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Rhodes Minnis in Kent is a small village with a big heart, boasting a pub that never opened, a cat sanctuary and a Sunday roast that people say is ‘absolutely amazing’

The charming hamlet of Rhodes Minnis offers far more than simply a name that might be confused with a Greek getaway destination.

The village is renowned for a Sunday roast that locals describe as “absolutely amazing”, alongside a pub that has never served a single pint or even welcomed customers through its doors, and an animal sanctuary named in honour of a Jack Russell called Lord Whisky.

With approximately 100 homes, Rhodes Minnis forms a close-knit community nestled within Kent‘s rural landscape, positioned near the coastline and Canterbury’s food scene, as well as the fashionable town of Folkestone. Beautiful walking routes encircle the area.

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A remarkably straight road cuts through the village in a way that would impress the Romans. Travelling from the south, up an incline that can prove challenging when meeting a lorry, visitors pass hedgerows, trees, stone walls, pristine lawns and residences.

The properties vary from white weatherboarded and flint structures to red brick, timber and contemporary designs. Numerous dwellings sit on elevated ground, providing stunning countryside vistas. At the hamlet’s ‘heart’, indicated by a straightforward crossroads, sits the building constructed as a pub but never used for its original function.

A classic red telephone box also features in the village, encircled by verdant fields and forest canopies. This is certainly a place where animal welfare is held in high esteem, with two sanctuaries that have collectively helped tens of thousands of animals over the years.

It’s impossible to talk about this village without mentioning the late Jack Russell, whose name adorns the much-loved and highly-rated The Lord Whisky Tea Rooms, as well as the sanctuary on the way to the neighbouring village, Stelling Minnis.

The black and white dog lived an impressively long life of 22 years, and his legacy continues through The Lord Whisky Sanctuary Fund. This registered charity provides vital support for abused or injured animals at the sanctuary and offers essential veterinary care for those with low incomes.

Whisky was part of the family of the sanctuary’s founder, Margaret Todd, from the age of four. It was the unique care that ‘Lord Whisky’ required that led Margaret to realise the need for a sanctuary.

The Lord Whisky Tea Rooms, situated in Gate Lane in Rhodes Minnis, comes highly recommended on Restaurant Guru 2024 and boasts a brilliant 4.5-star rating on Tripadvisor, with 77 reviews singing its praises. One recent review raves: “Incredible food and friendly staff, would highly recommend. Also popped by the sanctuary to see their animals and speak about their vets.”

A chuffed customer from last year shared: “We called in for some lunch on Sunday but once I’d smelt the roast I knew exactly what I was having. We had roast chicken with cauliflower cheese, roast potatoes, broccoli, carrots and Yorkshire pudding all served with a delicious gravy.”

“Oh my word, it was absolutely amazing. Reminded us of my mum’s legendary roasts. Apparently the cook is new. Never let her go. Thank you so much and all for a good cause too. Finally, the staff were so friendly too.” Just a stone’s throw away is the Rhodes Minnis Cat Sanctuary on Green Lane, founded in 1970 by Veronica Huthwaite who left her home to the trustees, reports the Express.

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A quick look at the photos reveals a perfect haven for cats, filled with plenty of space for lounging and play. The sanctuary offers shelter and care for unwanted and homeless cats and kittens from Kent, London, and occasionally further afield. Sadly, the sanctuary has seen an increase in difficulties when rehoming older cats, meaning many will stay at the sanctuary longer. To spread Christmas joy and support, the sanctuary will host a Christmas Fair at Hawkinge Community Centre on November 30, from 10am to 1pm.

Ever wondered about the origin of the name “Minnis”? It’s believed to have ancient roots, traditionally used to describe common land for grazing animals. For those captivated by the allure of Rhodes Minnis, nestled in the scenic Elham Valley and bordering the verdant Lyminge Forest, purchasing a property here might feel like a rare privilege, given the limited number of homes available on the market.

Rightmove’s sales data tells a compelling story: only one home was sold in the past year. This is a stark contrast to the five homes that changed hands in 2022 and four in 2021, resulting in an average sale price of £250,000 – heavily skewed by the single sale post-November 2023 of a charming yet renovation-ready two-bedroom detached cottage.

On a positive note, prospective buyers now have the opportunity to secure a home through Laing Bennett – a spacious four-bedroom family residence built in 1985, priced at £799,500, boasting extensive gardens at the front and back for enjoyment.

Rhodes Minnis was once home to its own local pub, The Prince of Wales Inn, situated on Longage Hill. Back in the vibrant 1920s, under the stewardship of a dedicated landlord, the pub was renowned for selling over two barrels of beer per week. Its exterior, a pleasing mix of red tiles against white paint, underwent several name changes, all revolving around the Prince of Wales theme. However, the pub’s fate took a turn when Prince Charles’ marriage ended; it adopted its final name, the Battle of Britain.

Sadly, as Royal ties unravelled, so did the pub’s fortunes, leading it to become a private residence. This transformation was documented by the renowned Dover Kent Archives, a treasure trove for pub history buffs. Another establishment, The Gate Inn, lost its licence in the mid-1990s and is now used by the aforementioned animal sanctuary as The Lord Whisky Centre, housing the tea rooms. It was once a Whitbread pub, proudly displaying a splendid pub sign of ‘the gate’ – a tribute to the old toll gate that once stood on the Mockbeggar to Lyminge road.

A property built with the intention of being a pub, but never actually opened as one, is now a private residence known as Flint Cottage. This striking building sits at the junction of Longage Hill and White Horse Lane, featuring six large windows at the front, a midnight blue front door, and a lattice fence and hedge.

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In 2021, the owner and other knowledgeable locals shared intriguing details about the property with the Dover Kent Archives. Built in 1898, it boasts a spacious cellar with barrel access and a Victorian posting box built into the garden wall, dating from the same year.

The reason it never opened as a pub is said to be due to a failed licence application, as it fell within the Lyminge parish, the same as the Prince of Wales, rather than the Elham parish as initially presumed. According to the website, there was a reluctance among Lyminge councillors to grant many pub licences.

Rhodes Minnis boasts a village hall, run by a dedicated group of trustees who organise two annual flower shows in the spring and summer. Plus, there’s Tree Light Yoga offering weekly classes every Monday.

Digging into the history books reveals that during the turbulent Swing Riots of 1830, a group of activists gathered on the commons at Rhodes Minnis. These riots were a key part of the wider rebellion by agricultural workers against the introduction of machinery and poor working conditions.

The study ‘Historical geographies of property, protest and the commons, 1500-1850’, penned by Briony McDonagh and Carl Griffin, suggests that such gatherings by the working class on common lands represented “a deliberate act of occupying something which was theirs, something not yet taken away”.

There’s also the charming “chapel in the fields”, a Methodist chapel built in 1888. It remains the only place of worship in the village, featuring a lovely red door and a welcoming lawn at the back. On sunny days, the congregation often prays outside, soaking up the stunning views of the Kentish landscape.

For those thinking about a trip, a quick look on Airbnb uncovers three fantastic accommodation options in Rhodes Minnis, with nightly rates ranging from £127 to £1,579. The most expensive option provides a luxurious, stylish, and spacious retreat worth considering for those looking for a touch of luxury.

OZZY Osbourne joked that his final days may have been agonising but “at least I wasn’t Sting”.

The Black Sabbath rocker made the dig in his new documentary, set to be released nearly three months after he died aged 76 in July.

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Throughout their careers, Ozzy and The Police’s Sting, 74, were embroiled in a war of words.

During the filming of his hit reality series The Osbourne’s, Ozzy was filmed making a number of insults about the singer.

And at the Grammys in 2003, Sting asked to speak to Ozzy’s daughter, Kelly, to patch things up.

At the time, wife Sharon said: “We all bumped into each other on the red carpet and we all said how ridiculous it was and how words can hurt so many people.

“We’re all adults and all apologised and it was great.”

In the new doc, Ozzy speaks about his health, including battling sepsis and cracked vertebrae.

He said: “I am really f***ed up with this body of mine and as soon as I want to do anything.

“I went to the doctor and there’s a blood clot. My leg is about to fall off.

“But I can’t complain. 
I was actually rocking until I was 70 and then a trap door opened.

“I didn’t think I was going to live past 40. 


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“But if my life’s coming to an end, I really can’t complain, I’ve had a great life.

“But, hey, it could have been worse. I could be Sting.”

Despite being in pain, he travelled from LA for his final show on July 5 at Aston Villa’s stadium, in Birmingham.

Ozzy said: “The problem now is getting to England. But I’ve got to be there.

I used to take pills for fun. 
Now I take them to stay alive

“As I am getting on, 
it’s worse. It’s crippling me. I can’t walk, I can’t bend down. I’ll be sitting in a chair.”

“That’s the thing about getting older, I used to take pills for fun. Now I take them to stay alive.”

In a separate documentary for the BBC, called Ozzy Osbourne: Coming Home, the rocker posed with Sharon and his dogs.

He said: “LA is one thing but the English summer is fantastic.

“It’s a new thing for us both. I’m looking forward to getting this gig over, hanging my mic up and spending some time with you.”

Sharon added: “I just want to live a life. Find a little bubble somewhere and just live out our life together.”

Ozzy died on July 22, just weeks after his farewell gig.

• Ozzy Osbourne: No Escape From Now, will be released on Paramount+ on October 7.

Ryan Gravenberch’s 10th-minute stunner set Liverpool on their way to a 2-1 win against Everton in the Merseyside derby.

Liverpool stretched their perfect Premier League start to maintain their stranglehold of the Merseyside derby with a 2-1 win over Everton and open up a six-point lead at the top of the table.

Goals from Ryan Gravenberch and Hugo Ekitike were the defending champions’ reward for a dominant first half on Saturday and enough for a fifth consecutive Premier League win.

But Liverpool ran out of steam after the break and were left hanging on after Idrissa Gana Gueye fired Everton back into the contest.

Arne Slot’s men had needed late goals to win all of their previous four Premier League games and Champions League opener against Atletico Madrid in midweek.

This time the Reds did the bulk of their good work inside the first 30 minutes to leave Everton still without a win at Anfield in front of a crowd in the 21st century.

Slot left both his 100 million pounds ($135m) plus signings Florian Wirtz and Alexander Isak on the bench, but Liverpool were all the better balanced for the return of Alexis MacAllister alongside Dominik Szoboszlai and the impressive Gravenberch in midfield.

The Dutch midfielder broke the deadlock just nine minutes in with a deft finish on the half-volley from Mohamed Salah’s cross.

Salah came close to a second moments later with a powerfully struck effort on his trusty left foot that flew just wide.

Everton had been on a four-game unbeaten run thanks in large part to the form of the resurgent Jack Grealish.

The Manchester City loanee was unsurprisingly at the heart of their best first-half move with a pass through to Kieran Dewsbury-Hall, who fired wide from a narrow angle.

Liverpool responded in style to a fine team move culminated in Ekitike rolling Gravenberch’s pass through the legs of Jordan Pickford for his third goal in five Premier League games since his move from Eintracht Frankfurt.

But the second half was a completely different story as Liverpool almost saw another two-goal lead disappear after being pegged by Bournemouth, Newcastle and Atletico already this season.

Fatigue this time seemed to play a part with kickoff just more than 60 hours after Virgil van Dijk’s stoppage-time winner against Atletico on Wednesday.

Everton had a lifeline just before the hour mark when Grealish’s deep cross was turned back into the path of Gueye, who blasted his past Alisson Becker.

Slot turned to Wirtz and Isak off the bench to try and wrestle back control to little effect.

Liverpool, though, did manage to see out a nervy finale to inflict an unwanted record on Everton boss David Moyes.

The Scot has now failed to win in 23 trips to Anfield as a visiting coach, the most any Premier League manager has played at a stadium without victory.

“Berta, Berta,” a two-character play by Angelica Chéri, was inspired by a prison work song from Parchman Farm, the notorious Mississippi State Penitentiary whose harsh conditions and history of forced labor extended the nightmare of antebellum slave plantations into the 20th century.

The play, which is receiving its West Coast premiere in an Echo Theater Company production at Atwater Village Theatre directed by Andi Chapman, is set in Mississippi in 1923. The action takes place in the home of Berta (Kacie Rogers), a young widow who’s awakened in the middle of the night by a visitor from her past.

Not just any visitor, mind you, but the love of her life. Leroy (DeJuan Christopher) arrives at the threshold of her small, well-cared for home in a clamorous uproar. He’s filthy, his white shirt is covered in blood, and Berta can’t tell if he’s possessed by the devil or out of his mind.

It turns out that he’s killed a man who claimed, falsely, to have slept with her. Berta is horrified that Leroy has done something so rash and violent. He holds it as proof of the depth of his love for her. But why, Berta wants to know, did he not get in touch with her after he was released from Parchman? The crime he’s committed will only send him back to where, in Leroy’s own pained words, “they take the colored man to kill him from the inside out.”

Berta and Leroy exchange grievances over the futility of their love. He can’t understand how she could have married; she’s bewildered that he could have expected her to wait indefinitely for a ghost. Their passion, however, won’t be denied, no matter how angry they make each other.

The play is pitched for maximum intensity, and Chapman’s direction encourages a mythic scope — a wholly appropriate approach for a drama that leaps over the safety of realism. Amanda Knehans’ beautifully designed set, as snug as it is appealing, grounds the action in a clean and cozy domesticity. But this is just an illusion, as the production makes clear through the expressionistic wildness of the lighting (Andrew Schmedake) and sound design (Jeff Gardner).

The couple has been granted a brief reprieve from their separation. Leroy, observing an old superstition, made an oath to the awakening cicadas that he will turn himself in if he’s given the chance to make peace with Berta. She has made her own pact with the insects, asking them to restore the life of her stillborn baby, whose corpse she has held onto in the hope that the cicadas will answer her prayer.

The pressurized, supernatural stakes in such tight quarters sometimes encourage Christopher to push a little too vociferously. Berta’s home is too small to contain Leroy — and Christopher’s performance never lets us forget it. But the turbulent charge of Leroy’s voice and body language serves another purpose: keeping the character’s history as an oppressed Black man cruelly cut off from his soulmate ever in sight.

Rogers’ Berta, comfortably situated in her domestic nest, scales her performance accordingly. She is our anchor into the world of the play, reacting to Leroy’s tumultuous intrusion with suspicion and alarm. But as the intimacy grows between the characters, the performers become more relaxed and playful with each other. The Wagnerian nature of Berta and Leroy’s love settles down without losing its miraculous mystery.

The Sunday matinee I attended was a Black Out performance — an opportunity for a Black audience to experience the play in community. Playwright Jeremy O. Harris championed this concept during the initial Broadway run of his groundbreaking drama “Slave Play.” There was backlash to the idea in London, where some critics found the practice racially exclusionary. But anything that promotes the communal embrace of art, particularly among historically underrepresented groups, ought to be celebrated.

I wasn’t the only white person in the audience at “Berta, Berta” on Sunday, but I was one of just a few. When I had initially learned from the show’s publicist that the performance was specially designated, I offered to come at another time, not wanting to take a seat from a community member. But I was assured that there was room and that I was most welcome.

Listening to the play in this special environment, I was more alert to the through line of history. Although set in the Deep South during the Jim Crow era, there appeared to be little distance between the characters and the audience. Berta and Leroy’s tempestuous love games were met with amused recognition. And the threats facing the couple, to judge by the audible response to the work, were received with knowing empathy.

At a different performance, I might have been more impatient with some of the strained dramatic turns. But the production’s living bond with the audience opened my eyes to the realism inherent in this folktale romance, laden with history and floating on a song.

New routes include East Midlands Airport to Antalya in Turkey, meaning another winter-sun destination has opened up for those in the Midlands, as well as East Midlands to Sharm El Sheikh and Cardiff Airport to Hurghada, resulting in year-round flying from Wales to Egypt

Bookings have opened for TUI’s latest holiday destinations.

The German package giant has announced it will be adding capacity to locations in the Canary Islands and Egypt, as demand for sizzling getaways continues to be strong—despite the roasting hot May and June that the UK has just experienced.

New routes include East Midlands Airport to Antalya in Turkey, meaning another winter-sun destination has opened up for those in the Midlands, as well as East Midlands to Sharm El Sheikh and Cardiff Airport to Hurghada, resulting in year-round flying from Wales to Egypt.

Once its 2026/27 winter programme begins, TUI will connect British holidaymakers with more than 2,000 hotels across 50 destinations. New places to stay this year include three new concept hotels: the TUI BLUE Yaramar in Costa del Sol, the TUI MAGIC LIFE Redsina in Sharm El Sheikh, Egypt, and the stunning HOLIDAY VILLAGE Skanes Resort in Tunisia.

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TUI will also be flying holidaymakers out to Phuket in Thailand and Montego Bay in Jamaica, with an additional weekly flight from London Gatwick.

Couples looking for somewhere sunny to tie the knot may be tempted by a TUI wedding in Thailand. The travel firm is adding the South Asian country to its wedding destination list for the first time, bringing the total number to 15, with over 125 venues to choose from.

TUI has also added Arctic Lakeland to the programme, with direct flights from Manchester to Kajaani twice a week. Keen to tap into the trend, TUI said the addition would meet demand for traditional Lapland holidays, which “consistently sell out year after year.”

Chris Logan, commercial director at TUI UK, said: “Our Winter 2026 programme is designed with great value at its core. We understand that Brits are looking for both affordability and exceptional experiences, which is why we’ve expanded our range of destinations and included some great-value getaways to choose from. We’re making winter getaways more accessible than ever before. Whether it’s a week of winter sun in the Canaries or a dream holiday to the Caribbean, there really is something for everyone.”

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Bookings for the Winter 2026 programme are available starting today through TUI’s website, app, and retail stores across the UK.

New holidays on offer include:

Thailand Escape A 14-night holiday to Khao Lak, Thailand, staying at the 3T+ The Briza Beach Resort Khao Lak on a bed and breakfast basis from £1,595 per person. Price is based on two adults sharing an Annexe Deluxe double room with pool view and balcony, departing from London Gatwick on 2 December 2026, with 20kg hold luggage per adult and transfers included.

East Midlands to Antalya Getaway A seven-night holiday to Antalya, Turkey, staying at the 5T TUI Palm Garden on an all-inclusive basis from £975 per person. Price is based on two adults sharing a double room with balcony, departing from East Midlands on 30 March 2027, with 25kg hold luggage per adult and transfers.

TUI MAGIC LIFE Redsina, Egypt A seven-night holiday to Sharm El Sheikh, staying at the 5T TUI MAGIC LIFE Redsina on an all-inclusive basis from £896 per person. Price is based on two adults and two children sharing a family area deluxe double room with garden view and balcony, departing from London Gatwick on 26 November 2026, with 20kg hold luggage per adult and transfers.