Lifestyle
Nick Frost wants you to laugh and squirm in “Get Away”
Maisie Ayres, Sebastian Croft, Aisling Bea, and Nick Frost in Steffen Haars’ Get Away
Danielle Freiberg/IFC Films and Shudder
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Danielle Freiberg/IFC Films and Shudder
In the new horror-comedy Get Away, the Smiths seem like your average British family, if maybe a bit… morbid? We meet them as they’re driving to a ferry where they’ll embark on a holiday to the fictional Swedish island of Svalta, but not everyone is happy to see them.
“In fact, they’re not welcome at all,” Nick Frost, the film’s writer, tells NPR.
He also plays the patriarch, Mr. Smith. “They shouldn’t be there. It should only be for the Swedes and they just don’t listen,” he says.
See, as polite as they may seem at the outset, the Smiths just don’t care whether they’re welcome or not. They’re here, and the locals are just going to have to deal with it.
“This is Europe, yeah?” Actor Maisie Ayres, who plays Jessie Smith, tells an ornery restaurant owner at the start of the film.
As Frost tells it, it’s pretty typical for British tourists – or American ones, for that matter – to act so entitled. “There is a community of Swedish nutcases who do not like foreigners. You are not on the island and the Smith family ignore every bit of advice to not go, and straight away they essentially walk right into a very angry group of natives,” Frost said.
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On combining horror and comedy
I love horror and I love comedy and I don’t see why we can’t be all of those things at the same time, you know? But I think traditionally in films we’ve done, the horror has to be frightening and horrific and the comedy should be funny. It should stand up as a comedy. And then, by the way, here at the end there’s a kind of slash-fest.
Folk horror and its influence on Get Away
This comes from me spending 20 years on and off going to this tiny Swedish island. My ex-wife’s family, they’re Swedish, and they have a beautiful house on this tiny island. There’s only 40 houses, there’s no roads, there’s no cars … and I was always amazed at how much culture they had, you know, the Scandinavians in particular. Coming from Britain, and London: yeah, we do have culture, but it’s not like they have there. Ours has been dumbed down slightly. I just love the fact that my children got to grow up around a society that had that kind of culture.
They celebrate things. They dress up as dogs some days. They stay up all night drinking vodka on other [days]. You know what I mean? Every community has its little cultural quirks and I just found that fascinating. [But] even in 20 years I never really felt like they accepted me. Being British, there’s this kind of desperation to be accepted, [like] ‘please like me.’
Entitlement of British tourists
I think that generally is the dynamic of English people. We’re still surprised when people don’t speak English. We’re flabbergasted that no one would take into consideration our needs. We are that really. I think historically on [Svalta] we suggest that four British sailors were killed 250 years ago and then our British family invade the island 250 years later.
What a horror comedy can teach an audience
There’s a Belgian Dutch film called The Vanishing and then there’s also a [Belgian] mockumentary called Man Bites Dog where a film crew follows a serial killer around to get a glimpse into his life. Both of those films – the central antagonist is a serial killer. They are homicidal maniacs. They’re not nice people. They’re awful people. But what those filmmakers did really well was, you know, they’re rubbish at their jobs … you know you get to a point where you empathize with them because they appear human and I really like that.
I got a chance with this to kind of do the same thing where you shouldn’t like the Smith family in the end – I don’t want to give spoilers away – but you shouldn’t “kind of” like the Smith family. But as an audience member, if you can walk out of the cinema, of the theater, and say ‘they were kind of nice, they were cute and funny,’ it leaves people a bit torn when they come out, which is great.
On the 20th anniversary of Shaun of the Dead
It feels great. I think I tried to keep a vibe of that in Get Away, too, in terms of I haven’t made it to make a specific type of audience laugh. I’ve made it to make [actor and co-writer] Simon Pegg laugh and I’ve made it to make [co-writer and director] Edgar Wright laugh. So that’s my audience: Simon and Edgar and I think I took that away from Shaun of the Dead. I’ve been working now as an actor fairly successfully for 20 years now, and I think I’m very thankful for that kind of longevity.
Worst tourists: American or British?I don’t want to upset anyone here, but I think Americans in America, they just fit. It works. But if you take Americans anywhere else, it just doesn’t really work. It’s not a good … culturally it’s not a good fit. But British people in Britain are sometimes really annoying.
Get Away is in select theaters now.
Lifestyle
‘How to Rule the World’ explores education and power at Stanford University
Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.
Ben Margot/AP
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Ben Margot/AP
When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.
Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.
Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.
He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.
In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.
We reached out to Stanford University for comment and have not heard back.
Listen to the interview by clicking play on the blue box above.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
How having zero points in tennis — or ‘love’ — came to sound so sweet
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
Kirsty Wigglesworth/AP
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Kirsty Wigglesworth/AP
Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
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