dream

LIVE the alpine dream in a national park, says writer Siobhan Ludlow.

The Yorkshire Dales is the perfect destination for great views and tranquility.

THE PAD

Can’t make it to the Alps this season?

Soak up views of the Yorkshire Dales National Park from the cosy Swiss Ski Station Pod at Catgill Farm instead.

This beaut is decked out with cute alpine touches and comes complete with a ski-lift gondola to sip tipples and snuggle up in, a wood-fired hot tub and a three-in-one fire pit/barbecue/pizza oven.

Lap up more lush countryside vistas from the master bed, while kids will love the bunks.

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From spring, Cat’s Kitchen serves up frothy cappuccinos, £3.50, and bacon butties, £5, alongside giant Jenga and Connect 4, and there are walks aplenty from the doorstep.

Don’t forget to pop by to pat the farm’s friendly alpacas, too.

EXPLORE

You’re only a 15-minute walk from the Bolton Abbey estate and majestic Priory ruins, which date back to the 12th century.

If you’re brave enough, take on the stepping stones across the River Wharfe, then follow the fun “welly walk” with its obstacles and balance beams.

Travel back in time (which your tummies will thank you for) with a full English aboard a vintage steam train on the Embsay & Bolton Abbey Steam Railway.

Tickets cost from £25 for adults, £20 for kids (Embsay boltonabbeyrailway.org.uk).

Later, get your history fix exploring Skipton Castle and its pretty castle woods.

Entry costs £10.70 for adults, £6.90 for over-fives (Skiptoncastle.co.uk).

Meanwhile, a five-minute walk from Catgill, Hesketh Farm Park is brilliant for little ones, with its giant sandpit, tractor rides and plenty of animals to pet and feed.

Tickets cost £8 for everyone over two and it reopens in spring (Heskethfarmpark.co.uk).

REFUEL

Reward yourselves for hikes with a mouth-watering côte de boeuf with triple-cooked chips, seasonal greens and red wine jus, £95 for two people, at The Devonshire Arms, just 15 minutes’ walk away (Thedevonshirearms.co.uk).

Meanwhile, Tea On The Green in Bolton Abbey village offers great coffee and traybakes, but the soup with a home-made cheese scone, £9, is an absolute winner (Teaonthegreen.org).

And don’t leave Yorkshire until you’ve been transported to ’50s America at nearby Billy Bob’s Parlour.

Kids will have a riot in the brilliant playgrounds, and you’ll all love its Round The Campfire fluffy pancakes, £10.25, topped with rocky road and Kansas toffee-crunch ice cream, toasted marshmallows, mallow fluff and shards of cinder toffee.

Oh, and not forgetting the dollop of hot fudge sauce, too (Billybobsparlour.com).

BOOK IT

Stays in the Swiss Ski Station Pod at Catgill Farm cost from £189.99 per night (Catgillfarm.co.uk).

MORE Americans are looking to vacation in the States — and search data reveals the surprising destination that’s leading the way.

According to Google Trends, it seems as though we have started to ditch the beach for icy thrills, with record-high numbers of us looking up “Alaska cruise”.

Interest in domestic travel has surged in the past few years since the pandemic.

After months stuck indoors, we clearly rediscovered our love for fresh air, wildlife spotting and larger-than-life landscapes.

Alaska fits perfectly with this new outlook, as we increasingly seek nature-packed getaways.

The state’s appeal is plain to see — already one of the world’s most popular cruise destinations, the Last Frontier wows even the most seasoned travelers.

Think lush, secluded mountain ranges and abundant wildlife — from grizzly bears to towering moose.

Out on the ocean, passengers can see stunning spectacles like whales breaching alongside the vessel or seals chilling on ice caps.

But one of the things that appeals most about sailing these waters is the ability to set your own pace.

Want to spend days trekking across colossal glaciers? They’re there for exploring.

Prefer soaking in a hot spring with unbeatable views? Go and lap it up.

Many voyages let you do both: adventuring through rugged coastline and fully indulging in the relaxing facilities onboard afterward.

It’s the perfect blend of excitement and laid-back comfort, with a huge variety of trip types on offer.

Most long-haul cruises head out from Seattle or Vancouver and last about a week, although more travelers are opting for 10 to 14-day itineraries crammed with exploration.

Flying straight to Alaska is also an option, allowing for shorter, more intimate, and adventure-focused itineraries.

Smaller ships can venture where big liners can’t, offering hikes, kayaking, fishing, and other memorable experiences.

But with Google Trends showing far more searches for Alaska cruises than flights, Americans seem to want to take their time.

Most Alaskan voyages run between May and September, when the days are long, warm, and perfect for sighting humpbacks, orcas, and even bald eagles.

So it makes sense that online interest for voyages peaks around July and August.

Searches for cruises overall have soared in the past three years, with summer 2025 seeing the highest peak for half a decade.

Caribbean cruises still attract more online interest than Alaska though.

Curiosity for hot-weather retreats spikes in December and January, but Alaska’s popularity shows Americans also crave epic experiences as well as beach breaks.

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The data trends suggest Americans are hungry for slow travel that mixes comfort with real adventure and wild encounters — all without leaving the country.

With pure escapism high on the wish list, it’s no wonder more people are setting their sights on Alaska.

Hugh Jackman never thought he’d be a karaoke guy. But then Neil Diamond happened.

Starring opposite Kate Hudson in the Christmas Day release “Song Sung Blue,” the 57-year-old Australian actor portrays not the legendary Grammy winner and shaggy-haired sex symbol, but rather a Neil Diamond “interpreter,” the real-life Mike Sardina, who, with his wife and stage partner, Claire (Hudson), found unexpected success with a tribute band in mid-1990s Milwaukee.

It was this film that recently brought the “Greatest Showman” star to Diamond’s Colorado ranch, where the two participated in a singing session that convinced Jackman to buy his own karaoke machine.

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“Normally, I’m like, ‘I don’t want to do that,’” says Jackman, over Zoom from a New York hotel room, as if he’s confessing a mortal sin. “But I did karaoke with Neil, and I’m like, ‘All right, now I’m in.’”

What did they sing? Diamond soloed on “I Dreamed a Dream” from “Les Misérables,” paying tribute to Jackman’s musical theater bona fides, before the two duetted on Elvis Presley’s “Can’t Help Falling in Love” and, of course, Diamond’s own “Sweet Caroline.” The good times never seemed so good.

It was a hang session so epic that Hudson, joining the call, seems green with an envy that matches her sweater. “I can’t believe I missed this karaoke party,” she says. “I have a whole karaoke setup at my house with a microphone and everything. I feel very left out.”

Thankfully, when it came to making “Song Sung Blue,” it didn’t seem so lonely for her. Based on Greg Kohs’ 2008 documentary of the same name, the film is as much Claire’s tale as it is Mike’s, following the real couple’s love story set to the tune of Diamond’s extensive songbook. At the height of their success, which included playing with Pearl Jam at Eddie Vedder’s request, the Sardinas became local celebrities, billed as the duo “Lightning & Thunder.”

Hugh Jackman and Kate Hudson in the movie “Song Sung Blue.”

(Focus Features)

A Vietnam vet and mechanic with a dream of entertaining, Sardina seems a role tailor-made for Jackman, who can go from Wolverine to Broadway in a single season. “Song Sung Blue” writer-director Craig Brewer, who first saw the documentary at a small film festival in Memphis, Tenn., never envisioned anyone but Jackman as the insatiable Wisconsinite.

“It was always Hugh because there’s not anybody else out there who could understand the wild showmanship that Mike Sardina had,” says Brewer, calling from his Memphis home. “He’s doing two layers of a character. He’s playing this working-class guy that loves to entertain any way he can. If he’s got to wear sequined shirts, he’s going to. He’s going to give you everything he has.”

The role presented a puzzle for Jackman, despite having played career impresarios like pop idol Peter Allen and P.T. Barnum. “I had to lose Hugh Jackman to be Mike,” says the actor, relaxed in an umber-colored button-down shirt. “How does Mike find himself within his love of Neil? It took me a second to find him and lose my shtick, because I’m a performer too.”

Ultimately, the solution wasn’t his Neil Diamond impersonation, though Brewer encouraged Jackman to make a meal of that. “You can lay a little bit more butter on it,” the director remembers telling him.

Instead, Jackman’s breakthrough came via deep self-identification.

“His dream was always huge but this was not how he thought it was going to go,” Jackman says. “It was that ‘one plus one equals three’ thing where, all of a sudden, they found themselves being the next big thing.” Similarly, Jackman never intended to become a movie star synonymous with musical theater. He’d never even sung before a post-university audition changed the course of his life.

“One of the hardest things to do is fake chemistry,” Kate Hudson says. “You can’t do that. You have to actually fall in love with each other and find the chemical connection.”

(Victoria Will / For The Times)

Hudson is a less-obvious casting choice. Though she’s made a career playing rom-com heroines, with “Song Sung Blue,” she’s already generating awards buzz for her turn as a guileless Midwestern mom miles away from the glittering women Hudson typically portrays, and one with her fair share of trauma. She has to go to some dark places, channeling Claire’s depression, addiction to painkillers and more — but despite her penchant for playing more carefree women, Hudson says she wasn’t intimidated by the role’s meatier aspects.

“When you grow up with storytellers,” she says, referencing her actor parents Goldie Hawn and Kurt Russell, “you forget the camera’s there. You’re not thinking about anything glamorous. You’re looking at the role and what it needs. It’s what you long for as a performer. It allows you to almost leave your body.”

For Hudson, the opportunity also dovetailed with a new act in her own life as a recording artist. Even though she released her debut album “Glorious” only last year, Hudson has long identified as a singer-songwriter. “I was always so scared of it,” she confesses of her fear of going public about her songwriting. “But the studio is where I’m very happy. I’ve been in the studio since I was 19, but I just never shared my music because I was too scared to put it out.”

It was a discovery Jackman made while they were recording their vocal tracks for the film. “I said, ‘You’re a musician,’” he recalls, Hudson beaming at him. “You were so relaxed and in your home.”

“I’ve always had a lot of cheerleaders for me to do music,” Hudson replies, sheepishly.

Some might see it as a full circle moment for Hudson, who received an Oscar nomination for her performance as the groupie Penny Lane in Cameron Crowe’s 2000 rock memoir “Almost Famous.” It was such a formative experience that Hudson still remains close with Crowe. She tells me she’s reading his new book, “The Uncool,” to prepare to interview him on his tour.

But no matter how much Penny Lane has shaped her life, Hudson doesn’t see a through line from her to Claire. Instead, she draws a line between fandom and musicianship, specifically the distinction between those who chase the high of being in the room or backstage living the lifestyle, and those who have a song they have a visceral need to share.

“With Claire, it needs to come out,” she continues. “It doesn’t matter where or what we’re doing or how we’re doing it — we just need to do it. That is also how I feel about music.”

The real-life Claire Sardina and her two children (played by Ella Anderson and Hudson Hensley on-screen) threw their full support behind “Song Sung Blue.” But Hudson’s instinct was to build her own version of Claire without too much outside influence. “You want to make a choice in a film because it’s the right choice for the character, not because you’re trying to mimic something,” says Hudson.

Hugh Jackman and Kate Hudson in the movie “Song Sung Blue.”

(Focus Features)

That need to avoid mimicry and feel the moment was particularly crucial for the film’s heartbreaking second act, in which Claire is hit by a car in her front yard and loses a leg, plunging into self-loathing, depression, body dysmorphia and addiction. Hudson had to do extensive physical work to prepare to authentically represent Claire’s lived experience. “Movement is a huge part of what actors do,” she says. “There’s the emotional part but the physicality is like rebalancing your brain.”

In addition to watching YouTube videos of amputees and speaking with those in the disabled community, Hudson got useful advice from another screen legend — her dad.

“Kurt said that Claire is like Rocky,” she says, referring to the iconic character’s grit and determination to go the distance. “The part that really got my dad emotional was that she just wanted to figure out how to get on her feet.”

Jackman marvels at the bravery and skill of Hudson’s performance, noting that she even captured something the real Claire told him off-camera.

“Claire said, ‘The thing is Mike was a leg guy,’” he remembers. “Kate played that so well. That feeling of shame about: Is my partner attracted to me anymore? I found that incredibly moving.”

Hudson welcomed the challenge, but she did worry about one thing outside her control. For “Song Sung Blue” to work, the actors playing Claire and Mike need to be in perfect alignment: one the words, the other the tune.

“One of the hardest things to do is fake chemistry,” Hudson says. “You can’t do that. You have to actually fall in love with each other and find the chemical connection. That was my biggest anxiety.”

Jackman shared this concern. “I remember the first day after our table reading, you said, ‘This movie works if we work,’” he reminds her.

They needn’t have worried. “They were a net for each other as the other one was up on a tightrope,” Brewer says. “It was incredibly inspiring for the crew to see that kinship and respect.”

Their mutual generosity is evident in the way Jackman checks in with Hudson after each anecdote during our interview, confirming she has nothing to add or correct. Though this is their first film together, their repartee is so easy and warm it’s hard to believe they haven’t co-starred in at least a dozen movies.

“It felt easy to just inhabit these characters,” Jackman says. “The word that comes to me is trust. All of the scenes, particularly in that darker period, we could just live in that — the frustration, the paranoia, the anger, the loss, the fear. Every take felt really very different. I felt very free.”

Hudson agrees, adding with a giggle, “I told Hugh, ‘I’m really tactile. Just tell me if I make you uncomfortable. I’m going to kiss you all the time.’”

It helps that Hudson and Jackman are naturally sunny, curious people, celebrities who’ve never cared for the sound of being alone. “We like to connect with people,” Hudson says. “There’s no internal process that removes us. We’re both community people. We like to be in the circus. When we’re on set, we sit on set. There’s no separation of crew and cast. It’s very rare that you work with someone who is like that.”

Ultimately, that openness allowed Hudson and Jackman to approach Claire and Mike with honesty, essential for a film that’s a fullhearted paean to dreamers at their highest and lowest.

“Eddie Vedder told me something that moved me so much,” Jackman says, a note of emotion in his voice. “He goes, ‘Some might say these people led small lives. Their dreams were so huge and perhaps, naive. But dreams are so powerful that 30 years later, it’s come true.’”

From playing Milwaukee dive bars to becoming the subjects of a major motion picture, the Sardinas have far exceeded even their own expectations. To quote another beloved Diamond tune, it’s enough to make anyone a believer.

NEW YORK — No one could possibly be working harder right now on Broadway than Kristin Chenoweth, who is bearing the weight of a McMansion musical on her diminutive frame and making it seem like she’s hoisting nothing heavier than a few overstuffed Hermes, Prada and Chanel shopping bags.

A trouper’s trouper, Chenoweth has reunited with her “Wicked” compatriot Stephen Schwartz, who has written the score for “The Queen of Versailles.” The show, which had its Broadway opening at the St. James Theatre on Sunday, is an adaptation of Lauren Greenfield’s 2012 documentary about a family building one of the largest private homes in America in a style that blends Louis XIV with Las Vegas.

When the Great Recession of 2008 crashes the party, the Florida couple who are never satisfied despite having everything find themselves scrounging to make the mortgage payments for this unfinished (and possibly unfinishable) Orlando colossus. Not even the banks know what to do with this gargantuan white elephant.

The first half of the musical traces Jackie’s rise from a hardworking upstate New York hick to a Florida beauty pageant winner who escaped an abusive relationship with her baby daughter. Her dream of nabbing a wealthy husband comes true after she meets David Siegel (F. Murray Abraham, in vivid vulgarian resort mogul mode). He’s decades older than her but as rich as Croesus, having proudly transformed himself into the “Timeshare King.”

With David funding her every whim, Jackie discovers the joys of consumerism as her family expands along with her credit line. David adopts her first-born, Victoria (Nina White), a sulky adolescent who doesn’t appreciate her mother’s lavish ways. And the couple proceed to have six more children together before adopting Jackie’s niece, Jonquil (Tatum Grace Hopkins), a Dickensian waif who shows up with all her belongings stuffed into plastic bags.

The musical’s book, written by Lindsey Ferrentino (whose plays included the raw veteran recovery story “Ugly Lies the Bone”) deals only with Victoria and Jonquil, leaving the other kids to our imagination along with most of the pets that suffer the seesaw of lavish attention and thoughtless neglect that is the Siegel family way.

Jackie didn’t set out to build such a ludicrously gigantic residence. As she explains in the number “Because We Can,” “We just want the home of our dreams/And the house we’re in now,/Although it’s sweet,/It’s only like 26,000 square feet,/So we’re just bursting at the seams.”

This version of “The Queen of Versailles,” making the visual most of settings by scenic and video designer Dane Laffrey, that can make Mar-a-Lago seem understated, embraces the sociological fable aspect of the tale. To drive home the political point, the musical begins at the court of Louis XIV and returns to France near the end of the show after the French Revolution has bloodied up the guillotine with the powdered heads of callous aristocrats.

Jackie sees herself as a modern-day Marie Antoinette, but instead of saying “Let them eat cake” she has her driver bring back enough McDonald’s to feed an entire film crew. Chenoweth, who is as gleaming as a holiday ornament on Liberace’s Christmas tree, arrives at a canny balance of quixotic generosity and parvenu carelessness in her portrayal of a woman she refuses to lampoon.

Kristin Chenoweth and the Company of “The Queen of Versailles.”

(Julieta Cervantes)

The second half of the musical recaps what happens when the super rich face ruin — ruin not in the sense of going hungry but of having to stop buying luxury goods in bulk. With his timeshare empire hanging in the balance, Abraham’s David transforms from Santa Claus to Ebenezer Scrooge, belligerently withdrawing into his home office like a beaten general plotting a counteroffensive and treating Jackie like a trophy wife who has lost her golden sheen.

Ferrentino extends the timeline beyond the documentary to include what happened to the family in the years since the film was released and Jackie took to the spotlight like a Real Housewife given her own spinoff. The federal bailout worked wonders for the haves, like the Siegels, while the have-nots were left to fend for themselves — casualties of questionable mortgage practices and the “more, more, more” mantra of America. But no one escapes the brutal moral accounting, not even Jackie, after she suffers a tragedy no amount of retail therapy will ever make right.

“The Queen of Versailles” has grown tighter since its tryout last summer at Boston’s Emerson Colonial Theatre, but it’s still an unwieldy operation despite the impeccable showmanship of Michael Arden’s direction. The problem isn’t the production but the musical’s shifting raison d’être.

The first act hews to the documentary in a flatly straightforward fashion. The making of the film becomes the invitation to tell Jackie’s story in the mythic terms she favors. The musical indulges her not with a smirk but with a knowing smile. It’s the culture that’s skewered rather than those who adopt its perverted values.

But not content to be a satiric case study in how the Siegel family story connects “Lifestyles of the Rich and Famous” and “Dynasty” to the shallowness and cruelty of Donald Trump’s America, the show aspires to the level of tragedy. Achieving great emotional depth, however, isn’t easy when wearing a plastic surgery mask of comedy.

Kristin Chenoweth as Jackie Siegel in “The Queen of Versailles.”

(Julieta Cervantes)

Schwartz has composed an American time capsule of Broadway pop, with as much variety as “Wicked” though with less bombast and no real standout blockbuster numbers. The score moves from the zingy send-up of “Mrs. Florida” and “The Ballad of the Timeshare King” in the first act to the more maudlin “The Book of Random,” in which vulnerable Victoria gives vent to her suffering, and “Little Houses,” in which the modest lifestyle of Jackie’s parents (played by Stephen DeRosa and Isabel Keating) is extolled in increasingly grandiose musical fashion, in the second.

Strangely, one of the show’s most captivating songs, “Pavane for a Dead Lizard,” is about a reptile that starved to death because of Victoria’s negligence. The number, a duet for Victoria and Jonquil, doesn’t make importunate emotional demands and is all the more poignant for its restraint. (White’s Victoria and Hopkins’ Jonquil come into their own here, letting down the defensive armor of their recalcitrant characters.)

Melody Butiu, who plays the Siegels’ Filipina nanny and indispensable factotum, has a readier place in our hearts for all that she has had to sacrifice to support her distant family. Her material lack exists stoically in the shadow of the family’s monstrous excess.

In “Caviar Dreams,” Jackie proclaims her “Champagne wishes” of becoming “American royalty.” Chenoweth, whose comic vibrancy breaches the fourth wall to make direct contact with the audience, relishes the humor of Jackie without poking fun of her, even when singing an operatic duet with Marie Antoinette (Cassondra James). But the material never allows Chenoweth to emotionally soar, and the fumbling final number, “This Time Next Year,” requires her to land the plane after the show’s navigation system has essentially gone blank.

“The Queen of Versailles” is designed to bring out all of Chenoweth’s Broadway shine. She never looks less than perfectly photoshopped, but the production ultimately overtaxes her strengths. New musicals are impossible dreams, and this is a whopper of a show, daunting in scale and jaw-dropping in ambition. If only Chenoweth’s dazzling star power didn’t have to do so much of the heavy lifting.

The only top-tier WSL side not to have an affiliated professional men’s team, London City were promoted as winners of last season’s Championship.

For now they sit sixth with 12 points – nine points behind leaders Manchester City and eight behind reigning champions Chelsea after eight rounds of games.

Manchester United are third with 17 points, while rival capital outfits Arsenal and Tottenham are only three points better off that London City at this stage.

Victory against Tottenham was their third straight win on home soil, with all four of their wins coming against sides that finished in the bottom half of the table last season.

All four of their defeats have come against last season’s top four of Chelsea, Arsenal, Manchester United and Manchester City.

They could hardly be trending any more mid-table if they tried, but London City have higher aspirations.

Promoted sides have dropped straight back to the second tier in the past two seasons, with Bristol City and Crystal Palace finishing bottom in 2023-24 and 2024-25 respectively.

Not only are London City on course to avoid following suit, their 12-point haul at this stage of the season has only been bettered by one other promoted side in WSL history.

That was Sunderland, who, with a young Beth Mead scoring goals for fun, collected 15 points after eight games during the eight-team 2015 season. They finished fourth – only collecting five more points in their remaining six games.

Only three other promoted sides have collected 12 points at this stage: Manchester United and Tottenham in 2019-20 and Manchester City – who were given a top-flight place after a reshuffle of the leagues – in 2014.

Godfrey said of the ambitious Lionesses: “We’ve showed that we’re not another team that’s going to get promoted and relegated the next year.

“The direction this club is looking to go is up. We want to show this club is going to be a mainstay in English football for the foreseeable future.”

Craig Bellamy laughs when asked about Rubin Colwill, the 23-year-old forward currently impressing for Cardiff City.

“He’s big for you, isn’t he?,” Bellamy asks the reporter who brings up his name.

Not that Bellamy is not a fan of the nine-cap midfielder, to the contrary.

However, Colwill has not always featured in Bellamy’s Wales squads despite playing a starring role in Cardiff’s League One promotion bid and their quarter-final EFL Cup run.

“Rubin is able, there’s still one or two bits that we need more from, but he’s capable,” insists Bellamy who has plenty of other reasons to be a regular at Cardiff City Stadium.

“For the first time in a long, long time, I’ve really enjoyed coming away from Cardiff games with a smile,” he added.

“Last year was difficult, the atmosphere was down, but now I get to see a number of Welsh young players playing in a way I like.

“I only see them improving and selfishly I just see that this is going to benefit the country, so I’m over the moon with that.”

A TEENAGE boy was banned from boarding his flight because of a sticker on his passport.

Thirteen-year-old Alix Dawson was due to fly to Thailand with his family last month for two weeks.

However, after arriving at Edinburgh Airport, his mum Meghan Law was told that he wouldn’t be allowed to board the flight with his passport at the check in desk.

Meghan, who lives in Aberdeen said: “We got to the airport and were checking in my bags when the [check-in staff member] looked at my passport then just walked away from the desk. She didn’t say anything.

“We were standing there for 20 minutes before I asked what’s going on. She came back and said that my passport was damaged.

“I said I’ve used this umpteen times. No one’s ever mentioned any damage on it before.

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“There were no rips or stains, I don’t know what she was trying to imply. I was really shocked.

“What they were trying to say was that the luggage check-in stickers that had been stuck on one of the pages [and] had damaged the page. But it wasn’t even on the photo page.

“There were no rips, it was just where the sticker marks had been. They said we couldn’t travel with it.

“I knew there were no issues with their passports. We’d probably travelled over a dozen times with them.”

She was then told that they would need to go to Glasgow Airport to get a new emergency passport.

Fearing for their £3,000 holiday, she contacted TUI, who they booked the trip with.

After sending photos of the reported ‘damage’, Meghan said the tour operator found no issues with the passport and put them on the next available flight to Thailand which was with Emirates rather than Qatar Airways.

The family were able to head on holiday with no further obstacles, albeit the next day, from a different airport.

Meghan said: “If I hadn’t booked through TUI and booked it myself, we just wouldn’t have been able to go on holiday.

“One way from Glasgow on the same day of travel would’ve been £2,800.

“We used it six times over the two-week holiday and no one said anything which confirms there were no issues with the passports.”

She said that it “ruined the start of the trip” for being so stressful and is calling for compensation.

Other passengers have been banned from their flights due to them being too damaged.

Countries such as Bali and Vietnam have some of the strictest rules in the world when it comes to passport condition, with airlines fined thousands if they let passengers fly with them.

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Bethany Clarke and her best friend Simone White were backpacking together around Southeast Asia when they drank bootleg shots laced with methanol – and it proved tragically fatal for Simone

A woman has died after unknowingly drinking shots laced with methanol.

Bethany Clarke, 28, from Orpington, southeast London, went backpacking around Southeast Asia with her best friend, Simone White, 28, last year.

Both the women drank the bootleg alcohol, and tragically it proved fatal for Simone.

Bethany and Simone started their backpacking in Cambodia and went from there to Laos. They had spent the day tubing down the river – a popular tourist activity – before returning to their hostel for a night of drinking.

Bethany said: “We had methanol-laced shots. We had five or six each, just mixing them with Sprite.

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“The next morning, we didn’t feel right, but we just assumed it was a hangover. It was strange though – unlike any hangover I’d had before.

“It felt like being drunk but in a way where you couldn’t enjoy it. Something was just off.”

Despite their condition, they continued on with their plans, heading to the Blue Lagoon and kayaking down the river again.

Bethany added: “We were just lying on the backs of the kayaks, too weak to paddle. Simone was being sick off one of them. Neither of us wanted to swim or eat – which, we later learned, are early signs of methanol poisoning.”

It wasn’t until hours later, after they’d boarded a bus to their next destination, that things worsened, with Bethany fainting and Simone continuing to vomit.

Eventually, they were taken to a local hospital – one that Bethany described as “very poor”.

She said: “They had no idea what was wrong, they talked about food poisoning, but we hadn’t eaten the same things. It didn’t make sense.”

Still confused and deteriorating, the women made it to a private hospital. But by then it was too late.

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Bethany said: “They told me they’d do all they could to save her. She was having seizures during dialysis.”

When Simone’s condition worsened, her mother, Sue White, flew out to Laos, arriving just as her daughter was being wheeled into emergency brain surgery.

Bethany said: “Her brain had started to swell, and they had to shave her head. The surgery relieved the pressure but caused bleeding and the other side started swelling.”

The results confirming methanol poisoning wouldn’t arrive until two weeks later. By then, Simone had died.

Bethany said: “On an emotional level, it’s been a lot to process. Sometimes I still think, ‘Why don’t you reach out to Simone for that?’ and then I remember I can’t.”

Bethany has channeled her grief into campaigning for change and awareness. She said: “People still aren’t aware and don’t know the signs to look for.

READ MORE: Fake vodka poisoning kills 19 people with one fighting for life as nursery teacher arrested

“The government aren’t doing enough to educate British citizens about the signs of methanol poisoning.

“In Australia, where I live now, they have a big TikTok campaign and signs in all the airports.

“There’s a lot more work to be done in the UK – we’re behind. Anywhere there is organised crime, the opportunity exists – even in the UK.

Bethany also reckons there will be more deaths until people become more aware.”It’s highly likely we’ll see more deaths unless the UK government acts in a more radical way,” she said.

“It has to be in people’s heads – stick to canned drinks. But bottles can be more risky because the cap could have been replaced.

“Any spirits can be a risk. I say ‘steer clear, drink beer’ which rolls off the tongue.”

READ MORE: Limoncello poisoning victims’ parents reveal they bought booze that killed couple

Just recently, the Foreign Office added eight further countries to the risk list for methanol poisoning due to risks associated with counterfeit or tainted alcoholic drinks.

The list already covered Thailand, Laos and Vietnam, Cambodia, Indonesia, Turkey, Costa Rica and Fiji.

Ecuador, Japan, Kenya, Mexico, Nigeria, Peru, Russia and Uganda were now included in the list following incidents.

Methanol poisoning results from methanol being added to drinks such as cocktails and spirits to up the volume and cut costs.

Signs of the poisoning include nausea, vomiting, dizziness and confusion – and more distinctive symptoms, such as vision issues, can develop between 12 and 48 hours after consumption.

SEOUL, Nov. 1 (Yonhap) — North Korea on Saturday denounced the denuclearization of the Korean Peninsula as a “pipe dream” that can never be realized, as Seoul has said President Lee Jae Myung and Chinese President Xi Jinping are set to discuss the issue during their summit talks.

Lee and Xi are scheduled to hold their first summit talks Saturday on the sidelines of the Asia-Pacific Economic Cooperation (APEC) summit in the southeastern city of Gyeongju. The presidential office said denuclearization of the Korean Peninsula is on the agenda.

North Korea’s Vice Foreign Minister Pak Myong-ho criticized South Korea for seeking to raise the denuclearization issue whenever an opportunity arises, according to the Korean Central News Agency (KCNA).

“We will show with patience that no matter how many times it talks about denuclearization, it will remain a pipe dream that can never be realized,” Pak said in a statement carried by the KCNA.

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