A life jacket from a survivor of the Titanic tragedy sold at auction on Saturday for $906,000, and was among a collection of other artifacts from the doomed ocean liner. Photo courtesy Henry Aldridge & Sons
April 18 (UPI) — The only life jacket worn by a person who survived the sinking of the Titanic ever put up for auction was sold for $906,000 on Saturday.
The jacket, which was worn by Laura Mabel Francatelli, a passenger in first class who boarded lifeboat number 1, sold for nearly twice the roughly $473,000 it was expected to sell for., and reported.
The life jacket, sold during an auction that also included a handful of other Titanic artifacts, was sold by Henry Aldridge & Sons in Britain to the Titanic Museum and Attraction in Pigeon Forge, Tenn., and Branson, Mo., auctioneer Andrew Aldredge told The BBC.
Aldridge said that the life jacket is the only one from a survivor that has been offered for auction since the ill-fated ship set sale 114 years ago.
“It reflects the ongoing interest and passion for the story of the Titanic, and its passengers and crew,” he said, calling the opportunity to buy it a “once in a lifetime opportunity for collectors.”
Francatelli, who at the time of the sinking was husband of Sir Cosmo Edmund Duff-Gorden, a Scottish landowner and the 5th Baronet of Halkin, was the sister of novelist Elinor Glyn, and herself a famous dress designer who ran several famous salons in London, Paris and New York, according to Aldridge & Sons’ auction listing.
Her survival has carries slight controversy because the lifeboat that her husband shepherded several people onto as the Titanic was going down – for reasons that remain the subject of questions – lowered from the ship with only 12 people aboard, despite having room for 40.
The Titanic Museum and Attraction, which The Independent also reported purchased the life jacket, has since March 2025 had on display five of the 14 known life jackets to have survived the sinking, it said.
Most recently, the life jacket has been on display not only at the Pigeon Forge museum, but also at Titanic Belfast, a museum in Ireland.
Secretary of Health and Human Services Robert F. Kennedy, Jr. speaks during a House Appropriations Subcommittee on Labor, Health and Human Services, Education, and Related Agencies hearing on the budget for the Department of Health and Human Services in the Rayburn House Office Building near the U.S. Capitol on Thursday. Photo by Bonnie Cash/UPI | License Photo
Every time a woman comes forward with her story of sexual assault, this is the first question she faces. OK, maybe the second — after some variation of “Are you a lying slut?”
At least we are consistent. But on behalf of all survivors everywhere, of any gender, identity or age, let me give you some blanket answers to “Why now?”
Survivors come forward now, whenever now is, because they have reached the point in their recovery when facing the inevitable “lying slut” accusation is less terrible than watching their abuser strut around as if that person is not a dangerous, cruel predator who is almost certainly going to hurt someone else if they are not stopped.
Whether it’s in Congress, on a movie set, in the halls of their school — wherever that predator is just living their life without consequence — there is a survivor who has been cowering in the shadows of her own life, in pain, wanting to scream to the world that this person is not what they seem.
But the price of that honesty has always been steep. Too steep. Even after #MeToo.
Even powerful women can’t escape the blowback, the fear. Even powerful women are steamrolled over and over again by the overwhelming presumption that they are lying, and there is an ulterior motive for coming forward at this particular moment.
Imagine just being an average person holding that secret. Who are any of us to stand up alone against a rich and powerful man whose very freedom will depend on crushing our credibility?
P. Diddy. Harvey Weinstein. Donald Trump. Cesar Chavez. Larry Nassar. Eric Swalwell.
Those men know power, and know how to use it.
“He thought he was untouchable. He acted with total impunity. He never thought that the consequences of his actions would follow him,” Ally Sammarco, one of the women who has spoken out about Swalwell (who has previously denied allegations of misconduct), told CBS.
It’s why the women of the Epstein files stayed silent for so long. It’s why there are thousands of rape survivors out there right now who have never said a word about what they endured, and maybe never will.
“Why now?” is just a more palatable version of “lying slut,” a question based on ignorance about how trauma — and society — works. A question meant not to elicit fact, but to feed the Jezebel frenzy men always use in their attempt to escape justice.
Here’s the truth about sexual assault: There is no right way to respond to it, no right time. There is no one reaction that proves it happened or that creates the perfect scenario that will protect the survivor’s reputation while delivering justice upon the predator. In fact, there is really no way at all to respond to a sexual assault that won’t bring secondary trauma.
Wait years and face disdain — that it didn’t happen, wasn’t serious, is only coming out now for some agenda, like politics or money.
Report it immediately and be prepared for every move, every smile, every sip of a drink, to be examined for signs that this was, if not consensual, somehow deserved — a gray area of shared responsibility.
Imagine, at a moment of crushing vulnerability, when your body has been violated and your mind is reeling trying to find safe ground, being bludgeoned by these accusations, stated or implied, that you brought this on yourself.
“Why now?” becomes “Why would you?”
Even when the scenario is one in which there can be no defense — such as the UCLA gynecologist, James Heaps, who on Tuesday pleaded guilty to sexually abusing five of his patients during exams — the cost of reporting is terrible. That case has wound on for years, leaving each of the victims to constantly relive their worst moments, constantly fear that all of their courage would come to nothing.
Which is why survivors don’t always come forward. Maybe they need time to put themselves back together, even just a little bit. Maybe the fear of all that societal scrutiny is just too much. Maybe they fear they won’t be believed, and their attacker will be free to harm them again.
Maybe they just want it to all go away. Maybe they do blame themselves, and are paralyzed by an unfounded shame.
There are so many reasons why survivors stay silent — and none of them are because it didn’t happen, or because they are lying.
Reacher star Alan Ritchson will be headlining a new reality series for Netflix from the producer of Survivor and The Apprentice
Reacher star Alan Ritchson to host intense Netflix show from Survivor producer(Image: PRIME VIDEO)
Alan Ritchson, the star of Reacher, is set to host a new, intense reality survival series for Netflix.
The acclaimed actor, known for playing the iconic action hero on Prime Video and for the Netflix film War Machine, will challenge a group of high-profile contestants — from influencers to “headline-makers” — in a series of outdoor challenges designed to test their “resilience and grit.”
The currently untitled series will strip away modern luxuries, forcing players to rely on their instincts and determination. “Do they have what it truly takes to endure? Will they risk losing their carefully curated personas in the process? And who will break first under the pressure?” a synopsis from Netflix Tudum teases.
Ritchson, an experienced outdoorsman himself, will guide the contestants, “pushing them beyond their limits and into the unknown.”
The show is executive produced by Jay Bienstock, known for launching major reality hits like Survivor and The Apprentice, guaranteeing addictive viewing.
He is also executive producing, along with Julie Pizzi, Rupert Dobson, Gayani Wanigaratne, and co-executive producer John Faratzis.
The upcoming series will be joining Netflix’s already huge catalogue of popular reality shows, which is only set to grow over the coming years.
Fans have devoured the likes of Squid Game: The Challenge, Million Dollar Secret, and Is It Cake? so far.
Netflix is also in production on The Golden Ticket, inspired by Charlie and the Chocolate Factory, and Win the Mall, a thrilling retail rivalry competition hosted by Haley Baylee, both set to be released this year.
A synopsis for the former reads: “To achieve sweet success in this high-stakes social experiment, players will have to adapt and strategize, as a golden ticket only gets you so far. Wonka’s guests must withstand games, tests, and temptations designed to prove their instincts, resilience, and ability to thrive in the chaos of a retro-futuristic dreamscape.”
Get Netflix free with Sky for Bridgerton Season 4
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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
And Win the Mall will follow “10 teams of expert shoppers competing to gain control of storefronts, increase their spending power, and outmanoeuvre rivals in the ultimate retail experience.”
Keep your eyes peeled for more updates on Netflix’s must-watch TV tournaments.
Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.
Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.
This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”
Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.
“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”
Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.
Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show.(Robert Voets/CBS)
“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.
But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.
Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.
And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.
Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.
(Robert Voets/CBS)
“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”
It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”
“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”
A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.
Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”
Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”
This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”
That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”
Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)
Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)
The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.
“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”
In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.
Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.
But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”
In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.
The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.
“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”
Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.
Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”
Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.
From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.
But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”
The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.
(Monty Brinton/CBS)
He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.
The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.
By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.
Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.
According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.
Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”
Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.
