Emma Watson looks casually chic in a brown leather jacket and baggy jeans as she enjoys low key outing in Paris
The actress, 35, showed off her sense of style in a brown leather jacket and baggy jeans as she stepped out.
She added a cap and scarf and had on a pair of headphones while getting some fresh air in the French capital.
Emma wore a pair of giant dark shades and added a preppy edge to her look with a white jumper.
She pulled her brunette tresses back and opted for minimal makeup to highlight her natural beauty.
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Emma's outing comes after her dad warned the parents of the new Harry, Ron and Hermione of the 'impact of fame on children' as filming for the HBO Harry Potter TV series begins.
The latest leading trio were finally announced this week after months of speculation - with Dominic McLaughlin landing the title role, while Arabella Stanton is set to play Hermione Granger and Alastair Stout will portray Ron Weasley.
Emma played Hermione for ten years in the Harry Potter film series, and now her dad Chris has told of how he worked hard to keep her 'grounded.'
He told Times Radio: 'As a parent, you have to be scared... This can be a very difficult thing for a parent and child to handle, or not.
'It certainly helped that I don't actually watch movies, it's not a big thing in the house, and so it was easier for us to keep her feet on the ground.'
He added: 'Normal life continued as far as possible: her homework would go back to school on motorbikes, admittedly, but she had to do her homework and check in.'
Filming for the new HBO series started this week in France with cast and crew setting up on the Île de Sein off the coast of Brittany where they are thought to be re-creating the famous moment that Hagrid said, 'You're a wizard Harry!'
JK Rowling gave her approval to the trio cast as the new child stars of the multi-million-pound TV adaptation - after previously giving short shrift to racists complaining about producers' picks.
There has been some online backlash against what has been branded ' woke ' reinterpreting of the wizarding franchise based on the seven bestselling books by Rowling, 59, which prompted eight movie versions.
But the multi-millionaire author yesterday gave her first public response to the new Harry Potter television casting announcement, with showbusiness insiders suggesting she would have a key role in the new productions.
One fan took to X, formerly known as Twitter, asking the bestselling author to inform the new recruits the wizarding franchise's creator felt about their casting.
And Rowling responded by declaring: 'All three are wonderful. I couldn't be happier.'
The writer was replying to a tweet which said: '@jk_rowling @streamonmax @harrypotter Please tell Dominic, Arabella and Alistair that they are already loved by the fandom and we can't wait to see the show! We wish them all the best and that they have a magic time.'
The new adaptation will be spread across seven seasons, equal to the number of books - although there were eight films with the final Harry Potter and the Deathly Hallows split into two parts.
The HBO TV show is said to be costing £75million per episode - and the three child actors taking the lead roles have been tipped to land themselves even bigger fortunes than the original stars.
Producers Francesca Gardiner and Mark Mylod praised the 'wonderful' talent of the three newcomers when making Tuesday's casting announcement.
They said: 'After an extraordinary search led by casting directors Lucy Bevan and Emily Brockmann, we are delighted to announce we have found our Harry, Hermione, and Ron.
'The talent of these three unique actors is wonderful to behold, and we cannot wait for the world to witness their magic together onscreen.
'We would like to thank all the tens of thousands of children who auditioned. It's been a real pleasure to discover the plethora of young talent out there.'
Rowling released the first Harry Potter novel Harry Potter and the Philosopher's Stone in 1997, followed by Harry Potter and the Chamber of Secrets the following year.
Harry Potter and the Prisoner of Azkaban was released in 1999, followed by Harry Potter and the Goblet of Fire in 2000.
Three years later Harry Potter and the Order of the Phoenix was published and Harry Potter and the Half-Blood Prince in 2005.
The final book, Harry Potter and the Deathly Hallows was released in 2007.
The first movie was released in 2001 and the final one came out in 2011. They played their roles for a decade.
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Romance in Berlin nightclubs By the end of the Victorian period, social etiquette was beginning to relax, and daters found new places to seek partners. Dancehalls played increasingly upbeat music late into the night. Jaunty ragtime dances gave way to jazz in the 20th Century. It became more socially acceptable for single women to go to bars and clubs with friends and meet people there. With new dating spaces came new ways to signal interest. Around this time, in the 1920s, Berlin became the poster city for ultra-modern night life. Some Berlin clubs were "immense, multi-level, with movable floors and even water for water ballet shows," says Jennifer Evans, a professor of 20th Century social history at Carleton University in Ottawa, Canada, and author of Life Among the Ruins: Cityscape and Sexuality in Cold War Berlin. Technology of the time enabled dancers to flirt in busy clubs. The Berlin nightclub Residenz-Casino, known familiarly as the Resi, became famous for offering night-clubbers the means to contact each other using either a telephone or an elaborate system of pneumatic tubes from their table. Like the tubes used in internal office mailing systems, department stores and banks to send money from the shop floor to the back office, a message could be stuck inside a metal canister and pushed into a tube, where it was sucked by a vacuum to its destination. Someone could write a message on paper and send it to a switchboard, where an operator would read to ensure it was polite (a bit like, an early example of content moderation on social media today) before diverting it to the recipient's table. Alongside messages, gifts "from cigarettes to small trinkets to cocaine" could be bought and sent to the intended love interest, says Evans. "There must have been something quite scintillating about seeing your person across the room as they received the message, hidden in plain sight," says Evans. "Their reactions, positive or negative, immediate and unfiltered, enhanced by the sense of fun and frivolity in the room. Maybe we should bring them back." The outbreak of World War Two in 1939 spelled the end of this form of social interaction, she says, but some nightclub communication systems lived on in what would become West Berlin after the war. The Resi itself re-opened in 1951. "I suppose we are constantly re-inventing ways to talk to one another, expressing our desires, in these demi-monde [fringe or clandestine] spaces,' says Evans. "It seems to say a lot about who we are as humans and how badly we seek connection." Secret signals in LGBTQ+ culture Same-sex relationships have long had to rely on alternative modes of communication because of the history of oppression and marginalisation that has targeted people in LGBTQ+ communities. Historically, secret signals allowed LGBTQ+ people to find partners while trying to stay safe from hostility, violence and repressive laws. Same-sex relationships were illegal in much of Europe until the 1960s and 70s, and 2000s in the US. The green carnation, for example, originally became popular as a symbol with a hidden meaning by gay writer Oscar Wilde. In 1892, Wilde instructed a handful of his friends to wear them on their lapels for the opening night of his play Lady Windermere's Fan. When asked what it meant, Wilde (allegedly) said, "Nothing whatsoever. But that is just what nobody will guess." "This sums up so many of these queer symbols – they have to be hidden hints and nods without overtly saying what they mean," says Sarah Prager, speaker and author of Queer, There and Everywhere: 27 People Who Changed the World and other books about LGBTQ+ history. "This can be a challenge for historians," adds Prager. "There might never be full confirmation or separation from legend with some of these symbols, because the whole point is to be able to communicate in secret in times of oppression." Other flowers and plants became associated with the LGBTQ+ community. "Besides the green carnation, one of the oldest examples of queer floriography is violet and lavender. [...] The colours purple, lavender [and] violet, have all been associated with queerness for centuries," says Prager. "We think this dates back to Sappho, the Greek poet of the 6th Century BCE, [who] wrote about women loving other women and is one of the earliest recorded examples of queerness between women." Jewellery has long been used as a visual expression and communicator of sexual identity in queer communities. "I have tattoos, earrings, clothing, that signal my queerness so that it makes it easier for me to feel in community with people," Prager says. "The feeling that I get when I see somebody else showing one of these symbols is an instant recognition of community, safety, kinship." Through the musical and sexual liberation of the Swinging '60s and '70s, queer culture found a new voice. There were increasingly spaces for the LGBTQ+ community to seek love. In Germany, "gay men used the Contacts Desired pages of magazines like Der Kreis and the later gay magazines like Him," says Jennifer Evans. "There, they'd advertise for 'friendship' or companionship... or sometimes, more brazenly for photo exchanges." The test of time The desire to see a sweetheart's likeness, and playfully connect through coded gestures and implied meaning, has continued to the present day – whether through dating app profiles, curated online presences, pings, likes, swipes and compliments. "There's a long history to secret writing, long before sexting or slipping into someone's DMs as they say," says Evans. She points out that flirting and the early stages of courtship have long been associated with the development of new technologies that allow people to communicate hidden thoughts and feelings, even in plain sight: "From symbols like a coloured handkerchief hanging from a back jean pocket in gay cruising, to shorthand emojis and acronyms in sexting." Sometimes, she adds, this furtiveness serves a purpose in keeping people safe – such as when being public about engaging in certain sexual practices could put one in danger. But more generally, she says, it is the sheer thrill of developing shared intimacies. Codes, rituals and carefully composed images are all "part of the game". -- For more science, technology, environment and health stories from the BBC, follow us on Facebook, X and Instagram.
