
Fritzl case led Badenoch to ‘reject God', says Tory leader
But this changed in 2008 when she read reports that Fritzl had imprisoned and repeatedly raped his daughter, Elisabeth, in his basement over 24 years.
Mrs Badenoch, whose maternal grandfather was a Methodist minister, said: 'I couldn't stop reading this story. And I read her account, how she prayed every day to be rescued.
'And I thought, I was praying for all sorts of stupid things and I was getting my prayers answered. I was praying to have good grades, my hair should grow longer, and I would pray for the bus to come on time so I wouldn't miss something.
'It's like, why were those prayers answered and not this woman's prayers? And it just, it was like someone blew out a candle.'
But she insisted that while she had 'rejected God', she had not rejected Christianity and remained a 'cultural Christian', saying she wanted to 'protect certain things because I think the world that we have in the UK is very much built on many Christian values'.
During her interview, which is due to be broadcast on Thursday evening, Mrs Badenoch also said her tenure as Conservative leader was going 'well', adding her job was to 'make sure that people can see that we are the only party on the centre-right'.
In an apparent dig at Nigel Farage's Reform UK, she said: 'There are pretenders. We're the only party on the centre-right, and we're the only ones who still believe in values like living within our means, personal responsibility, making sure that the government is not getting involved in everything so it can focus on the things it needs to look at, like securing our borders.'
She went on to defend previous comments saying the fact she had worked at McDonald's made her working class, saying: 'I had to work to live.
'That, for me, is what being working class is. It's the lifestyle that you have. You have to work, to survive.'
And she argued that parents who were 'worried about their children getting stolen or snatched' had created a younger generation that lacked the 'resilience' to deal with problems in life.
Responding to figures suggesting a quarter of people aged 16-24 said they had a mental disorder, Mrs Badenoch said: 'I think they think they have a mental disorder, I don't think they all have a mental disorder.'
She added: 'I'm not a medical expert so it is not my expertise on exactly what we need to do to get them into work, but we should be trying to get them into work.'

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Daily Mirror
24 minutes ago
- Daily Mirror
'I watched nuclear attack docu-drama deemed 'too horrifying for TV' by BBC'
The War Game is one of the most harrowing pieces of television every produced Anyone of a certain age will have less-than-fond memories of the terrifying public information films that would be shown in school and on TV, warning us of the dangers of playing on building sites or messing around with matches. The War Game, a 1966 docu-drama, which the BBC deemed 'too horrifying for the medium of broadcasting' and banned from TV for almost 20 years, takes this to the extreme. Framed as a factual documentary, the film shows the brutal reality of what would happen if the UK was hit by a nuclear attack, narrated by the authoritative tones of newsreader Michael Aspel. The 47-minute film written and directed by Peter Watkins wasn't aired on TV until 1985, although it was shown in cinemas in the 1960s, and won the 1967 best documentary Oscar. While it's often been difficult to track down a way to watch The War Game, it's now available on BBC iPlayer. Comparisons with 1984's infamous TV film Threads, which graphically depicts a nuclear attack on Sheffield, are perhaps inevitable. The War Game isn't quite as graphic as Threads - which at one point makes the viewer watch a child burn alive - but it's no less horrifying. The black and white film begins with a depiction of rising tensions between the East and West, with the British government declaring a state of emergenc, and people are evacuated from larger towns and cities. The film doesn't skirt around the social and racial tensions of the time - with rationing in place, people are shown protesting that they already don't have enough food to feed their own families, and one woman's first question when she's told she'll have to house a group of evacuees asks what ethnicity they are. The actual moment the missiles strike is brief, but shocking, with Michael Aspel grimly describing horrors such as melting eyeballs and burning skin, and a young boy is shown screaming in pain after being blinded by the flash. Aspel's description of the shockwave sent by the detonation as sounding like 'an enormous door slamming in the depths of hell' is genuinely chilling. The scenes following this show what is left of the UK descend into bleak chaos, with police struggling to hold back starving masses desperate for something to eat and every doctor attempting to treat hundreds of patients. It doesn't shy away from the stark decisions faced, with doctors shown shooting patients who are beyond help in the head and police executing agitators by firing squad. It's a far cry from the stiff upper lip Spirit of Dunkirk of just a couple of decades before. The spectre of the bombings of Hiroshima, Nagasaki, and Dresden looms large. Key to the impact of the film is how real it all looks. There's no Hollywood glamour at play - the people look, speak, and dress like real people you'd see on the street, and the nondescript part of Canterbury much of the footage is set in looks like it could just be around the corner. Years later Threads would use a similar trick by setting its action around the working-class communities of 1980s Sheffield. And if you're expecting a sense of hope or light at the end of the tunnel, there's none to be found here. Seeing a traumatised small boy asked what he wants to be when he grows up reply 'don't want to be nothing' is one of the bleakest things I've ever seen on screen. Harrowing though it may be, its impact is undeniable, with a 93 per cent rating on film reviews site Rotten Tomatoes. One reviewer said: "The stark documentary realism of the film makes it effectively scary and unsettling even today, the retina burning images of despairing children in the aftermath of nuclear war will stay at the front of your mind for a long time." Another wrote: "Despite this being made over 40 years ago it is still hard-hitting stuff and I'm not surprised in the slightest the BBC banned it." Another, however, suggested it amounted to "scaremongering propaganda". "Almost seems a bit insulting to a modern audience but there's no arguing that this is excellently done," they said. With international tensions building day by day, The War Game stands as sobering viewing of a reality which isn't as far removed from our own as we might hope. If you've got the stomach for it, The War Game is available now on BBC iPlayer.

ITV News
an hour ago
- ITV News
More than 25,000 sign petition demanding answers on 1994 Chinook disaster
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The Herald Scotland
an hour ago
- The Herald Scotland
Moral Minister Kate Forbes will be missed when she leaves politics
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