Memento mori. This phrase is written deep within the skin of my left wrist, in the handwriting of my best friend. It sits on her ribcage in my own scrawl. My first ever tattoo, I got it together with her one day after discovering we had both hung onto the phrase and the meaning behind it, years beyond learning about it in our art history lessons, back in Italy where we had once lived. It is my personal motto, a reminder to myself to not get mired in the way things are right now, to be prepared for when they will end.

You could spend pages on pages writing about the history and use of the phrase memento mori, but the gist of its literal translation is this; remember death. Pretty emo. Really though, if you dig a little deeper, the more sunny meaning reveals itself.

Remember death may be how the words themselves translate, but the intention is that you should remember that everything ends—life, good moments, bad moments, relationships, jobs—everything has its time and place. The point of remembering this is to appreciate things while they happen—to savour the good and suffer through the bad, knowing that something else is coming… eventually.

Still, endings can be so jarring and unsettling that they generally get classified under the “bad things” column. Breaking up, leaving a job, saying goodbye to a friend, moving—these are life events that we live in fear of.

And yet, somehow, these endings give us the one thing that is most valuable: self-knowledge. To let go of something we worked hard for—something that for whatever reason is no longer working—and subsequently realizing that to do this doesn’t hurt as much as we thought it would, shows us what actually means the most to us. The dread before something ends—the thought that we’ll lose: the joy it gave us, the love or sense of belonging attached to it, the prestige achieved through it—is often replaced by a euphoric sense of freedom, once the door has actually closed and we face our future without it.

Even people, be they colleagues, friends or lovers, who we once believed would always be a starring player in our story, are rewritten to a bit player or even off the page entirely, with shocking ease. Your parents probably have old photo albums full of pictures of their friends from when they were around your age. Try a little experiment; bring them their albums and ask them to name everyone in the photos. Watch them falter after only a couple of key faces. The truth is, very few things in your lifetime will actually last decades. For many, it will only be their relations by blood—parents, siblings or children—who are constants. For some lucky souls, there will be a life long love, or life long friends, or a business partnership that spans decades.  But the fact that something isn’t built to last forever, doesn’t mean it isn’t worthwhile. Memento mori; enjoy its season and prepare for the next to come after.

Easier said than done. I dread change more than most, hence the permanent reminder on my body to accept change will continue to happen to me. How do we learn to enjoy the endings rather than fear them? How can we see the inevitable as a chance at something better rather than simply a loss?

First, I think it’s important to appreciate the luxury of grief. The sadness of loss is one of the truest, deepest and most life affirming feelings you can experience. If the end of something you once treasured makes you grieve, lean into it. Mourn things the way they deserve to be mourned. Rather than ascribing to the Instagram era’s need to always look like everything is So! Great! Always! be honest with yourself. Losing something that matters to you sucks. Feelings of heartbreak and anger will only fester and bloom into something ugly inside you, if you don’t allow yourself to experience them. Give your wounds fresh air, let them live on the surface, and they’ll eventually scab over and heal themselves.

That said, know when grieving has crossed the line into wallowing. Once you’ve shed your tears or vented your frustration, close the chapter. If something is ending, it doesn’t matter if it’s how you wanted things to go; it has reached its inevitable conclusion. Realizing that we don’t get a say in the fact that things end, but that we do get to choose our reaction, is the key to keeping the reins of our own lives tightly in hand. As Elizabeth Bishop’s poem One Art puts it so gracefully, “so many things seem filled with the intent to be lost that their loss is no disaster.”

And once that grieving is done, and you’ve pulled yourself out of the immediate tailspin that follows a major life shift, look to what is coming along to replace the thing you’ve lost. Endings and beginnings are one and the same, and beginnings—while potentially equally painful in their tendency to push us out of our comfort zone—make us stronger, and teach us more about ourselves than we had the potential to learn in our previous chapters.  We are part of a generation that is destined to reinvent ourselves again and again over the course of our lives. Rather than a settled career in one company, or an early marriage that must sustain through a lifetime’s worth of self-evolution, we step out on the ledge in every area of our lives and look for the chance to climb even higher. This freedom is a challenge, and can be embraced as much or as little as we want, but it’s ours and it holds more opportunity than what was given to any generations that came before.

I am forced to take my own advice, as I say goodbye to this column, and the home it’s had at FILLER since the very first issue. I feel the loss, as I’m sure the other contributors do as well. But I choose to celebrate its lifespan, and take my own motto to heart. Memento mori friends, let’s embrace the joy this magazine has given us, and know that its end is just another beautiful beginning for everyone it has reached.

Michael Mosley digs comedy. “It’s what I love,” says the Iowa-born actor. Drama, though, crushes on him. While it was ABC’s popular sitcom Scubs that landed him on audiences’ radars back in 2009, the actor’s dramatic turn on shows including Pan Am, Longmire and Castle is what has fueled his rising star.

Still, Mosley’s sense of humour is evident from the moment one sits down with him; his wit—supported by a nimble quip reflex—makes an indelible impression. Given his natural aptitude for comedic timing, it’s no surprise the actor became a favourite on Sirens—the now defunct TBS comedy. Closer to British deadpan than relentless funny man, the actor has a bit of Heathcliff to him—with dark eyes and an oblique charm—cut with the slouching disposition of a ‘90s grunge rocker. The combination lends itself to roles with a more somber bent, while nudging way for the sardonic.

Opportunely, serious men with cynical world lenses dominate the narrative of the actor’s latest project, LBJ, a biopic about America’s 36th President. Helmed by director Rob Reiner (Flipped) with Academy Award-nominated actor Woody Harrelson (True Detective) in the title role, the historic drama takes the Mosely back in time to the genesis of those turbulent years, following the assassination of John F. Kennedy.

“LBJ was going to go in and do politics as usual,” says Mosley of the those years. “But the Kennedys—these young Harvard kids—had shown up and taken over the zeitgeist of the country, and he had to adapt based on that.”

For fans of House of Cards, the bio attached to Mosley’s character, may recall the sway of one Doug Stamper (Michael Kelly). In the role of Kenneth “Kenny” O’Donnell, the actor steps into the life of a covert Washington insider, whose legacy begins with Camelot.

In the political history books, O’Donnell—who passed away in 1977—is remembered as JKF’s closest adviser. O’Donnell provided counsel during the Bay of Pigs Invasion and the Cuban Missile Crisis that followed, he arranged and was present during that fateful trip to Dallas, and thereafter, he was a White House aide to Lyndon B. Johnson—JFK’s Vice President and successor after his assassination.

Johnson was voted into office that same year and acted as Commander-in-Chief from 1963 to 1969. Serving LBJ through the Civil Rights Movement, O’Donnell—who was widely regarded as the padrone of JFK’s “Irish Mafia”—struggled with the philosophies of the president’s office, eventually vacating his post to support Senator Robert Kennedy during his bid for the Democratic presidential nomination, until Kennedy’s fatal shooting in Los Angeles’ Ambassador Hotel.

With the film currently traveling the festival circuit, we had a chance to catch up with Mosley while he was in town for the film’s world premiere at the 41st Toronto International Film Festival. Below, transcribed from a conversation on a rooftop bar in Toronto, the actor delves into the history of Kenny O’Donnell and the Washingtion man’s windy relationship with LBJ.

To start, can you tell me how you researched for this film? There’s a lot of history behind the name Kenny O’Donnell.

Yeah, so his daughter Helen O’Donnell has written a bunch of books about him and Jack. I talked to her on the phone; she shared a lot good stories about him. [gestures to waitress] Two shots of Jameson please. [pauses] He was a really interesting guy… he went to college with Bobby. They were Harvard roommates. They played football together and they use to like to incite political discussions among the rest of their teammates.

Did his daughter have some good stories?

She told a funny one about when Kennedy got elected as President of the United States. Kenny was helping Bobby, who was the campaign manager… [waitress arrives with Interac Debit terminal] One of these again.

What’s the matter? It’s just a terminal.

[pauses] A terminal? Is that what it’s called? You know, we’re getting these in the States now, too. [shakes head, laughs]  Anyway, the election had one of the smallest margins for a victory in American politics… it was him and Nixon going up against each other at the time. And while the votes were being counting, Kenny said to his wife—who by this time was just so sick of him being on the road campaigning—“as soon as we’re done with this, I’m yours. We’re going to go on vacation. I’m sorry, I’m just trying to get my buddy’s older brother elected.” Then, the minute the count comes in and it’s announced that Kennedy has won… I think he won by around 100,000 votes… [waitress sets our drinks down in front of us] Thank you.

Okay, now the count is in…

So, the minute it’s announced that he’s won, Kenny O’Donnell—who is in bed with his wife—gets this knock on the door, and it’s four secret service guys. Kenny is like, “what’s going on?” And they say, “the president-elect wants to talk to you.” And Kenny says, “sorry hunny, I will be right back.” And so then, he gets in the car, and the minute he gets into the car, they all salute him. And he’s like, “what the fuck is going on?” [laughs] Now he’s in the car and goes to where Jack and Bobby are at…

Okay…

Jack Kennedy is in the other room… Bobby is there and he goes, “you’re in the cabinet, you’re called Special Liaison to the President.” And Kenny goes, “what the hell is Special Liaison to the President? What does that mean?” And then John Kennedy says from the other room, “Whatever the hell I want it to. Pack your bags, we’re going to D.C. tomorrow. [both laugh] And that was it, he was back in the fold.

Where he stayed.

Yeah, Kenny O’Donnell was always in the huddle. He was at the back of the room and he had the president’s ear. He was this neighbourhood guy, who didn’t really have a lot of political training or anything, but he was just this guy that was always there with Jack. During the Cuban Missile Crisis, Kenny was one of those guys in the room, figuring out whether to start nuclear war.

In terms of Kenny’s personality and what your gathered about him while researching for the film, what aspects of his character did you decide to play on for this role?

So… the movie is LBJ and it’s from LBJ’s point of view. LBJ is a Southern democrat. He’s this old school, white politician. And then… there are these Irish Catholics from the North East that democrats like LBJ didn’t even know what to make of. So, in that way, I wanted to make Kenny a little more neighbourhood.

Was that because of Rob Reiner’s direction?

I remember when I auditioned, Rob was like, “can you do more of the accent?” But Kenny didn’t really have an accent. He was from Worcester, Massachusetts, but he had gone to Harvard… and I feel like a lot of times, when neighbourhood guys get to the nice part of town or a nice school, they try to get rid of some of that stuff. They don’t want to sound like Worcester or Southie, or whatever. And so, he didn’t really have an accent, especially when he was talking to the press in D.C., but Rob wanted that.

And you?

I thought it would be fun if he had a little neighbourhood in him, if he sounded like the block because I thought it would confuse LBJ… and LBJ wouldn’t know how to read that, you know what I mean? It would be more of a point of conflict. [picks up the shots that have been sitting on the table and hands me one] This is very Kenny O’Donnell / ‘60s D.C. by the way. Actually, Helen told a funny story. They go out drinking one night—LBJ and Kenny—and they come home really late and LBJ is taking him home in the presidential limo and Kenny’s wife comes to the door, and they’re both weaving cause they’re drunk, and she goes to Kenny, “you, get in here.” And then she goes to LBJ, “you, go home.” And she slams the door! [both laugh] But it was all family, you know, so it was fine. [catches the waitress’ attention and gestures for another round]

Aside from their nights out, there was tension there though, right? With or without the accent.

They were at odds when JFK was in the oval office and LBG was his Vice President. Kennedy gave LBJ the position of Vice President to keep him close, so that he wouldn’t cause trouble. Because, if he was majority whip, he would have been a very powerful democrat [working] away from the him.

And then came the Kennedy assassination.

LBJ wanted Kenny on staff, and Helen said Kenny was very sympathetic and supportive of LBJ’s situation… I mean, it’s a very unique thing to not win an election and to become the president because of a huge tragedy like that.

How was it working with Rob Reiner?

Rob was great. Rob was amazing. I think he’s use to film—so he still thinks of it like every foot of film count.

How does that translate into his directing style.

Takes. He just does about two well-planned takes. [picks up another two shots off the table and hands me one] Cheers.

Just two takes?

Two, three, four… not a lot. We shot the whole Kennedy assassination by 2:30 PM in the afternoon. There were like 450 extras, period cars and after the morning rush, blocked-off traffic in Dealey Plaza; there were a lot of moving parts. But, done by 2:30 PM, and that was film wrap, too.

What was it like filming that scene? A little surreal, I imagine?

Being in this movie gave me a really unique perspective. While filming, it felt like you were standing in the middle of history. Driving the motorcade route—one car behind Kennedy. Think about it, I got a guy that looks like Kennedy; I’ve got Jackie with her pillbox hat, all in pink; everybody’s waving and dressed in period costumes; we’re in the cars, actually driving the route… you are in the moment. It was trippy. It’s really fucking trippy. It was wild. [laughs]

It would be!  With any political film set in the ‘60s, it can feel like a Kennedy film. I mean yes, this is a movie about LBJ, his presidency and his perspective, but Kennedy in some ways defines that era, no?

Yes because it was all a reaction to this guy—to Kennedy. I was actually thinking about this the other day in terms of the current election. So, we had George W. Bush… who was a certain type of politician and a certain type of individual… but would we have a Barack Obama without a George W. Bush? I don’t know if we would have. [pause] I think it was a correction. So, with him, we have this thoughtful politician, who is young and a Harvard scholar, and then from him, we have an over correction the other way, where we have this populist Trump. Politics kind of ying and yangs all over the place; it’s always a direct response.

Grooming by Harper for Exclusive Artists Management using Leonor Greyl

Pop culture paints it as a paradise; from The Beach Boys fascination with grass skirts to the mass popularization of the luau across the globe, Hawaii has long been perceived as home to the “good life.” And, so it is—without exaggeration—as I discovered on a recent visit, a place where R&R is a way of life, rather than a 2-hour activity penciled into one’s calendar, under “spa” every other month. (Though, the spas here happen to be exceptionally relaxing.)

Located in the central Pacific, this volcanic archipelago owes more than a smattering of its mythic legacy to simple geography. Hawaii is made up of six main islands— Kauai, Oahu, Molokai, Lanai, Maui, and Hawaii Island. Each island is a distinctive culmination of wild landscapes robust with tropical flora, cascading waterfalls, lofty cliffs and miles of sandy beaches coloured in white, red and black, depending on their proximity to volcanoes and lava cinder cliffs.

In Maui—where I visited—every corner of the island is unique in its beauty.  The eastern side of the island is characterized by wind and wet weather, meaning better surfing (the size of a swell is dependent on wind intensity) and an abundance of gardens, farmland and rainforests. Here, nature has given way to the scenic Iao Valley (a heritage site, just west of Wailuku) and the road to Hana—a breathtaking drive, stocked with natural wonders and scenic pit stops. Contrarily, on the western side, the climate is drier, gifting sun-worshippers with the island’s acclaimed beaches in Kihei (on Maui’s southwest shore), as well as Wailea, where luxury resorts flag one of the driest region of the island.

Geography aside, the other half of Hawaii’s paradise equation is its people. This is a part of the world where a vacationer might be upgraded from an economy rental car to a Mustang convertible for no extra charge because a friendly manager happens to be in an especially giving mood. It’s a place where a local becomes a fast friend, one who will go out of their way to show you the best place to get Spam musubi (it’s at a sushi/antique shop called Miyako Sushi in Wailuku) because you happened to have a passing conversation about the popular Hawaiian snack made of grilled spam, rice and a strip of nori. And, Hawaii is a setting where the traditions of its islands’ ancestors continue to be wonderfully tangible.

“Our cultural excellence and native intellect is huge,” proclaims Kapono‘ai Molitau, a kumu hula (hula teacher) and proprietor of the local shop, Native Intelligence. As a practitioner and master instructor of hula, Molitau is a cultural preservationist. Hula is more than technique and choreography, as he shares, it is an artistic and spiritual representation of Hawaii’s islands; it is aloha—Hawaiian for affection, peace, compassion, and mercy—in action.

In Molitau’s shop, located in Wailuku on Market Street, the importance of cultural history informs the small business owner’s offerings. Goods sold here encompass Hawaiian values, designed by local artisans, using traditional craftsmanship, like Native Intelligence’s selection of kapa, a fabric historically handmade by the island’s indigenous Polynesian people from the fibres of native trees.

The cultural blueprint of Hawaii is present in every interaction with the island and its people. In Maui, the spirit of aloha sets apart everything from the hotel experience to the context of art exhibits.

At the Schaefer International Gallery, located in the Maui Arts & Cultural Center—a bastion of the local arts community with its lineup of performances, exhibits and educational programming—visitors can expect a lesson or two in Polynesian lore, while perusing the works on display. During my visit, the legend of the rat and the octopus engendered the allegorical space created by the Hawai‘i Island-based art collective, AGGROculture.

A local cautionary tale, the myth casts a rat adrift at sea as its anti-hero. In need of help getting to shore, the rat enlists the aid of an octopus, promising it a reward. Once safe on land, the rat scurries away, breaking its promise to the octopus. Notably, an impressionistic portrait of president-elect Donald Trump was among the exhibit’s key works. The takeaway here is the spirit of aloha, an ethos that would see the pledge of a handshake retains its value, even in a modern context.

Across all facets of life, this spirit shapes experiences on Maui. The ethos is the difference between checking into a luxury hotel and laying to rest your worries in a tranquil sanctuary.

At the Fairmont Kea Lani in Wailea, peace is part and parcel with one’s stay. From beginning to end, the resort—sprawled across 22 acres of lush tropical landscape—delivers a first-class experience that exceeds expectations. Following the traditional lei greeting (a wreath of flowers traditionally given upon arrival and departure as a symbol of affection), guests are checked-in and given a number to text, should they have any questions related to their stay. Personal concierge? Yes, please!

From the hotel lobby, comfort and luxury leads one to their suite… yes suite. As Hawaii’s only all-suite and villa oceanfront resort, every guest can depend on spacious suite to call their home away from home. With space to amply fit a family of four accommodations (suites range from 860-1100 square feet), lack of elbowroom is not a concern. In fact, for guests coming from urban centers notorious for tuna-can-apartments, the stretch of the suites—complete with separate bedroom, living room, marble bathroom (double vanity), and foyer—will feel particularly opulent.

The handsome outcome of a 70-million-dollar renovation, suites now boast modern tropical décor that steers far away from tones of flamingo pink. Updates include new carpets, granite countertops and tile entries, as well as a fitting of contemporary furnishings and statement paintings by local artists. And then there are the generously-sized lanais attached to each suite. Here, you can enjoy a morning coffee (brewed in the comfort of your suite) or spend an evening watching the sun sink into the ocean. (Tip: pick up a bottle of Maui-made OCEAN Organic Vodka at the nearest general store and a six pack of Hawaiian Sun in Lilikoi Passion Fruit for a leisurely cocktail hour on the lanai.)

Outside of the suite, a different type of repose awaits.

For the holiday-seeker that lists a sky-blue ocean and sand between their toes as a need, follow the sound of crashing waves down to a 600-foot stretch of white sand. The water here is as crystalline as one expects from the accolades Polo Beach has received by the bulk of global travel magazines. Should you be a Planet Earth fan, plan to spend at least one day in snorkel gear to explore Wailea Point reef, home to tropical fish and turtles galore.

For less adventurous types (i.e. those who prefer their piggies outside the confines of flippers), enjoy the conditions closer to shore. Thanks to a perimeter of lava rock outcroppings, this sandy bottomed spot of ocean is gentle enough on the feet to recreate The NoteBook’s famed beach scene—happily with less overcast and more palm trees.

Alternatively, should granules of rock fragments in your swimsuit bottoms be a pet peeve, opt for a day lounging by one of the resort’s four pools. Choose between the sophisticated atmosphere at the adults-only pool or the more mellow vibe of the two lagoon-style activity pools. The latter will especially appeal to kiddies (who do also have their own pool) and kids at heart. Both will find hours of distraction in the waterslide that connects the bi-level pools. After your 10th time down the slide, unwind in the whirlpool, tucked away in a shaded nook between the two levels. Rarely fully occupied, this relaxing soak does double time as a corner for stolen moments.

While beach staff are available to help guests arrange chairs and towels, those who are the enjoy-more-and-do-less type, will likely prefer camping out poolside, where they can take advantage of a refreshing swim-up bar and easily accessible piña colas.

For that same lot, you’ll do well at adding on the resort’s daily breakfast buffet to your stay. With items ranging from a traditional omelette bar to a congee station (trust me, you need to try this) the delicious variety and superior quality of food to choose from here, is the kick start to a perfect day. Order a smoothie off the à la carte menu to go with your self-made yogurt parfait (pile on the fresh fruit!), and it’ll be an extra healthy start, too.

For couples that also happen to be foodies, after a few days on the island, you’ll start to see why partners that eat together, stay together. Let’s face it, it’s hard to justify sampling all the desserts on a menu without at least one other person at the table.

Like the blend of options at the Fairmont’s breakfast buffet, the bulk of food in Maui represents the diversity of its island’s people. This mélange of flavours typical to local cuisine can be traced back to the history of migrant workers that converged on the island during the expansion of the local whaling and sugar cane industry. When Chinese, Japanese, Korean, and Filipino labourers came over to join the workforce, with them they brought a little piece of their native home—sealed tight in their lunchbox.

Sam Sato‘s in Wailuku epitomizes this comestible melting pot. Popular among locals and tourists in the know, the family-owned lunch counter—established back in 1933 by a second-generation Japanese-American plantation worker with the initials S.S.—serves up an eclectic mix of East and West. From the friendly waitstaff here, diners can order themselves a spread that is deliciously comparable to a hearty Hawaiian potluck, served up with the same warmth and hospitality you would find at a barbecue hosted in your best friend’s backyard. Regulars here suggest a mishmash of grilled teriyaki beef skewers, macaroni salad and of course, Sam Sato’s famous (and highly addictive) dry mein. A Maui staple in the realm of comfort food, the dry mein recipe here is tops, bar none, with its chewy noodles, savoury char siu pork bits, special sauce and accompanying cup of dashi.

When paying up at the cash register here, snag yourself one of Sam Sato’s quirky tees or tank tops—it’s foodie street cred. You’ll find sporting a shirt with a happy face made from a bowl of noodles will go far in gastronomic cool kid hubs, like Brooklyn and Austin.

An island void of pretension, Maui’s plethora of fine dining spots adhere to a similar gastronomic philosophy as Sam Sato’s, playing to a multicultural palate. At Ko—located in Wailea at the aforementioned Fairmont Kea Lani—the kitchen serves up dishes like a starter of Banana Ketchup BBQ Pork Skewers (classic local street food), followed by the catch of the day, prepared in a macadamia nut crust and tomato ginger butter with a side of mashed sweet potatoes. Touted to be one of the best restaurants on the island, expect an unforgettable meal that impresses beyond the hype.

Seeing that the restaurant is a go-to for anniversary dinners and special occasions, couples keen on staring into one another’s eyes for the evening, will easily find a Hallmark moment or two here. Trendy restaurant that Ko is, for romance away from the bustle of the busy dining room, reserve the Twilight Dinner for two and savour the sunset over a flute of champagne from your private canopy tent, before the first of four courses arrives at your candle-lit table.

For a slightly more casual dining atmosphere, check out the restaurants at The Shops at Wailea in between finding the perfect luau outfit (Cheeseburger Grille & Tap Room is a good one). Or, for a more lively atmosphere, visit the Wailea hotspot, Gannon’s. The panoramic ocean views at the here are some of the best to be found on the island. Translation: Book a table on the outdoor lanai in advance to guarantee the ultimate Gannon’s Restaurant experience. Trust us, Ahi Poke (a choice shared plate, served with island chips and avocado) tastes all the better when paired with a picturesque view. If you happen to be in town during the Maui Film Festival come June, check out the Dinner & A Movie special on offer here. After chowing down on a scrumptious caramelized pineapple glazed Pork Tomahawkwok (the side of fried green beans and tater tots that come with this is a merry addition to the dish), head over to the nearby Celestial Cinema, where you will find a beach chair just for you in the restaurant’s reserved seating section.

North of Wailea, discerning epicureans will discover a different view to go with their meal, this time a little more mountainous.

At the Mill House Restaurant—located in the Maui Tropical Plantation—the concept of farm-to-table takes on new depth with the farm literally in view of the table.  “We don’t use anything that isn’t local,” asserts Jeff Scheer, the restaurant’s executive chef. “And we make everything from scratch.” To taste the truth of the chef’s declaration, try any of the restaurant’s beef dishes, like the Ribeye served with zucchini purée, ali’i mushroom and pepita pesto. The prodigious flavour of the meat can be pinpointed back to the farm of Texas Longhorn cattle… grazing just across the way from the dining room here.

Food at the Mill House taste like… food: honest and flavourful. Chef Scheer—who also helms the Maui Chef’s Table, an outdoors dinner series hosted at the plantation—capitalizes on high-quality, fresh, locally-sourced ingredients; each of his restaurant’s plates are a meditation on essence and seasoning, boldly declared through modern technique. With a menu that is devoutly seasonal, only products in their prime make it into the restaurant, while only plates with imagination and creative vision make it out of the kitchen. “I definitely don’t cook Hawaiian food,” explains the chef. “But I cook food that plays off of it.” Scheer’s menu nods at the medley of international cuisine penetrating the heart of Hawaii’s regional fare, serving dishes including a velvety Brandade Arancini, brightened with cajun aioli, lemon zest and shishito pepper to their dedicated cult clientele.

From the Mill House’s location in Waikapu, go East to continue on an eat, swim, eat tour. Final stop: Mama’s Fish House in Paia. The word of the day here is “seafood.” Come hunger and rather than ordering a starter, a main and a bottle of Sauvignon blanc, opt instead for a couple of Bikini Blonde Lagers from Maui Brewing Co. and a feast of starters—as in everything listed under “appetizer” on the menu. You can’t go wrong with dishes like the Papa’s Three Fish Sashmi (ono, ahi and kampachi), Wild Fish Collar (a true standout) and the Kauai Shrimp Won Ton, served with a macadamia nut dipping sauce.

Like this famed restaurant, the historic town it occupies is not to be missed. Spend a day here; spend a week here. The warmth of the community and vibrancy of Paia’s culture is infectious, passing on to visitors a true sense of affection, peace, compassion, and mercy. This is the sort of place where seeing Owen Wilson leisurely riding a bike without shoes is not an occasion to pull out the iPhone and tweet—locals would never condone such an intrusion of peace. Paia, like the rest of the 50th state, exists outside the affected panoply of pop culture—no matter how many Hawaii-centric songs try to wrangle it in.

Maui and its surrounding islands have not earned the “paradise” title for their tropical drinks served poolside; the distinction is the spirit of aloha, simply given another name. Maui is paradise—a place where pure elemental pillars, guide life and action—just as Mother Nature intended…barefoot and open-hearted.

In Amy Chua’s New York Times bestseller, Battle Hymn of the Tiger Mother, the rigid structure, critical atmosphere and culture clash characterizing conservative Chinese households in North America was laid bare for the world to scrutinize. A controversial book (particularly in mommy circles), while some championed Chua’s enthusiasm for begetting high-achievers, others viewed her approach to parenting as overbearing at best.

Flash forward 5 years after the book’s original publication date, and there’s a new voice adding to the conversation sparked by Chua’s theories—a voice accompanied by a musical crescendo.

Her name is Foon Yap and she is a Canadian singer-songwriter. Her childhood was typical of a daughter raised in a traditional Chinese Catholic household. She started her classical music training early, at the age of 4, amidst a do-or-die climate that demanded she conform and excel, as instructed by the patriarchy. Resistant to the oppression of these conditions, the artist eventually reached a breaking point that would redirect her musical path, before it ultimately changed her life. “My album is about acknowledging my difficult past, so I can move forward,” she says of her recently released record, Palimpsest.

Composed of evocative lyrics that ascend with fervor as the tracks progress from the album’s melancholy opening song, “Woolf and Plath” to its haunting title number towards the record’s end, Palimpsest represents an embolden sound off. It is a musical documentary of the many year’s FOONYAP (the artist’s stage name) spent as a virtual “outsider” in her own life, conforming to no avail and desperate for acceptance. As the musician shares, the album’s songs had been percolating inside her for some time before they came to the surface. Now, to hear them on Palimpsest, is therapeutic.

“I was afraid of how others would judge me,” she explains, before revealing a pre-Palimpsest fear that listeners might find her music too emotional an overly sensitive, in an almost “childlike” way, as she puts it. “But I pushed forward,” the musician declares. “I had to surface, because it wasn’t others holding me back—it was my own thoughts!”

Incandescent for the very reasons FOONYAP had so long clung to uncertainty, the Calgary-based artist’s new album has the grit of early PJ Harvey with the experimental mystic of Sonic Youth’s Washing Machine. It is a diary of solemnity and passion that speaks to the thinking behind the musician’s stage name: a mere uniting of her first and last name, written in declarative all caps. The name—the base—is the same, it’s the conformation that has been altered. “My music conveys a reconciliation with my roots. The classical music, the Chinese-Catholic heritage—it’s all still there, integrated into my own style,” she asserts. “I [am] embracing parts of myself those systems taught me to be afraid of.”

Currently playing a string of shows across Canada with performances in select U.S cities, FOONYAP takes a moment to speak to FILLER about her musical journey and the crossroads it led to on the path to Palimpsest.

Your musical beginnings are quite different than your current path, was this shift in style something of a transformative coming of age moment?

Yes… but a slow and arduous maturation. My shift from classical music to the music I make now mirrors my search for myself.

Your lyrics feel very personal, especially with the way your voice and music draws in its listener. Do you always write from personal experience or do you look outside of yourself for inspiration, as well?

Both! Though, it’s impossible for me to separate the two—even when I look outside, I use my own eyes. Feminism, my Chinese heritage, Zen, and sexuality inspire me.

Given how personal your music feels, do you find songwriting therapeutic?

Yes… and it can hurt terribly. For example, to write my title track, I had to go back and relive adolescent feelings of alienation and shame. But unlike my past, those feelings were reconciled through song.

I imagine the process of songwriting is more difficult when it is so emotionally based?

For this album, yes. I didn’t want to face my feelings because they were painful! But I had no choice—I had to confront them to let them go.

How would you describe the mood of Palimpsest.

Introspective, dark, foreboding. There’s also a quiet acceptance of suffering as elemental to life.  A “palimpsest” is a manuscript in which traces of the original can still be found.

Your new album has a very cinematic quality to it, are you drawn to drama as an artist?

Yes. I’m an intensely emotional person, and I prefer my actions to have deep meaning.

You get a sense of that from the passion in your music. I understand you have collaborated with filmmaker Anne Koizumi on the music for her films. Has working in film always been something you were interested in?

Yes, but the soundtrack work is a surprising turn! I thought I would be an actress instead.

Second career, perhaps? How would you describe the relationship between the music in a film and the action?

Music enhances the emotional tone of the film, imbuing the action with significance.

Do you think that music is as much about storytelling as films are? Is that what makes the two disciplines feel so intrinsically linked?

Yes! I’m experiencing this now. I was quite reluctant to share the stories behind Palimpsest because they were so personal and tender, but people want to know. [And,] when they hear about my struggles, they remember their own. My songs become theirs.

Liberty London is by far my favourite department store in London. I always drag friends visiting from out of town there and watch as their jaws drop.

The awe starts with the building’s architecture. Back in 1924, the Tudor-rival building was constructed from the timber of two ships. Today, the wood floors and tiled fireplaces imbue the space with that warm, homey feeling.

When I enter, I always beeline to the elevators, head straight to the top (there are six levels) and work my way down through the exotic rugs, haberdashery, unique gifts, designer collections, scarves and stationary.  And then there’s the lower ground floor, which some ladies might be programmed to skip because that’s where men’s department is. (Note: if you are on the hunt for guys stuff, this level has the most beautiful cabinet of vintage items for men.) But wait, beyond the menswear, there is a treat there for you ladies.

After a day of shopping, your feet are tired and your back’s a little stiff, but fret not, The Margaret Dabbs Sole Spa at Liberty lies in wait.

Depending on where you are from in the world, a Maragret Dabbs pedicure might not be what you are expecting. You will anticipate soaking your feet in a footbath, possibly with jets and a massage chair to boot, but that is not how things are done at Margaret Dabbs. While you can have a foot Detox Bath that will rid your body of toxins, the majority of her pedicures are not wet. As it turns out, when your feet are moist it is much easier to aggravate your epidermis and remove more skin than necessary. And how do I know this? My podiatrist at Margaret Dabbs informed me so.

I underwent the Medical Pedicure by a qualified podiatrist named Helen. Helen’s been practicing podiatry for seven years (only for four years at Margaret Dabbs), and there is nothing she hasn’t seen. She has treated ulcers, diabetes, amputees, warts, fungal nails, and I am sure plenty more that most people, like me, couldn’t stomach.

The Medical Pedicure begins with Helen examining my sole, pointing out my flaws: my shoes are too narrow, so I am developing corns on my baby toe, and I step heavy on my heels. It’s clear, she can deduce quite a bit at a quick glance.

After the “examination,” she proceeds by clipping my nails and filing them with down the Margaret Dabbs Crystal Nail File. The vibrations of the file promote growth and strength the nail bed, while the smooth surface prevents nails from splitting. She follow this with the probe—an invasive little tool that removes any icky stuff from the underside of your nail. I shutter. Next, it’s time for the drill. 

The drill removes any dryness on the nail and the surrounding skin, but goes gentle on cuticles. She explains how you don’t want to remove much, as your cuticle prevents infection—another thing that low-quality pedicures make the mistake of doing. After polishing my nails to promote that healthy shine, she moves onto my feet. Drawing her blade, this is where it gets scary. She uses the blade to slice off any hard, dry skin on the heel, as well as the early-developing corns on my baby toes. 

Then, using the Margaret Dabbs Professional Foot File on dry skin, which allows her to see the skin’s texture easier,  she impressively maneuvers the crystal file on foot sole. Ridding it of the sinful dead and callus skin. The sensation mildly tickles, but apparently, in the last seven years she’s practiced podiatry, she has only encountered two people who are too ticklish to have their feet touched.

The file truly works wonders though—I have my own and can vouch for it. With little effort even you can accomplish professional results. I inquire about the life expectancy of my file, and apparently it all depends how religious you are with using it. Helen recommends you use one side until it wears down, before alternating. The older side will smooth the skin after you apply the rougher, new side. But the file papers should last at least two months, and you can buy affordable replacements after that.

After my skin is left smooth to the touch, she moisturizes with Margaret Dabbs Foot Lotion, formulated with Emu Oil, which boasts anti-aging properties. While this marks the end of my Medical Pedicure, if I were to have had the Ultimate Luxury Foot Therapy the Medical Pedicure would have been followed by a a foot exfoliation and footpath in a bespoke relaxation massage chair with an oxygen mask. The revitalizing oxygen mask promotes alertness and is good for your skin.

Instead though, I receive my assessment. Helen’s determined that my circulation is poor, and she disconcertingly tells me she could not even find the pulse in my right foot. I believe it, my nails had lost their normal pink hue due to slight elevation and their stillness. She’s warned me that it is something I need to watch, and I would never have known this, had she not brought it to my attention.

She has also recommended visiting three to four times a year for a Medical Pedicure and reminds me that if any foot problems arise, the Margaret Dabbs Sole Spa is able to treat them. Say you are suffering from fungal nails—which I hope you aren’t—but they are the first clinic in the United Kingdom to use a laser treatment to vanquish the ailment without the side-effects oral medication would cause. They also use acupuncture for stubborn verrucae warts or heel pain, while also providing bio-mechanical assessments for bunion prevention. All that said, despite the medical nature of Margaret Dabbs clinics, they honesty still feel more like a relaxing spa, than a cold podiatrist’s office. Let’s just say a healthy foot, is a healthy soul.

We receive a warm welcome from Antonia Thomas, as we step into her high-rise flat in London Bridge for the day’s interview and photo shoot. Before getting started with hair and makeup, everyone takes a moment to admire her eclectic living space and the panoramic view of South London its location affords. There is an intimacy to the space, born from carefully curating each piece of vintage furniture and every ornate knick-knack. As a whole, it is a mise-en- scène that illustrates a clear picture of who Thomas is off-screen, in comparison to the characters she’s become known for on screen.

Thomas, though, would argue that she brings a little bit of the “real” her to every role. As she shares, that’s what feeds her love for the stage and screen: the opportunity to tap the corners of her personality and flex her versatility as an actress. For Thomas, to be able to “draw upon different aspects of [her] personality and experiences [in order] to play those different parts is the most exciting thing about being an actor.”

Best known for her breakout role in Misfits, Thomas learned early in her career that sometimes, not identifying with who you are portraying is precisely the challenge a dramatic artist needs to master their inner chameleon. “I never in a million years thought when I got Misfits that I would be playing a role like that,” she says of her rebellious and overtly sexual Alisha Daniels character from the popular Channel 4 series. “I went to drama school, came from musical theatre, and thought that I would be doing Shakespeare. I was really scared of [the role], but it turned out to be the best thing that I have ever done… I learned so much and it positioned me amazingly to go on and do other things.”

Having become a cult figure within the realm of science fiction (how could a supernatural character able to provoke sexual frenzy through touch not become a fan favourite?), Thomas waded through post-Misfits offers with caution to avoid being pigeonholed. “Casting directors can see you in a certain light,” she explains. “It was a moment of turning things down and trying to make brave choices, which eventually worked out.”

Daring to be selective, has paid-off for the actress, whose reel boasts screen time in everything from BBC’s recent rendition of The Musketeers to renowned photographer Elaine Constantine’s feature film debut (and surprise box office crasher) Northern Soul to a starring role in Coldplay’s “Charlie Brown” music video to her most recent gig in the British dramedy, Lovesick (formerly known as Scrotal Recall).

Now in its second season—premiering globally on Netflix today—Thomas is at the heart of the show’s rom-com sentimentality; in fact, she is the heart. In the role of Evie—the best friend and would-be-true-love of the show’s protagonist Dylan (Johnny Flynn)—audiences are invested in the unrealized dimension of the pair’s relationship with one another. And while the premise of the show is about the various women that have passed through Dylan’s life (or more, bedroom)—as the original title of the series suggests—Thomas confirms that even though “each episode is still named after a girl, the girls become less and less important” to the story arc. Team Evie rejoice!

With its premiere season ending on a cliffhanger that left viewers anxious to learn what Thomas’ character would do now that Dylan’s love for her has been declared (by way of a third party, that is), Lovesick promises an eventful Season 2. “You learn more about the characters and where they come from,” shares the actress. “The flashbacks are so fun this time, we go all the way back to university!”

On set with Thomas, it’s impossible to miss how comfortable she is before the camera. She engages it with the prowess of a screen veteran—playing to its needs—the green of her eyes brighten when locked with the lens. In the photos, as on screen, Thomas exudes an innocence in nature, balanced by an electrifying grit.

An actress with range, Thomas is intent on expanding her portfolio to include more period dramas, in addition to productions that afford her the opportunity to sing. And then there’s also, of course, The Bard of Avon to consider.

Her passion for the stage runs deep, as can be deduced from the two vintage copies of The Complete Works of William Shakespeare spotted on her bookcase—which happens to be a repurposed vintage Coca Cola crate. When I point out the duplicates, she laughs, “you didn’t know I was a serious actor? Now you know!” Oh… we knew. The Shakespeare and her copy of 100 Great Plays for Women (a guide to female centric plays compiled by acclaimed theatre director, Lucy Kerbel) only confirmed our impression.

With a collection of classics, the likes of Oliver Twist and To Kill a Mockingbird stocking her shelves, it would appear this bookworm is an old soul. Still, binge watching programs on Netflix is a modern pastime Thomas likes to take part in, when not paging through gems of the literary canon. “In the wake of Netflix you can binge watch television… and I guess I watch a lot of series,” she laughs. “It’s quite a good way to shut off. I just finished watching Stranger Things, which is so great! The writing is awesome and [so is] the fact that they tapped into that nostalgia from the ‘80s.”

As for what we plan on binge watching for the rest of the week… take a guess. Below, Thomas talks the rebranding of Lovesick, the evolution of her on screen romance and all things acting-related.

To start, let’s go back to the beginning. You made a rather last minute switch from Fine Art at the Chelsea College of Art to acting at Bristol Old Vic. Why the change of heart?

I decided to do an art foundation, and I really enjoyed it, but found it quite solitary. The art foundation was in the same building as the drama school, and I just found I always wanted to know what they were doing!

Do you still do art?

I do. My wish is to eventually buy a place where I can have a studio with my paints out all the time. It’s a thing of getting it out and putting it away. [FYI: Her paints were spotted sitting on the balcony table.]

Now to the main event: Season 2 of Lovesick. First, I must ask, why do you think they changed the name from Scrotal Recall to Lovesick?

I mean… [laughing] why do you think?

Yeah, I think I get it. [Laughing.]

That kind of name signified a lad show, and yes, there is humour that is fun and a bit silly, but there is a lot of heart to it, and softness and some romance. [The name] became a thing where we all felt slightly ashamed because everything else about the show we are really proud of.

Sounds like it was almost a hindrance.

You would find yourself finding ways of not saying [Scrotal Recall], like “so it’s about three friends and it’s actually really sweet…” You would just find yourself completely avoiding [the show’s name], and then you would be like, “Scrotal Recall,” and people would look at you like your career had gone down the pan. [Laughing.]

I like the new name, speaks more to the show’s romantic plotline. On that note, can you explain what exactly is going on between Dylan and Evie? Please!

I think it’s that unrequited love thing, isn’t it? Like the thing that you really want has been staring you in the face. I think in a lot of ways, you can look at [Dylan and Evie] and go: it’s so obvious, like why are you not seeing her, she is obviously right for you!

Exactly.

I think it’s that thing, that in real-life people are really careful with each other’s feelings, especially when you care about them and when you’re friends… you don’t want to rock the boat or make them unhappy. So often, you just kind of stay quiet. [Laughing.] I think that’s quite an essential theme in this show!

What aspects of Evie’s personality tap into your own?

She wears her heart on her sleeve, she’s quite scatty, she’s creative. It’s that thing of being in that period of your life where we should all be completely sorted and know what we’re doing. I mean, I am to an extent… I am in a relationship, I am happy, I am doing a job that I love, but you never know—especially in this career—from one moment to the next, where you’re going to be living. At the moment, I am in between here and America. I mean when I was fifteen, I thought by the time I got to my mid 20s, I would have bought a house and I would have it all sorted… and I haven’t, so I would say I relate to [Evie] in that respect.

The show doesn’t shy away from intimate moments, have you gotten fairly use to filming those types of scenes or are there still awkward moments?

I am very lucky my co-star John is such a nice guy, and outside of work we’re really good friends. Initially when you do those scenes it is always awkward, especially because the room is crammed full of people, there is whole film crew starring at you.

Definitely awkward!

You just have to kind of laugh and trust the other person.

What actors do you admire, and what qualities would you say they all share?

My favourite British actress is Emma Thompson and an obvious favourite America actress is Meryl Streep. I admire them because they are such chameleons, they have the kind of careers that you dream of. From one job to the next they are playing completely different roles. They also normally tell stories that are important… that have a real message to get across!

You’re career has been quite versatile in terms of roles, as well. I mean going from Misfits to playing the female narrator in the Teletubbies… it’s a leap!

[Laughing.] It was a real choice after Misfits to choose things that were really different. I really didn’t want to get pigeonholed as an actress that just does that kind of a role.

I understand that. Diversity is a good way of getting casting directors to see your range… to open their minds.

They start seeing you as a bigger picture, a person that can hopefully be a chameleon.

Any past roles that particularly stand out for you?

Musketeers was so fun because I absolutely adore period drama. To wear these amazing costumes and corsets, and really get to grips with that period… like the way you carry yourself and the whole difference of what that period brings.

Any others?

Equally, I loved Northern Soul. That was an incredible experience, Elaine [Constantine] had been trying to get that film made for almost ten years. The authenticity she brought to the experience… every detail was incredible. I loved that job.

Aside from film and television, are you thinking of doing more stage?

I did a play called Home at the National. I love that theatre so much. For me, the dream is to be able to keep my career equal with theatre, TV and film. Yes, I want to make film, but it’s such a different process. With theatre, you get six weeks minimum in a rehearsal studio perfecting a role… really getting to grips with that character. Rarely do you get that for television… you might get a day. And, depending on the film and budget, you might get a week’s rehearsal.

Performing in front of a live audience must also add a whole other level to the experience.

You get the immediate response from the audience… every night you know how the pay has gone down.

Last question: aside from reprising your role on Lovesick, what kind of parts would you like to play in the future?

Period drama in general.

Should have guessed!

I love the costume aspect of it, [how it’s a] different moment in history. I would love to do something jazzier, ’20s-’50s… play a musician. Than equally, I just want to tell cool stories and [work with] really good writing. I am interested in playing interesting and strong women.

Makeup by Justine Jenkins using NARS Cosmetics | Hair by Subrina Kidd

Picture it: you inside a grand country estate, snow falling outside your window and the scent of a crackling fireplace hanging in the air, complemented by the melodious musings of a pianist, filling the soundscape. Sound idyllic? It is, and the utopia has a name: Langdon Hall Country House Hotel & Spa. 

Tucked away in Cambridge, Ontario’s Carolinian forest region—the simple things in life, taste, smell and feel sweeter here. Maybe it’s the atmosphere, characterized by a Victorian charm, inherent in this Federal Revival style summer home, built in 1902 and preserved in the property’s stately décor. Or, perhaps it’s the personal touches, peppered throughout one’s stay that has guests missing Langdon Hall—a true home away from home—even before their stay has reached its end. Here, such personal touches range from velvety chocolate tarts left in rooms as a warm welcome for new guests to a Lexus that sits in the driveway, beckoning luxury car admires to take it for a test drive into the town centre, where Southworks Antiques (among the largest antique markets in Canada) awaits expert pickers.

With the lobby area boasting coziness enough to entice one to push aside the plush sofa and opulent wood furnishings, so to make room for a cot by the roaring fireplace, let’s just say the average accommodations at Langdon Hall—which vary between 60 guestrooms and suites—is anything but typical.

During my own visit, even the short walk to my room felt special. Located to the side of the main house in one of the hotel’s Cloister Guestrooms, these guestrooms require a quick stroll across the grounds to reach the front door. Pass a stretch of windows, looking into an opulently dressed solarium (the ideal place for a mid-afternoon glass of red wine on a chilly winter’s day) and a rack of bikes (available for loan during the warmer months) is a wing of guestrooms and suites.

Walking into my guestroom, felt like walking into a studio cottage—the sort of lodgings one could spend an evening by the fireplace (yes, each Cloister Guestroom features a wood burning fireplace) reading, after an hour-long bath in the soaking tub. It’s almost hard to want to leave the room, even when knowing activities like cooking demos and nature walks await. It is especially difficult to pry oneself away from these luxe accommodations when situated snug under the down duvet in the sublime comfort of your feather bed. When sleeping in this bed, you will have dreams about its splendor and implicitly understand the reasoning behind Langdon Hall’s placement on Condé Nast Traveler’s 2015 Reader’s Choice Awards for top hotel in Canada.

Once you finally do convince yourself that more R&R is to be discovered outside of your living quarters, head over to the spa. The Spa at Langdon Hall is a standout, in large part because of its chosen partner Valmont. Known for its superior quality in advanced scientific research, this Swiss skincare line is a favourite among beauty diehards. When visiting give your stress levels and your skin equal attention by booking a Hot Stone Massage and a Brightness of Ice Facial. The massage will knead out tension with the help of heated volcanic stones, while the Brightness of Ice Facial will invigorate skin and leave your face luminous. The star produce in this treatment is the medical grade collagen mask by Valmont. The seemingly magical effect of this mask crowns it a skincare unicorn.

With the spa crossed off your to-do list, getting your culinary fix should be next on the list. The one-of-a-kind grandeur of this Relais and Châteaux property is in every detail of the dining experience curated here by Executive Chef Jason Bangerter. In the morning, a country breakfast buffet transcends archetypes and serves up a delicious array of bites ranging from a savoury trout rillette to a flakey scone, delicious with a dollop of cultured butter paired with a sprinkle of Maldon salt.

Should you get a late start to the day when visiting on a weekend, skip lunch and opt instead for afternoon tea. Served Fridays, Saturdays and Sundays at 1:00 PM and 3:30 PM seating times, it’s worth booking a getaway around these days, just to ensure you have a chance to taste the magnificent selection of delicate finger sandwiches (think outside the cucumber-and-butter-box), tartelettes—piquant with combos that see aged cheddar, black forest ham and spiced apple melded together—scones, and sweet petit fours that elevate desserts to the realm of art. For those planning a visit during the holiday season, the chef has tailored treats to add festive cheer to your afternoon of finery, though it’s almost a tease knowing that eggnog cheesecake cannot be a perennial staple.

During every meal of the day, diners can taste the kitchen’s close relationship with local farmers, foragers and quality purveyors of artisanal products. This toothsome dedication is perhaps no more apparent than in the offerings imagined by Chef Bangerter tasting menu. Dishes like a truffle purée, linger in one’s mind for days after your first bite, intermingled with thoughts of how that glass of Barolo (recommended by your wise waiter) amplified the earthiness of the truffle in such a way that the flavour of the pairing will be forever a part of your taste memory.

From the dining to the spa to the accommodations, the experience at this regal country estate is superlative—a fact that becomes downright mythical during the picturesque holiday season. No matter what time of year you visit, rest assured that remembering all the details of your stay at Langdon Hall is a near guarantee, longing to return though…that is a hard promise.