lost

Lindsey Vonn says her left leg almost needed to be amputated following her horrific crash while competing at the Milan-Cortina Olympics earlier this month.

In a video posted to Instagram on Monday, the U.S. ski racing legend said she has been released from the hospital more than two weeks after suffering a complex tibia fracture and other damage that led to compartment syndrome in the leg.

Vonn credited Dr. Tom Hackett, an orthopedic surgeon who works for Vonn and Team USA, for salvaging the limb. She also gave some indirect credit to the complete rupture of the anterior cruciate ligament in her left knee that occurred during another crash on Jan. 30, just a week before the start of the Winter Olympics.

“I always talk about everything happens for a reason,” Vonn said. “If I hadn’t torn my ACL … Tom wouldn’t have been there. He wouldn’t have been able to save my leg.”

Vonn has won 84 World Cup races and three Olympic medals, including gold in the downhill at the 2010 Vancouver Games. She returned to competitive skiing last year after a six-year hiatus. Vonn did not allow the torn ACL to prevent her from competing in what she has called her “fifth and final Olympics.”

Despite completing multiple test runs, Vonn’s Feb. 8 downhill race lasted 13 seconds before she crashed. She was airlifted from the Olimpia delle Tofane course in Cortina d’Ampezzo, Italy.

In addition to the previously reported complex tibia fracture, Vonn said Monday that she also fractured her fibular head and tibia plateau on her left leg during the crash.

“Just kind of everything was in pieces,” said Vonn, who added that she also broke her right ankle during the accident.

Vonn said that all the trauma in her left leg caused a condition called compartment syndrome, which involves excessive pressure building up inside a muscle, either from bleeding or swelling, and can restrict blood flow and possibly lead to permanent injury.

“When you have so much trauma to one area of your body that there’s too much blood and it gets stuck, and it basically crushes everything in the compartment so all the muscle and nerves and tendons, it all kind of dies,” Vonn said.

“And Dr. Tom Hackett saved my leg. He saved my leg from being amputated. He did what’s called a fasciotomy, where he cut open, like both sides of my leg, and kind of filleted open, so to speak, let it breathe. And he saved me.”

At one point since the crash, Vonn said, she received a blood transfusion to raise her hemoglobin levels.

“I can’t tell you how painful it’s been,” she said.

Vonn still has a long road to recovery. She said she’s “very much immobile,” confined to a wheelchair for the time being and then on crutches for at least two months.

“It will take around a year for all of the bones to heal and then I will decide if I want to take out all the metal or not,” Vonn wrote in the Instagram post, “and then go back into surgery and finally fix my ACL.”

She added in the video: “We have to take the punches as they come, so I’ll do the best I can with this one. It really knocked me down, but I’m like Rocky. I’ll just keep getting back up.”

The Associated Press contributed to this report.

Darkness engulfs me right before I step into a dream. The Oscar-winning Mexican filmmaker Alejandro González Iñárritu guides me from a pitch-black hallway into an open space, where beams of light and smoke, interspersed with sounds from the streets of Mexico City, create a vortex into a unique cinematic experience.

Inside the Los Angeles County Museum of Art, Iñárritu is giving me a tour of his new installation “Sueño Perro:” a sensorial celebration of his 2000 debut film, “Amores Perros,” in honor of its 25th anniversary. The only physical elements on display are six film projectors and the celluloid that contains frames of unreleased footage, which are shown on screens of different sizes around the room. Detached and unburdened by the need of a narrative, the images simply exist.

“I love doing installations,” Iñárritu says in Spanish. “It’s like playing a game with your friends. And it’s liberating for me, because I don’t have to think about selling tickets.”

Before arriving at LACMA, his “Sueño Perro” mesmerized audiences in Milan, Italy, and in his hometown of Mexico City. LACMA previously hosted Iñárritu’s intense and immersive project “Carne y Arena,” which allowed visitors to put themselves in the shoes of a person crossing the U.S.-Mexico border on foot.

In Milan and Mexico City, “Sueño Perro” occupied labyrinthine spaces with multiple rooms. Contained within a single room, the L.A. iteration is the “paranoic version,” Iñárritu says. Once inside, there’s no respite to the barrage of images and the soundscape that surround you. He aptly describes the projectors’ beams of luminosity as “light sculptures.”

Curiously, he notes, people have such reverence for these hypnotic streams of light that they duck to avoid disturbing them rather than crossing in front of them. Iñarritu wishes they would, in fact, disrupt the light, so their shadows can enter the frame and transform it.

Never-before-seen footage from “Amores Perros” projects from 35mm projectors across the walls at LACMA, Wednesday, Feb. 18, 2026.

(Sarahi Apaez / For De Los)

The projected footage is material that didn’t make it to the final cut of “Amores Perros”: a gritty, visceral drama following three different stories across different social classes in a chaotic Mexico City during the turn of the millennium. Back in 2018, Iñárritu learned that all his dailies (raw takes) from that shoot, which in most productions are thrown away, were preserved at Mexico’s National University (UNAM).

“It was like looking through an album you haven’t opened in 25 years, which smells of dust,” he says. “Because of the distance, the images actually evoked a beautiful nostalgia in me.”

And that album was substantial. Iñárritu recalls that he and cinematographer Rodrigo Prieto shot an immense amount of footage, nearly 1 million feet of film.

Gael García Bernal from a scene in “Amores Perros,” released in 2000.

“It’s like the placenta that’s thrown away when a baby is born. Suddenly, that discarded material, rich in DNA, which was already dead but was once part of a living being, has a life of its own,” Iñárritu explains vividly. “I didn’t know that these fragments, this dead material could be resurrected, but light has given new life to something that was forgotten.”

Critically acclaimed and Oscar-nominated for international feature film (foreign-language film back then), “Amores Perros” marked a watershed for the Mexican film industry, as an ambitious production that captivated both local and international audiences while unflinchingly portraying the country’s social ills from a humanistic standpoint.

“Look at Gael! He was 19 then. That’s a beautiful image of him,” Iñárritu says of “Amores Perros” lead García Bernal, whose shaved head is projected on one of the installation screens. The actor made his feature film debut in “Amores Perros” and has since had an extraordinary career.

At one point, three of the six projectors go dark — and the three remaining show the pivotal car crash that connects the film’s three narratives. Iñárritu and Prieto shot the imposing accident with nine different cameras. Seeing all nine different angles unspool in “Sueño Perro” provides a new understanding of the moment’s challenging orchestration.

Such a sequence evinces that “Amores Perros” was the work of an artist in his mid-30s willing to put it all on the line, uncertain whether he would get to make another film.

“I’ve changed a lot as a filmmaker, but I’m still the same idiot I’ve always been. That’s the bad news,” Iñárritu says laughing. “The other bad news is that I couldn’t make a film like that anymore, because of the number of shots and setups, and the energy behind each of those shots.”

The passage of time, in tandem with the film’s anniversary, allowed an opportunity for Iñárritu and screenwriter Guillermo Arriaga (who wrote “Amores Perros,” “21 Grams,” and “Babel”) to reconcile after a long-standing falling out. The two mended their bond in public last year during an event in Mexico City.

“It was very important for me to close this chapter,” Iñárritu explains. “There was something so special about our friendship as people — and our children were also very close. I truly missed him as a friend. As you get older, you realize that grudges and animosity are the worst investment; it’s like having a disease inside you and not wanting to let it go.”

While most exhibits celebrating a film’s legacy feature artifacts or costumes that appeared on screen, Iñárritu ultimately decided to opt out of that route. Initially, he admits, the director was tempted to find the scraps of the wrecked car that belonged to García Bernal’s character in the film, a black Ford, and place it at the center of the installation. But it was LACMA’s CEO Michael Govan who persuaded him to preserve the purer approach.

“Michael loved the idea of the projectors, of the light and memory. And he wisely told me, ‘Perhaps the material object will be distracting. This work is ethereal, and maybe something solid will create a knot.’ I thought it was a great reflection, and I said, ‘That’s true. I’m going to try for this exhibition to exist without physical matter, because it’s about the analogous, but also the immaterial, which is light and time.’”

The objects or “archaeological remains of a film,” as he calls them, cause Iñárritu great sadness. To him those relics are akin to looking at a collection of lifeless butterflies preserved in a box. “When I see the shoes that so-and-so wore or the dress that so-and-so wore, they seem to me like butterflies that once flew and now they’re dead,” Iñárritu says. “Objects that once appeared in film lack life afterwards. They’re like skeletons.”

(Sarahi Apaez / For De Los)

For young people who have mostly watched movies on their electronic devices, Iñárritu thinks witnessing “Sueno Perro” could spark great curiosity about the way cinema existed for most of its history: on film. It will allow them to think of cinema in a primal manner.

“We are organic beings, and our capacity for understanding and our development involves all our organs, and digital screens have forced us to perceive everything only on an intellectual level,” he says. Entering the installation, he hopes, will resemble the feeling of entering a womb or a cave. “The flickering light from the lamps in the projectors is reminiscent of the fire in caves when people gathered and shared stories,” he adds.

Sonically, “Sueño Perro” envelops attendees not in lines of dialogue or a musical score, but the sounds of life in Mexico City — from street vendors to a marching band — recorded over the years and brought to L.A. with the help of sound designer Martín Hernández, who’s worked on every single Iñárritu film since “Amores Perros.” And while some of those aural elements still exist today, “Amores Perros” also serves as a time capsule of a city that has evolved and mutated incessantly.

“I still recognize the city when I watch the film, but it makes me laugh so much to see the cars and the clothes of the time,” he says. “It now looks like the Paleolithic era. And I think, ‘I’m so old!” But yes, it was definitely a different city back then.”

(Sarahi Apaez / For De Los)

Like Iñárritu, I still lived in Mexico City, then known as Distrito Federal, when “Amores Perros” was released. In those days, international tourists often feared visiting the metropolis for fear of being kidnapped. To see Mexico City become a trendy, sought-after destination for “digital nomads” from the U.S. and elsewhere feels jarring.

“People from the U.S. have for so long been snobbish about Mexico, and now they go and say, ‘F—, this is a city with incredible cultural depth,’” Iñárritu says. “They realize that their snobbishness came from a misconception, based on propaganda they’ve been fed, which portrays us Mexicans only as “sombrerudos.’”

What’s so bewitching about Mexico City, and the country at large, Iñárritu thinks, is the people’s worldview and how they confront their realities.

“There’s no other country that has that kind of vitality, because despite all of its problems, and there are many — like how violence and corruption have become so normalized — the people have an energy, a joy, a vitality that’s very hard to find in any other city around the world,” he says.

On the subject of the ingrained issues that still plague his home country, Iñárritu recalls that those in power were not pleased with how “Amores Perros” addressed them on screen.

“The Mexican government was ashamed of the film,” he says. Whenever the film would win an award at an international festival, the Mexican ambassadors or diplomats in any given country would decline invitations to celebrate the accomplishment.

“They said it was a bad representation of Mexico, that what the film showed wasn’t Mexico,” Iñárritu recalls. “They said it showed too much violence. Give me a break, as if I were the secretary of Tourism.”

Aside from promoting this latest stop in the “Sueño Perro” installation’s journey, Iñárritu is in the post-production stage of his upcoming film “Digger,” starring Tom Cruise. Besides that, he’s also working on a project to honor Mexican American artist Judy Baca.

Baca is best known for the mural “The Great Wall of Los Angeles,” which extends for over half a mile along the Tujunga Wash and depicts the complex history of California. Iñárritu and cinematographer Emmanuel Lubezki shot a piece on this major work that will be screened at Walt Disney Concert Hall on March 7, alongside a special concert put together by Gustavo Dudamel and Gabriela Ortiz, and featuring several guest composers.

“I want to showcase the work of Judy, a Chicana who was 50 years ahead of her time and told the story of California through her eyes. I want it to be a landmark in Los Angeles. I want people to say, ‘You can’t go to L.A. and not see this mural.’”

As part of the ongoing celebration of “Amores Perros,” MACK has published a book featuring essays, behind-the-scenes photos, and storyboards. A double vinyl compilation including Gustavo Santaolalla’s score, plus tracks by generation-defining Mexican rock bands like Control Machete and Café Tacvba, has also been recently released.

Iñárritu hadn’t seen the film in a theater in many years. But when he saw it again at the Cannes Film Festival last year, he was pleased to realize it maintains its potency.

“I was struck by how well the film holds up. And it’s not just because I made it. It still has a rhythm and a muscle. It hasn’t aged badly at all. On the contrary, it’s like a young old soul,” he says with a laugh.

“Sueño Perro” will be open to the public from Feb. 26 until July 26.

A charming fishing village on the coast of one of the UK’s most beautiful regions is the epitome of rural tranquillity – and it’s a true hidden gem

Whilst Cornwall’s reputation for harbouring breathtaking villages is well established, with each seemingly more enchanting than the next, one particular hidden treasure manages to shine even amongst the county’s most impressive offerings. This delightful fishing village, nestled within the Lizard Peninsula between The Lizard and Coverack, is a picture-perfect hamlet cradled by a stunning shingle cove, with roots stretching back to medieval times when it consisted of little more than a handful of fish cellars.

Celebrated for its charming and historic character, the village appears “lost in time” – a quintessential fishing settlement where little has altered through the decades. It features picturesque clusters of thatched cottages and a modest yet impressive fleet of colourful and vibrant fishing boats that are hauled up onto its shingle beach and remain in active use.

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History of this coastal treasure

The village’s name derives from the Cornish term for “a thicket” and literally means “battle of trees”, most probably owing to the densely wooded valley in which it sits.

Originally known as Porthcaswydh, which later evolved into Por Cadjwydh, this gorgeous fishing hamlet is now called Cadgwith, reports the Express.

Developing from its modest fish cellar beginnings, the 16th century witnessed Cadgwith welcoming permanent residents, whilst fishing continued to be the primary occupation for those who lived there.

Homes, cellars, lofts, and capstan houses were gradually constructed using local stone and cob walls, whilst the distinctive thatched rooftops were erected along the shoreline and hillsides of the valley, lending Cadgwith its unmistakable “Cornish fishing village” charm.

Breathtaking scenery and terrain

Nestled within the Cornwall Area of Outstanding Natural Beauty (AONB), rebranded in 2023 as National Landscapes, Cadgwith boasts two beaches divided by a headland known as The Todden, which visitors are free to explore on foot.

The shingle beach, the larger of the pair, sits to the north-east and is widely recognised as Cadgwith Cove – a bustling hub where local fishermen are known to ply their trade.

The second beach, a blend of sizeable boulders and sand, lies to the south-west and goes by the name of Little Cove or Little Beach – an unspoilt retreat beloved by residents and holidaymakers alike for swimming, snorkelling, rock pooling, and diving.

Such is the breathtaking beauty of Cadgwith’s coastal scenery that it served as a backdrop for the 2003 film Ladies in Lavender, starring Dame Judi Dench and Dame Maggie Smith. More recently, it was revealed that HBO’s upcoming Harry Potter TV series will be shooting scenes at Cadgwith Beach and its beloved local watering hole, Cadgwith Cove Inn, in October 2025.

What to see and do in this coastal gem

No trip to this stunning Cornish hamlet would be complete without a visit to the much-loved Cadgwith Cove Inn. This charming 300 year old watering hole exudes a wonderfully warm and welcoming ambience, regularly hosting folk music evenings featuring the renowned Cadgwith Singers, making it the ideal spot for weary travellers seeking a wholesome Cornish meal and a refreshing pint.

Dishing up the freshest seafood – hardly surprising given its coastal location – this cherished establishment has garnered glowing praise on Tripadvisor. One delighted regular commented: “Cadgwith has a special magic about it, and its heart is the Cadgwith Cove Inn. I guess you’d call us regulars – we try to get here a couple of times every year, and have done for the last six years or so. If only it could be more often! Cadgwith has a special ability to make the troubles of life melt away when you drive down the hill into the village, and the Inn is truly special at the heart of that magic.

“Fridays see the Cadgwith Singers do their things with their sea shanties, and it is truly the best start to a week down here. But any day of the week this place has a special blend of people and place which is truly unique. The beer is great, and the food is better. What more could you ask for?”

Another essential stop in Cadgwith is The Old Cellars Restaurant, hailed as “a true Cornish treasure” positioned directly on the village’s fishing beach. This family-run café also offers alcoholic beverages and has earned its reputation for outstanding seafood offerings, particularly prawn sandwiches, locally sourced crab, fresh lobster, and hot paninis.

Boasting a delightful cobbled courtyard with breathtaking sea vistas, The Old Cellars Restaurant has become a local favourite. One reviewer says of the joint: “What an absolutely beautiful little gem in a stunning village, we had a traditional cream tea and it was delicious, lovely courtyard seating and friendly and welcoming staff, well worth a visit.”

During the summer season, Cadgwith draws plenty of visitors, with its swimming beach providing the perfect location for a cooling plunge whilst the fishing beach offers an excellent vantage point to observe fishermen in action as they land their daily haul. It’s important to note that whilst dogs are welcome throughout most of the year, four-legged friends are prohibited from Little Cove between July 1 and August 31 from 10am to 6pm.

The South West Coast Path winds through Cadgwith, and just a short distance north of the hamlet lies The Devil’s Frying Pan – a massive 100-metre deep crater in the cliffs created when a sea cave’s roof caved in, leaving behind the breathtaking rocky arch jutting into the ocean. Whilst this dramatic coastal spectacle alone justifies a journey to Cadgwith, the village is fortunately packed with numerous other attractions.

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At one of the most popular tourist destinations, which dates back more than 5,000 years, visitors throw coins into a toilet in what they believe is a wishing well

The UK’s ‘lost city’ has been attracting tourists from around the world – but most of them want to toss pennies into a toilet.

Skara Brae, on the Orkney archipelago in Scotland, is a preserved Neolithic village that was inhabited by a farming community around 5,000 years ago. It stands as one of the finest-preserved farming settlements across the British Isles and is known as the “Scottish Pompeii”.

The village was inhabited between 3100 and 2500 BC, and its close proximity to the sea allowed its residents to easily hunt for fish while also growing crops and tending to their various animals. It isn’t exactly clear why Skara Brae was abandoned, but it’s thought to have become uninhabitable due to climate change and severe weather.

READ MORE: Abandoned UK village left a ‘ghost town’ with 33 unfinished new build homes boarded upREAD MORE: I booked a mystery holiday for £79 and thought things couldn’t get worse — they did

It was left largely untouched until a storm in 1850 uncovered the site, revealing its fascinating past and prehistoric dwellings. Following a dig at Skara Brae, remnants of the community were further uncovered, including stone dressers and box beds, along with artefacts such as tools, gaming dice, pots and jewellery.

Together with a substantial chambered tomb (Maes Howe) and two ceremonial stone circles (the Stones of Stenness and the Ring of Brodgar), the settlement now forms part of the “Heart of Neolithic Orkney” collection of monuments, designated a UNESCO World Heritage Site in 1999.

Dating back thousands of years, the site remains one of the island’s most popular tourist attractions, drawing crowds near and far. In a long-standing tradition, superstitious visitors have frequently thrown pennies into an ancient hole in the ground of the preserved Neolithic village, believing it to be a wishing well.

However, it’s actually a toilet – and not everyone realises. Experts have outlined that the hole in the ground is merely an “old sewer” and a network of well-constructed drains and substantial cisterns.

Local tour guide from Orkney Uncovered, Kinlay Francis, previously shared on Facebook: “For years, people have been throwing money down a subterranean hole in the Skara Brae ground, thinking they are throwing money down a well to make a wish.

“I have great delight in telling my clients and anybody who throws their money down there that they are, in fact, throwing money down a toilet.

“This is the old drain/sewer from the Skara Brae site. It is not, and I repeat, not a wishing well. So don’t go there to spend a penny.”

The post quickly amassed over 2,000 reactions and nearly 150 comments, as people couldn’t believe the hilarious mix-up. One person remarked: “Oh! So! Priceless!”, while a second said: “Really a p*****g well not a wishing well then”.

A third commented: “It’s not a wishing well…it’s a s******g well.” Yet, not everyone was prepared to ditch their beliefs, as one noted: “Still…maybe brings good luck”, and another stated: “Where there is muck, there is brass!”

The confusion hasn’t stopped visitors from marvelling at the Neolithic village, and it’s received outstanding praise on TripAdvisor. One traveller shared: “Skara Brae Prehistoric Village is a must-see if you are in the Orkney Islands. Such an interesting place. You will be blown away by how well-preserved this 5000-year-old site is.”

A second commented: “This was my second time to Skara Brae and it was just as wonderful as the first. The setting of this village is spectacular, and on this visit, the weather was outstanding. On my first visit, the rain was blowing sideways. It is fantastic to view the site and then visit the reconstructed house to see how these people lived. Not so different from us – pretty pots, stone dressers and reasonably comfortable beds with skins as duvets!”

One more noted: “A must-see bucket list experience older than the Giza pyramids. Although the museum is small, the recreated room really brings alive the site. They even had plumbing. Once you are at the site, you can tour the homes from the walkway, which shows the genius of the ancient culture. Plentiful parking with a good gift shop/cafe.”

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Great Britain’s Charlotte Bankes and Huw Nightingale react to winning their history making gold medal in the mixed team snowboard cross at the 2026 Winter Olympics.

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EMMERDALE actress Lisa Riley said Robin Windsor’s “glow had gone” after he was dropped from Strictly, an inquest heard.

The professional dancer, 44, was found dead in a hotel room in Shepherd’s Bush, West London, in February 2024.

An inquest heard Windsor left a suicide note saying the way he was treated by the BBC “destroyed me”.

The pro added: “It started me on the road I’m still on.

“All I wanted from life was to be happy.

“I loved my job more than anyone else.”

Riley was Windsor’s dance partner in the penultimate series he appeared on in 2012.

After being paired with Windsor, Riley said they were “joined at the hip”.

“To say we hit it off was an understatement,” the actress said in a written witness statement read to West London Coroner’s Court on Wednesday.

“I had only just lost my mum in the July. I, myself, was in a very difficult place.

“Robin was my rock.”

The Latin and ballroom dancer joined Strictly in 2010 and danced with actresses Patsy Kensit, Anita Dobson and Riley, and Dragon’s Den’s Deborah Meaden in four series until 2013.

He could not perform in the 2014 series because of a back injury and was dropped in 2015, but still appeared in the Christmas special that year, dancing alongside TV presenter Alison Hammond.

“It was from this moment, on to the time of his death, he kept slipping deeper and deeper into depression,” Riley said.

“His glow had gone.”

The actress recalled how she and Windsor had built up an “incredible trust” and remained friends.

“He literally told me everything,” she said.

“I trusted him and he trusted me.

“There were many, many happy times to begin with and together we did have so much fun.”

Riley said Windsor told her of times of “never feeling good enough” and “imposter syndrome”.

“Robin was and always has been very influenced by other men,” she added.

“It became a standing joke that he fell in love after three days.”

Riley said Windsor was insecure about his body and took steroids which, combined with alcohol, would put him in a bad place, jurors heard.

The court was also told how he was “drowning in debts” and “frantically” spent on designer items he could not afford.

Riley added: “Money problems also played a part of his darker days.”

She said her last contact with Windsor was around Christmas 2023, when they texted after Riley saw him share a “really dark” post on Facebook.

Riley continued: “I of course text him straight away and he replied saying he was ‘fine, just usual ups and downs of life’.”

The inquest also heard Robin was “obsessed” with watching Strictly prior to his death.

His panto co-star Terry Gleed said Robin spent his free time during rehearsals watching the show.

The star added: “I could feel that he really wanted to be there more than where we were. He missed it dearly.”

The court heard Robin had suffered a back injury in late 2013 which resulted in him needing surgery to remove a disc.

He missed the 2014 series while he recovered.

Next year telly bosses chose not to renew his contract.

Pal Kristina Rihanoff, 48, told the hearing yesterday she was “extremely upset” after learning Robin had not been asked back for the 13th series.

She added “the psychological impact was very severe” because he “couldn’t do what he loved” due to his back pain.

Kristina described it as “heartbreaking” to see him “deeply sad, subdued and burdened”.

The inquest continues.

If you are affected by any of the issues raised in this article, please call the Samaritans for free on 116123.

It’s crazy how often this happens.

It’s a stunning yet treacherous stretch of coastline where cars and motorhomes are routinely hauled from the waves after becoming partially or fully submerged. Over the past four decades, local farmer Dafydd Davies says he has repeatedly deployed his John Deere tractor to rescue vehicles from the infamous Traeth y Graig Ddu (Black Rock Sands).

His dedication to saving stranded vehicles stems from his own harrowing experience 40 years ago. In 1980, whilst working on a new silage pit at his farm, he endured a horrific accident with a JCB bucket loader that left him trapped against a concrete septic tank.

“I lost my eye but I was very lucky I didn’t lose my life,” he told North Wales Live. The traumatic experience heightened his awareness of potential hazards and sparked a determination to give back to the community, including offering his land for air ambulance landings.

“That incident made me much more aware of risks – even now I can sense accidents about to happen. It also made me want to give something back to the community – I volunteered my land for air ambulance landings,” he said.

This sense of responsibility also led him nearly a decade ago to assume the role of beach guardian at the beach in Gwynedd, north-west Wales, one of the few beaches where driving is allowed. Extracting cars from the advancing tide or liberating them from soft dune sands has traditionally been a job for local farmers, and when the previous guardian retired, Dafydd enthusiastically volunteered.

Vehicle owners sometimes react swiftly enough that their cars and motorhomes can be rescued. However, on occasion, all Dafydd can manage is to recover the ruined vehicle to avoid an environmental disaster.

Sometimes, his wife Kathryn, a former nurse, takes the hit from such episodes, such as when a pink VW campervan was consumed in 2020. The van and its transporter, taken to the beach for a 1970s-themed photo session, were devoured by a rapidly advancing tide after becoming trapped in the sand.

“I always remember the date – September 14 – as it’s my wife’s birthday,” Dafydd recalled. “I’d booked a meal at a restaurant but my mobile rang and we had to go to the beach instead. I usually get there in 18 minutes but by the time we arrived, it was too late – the tide was coming in too fast. Instead, I drove the tractor to the restaurant, had a meal, then I went back to the beach. It was around 2am when I finally got home.”

The devastated owner, from Cheshire, put losses at £60,000.

During a typical summer, approximately six to 10 vehicles meet their fate on the Gwynedd beach. However, it’s believed up to 30 cars and motorhomes required rescue last year in 2025, as the beach is hugely popular and amongst the few where motorists can drive their vehicles onto the sand.

Locals are familiar with the unpredictable character of a shoreline whose tempting shallow waters are ideal for bathing and aquatic pursuits yet conceal a lurking danger for unsuspecting drivers. The very characteristic that renders the beach perfect for recreational activities – its gradual incline – also creates a hazard by allowing tides to rush in rapidly.

But visitors are less familiar with the dangers. And while there are plenty of warnings displayed on the beach regarding the possible dangers, they cannot be positioned where motorists typically park at low tide close to the waterline. Those who pay for parking are given a leaflet outlining tide schedules and beach safety guidance, including recommendations on parking and even details about weeverfish.

“But it’s human nature, they don’t read the leaflets or look at the signs, and they park where they want. If the tide is high in the morning, all the cars park higher up the beach and, if the sand is dry and soft, that’s when people need pulling from the dunes,” said Dafydd.

The problem intensifies when the tide retreats and the more compact sand tempts motorists to travel further out, only to be taken by surprise when the sea returns. “However when the tide is out and the sand is harder, that’s when people park further out. Before they know it, the sea is coming in.”

During sweltering weekends, you could see 1,000 cars or more scattered across the beach, as well as queues extending more than half a mile back into Morfa Bychan village, essentially transforming the beach into a vast improvised parking area. Last year, the council began shutting the beach gate at 8pm, theoretically reducing late-evening rescues, though this didn’t always work as intended.

One one occasion, Dafydd was preparing to attend a wedding reception: “We were dressed and just about to go out the door to a wedding party. I drove to the beach while my wife went to the party alone. A family from Birmingham were stuck on the beach. As they reported it quickly, I was able to save their car – they were very grateful – and I made it to the party by 9pm. Only once the clock ticks past 8pm during the summer can I finally relax.”

Recent years have introduced a new complication to Dafydd’s coastal rescue work: the growing number of electric vehicles (EVs) poses a significantly more difficult challenge than recovering conventional petrol cars.

“Electric vehicles are so much heavier because of their batteries,” he explained. “You take a basic Honda EV – it weights 2.2 tonnes. Not only do they sink further into the sand, it requires more power and traction to pull them out.”

Nevertheless, like numerous farmers, Dafydd feels he has a duty to support his local community. Some clear snow from roads, whilst others rescue motorists stranded by flooding.

“I enjoy it,” said Dafydd. “I like the idea of giving something back. My son, Owain, who works with me on the farm, has done a couple of beach jobs, which means I can now get away for a day if I need to. But not for too long – helping others gives me great satisfaction.”

SNOOP Dogg’s 11-month-old granddaughter has tragically died – as daughter Cori Broadus says ‘I lost the love of my life’.

Cori revealed the news that her daughter Codi Dreaux died on Monday, just 20 days after her release from the NICU.

Cori had welcomed Codi – her first child with photographer fiance Wayne Duece – in February last year.

But Codi was born three months prematurely, and spent the first months of her life in the NICU before being discharged at the beginning of January.

Cori, 26, had excitedly announced “She’s home” on January 6 in an Instagram post, but now she has shared the devastating news that Cori has passed away.

She posted a black and white picture of her holding her baby daughter as she looked down and smiled at her.

Alongside it she wrote: “Monday, I lost the love of my life. My Codi.”

She also reshared her post about Codi coming home and wrote: “20 days later?! dawg im sick.”

Wayne also shared a post to his Instagram Stories on Saturday, which showed Codi gazing up at him as he cradled her.

He wrote: “I been the saddest since u left me Codi Dreaux. But I know u at peace. Daddy will always love you.”

Meanwhile, one of Codi’s nurses also shared a heartbreaking post, which Cori reposted.

It showed a black and white video of a crib and mobile hanging over it, with the caption: “I been sad for 6 days straight. Being a nurse has its ups and downs and this is the biggest down I ever experienced.

“It was such a pleasure being mybabygirls nurse. I gave her one last bath told her I loved her and didn’t even know I was getting her ready for Heaven.”

Cori is the youngest of Snoop’s three daughters with his wife of 28 years, Shante Broadus.

She was diagnosed with Lupus when she was six, and suffered a stroke in early 2024, which made her pregnancy high risk.

She gave birth to Codi when she was just 25 weeks along, but when Codi was six months old and in the NICU, she told Us Weekly her baby girl was “feisty”.

She said: “Codi just has so much character. The doctors and nurses always tell me: ‘Your baby got her mind. She’s smart. She’s alert.

“‘She knows what’s going on. She can hear. She can see. Yeah, the circumstances are not what you thought they would be, but it could be worse.’

“That girl is just a sweet little firecracker.”

Despite visiting this city numerous times, I’ve never managed to navigate my way without getting lost – from confusing roads and tram lines to the maze-like train station

With the aid of my phone maps and clear road signs, you’d think I’d be able to comfortably navigate myself around a UK city that I’ve visited countless times. But no matter how many times I drive and walk around Birmingham, I always end up confused and lost, and my recent visit was no different.

As a convenient halfway point to meet my family or friends, and with its Utilita Arena for concerts, I’ve visited the UK’s second-largest city on a number of occasions. I’ve driven into it multiple times, but I’m always left permanently scarred. I mean, have you seen Spaghetti Junction?

I should note that I’m a competent driver and often travel long distances, but driving into Birmingham is no mean feat. I’ve found myself driving back on myself, taking the wrong turning, hitting a dead end, encountering unexpected roadworks, and constantly circling roundabouts – even with the help of Google Maps!

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The worst panic of all came when I was driving through the city a few years ago and found myself, alarmingly, driving down the same road as a tram line. My maps had led me in this direction, so I followed, yet the anxiety set in as I saw the tramlines, expecting the trolly-car to come hurtling up into me.

I continued to follow the road with nowhere else to turn, before I thankfully came back to a normal road. Little did I know that this could happen in some areas of Birmingham, as the West Midlands Metro shares some parts of the street with cars.

West Midlands Metro warns of the potential danger. “Please don’t obstruct the tramway – it sounds obvious, but remember we are on fixed rails and can’t get around you,” it pleads.

“Wherever possible, avoid driving directly on the tracks, particularly at speed, because they can become slippery, especially when wet. Please pay attention to highway regulations and remember that trams have different signalling systems to those of cars and other vehicles – even when we are using the same stretch of road.”

Those caught in restricted areas of tram roads could be fined. But it can be confusing for visitors. One resident shared on Facebook: “There are certain parts of the network where you can’t avoid sharing with the trams, Beeston/Chilwell springs to mind, but there are others.”

Another added: “Depends where in the city. There are places where you can drive in the tracks and places where you can’t, normally places where you can’t, you will get stuck.”

Personally, for me, it’s a route I won’t risk again.

Birmingham is sometimes known as the ‘workshop of the world’, thanks to its historical transformation from a medieval market town into a major ‘motor city’. The city prioritised cars as the future of transport, introducing inner ring roads, flyovers, and interchanges to welcome more people into the area and facilitate easier travel.

Yet for me, I vowed never to drive in the city again. And it’s not just me who has failed to navigate the impressive yet complicated roads of Birmingham, including its residents.

One person shared on Facebook: “A lot of drivers in Birmingham are confused by red lights, give way, traffic priority, roundabouts, timed bus lanes, and lane closures.”

Another shared: “I haven’t driven in Birmingham city centre for years now, it’s been confusing for a long time now not just recently.” A third also confessed: “I don’t ever drive in town. Either I would be heading to Scotland or a dead-end street due to getting lost because of the changes.”

From my driving experiences, it meant my recent trip to Birmingham was by train. I wrongly thought it would be the easier option. I boarded the overcrowded, stuffy but thankfully direct train to Birmingham on a Saturday morning, and was relieved to be dodging the traffic and avoid the fear of navigating the roads. But I still found myself lost.

Birmingham New Street Station is large, stretching out across 12 platforms, yet what confused me was the different zones. While they’re clearly labelled and colour-coded for the different platforms, I still found myself lost and confused with various directions and barriers to navigate. Plus, finding the exit was another ordeal for me.

Locating a toilet at the station was even more complicated. I followed the signs, but still had to go back through a barrier with my train ticket. And meeting people at the station is a challenge in itself, requiring me to go through yet another barrier to reach my family, who were in a completely different area.

I must have spent a good 20 minutes wandering around the station, trying to get my bearings and failing miserably. But to my defence, I’ve only boarded the train to Birmingham on a handful of occasions, and it sure beats the roads and extortionate car parking prices.

Only adding to the complications of visiting Birmingham is navigating the roads and paths on foot. In a bid to find my hotel, I turned to my trusty phone maps and followed the route, but I mistakenly risked a shortcut, only to find a boarded-up path and roadworks – Birmingham really doesn’t like shortcuts.

I also encountered a long-winded route to get to dinner that evening, and then on my way back to the station, I was taken through a pedestrian underpass under a roundabout, which was equally confusing. Perhaps my maps were just as confused as I, or maybe it was simply user error.

Whatever the reason, travelling around Birmingham has left me defeated. While it’s a fantastic city with brilliant transport links and a catalogue of restaurants, bars, entertainment venues, and a vibrant nightlife, I have to build up the momentum with every visit, bracing myself for getting lost in the well-connected yet confusing city.

Do you have a travel story to share? Email webtravel@reachplc.com