Inside ‘Strict' Princess Charlotte's ‘naughty' bond with favourite cousin & why they've been dubbed ‘double trouble'
WHILE Princess Charlotte is often spotted being 'responsible' around her brothers - one of her cousins helps to bring out her 'naughty side'.
The 10-year-old daughter of Prince William and Princess Kate has been seen joking around on numerous occasions with Mia Tindall, 11.
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We saw evidence of the second cousins' close friendship as they stepped out together on Christmas Day in 2023 and appeared to be giggling and sharing a joke together.
Previously we've seen sensible Charlotte correcting Prince Louis, but the two girls appeared to be deep in conversation and enjoying each other's company.
Editor-in-chief of Majesty Magazine Ingrid Seward told Fabulous: 'Princess Charlotte and Mia Tindall have become best friends, when the cheeky pair are together that is.
'Charlotte is known for being super responsible for both of her brothers, telling them what to do and when to do it at royal occasions.
'Mia is much more adventurous.
'But as total opposites they become as one as children do when they are together.'
Ingrid pointed out that their sweet bond mirrors that of Prince William, 42, and his cousin Zara Tindall, 44, who is mum to Mia, Lena, six, and Lucas, four.
The royal expert continued: 'Prince William and Zara (nee Phillips) were also partners in crime when they were young.
'Nannies would dread the two of them being together as they were super naughty, noisy and loved getting into trouble.
'Zara and William are still good friends today.
The Royal Family's New Safety Gadget for Kids
'Hopefully Charlotte and Mia will continue their friendship for as long.
'It makes royal get togethers much more fun and at their age they can still get away with being cheeky and naughty.
'In fact when they get together they can be double trouble but everyone loves them.'
Zara and her former rugby star husband Mike Tindall raise Mia, Lena, and Lucas at the Gatcombe estate, close to Zara's mum, Princess Anne.
A royal source told Fabulous that the royal parents - similar to Princess Kate and Prince William - are keen to give their kids a 'down-to-earth' upbringing.
They revealed: 'Equal dollops of fun, new skill learning, bit of riding, mini rugby and outward bound pursuits occur in the grounds of Gatcombe.
'Muddy clothes, wet dogs, shrieking giggles, play fights are all to be expected by the Tindalls.
'Mike and Zara are a real team, a strong family unit, genuinely still in love, they hold hands in public, and are the best company to be around.
'Mia and Lena are very fortunate to have a mother in Zara who is capable, kind, fun, a grafter, down to earth and a real force for good.'
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Royal fans have delighted in photos of Princess Charlotte and cheeky Mia, with one hailing them as 'royal cousin goals.'
One watcher added: "Love that Charlotte and Mia seem to be so close--cousins are just the best! "
Another remarked: "They are related but also seem like great friends."
A third voice observed: "Love their bond, just like their mum and dad growing up as kids."
Inside life of most relatable royal couple Zara and Mike Tindall
YOU might expect to find royalty spending their evenings eating fancy food, wearing designer gowns and dripping in diamonds.
But for one royal couple, life is a lot more 'normal' than you'd imagine - we're talking curry and beer nights and muddy dog walks.
From Ann Summers parties and tongue piercings to sibling spats in the royal box, here we take a look at how the Tindall clan has carved out a reputation as Britain's most relatable royals.
Mike and Zara met in Australia in 2003 during the Rugby World Cup, after they were introduced to each other in a bar in Sydney by Zara's cousin Prince Harry.
The couple's relationship blossomed back in the UK, but it wasn't all big elaborate romantic gestures - things happened naturally.
Mike later told the Daily Mail: 'We got introduced but didn't speak that much.
'Later on, [rugby player] Austin Healey gave me her number and said, 'She wants you to text her, to say where you're all going out after the final so she can come along.'"
Unlike Kate Middleton and Prince William, Mike and Zara have never shied away from a PDA and happily show their love for each other.
But when it comes to dates, they reportedly love nothing more than a night in front of the telly.
According to reports, Mike proposed at home while Zara was watching TV.
It was this level of normality which the Queen was said to have adored about her eldest granddaughter and her family.
One royal source said: 'Zara and Mike relax in their dog-strewn home with a box-set, a good curry and some lagers.'
If they do fancy a night out, it's understood Princess Anne babysits so they can enjoy a date at the local pub near where they live in Gloucester.
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The Guardian
21 minutes ago
- The Guardian
‘What would a kid do in this situation?' Engineering Starlight Express's dazzling return
Howard Hudson (lighting designer): I saw the original production many times. The scale and feel of it were unlike anything else. Complete escapism. I used to skate around the living room singing the songs. Andrzej Goulding (video designer and animator): It's such a part of popular culture – Starlight Express is even referenced on Family Guy. But I didn't know a huge amount about the musical aside from the fact that it was on roller-skates and it was trains. Tim Hatley (set designer): I was studying at Central Saint Martins in the 80s and went to see Starlight because its designer, John Napier, was coming in to do a project with us. We'd been doing Shakespeare but this was almost like a fairground ride. I mean, they high-fived the audience – some of whom had seen the show 50 times. Gabriella Slade (costume designer): People who saw Starlight when they were kids are now bringing their own families. In our audience you can be up close with some of these characters and costumes. That's quite rare. Tim Hatley: For those who saw it the first time round, we wanted to give it a different spin. With a flexible space like this, the world is your oyster. Do it in the round? Have it like a tennis court? We had lots of thoughts and lots of models. Everybody's waiting on me to come up with the concept. Lighting, video, even skating and choreography – they can't get on with their work until they know where the slopes are and how steep they are and where the video wall is. Gabriella Slade: The original Starlight is probably one of the most iconic shows of all time. From a design point of view, it's just heaven. On a revival it's important, I think, to reference what has been before to a degree – we wanted to continue that spirit but also, 40 years on, shape it for a new generation. Tim Hatley: We didn't want to just copy what John had done before. And we didn't want to be stuck with real trains running through tunnels and over bridges. Gabriella Slade: The brief is really tricky! In our early conversations, we talked about the core components of a train and how to present those in a costume for performers who need to be able to move as easily as possible and to fall safely. There was a lot of aerodynamic chat! Andrzej Goulding: As soon as we landed on the idea of train tracks through space, where we're sat as an audience became the race planet. There are other planets out there, like Electra's and Greaseball's. There's no direction of that in the script. It's completely left up to the team. References can come from anywhere but there's that amazing 80s advert for Milky Way with the red car and the blue car where they're kind of floating through the air. It's that kind of world. Tim Hatley: With video gaming, what kids are used to now is very different to playing with the old Hornby train sets. Andrzej Goulding: I had a train set as a kid, one of those little wooden ones. You pretend they're anything. Starlight was like mixing Mario Kart with trains and setting it in space. The reason you can go over the top is it's the point of view of a child. Having the kid, Control, on stage is a bit of a masterstroke – you can do even more because they're directing what happens. We'd often ask: What would a kid do in this situation? Gabriella Slade: We're in a child's bedroom – Control's outfit had to look like it had been made at home or bought, or a hybrid of the two. The jumpsuit vibe felt right – a bit cosmic. Howard Hudson: We had to keep the childlike essence of the piece – this is a child's imagination – while using such ultra-modern technology. So there are moments that are incredibly simple, like a single star flying in. Tim Hatley: There were three separate designs: auditorium, front of house and the show. As a theatre designer, you're not usually governing where the audience are going to sit – or worried about where they are going to be coming in and out. With this, it was a priority. Gabriella Slade: First off, you read the script, listen to the music and collate research images. From there, you form sketches or initial shapes and start to think about fabrics. Then you go into much more fully rendered concept sketches integrating the fabrics. That, of course, is costed and there's a process of research and development. We had a skate school for a number of weeks so were able to access our company quite early on for fittings. Some of the shapes are not form-fitting, so we needed to make sure they would be all right going around corners in the auditorium. Tim Hatley: I'm very old fashioned. I work with model boxes. We had an enormous one for this because there were so many collaborators who weren't necessarily in the world of theatre, but also because it was a space that didn't really exist yet. So people needed to understand the auditorium. Howard Hudson: The skaters had to get used to having mega bright lights in their eyes as they try to navigate these routes around the space. There are more than 600 moving lights in the show, which has probably one of the biggest rigs for a musical. For the Starlight sequence in act two we have 250 of these star units that fly above the audience – each has got six LEDs on it. Then there's however many kilometres of LED tape. Tim Hatley: We've got LED set into the floor and the skaters go over that. It's not like using the old tungsten lights which got very hot, but it does warm up, which causes the plastic on top to expand. So there was a lot of development. I was able to give Howard places to put lights where you normally wouldn't have them, like coming up through the floor. It became clear to me that it needed a rock concert feel. The songs were rearranged to have a more contemporary, poppy sound too. Howard Hudson: Early on, we built a pre-visualisation studio with huge screens and had a 3D version of the set on a computer. Andrzej was able to feed his content into that and we had the whole rig there. So we would watch actors rehearse a number then go into our studio and work out how to light it. Andrzej Goulding: Lighting and video are closely intertwined because there's only so many photons you can throw on stage. Howard and I have worked together several times. The Starlight rehearsal room had a full set and the two of us sat there tracking the race, drawing a map of what goes where. The hardest thing in theatre, compared with film, is that an audience can look anywhere. Our job is to pull the attention of the observer. We used a live camera in the races to help follow the characters. And we used a leaderboard. It took us a long time just to sculpt the journey of those races. Tim Hatley: For the ramps, we talked to skaters who had been in the show before. How do we get that amount of speed up in that amount of space? Those were technical problems which were all new to me. We collaborated with a company that builds skate ramps and parks. It's a timber surface – we've used some metallic paints in there too, to pick up the video. We've got moving scenery but where those joins are the surfaces have to be perfect and seamless. You can't have any little gaps that might get worse during the run. Andrzej Goulding: Video design should only be there if it's serving the story. If you're just doing something for the sake of looking fun, it weirdly makes things slower. There's also only so much spectacle you can do. A show is all about peaks and troughs, following the storytelling. If you're peaking the entire time, it's boring. Howard Hudson: Luke [Sheppard, the show's director] has the most technical mind. I'm convinced he could be a lighting designer if he wanted to. We've collaborated for years and have developed a kind of shorthand – we started out at the Finborough and now work on these massive commercial musicals together. Set designers build models and costume designers do drawings whereas lighting is so visceral. You need to see the lights in the space, so we're always the last people to come in. And we're doing our job in front of 150 people in the theatre. So it's a bit nervy. Gabriella Slade: It was important to make sure that each group of characters had a visual identity: carriages, trucks, steam engines, electric trains. They needed to feel cohesive when put together but have differentiations as well. Campbell Young and Helen Keane were our wigs and hair designers and Jackie Saundercock was our makeup designer. We had a brilliant collaborative relationship. The integration of the hair and makeup feels like one unit, which is always the aim. Each character has their own iconography, too. The designs need to be bold enough for you to identify who's who and where they are in the races. Howard Hudson: For Electra's song AC/DC we wanted laser units to give a quality of light you don't get from normal fixtures. We went down to a laser company and spent a day experimenting with the looks we could get. It almost comes out of nowhere in the show and adds another layer of spectacle you don't get out of a traditional lighting unit. Gabriella Slade: The backpacks have handles, which are important for racing together. For me, the backpacks suggest a power bank or a battery – and they light up so actually have their own batteries! It's all an extension of the actual costume. Greaseball's spark gun creates another really lovely extension of the image. It's got the same yellow and black scheme and that moment really fits the energy of her song. Howard Hudson: We couldn't use traditional manual followspots because people are moving so quickly. So we use an automated system called Zactrack. Performers wear tags that send tracking data to the lighting desk, and we're able to tell the lights which person to follow around the space. Andrzej Goulding: Video is slow. Every time we want to do something, it's got to be rendered. We've got all these multiple layers. You've got to put in a lot of hours. I'll sit up until three in the morning if I'm not happy with one little thing. I just want to make sure it's right. The scale of it was enormous. I tend to work on my own but got the biggest team I've ever had on a show. If you surround yourself with the right people it's fun to do. And super satisfying when everything's working in synergy. Howard Hudson: Whenever I go in and see it again, I think: Crikey, how on earth did we achieve that? Tim Hatley: There's not a bad seat in the house, and they're all very different. I don't think I've designed a show where that has been the case so much. Sitting in what we call the side tracks, looking down, you're very close. If you're at the back, you get the whole overview and a real sense of the video. Gabriella Slade: Some fans come in costume. It's so lovely to have people recreate the designs. I'm never not amazed that they want to spend the time to do that. Andrzej Goulding: The craziest thing was going on to do a 'normal' show afterwards – one without people on roller skates! You're wondering why everyone's moving around the stage so slowly. Starlight Express is booking at Troubadour Wembley Park theatre, London, until March 2026
Telegraph
24 minutes ago
- Telegraph
‘It's shed-ule, not sked-ule': The mispronunciations that annoy us the most
When Susie Dent, Countdown 's etymology guru, declared on Wednesday that the common mispronunciation of 'mischievous' as 'mischiev-i-ous' should now be considered acceptable, she caused a stir not just at the Hay Festival but among traditionalists across the country. The reaction to her intervention highlights the extraordinary capacity of mispronounced words to irritate the listener – and how everyone has their own particular bugbears. Here, Telegraph writers and editors identify the pronunciations that grate the most – and confess to some of their own errors. 'Haitch' – Christopher Howse, assistant editor In The Scarlet Letter by Nathaniel Hawthorne, the heroine is obliged by American Puritans to wear a big red A to show she has been caught in adultery. I'd like to see a capital H worn by anyone caught pronouncing it 'haitch'. Admittedly 'aitch' is a funny name for a letter. Q and R are funny too, but you don't hear people saying 'rar' instead of 'ar'. 'Haitch', though, is a case of hypercorrection and genteelism. It's like saying 'to my wife and I' because it sounds more polite than 'to my wife and me'. Children used to be told not to drop their aitches. The mistake is to think an aitch belongs at the beginning of 'aitch'. Last year I was impressed by the bravery of Amol Rajan, the Today presenter, who, after 40 years alive and a Cambridge degree in English, announced he was now going to start pronouncing 'aitch' correctly. Bravo. In 1862, Punch, in its class-conscious way, mocked the aspiration of 'aitch': 'She could not bear hoysters until there was a haitch in the month.' But I'm afraid it's a class-marker still, and we condemn our children to a life of social degradation if we let them say 'haitch'. Jeremy Butterfield, the editor of Fowler's Dictionary of Modern English Usage, thinks 'haitch' will prevail, 'unspeakably uncouth though it may appear'. Against this final assault by Chaos and Old Night, Amol and I will die in the last ditch, in which we may find room for you too. 'Wrath' – , royal editor The royal world is full of words ready to trip you up, from the lord lieutenants ('left-tenants', of course, rather than 'lew-tenants') to equerries. Even Princess Eugenie has to explain she is a 'YOO-jenny' with the handy comparison to 'use-your-knees'. That's before you even get to the aristocratic titles, names and homes. Cholmondeley pronounced 'chumley'; Belvoir Castle pronounced 'beaver'; Buckingham Palace without stressing the 'ham'. Earl Spencer has largely given up the struggle for the traditional pronunciation of Princess Diana's childhood home Althorp. The old 'áwltrop' has now been overtaken by 'all-thorp', the version commonly (and understandably) used by visitors. If you haven't grown up in that world, you haven't got a hope. So I try not to be snooty about people getting things wrong, as I've done quite a few times myself. There is only really one word that I notice every time: wrath. In 2004, when I was a bright-eyed young fresher, a clearly better educated young man at university corrected my misuse of 'wrath' in the middle of a story I was telling. I had said the American version, rhyming with 'Cath' or the northern UK pronunciation of 'bath', rather than the correct British version, 'roth'. It has annoyed me ever since – mostly because he was right. I always notice it in others and have been known to gently, privately point it out to spare others the same social embarrassment. It's a good job I changed my ways. That fresher who corrected me? Reader, I married him. 'Harassment' – Lisa Markwell, head of long reads My mother has always had a lot to say about pronunciation – or rather, mispronunciations. It's definitely rubbed off on me. In my youth, a boyfriend was quickly dispatched (by me, I should add, not her) because he said 'hyperbowl' rather than 'hi-per-bol-ee'; it was his second offence after 'epy-tome' rather than 'ep-it-o-mee'. In adulthood, what I have trained myself to do is never to correct, but to try and use the word with the correct pronunciation as soon as possible in the conversation. It's kinder that way. It comes from an annoying waiter sneering at me ordering scallops. 'Do you mean scoll -ops?', he intoned, snootily. But the creeping Americanisation of words really grinds my gears. The changing from noun to verb is now, appallingly, well established – but that's a rant for another day. The way in which words become their most base selves in the way they are spoken just feels wrong. Yes, British English (if we can call it that), is full of idiosyncrasies, but it's always been like that. Take lieutenant: who knows why it is pronounced 'left-tenant' but it very much is not 'lew-tenant'. See also, 'har-ass-ment' when it should be 'harass-ment' – that's one of the words my mother still gets exercised about to this day. Then there's 'schedule' which, for the avoidance of any doubt, is 'shed-ule', not 'sked-ule'. Any number of YouTube videos and US dramas will not change my mind. But if I'm honest, 'privacy' is the one that catches me out and I am furious that it turns out I've been getting it wrong all this time. It's 'prih-vacy', not 'pry-vacy'. Please respect my 'prih-vacy' at this difficult time. 'Espresso' – Kamal Ahmed, The Daily T presenter and director of audio An admission. I am a self-hating mispronouncer. And my big one is ' espresso ' – which I pronounce 'expresso'. Just like most other people. When it should of course be 'e-spresso', as there is no 'x' in the word – literally (a word I insert into sentences for no apparent reason, another bugbear). But if you do actually say 'espresso' with an Italian flare you sound a bit ridiculous. Like saying 'panino' in an Italian deli when you want one sandwich with prosciutto (try pronouncing that properly) and buffalo mozzarella. And no-one says Paris like they are French, do they? Unless they are, literally, French. 'Twenny' – Poppy Coburn, acting deputy comment editor The resurgence of the regional accent has a lot to answer for when it comes to linguistic bastardisation. Familiarity breeds contempt, and so I reserve my deepest distaste for the Essex drawl. Born in Southend and raised in Braintree, I experienced the full breadth of the cockney-ish interpretation of the English language, from 'shut uppp' to 'innit' to (oh God) 'reem'. Words would become needlessly elongated by a refusal to vocalise 'er', and so 'proper' became 'propaaa' and 'water' turned to 'wor-arrrrr'. But by far the most objectionable trend was the dropping of consonants, with 'twenty' morphing into 'twenny'. I once made the mistake of saying 'twenny' to my grandmother, a Norfolk-born ex-headteacher who took great pride in her parents having arranged for her to take elocution lessons. I soon found myself an unwilling pupil in her pronunciation lessons. My sister and I now have completely diametric accents and articulate words so differently that we often seem to be speaking other languages. I may have been mercilessly teased at school for sounding like the Queen, but I've come to appreciate my slightly posh voice. It certainly helps when I'm trying to be understood over the phone or talking to a non-native speaker. 'Archipelago' – Mick Brown, features writer A friend of mine has a singular way of pronouncing the word that describes a group or chain of islands within a body of water. As we all know, the word is 'archipelago' – pronounced 'arki-pel-ago'. She pronounces it as 'archie pel-ago', as if she's talking about a 1930s music hall act. This is a result of pronouncing a word as you read it, not as you hear it said. I can understand that. Archipelago is not a word you hear in everyday speech. And who am I to correct her? For years I pronounced 'epitome' as 'epi-tome', rather than the correct pronunciation, 'e-pit-omee'. And I still struggle with the word hummus. Although I don't think there is consensus over the correct 'British' pronunciation, I do know that Delia Smith and I are both wrong. Delia was once caught on camera for a cookery show, standing at a supermarket shelf apparently buying something called 'who-moose', as if it were a subspecies of the large North American mammal. While, for some reason, I got it into my head a long time ago that it was pronounced 'hommus', and I still can't stop. That's the problem with mispronunciations, they're like earworms. Once they're lodged in the brain it's almost impossible to get them out. I don't think I'm alone in stumbling over the word 'mispronunciation' itself. A common complaint is that American pronunciations have infiltrated the English language. To hear Americans talking about 'erbs', with a silent 'h', is like fingernails screeching on a blackboard. And who is this famous artist they are constantly referring to as Van Go? A friend in America recently sent me a list of the three hardest things for an American to say: 'I'm wrong', 'I need help' and 'Worcestershire'. Just keep them guessing. What mispronunciations annoy you the most – and which are you guilty of? Let us know in the comments.
The Sun
24 minutes ago
- The Sun
The Grand Tour fans threaten to boycott Amazon Prime hit as they fume over new line up after Clarkson and co quit
FANS of The Grand Tour have threatened to boycott the Amazon Prime hit series. Longtime viewers were left fuming over the new line-up after Jeremy Clarkson decided to quit the programme. 8 8 8 After departing the BBC and leaving Top Gear behind in 2015, The Clarkson's Farm star teamed up again with his longtime colleagues. Alongside James May and Richard Hammond, he brought the on-screen band back together to make a different motoring show in 2016. The trio went on to front five full series of The Grand Tour, before airing one last special as a grand send off in September 2024. It marked the end of a 22-year-long collaboration between Jeremy, 65, James, 62, and Richard, 55. Now, it's been revealed that the series will continue on Amazon Prime but with new presenters leading the format. Thomas Holland and James Engelsman are a viral duo from the Throttle House car YouTube channel and they will be the new faces of the show. They were revealed to be the replacement from the original duo after they seemingly impressed bosses with their platform that boasts over three million subscribers. The duo will be joined by viral trainspotting personality, Francis Bourgeois, who received international fame for his enthusiasm for railways. A source previously told us: "Thomas and James are as knowledgeable about motors as Jeremy, Richard and James — the only difference is they're younger, cooler and a lot more social media savvy. "Francis became famous for his love of trainspotting and will be bringing his humour to the show." However, droves of fans have been left disappointed by the news as they flooded X, formerly known as Twitter with comments. One viewer posted: "I will watch a grand total of 0 episodes." A second stated: "Oh F**! What is the actual point? This will be a bigger disaster than Top Gear was." "The Grand Tour was created for Jeremy, Richard and James so this is feeling wrong. Why not give it a fresh new name and not linked to what was before," enquired a third user. The Grand Tour episode guide How many seasons of The Grand Tour are there and where do they take place? The Grand Tour launched on Prime Video in 2016 and quickly became one of the streamer's biggest hits as hosts Jeremy, 63, James, 60, and Richard, 52, felt it was time they move on from Top Gear hit the road. They have now brought five epic series of motoring adventures to the small screen, each taking place in different locations and even featuring celebrity guests. Series 1 Series 1 aired from 2016 to 2017 and took the presenters to a number of foreign locales, including Jordan, Morocco and Italy. The series is comprised of 13 episodes, with episodes 7 and 8 making up a two-part special set in Namibia, where the trio embarked on an epic beach buggy challenge. Series 2 Jeremy, Richard and James returned for more motoring actor in series 2, and drove their way across Europe as they tested out some of their dream vehicles like the Bugatti Chiron and the McLaren 720S. This series, which aired from 2017 to 2018, is made up of 11 episodes. It features regular 'studio segments' filmed in the team's permanent tent in the Cotswolds, and had regular participation from celebrities with two guests going head-to-head on timed laps every episode. Series 3 In 2019, the presenting trio crossed continents - from North America, to South America, to Europe and Asia - putting both new vehicles and classic sports cars through their paces. This series was the last to feature the regular studio segments, car reviews and timed laps. To mark the end of this era the final episode's last segment includes a montage of scenes featuring the presenters over the course of their career as a trio, not only from this programme, but also from their time hosting Top Gear. Series 4 This series marked a complete change in format for The Grand Tour as it consists entirely for feature-length specials which aired between 2019 and 2021. The first two chronicle Jeremy, Richard and James' epic adventures across Asia and Africa, while the third and fourth episodes saw them put foreign cars to the test on their home turf. And fitting American vehicles through Scottish roads is no easy feat. Series 5 Following the same format as series 4, the fifth and final series of The Grand Tour also consists of four feature-length specials. The first of these hits screens in 2022 and follows the trio as they travelled through Norway, Sweden and Finland in three Rally-Inspired Sports Saloons. The second episode was another Euro adventure while the third took the presenters back to Africa. The fourth instalment of the series and final ever episode of The Grand Tour, titled One for the Road, premieres on September 13, 2024. It promises to be an emotional one as the trio set out on one epic final adventure in Zimbabwe and reflect on their 22-year-long working relationship and friendship. While someone else exclaimed: "I mean what's the point the show was created for Jeremy, James and Richard." As a fifth noted: "The Grand Tour was created for Jeremy, Richard and James specifically. By all means have a new motoring show on your platform with these guys, nothing against them at all. But it would be better to just have it under a different name." A sixth fan said: "What a mess. Amazon might as well take all the money they'd be spending on this, put in a dumpster and set fire to it." They added: "An absolute waste of time and money." 8 8 8 8
