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‘Sidmouth became our summer place': Jeremy Vine on why his family love holidaying in Devon

‘Sidmouth became our summer place': Jeremy Vine on why his family love holidaying in Devon

The Guardian04-06-2025
My earliest memory of Devon is being lost, and my mum crying. I was at junior school. I had a friend whose mother was described as 'vague' – this was the 1970s, so that could have been code for almost anything. The vague mother had given my normally quite organised mother directions to a remote house where my schoolfriend spent his summers. We were 'popping in' (70s code: spending the day there). The instructions to find the place were something like, 'Turn left after South Zeal, pass the dirt track and follow the direction the sheep are facing.'
After an hour of pretending we were still on the right route, my mum suddenly burst into tears and uttered a rare denunciation of a fellow human being. 'That SILLY woman!' she shouted. 'We don't know where we are. Nobody does.'
Were we not just lost, but lost-lost, in the way that leads to humans sometimes disappearing for ever? 'Nobody does' sounded serious to this 10-year-old. There were no mobile phones and, this being the olden days, only a large spiral-bound map of the entire country in the footwell of the car (at this stage, a gen Z reader will be saying: 'Nah. That never happened'). We were, I suspect, on Dartmoor.
My mum pulled herself together and eventually the tears were dried, new purpose found, her boy reassured, the house somehow located. But for many years the word 'Devon' was synonymous in my mind with 'lost and weeping'. It was not a place you go to by choice. Nobody does.
But 25 years later I did return. In a sense there was no choice; the location came with my lovely fiancee Rachel Schofield. Her parents had retired to a sprawling house near Sidmouth. It had a cobwebbed pantry and service bells for long-dead maids. They suggested a marquee in their back garden on the wedding day. I was hardly about to reply: 'Have you thought of Hammersmith?'
Not lost, this time, but found. We were married in the church of St John the Evangelist in Tipton St John. My mum cried again, but for different reasons. Over the years we came down summer after summer, Christmas after Christmas, for R&R in the muddy Devon air. Our two kids arrived. It became their go-to bucket-and-spade location: I recently heard a psychologist explain how a regular family holiday location is 'good for children's mental health', and wondered why she never mentioned adults.
There are some great spots around that part of the east Devon coast. You can see the full glory of the Jurassic Coast in Seaton, and gasp at the fact that Jurassic means ' 200m years ago'. There are almost-private beaches too (just don't picnic in the shade of the rock face – I never trust a bit above me not to break off and I don't want to be killed by the Mesozoic era). You can go to arcades in Exmouth, not quite Jurassic but still wonderfully old-fashioned. Play the penny falls and the impossible lucky dip. Or visit the 'Excape' room there, set up and run by the most lovely young couple you will ever meet.
At Branscombe beach you can see the place where, in 2007, the so-called 'scavengers of Branscombe' descended. A freighter shed its cargo, the goods were washed on to the normally deserted beach, and about £1m-worth of cars, motorbikes, spare parts, bric-a-brac and countless items of treasure trove were liberated by people who came from all over the country. Newspapers called it the 'Branscombe beach booty bonanza'.
There I go again, letting my news head take over. Devon is a place to leave the real world behind. Walk from Axmouth to Lyme Regis if you want the coastal path. Go to Budleigh Salterton if you love a cliff and you don't mind pebbles (use sea shoes and a wetsuit, and suddenly you have Bondi beach in Budleigh). Go to the village of Beer for Pecorama if you have young ones; their model railway takes humans. Ottery St Mary has Wildwood wildlife park and its drop slide, the most inspiring challenge to health and safety law I've seen this century. If you want pure walking, Newton Poppleford to Budleigh Salterton is six miles. Seaton Wetlands has three miles of trails. Or just walk in a circle round Colyton.
But it's Sidmouth I come back to. After getting married close by, it became our summer place. It has sights such as Jacob's Ladder historic wooden steps, the supersize-me cakes at the Clock Tower cafe or the famous Donkey Sanctuary, probably one of the most popular charities on the face of the Earth. It's not a classic sandy beach – a single triangle of brown sand is revealed at low tide, and that's your lot – but you feel you're facing proper sea, with heavy weather triggering waves that crash against rocks by the promenade. When I set my first whodunnit, Murder on Line One, in the town, I included a scene in chapter two where a massive wave sweeps the radio station manager and her just-sacked DJ into the water together. He has to rescue her, fishing her out of the sea after she kicked him out of his job.
What I love most about Sidmouth is that it feels like a town going places. It was once cruelly nicknamed 'God's waiting room'. But recently Radio 2 had to cover a story about a giant lump of congealed fat, wet wipes and dental floss that had blocked the sewers. 'It is the size,' we were told, 'of two doubledecker buses.' It was sucked out using some sort of reverse fire hose. Others despaired, but I felt this was Sidmouth laying down a marker. It had a bigger blob of fat than Blackpool. More families, more jobs, more going on (and going down). It's chintzy in places, drab in others, but it feels real. And real by the sea is a different kind of beauty. Brits need proximity to the ocean. In Sidmouth you're virtually in it.
Jeremy Vine's debut mystery, Murder on Line One (HarperCollins, £20), is out now. To support the Guardian order your copy at guardianbookshop.com. Delivery charges may apply.
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Air traffic outage live: Flights resume after technical fault grounds 150 planes and triggers airlines' backlash

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  • The Independent

Air traffic outage live: Flights resume after technical fault grounds 150 planes and triggers airlines' backlash

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‘Everybody was fondling underwater!': an oral history of the Rocky Horror Picture Show at 50
‘Everybody was fondling underwater!': an oral history of the Rocky Horror Picture Show at 50

The Guardian

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  • The Guardian

‘Everybody was fondling underwater!': an oral history of the Rocky Horror Picture Show at 50

The Rocky Horror Picture Show was released in cinemas in late 1975 with little fanfare, but the provocative musical, with its campy parody of sci-fi and horror B-movies, fabulous costumes and rollicking songs, dug its glittering heels in and refused to let go for the next 50 years. The film was an adaptation of the hit musical The Rocky Horror Show, created by Richard O'Brien when he was an unemployed actor. The story of Dr Frank-N-Furter (Tim Curry), an alien, transvestite scientist, decked out like a bewitching glam rock god and hellbent on seducing everyone around him, galvanised audiences into participating in a way that had never been seen before. As its popularity grew, audiences began to take an active role in screenings – dressing up, dancing, singing along and adding their own lines of dialogue. Screenings also became safe spaces for LGBTQ+ fans, drawn to the film's unabashed celebration of queerness, sexual liberation and gender fluidity. It remains the longest-running theatrical release in film history and still plays in cinemas today. We look back with the cast and crew to find out how the film became such a cult phenomenon. The year was 1974. Actor Richard O'Brien decided to adapt The Rocky Horror Show for the big screen, working with the show's director, Jim Sharman. They kept most of the original cast but the studio, 20th Century Fox, insisted that the lead couple, Brad and Janet, were recast with Hollywood actors. Richard O'Brien, co-screenwriter, composer and Riff Raff (a 'handyman')I was approached by Mick Jagger's people to buy the rights because he wanted to play Frank. I spoke to Jim, and he went: 'No, don't do that.' I said: 'Why not?' He said: 'Well, that means we won't be able to make it.' It had never occurred to me that we'd be allowed to. By the time we got to Los Angeles, Lou Adler was the producer, and he made the overture to 20th Century Fox. 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Nell Campbell, Columbia (a tap-dancing 'groupie' and Frank-N-Furter's former lover) For [Bostwick and Sarandon] it was definitely a little difficult stepping into, basically, a theatre company because we'd all worked together for at least six months. Patricia Quinn, Magenta (Riff Raff's sister and Frank-N-Furter's 'domestic')Sharman said: 'Let's go around to [associate producer] John Goldstone's house, and take a look at the sets and the designs.' So I went and saw this pink laboratory set. I saw Transylvanians [Frank-N-Furter's alien companions] on motorbikes. I saw my dinner dress sketched by Sue Blane, the amazing costume designer, and I said: 'Oh, I'm doing this.' Tim Curry, who had cut his teeth in the stage musical as Frank-N-Furter, made his film debut as the sex-crazed, corset-wearing scientist. Bostwick I was enamoured with Tim's acting chops. To watch him balance the meanness and darkness with the charm and seduction of that character, few people could have done that. O'Brien When we did it on stage, [Frank-N-Furter] was a bit more German expressionistic theatre, a lot more gothic and ghoulish, and the makeup was rougher. But when we got into the studio, Frank became very glamorous, and it was rather lovely. Production started in October 1974, on a budget of $1.4m, for nearly two months – on location in Bray Studios and Oakley Court, a country house in Berkshire, which were both used for Hammer horror films. Sharman We shot at the Hammer Horror studios as a bit of a homage. But that proved to be a little bit impractical. I made many impractical decisions. It was freezing, the middle of winter, the conditions were far from perfect. Bostwick It was a miserable shoot. I was always wet, I was in my underwear, and every 20 minutes, the prop guy was spraying me down with ice-cold water, because they apparently didn't know how to heat up water in England at the time. So, Susan got pneumonia, and everybody had colds. I remember cursing a lot before scenes when the guy had to come by. At one point, I took the spray and started spraying him, just so he got a taste. Campbell It was hilariously unglamorous … Mercifully, I had a fantastic silk padded dressing gown which got me through the shoot because we were half naked a lot of the time. We would have to hike to the bathrooms. And we were all being paid a very small amount. Quinn Everything was a bit of a surprise on this film. Nothing was explained. [The dining table scene didn't have] anything to do with the play. Tim Curry was told to pull the tablecloth off the table in one fell swoop. Underneath was Meat Loaf [who played Eddie, a motorcyclist murdered by Frank-N-Furter]. I thought: 'Oh my God,' because nobody told us. I got hysterics. Richard said to me: 'Shut up.' It was hilarious, and it's all in the film. There was no time to make mistakes. Bostwick The orgy in the swimming pool … We ended up on the stage, wet, in high heels, trying to do the high kicks. It took every bit of balance, energy and camaraderie to do that. Everybody was kissing and fondling underwater. And then when we got out, we went into a little warming booth. We had a cup of tea, and as we were leaving, it caught on fire. Everybody was afraid it was going to burn down the whole set, and we would be shut down. We got out just in time. They used an unusual technique to get the opening scene. Quinn Jim said: 'Have you ever seen Man Ray's Lips, the painting?' 'Never.' He said: 'We could have your lips miming to Science Fiction.' They [erased] my face completely and painted my lips. I started to do it but the lips kept going out of frame. The lighting guy said: 'You see that lamp, that's clamped in that clamp? Bring it down and clamp her head.' So they brought over [the clamp] and screwed in the top and the sides so I was clamped … The most famous lips in cinema history. The intense shoot meant that no one had time to socialise. O'Brien We were there first thing in the morning at six o'clock. You went home, straight to bed, to get up the next day. We didn't have time to party. Bostwick I don't remember having dinner with anybody. I think I got to know the makeup guy better than anybody else … I was experiencing London for the first time. I spent my time at flea markets if I had a day off. Quinn We were exhausted. I never even got to know Susan. Barry said to me once: 'You never liked me.' And I said: 'No, I didn't, because I thought you were Brad' – you know, that dull person. There was no time for chit-chat. Bostwick There was a lot of pot going around in the ranks of the Transylvanians. The film flopped on its release in August 1975 and was panned by critics. O'Brien We had our first viewing of the movie. We all left a little bit depressed. It seemed slow to me. It was a fast 90 minutes on stage. The film seemed more dreamlike, languid. I thought: 'God, people should have picked up their cues a bit quicker.' Campbell It was my big break, so the fact that it disappeared without a trace was very disappointing. Bostwick It never opened in New York. Then I found out later that it hadn't been a big hit when it opened in London. The film was rereleased in midnight screenings in April 1976, with word-of-mouth spreading during its run at New York's Waverly Theater (now the IFC Center). Fans started to yell out their own responses to lines during screenings, and 'shadow casts' dressed up as the characters and lip-synced their own performances in front of the screen. The film was embraced by the queer community, who found a sense of belonging in these immersive screenings. O'Brien I was at home one day, and someone said to me: 'Have you heard about your movie?' I said: 'Yes, opened and closed.' 'No, it's doing this midnight business.' That was a surprise. Sharman In a funny way, I felt it would find that audience. Quite irrationally, because there was no reason why it would. But I always felt that there was something special about it. Lou understood the potential and persuaded people at Fox, who had more or less washed their hands of it, to start playing it at late night [screenings]; and so it grew. Quinn When I was in South Africa, people said it was being banned for corrupting the youth. They said it had been banned in Germany for cannibalism. I thought: 'Wow, we're going to be a hit.' The first Magenta [fan] ever to dress as me became one of my closest friends. Bostwick It started out as a gay event … The audience were outcasts, in a way, from their own society. They found their family there. They found someplace to go and be seen. They were exploring who they were authentically in the world, and they were witnessing something in the film that they had never seen before; that there is an alternative way of being. Campbell In the beginning, there weren't that many things [they would call out to the screen]. Now they pretty much call out after every line. The original things were very witty and hilarious. But now – and I know that my fellow cast members agree – it's too much because you can hardly hear anything without them screaming out. Sharman People said: 'Are you horrified that your film is being used as wallpaper for a party?' I said: 'No, it's fantastic.' Sharman and O'Brien teamed up again for Shock Treatment, a loose follow-up to The Rocky Horror Picture Show released in 1981, which featured several of the same characters. O'Brien The first draft had Rocky (a creature created by Frank-N-Furter and played by Peter Hinwood in the original film) rising from the grave, pulling Frank's body from the rubble and dragging him back to Dr Scott (Jonathan Adams) to get him reanimated. The producers liked it. Jim said: 'No, we're not doing that.' Everything was reworked and Shock Treatment came up. It's a flawed piece. I'm not happy with it, truthfully. Sharman I felt Rocky Horror Picture Show was self-contained and resisted the idea of a sequel. Having moved on, I was also cautious about 'putting the band back together'. I was, however, keen to work with Richard again. We depicted an America enslaved by reality TV run by a megalomaniac. It didn't fly – maybe the satire seemed too dark and far-fetched for the time – though it has proved prophetic. The Rocky Horror Picture Show went on to gross more than $115m worldwide and is now the longest-running film release in cinema history. It continues to screen around the world. O'Brien I find it astonishing. People try forever to write something which has legs. It's like a musical that was written in a 13-year-old boy's bedroom … [LGBTQ+ fans] come and say that it was something that changed their lives. They found that they weren't alone, that somehow there was a place for them in the world. They weren't going to be laughed at, ridiculed. Bostwick I think that my kids, if they have children, will be able to take their children to it and say: 'That was your grandfather, and they used to call him 'asshole' [a common refrain called out by the audience during fan screenings] for his whole life. But he wasn't. He was a great dad. He was just associated with this iconic story.' I'm very proud of it, and I'm a champion for its worldviews. Campbell We're the only positive cult I can think of. The great joy has been what this film means to so many people. It is still difficult for a lot of people to come out as gay or cross-dressers or bisexual or trans. This 50-year-old film still brings people together because of the shadow casts. I've met so many people that have met their partners that way. Sometimes at a screening I will meet an entire family dressed up as the characters. It's just marvellous. The Rocky Horror Picture Show is screening at selected cinemas across the UK from 22 August

What 'shocking' chapters of real royal history influenced Game of Thrones' Red Wedding and Cersei Lannister's walk of shame?
What 'shocking' chapters of real royal history influenced Game of Thrones' Red Wedding and Cersei Lannister's walk of shame?

Daily Mail​

time23 minutes ago

  • Daily Mail​

What 'shocking' chapters of real royal history influenced Game of Thrones' Red Wedding and Cersei Lannister's walk of shame?

From the War of the Roses to Hadrian's Wall, author George RR Martin drew extensive inspiration from real British history to construct his fantasy series A Game of Thrones. On this week's episode of the Queens, Kings and Dastardly Things podcast, hosts Kate Williams and Robert Hardman explore how two of the series' most shocking moments mirror shameful chapters from the monarchy's history. This episode is part of a new miniseries which explores how history's most wicked royals rival any fictional villain. You can listen to the latest Queens, Kings and Dastardly Things by clicking the below or here. Podcast All episodes Play on Spotify Cersei Lannister's Walk of Shame and Richard III One of the most arresting scenes from Martin's fantasy epic is Cersei Lannister's naked walk of shame through King's Landing. Peasants throw stones and faeces at the Queen Mother while a religious fanatic follows slowly behind her chanting 'shame.' In the book and popular television show, Cersei must walk through the streets as an act of penance after her incest and adultery are uncovered by the High Septon. Historian Kate Williams draws parallels between Cersei's slow march and the real-life fifteenth-century flogging of Jane Shore, ordered by the infamous Richard III. She explained: 'Jane Shore was a mistress of King Edward IV and she continues to be his mistress until his death. She's almost like a Queen herself. 'Jane's a fixer, a diplomat – she's very intelligent. When Edward dies, his son comes to the throne – who's one of the famous princes in the tower. 'When Richard succeeds Edward – the new King realises Jane's allied to his enemies. After Edward, Jane begins an affair with the old King's stepson, Thomas Grey, the first Marquess of Dorset. 'That is dangerous for Richard – but he chooses not to kill her, instead making her undergo a public penance.' On trumped up charges of adultery and conspiracy, Jane was forced to strip and stand before the peasantry near St Paul's Cathedral. For a noblewoman, this treatment was highly unusual. Punishments of this nature, as Williams told the podcast, were typically reserved for prostitutes and courtesans. 'Jane is forced to walk the streets of London wearing only a kirtle, a type of underwear', Williams said. 'Her promiscuous lifestyle was used against her because she's had affairs. This form of shaming is strange, the same ritual used for sex workers. 'To see a woman dressed like that, is absolutely shocking. One account says her beauty attracts a lot of attention from men, who line the streets to watch her progress. 'The big difference from Game of Thrones is the public's reaction. The crowds don't throw stones, nobody shouts shame. They just watch and feel sorry for her.' The event only adds to Richard III's already divisive reputation - he would eventually lose the crown to Henry VII after being killed at the Battle of Bosworth Field. Jane would have the last laugh: after spending some time in Ludgate prison, she was freed and would marry Thomas Lynom, Richard's solicitor general. The marriage was reportedly a happy one and Jane was able to live out the rest of her years as a member of the English aristocracy. 'What you have here is Richard the III behaving very cruelly', Williams said. 'Overturning social mores in this way, as this is what you'd expect to do to a working-class woman - the people were absolutely shocked by it.' The Red Wedding and Scotland's 'Black Dinner' Another chapter of British history that Kate Williams believes Martin drew inspiration from was Scotland's Black Dinner of 1440. One of the most memorable moments of Game of Thrones is when 'King in the North' Robb Stark is murdered at his own wedding. The Red Wedding, the result of scheming between the ruling Lannisters and minor lords, sees an entire rebellion extinguished as Stark's family is brutally murdered in a surprise attack. The surprise killing of a rival noble family did occur in Scotland, with the Earls of Douglas being drawn to Edinburgh Castle on the promise of peace talks with a 10-year-old King James II. The brothers William and David, who led the rebellious Douglas clan, were invited to dine with the new King in late autumn but a trap had been laid, as Kate Williams explained. 'The brothers think, perhaps with a new king, there might be an alliance', she said. 'They think that they're going to set aside their differences and have a conversation. They all dine together in a great hall and reportedly are having a good time. 'Then, someone leaves a black bull's head on the table in front of the brothers. This is the Scottish emblem of death. 'The brothers are seized and taken away to a mock trial. They are charged with treason, and the jury sentences them to death.' The child king James II was supposedly unaware of the plan to lure the Douglases to the castle and pleaded with his guards not to go ahead with the execution. 'He's only ten', Williams said. 'The King thought maybe they were going to be friends – so he begs for them to be spared. 'But the axes indeed fall and in the end, it's on James's authority because he is King. 'This is seen in Scotland as a huge moment – to lie, lure and break the rules of a diplomatic dinner is really shocking. 'Game of Thrones goes further, having the murders set at a wedding, there's no fake trial either – it all just happens in a moment.' James II would meet his own tragic end at the tender age of 29, after being killed in a freak accident while besieging an English castle in 1460. The King had pioneered the use of cannons by the Scottish army but died after a cannon exploded and a piece of metal sliced through his thigh. To hear more connections between Royal history and Game of Thrones, search for Queens, Kings and Dastardly Things now, wherever you get your podcasts.

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