
Critical: Between Life and Death reveals extent of Lambeth fairground crash
Netflix' s latest docuseries Critical: Between Life and Death arrives on the streamer tonight, taking viewers behind the scenes at Royal London Hospital as NHS trauma teams attempt to save patients with life-threatening injuries.
The hard-working unit is thrown into a dire situation from the first few minutes, with several patients fighting for their lives after being injured at a fairground in Brockwell Park. Four people were left with serious injuries in June last year when a fairground ride at the Lambeth Country Show malfunctioned.
"I saw heads and bodies crash into the railings, like crash test dummies," Claire Collins - who witnessed her sister Alison and Alison's boyfriend Nick sustain injuries from the incident - tells the Netflix documentary.
"I immediately jumped up onto the ride, and my sister and Nick were still in their seats. The whole of the side of Nick's face was basically open. Just this big hole. It looked so, so serious. I was really concerned he wasn't going to make it."
With Critical: Between Life and Death looking into the aftermath of the horrific incident, here's everything you need to know about what happened at the Lambeth Country Show.
What happened at the Lambeth Country Show fairground?
The Lambeth Country Show hit the headlines last year, when a fairground ride failed and people were thrown through the air. Four people were rushed to hospital as a result of the incident, with emergency services being alerted at 6:20pm on Saturday 8 June 2024.
One eyewitness told the MailOnline at the time: "People were running towards us and crying and screaming ... Saw a lady with blood streaming down her face. She had paramedics carrying her off the ride." While another said: "I am told a ride collapsed and all hell broke loose. It was horrific. The screams were terrible. Four people flew off and went through the air. It was like a horror movie."
A spokesperson for Lambeth Council said at the time that a "thorough" investigation was being carried out into the cause of the malfunction. "The situation is being closely monitored. The area around the ride is secure and the funfair has been closed ... Additional safety inspections are being carried out on all rides and attractions at the show," a spokesperson said.
Those who attended the fair soon took to social media to warn others, with one writing on X: "They need to shut the whole thing down. Do not take your kids, do not go on any of the rides. I am scarred for life. I really hope they are OK. My wife was physically sick. Saw the air ambulance coming over about 15 minutes after it happened."
The Metropolitan Police later said in a statement: "Emergency services responded at around 6.20pm on Saturday to a fairground ride having failed at the Lambeth Country Show in Brockwell Park. Four people have been taken to hospital. We await an assessment of their conditions. Nobody is trapped on the ride.
"Enquiries are under way to establish the circumstances. Cordons are in place at the location. The Health & Safety Executive will be informed."
Among those injured was Alison Collins, who was left fighting for her life in the hospital after suffering horrific injuries. Meanwhile, her boyfriend Nick was also admitted to the hospital after suffering injuries to his face and head.
Silvana, 11, was also admitted to the hospital with injuries to her legs, pelvis and lower back, while her grandfather, Sebastiano, sustained a broken nose. During the incident, Sebastiano threw himself between Silvana and a flying speaker, which smashed into his face. 'I was given a bag with my dad's things, like his ring,' Sebastiano's daughter Marcia told The Mirror. "It was covered in blood."
Just weeks after the incident, the Health and Safety Executive (HSE) launched an investigation into the ride failure. They said that the ride was being "forensically examined by specialists". HSE inspector Stacey Gamwell said in July last year: "We will continue to thoroughly investigate what happened and determine whether there were any breaches of health and safety law at the time of this incident.
"Once we have finished our investigation, a decision will then be made on whether formal enforcement is required in line with our enforcement policy. We remain in contact with those affected by the ride's malfunction and will keep them updated throughout our investigation."
What happened to the victims?
While Critical: Between Life and Death viewers will see that Alison's skull fracture and chest injuries were a cause of concern, both she and her boyfriend Nick made a full recovery.
Speaking in the documentary, Alison said: "Everybody tells me that when I started to come around, I was sort of talking a load of rubbish and generally, I'm sort of quite good with memory and words.
"Initially, I was told that I would probably be in hospital for five or six weeks. I was stuck in a bed, and didn't even know if I could walk. When can I get out of here? In reality, I managed to get better a lot quicker. So I came out of hospital, I think, after two and a half weeks."
Nick's recovery took slightly longer. "It's the last thing you think is going to happen when you go to a country fair, that you'll be in hospital for a few months. It brings it home to you, how lucky we are to have the NHS and critical care when something goes wrong. The skill involved in the surgeon who repaired my face - which to me is absolutely astounding."
Alison added: "It's been challenging but we cheated death so we look forward." Sebastiano suffered multiple fractures to his nose but was discharged from hospital, while Silvana's injuries were also not life-threatening. "Well, end of the day, I feel lucky," he told the documentary. "Very lucky."
Sebastiano's daughter Marcia said that her family worked with the fun fair and it has now left their business in limbo. 'In a way, we're out of work but we go to different locations.' And her family have made a huge decision: 'My brother said, 'I'm never taking the kids to a fun fair ride again.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Rhyl Journal
29 minutes ago
- Rhyl Journal
Winona Ryder says she still plays poker with Al Pacino
Ryder, 53, is best known for starring in Tim Burton's 1988 movie Beetlejuice and its 2024 sequel, Beetlejuice Beetlejuice, along with playing Joyce Byers in the hit Netflix series Stranger Things. She worked with The Godfather star Pacino, 85, in the films Simone (2002) and Looking For Richard (1996), adding that she was 'actively' in love with him. Ryder, who fronts the September issue of ELLE UK, told the magazine: 'I was absolutely in love with Al Pacino when I was working with him. 'We were doing that workshop for Richard III, which I didn't know was gonna be a movie. I was actively in love with him. 'He was obsessed with coffee, and he would take me all over New York – like, to the weirdest places – to try different coffees. I'm 22, or whatever. Finally, he's dropping me off wherever I'm staying, and I'm like, 'I love you, you know. I really am completely in love with you.' And he was like: 'Aw, honey, noooo.' 'Then, like 10 years later, I meet his girlfriend, who's younger than me. 'I still play poker with him sometimes. It's the best.' With a career spanning decades, Ryder credits actress Laura Dern for helping her navigate the industry and taking her under her wing. She said: 'I don't think I'd be here without her. I met her on my first screen test for Lucas – I didn't know what a screen test was. 'Laura was there to read for the older girl, and she talked me through it, 'cause I didn't know what the f*** was going on. 'She befriended me. I was literally 12 and – nobody knows this – she took me under her wing into my twenties. That relationship got me through.' She is now passing on her own wisdom to the younger cast members on the series Stranger Things. Ryder said: 'I've been trying to sort of change this narrative with the kids, because they have it drilled into them that they're so lucky and, you know, that this show 'made' them. 'I'm like: 'No. Netflix is so lucky. You guys are the special ones. Like, you guys are magic.'' Ryder is also known for starring in films including Heathers, Edward Scissorhands and Little Women. The September issue of ELLE UK is on sale from 31 July.


Spectator
2 hours ago
- Spectator
The National have bungled their Rishi Sunak satire
The Estate begins with a typical NHS story. An elderly Sikh arrives in A&E after a six-hour wait for an ambulance and he's asked to collect his own vomit in an NHS bucket. The doctors tell him he's fine and sends him home where he promptly dies. His only son, Angad, inherits all his property, which irritates his two daughters, who receive nothing. The personality of the dead Sikh is left deliberately obscure. Newspapers in Britain and India publish glowing accounts of his achievements but his youngest daughter calls him 'a slum landlord' who owed his fortune to 'a lifetime of tax-evasion'. The bad-tempered tussle over his will takes place in Angad's west London mansion, owned by his mega-rich wife who supports the decision to withhold cash from the greedy sisters. Both women are already loaded and they want a chunk of Angad's cash to pay for Botox injections and private school fees. Gosh, it's hard work watching this pack of spoilt brats wrangling about money they don't need and didn't earn. All the characters were privately educated and the script is crammed with references to Oxford colleges and obscure public-school rituals. The dialogue of the sisters includes preachy slogans about the respect owed to women these days, especially in the Punjab, where female embryos are sometimes aborted by their stingy parents who want to avoid handing out money in dowry arrangements. This issue would make a drama in itself but here it features as a footnote in a weird feminist tract about the woes of the super-wealthy. Bring a paper and pen. There may be questions afterwards. Alongside the row over money, a second drama unfolds. Angad is a middle-ranking MP who finds himself tipped as a future leader of his party. His sisters decide to destroy his political career and to ruin the family name by telling journalists about his refusal to hand over the loot they crave. Any competent MP could turn this crisis to his advantage but Angad hasn't the brains to see a route to victory. Adeel Akhtar plays him as a whiny, self-pitying deadbeat who wins the favour of the party whips because he's easy to push around. The Westminster half of the story feels like a second-hand sex comedy crammed with details about improper conduct. Everyone in SW1 has a kink, it seems. Grandees seduce teenage girls. Victims of sexual humiliation make tearful confessions. Several blackmail plots emerge. There are far too many threads here, poorly orchestrated. One scandal is plenty. A handful is tiresome. And the practical details of Angad's leadership bid feel wrong. He entrusts his campaign to an untested intern named Petra, who doesn't have a plan, a website, a timetable, a manifesto, a slogan, a rebuttal team or even a list of MPs likely to support her candidate. She landed the job because she sounds posh and says, 'mea maxima culpa' when she means 'my fault'. Does anyone talk like that, except in comedies about Westminster toffs? The two storylines come together at the party conference where Angad is pounced on by his greedy sisters. After wrestling him to the floor, they grab his ear lobes. (Ear-pulling is a customary punishment in this brutal family.) Their attack is amusing enough but when Angad retaliates and threatens to beat them up, it turns ugly. Angad is stockily built and his willingness to assault his sisters reveals his true nature as a vicious bully. The character is evidently modelled on Rishi Sunak but he lacks Rishi's charm, intelligence and innate sense of refinement. Angad is a graceless halfwit who couldn't talk his way out of a parking fine. The show may appeal to cynical playgoers whose expectations of political theatre are low. Most of the script feels like a battle-cry against the sins of sexist MPs and stingy patriarchs who refuse to transfer money to oppressed Sikh millionairesses who deserve extra luxuries. The White Chip is a confessional play about a theatre-maker's battle with alcohol. Sean Daniels is a successful American director who quit booze after a car crash that nearly killed him. Emerging from the wreckage, he phoned his estranged mother and learned that she too was struggling with alcoholism. An amazing coincidence. Mother and son bonded over a shared ambition to sober up. That's how the story is told in the programme notes but on stage the script unfolds as a series of biographical scenes. The narrator is 'Steven' (not Sean) and he recounts his life in strict chronological order, starting with his boyhood in a conservative religious family and moving on to his early encounters with the magic of theatre, and so on. Ed Coleman (as Steven) is highly watchable and the show has plenty of warmth and comic charm. But it's not as intensely dramatic as the programme notes suggest.


Daily Mail
2 hours ago
- Daily Mail
CHRISTOPHER STEVENS reviews last night's TV: Keep off the NHS wards Netflix, and leave it to the experts at Channel 5
Casualty 24/7: Every Second Counts (Ch5) Rating: Channel 5 is the home of shows about farmers, compilations of royal archive footage, and wistfully nostalgic celebrations of chocolate bars in the 1970s. You don't switch on expecting to see 15-part international political thrillers with Emmy-winning performances from Hollywood superstars and CGI spectaculars where terrorists blow up the White House. That is best left to the mega-budget streaming services. So why on earth is Netflix making a formulaic, NHS-by-numbers hospital documentary, when that's the speciality of traditional broadcasters with limited funds? Critical: Between Life And Death is a carbon copy of shows aired every week, not only on Ch5 but on the BBC and Ch4. Each series has its own angle: Ambulance follows the paramedic crews, Surgeons: At The Edge Of Life goes into the operating theatre, and 24 Hours In A&E charts the frantic pace on emergency wards. All of them are polished, well-practised productions. It's arrogant of Netflix to assume they can elbow their way into this market and give the formula a new twist. They can't: the six episodes of Critical feel robotic and slightly insincere, a cynical attempt to steal another broadcaster's successful format. The series is filmed across London 's Major Trauma System, a network of teams within the NHS. 'It's a big orchestra working together,' the voiceover explains, 'and everyone leaves their mark' — a vacuous and meaningless statement. The first episode follows the aftermath of an accident at a fairground, where several people including a 12-year-old girl have been injured on a ride. The injuries seem severe at first, with one woman suffering a fractured skull, but everyone escapes with their lives and the odd broken bone. The drama of this is dragged out for 40 minutes, at the same relentless pitch of anxiety throughout. There are no other storylines, no moments of humour or asides, with the result that the whole show becomes a trudge. Casualty 24/7: Every Second Counts, returning for its tenth series on Ch5, demonstrates how it should be done. The cheery voice of actor Dean Andrews begins by introducing us to the staff on duty, who this time include a ward sister called Jane who reveals a stash of lollipops and choccie bars — fuel for the busy day. 'Get ready to share a shift with the team at Barnsley Casualty,' announces Dean, with the chirpiness of a man on his way to the vending machine for a cup of milky coffee with two sugars. There's nothing as cataclysmic as a disaster at the fairground, but the medical emergencies grip our emotions because the film-makers know what really matters: people, not procedures. John, 67, fell and broke his wrist while feeding the cat. Nine-year-old Alice snapped her collarbone, and doesn't know whether to be horrified or thrilled by her predicament. And dog-walker Cerys, 21, keeps having asthma attacks . . . because she's allergic to dogs. Possibly time for a career change.