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Sky issues final warning as cheapest ever TV, Netflix, and broadband deal ends this week

Sky issues final warning as cheapest ever TV, Netflix, and broadband deal ends this week

Sky is counting down to the end of its spring sale as a popular TV and broadband deal is set to expire this week. Last month, the provider dropped its popular Essential TV and Full Fibre 300 broadband bundle to the 'lowest ever price' of £35 per month.
Sky has also doubled the broadband speeds on the plan, offering 300Mbps for the price of 150Mbps. However, Sky has now posted a countdown on its website confirming the deal will end at 11.59pm on Wednesday, May 14.
Sky's Full Fibre 300 usually costs £29 per month without any TV access, but the current deal includes more than 100 channels such as Sky Atlantic – home to The Last of Us and The White Lotus – with free Netflix and Discovery+ subscriptions. It also provides free-to-air channels like BBC, ITV, Channel 4 and many more.
This offer rivals Virgin Media's Bigger Combo bundle, which includes more than 200 channels and 362Mbps fibre broadband for £34.99. Although this is a penny cheaper than Sky, it offers around 60Mbps faster broadband and includes more than 100 extra channels, there are two key selling points of the Sky deal that Virgin can't beat.
The Virgin plan does not include Sky Atlantic or Netflix, which could be a deal-breaker for those keen to watch hit shows like The Last of Us or the return of Squid Game and Stranger Things. Another contender is BT and EE's NOW Entertainment and Full Fibre 300 plan, which does include Sky Atlantic and Netflix but will set shoppers back £51.99 per month.
Sky is also offering customers the opportunity to upgrade to its new Ultimate TV bundle, which includes more than 35 additional channels including Sky Showcase, Sky Crime, Sky Documentaries and Sky Comedy, for an extra £4 per month. There's also the option to add Sky Cinema and Sky Sports to for an additional £10 and £20 respectively, reports the Mirror.
These services can be accessed through Sky Stream, the brand's latest device that provides TV and streaming services via WiFi, eliminating the need for a traditional satellite dish. What's more, new customers can benefit from Sky's One Touch Switch scheme, which means they don't have to contact their current broadband provider to switch.
To simplify the process, Sky will directly contact the existing provider to manage the switch. However, shoppers should note that to get Sky's TV and broadband plans run on a 24-month contract, with Sky stating its prices 'may change' during this period.
Earlier this year, Sky introduced a 6.2% increase in its TV and broadband costs, suggesting a similar rise could occur in April 2026. Despite this, Sky differentiates itself by allowing customers the option to terminate their contract early if a price rise is announced.
Sky has earned many positive reviews from its customers on Trustpilot, where one says: "Sky Stream is a game changer. Switched a few weeks back and it's the best decision I've ever made. Installation takes care of itself, the remote even auto tunes itself to the TV. The best part is the ability to have a single charge for all your streaming subscriptions."
Another said: "I've been with lots of companies to get my TV and internet but the best service I have received out of them all is Sky. We did change to other companies because of the price but always go back to Sky."
However, this customer was less-impressed with their experience, saying: "I wasn't happy with the service provided by Sky, phoned up to change my deal and was passed around like a parcel. Eventually, I got to speak to someone who knew what they were doing. I am happy my issue was finally resolved but took a lot of work."

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Meghan won't take orders from anyone – that's why her brand's in chaos & it's all her own fault, expert slams
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Scottish Sun

time28 minutes ago

  • Scottish Sun

Meghan won't take orders from anyone – that's why her brand's in chaos & it's all her own fault, expert slams

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Sydney Sweeney exudes glamour while arriving to GMA after breaking silence on her split from Jonathan Davino
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Sydney Sweeney exudes glamour while arriving to GMA after breaking silence on her split from Jonathan Davino

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Sadie Sink on the vulnerability of her star turn on Broadway
Sadie Sink on the vulnerability of her star turn on Broadway

Time Out

time2 hours ago

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Sadie Sink on the vulnerability of her star turn on Broadway

At the tender age of 23, Sadie Sink is already a Broadway veteran. She made her Main Stem debut as a standby ragamuffin in the 2012 revival of Annie and later assumed the title role. A few years later, in 2015, she was a young version of Elizabeth II in The Audience. (The older version? Helen Mirren.) Since then, she has achieved nationwide fame for playing troubled teens on Netflix's Stranger Things and the Brendan Fraser drama The Whale. But none of those teens was quite as tormented as the one she currently plays at the Booth Theatre in John Proctor Is the Villain. Kimberly Belflower's suspenseful drama, directed by Danya Taymor, centers on a group of high school girls in rural Georgia who draw connections between Arthur Miller's The Crucible and sexual situations in their own lives; Sink is Shelby, a classmate who returns after a lengthy and mysterious absence. 'Shelby is one of the most meaningful characters I've ever played,' Sink says. 'It's been the thrill of my career so far.' Her star turn has earned her a Tony nomination for Best Lead Actress in a Play. We spoke with her about the excitement of Tony season, the demands of her role and the songs that help her get into character every night. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. Interviews have been edited for length and clarity. How have you been processing the madness of Tony season? It's the biggest thing that's ever happened to me! One thing that keeps me focused is that I still have to do my job; we're still doing the show eight times a week. That's been a challenge, but also something I've been super appreciative of. And the part is challenging enough already! What do you think are Shelby's strongest qualities? Shelby is incredibly smart—that's not so obvious to other people—in a way that's beyond her years. What drew me to her was her honesty, which I think is something a lot of people struggle with. Personally, I could never be as honest and blunt as Shelby is. I was really drawn to how she can maintain that quality throughout the trauma she's suffered, and the way she carries that trauma in such a complex, beautiful, messy way. Digging into that and peeling back her layers was such a long process—and one that I feel like I didn't actually have a full grasp on until right before opening, to be honest. How has the role evolved for you over time? In rehearsal, we got into some of her wackier and nerdier sides, where she's a little bit more energetic and awkward. In previews, we stripped that back and brought back some of my initial instincts; we grounded her a bit and found places for her to relax so that the audience could see the many dimensions of who she is. I learned so much from exploring and pushing the boundaries of a character and then reeling it back in. That's all thanks to Danya; I saw her do that with every actor in this ensemble piece. What do you remember about her directing you for your big scene with Amalia Yoo's character? I think it's the most beautiful scene in the play, but I'm biased. You get to see a vulnerable side of Shelby. This scene went through many phases. It felt awkward at first; there's a wall for her in letting her vulnerability peek through, because until that point she doesn't let you see that anything is wrong. Letting that go, in a really honest way, took some time to unlock— especially when you add an audience, because we're sitting on the edge of the stage for that scene. There might be people in the audience that are just seeing Max from Stranger Things, so there's automatically a wall that I, as Sadie, am putting up. But Danya made me feel I had permission to let that down. She told me something that shifted how I approached the scene: That any choice I make, anything I say, has nothing to do with me. It's only Shelby. And if I can just be a vessel for her, then the vulnerability can open up and it can feel honest. That was so important to hear from a director—for her to call out the anxieties that I have in that area, and allow me to feel safe and protected. The play gets intense at some points. How do you get into character? There are 30 minutes in the play before I go on stage. So while everybody else is warming up, I'm not; I wait until everyone else is on stage, and that's my warm-up time. I have the space to get into character, because it's so quiet backstage. I have a few songs that are triggers, or that help me associate with Shelby. If I listen to one of those songs, then I'm good. I've been listening to 'Limp,' by Fiona Apple. I think Shelby would love Fiona Apple. Also, 'Liability (Reprise)' from Melodrama by Lorde. That's a huge one. It's weird how much muscle memory comes into play. We've done the show so many times at this point; each show feels different, but your body knows what to do and knows what you need to access at different points. That's been a huge learning curve. It doesn't get worse or less true the more you do it. It becomes second nature, and you find different things in the performance that stick out. Is there a line in the script that particularly speaks to you? This week's line was in the gas station scene. It's when Shelby says, 'I think I'm going to be super messed up for a really long time, but I don't know if I'm fully equipped to start that journey right now.' That was always my favorite in rehearsals, but it really came back around this week; it's such a mature thing for her to say but also so heartbreaking. I was emotional thinking about what the rest of Shelby's life looks like, carrying what happened to her. How do you wind down after a performance? At the end of the show, I'm so winded from that last dance. I've given all the energy I have left. I have 45 minutes in the car where I can listen to music. When I get home, I pretty much go to bed. I would be remiss to not ask you about Charles Strouse, the composer who wrote Annie and passed away recently. What do you remember of him? It was really heartbreaking to hear and made me appreciate my time in that show. I met him at the opening night party for Annie. What he did for Annie —that kind of raised me in a way. That's the legacy he created and I'm so appreciative of him. What do you remember about going on in the role of Annie for the first time, after Lilla Crawford had left the production? I'm still friends with Lilla—she's a good friend of mine. Once she left, me and another girl shared the role. I remember the first time I went on for Duffy, the first orphan I played, but I can't remember the first time I went on as Annie. I do remember a put-in that we did: I thought it was so bizarre that the casting directors showed up, and maybe [director] James Lapine and [choreographer] Andy Blankenbuehler. I later realized that that was my audition to step in as Annie. It felt very adult and very serious. I cannot believe someone trusted me to go on stage and do that. Mia Farrow, who is also nominated in your category, recently came to see your performance. How did that go? It was amazing. She did The Roommate at the Booth, so she knew a lot of the crew that worked there. She really loved the show. And I love her so much. She is so kind. I got to meet her at the Tony nominees luncheon. She was like, 'Who do you want to meet?' I said, 'Jonathan Groff.' So she introduced me—which was huge. I will never forget that. What did you say to him? I just said I was such a big fan. I think that's all I said. I hope I can meet him again soon, because I'm obsessed with him. Have you been able to see him yet in Just in Time? No, because we're on the same schedule. The weird thing is, even if you aren't on the same schedule as another show—if you have a night or an afternoon off—it's hard to get yourself to midtown to sit through another show. But I did get to see Oh, Mary!, which was awesome. Maybe you'll get to see him again at the Tonys. Who are you bringing as your date? My brother!

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