Tourists book 'hotel' for Italian holiday but arrive to something totally different
A tourist was left baffled after arriving at what he believed was a luxury resort in Sorrento, Italy, only to find that his party were the only guests there. Matt Hey, from Sydney, Australia, had been travelling across Europe for four weeks, living in cheap accommodation in cities like London, Rome and Pisa to make the most of the experience travellling with friends.
However, the party then decided to splash out on their next accommodation. As they were heading towards the Italian coastal town Sorrento, they decided to book in to what they believed was a luxurious resort by the sea.
However, they soon realised their mishap when they arrived at their holiday destination. Taking to TikTok, Matt was seen recounting the moment they realised their "hotel resort" ended up coming with a lot more than they'd expected.
"I'm just baffled, I'm honestly baffled," Matt said at the start of the video as he looked out over the view of the nearby sea. "This is bizarre."
"So we got here, we walk through the gates up there," Matt said pointing to the gates in question. "We walk down here because Google Maps just said it was at the end there. We walk all the way down here and I'm saying 'wow, isn't this nice and peaceful and quiet.'"
He went onto say he started to think it was weird that they hadn't seen another person on the premises. As they get to the main building, he goes onto explain that he first thought it looked like someone's house before assuming it's the reception area where they could check in, or possibly one of the rooms.
"Anyway, so then I'm like, let's go around looking this way and we'll have a look," he said before the video cut to them arriving at a different area. "And we get down here and this is what I see."
Warning: Below video may contain offensive language
He went onto show a big patio with a view of the sea. There were also some tables and chairs to sit down at, but again not a single other person could be seen. He then turned the camera once again towards the house, which has a balcony with a big glass door on the first floor.
"There's like a little wedding reception area sort of thing," he said before turning the camera to a different door of the house with white curtains hanging from it.
They then walked closer to the end of the patio, which showed that the "hotel" was located right on a cliff which looked down onto the bright blue water, with a beach right below them.
"Looks amazing, right? So I'm thinking, 'why haven't I seen anyone yet?'" he questioned, before revealing that a woman suddenly walked up to them asking if they needed help.
Matt went onto say that he'd told the woman that they were in the wrong place, but said they were looking to check in to their room, to which she replied she'd call the concierge. They then continued to explore the area, finding another area that looked like a "wedding dance floor" according to Matt, who said he believed there must be smaller villas for them to stay in.
The concierge then met them, and they proceeded to do the check in at one of the sitting areas by the dancefloor, before he handed them the key. He then took them to the house, which also looked like it'd been decorated for a wedding.
"And to be clear, we thought we were getting a hotel," he said. "Don't get me know, I'm not complaining, we're going to have a beautiful time here. But we didn't need an entire wedding venue. I'm rattled, actually. Like, genuinely rattled."
In the caption of the video, Matt revealed that they'd paid $600AUD (£292) per night to stay at Villa Antiche Mura Relais in Sorrento, which describes themselves as "villas for weddings" on their website.
Taking to the comments, people were shocked when they realised just how much they'd gotten for their money. But some were also baffled as to how they'd managed to make this "mistake."
"Is this Sorrento?? How is this 600 dollars?????" one baffled person asked. Another suggested: "Invite some locals round for a party not like you don't have set-up haha."
"Send the details I've found my wedding venue," a third viewer said.
Another person shared: "I got married in Tuscany because we got the wedding plus a full week's accommodations for 30 people for less than we would have paid for a single-day sit-down dinner wedding for 150 people at a major US city."
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The National
17 minutes ago
- The National
I'm talking to two important Scottish artists today – here's why
The events of the world today make this more urgent than ever. I've probably quoted before in these columns the lines given to me by Sandy Moffat which formed the closing words of a speech by the distinguished German musicologist Hans Heinrich Eggebrecht, delivered at a symposium held in May 1995 in the Hochschule der Kunste. They bear repeating. The conference was entitled May '45 – Remembrance and the Future – On the Representation of the Non-Representable in the Arts. Here's how Sandy introduced the context: 'The terms of the symposium were set out as follows: 'In a world plagued by social and ethnic conflict, by war and terrorism, schools of art and design and schools of music are confronted with the challenge to make a contribution toward peace among nations, not only through the work they each carry out in the fields of the arts and education, but also through international co-operation'. 'All of the speakers – from Russia, France, the Czech Republic, Hungary, the United Kingdom, the United States, Israel, Poland, Latvia, Estonia – offered outstanding papers. 'Some were moving, others gripping and some electrifying, especially On the Relationship of Music to Memory, which Eggenbrecht started thinking about on May 8, 1945, as he lay wounded in a prisoner of war camp, and most especially his closing words. And these are Eggebrecht's closing words: 'Compose, play, teach and contemplate music as devotedly as ever, but in the knowledge that war and Auschwitz did and do exist; and in the knowledge that nothing is more vital than art for the deepening, the honing, the sensitising of our awareness; but also in the knowledge that music can be ambiguous, that it can – yes, even the music of Beethoven, Liszt, and Bruckner – be used in the service of totalitarianism, war, genocide. 'Therefore, for all your devotion to art, do not lose sight of that which is the basis of everything: experience, which carrying with it as it does the consciousness of war and Auschwitz can be the defining authority for the active rejection of standardisation, intolerance and totalitarianism.' Now, here's the question. Can you show me a minister for the arts in ANY European country who would endorse that? When Sandy, Ruth Nicol and I foregather this afternoon, that will be our opening text. Do come if you can. But if you can't, another event will soon be taking place where such concerns will also be foregrounded. Scotland in Europe and the Scottish Centre for Geopoetics are organising a Festival of Hope at GalGael, 15 Fairley Street, Govan this coming Saturday to mark almost two years since the death of the poet Kenneth White. Alistair McIntosh and Norman Bissell will speak about him and show an excerpt from their film Expressing the Earth. There will be some traditional music, workshops and a stall. What connects these two events is the recognition that all the arts constitute the most vital component of human life – or let me put it this way, the arts are 'human existence come to life'. All the arts – literature and poetry, painting and sculpture, music of all kinds, architecture, and how we use the adult languages of communication to engage with the priorities of the arts – must be at the forefront of our concerns in an era where lies, misinformation, misdirection, confusion and disillusionment seem to be the steady practice of almost all mass media and almost all public-facing politicians and the faceless big business international corporations behind them. The situation is as dreadful today as it has ever been in terms of media saturation. The evidence of genocide, bloodshed, violence and power we can see and read about every day from the uncomfortable securities of our living rooms – safe for the time being perhaps – is merely evidence of how far so many in power have departed from such priorities. The arts are so important in this context because they connect humanity to reality immediately and in ways that nothing else can do. We can remind ourselves of those priorities and this connection with a poem by Kenneth White himself, A High Blue Day on Scalpay. Here it is, from his collection Open World, Collected Poems 1960-2000 (Polygon): this is the summit of contemplation, and no art can touch it blue, so blue, the far-out archipelago and the sea shimmering, shimmering no art can touch it, the mind can only try to become attuned to it to become quiet and space itself out, to become open and still, unworlded knowing itself in the diamond country, in the ultimate unlettered light. He says, 'no art can touch it' and repeats the phrase, and speaks of 'unlettered light' but this is a poem, letters are its matter, words are its medium, poetic form is its means of conveyance, and the 'touching' is right there on the page, between the words as we read them and the imagination realising the 'high clear day', which exists only in nature, in reality. By contrast, TV, film, radio, politicians' speeches, can sometimes evoke, occasionally illustrate or perhaps just refer to this connection but none of them can present it with the immediacy of a poem or a painting or a piece of music. Another way of approaching Kenneth White and the virtues of the arts is through the idea of 'geopoetics' which is associated with him so closely. Geopoetics in this understanding is a sensitivity, physical, spiritual and intellectual, outwardly enquiring. It isn't so far away from psychogeography, which is an understanding in the perceiving person, the singular mind at work. There are numerous books and essays and a long tradition of ecological thinking about and within literature and the arts. Louisa Gairn's book Ecology and Modern Scottish Literature (2008) and Monika Szuba's books, The Poetics of Space and Place in Scottish [[Literature]] and Contemporary Scottish Poetry and the Natural World, discussing poets such as John Burnside, Kathleen Jamie, Robin Robertson and Kenneth White, are especially pertinent. Both were published in 2019. One of the closest readings of Kenneth White in the totality of his achievement and the extension of his legacy, is Norman Bissell's Living on an Island: Expressing the Earth (2024). This is an extraordinary compendium, an autobiographical account of Norman's accommodation with the ecology of his own experience of life on a small island, as he has lived on Luing in the Slate Islands for many years. The book delivers a growing understanding of a community of care and concern, but also an intellectual enquiry into the term 'geopoetics' itself: A way of living in what the American poet Charles Olson called a 'human universe' – an earth of actual value. But it's more than that. It's a meticulous literary exploration of the author's grateful relationship with Kenneth White, taking into full account White's long residence in Brittany and his experiences as a world-traveller, geographically and spiritually, an intellectual nomad, yet a poet grounded in glancing but profound realities, shorelines of understanding, coastal territories, tidal places. Bissell tells his own story of meeting White and then weaves into it their parting company and his search for, and reconnecting with White, years later. He includes a full exposition of White's writing, documenting his own growing comprehension of an earth increasingly under threat in a climate of political encroachment. Bissell deftly and fairly indicates some of White's own limitations as well as summarising the sometimes harsh and reflexive criticisms White has come in for. The book is a quest narrative. Bissell takes us into his confidence, and locates White, and himself, in the company of a wide range of other writers, ecologists and artists whose priorities are shared, sometimes exchanged and largely endorsed, including Nan Shepherd, Jessie Kesson, Katharine Stewart, Rachel Carson and Joan Eardley. His argument is that these women were in pursuit of similar or related and overlapping realisations in their respective works. White's writing may be masculinist in various obvious ways, but his concerns are not a male prerogative. In fact, one might argue, feminine principles are deeply ingrained in them, no matter how macho, or even, one might say, misogynist, he can sometimes be in his writings. Ultimately, Bissell's book is an affirmation of a world where truths can be accurately valued. And it's a moving history of a friendship. Here's his poem, Elegy for KW: It's hard to take in that he's gone the man who was such a big part of my life and thoughts for almost sixty years. I think back to those Jargon Group days when he opened my mind to so many ideas and more than ideas to the joy of life itself and how after we went our separate ways he to pursue a cultural revolution I to foment a social revolution I tracked him down at the Sorbonne and en Bretagne after twenty years. Reading his work this past year when writing my book about geopoetics I felt I got to know him even better and to tell my truth about how I found him. His books will live on to influence even more seekers of truth and to spread the good news of the creative expression of the Earth. That afternoon when I heard of his passing we walked along the shore and out in the bay the rigging on a white schooner clanged a death knell for the life of Kenneth White. And this is reminding me of those wonderful lines of Charles Olson: 'There are no hierarchies, no infinite, no such many as mass, there are only / eyes in all heads, / to be looked out of' – which when I think of it now extends my own remit all the way around the world to New Zealand, where I spent 14 years of my own life, and I'm remembering the first book of my friend the artist and poet Gregory O'Brien, entitled, Location of the Least Person (1987). And this now draws me to my last point here about Kenneth White's legacy, that it stands as a permanent reminder and encouragement, so that we know that the world is in need, even of us, however damned and marginal we might seem to be. The legacy of White's work may not directly be the spread or escalation of 'geopoetics'. The poetic initiatives already being undertaken in the condition of global climate catastrophe have their own dynamics, and as Norman Bissell explains in his book, White described Geopoetics, but did not define or originate its meaning or purpose. Its practise predates him, overlaps with his contemporaries, and goes far beyond without reference to him. I'll come back to it. The legacy of his writing lies in the threefold identification of its genres: poetry, fictionalised travel journals, and skipping, skimming philosophical essays, referencing rich sources. Each genre is written lightly, some might say, superficially, glancing at great depths below, indicating other writers of far more difficulty, challenge and provocation, but embodying a spirit of enquiry and observation. He can be flat-footed, but never very ponderous. He can risk banality, pretentiousness and stridency, but is not over-wrought with anxiety or gestural ennui. What seems like innocence can be insouciance. This means that a sober critical account of his poetry is yet to be made. As Guy Davenport says in an essay on Ronald Johnson, 'A poem as it is generally understood is a metrical composition either lyric, dramatic, or pensive made by a poet whose spiritual dominion flows through his words like the wind through the leaves or the lark's song through twilight.' White's actual practice doesn't quite match that conventional romanticism. But if his legacy is a prioritisation of open enquiry, opposed to the closed mind of predestined conclusions, and that's no bad thing to be remembered for, and for future generations to take forward. And it's a lasting reminder that what always matters most is the reality all our arts are founded upon, draw themselves from, and, yes, can take forward – even against all the odds, vast as they seem at present.
The National
20 minutes ago
- The National
Vittorio Angelone on Kneecap, the Troubles and the Edinburgh Fringe
The Irish-Italian comedian is no stranger to voicing his own opinion, having made a name for himself online with nearly 500,000 followers across social media. He made his Edinburgh Fringe debut in 2022, where he was nominated for Best Newcomer at the [[Edinburgh]] Comedy Awards. This year, Angelone returns with his brand new show, "you can't Say Nothing any more", which plays on three main themes: The concept of offensive comedy, growing up in the wake of the Troubles, and the responsibility on comedians to be activists. (Image: Rebecca Need-Menear) On the third point, Angelone has been frequently vocal about his support for Palestine, and has frequently defended Irish rap group Kneecap, who are known for their pro-[[Palestine]] views. The trio were recently axed from Glasgow's TRNSMT festival, with organisers citing "police concerns". 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Daily Mail
37 minutes ago
- Daily Mail
MAFS 2026: Here come the (very hot) brides and grooms! Daily Mail unveils full cast ahead of show's highly anticipated return
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Julia Vogl A former journalist and celebrity interviewer turned confidence coach, Julia Vogl has rubbed shoulders with Hollywood royalty including Cher, Kate Winslet and Matthew McConaughey. Now based in Sydney, she helps women reclaim their self-worth through speaking events and online programs. Friends say she's magnetic, articulate and 'has a way of getting people to reveal their deepest secrets without even realising it'. Julia's also a style chameleon - she's rocked everything from pixie cuts to waist-length hair - and insiders believe she could be one of the show's breakout stars. Brook Crompton A sun-kissed glamour girl with a picture-perfect Instagram feed, part-time model Brook Crompton is a social butterfly with a fiercely loyal streak. 'Brook's the life of the party but has her friends' backs no matter what,' says a mate. When she's not fronting the catwalk Brook works as as talent acquisition specialist. She already boasts over 5,000 followers on Instagram. Rebecca 'Bec' Zacharia One of Adelaide's most recognisable socialites, Rebecca 'Bec' Zacharia has been a fixture in the city's society pages for more than a decade. A graduate of the elite Wilderness School, she hails from a prominent family - her father Lee was famously featured in Cleo's Most Eligible Bachelors list in the '80s. Bec carved out a successful career in London real estate before returning to Adelaide to be closer to family. She's been featured twice in 'Singles Ready to Mingle' lists and is known for throwing lavish dinner parties. 'Bec moves in the right circles, knows how to turn heads and has a razor-sharp wit,' says a friend. Melissa Akbay Melissa Akbay is a stylish free spirit who blends fashion, wellness and social media influence into her daily life. Friends say the Canberra-based bride is 'effortlessly cool' and known for her spontaneous travel adventures and carefully curated Instagram feed. She's fiercely loyal to her inner circle but has no patience for pretence - 'if you cross her, you'll know about it'. Ankita Karungalekar Sports presenter Ankita Karungalekar has worked with Cricket Australia, the Mumbai Indians and Mumbai City FC. She's a Miss India Australia runner-up and Miss World Australia state finalist, with a reputation for poise under pressure. Off camera, she's passionate about travel and is known to juggle her career between Australia and India. Friends say she has a competitive edge that could make her a formidable presence in the experiment. MEET THE GROOMS Chris Nield AFL player Chris Nield has the athletic drive and discipline that comes with years in elite sport. Friends describe him as 'a true Aussie bloke' - humble, hardworking and fiercely loyal to his mates. Off the field, sources say producers see him as the season's 'strong, dependable' groom - but whether that makes him a hero or a bore remains to be seen. Grayson McIvor Gold Coast-based recruitment agency owner Grayson McIvor is confident, stylish and effortlessly charming. Known for networking his way into every room worth being in, Grayson is just as comfortable in a boardroom as he is at a Sunday session. Friends say he has a taste for luxury and enjoys the finer things in life - but he's also a genuinely supportive friend. Insiders believe his polished exterior could hide a more complex emotional side. Daniel Hewitt A slick Melbourne real estate agent with a taste for designer suits and European cars, Daniel Hewitt is competitive and confident. Friends say he has a magnetic personality and 'can talk his way into - or out of - anything'. He's also close friends with well-known male entertainers, including Aussie stripper Will Parfitt, fuelling speculation that his buck's party will be one to remember. Scott McCristal Scott McCristal has a taste for the spotlight. He's built multiple ventures and amassed a loyal social media following. Friends say the businessman and former reality TV contestant is cheeky, flirty and likes to push boundaries - both socially and romantically. 'Scott's the kind of guy who'll either sweep his bride off her feet or drive her mad,' predicts one insider. Luke Fourniotis Luke Fourniotis is a down-to-earth, animal-loving farmer who has a soft spot for his family. The Melbourne-based groom spends most of his time outdoors, where he's built a loyal following on Instagram and TikTok for his funny and relatable shorts. His videos, often filmed among hay bales or in the paddocks, mix clever workout hacks with wholesome moments featuring his beloved dog Mika. Luke is especially close to his two sisters, who have been cheering him on in his search for love. Friends describe him as 'salt of the earth' and 'a genuine, wholesome bloke' who is kind, funny and refreshingly grounded - but admit he's had no luck when it comes to finding the right girl. Filip Gregov is focused on inspiring others to push past their limitations Filip Gregov A motivational speaker and content creator, Filip Gregov is focused on inspiring others to push past their limitations. Friends say he's 'deep, spiritual and always searching for meaning'. He's likely to approach the MAFS experiment like a personal growth challenge - but whether his bride shares that mindset remains to be seen. Micah Lomu co-founded the Surpass Your Limitz movement and is a mortgage broker by day Micah Lomu Known in Sydney fitness circles as 'Meekz', Micah Lomu co-founded the Surpass Your Limitz movement and is a mortgage broker by day. He's high-energy, competitive and thrives in social situations. Friends say he's 'the first one on the dance floor' and 'always the loudest laugh in the room'. David Momoh has reinvented himself as a tech-savvy entrepreneur specialising in AI-driven marketing David Momoh A former rapper turned brand strategist, David Momoh has reinvented himself as a tech-savvy entrepreneur specialising in AI-driven marketing. He's sharp, stylish and charismatic, with friends describing him as 'a big-picture thinker'. Sources say David could be the season's dark horse - 'he's not the loudest, but he's one of the smartest'. Steve Powell is happiest when he's active He's known for his cheeky humour and easygoing nature Steve Powell A laid-back outdoorsman with a love for travel and adventure, Steve Powell has worked in various hands-on industries and is happiest when he's active. He's known for his cheeky humour and easygoing nature. Friends say he's 'the kind of guy who's friends with everyone' - but they also wonder if he's ready for the intense scrutiny of MAFS. Another groom looked stylish in a casual ensemble
