With Cary Elwes in A Castle for Christmas. We’re not defined by this, this or this – and that includes motherhood. And I’m capable of it, and I’m independent.’ We love the men in our lives, but we’re not reliant on them. My friends are moms who are starting new careers, who are empty nesters, and who are saying: ‘I’m this age but there’s so much more for me to do. “There’s a level of confidence, a level of ‘I don’t give a shit’. Shields has seen it in her friends, and in herself. They’ve raised kids, they’re moving on to this next phase and there’s a lot of power that comes with that.” There are lots of women in their 50s like Sophie, she says, “who are taking their life in their own hands. And, despite the film’s many conventions, a middle-aged romcom still feels quite radical. Shields is great as bestselling American author Sophie Brown, who, suffering with writer’s block, escapes to Scotland to trace her roots and ends up acquiring a stately home. The plot of A Castle for Christmas may be as predictable as gift-wrapped socks, but sometimes you just need preposterous cosy escapism. “There’s dogs, castles, knitters, pubs!” she says, laughing. Shields is in a Christmas romcom, for Netflix, which is the gift you didn’t know you wanted. She has, she says with a smile, when I point out how together she seems, “been going to therapy for 35 years”. And here she is, radiant through my laptop screen, in her beautiful New York townhouse kitchen, with a dog at her feet, husband milling about in the background, one teenage daughter upstairs, another successfully packed off to college, and her sense of humour very much intact. She even came through the 90s’ overplucked-eyebrow trend unharmed. H ow, I wonder, is Brooke Shields so sorted? She has survived a childhood with an alcoholic mother, some disturbing early films, a nation’s creepy obsession with her, a divorce and severe postnatal depression.
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