This package offers a family of four the chance to experience on of Gulliver’s four theme parks and includes tickets to the park, entertainment, and an overnight stay for less than £25-a-head
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
Park tickets and accommodation are included in the deal(Image: Gulliver’s Theme Parks)
Keeping the kids entertained can be a costly undertaking, but this deal offers families not only a fun day at a theme park, but also a memorable overnight stay, all for less than £100.
Gulliver’s Theme Park Resorts, who have four locations in Milton Keynes, Warrington, Matlock Bath, and Rotherham, are now offering a ‘1 Night Saver’ package on selected dates that comes in at £99 for a family of four. The package includes tickets to the park, so families get access to all the rides, attractions, and entertainment for the day.
The cost also includes an overnight stay in select themed family accommodation, with access to the resort’s facilities and activities for even more fun for all ages. Families can book these overnight packages on selected Friday dates throughout 2026, with park access on the Saturday after you check out.
The package can be booked at www.gulliversfun.co.uk, where families can also browse the fun accommodation options available to them. Depending on the park and availability, these can include family-sized double suites, western-themed dens, fairy hideouts, and dino dens, so no matter what the kids are into, there’s an accommodation option they’ll find thrilling.
If you’re looking for different dates, it’s also worth checking out Wowcher’s Gulliver’s deals, which include school holiday dates. Packages start from £159 for tickets and overnight accommodation, and options include stays in Jungle Cabins and dinosaur-themed Lost World dens.
Facilities and attractions also vary by resort, but as an example its Warrington park features rides such as a wooden rollercoaster, pirate ship, log flume, and lots of other fun themed attractions for all the family. Look out for themed events such as Princess and Pirates weekend where kids can meet characters that they love.
If you don’t have a Gulliver’s near you, many other theme parks across the UK also offer short break packages. Paultons Park, known for being the home of Peppa Pig world, is offering short breaks from £177 per family. This includes a second free day in the park for the family, free parking, and breakfast.
Alton Towers is also currently running a Spring Sale where those who stay overnight get a second day free. Alton Towers packages include free parking, 9-hole golf, and breakfast. Guests can also add a waterpark pass to their booking, allowing them to enjoy even more family fun during their stay. You can find out more on the Alton Towers short breaks website.
Other parks operated by Merlin are also offering a similar deal, including Chessington, Thorpe Park, and LEGOLAND. Many resorts also offer additional entertainment and perks to guests, making for the ultimate family sleepover.
Find out more about Gulliver’s deals, check availability and book short breaks at www.gulliversfun.co.uk.
Have a story you want to share? Email us at webtravel@reachplc.com
The following day, services to Krakow will begin with departures on Mondays and Fridays every week.
On October 25 and 26, travellers can go from Belfast International Airport to Sharm El Sheikh, Egypt, on Wednesdays and Sundays, as well as to Rome on Mondays and Fridays.
Anyone wanting to visit Reykjavik, Iceland, can travel from Newcastle from October 27 twice a week, on Tuesdays and Saturdays.
You can fly to Iceland’s beautiful capital city from Newcastle with Easyjet later this yearCredit: Getty Images/Cavan Images RF
Easyjet’s Luton-Ljubljana flights start on October 26 three times a week on Mondays, Wednesdays and Fridays.
The same day, the Southend-Budapest route also starts twice a week on Mondays and Fridays.
In an exciting update for Birmingham, the route to coastal city Agadir, in Morocco, will start on October 27. They will depart twice a week on Tuesdays and Saturdays.
The new flights, which include fares of £23.99, have significantly expanded the airline’s network from the north of England, and enabled more direct services to popular leisure and city destinations.
The airline’s UK country manager, Kevin Doyle, said: “Whether they’re looking for winter sun, or a weekend away in some of Europe’s most iconic capitals, this new batch of routes further expands the range of exciting destinations available for our customers to choose from at affordable prices.”
The Saturday soccer show, which looks ahead to the day’s games, is to end following a drop in ratings
16:40, 23 Apr 2026Updated 16:43, 23 Apr 2026
Alex is dismayed that the plan to “move away quietly” hasn’t worked out(Image: Visionhaus/Getty Images)
Alex Scott has issued a statement after BBC bosses blew the final whistle on Football Focus after a run of 52 years. The presenter, 41, said: “I always knew this would be my last season on the show, which the BBC were aware of too. My intention was to move quietly into the next chapter, but sometimes things change.”
The show, hosted by Alex Scott, was first broadcast in 1974. The decision is said to be based on “changing audience behaviours”, with fans increasingly consuming football content in different ways.
She said: “To have been part of it has been incredibly special, and I’m so grateful and proud of the eight years I’ve been involved , including the five years I’ve had the honour of presenting it.
“It has been such an important part of my life, working with some of the very best people in the business, both on screen and behind the scenes. I’ve loved so much of it, the conversations, the laughter, and sharing so many big moments with you, the audience. Thank you for being part of it.”
It comes as the Corporation battles with its finances, with the BBC saying “it is appropriate to respond to this as difficult decisions are made around how the licence fee is spent”.
In an age of content creators and social media, many football fans are no longer tuning in to the BBC1 show.
But BBC Sport chiefs insisted the decision to end the show at the end of the current season was not a reflection on the performance of Scott, who took over in 2021 after Dan Walker’s 12-year stint.
Alex Kay-Jelski, Director of BBC Sport said: “Alex Scott is one of our finest presenters, is hugely popular across the men and women’s game and is a big part of our present and future.
“She will remain at the heart of our sports output across both the Men’s World Cup this year and the Women’s World Cup in 2027, as well as continuing her lead role on the Women’s Super League and BBC Sport Personality of the Year. We are also working on a very exciting new project with her – more to come on that soon.”
He added: “Football Focus has been a hugely important programme in the history of BBC Sport and has played a key role in telling the stories of the game for generations of viewers. This decision was made before last week’s wider BBC savings announcement, reflecting the continued shift in how audiences engage with football and our commitment to evolving how we deliver content to reach fans wherever they are.”
But Alex, who will be the last presenter of the long-running BBC stalwart, is said to have been left feeling “bruised” over the BBC’s inquests into its declining performance. The BBC has not published viewing figures but the audience had dropped off significantly from 849,000 in 2019 to 564,000 by 2023.
Walker predicted the end of the show back in 2023, when he said: “It’s hard to see Football Focus struggling… I hope it stays part of the TV landscape.”
This deal from Wowcher means you could be enjoying the magic of Disneyland Paris, with the cost of the ferry and a two-night stay at a hotel close to the park, at under £200 per person
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
This deal lets you visit Disneyland Paris for less than £200(Image: IAN LANGSDON/AFP via Getty Images)
Nothing beats the magic of a day at Disneyland, but it can be a costly choice just for the tickets alone. That’s why it often works out cheaper to book a deal that includes extras such as accommodation.
Wowcher has just launched a 4* Disneyland Paris Break which is now available to book that includes two-nights in a hotel, transport across the channel, and a one-day Disneyland Paris park entry for each guest, with prices that start at £189 per person.
You can check the availability calendar on Wowcher’s website to see the prices for each date. At the moment, the £189 deal is available in the first week of May with a 37% discount available. However, these dates are likely to sell out quickly, so you may need to snap them up soon.
Dates are available later in the year for November and December at around £249, and this can be an excellent time to visit the parks for the festive period. If you’re looking for summer holiday dates, then the last week in August is the cheapest, with dates from £309 per person.
Julie Delahaye
The package includes a stay at the 4* Paxton Hotel Paris MLV, just 10-minutes from the gates of Disneyland by car, which also offers a bus connection to the parks. The price also includes a return ferry crossing for a vehicle, and the drive from Calais to the hotel is just over three hours, mostly on motorways.
The one-day entry pass includes access to all attractions, shows, Character Encounters, parades, and more, so you can pack a lot into your trip.
Since the package has two nights in a hotel, you may also want to enjoy the onsite indoor pool, spa, and hammam, or even head to nearby Bussy-Saint-Georges station to get a train into Paris for some sightseeing. The city centre is about half an hour away by train.
If you’d rather stay onsite at the parks, you can book Disneyland Paris breaks via its official website, which gives you the option to stay in official Disney hotels. Staying in an official Disney property gives you perks such as early access to the parks and a quicker journey home at night, but it is a pricier option.
One night at the Disney Newport Bay Club in early May, with a two-day park pass comes in at £372.45 per person, and considerably more during peak times.
Another way to save money is to look for the deals that Disney offers throughout the year. For example, Walt Disney World in Florida has just relaunched its popular Free Dining offer, as well as offering up to £400 off breaks. This deal can be found on disneypackages.co.uk, and is available during most school holidays. This site also offers packages that include flights, making it easier to plan your trip.
Have a story you want to share? Email us at webtravel@reachplc.com
Private credit faces mounting stress from liquidity mismatches, fraud concerns, and macro pressures, even as bullish sentiment persists.
Private credit has avoided a “Lehman moment,” but pressure is building across liquidity, leverage, and transparency—raising doubts about how long the asset class can withstand its visible cracks.
Some investors have had enough. Consider the surge in redemption requests at firms like Morgan Stanley, Apollo Global Management, BlackRock and Blue Owl Capital. Each firm capped withdrawals at 5% per fund, and saw their stock prices plummet. At a glance, this exodus of money signals that an endgame could be near.
Larry Fink, the billionaire CEO of BlackRock, attempted to quell fears on an earnings call last week, insisting that institutional demand is accelerating. Meanwhile, financial regulators are raising red flags. Financial Stability Board Chair Andrew Bailey warned in an April letter to the G20 that geopolitical tensions, such as the ongoing conflict in the Middle East, could reduce asset quality and further strain private credit funds.
The dichotomy has finance pros scratching their heads, wondering what to make of a key part of the $15 trillion private markets ecosystem. If data from U.K.-based data company Preqin is correct, private credit could exceed $30 trillion by 2030. Even with solid fundamentals, private credit’s mounting liquidity concerns, leverage risks and macroeconomic pressures are testing its resilience.
The Liquidity Mismatch Problem
“This is not a single-firm story,” Former Nasdaq Vice Chairman David Weild told Global Finance. “It is sector-wide.”
Fink may be right; private credit offers compelling risk-adjusted returns, Weild, now an advisor at private-credit platform KoreInside, said. “However, if the claim is that you can deliver those returns inside a vehicle that promises quarterly or monthly liquidity to retail investors, one will inevitably discover that in times of market stress, the demand for liquidity will exceed the short-term supply of liquidity.”
Recent turmoil in private credit has raised questions about whether 2026 could bring a broader retrenchment. The industry faces growing scrutiny over fraud risks, regulatory pressure, and the impact of AI-driven disruption. Transparency concerns are also weighing on investor confidence, highlighted by automotive parts supplier First Brands Group, which has filed for bankruptcy protection and has allegedly concealed billions of dollars in debt from lenders, including exposure in private credit accounts held by BlackRock.
Software lending has come under particular focus, given its large share of private credit portfolios. AI-driven disruption is now raising concerns about future credit losses.
“The combination of AI-driven disruption in enterprise software valuations, tighter lending standards, and redemption pressure on the very BDC vehicles that would normally provide refinancing capacity creates a compounding problem,” Weild said. “Some private credit funds are already turning away software companies outright, given the impact of AI on that industry.”
What Needs To Change
Private credit bulls need to rethink “real structural challenges,” such as how capital is raised, how vehicles are structured, and what level of education advisors need going forward, said Prath Reddy, President of Percent Securities. A lack of accessible data, limited liquidity, and insufficient options for tailored exposure also give him pause.
“We are certainly in a stress scenario now,” said Reddy. “Leaving [these issues] unaddressed leaves a tremendous amount of capital on the table from wealth management channels.”
Private credit might be under the microscope, but some private equity players continue to cash in. Ares Management raised $9.8 billion for an opportunistic credit strategy, Adams Street Partners closed its $7.5 billion Private Credit III fund, and Carlyle Group raised $1.5 billion in initial funding for a new asset-backed finance vehicle.
“For private credit to keep working at this scale, liquidity structures, leverage levels, and repayment timelines all need to remain aligned as exits take longer and refinancing becomes more selective,” said Jun Li, EY’s Global and Americas Wealth & Asset Management Leader. Stress arises when those assumptions break down simultaneously.
“A true stress scenario would likely involve refinancing risk colliding with slower exits and shifting liquidity expectations, particularly if capital is locked up longer than anticipated and operating models are not built to absorb that pressure,” Li added.
Banks Reprice The Relationship
Jun Li, EY
Big banks—both competitors and partners to nonbank lenders—are trying to project calm.
JPMorgan Chase CEO Jamie Dimon, for example, downplayed concerns about the private credit sector on an April 14, 2026, earnings call. That’s in stark contrast to his take last year, when Dimon referred to the bankruptcy proceedings of First Brands and TriColor—two companies that relied on private credit—as “cockroaches.“
JPMorgan Chase is now tightening certain relationships with private credit funds to limit exposure amid volatility. Goldman Sachs and Barclays are taking a similar risk-management stance.
“On one side, fundamentals still look supportive with institutional capital stepping in as banks pull back,” Li said. On the other hand, pressures are building around liquidity, leverage, and refinancing, which naturally raises systemic questions.
As Li put it: “This doesn’t look like an endgame, but it does look like a decisive moment.”
What’s Next
From here, Li is predicting that private credit will separate into managers who can operate through longer cycles, tighter liquidity, and greater scrutiny, and those who cannot.
“Some strategies may struggle, but the broader market is still evolving rather than unwinding,” Li added. “The outcome will depend less on a single shock and more on how well firms adapt to a more demanding environment.”
Other observers are more bullish. Attorney Derek Ladgenski, a partner specializing in private credit at Katten Muchin Rosenman, argued that experienced market participants will ultimately work through the sector’s challenges.
“The Avengers are closer to an endgame than private credit,” said Ladgenski. “The tombstone for private credit has been written many times before.”
Ladgenski said that while cyclical pressures exist across all asset classes, the deeper challenge in private credit is liquidity mismatch—an outcome, in part, of significant investor inflows chasing its strong historical track record and forward-looking returns.
Still, any “stickiness” will ultimately strengthen the sector, he added. “And the current sound bites and headlines regarding any death knells will be forgotten soon enough.”
Beverley Callard cried in a new video posted this evening as she explained how I’m A Celebrity was the start of her struggles, which eventually led to her being diagnosed with breast cancer
22:42, 21 Apr 2026Updated 22:46, 21 Apr 2026
Beverley Callard cried as she told fans about her jungle experience
Beverley Callard broke down in tears as she said her I’m A Celebrity exit was the start of her cancer battle.
The Coronation Street star was forced to quit I’m A Celebrity days before the final on medical grounds. She departed the show after falling ill, with bosses telling her she had to leave for her health.
However, now Beverley has spoken out and explained how she lost consciousness whilst on the show, admitting “I didn’t know then that I had cancer” as she reflected on her time on the show.
Speaking after her exit aired on the ITV show, she said: “I just watched my exit on I’m A Celeb and it made me cry all over again. Of course, I didn’t know then that I had cancer but I just knew that it was the last couple of days there that I hadn’t felt very well.
“What happened was, I went into the Bush Telegraph and apparently, I lost consciousness for a little while. I just wasn’t feeling myself. They took me to a medical hut and they were amazing; they really looked after me and they said you can’t go back.”
She added: “And I said ‘don’t say that, don’t send me home, I’ll be fine. I wanted to succeed and make it through to the end but that was the start of everything. It’s made me really emotional but I will beat this. I will beat it.”
Announcing her exit to her campmates tonight, Beverley explained how she was told she had to leave. She gathered them around and cried as she said: “Hi guys, I’ve just got something to tell you all.
“I didn’t feel very well this morning… and the medics have advised I can’t return to camp. I’ve got to go home. I don’t want to go. I’m absolutely gutted. I wanted to finish.”
She said she “had a funny turn and they’ve said I can’t come back in and I’ve got to go out. I don’t want to go. I’m gutted I wanted to finish. I wanted to prove older women could do it.”
Scarlett then told her: “Your health is more important,” with Adam adding: “Look how far you have come. I’m so proud of you.” Craig said of her exit: “She gave a really good account of herself and can leave with her head held high.”
Since announcing her diagnosis in February, Beverley has been keeping fans updated on her health and recovery.
The humans were left far behind as smartphone maker Honor’s humanoid robot shattered the men’s world record in China.
Published On 19 Apr 202619 Apr 2026
A humanoid robot competing against flesh-and-blood runners has broken the world record at a Beijing half-marathon, showcasing the rapid technological advancements achieved by Chinese makers.
Spectators lined the roads in Yizhuang in the capital’s south on Sunday to watch the machines and their human rivals race, each group in a separate lane to avoid accidents or collisions.
Recommended Stories
list of 4 itemsend of list
Some of the robots were highly agile, moving like famous runners such as Usain Bolt, while others had more basic capabilities.
The winning humanoid, equipped with an autonomous navigation system and running for Chinese smartphone maker Honor, completed the roughly 21km (13-mile) course in 50 minutes and 26 seconds, at an average speed of about 25km/h (15.5mph), according to state broadcaster CCTV.
That was far faster than the top human in Sunday’s race, while also surpassing the current men’s world record of 57:20, held by Ugandan runner Jacob Kiplimo.
The result represented spectacular progress from last year, when robot-runners fell repeatedly, and the best took more than two hours and 40 minutes to finish.
The number of humanoid entries jumped from about 20 last year to more than 100, according to organisers, a sign of the sector’s growing popularity.
A humanoid robot runs alongside human competitors in the second Beijing E-Town Half Marathon and Humanoid Robot Half Marathon in Beijing [Haruna Furuhashi/Pool via Reuters]
‘Pretty cool’
Han Chenyu, a 25-year-old student who watched the race from behind a safety barrier, barely had time to take out her phone and snap a picture of the leading robot as it whizzed past.
She told the AFP news agency she was enthusiastic about such leaps in technology and thought the event was “pretty cool”.
But, she added, “as someone who works for a living, I’m a little worried about it sometimes. I feel like technology is advancing so fast that it might start affecting people’s jobs”, particularly with artificial intelligence (AI) growing increasingly sophisticated.
Humanoid robots have become a common sight in China in recent years, in the media as well as in public spaces.
Xie Lei, 41, who watched Sunday’s race with his family, said robots could “become part of our daily lives” within several years, potentially used for “things like housework, elderly companionship or basic caregiving” or “dangerous jobs, even firefighting”.
The humanoid half-marathon aims to encourage innovation and popularise the technologies used in creating and operating such machines.
In a sign of the industry’s strength, investment in robotics and so-called embodied AI amounted to 73.5 billion yuan ($10.8bn) in China in 2025, according to a study by a government agency.
“For thousands of years, humans have been at the top on planet Earth. But now, look at robots. Just in terms of autonomous navigation, at least in this specific sport event, they’re already starting to surpass us,” Xie said.
“On one hand, it does make you feel a little bit sad for humanity. But at the same time, technology, especially in recent years, has given us so much imagination.”
There’s a couple somewhere in Los Angeles who unknowingly inspired the second season of “Beef.”
Lee Sung Jin, the creator of Netflix’s anthology drama that swirls in the consequences of class struggles, resentment and the absurdity of life’s curveballs, once again found himself inspired by a tense interaction playing out before him. A road rage incident at a stoplight in Hollywood a few years ago, triggered by Lee’s delayed response to a green light, became the catalyst for the first season. An early idea to write about a men’s doubles partnership gone awry lost its luster after “Challengers,” Luca Guadagnino’s drama about a love triangle between tennis pros, came out. But a heated argument coming from a house in Lee’s neighborhood became the next spark that lit a narrative fuse.
“I told the story to people — it caused a little stir in the neighborhood,” he says. “And what I found fascinating was the different reactions. When I told younger folks, I’d get, ‘Did you call the police? Should you go check on them again?’ Very concerned, having an ideological view on relationships. When I told the story to older friends and couples, they were just kind of like, ‘Who among us hasn’t?’ I thought the idea of juxtaposing these couples at different stages felt like ripe ground.”
The overheard in L.A. moment inspired the eight-episode season,
Carey Mulligan and Oscar Isaac square off with Charles Melton and Cailee Spaeny in Season 2 of “Beef.”
(Netflix)
The twist-filled, darkly comic thriller kicks off when a young couple, Ashley and Austin (Cailee Spaeny and Charles Melton), who work at a Montecito country club, witness the explosive altercation between their boss Josh (Oscar Isaac) and his wife, Lindsay (Carey Mulligan), an interior designer, the night before the club’s new Korean billionaire owner, Chairwoman Park (Youn Yuh-jung), takes over. She has her own mess to tend to involving her husband (Song Kang-ho), a doctor whose health is affecting his work on patients. The calamities each couple faces spin out into a web of favors and coercion in this tale of broken systems and characters going to great lengths to get what they want.
“The idea of cycles felt interesting,” he says. “A lot of shows and movies cover marriage through the lens of one couple, you don’t really see that multigenerational juxtaposition.”
Speaking from his office on the Raleigh Studios lot in Hollywood, Lee discussed the season’s Montecito setting, the financial anxiety that drives the story and the four-legged breakout star of the show. These are edited excerpts from the conversation, which includes many spoilers.
Why did you want to set this season in Montecito?
Just writing what I know. My goddaughters — their parents are my best friends. They live in Montecito. The dad is my oldest friend in LA. He has a membership to Montecito Club, which is where we shot the exterior of our show. I was house-sitting for him during the writing of all this. He let me use his membership. I remember when he told me about the membership, I was like, “You pay how much? That’s insane, dude.” But then you start using the membership. This idea of hedonic adaptation — how humans so quickly adapt to this new comfort, this new stimulus — it felt like an interesting thing. I was observing how all the members seemed to be mostly boomers and Silent Gen; then all the workers were Gen Z and millennial. I thought: What a perfect metaphor for society right now. No matter how hard the Gen Z and millennials work, they’re never going to get to be members of this club because, as Austin says, “everyone grabbed the bag before they could.” That’s what made me want to set it at a Montecito country club.
Oscar Isaac as Josh Martin and Carey Mulligan as Lindsay Crane-Martin. Cailee Spaeny as Ashley Miller and Charles Melton as Austin Davis. The second season of “Beef,” follows the two California couples from different socioeconomic backgrounds — though both are struggling — as they spiral into a high-stakes feud.(Netflix)
That feeling of survival and resentment and entitlement really looms over this season. There’s speeches about love, but also capitalism. The anxiety about finances is so prevalent right now.
We certainly didn’t set out to make a season about capitalism. But if you’re constantly trying to chase truth as writers, I don’t know how you say anything in the modern era, in 2026, and not have capitalism be a huge variable because it permeates every aspect of life. It’s like going to get gas. Gas is almost $7 right now. You have to fill your tank and there goes $140? That’s crazy. And relationships face so much stress — everyone is being hit by all these curveballs and trying to keep your head above water — how can you enjoy each other?
It became very obvious to us that if you’re going to write a season about marriage and love to these two couples, financial implications have to be a big factor. There’s a lot of talk about the disappearance of the American dream right now. Birth rates are declining. No one’s owning homes anymore. But then you also see headlines about everyone’s scamming. CVS has everything locked down. You’re like, “Yeah, no wonder.” Everything’s connected. We wanted to really show how that survival instinct, the desperation, is starting to come for everyone. I don’t think it’s going to get easier, especially with AI moving on the horizon, and with leaders who refuse to put checks and balances in place.
Part of Ashley’s story is using the video of the fight between Josh and Lindsay as blackmail to get health insurance so she can afford treatment for her endometriosis. And that moment where she’s waiting in the ER for hours and it’s not until she collapses that they realize she needs emergency surgery — her big concern is whether she has to pay the deductible.
I wrote that episode in a literal day because it was based on an experience I had in an ER with my daughter’s mother. She had this illness fall upon her. We spent 12 hours at the ER and, the whole time, I had my Notes app out and was just writing down everything I saw. Almost everything in that scene is stuff that happened in real life. Our healthcare system is absolutely insane. It’s, again, unhinged capitalism and … felt like it really unlocked so much of the season.
There’s a moment where Josh has to sell some of his prized possessions to pay a gambling debt. Have you been there, needing to sell things to cover your financial obligations?
I’ve been there multiple times. I obviously struggled to find my way for a long time, even after becoming a writer. If you’re in a writing partnership, in a staff job on a show — first of all, this is what the guild has been fighting, trying to get these longer-term employment windows because these jobs sometimes are only … maybe eight to 12 weeks. You’re splitting a staff salary in two [if you’re in a partnership], and you probably haven’t qualified for health insurance by the end of that run. Sure, you’re a working writer, but I remember [by the time I landed at] “Always Sunny in Philadelphia,” my first real writing job, I had amassed so much debt, half of which were from parking tickets. I just didn’t have the money to pay these tickets, and so I just let them run rampant. So, yeah, I’ve been there. There’s this one guitar that I loved; it was the first guitar I bought with my own money after college — it was a Fender Telecaster. I think I bought it for $1,200. I ended up selling it for $300. I’ve sold collectibles. I’ve sold anything that had gold in it. I’ve scrapped to just find anything because you’re desperate.
Song Kang-ho as Dr. Kim, Youn Yuh-jung as Chairwoman Park in “Beef.” Recalling the opportunity to direct the pair, Lee says: “It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.”
(Netflix)
You directed this season. Is there a moment that stands out with this cast?
A peak of my career that I think about daily is the moment in Korea where we were shooting at Amorepacific. It’s one of the most beautiful buildings in Seoul. I’m shooting the scene between the great Youn Yuh-jung and the great Song Kang-ho — two of not only my favorite Korean actors, but favorite actors period. They have never been in a scene together in any Korean film ever. They’ve been in a movie together, but never acted together. And here we are making Korean history by having them shoot that breakfast scene and, while I’m in the middle of shooting that scene, director Bong Joon Ho surprises us on set. He comes over laughing, pulls up to me, looks at my monitor, gives me stage fright, then elbows me and says, “You sure you want to frame it like that?” He was teasing. Then we started shooting the scene, it’s all in Korean, and I look back at video village and Bong’s just doubled over in laughter. He is just cracking up. Younger me, and present me, is looking around like: Here I am in Korea, in this building I’ve always wanted to shoot in, two of the greatest living actors and the greatest living director — what is happening? What a crazy sentence to say. It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.
How did you want race and identity to figure into this season, particularly through Austin?
Charles was the first piece of the whole thing. After Season 1, I got to go to Korea multiple times. I shot a music video for one of the members of BTS. I was experiencing Austin’s journey of being courted by this level of Korea that I’d never been exposed to before and feeling warm and allured by it — I’m having dinners with K-pop idols, like what is happening? So, I knew I wanted to have that element of elite Korea involved. The writers and I discussed a lot whether it should be a Korean American that’s being pulled. We had covered a lot of Korean American ground in Season 1, [but] one of the things we didn’t get to cover is the half-Korean experience. Several of the writers on staff are either half-Asian or half-Korean. We don’t want to repeat things, but let’s do explore a half-Korean character who is about to have a child suddenly get this pull toward Korea.
Carey Mulligan as Lindsay acting alongside Jones, the dog who plays Burberry, in “Beef.” “Jones is the best dog actor I’ve ever worked with,” Lee says. “A24 is making Burberry merch. There’s going to be a Burberry shirt.”
(Netflix)
There are some pretty gross, petty and violent acts of revenge. One is Ashley swirling her period blood in Josh and Lindsay’s pitcher of orange juice. The other takes place during a flight — Lindsay wiping gunk from the toilet seat and transferring it to the rim of the cup Ashley drinks from. Please explain how you arrived at these acts. Were there any left on the cutting room floor?
Episode 4 was pouring out of me. And I remember I got to the point where Ashley snooping through the house [where Lindsay and Josh live]. Initially, I had her scratching up the trophy. She opened Josh’s pomade and blew a snot booger into it. I was thinking of juvenile things. But I had the thought of her going to the kitchen and having the thing that happened to her being the expression of her revenge. I remember I was so nervous to show the [writers’] room. The way I wrote it, I had her crouching over the pitcher and Anna Moench, as the main female writer on the show, was like, “Sonny, I don’t think you know this works.” So, we revised it. That’s how the OJ one happened. With Episode 7 [and the toilet seat], we wanted to have a bodily episode on a plane, and there’s just such limited ways to get revenge on a plane. But given the OJ drink — there’s so many mirrors between the two couples, we thought it’d be fun to mirror that with a drink from Lindsay to Ashley. The only place to do that on a plane is bathroom. We shot it on stage with a fake toilet and Carey was almost vomiting. She came to me after that scene, and she goes, “Sonny, in all my years in this business, that is the most vile, disgusting thing I’ve ever had to do.”
The final moments of the finale jumps eight years. Did you always know you wanted a time jump? And did you always know Ashley and Austin were going to repeat the cycle?
The Ashley and Austin side, I knew the inverse graph for both characters would be very satisfying — to me, at least. I didn’t know whether that happened in a time jump or not. That’s something we discovered later. There was great debate in the room. I had a couple writers plead with me, “Why aren’t you ending with the kiss? It’s so sweet. It’s so good. I feel so good at the kiss. Can we just end it at the kiss?” I took it very seriously, but then it felt very similar to Season 1’s ending. Taking two people who start apart and they finally discover that connection but too late. I didn’t want to leave with the same feeling. How we can make it different is the “what happens next?” Life comes at you fast. He’s [Josh] still in prison. She’s [Lindsay] got to move on. Once I started heading down that thought experiment, I’m like, “Whoa, you could do a whole coda showing the literal theme of the show, the cycles, that’s where we can show Ashley and Austin becoming Josh and Lindsay.” That’s where we show, even though they found a connection, it’s lost between Josh and Lindsay — even if they’re still hanging on to the past a little bit. You show Troy and Ava still together [laughs] — they have it all figured out. Then you show the billionaire who, even with all the money in the world, is crying at the graveside of her first love, filled with regret.
We didn’t see where Eunice (Seoyeon Jang)ends up.
I wanted to leave it open. I’m very curious what people think. She really put her neck out there. Austin burned her bad. I don’t know where Eunice is at but it’s probably not good.
Charles Melton as Austin Davis in “Beef.”
(Netflix)
We can’t talk about “Beef” without discussing the needle drops. When you have Austin listening to Billie Eilish’s “What Was I Made For?” it was over for me.
The needle drops are usually pre-picked even before we shoot. The source music that’s playing diegetically, usually we discover in the edit. Before, as scripted, it had him scrolling Instagram and it was [the song playing on] his Instagram feed — you know how those Reels have music overlayed on a POV? It just wasn’t that funny to me in the edit. He’s so down and out and I wanted to find different source music in there. One day, I told my editor, “Can you rip ‘What Was I Made For?’ And can you just temporarily do it where, as she opens the door, he’s like, pressing the volume up, being like ‘sh— … sh— …’ [intending to make the volume go down]?” Our AE [assistant editor] did the ADR temporarily of the “sh—, sh—,” filmed it on my phone and I texted it to Finneas [O’Connell, the show’s composer, who is Eilish’s brother and collaborator] being like, “Hey, is it cool if we do this?” And he was dying laughing. [O’Connell also makes a cameo in the season.]
Ahead of Season 1, you gifted the writers “The Sopranos Sessions” and also assembled a Letterboxd list of films that served as reference points. What guidance did you provide for Season 2?
I sent another Letterboxd playlist. For inspo, we got “Handmaiden,” “Phantom Thread,” “Force Majeure,” “Eyes Wide Shut,” “The Informant.” For some reason, I have “Margaret” on there, the [Kenneth] Lonergan film. I also had “Michael Clayton,” “Who’s Afraid of Virginia Woolf?” “Burn After Reading,” and lastly, it’s a deep cut, there’s this movie called “Like Crazy,” starring Felicity Jones and Anton Yelchin.
Also, can we take a moment for Burberry’s acting?
Oh my god, Jones! Jones is the best dog actor I’ve ever worked with. He would hit his mark. He would listen. He would look at people when he’s supposed to be looking. It was his first time acting. Crushed it. A24 is making Burberry merch. There’s going to be a Burberry shirt.
Paralympic champion William Ellard set a new world record time to take gold in the S14 mixed class 100m freestyle final at the Aquatics GB Swimming Championships in London.
Ellard finished in 50.41 seconds to shave 0.49 seconds off the previous record held by Brazil’s Arthur Xavier Ribeiro.
The 20-year-old, who won gold in the S14 200m freestyle and mixed 4x100m freestyle relay at the 2024 Paralympics, has subsequently booked his place at the European Championships in Paris this summer.
“It was the aim,” Ellard said when asked if he was targeting the world record.
“It would be nice to go 49 [seconds] one day but it hurt for the last 15 metres, I just had to put my head down.”
Earlier, Angharad Evans broke the British 200m breaststroke record, finishing in a time of 2:19.70.
BBC Ambulance took an emotional turn as one paramedic was brought to tears
A BBC Ambulance paramedic was left in tears(Image: BBC)
A BBC Ambulance paramedic was left sobbing as he made a heartbreaking admission.
Healthcare professional Jeff tackled an emergency call that he said “hit close to home” as his dad passed away from a similar issue he had to take on.
Fans of the BBC hit show see real-life emergencies and high-pressure environments as frontline workers give everything they have to save lives in the most critical of circumstances.
During tonight’s (April 15) instalment, which is the final episode of the season, Castleford crew paramedic Jeff and associate ambulance practitioner Eddie receive a call to attend to a 51-year-old man, who has been having trouble getting his dialysis most of the week.
The duo rushed to the scene and after arriving it was clear Dale was uncomfortable as they found him lying in his bed struggling to move.
Dale’s mum explained to Jeff and Eddie that he has been feeling drowsy, has been suffering with pain in his chest and was being sick all morning.
After running some checks, Jeff quickly informed his mum that if they had left it any longer he would have gone into cardiac arrest. Acting quick, Jeff and Eddie rushed Dale to hospital and made sure he got treated immediately.
While sitting in the ambulance, things took an emotional turn as Jeff broke down in tears and revealed: “Quite close to home for me because my dad passed away from renal failure. So it’s quite close to home for me.”
Jeff struggled to control his emotions as he stepped out of the car to have a moment to himself.
Stepping back into the vehicle, he explained to colleague Eddie: “My dad went into renal failure. British National in South Africa, during COVID as well so I couldn’t go and see him and he passed away before he really knew what was happening.”
Visibly moved, he continued: “I think as a bloke sometimes emotionally we don’t deal with what’s going on in the background. The baggage becomes quite heavy until you get to the point where it’s overflowing and your whole world comes crumbling down.”
Jeff added: “I think half the problem is that I don’t do good talking about emotions. People deal with grief in different ways. It’s the little things that can trigger it and it can come out of the blue. My dad dying has definitely been life changing for me.”
At the end of the show it was revealed that after a long illness and multiple hospital admissions Dale died 6 months later
