‘Something a bit naughty': British snackers fall for the posh crisp
Jay Ledwich, a crisp buyer at Waitrose, said demand for premium and unusual flavoured crisps was 'soaring'. This week, the shop became the exclusive British supermarket stockist of what it is tipping to be the next viral hit in crisps – a fried-egg flavour from the Spanish specialist Torres. It follows other savoury sensations from the brand, including black truffle, caviar, and sparkling wine flavours.
Crisps' popularity isn't limited to the snack aisle. The fashion brand Balenciaga is selling a £1,450 glossy 'salt and vinegar' leather pouch and a £625 'spicy chili' crisp charm. It follows Anya Hindmarch's sequinned Walkers crisps bag, originally released in 2000 and now housed in the V&A. This week the US brand Lay's released its new campaign that stars football legends including Lionel Messi munching on its classic salted crisps.
Elsewhere, at parties, traditional blinis are out. Instead at-home cooks are whipping up crisp canapés – such as Pringles topped with a dollop of sour cream and caviar. Millennials have swapped the customary bottle of bubbles for the host for a £26 tin of Bonilla's sea salted crisps. Online, there are viral recipes for chocolate biscuits topped with salty crisp crumbs. The American chef Alison Roman suggests serving marinated anchovies with Kettle-style crisps, while the Spanish chef Ferran Adrià proposes folding plain crisps into whisked eggs for a speedy take on a tortilla Española.
At hipster-filled bars, natty orange wines are served with bowls of salted crisps topped with Serrano ham. The Greek-inspired restaurant Oma and its sister restaurant Agora in Borough Market, south-east London, feature homemade hot crisps on the menu. The chef/owner David Carter, who fries agria potatoes in rapeseed oil before flavouring them with everything from garlic to kombu dashi,said the idea stemmed from wanting 'something a bit naughty when you sat down'. After trying out fava and chickpeas, he settled on 'the humble crisp', which he said ticked the salty, spicy and crunchy boxes.
Over at Toklas restaurant on the Strand, its take on mussels escabeche features crisps instead of bread. The head chef, Chris Shaw, described the British as having 'a sort of love affair' with crisps. He argued it played into nostalgia. 'We've all had them as part of a packed lunch. Or as a kid on holiday. There are good crisps [and] shit crisps. But they all bring you back to a moment.'
At £4.95 for a 125g packet, Torres sits at the upper end of the upmarket crisp market but flavours beyond the standard ready salted are booming across the crisp category. Marks & Spencer recently introduced a black truffle version (£3.75 for 125g) to its own label collection. Kettle's latest range includes a sriracha mayo version and dill pickle and jalapeño (£2.40 for 125g). At Tyrells, you can pick from Wensleydale and cranberry to roasted chicken and sage (from £2.75 for 150g). There are also specialist snack sites that stock smaller British brands, such as Taste of Game, which does a smoked pheasant and wild mushroom crisp.
Natalie Whittle, the author of Crunch: An Ode to Crisps, said the trend reflected a wider cost of living challenge: 'Crisps have always had a kind of chameleon ability to be high or low in the supermarket food aisles.'
For those dining out less, Whittle said crisps offered an opportunity to enjoy 'something a bit more cheffy' at home. The writer sometimes invited a friend over for just a bag of posh crisps and a glass of wine. 'It is fun to break the monotony and rigid doctrine of making meals all the time,' she said.
However, for some, tradition would always trump the novel. While Shaw said he enjoyed 'the strange sulphur' flavour from Torres fried-egg crisps, his favourite was still 'an acidic numbing' packet of pickled onion Monster Munch.
Hashtags

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


Los Angeles Times
30 minutes ago
- Los Angeles Times
In the sharp ‘Lurker,' Instagram stalking leads to the inner circle, but how do you keep others out?
'Lurker' is a teeth-grittingly great dramedy that insists there's more tension in the entourage of a mellow hipster than a king. At least imperial courtiers trust in strict codes about curtsies and proper titles. The rules of hanging out with British-born, L.A.-based emo-pop musician Oliver (Archie Madekwe) are vague and fraught. An impulsive, baby-faced charmer on the ascent from Instagram popularity to mainstream icon, Oliver isn't that rich or that famous (yet), but he's already surrounded by friends-slash-employees who ferociously guard his fiefdom and their access to it. Oliver thrives on vibes, bro, and these ones are cutthroat. First-time feature filmmaker Alex Russell brings us into this demi-star's orbit through a Melrose streetwear sales clerk named Matthew (Théodore Pellerin). The gawky kid is an Oliver obsessive. But he's clever enough to hide it, negging his hero into giving him a backstage pass. (Here, it's an insult to be called a fan.) Upon entering the green room, Matthew is hazed by Oliver's buddies Swett and Bowen (Zack Fox and Wale Onayemi, both inscrutable, funny and terrifying), who order the nervous outsider to pull down his pants as a tribute to their dead homie. He passes that test. There will be more to come. Russell sharpened his knives as a writer and producer on 'The Bear' and 'Beef.' He makes bleak comedies about strivers with shiv-like gags that make you wheeze in pain. Advised to make himself useful, Matthew quickly gets promoted from Oliver's unofficial dishwasher to his unofficial documentary director. Just as quickly, he makes enemies with Oliver's somewhat more official music video director, Noah (Daniel Zolghadri), who attempts to give Matthew the royal brush-off, as in 'We appreciate your help, but ...' and then patronizingly calls him his 'sous-chef.' As Matthew learns when his pal, Jamie (Sunny Suljic), finagles his own party invite, anyone who gets their claws in Oliver attacks their rivals. 'Lurker' is too passive a title for this story of competition. 'Clinger' or 'Leecher' would be more apropos. Oliver presents as all sunny, breezy love, sporting a trucker cap over a babushka over bleached pink hair. The costumer Megan Gray outfits the 6'5' Madekwe in floppy sweaters that exaggerate his eagerness to pull people in for a long-limbed hug. Flighty and magnetic, Oliver trills that his clique is 'one big happy family,' using his faux-obliviousness to shield himself from being the bad guy. That responsibility lands on everyone else, especially the observant and exhausted Shai (Havana Rose Liu), who might be called Oliver's manager if anyone had a formal job description. Madekwe played a more obviously cruel gatekeeper in 'Saltburn' as Jacob Elordi's snotty American cousin, but he still holds all the keys. In scenes where Madekwe shuts off his character's warmth, the movie gets 30 degrees colder (and his artificial pep more chilling). Meanwhile, Pellerin's flinchy smiles and forced guffaws prove how much effort it takes to act effortless. At his most nonchalant, he's doing an Oliver impression. 'Lurker' has a casual malevolence, Russell sidling up to his targets before he attacks. He stress-tests our icky, grubby pity for Matthew and, beyond that, the flimsiness of modern fame culture and its fake-it-till-you-make-it inspirational platitudes. In a hilarious bit, one of Matthew's own fans stops him on the street to gush, 'I wanna be like you — but what do you do?' What Russell really seems to be wondering is what separates a real artist from a fake? If 'Lurker' had been made a generation ago, it would have drawn a line along the boundary of authenticity: Is Oliver sincere about his vulnerable anthems? Today, that question is passé. We now recognize the pressure to forge a brand, even if said brand is a pretense of not caring about one's image. At this point in his career, Oliver likes framing himself as giddy, low-fi and spontaneous. He loves videos of himself crashing his bike into a trash can, frolicking on a beach, prancing around a field with a retro camcorder strapped to a sheep. 'Am I tripping or is this sick?' Oliver asks about the farm footage. Since his posse won't admit the truth, I will: It sucks. Oliver's charisma is its own trap. A crib of yes-men limits how big he can grow. The film's image-first focus doesn't give it much runway to explore what motivates Oliver as an artist. There are several performance scenes that showcase Madekwe's ability to croon in a convincing limber lilt but little engagement with his actual music. You sense that Russell is more confident dissecting the qualities of a good steak sandwich than a good song. My impression of the tunes is that Kenny Beats (who had a hand in all of them and also the brilliantly anxious electronic score) has written the bulk to be decent but not dynamite. How a singer vaults up in quality is as mysterious as trying to define cool itself. Only toward the end of the film does Russell tease the question that we, too, have forgotten to ask: Does anyone care whether Oliver is a genuine talent? Despite its thorny psychology, 'Lurker' strips its characters of everything but a scrap of backstory. We're aware that Matthew lives with his grandmother, but we don't know why and we don't even know her name. That starkness gives the movie the in-the-moment immediacy of a nature doc about a shark and a swarm of remoras. Russell insists we make our own diagnosis about what drives Matthew and Oliver's hunger for applause — and if their symbiotic dynamic has echoes throughout the entire music industry. Twice, Russell cues up the R&B classic 'I'm Your Puppet,' which is once too many for my taste. We're already concentrating on who's pulling the strings. Elsewhere, there are moments when I wish Russell himself didn't play things quite so casually. He's so smart about noting the details — tiny glances, awkward smiles — that it's head-scrambling when he obscures a major plot point under hasty editing and cryptic dialogue. It's a key sequence in the script, yet we can't get a grip on whether it's horrific luck or a game of six-dimensional chess. The distinction matters. Still, Russell has captured us with this tale of a pawn trying to capture a king. We feel for them both. And we understand why castles have moats.


UPI
an hour ago
- UPI
Sharon Horgan: A mother's love is central to 'Twisted Tale of Amanda Knox'
1 of 4 | Sharon Horgan's "The Twisted Tale of Amanda Knox" premieres on Wednesday. Photo courtesy of Hulu NEW YORK, Aug. 20 (UPI) -- Catastrophe and Bad Sisters creator and actress Sharon Horgan says she wanted to star in Hulu's The Twisted Tale of Amanda Knox because it is a nuanced family drama as opposed to a salacious true-crime saga. "It is looking at the story from a new perspective and sort of giving it a wider lens and not just focusing on the courtroom drama of it, but on Amanda's journey," Horgan, 55, told UPI in a recent Zoom interview "A lot of what led up to it and and happened after involved her family and impacted her family and, as someone who plays her mother, I realized how much of the the story was about their relationship and what you do for the people you love." The actual Knox was a producer on the fact-based miniseries, which premieres Wednesday. Horgan plays Edda Mellas, a German-born Seattle math teacher who is shocked to learn her daughter Amanda (Grace Van Patten) has been wrongfully imprisoned for the sexual assault and murder of her British flatmate while they were studying abroad in Italy in 2007. As a real-life parent herself, Horgan couldn't help but envision how hard she would fight to protect her own daughter if she ended up at the center of such a painful ordeal half a world away. "I'm a mama," she said. "I've got a 21-year-old girl and a 17-year-old girl, so, I, unfortunately, found it very easy to imagine either of my girls finding themselves in a terrifying situation [like this]." Knox's trial, conviction, retrial and eventual acquittal made news headlines around the world for more than a decade. "There was sort of a feeding of the public's obsession with it," Horgan said of the non-stop media coverage of the case, which led to countless documentaries and TV news-magazine specials. "It's an absolutely tragic, terrible story involving two young women, so I understand why it got under people's skin so much." Horgan was happy to spend time with the real Mellas and Knox when they visited the show's set. "When I was researching for the role, I was watching anything I could find of her online and there wasn't really that much. There were a few interviews and [some footage of Mellas] dealing with the media, dealing with the press and I was always struck by her composure ... and how calmly she dealt with the whole circus of it," Horgan said. "When I met her in real life, she's just a lovely, fun, young-for-her-age woman and I liked her very much and I think it's a testament to her strength of personality and her character that she's managed to pull together as normal a life as possible. I don't know if I'd have been able to manage that." The real Knox was involved in the project from the very first Zoom call Horgan took with the filmmakers. "It was Amanda and how she spoke about her mom, actually, how she spoke about what her mom went through while she was in prison, that made me want to do it, if I'm honest," Horgan said. "She's incredibly smart, a very emotionally intelligent, very warm, friendly mother," Horgan said of Knox, who now has two children of her own. "She's someone who had a real curiosity about the film and TV making process, as well. She's very open about being so new to that and I really enjoyed having them around. Edda came down for a couple of days, as well." Horgan said it was easy to bond with Van Patten (Tell Me Lies, Nine Perfect Strangers) and make that mother-daughter connection seem authentic. "I just felt incredibly motherly towards her. I was away from my girls at the time and I did not love that," Horgan laughed, noting that Van Patten's sister Anna played Amanda's sister Deanna, so she also looked out for her. "The two of them are adorable, sweet, kind girls and we hung out a bit. We did a bit of wall climbing together. We went for a few drinks," she added. "But, really, it was something that happened very quickly and, then, after that you're on set for so long. You have these long, long days, especially for the courtroom scenes. You really are sitting around for hours and days and, so, you do really just get to know each other." Horgan described the production as having a relaxed, collaborative atmosphere in which everyone involved understood the responsibility they had to get this story right after years of misinformation, misunderstandings and bias obscured the truth. "There's nothing about the team that made you feel anything other than protected," she said about the cast and crew. "You were in good company and everyone was there to take care of the story and tell it to the best of their ability. That was a good feeling. You felt like everyone was very aware of the story that they were telling and being careful with that." Amanda Knox returns to the U.S. Amanda Knox, left, follows her attorney Michael Nifong as they attend a news conference held at the Seattle-Tacoma International Airport near Seattle, Washington on October 4, 2011. After spending four years in an Italian prison Knox arrived in the United States after departing Rome's Leonardo da Vinci airport. Knox's life turned around dramatically Monday when an Italian appeals court threw out her conviction in the sexual assault and fatal stabbing of her British roommate. UPI/Jim Bryant | License Photo


Forbes
an hour ago
- Forbes
‘Culpa Nuestra' Trilogy Finale Gets October Global Premiere Date
The grand finale of Noah and Nick's passionate saga now has a release date. Prime Video announced today that its Spanish Original film Culpa Nuestra (Our Fault), the highly anticipated conclusion to Mercedes Ron's Culpables YA trilogy, will have its global premiere in October. The streamer also unveiled the final film's official poster, featuring the film's stars. Fans of the record-breaking whirlwind romance, set in a world of wealth, fast cars, street racing, secrets, and personal trauma, will welcome finding out what the future holds for the young lovers. Nicole Wallace (Skam España, Parot) and Gabriel Guevara (Mañana es Hoy, Hit) return as Noah and Nick for the final time. The trilogy's first two installments — Culpa Mía and Culpa Tuya — were a massive success. The first film debuted in June 2023. The second was released in December 2024, becoming the most-watched international original film on Prime Video at launch, cementing the franchise as a global phenomenon. So much so that Ron's story also spawned a hit English-language version: My Fault: London, which debuted in January 2025, also on Prime Video. In this final chapter, the wedding of their friends Jenna (Eva Ruiz) and Lion (Víctor Varona) sets the stage for Noah and Nick's long-awaited reunion after their painful breakup. Nick's inability to forgive Noah creates what appears to be an insurmountable barrier between them. He's now focused on his future as heir to his grandfather's business empire, while she's just beginning to build her professional life. Noah and Nick are both determined to resist rekindling a flame that still burns, but when their paths inevitably cross again, the question becomes whether their love can triumph over resentment. The returning ensemble cast includes Marta Hazas (Días Mejores, Pequeñas Coincidencias), Iván Sánchez (Bosé, Hospital Central), Victor Varona (Cielo Grande, Dani Who?), Eva Ruiz, Goya Toledo (Amores Perros, Veneno), Gabriela Andrada (Los Protegidos ADN, Los Herederos de la Tierra), Álex Béjar (Élite, Al Fondo Hay Sitio), Javier Morgade (Desaparecidos, Delfines de Plata), and Felipe Londoño (Entrevías, Perfil Falso). New to the cast is Fran Morcillo (La Casa de Papel), who joins as Simon. Culpa Nuestra is directed by Domingo González, who helmed the entire trilogy. He also co-wrote the screenplay with Sofía Cuenca (Culpa Tuya). The film is produced by Pokeepsie Films (Banijay Iberia), the Spanish production company behind acclaimed projects like 30 Monedas and El Bar, with Álex de la Iglesia and Carolina Bang serving as producers. Culpa Nuestra will be available worldwide October 16, 2025.