Sushi, salads, vegetable trays containing cucumber recalled over possible salmonella contamination
The Brief
Salads, vegetable trays, and ready-to-eat sushi sold in several states have been recalled due to possible salmonella contamination.
Brand names include Snowfox and Snowfruit.
This is connected to a recall announced last month.
(FOX 2) - Salads, vegetable trays, and ready-to-eat sushi sold in several states, including Michigan, are under a recall because they contain cucumbers possibly contaminated with salmonella.
The cucumbers are linked to the Bedner Growers, Inc. recall, which was announced last month. So far, 26 people have been sickened.
What we know
Bedner Growers distributed the potentially contaminated cucumbers to retailers, including Kroger, Roundy's (Pick n Save and Metro Market), and Weis Market in Indiana, Kentucky, Illinois, Michigan, Tennessee, Mississippi, Arkansas, Alabama, Wisconsin, New Jersey, Pennsylvania, West Virginia, Delaware, Maryland, Virginia, and New York.
These stores then used the cucumbers in ready-to-eat foods.
Symptoms of salmonella include diarrhea, fever, and abdominal cramps, and usually start 6 hours to 6 days after swallowing the bacteria. They usually begin six hours to six days after consuming a contaminated product. Symptoms typically last for 4-7 days.
Children younger than five, elderly people, and people with weakened immune systems are more likely to have severe infections.
All items were sold in plastic containers under the SNOWFRUIT or SNOWFOX label with the following descriptions and product codes:
Fruit & Vegetable Tray - 64 oz 63912394047
Family Garden Salad - 24 oz 63912388065
Garden Salad - 12 oz 63912388067
Family Cobb Salad - 22 oz 63912388068
Cobb Salad - 11 oz 63912388069
Chef Salad - 11 oz 63912395033
Cucumber with Ranch - 9 oz 63912395020
Cucumber, Lime & Tajin - 19oz 63912388053
Mixed Melon, Cucumbers & Tajin - 18oz 63912394007
Watermelon & Cucumber w/ Tajin - 18oz 63912394036
Small Vegetable Tray - 19.5 oz 63912388045
Small Party Tray with Dip - 19 oz 63912388046
Large Vegetable Tray - 42 oz 63912388056
Cucumber Slices w/Tajin - 15 oz 63912388022
Vegetable Bowl - 26 oz 63912388044
Cucumber Bowl w/ Ranch Dressing - 15 oz 63912388063
Vegetable Bowl - 13 oz 63912388072
Baby Carrot, Cucumber, & Ranch - 15 oz 63912394045
Cucumber Salad – 3oz 63912389243
Spicy Cucumber Salad – 3oz 63912389329
Bibimbap Bowl – 13 oz 63912389259
Yaki Noodle Bowl – 12 oz 63912389254
Ebi Vermicelli Bowl – 13oz 63912389334
Sushi containing cucumber – Various price, weight and UPCs – Made daily with a one-day shelf life, already expired.
Roundy's
Signature Vegetable Bowl - 28 oz 639123600172
Chef Salad - 16 oz 639123600295
Cobb Style Salad - 15 oz 639123600318
Garden Salad - 16 oz 639123600547
Greek Salad - 16 oz 639123600523
Weis Market
Cucumber Salad - 3oz 63912389205
Click to open this PDF in a new window.
Click to open this PDF in a new window.
Full list of where the Snowfruit products were sold:
Click to open this PDF in a new window.
Full list of where the Snowfox products were sold:
Click to open this PDF in a new window.
What you can do
If you purchased any of the listed products, do not eat them. Instead, return them to the store or throw them away.
Customers with questions about the recall can reach out to the companies at hello@snowfruit.com or hello@snowfox.com.
The Source
An FDA press release was used to report this story.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
33 minutes ago
- Yahoo
Investigator lied under oath in Betsy Faria murder case, prosecutor says
LINCOLN COUNTY, Mo. – A former investigator in the high-profile 2011 murder case of Betsy Faria – later linked to Pam Hupp – is now accused of lying under oath during testimony in Lincoln County, prosecutors say. On Tuesday, the Lincoln County Prosecuting Attorney's Office charged Michael A. Merkel, 46, of Troy, Missouri, with two felony counts of perjury in criminal trial to secure conviction of murder. Court documents allege that Merkel provided false testimony during a criminal trial to secure the conviction of Russ Faria in the murder of Betsy Faria, his wife, who was found dead in her home on December 27, 2011. Sheriff 'ousting' talk grows after budget showdown During the course of the murder investigation, authorities learned that Betsy changed the beneficiary of her $150,000 life insurance policy to Hupp just days before her death. While this raised suspicions around the time of Russ' retrial, Hupp was off the hook from charges at the time. Russ would ultimately serve three years behind bars before he was acquitted in a 2016 retrial. Hupp later came under renewed scrutiny in the 2016 murder of Louis Gumpenberger, a man with disabilities. While she claimed he was a home intruder, police determined she had lured him to her home and staged the scene to divert attention from the Faria case. According to new court documents obtained by FOX 2 over Merkel's charges, investigators used a Bluestar luminescence test to evaluate blood evidence at the crime scene, but the results were disputed during the trial. Merkel testified that photographs taken during the Bluestar test showed 'absolutely nothing' due to a camera malfunction, but forensic review later contradicted that claim. Close Thanks for signing up! Watch for us in your inbox. Subscribe Now The defense argued that the photographs were not provided during pretrial discovery, raising questions about the integrity of the evidence presented. During the retrial, Merkel clarified that his earlier testimony meant the photographs did not show any chemical luminescence, not that they were entirely blank. Court documents also cited a media inquiry from an investigative reporter in connection with Merkel's charges, one believed to be related to at least two reports from FOX Files investigators Chris Hayes (STORY 1 & STORY 2). Lincoln County Assistant Prosecuting Attorney John Krehmeyer requested a $250,000 cash-only bond for Merkel. A document with that request reads: 'One of the pillars of our criminal justice system is that the citizens of this country can depend upon honesty and integrity of those individuals that are entrusted with the responsibility of investigating potential criminal conduct.' As of Wednesday, court documents have not listed an attorney for Merkel. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Time Magazine
34 minutes ago
- Time Magazine
First Look: Smoke Goes Inside the Mind of a Real-Life Serial Arsonist
The South Pasadena, Calif., hardware store thrummed with the usual rhythms of a Wednesday night: customers browsing shelves, cash registers chiming, the low hum of fluorescent lights overhead. Lurking in one of the aisles, a man quietly slipped an incendiary device, made from a cigarette, matches, and paper, into a section displaying foam rubber, with practiced ease. Fire roared to life minutes later, engulfing the store in a furnace of rising panic and confusion. The blaze at Ole's Home Center on Oct. 10, 1984, which killed four people, was one of nearly 2,000 suspicious fires across Southern California throughout the '80s and early '90s. Craft shops, department stores, and discount retailers struck by the arsonist all bore the same eerie signature: delayed ignition, maximum destruction, and a clean escape. Investigators were left grasping at smoke, trying to make sense of a pattern that felt deliberate but remained elusive. This true story, chronicled in the 2021 podcast Firebug, became the basis for Apple TV+'s new nine-episode crime drama Smoke, starring Taron Egerton, Jurnee Smollett, Greg Kinnear, Anna Chlumsky, and John Leguizamo, and debuting June 27. But it's no procedural retelling. It's a feverish descent into moral ambiguity, where duty and delusion, heroism and harm, become blurred in the heat of the blaze. 'What really drives my engine is always the human psyche,' Smoke creator, executive producer, and writer Dennis Lehane tells TIME. What captivated him wasn't the forensic detail of the fires, but the 'whacked out' emotional terrain that surrounded them. ' That's what I was locking on.' Lehane, whose literary canon includes the novels-turned-movie hits Gone, Baby, Gone and Mystic River, is no stranger to the fault lines of morality. When he first listened to Firebug, he wasn't immediately convinced it was a story he wanted to find his own way into. But the psychological undertones tugged at him. 'I really think this is about people who are turned on by the things that can kill them,' he explains. He approached Smoke not as a mystery to be solved, but as a dark drama where guilt, ego, and self-deception flicker and flare. A key decision was to set the story in the present day rather than tether it to the '80s and '90s, where its real-life roots lie. That shift allows the series to examine contemporary notions of trust, institutional failure, and existential unease. The show also marks a reunion between Lehane and Taron Egerton, who previously worked together on the 2022 Apple TV+ series Black Bird. In Smoke, Egerton stars as Dave Gudsen, an arson investigator in Umberland, a fictional town in the Pacific Northwest, whose life starts to buckle under the strain of a difficult case and a fragile home life. He's soon paired with Michelle Calderone (Jurnee Smollett), a sharp detective recently transferred from the metro police's robbery division. Because Michelle doesn't share the insular loyalties of the local department, her clear-eyed perspective proves essential as they track a pair of serial arsonists; she sees things the others don't. As the investigation intensifies, suspicion creeps closer to home. The evidence suggests one of the arsonists may have ties to the profession—perhaps a firefighter or someone from within the department itself—forcing Dave to consider the disturbing possibility that he may be pursuing a colleague, or worse, a friend. From the start, Smoke struck a chord with Egerton, who also serves as an executive producer. 'It felt like something that would be a stretch and a challenge,' he recalls. What intrigued him most was the contradiction at the heart of his character. Dave, he explains, is a man with a 'slightly self-aggrandizing image of himself' as a hero—yet his private life 'doesn't totally line up with that.' He's someone who regularly tests people's boundaries. To capture that duality, Egerton created a moral framework for Dave that doesn't necessarily align with conventional standards. 'He's the guy who has it all figured out and knows exactly what's right and wrong and knows what's for the best of everybody in there,' says Egerton, adding, 'I had to get under the skin of who he is and figure out what that very specific brand of morality is: What is OK for him and what's not, and also does that code of ethics apply when nobody's looking?' The actor's experiences mirrored his character's unease. Lehane recalls Egerton wrestling early on with how to portray the complexity of Dave. 'Those first two episodes he was in actor hell, I would argue,' recalls Lehane. But after their work together on Black Bird, Lehane already knew Egerton had the ability (and willingness) to push himself into emotionally raw places. 'When you find an actor who has the range to do anything you want to do, you hold onto that person, particularly if they're not just gifted, but as good a human being as Taron,' he explains. That discomfort ultimately served the role, lending Dave a raw, destabilized energy that captures a man struggling to hold his life together. A careful study of obsession The real story that inspired Smoke was even darker. By the late '80s, Southern California was in the grip of a firestorm—a wave of suspicious blazes that erupted with chilling regularity. They began quietly: a spark near a bolt of fabric, a flare in the foam rubber aisle, as at Ole's. But within minutes, these small signs gave way to catastrophe. Entire structures were gutted. First responders often arrived to find buildings fully engulfed, too late to save what was inside. As the fires spread, so did the sense that this was no coincidence. The ignition method was strikingly consistent: a crude yet effective time-delay mechanism, fashioned from everyday items like cigarettes, matches, and pieces of lined yellow notebook paper. The targets were just as deliberate: retail chains, mom-and-pop shops, and warehouse-style stores, all easy to access, lightly monitored, and filled with highly flammable merchandise. Over time, law enforcement homed in on John Orr, a former fire captain whose fingerprint was found on a partially unburned incendiary device. A federal jury convicted him in 1992 on three counts of arson, sentencing him to 30 years in prison. The following year, he admitted to setting three more fires. In 1998, Orr was tried again at the state level on 21 additional counts of arson and four counts of first-degree murder for the victims of the 1984 blaze at Ole's Home Center in South Pasadena, Calif. He was found guilty and sentenced to life in prison without the possibility of parole. The story didn't end with Orr's conviction. His disturbing legacy drew the attention of filmmaker and former HBO executive Kary Antholis, who had followed the case for decades. He was just as interested in the psychology behind the crimes as he was in the procedural details—not just how the fires were set, but why. His investigation became the foundation for Firebug, the podcast he created with Emmy-winning producer Marc Smerling. Through exhaustive research and a series of taped interviews with Orr and those who knew him, Antholis assembled a chilling portrait of a man who spent years crafting his identity through fire and fiction. One of the most revealing discoveries by law enforcement was a manuscript entitled Points of Origin, a novel Orr wrote with moments mirroring the real-life fires with uncanny specificity. 'He was doing this [lighting fires] for a very long time, so I think he wanted to take a bow for it,' Smerling explains. The result was more than a true-crime chronicle. Firebug became a slow-burning study of the seductive power of control. 'Orr had a strangely twisted ego that drove him to do these things,' Smerling continues. 'He had incredible feelings of powerlessness. This was his way to foster power.' Moving from ambience to 'action' Although Smoke takes creative liberties by reimagining characters, relationships, and story arcs, Lehane built a show that trades sensationalism for something more unsettling—a meditation on identity, obsession, and unraveling. Every episode opens with a visual and sonic elegy: a title sequence created by the studio Digital Kitchen, depicting objects consumed by flame and underscored by a new song from Thom Yorke called 'Dialing In.' Yorke's slow track twinkles with dread, setting the emotional temperature for what's to come. That precise tone—moody, dark, charged—was carefully calibrated. Kari Skogland, who directed The Falcon and the Winter Soldier and The Loudest Voice, oversaw the show's first two episodes. Lehane chose Skogland partly for her ability to draw subtle, nuanced performances from actors. 'I would be like, I want you to pull that from the actress,' says Lehane, adding, 'But I don't want it to be obvious. I want it to be on a second viewing that viewers catch it.' In a medium increasingly reliant on digital wizardry, Smoke leans into practical effects when possible. 'The fire in Event Horizon is spectacular,' says Lehane, also citing the visceral realism of films like Backdraft and Only the Brave. 'Right from the beginning, I said to my team, this is what I want it to look like. I don't want to endanger anybody, but we have to find a way to do practical fire.' To bring that vision to life, the production team constructed a sprawling 'burn stage' in Vancouver, where fires could be safely set and controlled. In addition to using fire-resistant materials and having safety-focused crew on set, members of the city's fire department were stationed close by during filming. This wasn't just technical bravado, but a commitment to realism. The fire had to feel alive, volatile, and credible—a force the actors had to confront in real time. The opening scene in Smoke's pilot episode showcases one of the series' more complex and technically demanding moments. In the scene, Egerton's character navigates a hoarder's house overtaken by flames. Achieving the effect required precise teamwork—all while the actor navigated the growing inferno. 'Taron, God bless him, man,' Lehane says. 'There are no special effects in that scene. That's just Taron on the burn stage with pipes all around him shooting actual fire.' Egerton, for his part, welcomed the production's commitment to realism. 'I think we all feel a little bit of fatigue when things are heavily reliant on computer generated imagery. There's a real value in storytelling to things that feel tangible and practical,' says the actor. 'It was obviously a challenging sequence to do, but things that are worth something are normally hard won. It really does have a kind of magic to it.' What tragedy leaves behind In Smoke, fire isn't just a destructive force, it's the show's emotional grammar: how guilt simmers, how ego combusts, how lies catch and burn. The series draws its fear and unease from a chilling idea: the sense that dangerous people often hide in plain sight. 'We just miss them. We don't see them, because we're not looking very hard on a psychological level,' Smerling says. 'You have to understand people at a deeper level than the surface.' It's a notion that resonates deeply with Egerton, who sees the world of Smoke as a dreamscape of moral distortion. 'It resembles our world, but it's also a kind of slightly darker, heightened version of it,' he explains. As the episodes unfold, the narrative mutates, and what begins as a crime story bends into something more abstract, more interior. 'It really shifts, changes, and distorts over time,' he says. 'It becomes something much more psychological and weird.' For Lehane, the truest devastation lies not in what the fire takes, but in what it reveals. The show's most haunting moments are its most intimate: the quiet reckonings, long-deferred truths, characters unable (or unwilling) to look themselves in the mirror. 'I hope it leads people to question a lot of these paths they're going down,' says Lehane, adding, 'I wish we could all just admit, 'Hey, we're all messed up—every single one of us.' And if you're not, you're lying to yourself and to everybody else. So just strive to be a little better every day.' That is the core of Smoke. Beneath the fire and ash, beyond the secrets and suspense, it asks the simple, difficult question: What does it cost to live in denial? 'Every single person in the show lies to themselves, and it only leads to grief,' Lehane continues. 'There's not a single person, with the exception of [one], who's honest with themselves—and look how much pain is caused by that.'
Yahoo
3 hours ago
- Yahoo
‘Why should we have to downsize?': How boomers became the victim generation
We're looking for readers in different generations to talk about change within their families, such as a grandparent and grandchild's experiences of buying their first home. To get involved, email us at money@ Baby boomers have nothing to complain about. Bumper pensions. Free university education. House prices that have gone through the roof. Some of them even got to see The Beatles. This, at least, is the idea that's caught fire over the last 20 years, a period in which the debate about inequality in Britain has been reframed as a tug-of-war between generations. Boomers – the post-war cohort born between 1946 and 1965 – are blamed for hoarding wealth after winning the economic lottery. The losers are said to be Generation Z and millennials – born between 1980 and 2009 – who face sky-high mortgages and record-breaking rents, stagnating wages, massive student debt and outrageous student loan repayments, plus an unstable jobs market. There is a stigma attached to being a 'boomer', which has become shorthand for greedy, entitled and out of touch. Boomers have been accused of 'stealing their children's futures' by taking more than their fair share. Many believe they are unfairly victimised – pilloried for their wealth, and told to downsize out of their house to make way for younger families. But are they right to feel that way? A report by the House of Commons' Women and Equalities Committee in February confirmed what many older citizens have experienced first-hand. It found 'clear evidence' of ageist stereotyping across British media, with debates about intergenerational fairness tending to pit younger and older generations against each other in a 'perceived fight for limited resources'. The report went on: 'Older people are also frequently stereotyped as wealthy 'boomers' living comfortable lives in homes they own while younger generations struggle on low incomes, unable to afford to enter the housing market and struggling with high rents.' These 'narratives', the committee said, have fuelled 'divisive and harmful tensions in society'. This resentment doesn't come from nowhere. Recent figures released by the Office for National Statistics (ONS) showed that boomers are by far Britain's richest cohort. The average wealth of households aged 65 to 74 is £502,500 – more than 30 times that of Gen Zs aged 16 to 24, who typically have £15,200. Boomers' wealth is also 4.6 times greater than those aged 25 to 34, who are mainly younger millennials, with £109,800. This may not seem very surprising given older people have had a lifetime to accumulate savings, homes and pensions. 'There's an extremely strong life-cycle component to wealth,' says Simon Pittaway, a senior economist at The Resolution Foundation think tank. 'Most people start working lives with very little, build it up through peak working years then run it down in retirement. 'This has been the case for a long time. But we're seeing that profile getting starker.' The gap between the generations has grown since the financial crisis, which is often blamed on the boomers, who, the argument goes, were steering the ship at the time. A Resolution Foundation study found that between 2006-08 and 2018-20, median wealth among Britons in their 60s rose by 55pc in real terms, but median wealth for those in their 30s fell by 34pc. At the same time, the share of Britain's wealth held by the under-40s has fallen from 7.5pc in 2010 to 4pc today. It's statistics like these that mean boomers are often implored to give away their hoarded wealth, or downsize into smaller properties to make room for young families. John Griffiths, 80, insists his generation is in fact supremely generous – and shouldn't be discriminated against for having done well. 'It's a gimmick in the financial media to blame the boomers,' he says. 'It's not our fault property went up the way it did in the 60s and 70s. [The house price rises] drove most of us out of London.' Griffiths was born shortly after VE Day in May 1945, putting him right on the cusp of the boomer bracket. 'I tend to count myself as one of them,' he says. After training as a chemical engineer, he spent 20 years in the gas industry and the North Sea designing and building offshore oil facilities. He went on to found his own marine energy consultancy, advising clean energy firms and governments on how to best harness the power of waves and tides. He retired five years ago at the age of 75. His successful career has allowed him to pass on lump sums totalling £500,000 to his three children, who are in their 40s and 50s and have children themselves. A large part of his financial security derives from property wealth. The house in Wimbledon that he bought with his wife Valerie in 2006 for £545,000 is now worth £1.3m. Homeowners aged 60 and over hold more than half of the nation's owner-occupied housing wealth, totalling an estimated £2.89 trillion, according to estate agents Savills. Two thirds (67pc) of homeowners aged 65 and over have two or more spare rooms in their property, even as a shortage of affordable housing prevents young families from buying their first home. The Tony Blair Institute think tank has called for larger properties to be taxed more to encourage owners to downsize. But Griffiths believes pressuring older people to vacate their homes is unfair. 'It doesn't sit well with me. I don't think older people are hoarding. They stay where they are because they're afraid of change. 'Many don't have supportive families to help them, and are stuck where they are.' Dr Jennie Bristow, a reader in sociology at Canterbury Christ Church University, traces boomer bashing back to the collapse of traditional political frameworks at the end of the 20th century. 'From the 1990s, we started trying to explain societal problems that went beyond Left and Right,' she says. 'It's still playing out now in the culture wars.' It was a time when demographic anxieties were spreading across the Western world. Ageing populations mean relatively fewer younger workers supporting the swelling ranks of elderly pensioners through the welfare system. Old-versus-young became the salient faultline. 'The narrative that emerged was that the 2008 financial crisis was due to policy decisions, and also cultural individualism, that was personified by the baby boomer generation. These are the people who are hoarding wealth and will benefit from big pensions. 'For the Right, it's an argument for restructuring the welfare state. And for the Left, it's used as a reason for more welfare and less Thatcherite individualism. It brought those two opposites together.' Bristow believes anti-boomer sentiment peaked in 2010, the year that David Willetts, a former Tory MP turned public intellectual, published an influential book called 'The Pinch: How the Baby Boomers Stole Their Children's Future'. She says the tendency to blame the boomers has turned into a 'frenzy' that ignores inequalities within generational cohorts. 'The boomers associated with the 1960s generation, born straight after the war, did reap a lot of the benefits of that time. There were a lot of possibilities, economic opportunities, and they ended up with good pensions. But not everyone was part of this. It was actually quite a narrow section of society. 'Younger boomers came of age in the far more pessimistic 1970s. Yes, people got grants for university, but only 7pc of the cohort went.' Richard Merry was born in 1955, putting him right in the middle of the boomer generation. After leaving school at 16, Merry joined the armed forces, eventually becoming a member of a special army unit that sent him all over the world during a 50-year career. He has worked hard to retire three years ago in relative comfort, but acknowledges that younger generations have a tougher ride in many ways. 'People just don't earn that sort of money any more,' the 69-year-old says. 'I get a little bit sick with the boomers saying that it's young people's own fault for not getting on the property ladder.' Merry bought a three-bedroom semi-detached house in south-east London for £77,000 in 1990. It is now worth over £1m. It was easily affordable on his salary of around £32,000, equivalent to £80,000 today. 'My children, both in their 30s, work incredibly hard and lead tough lives. You simply can't compare property prices and deposits now to what they were.' But it's not all plain sailing for his generation. Care costs, for instance, are 'crucifying' the boomers, he says. His own mother's old age care cost £320,000 over three years – money that would have gone to Merry and his sister. They had to sell their mother's home to pay for it. 'All the talk is that boomers are hoarding wealth, but we're going to be skinned alive when it comes to care costs.' On tax and earnings too, it hasn't been the easiest of rides. 'People at the bottom benefitted from increases in the minimum wage, but middle earners like me have had the stuffing kicked out of them.' On the contrary, Angus Hanton, of the Intergenerational Foundation think tank, believes boomers have 'heavily rigged the game in their favour' over decades by repeatedly voting in governments that have given them a good deal. 'Boomers have fought tooth and nail to protect their interests,' he says. 'We can see that most starkly in how the tax system is structured – what's taxed heavily is earned income. Younger working people pay income tax at a high rate from a low level of earnings, plus National Insurance and student loan repayments, which is basically a tax. 'But unearned income is taxed very lightly – money in Isas and Sipps, and capital gains tax is half the rate of income tax.' Hanton, a boomer himself, rejects the idea that the focus on competing age groups squeezes out other factors from the conversation – like class, race or gender. 'Generational inequality is a really important lens and we shouldn't refuse to look through it just because there are other lenses available.' Evidence suggests that many younger people are looking at the world – and their claim on the material wealth of their elders – through this lens. Research by Moneyfarm, an investment platform, found that two in five millennials fear their parents were frittering away 'their' inheritance, while a fifth said their 'spendthrift' parents were selfish for failing to consider their children or grandchildren's economic wellbeing. Meanwhile, 61pc of Gen Z feel they have to work harder than their parents did, according to YouGov polling. The reality is that many young people will benefit indirectly from the economic success of their parents and grandparents. A much-cited report from estate agents Knight Frank found that millennials are set to become the 'richest generation in history', thanks to the steep rise in the value of property assets accumulated by the generations before them which will be passed on when they die. Yet Bristow points out that even if millennials as a group are in line for a huge windfall, the only ones who will actually benefit are those with well-off parents who rode the property wave. Boomers, too, all tend to be tarred with the same brush. 'You can look at it two ways, generationally,' she says. 'Not all older people are wealthy. So saying boomers have stolen their children's future doesn't stack up.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
