logo
Sophie Ellis-Bextor puts her husband first

Sophie Ellis-Bextor puts her husband first

Perth Now2 days ago

Sophie Ellis-Bextor will always "choose" her husband over her children.
The Murder on the Dancefloor hitmaker has been married to Richard Jones - with whom she has sons Sonny, 21, Kit, 16, Ray, 13, Jesse, nine, and six-year-old Mickey - since 2005 and she credits some advice she was given from her mother, Janet Ellis, for their long relationship as the former Blue Peter presenter told them to always put each other before anyone else.
She told the new issue of Good Housekeeping UK magazine: 'When we got married, we'd already had our first baby.
'My mum said: 'Make sure you always choose each other over anything else, even the kids.'
"She was right. Even though the kids might roll their eyes if they see us hugging or whatever, they're happy that we're happy. And we have fun as a family, too. Last year, they came with us for a lot of the tour.'
Janet lives around the corner from Sophie's family and the pair are "very close".
The 46-year-old singer said: 'We're very close. [She's] always been so good at encouraging me and giving me the toolkit I need to get out and do what I do. Raising a family alongside that is a constant thing.'
And Sophie's eldest son, Sonny, is currently living with his grandmother.
She said: 'He moved in when he was doing a foundation course at uni a year and a half ago.
'She lives 10 minutes away and was on her own, so they've got each other. It's given him his own space, but also kept him close – he comes over all the time.'
Sophie has always had open dialogue with her sons about the dangers of the online world and toxic masculinity, but she doesn't want to "demonise" anything in case they are left feeling alienated.
She said: 'I've always had a lot of faith in my boys. We've openly chatted about toxic masculinity for a long time. My eldest is very articulate about these things, so none of it was new to my house.
" Sometimes people have an idea of what boys are like, as if they're a different species. As I far as I'm concerned, I'm raising five people who happen to be boys.
"I keep an eye on [mobile phone screen time], because that's parenting, but if you start demonising things, you shut down communication. Then you're like those parents in the 1950s who made kids burn their rock 'n' roll albums.'
The full interview can be read now in the August issue of Good Housekeeping UK and visit www.goodhousekeeping.com/uk/sophie-ellis-bextor-marriage-advice for more.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Neighbourhood bar and diner is better than sliced bread
Neighbourhood bar and diner is better than sliced bread

Perth Now

time11 hours ago

  • Perth Now

Neighbourhood bar and diner is better than sliced bread

Scrawled in chalk above our heads: 'The best thing since sliced bread'. Sliced is crossed out, replaced with 'barbecued'. Truer words were never spoken, nor scrawled on a restaurant wall. The barbecued bread with whipped butter at Mt Hawthorn bar and wood-fired eatery Sonny's is the best thing since someone in the Middle East decided they had some grains to grind 14,000 years ago. The charred carbs arrived straight from head chef Sofika Boulton's kitchen, smelling like campfire and served with butter so light it threatened to float away like a dandelion. Opened late 2022 in a former Commonwealth Bank branch by experienced Perth bar and restaurant manager Jessica Blyth, who named the joint after her rescue greyhound, this Mt Hawthorn favourite feels like a hipster's retro lounge room. Ferns, monsteras and other pot plants compete for space among bric-a-brac. Yves Klein art prints and provocative Grace Jones posters adorn walls. Sonny's menu switches up every few weeks, sometimes small tweaks, other times it's entirely fresh dishes. Boulton uses ingredients from her own or local gardens. Blyth gives the chef complete creative freedom in the cramped kitchen. After the bread to end all bread, we had the raw beef ($24). This turned out to be Italian-style steak tartare, or carne cruda. Sonny's in Mt Hawthorn. Credit: Supplied Boulton dry ages a whole sirloin in the diner's cool room for a week to reduce moisture and enhance flavour, before the meat is hand-diced, then dressed with a yuzu and Meyer lemon vinaigrette. The cruda is then served with a warm butter emulsion and covered in shaved pecorino and toasted pepper. Citrus prevents the chunky-cut steak and egg yolk from being too rich. This dish is the best tartare in town, and I can't believe it's not tartare! The grilled market fish was a coral trout, caught in Exmouth, and served with roast chicken butter and hand-harvested Goolwa pipis from South Australia ($40). The gorgeously firm fillet of fish was enhanced by the sweet, nutty saltwater clams, while diners should save some barbecued bread to mop up every, single, last drop of the savoury beurre blanc. All three sides sounded delectable but, on Blyth's recommendation, we nabbed the slow-smoked aubergine with macadamia butter — yes, Boulton uses a lot of butter. She knows what side her bread is … something something … on. Anyway, macadamia butter made from grilled eggplant purees plus blitzed raw macadamia nuts, seasoned with sherry vinegar, was piped onto the slow-smoked vegetable, which was surprisingly chewy. A must-have side dish for $18. The one misfire of Boulton's rustic yet spectacular cookery was the charcoaled kipfler potato with smoked butter (more butter!) and Geraldton wax ($18). Sliced lengthways, the spud was too hard, too dull, too bland. Too bad, because the rest of our meal had us in raptures. Did I mention the bread and butter? Sonny's in Mt Hawthorn. Credit: Supplied For dessert we had the Basque cheesecake, which had a burnt top sprinkled with salt — basically, salted caramel. Under the lid, the cake had perfect consistency, creamy but firm. The best $16 you'll spend all year. You'd struggle to find a better iteration from Bilbao to Pamplona. We paired the cheesecake with a delicious Pedro Ximenez from Chouette in the Swan Valley, a solera blend going back to when Pedro Almodovar released High Heels. Readers may recall I reviewed Sonny's about two years ago. Why have I returned so soon? Two reasons. Firstly, Boulton is rightly regarded as one of Perth's best and brightest culinary talents. Last time I ate here, she was working at Bar Rogue, which has also been reviewed. (Head to the Food Hub section of to sift through 600-plus restaurant reviews.) Clearly, her love of fresh produce, fermentation and wood-fired cooking is sympatico with what Blyth hopes to achieve in her impressive first foray as a restaurant owner and operator. Secondly, it's a great room, great service and now truly great food. While it might be named after a pooch, Sonny's has not gone to the dogs. Sonny's in Mt Hawthorn. Credit: Supplied 126 Hobart St, Mount Hawthorn Wednesday-Thursday, 4pm-late. Friday-Sunday, midday-late. Yes Super cool neighbourhood bar and restaurant. Two years after opening, Sonny's hums along with excellent wood-fired dishes and a vibrant drinks list. If you can't decide what you want from the concise and ever-changing menu, go for the $70 per person chef's selection.

Sophie Ellis-Bextor puts her husband first
Sophie Ellis-Bextor puts her husband first

Perth Now

time2 days ago

  • Perth Now

Sophie Ellis-Bextor puts her husband first

Sophie Ellis-Bextor will always "choose" her husband over her children. The Murder on the Dancefloor hitmaker has been married to Richard Jones - with whom she has sons Sonny, 21, Kit, 16, Ray, 13, Jesse, nine, and six-year-old Mickey - since 2005 and she credits some advice she was given from her mother, Janet Ellis, for their long relationship as the former Blue Peter presenter told them to always put each other before anyone else. She told the new issue of Good Housekeeping UK magazine: 'When we got married, we'd already had our first baby. 'My mum said: 'Make sure you always choose each other over anything else, even the kids.' "She was right. Even though the kids might roll their eyes if they see us hugging or whatever, they're happy that we're happy. And we have fun as a family, too. Last year, they came with us for a lot of the tour.' Janet lives around the corner from Sophie's family and the pair are "very close". The 46-year-old singer said: 'We're very close. [She's] always been so good at encouraging me and giving me the toolkit I need to get out and do what I do. Raising a family alongside that is a constant thing.' And Sophie's eldest son, Sonny, is currently living with his grandmother. She said: 'He moved in when he was doing a foundation course at uni a year and a half ago. 'She lives 10 minutes away and was on her own, so they've got each other. It's given him his own space, but also kept him close – he comes over all the time.' Sophie has always had open dialogue with her sons about the dangers of the online world and toxic masculinity, but she doesn't want to "demonise" anything in case they are left feeling alienated. She said: 'I've always had a lot of faith in my boys. We've openly chatted about toxic masculinity for a long time. My eldest is very articulate about these things, so none of it was new to my house. " Sometimes people have an idea of what boys are like, as if they're a different species. As I far as I'm concerned, I'm raising five people who happen to be boys. "I keep an eye on [mobile phone screen time], because that's parenting, but if you start demonising things, you shut down communication. Then you're like those parents in the 1950s who made kids burn their rock 'n' roll albums.' The full interview can be read now in the August issue of Good Housekeeping UK and visit for more.

Pitt stops, zombies, aliens and cowboys: What to see at the movies now
Pitt stops, zombies, aliens and cowboys: What to see at the movies now

The Age

time3 days ago

  • The Age

Pitt stops, zombies, aliens and cowboys: What to see at the movies now

The races themselves occupy much of the extended runtime of F1, which follows Sonny over the course of his comeback season. Kosinski shoots them in the manner of the outer space battles in Star Wars, cutting between Sonny at the wheel, a range of tense observers, and wider shots of the track. Rather than immersing us in any single perspective, the goal is to give us a total overview of the event – illustrating the high level of precision and focus the sport demands from everyone involved, not just the drivers. Still, there's no question that Pitt is the number one attraction of F1, even though there's a second hero, Joshua Pearce (Damson Idris) – a rookie driver anxious to make it to the top, who fears his chances have been compromised when Ruben Cervantes (Javier Bardem), the manager of his struggling Grand Prix team, insists on bringing Sonny on board. Sonny and Ruben go back a long way, which doesn't mean they're always in agreement, and Sonny also has a love interest, the team's technical director Kate (Kerry Condon), whom he coaxes into designing a new car that suits his needs. But it doesn't much matter who Sonny is sparring or flirting with: the central relationship in the film is between Pitt and the camera. He, too, is an old hand who knows all the angles of the game he's been playing since he was in his early 20s – which means whenever he turns his head, he knows just how the light will strike his face. Reviewed by Jake Wilson 28 Years Later ★★★★ MA 15+, 115 mins, now showing It is 23 years since writer Alex Garland, director Danny Boyle and producer Andrew Macdonald unleashed the Rage virus upon the world and redefined the zombie genre in 28 Days Later (despite insisting their film wasn't a zombie flick at all). And in the first of a projected new trilogy, they prove there's plenty of life in them old bones yet. The filmmakers claim no prior knowledge of the franchise is necessary (Garland and Boyle were only executive producers on the 2007 sequel 28 Weeks Later) in order to enter the latest incarnation of the hellscape of England after the outbreak. And while it undoubtedly adds a little something to have seen the earlier films, they are largely right in that. As The Walking Dead made perfectly clear, you don't need an origin story when the world you've created is as fully fleshed out as this. Even if the flesh is in a horrible state of decay. We start here on the island of Lindisfarne, off the coast of north-east England. That gives our leads – Aaron Taylor-Johnson as Jamie, Jodie Comer as Isla, and Alfie Williams as their son, Spike – the chance to do some cracking Geordie accents, something we just do not hear enough of on screen, if you ask me. Isla is bed-bound, racked by a mystery illness that at first glance could be mistaken for early-onset Rage. Jamie is a hunter, a leader of the gated and so-far secure island community that seems to have clung to a version of civilisation fashioned some time between 1830 and 1940. He's taking Spike across the causeway – accessible only at low tide – that connects the island to the mainland, to hunt for slow-moving infected, and to dodge the fast-moving variety. It's a coming-of-age ritual, with a rather higher degree of risk than a bar mitzvah or a blue-light disco. Of course, things unravel pretty quickly, as they encounter a horde led by an oversized, more intelligent leader, known as an Alpha. Boyle is masterful at creating an almost unbearable sense of tension in these scenes. His use of jump-cuts, of varied focal lengths and exposures, and above all his use of music and sound design (think Trainspotting, times 10) all combine to create and sustain a state of high anxiety in the audience. The mission is a turning point for Spike, but not quite in the way his old man had anticipated. His experiences, and the aftermath of them, open his eyes to the way myth is used to reinforce a particular version of the world. It causes a rift between father and son, and sets in train the second part of the film, in which Spike leads his mother back to the mainland in search of a doctor who is rumoured to be there, and who might provide a diagnosis and a cure. At its core, then, 28 Years Later is a story about a fractured family, and the quest to reunite it, or replace it. It's about the painful act of severance necessary to growth. It's about betrayal and faith, and the need to believe in a better future even when it seems impossible. Loading If, like me, you are a fan of the genre you will see echoes of other examples here – of The Walking Dead and The Last of Us especially. But I see a big debt, too, to Russell Hoban's magnificent and slender post-apocalyptic novel, Riddley Walker, in which a teenage boy wanders the Fens of East Anglia, and where language and stories have fractured and decayed but still hold sway. In all of these, there's a fascinating kind of regressive medievalism at play, with hilltop forts, primitive weaponry, folk religion and a desperate bid to carve a life of normality in a time of perpetual siege. There's not a lot of room for humour in all this, though I couldn't help but chuckle at how much the infected remind me of ravers at Confest, especially in scenes where they're bathing naked in a river. There's also a hilarious scene involving a Swedish marine and the picture of his girlfriend on a barely functioning phone. It's a throwaway moment (in all senses), but it says something about the things that are ephemeral and the ones that really matter. And, ultimately, isn't that precisely what the best zombie stories always do. Reviewed by Karl Quinn ELIO ★★★½ PG, 98 minutes, now showing Child meets alien: it's a tale as old as time, or at least a formula that goes back to E.T. Still, given that Disney and Pixar are two branches of the same company, there's something disconcerting about Pixar releasing Elio just a few weeks after Disney brought us the live-action version of Lilo & Stitch. Both films centre on a rambunctious young orphan who has trouble making human friends, but does better when extra-terrestrials are involved – and both incorporate the expected heart-tugging moments and moral lessons, along with parodies of science-fiction cliches. So which one should you or your children see? It's a matter of individual preference, but personally I'd have to give Elio the edge. Lilo & Stitch is mostly old-fashioned slapstick, though not lacking in charm. Elio is more ambitious, and also a whole lot weirder – which is a plus, though questions might be raised about the advisability of showing a child lying on a beach next to a message scrawled in the sand that reads 'ABDUCT ME,' granting he's spelled out he wants to be abducted by aliens, not just anyone. At any rate, it isn't long before young Elio (Yonas Kibreab) gets his wish. Light years away from planet Earth, he seems to have found his chosen family in a non-violent, technologically advanced collective of aliens known as the Communiverse, who accept and appreciate him as his well-meaning aunt back home (Zoe Saldana) never could. Naturally, there are complications. It's not that the members of the Communiverse are hiding anything sinister, but they've jumped to the false conclusion that Elio is Earth's leader. Rather than confess the humiliating truth, he volunteers for a dangerous diplomatic mission involving the monstrous Lord Grigon (Brad Garrett) – whose young son Glorgan (Remy Edgerly) proves to be even more of a misfit than Elio, with no true desire to move on from his larval form or join the family business of galactic conquest. Credited to three directors, Madeline Sharafian, Domee Shi, and Adrian Molina, Elio feels more like a corporate product gone slightly haywire than the vision of any particular individual. But it's inventively animated and neatly plotted in a way that used to be a Pixar hallmark: the surprises are many, both in one-off sight gags and larger twists. Loading Elio is an especially intriguing cultural object for adults who have followed the reports of behind-the-scenes disputes over the representation of gender in Disney and Pixar movies, as with the fleeting same-sex kiss apparently cut from the 2022 Lightyear then reinstated. For anyone familiar with this history, it's hard to avoid viewing Glorgon's whole subplot as a metaphor for gender non-conformity. For his species, growing up means entering into a 'carapace,' a hard outer shell masking inconveniently squishy feelings. Elsewhere in the film, the theme is echoed in ways that feel sometimes conscious and sometimes less so – including the revelations about what alien bodies are capable of, as well as Elio's sense of his own difference. But there's no reason any of this should trouble kids. Reviewed by Jake Wilson The Unholy Trinity ★★★ MA (15+), 93 minutes, in select cinemas from June 29 A Western starring Pierce Brosnan and Samuel L. Jackson promises to be a decent enough time, at the very least. And that is exactly what this revenge tale, with a significant (though far from obvious) Australian component, delivers – a decent enough time. Absolutely nothing in The Unholy Trinity comes as a surprise. Almost everything feels like something you've seen or heard before ('they kilt ma brother', says one chap-wearing villain seconds after the saloon has fallen silent upon the entry of his posse). Even the name echoes the Terence Hill-Bud Spencer Trinity films from the 1970s. But while there are some flashes of wry humour dotted throughout – can a movie with Jackson ever not have at least a little twinkle in its eye? – this is mostly a straight-shooting exercise in genre. Not that it doesn't try to surprise with its convoluted revenge plot sprinkled with dollops of Civil War, slavery, indigenous land rights and religion. Henry Broadway (Brandon Lessard) arrives at the gallows just in time to hear his father proclaim he is innocent of the crime for which he's about to swing. The true villain, he insists, is the sheriff of a town called Trinity. Duly entrusted with a mission of vengeance, Henry rides to Trinity and pulls a gun on the lawman in church. Trouble is, it's the wrong sheriff; the man who killed his Pa is dead. In his place is Gabriel Dove (Brosnan), whose message is one of peace (nominal determinism, much?). That said, he's not averse to using a rifle to enforce it. There's a faction in the town convinced that the old sheriff was murdered by a Blackfoot woman (Q'orianka Kilcher) who lives out in the wilds, and they want to hunt her down. Dove is convinced she's innocent, and does all he can to protect her. Meanwhile, in a plot that's not so much parallel as perpendicular, Jackson's former slave, who goes by the name St Christopher, comes to town looking for a pile of gold that's linked to both the old sheriff and Henry's late father. If you can predict how this is all going to turn out you should probably set up a tent and start reading fortunes for illiterate gold miners … let's just say the plot lines converge, and it ain't purty. But how, you may wonder, is any of this remotely Australian. I'm glad you asked. The director, Richard Gray, is from Melbourne, was runner-up on Project Greenlight Australia in 2005, made his debut with Summer Coda in 2010, and has gone on to make nine feature films since. The last three of those have been made at Yellowstone Movie Ranch in Montana, where he and his family live. This and the last (Murder at Yellowstone City) are Westerns; the other, Robert the Bruce, is a historical epic set in Scotland. Alec Baldwin's cursed Western Rust was also partially shot there (Gray served as an executive producer on it). The screenplay to this one is by Lee Zachariah, also Australian (he's worked on The Hamster Wheel, The Checkout and Shaun Micallef's Mad as Hell). The producers include US-born, Queensland-based Steve Jaggi and Melburnian Lee Matthews. Some of the post-production was done in Queensland. Does any of that make it great? No, not really. But it doesn't make it bad either. And as another stone in the fascinating path that Gray's career has taken, it's certainly worth noting. Reviewed by Karl Quinn Jane Austen Wrecked My Life ★★1/2 M, 98 minutes, now showing From a 21st-century vantage point, it's all too easy to pigeonhole the novels of Jane Austen as the ultimate in prim and proper Englishness – although their plots still hold up, as Clueless in the 1990s showed brilliantly. Imagine how the French must see her. Or rather, you don't have to imagine it, because you can get an idea from Jane Austen Wrecked My Life, a first feature from the French writer-director Laura Piani. The bilingual Camille Rutherford stars as the heroine Agathe, a constant reader whose taste for Austen is portrayed as highly unusual by Parisian standards, even among admirers of the classics. Agathe is a misfit in other ways, the kind who laments she was born in the wrong century. Long-limbed and charmingly awkward, she works at the famous English-language bookstore Shakespeare & Company (as Piani did too), writes unpublished romances in her spare time, and derides dating apps as 'Uber sex'. If she's holding out for her own version of Mr Darcy from Pride and Prejudice, she could be waiting a while, nor is there much sign of her literary career getting off the ground. So her friend and co worker Felix (Pablo Pauly) decides to give her a hand, signing her up for the Jane Austen Residency, a writer's retreat held at an English country house (the locations were all in France, not that it matters). Here she meets Oliver (Charlie Anson) a buttoned-up literature professor who also happens to be a distant connection of the Austen clan. While he's no great admirer of his ancestor's work, there's something oddly familiar about his standoffish manner, which puts him at odds with Agathe from the moment they meet. Could it be that she's met her match at last? Or has she been led astray by over-exposure to 19th century novels, with her real chance at happiness lying closer to home? Jane Austen Wrecked My Life is a deliberately lightweight confection, but this is far from the easiest kind of film to bring off. There are some genuinely charming and surprising elements, including a cameo by the great US documentary filmmaker Frederick Wiseman, who has lived partly in Paris for many years and shows up perhaps simply because he happened to be available. But there's also a heavy reliance on what I can only call snob appeal, whether Agathe is showing off her skill at the piano, poking around in an antique shop or dressing up for a costume ball. Accompanying this is an oddly insistent hostility to anything intellectual. In the worst scene, an obnoxious feminist academic holds forth about the political purpose of literature, prompting Agathe to insist that the real purpose of a novel is simply to tell a good story. If the exchange had been conceived in satirical terms it might have worked, but it plays out with hardly a hint of humour, as if Piani were working off a grudge against her lecturers at university. Indeed, while Jane Austen Wrecked My Life could be described as a romantic comedy, it's never especially funny, for all the stumbling and bumbling in the manner of Richard Curtis movies like Love Actually (Anson doesn't go the full Hugh Grant, but does emulate the rapid blinking). Loading

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store