, do they share anything in common?

Indira Varma
I think they’ve generally been the ones where I’ve had a knot to unpick. A struggle. Whether it’s with the writing, a challenging character that holds conflicting experiences, or whether there’s been something like prosthetics or weather to contend with.
The knottier the better of course. But I do prefer the knots to be character related. Challenging work is exciting.

You’ve so many exciting projects releasing and on the horizon, from spy thrillers like The Night Manager to sci-fi dramas like Dune: Prophecy. Do you have any particular standout moments or favourite takeaways from each project?

With The Night Manager - I loved working with Georgie, the director, who found ways to make even what seemed like a couple of lines of exposition into a rooted game. Hayley Squires and I had a great spar together where we got to improv around our scene to keep each other on our toes. But everyone is so brilliant and brings a unique flavour to the project.

It was also such a treat to work with Olivia Coleman. It was a night shoot in Tenerife and we spent the night playing heads up, dancing and ended with our producer bringing us a cocktail at about three in the morning on wrap.
Dune has been full of sets you walk into for the first time and your jaw just drops, and then you have to find a way to make your story feel real and grounded in these vast spaces. I get to work with the amazing Emily Watson - so that’s been pretty damn good!

And then with The Other Bennet Sister, while it’s smaller in scale of production but has the most gorgeous, talented cast. Ella Bucc

In The Night Manager, you play 'Mayra Cavendish’ who is shown to hold an almost quiet authority. How did you find stepping into this role in such a beloved genre of spy thriller, particularly given it's in such a huge project of an immensely beloved series?

It’s always a bit intimidating joining an established show as popular as The Night Manager. I sort of just watch how the regulars play and then slip in under the radar and see what happens. Georgie made sure no matter how big or small your role within the story, your character had to be deeply and personally invested in what was going on. The higher the stakes, the more there is to lose. Mayra is also layered with lies. Who is she? Who does she really work for? It’s fun to have to hide things.

The Other Bennet Sister sees you immersed in British society of the 1800s. What is it about this kind of setting that fascinates you most? Have you always wanted to tackle a project within the wider universe of Jane Austen, and what other British classic novels would you love to be a part of, if you could pick?

Growing up in Bath, I’ve been surrounded by the obsession with Austen. For the first 15-20 years of my early career, all the young actors had their big breaks in some sort of period adaptation and casting was very conventional back then so there was zero diversity. Now things have changed and at last I get to be in an Austen spin off!

I always wanted to be Tess of the Durbevilles. And I’d love to be in some Dickens. Don’t care which one. Actually… maybe the Russian novels appeal even more.

Indira Varma wears a dress by PALMER HARDING

Indira Varma wears the Winchester coat dress by SUZANNAH LONDON

In Coldwater, you star opposite Andrew Lincoln, having known each other since you were teenagers while individually carving out your own careers. What was it like suddenly playing husband and wife in a remote part of the Scottish countryside? How did you develop that particular on-screen relationship given that you know each other so well?

Having history and a friendship with another actor is so useful. The trust and communication is already there and so you can try things more boldly. It’s a total joy, and an advantage of having been in the industry a while now. Richard Coyle and I played characters about to have a baby almost 20 years ago, and now we’re married with 3 kids in The Other Bennet Sister!

Can we expect a return to the stage for you soon, or what kind of play or role would instantly draw you back to the theatre?

I hope so. I miss it so much. I’d love to do some new writing - something challenging, not conventional. There are loads of great new writers and directors I’d love to work with.

I’d also love to do more physical work. Having worked with Hofesh Schechter for Oedipus and done some voice work for Simon MacBurney and seeing Crystal Pite’s amazing new work, I’d love to do more of that kind of experimental stuff.
But there are still tons of classics I’d love to tackle. Including Chekhov and Shakespeare and the great American writers. And Pinter. I want to revisit Pinter.

Is there anything you’re actively searching for in your next roles? What would your next dream role or project look like for you?

I’d like to do some more independent film work. Something experimental. Small and heartfelt. I want to be outside my comfort zone.

Out of all the roles that you’ve played in your career, both on screen and stage, which four would you invite to a dinner party together and why?

I think Lady Macbeth could do with getting out of that castle and meeting a few women. They might persuade her to get a grip about this whole ´I want to be king’ thing. Just to complicate things, I’d invite the alien from Dr Who, Lady Pemberton, I think she’d have fun shape shifting into each of the characters.

Why not Ellaria Sands too? I’m seeing a pattern of slightly obsessed, mad women willing to kill. Maybe they just need to have a few drinks and a laugh. I think the woman I played in Present Laughter is so down to earth and used to massive egos that she’d be a great host.

Indira Varma wears a coat, rollneck, and trousers by JOSEPH, and shoes by JIMMY CHOO

Indira Varma wears a brown trenchcoat by LURLINE, a top and skirt by EDELINE LEE, and brown suede boots by KALDA

talent   INDIRA VARMA
photography   WILL ALDERSLEY via EIGHTEEN MANAGEMENT
styling   NATALIE BREWSTER
make up   NOHELIA REYES using LISA ELDRIDGE
hair   PAUL DONOVAN
jewellery   TILLY SVEAS
special thanks to location   THE PRINCE ARTHUR BELGRAVIA

copyright LE MILE Magazine / Will Aldersley

CHRISTINE ADAMS *Talks Restraint, Exposure, and Endurance in Hijack 2

CHRISTINE ADAMS

—Talks Restraint, Exposure, and Endurance in Hijack Season 2

interview + written ALBAN E. SMAJLI

Christine Adams appears in the second season of Hijack in a storyline shaped by isolation, memory, and the lasting pressure of consequence. Her character Marsha occupies a space removed from the immediate emergency, allowing the series to linger on psychological endurance and emotional exposure.

Christine Adams wears a coat by PAUL COSTELLOE, a top by WOOL PROJECT, pants by THEO, shoes by TABITHA RINGWOOD, and bags by ROGER VIVIER and PAUL COSTELLOE

Season 2 premieres on January 14, 2026, on Apple TV+. Created by George Kay and Jim Field Smith, the new chapter situates its central crisis on a hijacked train in Berlin, with Idris Elba returning as Sam Nelson. Alongside this high-pressure arc, Marsha’s journey unfolds through distance and interior tension, offering a parallel line shaped by aftermath.
Set one year after the first season, Marsha appears in a different phase of her life, marked by vulnerability and raw exposure. Adams works with restraint and precision, carrying extended passages alone and allowing stillness to hold narrative force. The performance depends on focus, emotional discipline, and sustained attention over time.

Christine Adams wears earrings by MAISON LUMIERE, a jacket and skirt by AHLUWALIA, and shoes by PLEIADES

Christine Adams wears earrings by ARTE NOVA JEWELLERY and a full look by GIORGIO ARMANI

Alban E. Smajli
In Hijack season 1, the tension lived at 30,000 feet. In season 2, where does that tension live for you as an actress?

Christine Adams
Most of the action this season unfolds on a train in Berlin, creating a very specific sense of momentum and claustrophobia. My character’s storyline, however, exists almost entirely outside of that world and stands alone in a place that is very remote. There’s a deliberate contrast between these two environments. What was set in motion in season reverberates into season two in a form the audience won’t be expecting, shifting both the emotional weight and the perspective of the story in surprising ways.

What part of your character’s journey in Hijack did you want to push further this time?

We meet Marsha at a very different place and time in her life, one year on. The strength and composure that defined her in season one have fallen away, leaving her far more vulnerable and exposed. There’s a rawness to her now - emotionally, psychologically, and at times quite literally, which allows the audience to see parts of her that were previously hidden. It’s a stark contrast to who she was before, and it opens up a much more fragile, intimate portrait of the character.

When you play someone who is constantly navigating pressure, how do you protect your own emotional space off set?

It’s a tricky one. I’m not a method actor but on days when you’re playing material with really high stakes it can be extremely challenging, particularly on a show like ours where the tension is constant and unrelenting. On those days, I tend to retreat a bit and stay quiet - it’s a form of self-preservation. I’m not very good at socializing when I’m carrying that kind of emotional weight, and I need at least an hour after wrap to properly switch off. When you have to access darker places in your mind and body, the line between imagination and reality can start to blur; your nervous system believes it’s real. Shaking that off isn’t always easy, and giving myself space is the healthiest way I’ve found to do it.

Working on a series built so tightly around suspense, what has it taught you about restraint and about stillness?

So much of acting is about what isn’t said, and on Hijack in particular that’s how we build tension. The silences, the stillness, the things the audience senses rather than hears are often doing the heaviest lifting. A large part of my storyline takes place with me completely alone, which has been a fascinating challenge - exploring how to tell a story with little to no dialogue. Everything hinges on Marsha’s internal monologue: what she’s thinking, what she’s suppressing, what she’s fighting to hold together. It’s a very internal, psychological kind of storytelling, and that restraint is what makes it so powerful.

Christine Adams wears earrings by XHENXHEN JEWELLERY, a coat by JENNIFER MILLEDER, a blouse and skirt by FALVAON, and shoes by ROGER VIVIER

Christine Adams wears earrings by XHENXHENJEWELLERY, a necklace and bracelet by CAPSULE ELEVEN, fur by SANNA PATRICK, a coat by RAY CHU, a dress by THEO, and shoes by TABITHA RINGWOOD

When you first read the scripts for season 2, what was the moment or scene that made you feel, “I want to be inside this story again”?

I think where Marsha’s storyline goes will come as a big surprise to the audience. She’s transformed significantly from who we saw in season one, and stepping into this new dimension of her character was incredibly exciting. The writers were keen to continue exploring the emotional bond between Sam and Marsha, but this season they push that bond to its absolute limits, testing it in ways that are intense, unpredictable, and deeply human. It’s a rare opportunity to navigate a character who’s evolving under such pressure, and the journey has been as thrilling to play as it is to watch unfold.

Looking back across your career, which project quietly shifted the way you see yourself as an actress?

I’m not sure if it was quiet, but living and working in LA for 15 years taught me an enormous amount about being an actress. I had to walk into a lot of very intimidating rooms and prove myself again and again, which wasn’t always easy, but it forced me to really understand the kind of actress I am. It taught me that acting isn’t just about technique, it’s about drawing people in, connecting with them, and giving them a reason to root for your character. That insight has stayed with me and continues to shape the way I approach every role

The industry often tries to define identity for women on screen. How have you navigated your own path through those expectations?

When I started out, I always wanted to play lawyers and doctors - roles that simply weren’t available to actresses of colour in England at the time. Moving to America opened up opportunities to be cast in more aspirational, multidimensional roles, which was incredibly liberating. Early on, it was frustrating to read scripts where the female characters were one-dimensional or thankless; there was so little depth or agency. Now, as I’ve gotten older and moved into a different age bracket, I’m seeing material become far more interesting and layered, which is something I’m really happy about. It feels like there’s finally room to play women with real complexity, nuance, and power.

Quick fire no commas
a scene from Hijack that stays with you

In Season 2 there’s a sequence towards the very end of the series that was incredibly complicated to shoot. It demanded precise timing and coordination to make everything work perfectly which made those days simultaneously thrilling and terrifying. Those are the kinds of shoots that really test you as an actor and as a team. I can’t wait to see how it all comes together on screen.

a word that captures season 2

Nail-biting

a feeling you hope the audience carries away

The Human spirit can overcome anything.

If you could speak directly to viewers just before they press play on season 2, what would you want them to pay attention to?

Be prepared for twists and turns, nothing is ever quite as it first seems.

Christine Adams wears a dress by JENNIFER MILLEDER

photographer + creative direction   IAN KOBYLANSKI
styling   BORNA PRIKASKI
styling assistant   ANNIE GRACE
set design   LOUIS TOLEDO
make up   HOWARD K.C.X.
make up assistant   JADE MISTRY
hair   ABI IGZ
lighting assistants   NICOLA SCLANO & ADAM WEIR

copyright LE MILE Magazine / Ian Kobylanski

REDA ELAZOUAR *The Rhythm of The Family Plan 2

A New Pulse
Reda Elazouar on Omar, Prep and The Family Plan 2

interview + written ALBAN E. SMAJLI

Reda Elazouar speaks about The Family Plan 2 with the kind of clarity that comes from living deep inside a role. Omar began for him in a stretch of intense weeks marked by parkour sessions, stunt rehearsals, boxing drills and a steady routine that shaped his body and focus.

REDA ELAZOUAR wears full look AMIRI

The preparation built a discipline that stayed long after production wrapped; he still trains with the same consistency, still carries the structure that the job demanded. He joined a cast that already moved as a unit, and the film’s chronological shoot gave him a rare advantage, the story introduced Omar at the same pace Reda met his scene partners. The early days on set shaped the tone for everything that followed. Wahlberg’s guarded intensity, Monaghan’s warmth, the fast rhythm of the action scenes — all of it created a space where Omar’s openness grew naturally. He talks about those first scenes in London with a kind of ease, as if the city itself kept feeding the role through every corner they filmed in.

REDA ELAZOUAR wears full look by TODD SNYDER, belt by FRAME, boots by JIMMY CHOO, and a ring by MEJURI

Alban E. Smajli
When you think back to The Family Plan 2, what’s the scene that still lives in your body?

Reda Elazouar
I would have to say my introduction scene when I come out of the shower because the amount of discipline that it took to train literally changed the way I live my life to this day. In order to keep up with the amount of exercise that I was doing, after I wrapped I continued with the workouts and so I came away from the job a lot more disciplined than I was previously. The prep for that scene also involved eating much healthier than I was before so I stuck to that too, which definitely makes me live in my body differently.

How does it feel to step into a franchise where the chaos is already in full motion?

Amazing! I got to jump straight in the deep end and straight off some buildings. The first film did a great job at explaining who Dan was and the lie that his family had believed for so long but in this one, we get to the action pretty quick. Because of how familiar everyone was with each other already, it was super easy to slot in and be a part of that family dynamic. 

Working with Mark Wahlberg, Michelle Monaghan and Kit Harington — what dynamics emerged between the four of you that shaped your performance?

Since we filmed it pretty much chronologically, I didn’t know any of the cast well when I filmed my first few scenes. So our characters were getting to know each other at the same time that we were which was a welcome ‘art imitating life’ moment. That dynamic worked best with Mark as Dan had to be distrusting of Omar but as the film goes on they get closer. Michelle is so maternal as well in real life and in character so that helped make everything feel real. Unfortunately, the only scene I was in with Kit is when he’s chasing after the family so we didn't get to interact much which probably worked for the character dynamic that we had to have. Overall, though, the way all the cast were so welcoming helped me have a great time on this one.

What did this film demand from you that earlier roles didn’t touch?

A lot of physical prep in a short time. I’ve never had to physically prepare for a role before but the moment I got the call up I went straight into parkour, stunts and boxing training. I had amazing teachers in Tom Cotton and Kyle Freemantle who taught me everything I needed to know in order to look like I was a parkour professional. In the times I wasn’t training with the, I had gym sessions with Simon Waterson and Tim Blakeley to get me prepped for my first scene as Omar when he steps out of the shower. Since I had only 5 weeks to get in shape, all my time outside of these sessions were either spent walking to get my steps in or resting for the next workout. Even though it was a big task, I felt very privileged to work with amazing professionals who made the experience so smooth and enjoyable. 

After the production wrapped, what stayed with you the longest?

How thankful I was to be on a project of this size with actors that I had watched growing up. That feeling still hasn’t gone away and was there every day that I was filming. We filmed in such iconic locations around London and since I live here and walk around those locations often, I am constantly reminded of my experience.

Describe the moment you realized your character had a completely different rhythm from everyone else on screen.

It was actually in the first scene I shot which was in the Chinese restaurant. Omar first pumps the air and is happy when Dan says “you’re in” to which he replies “in what?”. That part made me realise how oblivious he was and how he doesn't really understand exactly what's going on. It’s one of my favourite moments in the film as the audience knows that type of craziness the Morgans get up to while Omar has no clue!

When you look at scripts now, what makes you pause — in a good way?

If I’m genuinely interested in the pathology of the character and start wondering why they’re doing what they’re doing then I know I’m reading a great script. Also, most of the time that I'm reading scripts is because I'm auditioning for the project and there's a certain feeling between nervousness and excitement that makes me feel like I'm reading a great script that I'd love to be unpack and work on.

Is there a role, a genre or a mood you’re currently orbiting that you haven’t played yet?

There's a few things that I can think of. I haven't yet had the opportunity of leading a film/show which I'd love to do whenever the time is right. I also would like to dive into theatre and back on the screen side, I would love to do a mockumentary. I've been writing one on-and-off for a while where I would play the three central characters and I think that could be a great challenge and also lots of fun.

What question do you ask yourself before stepping into a new character?

I’m always curious to find out what is intrinsically different about the character and I. At what point was there fork in the road where the character went one way and I went another. In that, I also learn the ways in which the character and I are similar and to what degree. So I guess to boil it down to a question it would be: “what would've had to happen in my life for me to become you?”.

Away from set life, what keeps your imagination awake?

I take acting classes in between working and mainly do improvisation with a company called Talking People. Every few months we do an improv show which helps keep me on my toes. It’s a place for me where I can flow and do some theatre in between screen roles. I also train in kickboxing which I’ve come to learn is a physical form of chess. It’s nice to be able to have a hobby in something that has completely different stakes from acting and keeps me fit and disciplined too. It also reminds me of a saying I heard once: “if you want to become a better actor, read a book on kayaking”. The things away from acting that keep my imagination alive will in turn help me become better at what I do.

Is there a piece of advice someone gave you that returns at unexpected moments?

‘Slow down’. When I first started training in theatre, I didn’t really pay attention to how fast I spoke and so when I’d rehearse I would just speed through the lines. That was most likely because I was so nervous that I wanted to finish as quick as possible but I remember my teacher Robbi telling me time and time again to slow down and make sure that I was heard. That was a tough task as when you have that adrenaline hit of being on stage, everything speeds by. But that piece of advice has helped me in all aspects of my life to just slow down and take the moment in.

If your younger self could watch you working today, what do you think he’d be most excited about?

I think the mere fact that I actually started working as an actor would be enough for my younger self to smile ear-to-ear. I was told from young how hard it was to get started in this industry, especially coming from a working-class background with no one around me that worked in the creative field. On top of that, being able to work with people in front and behind the camera that worked on projects that I grew up watching is something younger Reda would give me some cool points for.

credits
talent REDA ELAZOUAR
thanks to AMBER MOTTO / AMPR

seen DAVID REISS
styled HOLLY WHITE
grooming CHARLIE CULLEN

GUY REMMERS *The Duke Goes Off-Script

GUY REMMERS
*The Duke Goes Off-Script

written + interview Alban E. Smajli

There’s something about Guy Remmers. Maybe it’s the voice — precise but unbothered. Maybe it’s the posture — somewhere between centuries-old nobility and Gen Z’s nonchalance. Or maybe it’s the fact that he’s straddling about five different lives at once and making it all look impossibly casual.

You’ve seen him as Theo, the Duke of Tintagel, in The Buccaneers — Apple TV’s velvet-clad, chaos-laced, post-bridgerton fever dream of a period drama. He plays it with just the right amount of restraint and emotional slippage, like someone holding a glass of brandy they’re about to smash. Now, with Season 2 freshly dropped last week, and the one and only Leighton Meester joining the cast, Theo’s world is about to get flipped on its finely groomed head. No spoilers, but let’s just say Remmers is riding the heartbreak horse hard this time around.

total look ANN DEMEULEMEESTER

But The Buccaneers is just one thread in the tapestry. Before screen, there was stage — and before that, Bristol. Guy trained at the Bristol Old Vic and made his debut at The National Theatre in The Grandfathers, a moment he still talks about like a first kiss. “Being a Bristol boy at that age in London… that was the moment I knew,” he says, and you believe him. His presence off-camera feels less rehearsed. You might’ve seen him walk for Burberry, pose for Jimmy Choo, or drift across a moody editorial like he woke up in a 1970s issue of The Face. But fashion, he insists, is its own thing — something he enjoys, but doesn’t conflate with his work as an actor. Still, there’s a symmetry: both spaces let him play with image, identity, and what he calls “the evolving shape of masculinity.” You get the sense he’s aware of how he’s looked at, but not defined by it.

Ask him what he wants next, and he lights up. A detective role (“Life on Mars” energy), a comedy-drama à la The Thick of It, something American-accented. What you’re reading is a man who wants to stretch — not because he’s bored, but because he knows how good the view is from the edge. In an industry obsessed with immediate heat and viral cool, Guy Remmers is moving differently. He’s not here to be loud. He’s here to last.

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Alban E. Smajli
So you’re the Duke of Tintagel—old money, stiff collars, and then boom: American chaos. What made you say yes to Theo, and how did you find your way into all that aristocratic angst?

Guy Remmers
Thank you! Theo's constant battle with the benefits and disadvantages of his title has always fascinated me. I did a lot of work on what his upbringing would have been like and how he physically carries himself and speaks. A lot of suppressing his emotions but the really exciting part was then allowing him to be swept off his feet by this new unique ball of energy from overseas. 

Season 2’s loading, Leighton Meester’s crashing the party, and Theo’s still stuck between duty and desire. Where’s he heading this time—and what happens when fresh blood hits old money?

New faces and characters are super exciting as it means you get to meet and work with incredible new actors. I loved seeing how they all seamlessly intertwined into the story. Theo's journey in this season is an absolute rollercoaster and his world flips upside down when he has to decide if love is more important than the institution he has been born into.  

You started on stage, Bristol Old Vic, National Theatre, all that velvet and sweat. Now you’re in streaming land. What do theatre and screen give you that the other can’t?

They are both magical in slightly different ways. I haven't done theatre in a few years now and the thing I miss most is the feeling of being part of an ensemble where you all rehearse together and feel like one organism. The Buccaneers is an ensemble cast but it is rare for us to all be on set at the same time. But I have now done two seasons of seeing the world through Theo's eyes and growing with him and that is equally as special.  

You’ve done Burberry, Jimmy Choo, the whole fashion orbit. What itch does that scratch that acting doesn’t or is it all just dress-up in different lighting?

I feel very lucky to have done those things, especially as I have a love for fashion. To me they are completely separate, neither offers me something that I would need from the other.  

You move between film sets and fashion shoots, all soft tailoring and sharp stares. Do you see yourself as part of a generation that's reshaping what masculinity looks like, or does all that talk just feel like another box to be put in?

I definitely feel like 'masculinity' is evolving into more open and expressive ways and I think one strong representation of that is in fashion. I hope it keeps moving in that direction. 

You’ve done corsets, campaigns, a bit of everything in between. Is there a role or genre still lurking on your wishlist, just waiting to be cracked open?

I've always wanted to play a detective, that would be super cool. I loved watching police dramas like 'Life on Mars' and 'Ashes to Ashes' when I was younger, I think that's where my love for them started. My favourite TV series is 'The Thick of It' so I'd love to do a comedy drama in that tone too.  Also a big goal is to do a role in an American accent.  

Was there a moment where it all just clicked and you thought, yep, this is it, this is the thing I’m meant to do?

When I was 18 I did a play called The Grandfathers at The National Theatre - it was an extremely special experience. Being a Bristol boy at that age in London doing a play at that theatre was the best feeling in the world and a moment that I knew I was doing what I wanted to do for the rest of my life. 

total look PAUL SMITH
shoes JIMMY CHOO

“I definitely feel like 'masculinity' is evolving into more open and expressive ways, and I think one strong representation of that is in fashion.”

Guy Remmers speaks with Alban E. Smajli
for LE MILE Digital SS25

blazer + beret EMPORIO ARMANI
trousers ANN DEMEULEMEESTER
vest SUNSPEL

coat + trousers ISSEY MIYAKE
shirt DAVID KOMA
trainers ADIDAS X WALES BONNER

jacket + trousers Y-3
shirt BRUNELLO CUCINELLI
boots DAVID KOMA
gloves HANDSOME STOCKHOLM
tie TURNBULL & ASSER

“Theo's journey this season is an absolute rollercoaster. His world flips upside down when he has to decide if love is more important than the institution he was born into.”

Guy Remmers speaks with Alban E. Smajli
for LE MILE Digital SS25

total look VERSACE

total look DANIEL W FLETCHER
trainers ADIDAS x WALES BONNER

photographer ANTONIO EUGENIO
stylist JUSTIN HAMILTON
grooming TRAVIS NUNES
photo assistant GEORGE TAYLOR
styling assistants KATIE SOMAVIA, LORNA LANE
videography VALENTINA VILLA
talent GUY REMMERS

Special thanks to Caroline Fergusson + Grace Yeoman, PR Pinnacle