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OVER one million people watched as Brittany Miller made the perfect roast potato over the weekend – for her perfect twins in her perfect home with her perfect smile.

But behind the 29-year-old influencer’s flawless façade lies a sinister web of lies which saw her fake cancer and con her followers. Now, for the first time we reveal the truth behind her shock scam – and why she’ll stop at nothing to achieve fame.

In 2017, Brittany was an unknown 21-year-old living in Oxfordshire, with dreams of becoming the next big social media influencer. Her small online community were then left shocked when she claimed to have been diagnosed with stage three gastric cancer. 

Her friends rallied around her – a crowdfunding page was set up to help support her financially and interest around her started growing.

But then just as fast as her cancer news started spreading – it then disappeared and wasn’t mentioned again. No trace of her extraordinary lie could be found online. 

It wasn’t until 2020 when Brittany collaborated with a breast cancer awareness charity that her former best friend decided to speak out – revealing the whole thing had been a scam. 

Brittany lied to us all – not just her friends but also her followers online

Former friend

The police have confirmed to The Sun that Brittany was indeed convicted of her crime – fraud by false representation.

In July 2020, she was given a conditional discharge for 12 months and was forced to pay compensation and costs to the Crown Prosecution Service. 

Her criminal record will no longer show up on basic checks, which has left her victims furious. 

Speaking anonymously, a former pal revealed that Brittany had in fact been the one to set up the JustGiving page and had begged her friends to circulate it for her.

They told us: “Brittany lied to us all – not just her friends but also her followers online. 

“Now people are following her and they have no idea what she is really like.

“Yes it happened years ago but lying about cancer is really wrong. Lots of her followers will have family members living with cancer but little do they know that every time they watch one of her videos, they are giving money to a fraud.”

MAKING CASH AND FALLING OUT

Indeed, Brittany has built herself a successful online career. Her videos are mostly her dishing up huge meals, making home comfort food or showing hauls from Temu or Shein.

It might not be groundbreaking stuff but she has 3.5 million people following her on TikTok.

Her boyfriend, Ash Griffiths, regularly features in her clips and in July last year she gave birth to identical twins, Elijah and Emiliano, who have also become a big part of her content. 

The couple recently moved into a plush new home in East Sussex, thanks to the proceeds from Brittany’s TikTok account.

Looking back, another friend recalled how Brittany would tell her she was in hospital, having treatment, including radiotherapy and would guilt trip her when she wasn’t available to hang out with her.

Things came to a head when the pal accused Brittany of stealing money from her grandma.

In messages seen by The Sun, someone appearing to be Brittany admits to taking the cash but blames it on the strong medication she was taking. The pair fell out shortly after. 

In the weeks and months after Brittany’s crime was revealed, there has been a lot of online speculation but she has never addressed what happened. 

The former pal told us: “Brittany has done what she can to erase her history and will delete any comments referencing it.

“It’s pretty scary to think she was happy to lie about cancer and makes you wonder just how far she will go to be super successful.

“This isn’t about getting revenge on her, it’s about people knowing the truth, which they deserve.”

PAST MISTAKES AND PRESENT ISSUES

The cancer scam wasn’t the only time Brittany has been caught telling lies.

In 2018, she was convicted of travelling on the railway without having paid the fare. She gave the officer of the railway company a fake name and address. She was fined £320. 

In recent months, Brittany’s parenting has also come under question and  she revealed how an anonymous hater had accused her of child abuse.

Ash, who is the father of their twins, was even quizzed on her being an alcoholic and a “druggy.”

I’m in the spotlight, I get millions of views every video, I get it, there’s nasty people out there

Brittany on her fame

Unlike in the past, Brittany decided to be very open about what had been going on and, in an emotional video, she acknowledged that someone reported her to social services, not only accusing her of child abuse, but holding her responsible for “lots of things”.

She confirmed that she “got questioned about everything” and was “really upset” when she spoke to them on the phone, so much so that she “kept having to pause” because she was crying so much.

No further action was taken but the whole incident left Brittany shaken up. 

She said at the time: “People are so desperate for my downfall and bringing me down, but bringing my children into it is ludicrous – why would you want to do that to them, innocent babies?

“Do what you want to me, whatever, but to them, innocent children who are clearly very happy and healthy babies, that’s crazy, you’re an actual weirdo, you’re an actual loser.”

Brittany added:  “Never in a million years did I think I’d have to go through something like this – obviously, I’m in the spotlight, I get millions of views every video, I get it, there’s nasty people out there, I understand that. 

“I just think, how cruel can you actually be? So, so cruel.”

It’s not just Brittany who has been left shaken up by it all – her former friends now fear they will be targeted by trolls accusing them of spreading lies to social services.

An insider said: “It feels like trouble follows Brittany. She might have this perfect life on social media but it’s not the truth. This drama with social services won’t be the last she’s involved in. But she’s built up an incredible following now – and they will support her, no matter what.”

Brittany has been contacted for comment.

When a Danish-flagged tanker named Torm Agnes quietly pulled into Mexico’s Port of Ensenada this spring, few took notice. The harbor, better known for cruise liners and pleasure yachts, seemed an unlikely setting for a large-scale energy delivery. But what followed was no ordinary unloading. Within hours, convoys of fuel-hauling trucks began siphoning off diesel from the tanker under the cover of night, an industrial cover that occurred so fast that witnesses said it operated “like clockwork.”

By morning, much of the shipment, worth roughly $12 million, had vanished into the Mexican black market. On paper, the cargo was listed as lubricants, exempt from Mexico’s high import taxes. In reality, it was a vast quantity of U.S.-sourced diesel smuggled by intermediaries working with one of Mexico’s most violent cartels; the Jalisco New Generation Cartel, or CJNG.

This was not a one-off operation. It was part of a sprawling, billion-dollar criminal enterprise linking Mexican cartels, U.S. traders, corrupt officials, and global shipping firms into what security analysts are now calling a “dark fleet.” And it underscores a deeper truth: the cartelization of Mexico’s energy market is no longer a localized issue, it’s a geopolitical problem touching the heart of North American trade, governance, and security.

A New Market Touched by Cartels:

For decades, Mexico’s cartels made their fortune in narcotics. Today, they are energy traders, exploiting systemic weaknesses in Mexico’s tax system and infrastructure to build empires rivaling legitimate fuel companies. According to Mexican officials, bootleg imports may now account for up to one-third of the country’s diesel and gasoline market, worth more than $20 billion a year.

The genius of the scheme lies in its simplicity. Mexico’s IEPS tax, a levy on imported fuels often exceeding 50% of a shipment’s value, creates a powerful incentive to cheat. Smugglers evade this tax by falsifying cargo documents, claiming their shipments contain lubricants or petrochemical additives, both of which are tax-exempt. The fake paperwork passes through customs with the help of bribes, while the actual diesel or gasoline floods Mexican markets at a discount.

Companies like Houston-based Ikon Midstream, which bought and shipped the Torm Agnes cargo, occupy the gray zone between legality and complicity. The firm purchased diesel in Canada, disguised it as lubricants in customs documents, and sent it to a Monterrey-based recipient called Intanza, a company authorities now suspect is a CJNG front.

It is the blending of formal and criminal economies that makes this phenomenon so dangerous. What once required violent pipeline theft now operates as a hybrid supply chain, complete with invoices, shipping manifests, and trade intermediaries. The same global infrastructure that powers legitimate energy commerce has been repurposed for organized crime.

The American connection:

The Ensenada case illustrates how deeply intertwined U.S. and Mexican energy systems have become. Nearly all the smuggled fuel originates in the United States or Canada. It passes through American ports, refineries, and shipping brokers, some unwitting, others complicit.

Texas, long a hub for legitimate fuel exports, has also become fertile ground for illicit operations. “The cartels have infiltrated many legitimate businesses along the border and further north,” warned Texas State Senator Juan Hinojosa, who has pushed for stricter licensing of fuel depots and transporters.

The U.S. Treasury Department and the Office of Foreign Assets Control  have since begun sanctioning dozens of Mexican nationals and companies tied to CJNG’s fuel operations. Yet the challenge lies in the complex nature of the trade; each shipment can involve multiple shell companies, international middlemen, and falsified documents. Even major firms like Torm, one of the world’s largest tanker operators, have been drawn into controversy. The company says it cut ties with Ikon Midstream after the Ensenada operation became public, citing contractual deception.

Meanwhile, the U.S. Department of Justice has already prosecuted American citizens for aiding cartel-linked fuel schemes. In May, a Utah father and son were charged with laundering money and supplying material support to CJNG by helping smuggle Mexican crude oil. Such cases highlight that America’s own regulatory and commercial systems are being leveraged to sustain the very criminal organizations Washington seeks to dismantle.

Mexico’s Shaky Governance:

For Mexico, the rise of cartel fuel empires is not just an economic issue, it’s an existential one. The Mexican Navy, once regarded as among the country’s least corrupt institutions, is now under internal investigation for its role in facilitating smuggling at ports. Senior naval and customs officials have been arrested in connection with illegal tanker operations, while President Claudia Sheinbaum’s administration has made combating fuel theft a cornerstone of its early tenure.

But even high-profile seizures barely scratch the surface. Since Sheinbaum took office in late 2024, authorities have confiscated an estimated 500,000 barrels of illegal fuel, less than a fraction of the $20 billion trade. Prosecutors investigating the racket face mortal danger. In August, Tamaulipas’ federal prosecutor was assassinated after leading raids that uncovered more than 1.8 million liters of illicit fuel.

This combination of organized crime, corruption, and governance failure is a hallmark of what political scientists call “criminal capture”, the point at which state institutions become functionally co-opted by illicit economies. With cartels operating as false energy corporations, Mexico’s sovereignty over its own fuel sector is seemingly a facade.

The Global Shadow Market:

The implications stretch beyond Mexico. The term “dark fleet” was first used to describe tankers smuggling sanctioned Russian and Iranian oil. Now, it applies equally to the vessels carrying contraband fuel across the Gulf of Mexico and Pacific coastlines.

These ships exploit the same legal and logistical loopholes that sustain global energy markets; open registries, layered ownership, and limited oversight in maritime trade. Once a vessel’s cargo is reclassified or offloaded at an unsanctioned port, tracing its origins becomes almost impossible.

For Western energy giants, this black-market competition is tangible. Shell’s decision to sell its retail operations in Mexico earlier this year was due in part to its inability to compete with cheaper cartel-supplied fuel. Bootleg diesel sells at a 5–10% discount below legitimate imports, enough to distort prices across an entire sector.

Meanwhile, the illusion of “cheap” fuel comes at extraordinary cost. Mexico’s treasury loses billions in tax revenue annually, honest importers are squeezed out, and legitimate workers are drawn into dangerous informal economies. The trade also erodes trust in North America’s supply chains, just as Washington and Mexico City struggle to deepen cross-border economic integration under the USMCA framework.

Cartel Infiltration into Trade Routes:

The evolution of cartels from narcotics traffickers to fuel traders reflects a broader transformation in organized crime. Cartels have always been adaptive enterprises, but their pivot into energy reveals strategy: fuel is legal, high-margin, and logistically complex, making it perfect for laundering money under the guise of legitimate trade.

In this new landscape, the line between criminal and commercial actor has blurred beyond recognition. A U.S. trader signing a fuel invoice in Houston may be unknowingly financing a cartel warehouse in Jalisco. A Danish shipping company fulfilling a contract may inadvertently be enabling tax evasion worth millions. And a Mexican port official turning a blind eye may be advancing the interests of a criminal enterprise larger than the state itself.

The Torm Agnes episode is not merely a tale of smuggling; it is an example showcasing globalization’s vulnerabilities. As supply chains grow more complex and opaque, the ability of states to control what passes through their borders diminishes.

What’s Next?

Mexico’s “dark fleet” is more than a law enforcement issue, it’s a test of North America’s supply chain security. If cartels can operate international fuel logistics networks using legitimate Western infrastructure, the implications reach far beyond Ensenada. It raises fundamental questions about regulation, accountability, and the complicity embedded in global commerce.

President Sheinbaum’s crackdown, combined with U.S. sanctions, suggests the beginnings of a coordinated response. But the scale of the challenge is daunting. As one former OFAC official put it, “The cartels are not just criminals anymore, they’re businessmen with global reach.”

Whether Washington and Mexico City can curb this hybrid economy will define not just the future of bilateral relations, but the credibility and stability of the global energy system itself.

Walt Disney Co. is alerting viewers that its channels may go dark on YouTube TV amid tense contract negotiations between the two television giants.

The companies are struggling to hammer out a new distribution deal on YouTube TV for Disney’s channels, including ABC, ESPN, FX, National Geographic and Disney Channel. YouTube TV has become one of the most popular U.S. pay-TV services, boasting about 10 million subscribers for its packages of traditional television channels.

Those customers risk losing Disney’s channels, including KABC-TV Channel 7 in Los Angeles and other ABC affiliates nationwide if the two companies fail to forge a new carriage agreement by next Thursday, when their current pact expires.

“Without an agreement, we’ll have to remove Disney’s content from YouTube TV,” the Google Inc.-owned television service said Thursday in a statement.

Disney began sounding the alarm by running messages on its TV channels to warn viewers about the blackout threat.

The Burbank entertainment company becomes the latest TV programmer to allege that the tech behemoth is throwing its weight around in contract negotiations.

In recent months, both Rupert Murdoch’s Fox Corp. and Comcast’s NBCUniversal publicly complained that Google’s YouTube TV was attempting to unfairly squeeze them in their separate talks. In the end, both Fox and NBCUniversal struck new carriage contracts without their channels going dark.

Univision wasn’t as fortunate. The smaller Spanish-language media company’s networks went dark last month on YouTube TV when the two companies failed to reach a deal.

“For the fourth time in three months, Google’s YouTube TV is putting their subscribers at risk of losing the most valuable networks they signed up for,” a Disney spokesperson said Thursday in a statement. “This is the latest example of Google exploiting its position at the expense of their own customers.”

YouTube TV, for its part, alleged that Disney was the one making unreasonable demands.

“We’ve been working in good faith to negotiate a deal with Disney that pays them fairly for their content on YouTube TV,” a YouTube TV spokesperson said in a statement. “Unfortunately, Disney is proposing costly economic terms that would raise prices on YouTube TV customers and give our customers fewer choices, while benefiting Disney’s own live TV products – like Hulu + Live TV and, soon, Fubo,” YouTube TV said.

Disney’s Hulu + Live TV competes directly with YouTube TV by offering the same channels. Fubo is a sports streaming service that Disney is in the process of acquiring.

YouTube said if Disney channels remain “unavailable for an extended period of time,” it would offer its customers a $20 credit.

The contract tussle heightens tensions from earlier this year, when Disney’s former distribution chief, Justin Connolly, left in May to take a similar position at YouTube TV. Connolly had spent two decades at Disney and ESPN and Disney sued to block the move, but a judge allowed Connolly to take his new position.

YouTube TV launched in April 2017 for $35 a month. The package of channels now costs $82.99.

To attract more sports fans, YouTube TV took over the NFL Sunday Ticket premium sports package from DirecTV, which had been losing more than $100 million a year to maintain the NFL service. YouTube TV offers Sunday Ticket as a base plan add-on or as an individual channel on YouTube.

Last year, YouTube generated $54.2 billion in revenue, second only to Disney among television companies, according to research firm MoffettNathanson.

The dispute comes as NFL and college football is in full swing, with games on ABC and ESPN. The NBA season also tipped off this week and ESPN prominently features those games. ABC’s fall season began last month with fresh episodes of such favorite programs as “Dancing with the Stars” and “Abbott Elementary.”

ABC stations also air popular newscasts including “Good Morning America” and “World News Tonight with David Muir.” Many ABC stations, including in Los Angeles, run Sony’s “Wheel of Fortune” and “Jeopardy!”

“We invest significantly in our content and expect our partners to pay fair rates that recognize that value,” Disney said. “If we don’t reach a fair deal soon, YouTube TV customers will lose access to ESPN and ABC, and all our marquee programming – including the NFL, college football, NBA and NHL seasons – and so much more.”

‘The big war may be over, but what about the many smaller wars that still await us here?’ Al Jazeera’s Maram Humaid explains the difficult decisions facing Palestinians in Gaza living amid the rubble and navigating on-going violence.

In “The Last Frontier,” which premieres Friday on Apple TV+, a plane carrying federal prisoners goes down in the Alaskan wilderness outside a town where Frank Remnick (Jason Clarke) is the U.S. Marshal. Eighteen passengers survive, among them a sort of super-soldier we will come to know as Havlock (Dominic Cooper). Sad intelligence agent Sidney Scofield (Haley Bennett) is sent to the scene by her dodgy superior (American treasure Alfre Woodard).

I won’t go into it in depth, especially given the enormous number of reveals and reversals that make up the plot; pretty much everything not written here constitutes a spoiler. The production is excellent, with well-executed set pieces — the plane crash, a tug-of-war between a helicopter and a giant bus, a fight on a train, a fight on a dam. (I do have issues with the songs on the soundtrack, which tend to kill rather than enhance the mood.) The large cast, which includes Simone Kessell as Frank’s wife, Sarah — they have just about put a family trauma behind them when opportunities for new trauma arise — and Dallas Goldtooth, William Knifeman on “Reservation Dogs,” as Frank’s right hand, Hutch, is very good.

It’s as violent as you’d expect from a show that sets 18 desperate criminals loose upon the landscape, which you may consider an attraction or deal killer. (I don’t know you.) At 10 episodes, with a lot of plot to keep in order, it can be confusing — even the characters will say, “It’s complicated” or “It’s not that simple,” when asked to explain something — and some of the emotional arcs seem strange, especially when characters turn out to be not who they seem. Things get pretty nutty by the end, but all in all it’s an interesting ride.

But that’s not what I came here to discuss. I’d like to talk about snow.

There’s a lot of snow in “The Last Frontier.” The far-north climate brings weather into the picture, literally. Snow can be beautiful, or an obstacle. It can be a blanket, as in Eliot’s “Winter kept us warm, covering Earth in forgetful snow,” or a straitjacket, as in 2023’s “A Murder at the End of the World,” a Christie-esque murder mystery that trapped the suspects in an Icelandic luxury hotel. It’s part of the aesthetic and part of the action, which it can slow, or stop. It can be deadly, disorienting, as when a blizzard erases the landscape (see the first season of “Fargo”). And it requires the right clothes — mufflers, fur collars, wool caps, big boots, gloves — which communicate coziness even as they underscore the cold.

The snowy landscape in shows like “The Last Frontier” is part of the aesthetic and action.

(Apple)

Even when it doesn’t affect the plot directly, it’s the canvas the story is painted on, its whiteness of an intensity not otherwise seen on the screen, except in starship hallways. (It turns a moody blue after dark, magnifying the sense of mystery.) Growing up in Southern California — I didn’t see real snow until I was maybe 10? — I was trained by the movies and TV, where all Christmases are white if the budget allows, to understand its meaning.

It was enough that “The Last Frontier” was set in Alaska (filmed in Quebec and Alberta) to pique my interest, as it had been for “Alaska Daily,” a sadly short-lived 2022 ABC series with Hilary Swank and Secwépemc actor Grace Dove as reporters looking into overlooked cases of murdered and missing Indigenous women. This may go back to my affection for “Northern Exposure” (set in Alaska, filmed in Washington state), with its storybook town and colorful characters, most of whom came from somewhere else, with Rob Morrow’s New York doctor the fish out of water; “Men in Trees” (filmed in British Columbia, set in Alaska) sent Anne Heche’s New York relationship coach down a similar trail. “Lilyhammer,” another favorite and the first “exclusive” Netflix series, found Steven Van Zandt as an American mobster in witness protection in a Norwegian small town; there was a ton of snow in that show.

It serves the fantastic and supernatural as well. The polar episodes of “His Dark Materials” and “Monarch: Legacy of Monsters,” the icebound sailing ships of “The Terror” live large in my mind; and there’s no denying the spooky, claustrophobic power of “Night Country,” the fourth season of “True Detective,” which begins on the night of the last sunset for six months, its fictional town an oasis of light in a desert of black. In another key, “North of North,” another remote small town comedy, set in Canada’s northernmost territory among the Indigenous Inuit people is one of my best-loved shows of 2025.

But the allure of the north is nothing new. Jack London’s Yukon-set “White Fang” and “The Call of the Wild” — which became an Animal Planet series for a season in 2000 — entranced readers back around the turn of the 19th century and are still being read today.

Of course, any setting can be exotic if it’s unfamiliar. (And invisible if it’s not, or annoying — if snow is a thing you have to shovel off your walk, its charm evaporates.) Every environment suggests or shapes the stories that are set there; even were the plots identical, a mystery set in Amarillo, for example, would play differently than one set in Duluth or Lafayette.

I’ll take Alaska.

A pretty UK seaside town may look like a picturesque holiday spot – but it has a dark history. Now locals are remembering those who were brutally killed in the 17th century with a new plaque

While it may be a picturesque seaside spot, this pretty town has quite a dark history behind it.

Weymouth is a seaside town located in Dorset, southern England and it’s know for it’s sandy beach, decorated with colourful beach huts and backed by Georgian houses. But what we see Weymouth as today was the total opposite to the dark chapter in history in the 17th century filled with brutal killings and bloody streets.

Two hundred and forty years ago, in September 1785, 12 local men were hanged, drawn and quartered in the town for their involvement in the Monmouth Rebellion.

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The brutal sentence was delivered by Judge Jeffreys at the Antelope Hotel in Dorchester during the infamous ‘Bloody Assizes’. This new plaque brings the total number of installations on the trail to 19.

Nowadays, Greenhill gardens is an award-winning gardens in Weymouth, with a tennis court, putting, bowling, live music events and two cafes. It has become a picturesque haven, beloved by locals and visitors for its vibrant floral displays and sweeping sea views, and the contrast between its serene present and brutal past adds a poignant depth to the town’s historical narrative.

Now locals from the We Are Weymouth group have unveiled a powerful new addition to the town’s heritage trail: a commemorative plaque on the Promenade at Greenhill, marking one of the darkest chapters in Weymouth’s history.

Graham Perry, chair of We Are Weymouth, said: “It is ironic that the first historical mention of Greenhill, one of the most beautiful spots in Weymouth, is in relation to this horrific event.

“The installation of this plaque helps us to remember the many layers of Weymouth’s history – both the celebrated and the sombre – and ensures they are not forgotten.”

The heritage trail, which celebrates the unification of Weymouth and Melcombe Regis in 1571 under Queen Elizabeth I, takes visitors on a journey through the town’s rich past. Highlights include the arrival of the Black Death, Weymouth’s rise as a Georgian resort, and its strategic role in the D-Day invasion.

Later this year, two additional plaques will be installed along Preston Beach, sharing stories from Lodmoor, a saltmarsh reserve with diverse wildlife, including waders, ducks, terns, and winter birds, and a reedbed with Bitterns and Bearded Tits.

Once complete, the trail will form a continuous historical journey from the Roman temple at Bowleaze to the iconic Nothe Fort, offering a superb and immersive experience for residents and visitors alike.

These initiatives reflect We Are Weymouth’s ongoing commitment to placemaking, community engagement, and celebrating the town’s unique heritage.

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1996. Wembley Stadium. I’m standing in a sea of England flags and fans, watching the Euros semi-final. As the crowd roars with one voice, it’s electric. Football’s coming home.

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It didn’t of course. But that day, England stood shoulder to shoulder. Beyond the stadium, across the entire country, we shared the highs and lows together.

Being there felt like we were part of something larger than ourselves. An England that belonged to our grandparents and our history, but also to our children and our future. And I felt like I was part of it.

That’s the power of our flag. To make us all feel like part of Team England.

Win or lose, north or south, black or white, old or young. Even Spurs and Arsenal were on the same team that day, cheering on our country.

So I know what a source of pride our flag can be, and what it means to people.

Which is makes it all the more shameful when people exploit that symbol to stoke anger and division.

I know people feel angry that the country they love doesn’t seem to work for them.

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People who feel like they’re doing everything right, but getting nothing to show for it.

Working harder and harder just to stand still, and worried what the future will look like for their kids.

I share that frustration. I’m determined to fix it. But a small minority see instead an opportunity to whip up hatred. To follow and old and dangerous playbook that sets people against one another.

That’s what we’ve seen in parts of the country. Police officers assaulted.

Loutish behaviour on the streets. And people made to feel like they are not welcome or safe here because of their heritage, religion or colour of their skin.

We’ve seen a nine year old black girl shot at in a racist attack. Chinese takeaways defaced. That sends a shiver down the spine of every right-minded Brit. This is not who we are.

When populist politicians, convicted criminals, and foreign billionaires take to the stage to encourage violence, make racist comments, and threaten our democracy, it casts a dark shadow of fear and violence across our society.

They want to drag our country down into a toxic spiral of division and hatred because it’s good for them. But their vile lies are not good for the country.

Here’s the truth. Over the past 15 years, trust in politics has been eroded. the economy became weaker and weaker. Opportunities disappeared as libraries, leisure centres, community spaces shut down during austerity.

Public services like our NHS neglected, neighbourhoods looking more and more tired as high streets shuttered up, anti-social behaviour blighting people’s lives.

Working people were left to scrap over fewer and fewer crumbs.

Now we’re at a crossroads. There is a dark path ahead of division and decline, toxicity and fear.

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A path that relies on destruction and disappointment, because when the damage is done and the graffiti cleaned away, it’s clear the populists  never had anything to offer – no hope, no future, no answers.

Or, there is the patriotic path of national renewal. Every one of us playing our part to renew, restore, rebuild the country we love.

That is the path we choose. 

Because this government is taking responsibility to reverse the decline.

We’re growing our economy so there’s more to go round for everyone, with 5 cuts in interest rates saving families up to £1,000 on their mortgage each year.

We’re building 1.5 million new homes, new towns, hospitals and schools and improving transport across the country. We’re delivering 5.2 million extra NHS appointments.

And we’re saving families £7,500 a year on childcare, giving hard working parents more cash and more time.

Of course we need to deal with the issues the country faces, like illegal immigration, head on.

But the way to be proud of our country again is to be part of the renewal, not the destruction. This is a struggle for the heart and soul of our nation.

But it’s not between ordinary people who simply want a better life for their families. It’s between patriots who care about our country, and populists who only care about themselves.

They want to control a current of tension and fear. I want the electricity I felt in that stadium almost thirty years ago, of a defiant Britain, a nation of decency and diversity, that still dares to stand together and believe in better.

Because this is the country that stood tall – with our allies – against the forces of fascism 80 years ago.

This is who we are. We’ve got the match of our lives ahead. And we need you on the pitch.

There is one simple way to make sure you don’t end up picking up the wrong luggage

When it comes to selecting luggage, most travellers instinctively opt for black, grey or navy cases. They appear safe, timeless and seem sensible – until you find yourself at the baggage carousel surrounded by numerous other cases that appear identical.

All of a sudden, your case becomes difficult to identify and you face the possibility of grabbing the wrong one – or another passenger mistakenly taking yours. Because of this, Ryanair has urged passengers who frequently travel with black, navy or grey cases to ‘alter’ their baggage to prevent any mix-ups upon arrival.

The budget airline recommended holidaymakers make their checked luggage more recognisable on the carousel due to how common these shades are, reports the Express.

In a statement last year, Ryanair said: “Make it easier to spot your checked-in luggage on the carousel, especially if your luggage is black, navy or grey (like 99.9 percent of the population). Add a colourful luggage tag or ribbon to the handle so that there’s no confusion on arrival.”

The popular airline also advises passengers to make copies of their passport, driving licence and/or ID card and email them to themselves. It’s also recommended to photograph these documents and save them on your phone for offline access at your destination.

According to research carried out by luggage brand Eminent, over 40% of travellers choose black hard-sided cases. Jamie Frazer, a travel guru from US summer camp Wild Packs, shared with the Economic Times: “Vibrant colours are far easier to spot on the baggage carousel than the typical black hard-sided suitcase.

“If you still want to use a black suitcase, include colourful luggage tags, stickers, or patterned straps so that it stands out in a crowd.”

He further advised that you should “include your name, phone number, and email address on the tag, as these are typically the quickest ways to get in touch.” He then concluded the warning by urging people to always “avoid listing your home address to reduce safety risks.”

MI6 is launching its own dedicated portal on the dark web in the hope of attracting new spies online, notably from Russia.

Secure messaging platform Silent Courier aims to strengthen national security by making it easier for the intelligence agency to recruit, the Foreign Office said.

Potential agents in Russia and around the world will be targeted by the UK, it adds.

Outgoing MI6 Chief Sir Richard Moore On Friday appealed to potential spies globally to anonymously access the dark web by following instructions on MI6’s own YouTube video.

In his final public speech as MI6 Chief, Sir Richard launched the worldwide recruiting drive targeting potential spies in Russia, China, Iran, North Korea and elsewhere.

In the same speech delivered from Istanbul on Friday morning, he expressed scathing criticism of President Putin, saying “there is no evidence” the Russian president has any interest in a negotiated peace, “short of Ukrainian capitulation”.

“He is stringing us along”.

He added that Putin cannot succeed in Ukraine and said Putin has “bitten off more than he can chew”, adding that Russia’s economy and demography are in long term decline and “Putin’s war is accelerating”.

The MI6 Chief also accused China of supporting Russia’s war effort both diplomatically and through dual use goods like “chemicals that end up in their shells and electronic components that end up in their missiles”.

China’s support, he said, along with Iran and North Korea’s is preventing Putin from making a sensible deal.

Later this month Sir Richard is due to hand over to Blaise Metreweli.

Ahead of Friday’s announcement about the new dedicated portal, Foreign Secretary Yvette Cooper said: “National security is the first duty of any government and the bedrock of the prime minister’s Plan for Change.

“As the world changes, and the threats we’re facing multiply, we must ensure the UK is always one step ahead of our adversaries.

“Our world-class intelligence agencies are at the coalface of this challenge, working behind the scenes to keep British people safe.

“Now we’re bolstering their efforts with cutting-edge tech so MI6 can recruit new spies for the UK – in Russia and around the world.”

Anyone who wants to securely contact the UK with sensitive information relating to terrorism or hostile intelligence activity will be able to access the portal from Friday.

Instructions on how to use the portal will be publicly available on MI6’s verified YouTube channel.

Users are recommended to access it through trustworthy VPNs and devices not linked to themselves.

The launch follows a similar approach by the US’s Central Intelligence Agency (CIA), which published videos on social media channels to target potential Russian spies in 2023.

The CIA previously suffered a disastrous loss of its agents in China after their connections to the dark web were breached by Beijing’s Ministry of State Security.

Officials said it was one of the worst security breaches of recent years.

Platform to allow people to securely pass on information anywhere in the world, or offer their own services to MI6.

The United Kingdom’s spy agency is set to launch a web portal on the dark web to recruit informants and receive secret information from agents in Russia and worldwide, Britain’s Foreign, Commonwealth and Development Office has said.

The Secret Intelligence Service, known as MI6, will officially announce the launch of the secure messaging platform called “Silent Courier” on Friday.

It is aimed at harnessing the anonymity of the dark web – the murky, hidden part of the internet often used by criminal actors – and allowing anyone, anywhere in the world, to securely contact the UK spy agency.

Users of the portal can securely pass on details about illicit activities anywhere in the world, or offer their own services, according to a Foreign Office statement.

Outgoing MI6 chief Sir Richard Moore – who is due to hand over to Blaise Metreweli later this month – will officially launch the web portal in Istanbul on Friday.

“Today we’re asking those with sensitive information on global instability, international terrorism or hostile state intelligence activity to contact MI6 securely online,” Moore is set to say when he formally announces the plans.

“Our virtual door is open to you,” he will add.

Instructions on how to use the portal will be publicly available on MI6’s verified YouTube channel.

Users have been encouraged to access it through VPNs and devices not linked to themselves.

MI6 was established in 1909 but was not officially acknowledged by the UK government until the 1990s.

The spy agency operates from the iconic SIS Building on the banks of the River Thames in London and only its head – known as “C” – is a publicly named member of the service.

In advance of the portal’s launch, new Foreign Secretary Yvette Cooper said that “national security is the first duty of any government and the bedrock of the prime minister’s Plan for Change” – referring to a national revitalisation plan outlined by the premier and Labour Party leader Keir Starmer in December.

“As the world changes, and the threats we’re facing multiply, we must ensure the UK is always one step ahead of our adversaries,” Cooper said.

“Now we’re bolstering their efforts with cutting-edge tech so MI6 can recruit new spies for the UK – in Russia and around the world,” she added.

The US’s Central Intelligence Agency (CIA) took a similar approach in 2023, when it published videos on social media attempting to recruit potential Russian spies.

Welcome to Screen Gab, the newsletter for everyone who needs a mental health break from the Taylor Swift-Travis Kelce engagement vortex.

Three years after “The Terminal List” ended its first season, Prime Video’s prequel to the military-espionage thriller arrives. The debut season of the flagship series concluded with — spoiler alert! — Navy SEAL commander James Reece (Chris Pratt) discovering his closest ally, Ben Edwards (Taylor Kitsch) was involved in the ambush mission that led to the death of his platoon, as well as his wife and daughter. “The Terminal List: Dark Wolf” traces Ben’s journey from Navy SEAL to CIA operative. Creator and showrunner David DiGilio stopped by to discuss expanding the Jack Carr book universe and working with Kitsch.

Also in this week’s Screen Gab, our streaming recommendations are different types of nostalgia plays: Noah Hawley’s timely television prequel to the ‘Alien’ film franchise that is set on Earth, and “Gunsmoke,” the classic western that first hit TV screens 70 years ago and is finding new life in the streaming era.

ICYMI

Must-read stories you might have missed

Olivia Colman, left, and Benedict Cumberbatch of “The Roses,” a remake of “The War of the Roses,” photographed in London in June.

(Jennifer McCord / For The Times)

Olivia Colman and Benedict Cumberbatch are a match made in heaven — or, in ‘The Roses,’ hell: They’ve known each other for years, but having the opportunity to spar in a savage new take on ‘The War of the Roses’ was too good for the longtime friends to pass up.

How Taylor Kitsch became Hollywood’s go-to actor (and veterans’ favorite) for military roles: The star of ‘The Terminal List: Dark Wolf’ discusses his new prequel series and how, with the help of military veterans, he learned to embody a Navy SEAL.

Telluride Film Festival returns with an eclectic mix of politics, auteur visions and the Boss: The 52nd edition blends star power and auteurs, with world premieres from Scott Cooper, Chloé Zhao and Edward Berger, plus new work from Yorgos Lanthimos and Noah Baumbach.

Inside romance queen Emily Henry’s literary empire and soon-to-be cinematic universe: The author has become the master of the contemporary romance novel, publishing six bestsellers since 2020. Now, five are being adapted into movies and shows.

Turn on

Recommendations from the film and TV experts at The Times

Sydney Chandler as Wendy in FX’s “Alien: Earth.”

(Patrick Brown / FX)

“Alien: Earth” (Hulu, Disney+)

Reimagining a nearly 50-year-old franchise like “Alien” isn’t for the faint of heart (or stomach). The iconic sci-fi horror saga has already spawned a tangled web of sequels, prequels and spin-offs of wildly varying quality. But Noah Hawley — who turned “Fargo” and “Legion” into bold, brainy extensions of their cinematic roots — brings a jolt of fresh, unnerving life to “Alien: Earth.” The horror is real, the xenomorphs still terrifying (and, yes, there are new critters too). But this isn’t just eight hours of people running from acid-blooded monsters. It’s a sprawling, idea-rich vision of a future ruled by tech oligopolies, where minds are uploaded into synthetic bodies and morality is outsourced to machines — a world as indebted to Ridley Scott’s “Blade Runner” as his original “Alien.” The monsters are back, but the deeper thrill is how Hawley keeps you thinking even as you’re bracing for the next kill. Now midway through its eight‑episode run, “Alien: Earth” doesn’t just extend a franchise. It reanimates it with a mind of its own and a brand-new set of fangs. — Josh Rottenberg

James Arness, Amanda Blake, Ken Curtis and Milburn Stone in “Gunsmoke.”

(CBS)

“Gunsmoke” (Peacock, Pluto TV)

I long for the simple times when my family and I would gather around the television to watch the latest episode of “Gunsmoke.” The drama that featured James Arness as no-nonsense Marshal Matt Dillon was a staple in millions of households throughout its 20-year run, which ended in 1975. In the streaming era, “Gunsmoke” is now sparking a lot of new heat, and has ranked at least twice among Nielsen’s top 10 list of most-streamed acquired series. Beginning Saturday, MeTV will kick off a month-long 70th anniversary salute to the drama, airing specially-themed weeks such as “Best Characters of Dodge City” and five made-for-TV movies. — Greg Braxton

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Ben Edwards (Taylor Kitsch), James Reece (Chris Pratt) in “The Terminal List: Dark Wolf.”

(Justin Lubin / Prime)

Taylor Kitsch rose to fame with his portrayal of brooding football player Tim Riggins on “Friday Night Lights,” but he’s spent a good portion of his career since then stepping into the military mindset — as my former colleague Michael Ordoña astutely unpacked in his profile of the actor. With “The Terminal List: Dark Wolf,” which further expands Jack Carr’s book universe, Kitsch reprises his role as Navy SEAL-turned-CIA operative Ben Edwards in Prime Video’s prequel to 2022’s Chris Pratt-led series. Premiering its first three episodes earlier this week, the series takes place five years before the events of the first season of “The Terminal List” and explores Ben’s origin story and his crisis of faith that eventually led to his betrayal of James Reece (Pratt). Showrunner David DiGilio stopped by Screen Gab recently to discuss why Ben is a worthwhile character for a spin-off, the story behind that AC/DC needle drop and more. — Yvonne Villarreal

What was it about the story of Ben Edwards that resonated with you and made you so passionate about wanting to explore his origin story?

Ben is an ever-evolving character. He was different in the book than he was in our scripts for Season 1 of “The Terminal List.” Then Taylor arrived and brought a whole new layer of empathy, complexity and danger to the role. Unlike Reece, who represents a light wolf character pulled into a dark place by a conspiracy, Ben Edwards is a man with innate darkness inside him. But he also values loyalty, brotherhood and freedom. And that dichotomy in a character means we can give Taylor a ton of great stuff to play. It makes Ben unpredictable. And we get to watch how Ben evolves from a leader in the SEAL Teams to a Black Side Operator who thinks he can use his dark wolf for good.

You had involvement from real veterans in the making of the series, including in the writing of the season. There are seven episodes and five were written by veterans. Walk me through finding the voices to join the room and how did that enrich discussion as you broke stories?

As we were making Season 1 of the flagship series, we made a commitment to military authenticity. The lived experience is what defines Jack Carr’s writing in the books, and we wanted to make sure it translated to the shows. During Season 1 of “The Terminal List,” two military veteran storytellers in particular — Max Adams, a former Army Ranger, and Jared Shaw, a former Navy SEAL — really stepped up our action and authenticity and our storytelling overall. When it came time for “Dark Wolf,” we elevated Max and Jared to executive producer[s]. And we were able to include Jack Carr in more of the writing and creating side of the show as well. But we didn’t stop there. We brought writer-producer Kenny Sheard — also a former SEAL — into the writers room and brought back Ray Mendoza — a former SEAL and technical advisor on Season 1 — to second unit direct. So, between Max, Jared, Kenny, Ray and Jack Carr himself, I don’t think you have a show that’s more committed to getting it right for the military veteran audience.

Is there a personal connection — for you or the veterans who worked on the show — behind the use of AC/DC’s “Hells Bells” to score the time jump in the first episode?

Interesting story. We were trying to use Led Zeppelin for that training montage in the pilot. The band is notoriously tricky to clear, but we made it to about the five yard line before it got denied. Sadly, we’d been temp-editing with that song for months and were all quite attached. So we now had to pivot … quickly. We found AC/DC’s “Hells Bells” by asking our military veteran storytellers for bands/songs that were big for them during deployments. AC/DC was near the top of the list, and the civilian side of our EP team had connections to the music as well. We tried three AC/DC songs for the sequence, and “Hells Bells” was a no-brainer. But, truly, a classic example of the adage “don’t fall in love with the temp.” We made this music selection way tougher than it needed to be!

Tell us a good story about Taylor Kitsch and his time on the inflatable boat.

I think the biggest thing we learned from putting Taylor on that boat in the pilot is that we weren’t in Kansas anymore. Meaning, Budapest production is very different than production in the U.S. In the States, you would have a full “marine unit” dedicated to getting a scene like that. Half a dozen camera boats and follow boats built specifically to capture that sequence. In Budapest, we were tying camera men down on the boat itself, and turning tourist river boats into parts of our armada. Boats could not keep up with those beastly gunship engines. Smaller boats got waked. We got the scene, and we got it safely. But after the ease of filming the flagship series in Los Angeles, I think that day told all of us that Budapest would be a city with unique production challenges. But I give a huge hat tip to the Budapest crew, because even on a day like that, they never complained. And I think having the cast and American crew together in a foreign city really helped bond us all into one big family.

What have you watched recently that you are recommending to everyone you know?

My last watch was probably while flying to and from South Africa and Toronto for the filming of “The Terminal List” Season 2. I downloaded and binged “Adolescence” [Netflix] and Season 2 of “Andor” [Disney+]. I’m surprised more folks don’t talk about “Andor.” It’s probably the most smartly-written show on streaming these days. A World War II resistance film wrapped up in incredible sci-fi visuals. And on “Adolescence,” the performances were incredible. But note to all, whatever you do, don’t watch that show’s finale in a crowded airport lounge in London. I was bawling.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

Might not surprise folks to hear, but it’s either “Saving Private Ryan” [Prime Video, Pluto TV] or “Gladiator” [Prime Video, Paramount +]. Both movies capture the warrior’s ethos and sense of brotherhood that we strive for in the “Terminal List” shows. They also combine great action with big emotional character-driven scenes. Hollywood’s balance of VFX and character work was probably at its zenith right around the turn of the century. So I love to rewatch those films as a reminder of the balance I strive for in my writing, and for the balance we try to build into the Jack Carr Universe shows.

Antonia Lambert intially noticed something was wrong with her daughter Delilah in March, before it was discovered in June that she had a rare and serious condition

When Antonia Lambert took her 17-month-old daughter Delilah-Rose Lambert to the opticians earlier this year, she had no idea what was about to transpire.

Antonia, 20, had noticed her daughter’s left eye shine white and wanted to find out why. After the opticians referred her to the Diana, Princess of Wales Hospital in Grimsby, they attended an appointment, after which they were sent home when nothing was found.

When Delilah started rubbing her left eye constantly and developed a fear of the dark just weeks later, Antonia, from South Killingholme in North Lincolnshire, was referred to Birmingham Children’s Hospital.

It was there that doctors made a tragic discovery. In June, three months after symptoms had first been noticed, Delilah was diagnosed with Retinoblastoma. According to the NHS, this is a rare type of eye cancer that can affect young children.

Following the diagnosis, which Delilah’s family believed caused her fear of the dark because she could see less, Antonia’s daughter had to have her entire left eye removed.

Although Delilah has now been given a temporary prosthetic, it will be a few more weeks before she receives a longer-lasting one. While the situation cannot be changed, hairdresser Antonia believes that, had they not been initially dismissed, her daughter might still have her left eye.

Speaking about the beginnings of their horrific ordeal, Antonia spoke about how she first came to notice something was wrong with her daughter.

She said: “We had a lamp on in our room and one of her pupils looked white. We didn’t think much of it but she started to get wobbly so we took her to get her eyes tested.

“[Before her diagnosis], she refused to settle in her room and would cry for hours until I put a light on or took her out of that room.”

Antonia also spoke about how hard it was to hear that her daughter had such a difficult diagnosis. She said: “There were so many emotions at the time and I didn’t know how to feel. I sat and cried for days.

“I think most of the frustration was with our local hospital because they decided her eye wasn’t important enough to examine at the start and it made me think that it could have been different. The tumour might have been smaller if she was seen earlier and they could have potentially saved her eye.”

Despite the heartbreak, Antonia is determined to raise awareness of retinoblastoma so that other parents know what symptoms to look for and can act quickly.

She urged: “You need to trust your gut and push as much as possible. We didn’t push enough at the start, but we kept going and going – and she ended up getting her eye removed.

“It’s not massively common. We were told 30 to 40 kids a year in the UK get diagnosed with this. You don’t think it’s going to be you – until it is.

“Opticians don’t usually test children’s eyes under four unless there are concerns, but if you spot anything unusual, you definitely need to get their sight checked.”

In a statement, a spokesperson for the NHS Humber Health Partnership said: “We are sorry to hear about the difficulties Miss Lambert and her daughter encountered at Diana, Princess of Wales Hospital earlier this year.

“We would be keen for her to contact our Patient Advice and Liaison Service team so we can discuss the issues with her in more detail and allow us to investigate fully.”

When I learned R.F. Kuang was taking readers to hell in her newest book, I groaned. Haven’t we done this enough? I’m not just talking about Orpheus retrieving Eurydice, Dante’s “Inferno” and Virgil’s “Aeneid.” Nor the 19th century poets and cults obsessed with everything chthonic. We as a culture have done katabasis — that is, a journey into the underworld — a lot recently: Silvia Moreno-Garcia’s “Gods of Jade and Shadow” (2019), Leigh Bardugo’s “Hell Bent” (2023) and Netflix’s “Kaos” (2024).

(I’m sure it has nothing to do with the political instability we’re facing. We probably shouldn’t worry about the historical pattern of writers becoming obsessed with the living journeying into hell whenever things aren’t going great in society. I’m sure it’s fine.)

I didn’t think there could be much new here. “Katabasis” is a dark academia fantasy where the protagonist — a psychologically wounded but talented student, lacking self-love, perspective or even just one friend to talk sense into her — journeys into hell to fetch the soul of a mentor she’s in thrall to … and may have killed. If this sounds familiar, well, Kuang’s newest hero, Alice Law, does bear similarities to Bardugo’s Alex Stern.

But I was wrong — there are new things here. The journey into hell has been done, but it hasn’t been done quite the way R. F. Kuang does it.

Like “Babel,” which relied on R.F. Kuang’s knowledge of linguistics, “Katabasis” is rich and textured because of her familiarity with the subject.

(John Packman)

Alice Law and her partner-in-hell, Peter Murdoch, are acutely aware of their literary predecessors, even guided by maps based on those journeys. They go because their doctoral advisor, a man they hate and worship in equal measure, has died and they need him back to ensure they get a good teaching position after graduation. It’s a flawed reason, and a greedy one, a fact neither character seems to understand. They don’t seem to see themselves fitting in anywhere in hell, actually — that tension is both annoying and amusing. Their trip is an intriguing take on the journey; things in hell have changed since Virgil played tour guide.

In “Katabasis,” we’re once again treated to the power of Kuang’s mind. It takes a smart person to write geniuses, and Alice and Peter are brilliant, if blinkered. Like “Babel,” which relied on Kuang’s knowledge of linguistics, “Katabasis” is rich and textured because of her knowledge of the subject, her deep familiarity with its shape and philosophy. Also like “Babel,” “Katabasis” revolves around the dark inequities cracking the foundations of a fictional department in an Oxbridge school, a place people would kill to get into and then die in while they’re there.

A warning: The nesting doll of literary references in “Katabasis” will be a delight to some and impenetrable to others. People who aren’t familiar with chthonic myths might want to do some research before reading. For example, there’s a joke toward the end about how John Gradus is clearly a fake name: The reference is never elucidated, and you’ll only get the joke if you know the phrase gradus ad parnassum means “a step toward Parnassus,” which is the mountain where Apollo and the Muses live in Greek myth, and that the phrase is often used by scholars to indicate a process of gradual mastery over a subject. So John Gradus is a journeyer in his own right, learning where he went wrong in life to reach the Lethe and reincarnate. This novel is not for the intellectually indifferent.

But generally, “Katabasis” is a more mature and less showy novel than Kuang’s earlier works. Perhaps this isn’t surprising; Kuang’s first book was published when she was just 21 and she’s 29 now. A person’s 20s are transformative even if they don’t study in China, at Oxford, at Cambridge and at Yale in quick succession. Readers who thought “The Poppy War” trilogy didn’t stick the landing, or that Rin became insufferable by the end, will be pleased that “Katabasis” does stick it, and that Alice evolves.

Some of the same themes from “The Poppy War” return — the horror of sex, the power of delusion to transform reality. But when Alice faces challenges, she lets go of her delusions. Peter is not disposable like Kitay. Both Alice and Rin sacrifice, but this isn’t Rin’s abject despair; Alice’s sacrifices are more nuanced than Rin could ever fathom.

As much as “Katabasis” has in common with Kuang’s earlier works, tonally it might have most in common with “Yellowface.” Unlike the brutality of “The Poppy Wars” or the tragedy of “Babel,” “Katabasis” maintains a slight wry humor throughout. There’s a satirical subtext here that wasn’t present in her earlier earnest fantasies. I mean, these PhD candidates choose to go to actual hell rather than have an honest conversation with someone at Cambridge. Kuang shows us how self-destructive that is, intriguing as the story reads. Like June Hayward/Juniper Song in “Yellowface,” Alice and Peter are so trapped in the flimsy reality they’ve constructed that they can’t see the obvious way out.

Because in “Katabasis,” hell is not other people. It’s defending your dissertation.

This is my one sticking point with writers taking readers to hell. Cultural images of the underworld are bound by writers, and though Kuang introduces new elements, she adheres largely to their canon. Her take on Dante’s City of Dis is — spoiler! — a regal college where academics spend eternity writing self-absorbed dissertations (shortened by real PhD candidates, of course, to “Diss” — there’s that wry humor). There’s no feedback, no advisors, just faith that someone’s reading. I understand why a PhD student would envision this as the worst kind of punishment, but I’m not convinced it’s the worst possible sin.

“Katabasis” is hell filtered through a scholar’s eyes. Orpheus’ journey has stood the test of time because he went for love. Dante went for knowledge. Alice goes for a recommendation letter. It’s an intriguing addition to the canon, but for mere mortals who haven’t survived abusive, plagiaristic and mystifying advisors to earn Oxbridge degrees — or even just bad bosses — it might be unrelatable.

Castellanos Clark, a writer and historian in Los Angeles, is the author of “Unruly Figures: Twenty Tales of Rebels, Rulebreakers, and Revolutionaries You’ve (Probably) Never Heard Of.”

Ross Ulbricht built an empire in the shadows—a sprawling digital bazaar called The Silk Road, hidden on the dark web. There, drugs, weapons, and stolen secrets flowed freely, all paid for in untraceable cryptocurrency. To his global clientele, he was a legend: the Dread Pirate Roberts.

But after a dramatic arrest and a staggering double life sentence, Ulbricht’s fate took another twist. Just days into his second term, President Trump pardoned him, sparking outrage and debate. So, did he deserve his punishment? Did justice prevail—or was power at play? And how did a digital outlaw become the ultimate wild card in America’s justice system?

In this episode:
– Nicholas Cristin, Online Crime Professor at Carnegie Mellon University
– David Yaffe-Bellany, Technology Reporter for the New York Times

BBC

Power from the sun, but not at home

A daily struggle for basics

A long wait

Dinner by torchlight

Those close to Patrick Kielty have shared their concern following his split with This Morning presenter Cat Deeley, whom the comedian married in Rome in September 2012

Patrick Kielty will be “in a very dark place” if Cat Deeley returns to the US with their children, insiders say.

The couple announced this week they have separated following a 13-year marriage, a bombshell which has reportedly led to huge concern for both parties. Residents in Dundrum, County Down – Patrick’s hometown – shared their worry for the 54-year-old star, who married Cat in Rome in September 2012.

Some who know Patrick, who has two children with Cat, fear the presenter would be devastated if his ex goes back to the US, where the couple used to live. One insider said: “Everyone is worried about Paddy. The fear is that Cat will go back to America with the little ones. That will leave him in a very dark place.” This comes as it has emerged other showbiz couple Helen Skelton and Gethin Jones split after he joined a notorious dating app on a lads’ holiday.

READ MORE: Cat Deeley’s response to ‘bent’ marriage before Patrick Kielty wedding ring confessionREAD MORE: Katie Price’s son Harvey breaks down in tears as he makes big change

Cat began presenting ITV’s This Morning last year alongside Ben Shephard, following the departures of Phillip Schofield and Holly Willoughby. However, since she and Patrick confirmed their split, it emerged 48-year-old Cat found the return to the UK difficult.

And so concern has grown Cat, who started her career hosting SMTV Live on Saturday mornings, could quite her ITV job and pack her bags for the US once more. Television insiders told Mail Online: “Cat’s time on This Morning has not been a failure, but it has hardly been a roaring success.

“It is a job which puts her under so much scrutiny, day-in and day-out, and unlike most British presenters she has plenty more lucrative options to choose from in the States… There is concern that all of this family drama could lead her to walk away.”

Cat and Patrick, a comedian and TV host, had lived in Los Angeles for more than 14 years, where Cat presented the reality TV show, So You Think You Can Dance. They returned and Cat swiftly started on This Morning, which is understood to be one of several ITV daytime shows subject to budget cuts. The broadcaster recently announced plans for a shake-up, which includes cutting Lorraine by 30 minutes and dropping it altogether during school holidays from January. It is believed This Morning is set to move from its base in White City, west London, to a smaller, cheaper studio in the centre of the capital.

And Cat, originally from West Bromwich, West Midlands, has also been open about her struggles to adapt to the 5am starts for the four days a week she presents This Morning, and has revealed that it led her and Patrick to sleep in separate beds most nights.

The show based on a famous gothic novel was adapted for the BBC in a 2014 miniseries and it stars a familiar face from Downton Abbey.

BBC enthusiasts have been left gobsmacked by a period drama miniseries they’re calling a “masterpiece” – and it’s crafted from the pages of a novel by a “queen of the genre”. The gothic tale of Jamaica Inn, penned by Daphne Du Maurier in 1936, has been brought to life in a gripping 2014 adaptation.

Set against the backdrop of 1821, Jamaica Inn spins the story of Mary Yellan, who after the heartbreak of losing her mother, goes to live with her aunt at the eponymous coaching inn in Cornwall. However, Mary soon discovers the inn’s lack of guests hides a dark secret, as she stumbles upon a nest of criminal dealings and finds herself entangled in romance with a dashing petty thief.

The series features Downton Abbey star Jessica Brown Findlay portraying the intrepid Mary and Matthew McNulty as her roguish love interest Jem Merlyn, joined by Emmerdale‘s own Danny Miller and Andrew Scarborough.

Upon its initial release, Jamaica Inn faced a barrage of criticism over sound issues, with complaints about the cast’s “mumbling” – yet, those revisiting the series over a decade later are now singing its praises for its captivating allure, reports the Express.

One critique read: “This adaptation struck the right mood, it seemed to me – dark and subtly sinister.”

Another viewer was enchanted, describing it as “dark and beautiful”, and adding: “Very beautiful adaptation of the Du Maurier classic novel to a TV mini-series. There is a reason why Hitchcock directed this back in 1939. The atmosphere set is hypnotic at times.

“The music is well-chosen. It sets the right mood. When I first read the book, I imagined the setting to be similar but not quite as beautiful as shown here.”

The New York Times lauded the novel behind the adaptation, hailing it as a work by “the queen of the form”, and an ideal read for “readers of Gothic thrillers”.

Jamaica Inn is no stranger to screen adaptations; its most renowned version was Alfred Hitchcock’s 1939 film.

The story also graced television screens in an ITV miniseries back in 1983 with Jane Seymour taking the lead, and it even crossed over into French television with a TV movie in 1995.

Jamaica Inn is available to stream on ITV Premium.

Bonnie Blue insists she is happy but there is a cost to her fame and she does not live a normal life

Bonnie Blue has made millions from porn, inviting multiple fans to have sex with her and posting film of what some people would call orgies, but she calls “events”, online.

Her biggest event was in January, when she had sex with 1,057 men in 12 hours, the inspiration for the title of a new Channel 4 documentary, 1,000 Men and Me: The Bonnie Blue Story.

At a screening of the documentary, Bonnie insisted she was “very happy” with her life. But her notoriety, and her boasts of sex with married men, who, she says, should not feel guilty about cheating on their wives, come at a price.

In the film, Bonnie, a 26-year-old former NHS recruitment worker from Derbyshire, whose real name is Tia Billinger, says: “The last time I went out by myself was probably about six months ago. Now it is not that safe.

“I get 100s of death threats a day, so it is not that safe when I walk around.

“I say, ‘It is going to happen at some point, someone will come and give me stick’ and fair play to her, at least they are getting up off their sofa. My worst one is acid, if someone did acid, and I could see some spiteful girl doing that.”

READ MORE: ‘I saw real Bonnie Blue behind closed doors – there’s one dark truth people don’t see’

Bonnie has split from her husband and her closest friends seem to be Josh, who posts her videos, and a stylist. She says: “My sort of circles got smaller, but my team are also my best friends.”

Director Victoria Silver followed Bonnie for six months, gathering footage of her having sex, and was at her January marathon for a couple of hours.

At the documentary screening, Bonnie expressed surprise at the amount of explicit footage used. Asked if she was expecting complaints, Victoria said: “If I was making a film about a musician or some kind of other performer their work would be in there. I think it is important to see what she does.”

And Bonnie is clearly proud of her work. Of her sex marathon, she says: “I love the fact that I was able to experience that day with over 1,000 subscribers, fans, people that spent time out of the day to come meet me.

“But, yeah, I also need money to be able to take time out of my days to be able to do that, to hold these events. These events aren’t cheap by the time you pay for staff, security, the venue.”

But she says she has earned more than £1million in some months, and the documentary shows the increasingly extreme lengths she will go to for clicks and views.

In one stunt, she creates a school classroom for a sex show, with other, younger, contributors taking part after being sent invites.

The director’s voiceover says they are not paid but “appearing in their socials with Bonnie is payment enough”.

At the shoot in Birmingham, one girl called Codie says: “She got quite big quite fast, so it will be nice to see how she does things. No, I am not being paid today, it’d just be that I get tagged and then hopefully get followers and subs from that and then roll on to my page.”

She admits she does not normally do anything “adventurous” on her OnlyFans page and that this is the first time she has taken part in filmed group sex. She adds that making sex films is better than having to do an office job.

Another contributor, Leah, says: “I got a DM to see if I wanted to take part. As soon as I heard Bonnie Blue’s name I was intrigued because she’s everywhere at the minute.”

Leah says this is the first time she has been with other people in a room having sex and she is “definitely” nervous.

But Bonnie does not seem bothered or concerned by the fact the girls look a bit shy and intimidated. Bonnie says: “The fact they are so nervous works in my favour, because their reactions will be more realistic. Or if they feel intimidated, obviously, I want them to say, but sometimes sex is intimidating, so it’s going to be good.”

Another scene shows Bonnie at home with mum Sarah, who speaks with pride about how her daughter was a great dancer as a child.

She also seems proud of her career as a porn star. She says: “Would it be something that I chose for her to do, no. I was really, really shocked, but now would I want her to do anything else? No, not at all. It’s her choice.”

Sarah and other relatives have given up their jobs to be on Bonnie’s payroll.

Sarah says: “People I know always liked us both, but think it’s OK to make nasty comments.

“Most of the time I just laugh. I’m like, ‘If you could earn a million pounds in a month, your morals would soon change, and you’d get your bits out’. I don’t care what people say.”

Bonnie says: “My family started to put up with hate, I get that, but I also get the life I live and the money. So it’s like I also want them to receive some of the rewards.”

The documentary ends as Bonnie is about to head to Romania to meet influencer Andrew Tate, who is facing rape and human trafficking charges, which he denies, and is a self proclaimed misogynist. Bonnie says: “He’s probably just as controversial as I am. Whether people love him or hate him, he’s a marketing genius.”

Director Victoria asks her: “You talk about female empowerment, but how do you square that with aligning yourself with the most misogynistic male on the internet?”

Bonnie says: “Piers Morgan interviews serial killers all the time. It’s not messed up his brand. He [Tate] has been labelled multiple things by the media, and so have I. We’re probably the two most misunderstood people out there at the moment.”

Channel 4 defended the documentary, telling the Mirror: “The explicit content is editorially justified and provides essential context.”

And at the screening, commissioning editor Tim Hancock said: “We are very proud to do films like this.”

* 1000 Men and Me: The Bonnie Blue Story, Channel 4, Tuesday, 10pm.

Before this catastrophe began, I was living the happiest days of my life, surrounded by the warmth of my family, the affection of my friends, and dreams that felt within reach. I spent most of 2023 preparing for my graduation and getting ready to move from lecture halls to practical training fields, rotating between the laboratories of the Islamic University in Gaza and the eye hospitals spread across the Gaza Strip.

On the evening of October 6, I was organising my books, tools and white coat, getting ready for a long training day at Al-Nasr Eye Hospital in Gaza. My feelings were a mix of excitement and nervousness, but I had no idea that night would mark the end of my peaceful life. At 6am the next morning, October 7, it wasn’t the sound of my alarm that woke me, but the sound of rockets. I opened my eyes, wondering, “Is this a dream or a nightmare?” But the truth was impossible to deny. A war had begun, turning our once-bright lives into a never-ending nightmare.

On October 8, I received the devastating news that my university had been destroyed – its laboratories, its classrooms and every place where I had learned how to help patients. Even the graduation hall, where I had pictured myself celebrating at the end of the year, had turned to rubble. I felt a sharp pain in my chest, as if a part of my soul had collapsed. Everything fell apart so suddenly. Overnight, all that I had dreamed of was reduced to ashes.

On December 27, 2023, the bombing in our neighbourhood intensified, and we were forced to leave our home and flee to the so-called humanitarian zones in Rafah. There, we took shelter in one of the hundreds of tents that had become the only refuge for survivors.

There was one thing I still held on to: my knowledge and modest experience in the field of eye care. I began to notice children and women suffering from persistent eye infections, caused by inhaling smoke and dust and constant exposure to dirt. Even I developed an infection in my own eyes. I looked at them, then at myself, and I knew I couldn’t just stand by and watch. I wanted to be a reason someone healed, a reason the light returned to their eyes.

In December 2024, I volunteered at Al-Razi Health Center, working in the eye clinic under the supervision of a remarkably compassionate doctor. At first, I was afraid and hesitant. The war had taken a toll on my memory and shaken my confidence. But the doctor told me words I will never forget: “You are hardworking. You’ll remember everything. And you will become a tool for healing others.”

Patients started arriving from everywhere: north, central and southern Gaza. The clinic wasn’t equipped for such numbers, but we did everything we could. I witnessed cases I had never seen before:

A four-year-old girl lost her vision completely due to severe corneal burns caused by an explosion near her home. She screamed in pain. She was far too young to endure such suffering. Despite the lack of resources, she underwent surgery to remove her damaged eye and replace it with an artificial one.

A man in his late 30s was struck by shrapnel in the face and suffered skull fractures. He had a torn upper eyelid and a deep corneal injury. He needed delicate surgery, but it was postponed multiple times because it required repeated general anaesthesia, which was impossible under the current conditions.

A young woman in her 20s had taken a direct hit that caused an orbital fracture and muscle tears around the eye, leading to hypotropia and facial asymmetry. She broke down emotionally at every visit. As a young woman like her, I felt her wound as if it were my own.

There was also an elderly man suffering from eye cancer. The disease was eating away at his eye, and there was a strong possibility it would spread to the other one. But we couldn’t help him. Resources were unavailable, and he couldn’t travel for treatment due to the closure of the borders. At every visit, I did my best to lift his spirits, hoping that maybe, just maybe, I could ease his pain, even if only a little.

Most children were suffering from chronic conjunctivitis and the appearance of chalazion (fatty cysts on the eyelid), due to dust, touching their eyes with their hands, and a lack of hygiene in the camps.

The elderly, most of whom suffered from cataracts, a condition that leads to gradual loss of vision, needed lens removal surgery and intraocular lens implantation, but all such operations were postponed due to the disruption of communication with northern Gaza, the only place in the Strip where the necessary equipment was available.

During those months, the operating rooms turned into real teaching labs for me after the occupation destroyed the university’s lab. I accompanied the doctor to every surgery, performing them by the light of hope and the sounds of bombing. One time, a rocket hit a house next to the centre while we were inside the operating room. Despite the panic, we held ourselves together. We didn’t break down. Instead, we completed the operation successfully.

In the few moments of spare time, there wasn’t only room to talk about medicine. We spoke about the pain, about our lost homes, about our missing relatives, about postponed dreams. The war spoke from every corner of the clinic.

We faced severe difficulties due to the shortage of medicines. We had to prescribe alternatives whose side effects we didn’t fully know, but what else could we do? There was no other choice. The crossings were closed, and the medicines were unavailable.

One day, during a surgery, I felt dizzy and had severe chest pain. I couldn’t bear it, and fainted from extreme exhaustion, malnutrition and psychological pressure. I was just a person trying to hold on. But I didn’t give up. I returned the same day to continue my work at the clinic.

In January 2025, with the announcement of a temporary ceasefire, the university resumed sessions at the European Hospital. I went only four times. The road was long, and the place was desolate, filled with the remnants of war. Just one kilometre (two-thirds of a mile) from the clinic’s window, tanks were stationed. I wondered: Should I flee or stay? The ceasefire was no guarantee. Indeed, days didn’t pass before the war returned and the sessions were cancelled, after the occupation took control of the area.

We returned to square one.

I am still here, moving between health centres, healing, listening and trying to bring light back into people’s lives, literally. My purpose is not forgotten. My spirit is not broken. I was made to help. And I will continue, even through smoke and rubble, with steady hands and an unshakable heart, until the light returns for all of us.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

This island has a population of around 28 people, making it one of the UK’s least densely populated islands.

Tucked away off the UK coast lies a little-known island that feels like a step back in time. With no cars, a handful of residents, and an atmosphere of untouched charm, this hidden gem has earned a spot on Wanderlust Magazine’s must-visit list for summer.

Ranking amongst the top 30 of Britain’s secret places to visit, Laundy Island in Devon stands out for its captivating appeal. The travel experts wrote: “This island feels like a lump of the Hebrides mysteriously dumped in the south-west.

“It is a wild, beautiful and almost treeless place, with a tiny resident population, no cars, a lot of sheep, cattle and ponies, and kilometres of footpaths. The chief attraction is the cliffside breeding puffins (best seen from April to July), but the chance to get away from it all ensures that few visitors only come here once.”

READ MORE: ‘Magical’ coastal town named UK’s most popular staycation destination

Why visit?

If you’re looking for peace and serenity, this is the place to visit. Lundy is the largest island in the Bristol Channel, located 12 miles off the coast of Devon, England.

The secluded island boasts an average residential population of 28 people, including a warden, an island manager, a farmer, a shopkeeper, maintenance and housekeeping staff, and a kitchen team in the Marisco Tavern, reported Bideford Council.

The Landmark Trust said: “Just off the coast of Devon, surrounded by the clear waters of the Atlantic, Lundy Island is a world apart.

“A haven for divers, climbers and birdwatchers, Lundy is an island of contrasts with spectacular coastal scenery and sheltered valleys, rich in wildflowers and wildlife. And at the end of the day, swap tales of your adventures in the friendly Marisco Tavern.”

Lundy Island’s dark history

This seemingly quiet island is rich in history and has a turbulent past, once serving as a haven for rebels and pirates. In 1235, nobleman William de Marisco was linked to the murder of a royal messenger, and three years later, a failed assassination attempt on King Henry III was traced to his family.

William sought refuge on Lundy Island, where he constructed a stronghold at the site now known as Bulls’ Paradise. In 1242, he was seized along with 16 of his followers, transported to London, and executed for treason. By 1250, King Henry III reinforced the island’s importance by building a castle there.

Fast forward a few centuries to 1627, and Barbary pirates, also known as the Salé Rovers, took control of Lundy, utilising it as a base to plunder ships and coastal towns, kidnapping locals for ransom or enslavement.

Five years later, under the reign of King Charles I, the Royal Navy regained control of the island. During the English Civil War, Lundy was the last Royalist stronghold, surrendering in 1647.

How to visit

There are only two modes of transport that can get you to Lundy Island. From April to October, visitors can reach the island via the Landmark Trust’s own ship, the MS Oldenburg. The ship departs from both Bideford and Ilfracombe around three times a week on Tuesdays, Thursdays, and Saturdays, with an extra day added on Wednesday during July and August, reported Bideford council.

According to Lundy Trust, return tickets for the 2025 period cost:

• £97 for adults
• £51 for children under 16
• £23 for infants under four

Day return tickets are cheaper:

• £54 for adults
• £28 for children under 16
• Infants under four travel free of charge.
• A family ticket for two adults and two children is £125.

However, the MS Oldenburg is out of service during the winter months. Between October and March, a scheduled helicopter service from Hartland Point provides access to the island.

Tickets cost £174 for adults, £96 for children under 16, and £26 for infants under two. Flights operate on Mondays and Fridays between 12 noon and 2pm, departing from a field near the Beacon at the top of Hartland Point.

Visitors have the option to stay overnight in one of the 23 different accommodations available. Prices start at £168 for a four-night stay in a small cottage or you can opt to stay in the Lundy Vestry, which was constructed by Reverend Hudson Heaven in 1896. A four-night stay in the St Helens church will set you back just over £300.