Paradise

The ‘beautiful’ cove has been described as a ‘hidden gem’ and the ‘perfect escape’ from tourist traps

A “hidden gem” beach has been hailed as the “perfect escape”. The “magical little cove” in West Cornwall is loved for its “beautiful turquoise water and white sand.” Reviewers have described Nanjizal Beach as “very scenic,” praising the “breathtaking” views and the “unusually clear” water.

For locals, the beauty of this spot is no secret, but for those living further inland, the beach could offer a welcome respite from the usual tourist hotspots. The remote location means it’s only accessible on foot, with rocks and boulders to navigate along the way.

It’s also crucial to check the tide times before setting off, reports Cornwall Live. However, at the end of your journey, you’re greeted with “postcard” scenery, while at low tide, it’s often possible to take a dip in the tidal pool – if you’re brave enough to face the chilly water.

Blogger Lizzy Parkin, who posts on TikTok under the handle @flossys_wonderland, shared a video showcasing the “beautiful” beach. She told her followers: “I’m on a mission to find places across the UK that make people say, ‘I can’t believe this is the UK.’

“This is episode 2, and I’m sharing a stunning swimming spot, cove and natural rock pool.” Lizzy added: “The water here is a crystal turquoise colour, and these clips are completely unedited.

“The colour really is that bright. This spot is inaccessible by car, making it even more special and uncrowded. We parked at Lands End car park and walked the coastal path for around 30 minutes, which was absolutely beautiful.

“It has cliff and ocean views all the way along. If you do decide to swim in the rock pool, please be careful when making your way over to it. You’ll need to climb over rocks which are extremely slippery, and it may be wise to bring wet shoes to make the walk over easier.

“This place is called Nanjizal Bay.” Replying to the video, one commenter said: “My favourite beach.” Another wrote: “I’ll never forget that tight little walk which nearly made me turn back but it was sooooo worth it.”

Nanjizal Beach also receives rave reviews on TrustPilot. For instance, one visitor wrote: “Hidden Gem. This beach has the most beautiful turquoise water and white sand, and is the perfect escape from the tourist traps like Land’s End. The walk around the Coast Path is incredible when the sun is shining, and you can see Nanjizal Beach glistening in the distance as you come around the headland.

“This recent visit was the first time I’d been with our dog, and my only piece of advice would be just to be wary of the steps down to the beach with your 4 legged friend. My Cocker Spaniel is not the most delicate or agile so struggled a bit with the steps and the scramble to the sand, but once we were on the beach he had a lovely time!”

Someone else wrote: “Lovely beach. Very scenic.” They explained: “A lovely beach with beautiful blue water, clear pools to splash around in and a fresh water stream dropping down off the cliff. Very scenic. Large boulders scattered across the beach make it a little hard to access parts of the beach.”

Another review said: “A 2-3 hour walk from Sennen Cove along a breathtaking coastal stretch, which passes a shipwreck, OR you can take a diagonal path from Land’s End across the cliffs (faster but not as breathtaking). You will pass a patch of stinging nettles, and a narrow stretch with a steep drop so keep dogs on leashes, and keep hold of kids.

“Once you get to the cove, it is literally paradise. Crystal clear water, caves, turquoise ocean, soft white sand and not many people. We were lucky enough to see Seals bathing, too! There are no kiosks, toilets or anything there so go prepared.”

According to the Cornwall Beach Guide, there is only a small strip of sand at the beach this summer. A notice on the website reads: “Usually there is plenty of sand but at times, especially after stormy weather the sand can be stripped from the beach to leave a beach consisting mainly of boulders.

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“There are no facilities or parking at Nanjizal and the beach is only accessible by walking. Update summer 2025 – this summer the beach is mainly boulders with only a small strip of sand.”

The guide adds: “Access is via the coast path from either Porthgwarra, Lands End or Sennen Cove. It takes about 30 minutes to walk from Porthgwarra to Nanjizal Beach, about 45 minutes from Lands End to Nanjizal. Final access to Nanjizal Beach is via steep steps.”

Moreover, the guide cautions that the boulders can be slippery when wet, there are reports of rip currents, and the path from Land’s End to Nanjizal has unprotected cliff edges. Visitors should always exercise caution, check the forecast, and adhere to safety guidelines when walking and swimming.

Nanjizal Beach is located near Porthgwarra, Cornwall. The beach is not accessible by car. The postcode for Porthgwarra Car Park is TR19 6JP.

“The Seagull: Malibu” and the seldom-revived “Strife,” two ambitious offerings in Theatricum Botanicum’s outdoor season, are reset in the American past.

Ellen Geer, the director, calls her version of Anton Chekhov’s play, “a retelling.” She relocates “The Seagull,” as a program note specifies and her production flamboyantly conveys, “to the self-centered Me Generation of the ’70s that followed the social upheaval of the ’60s.” Malibu, a California world unto its own, hemmed in by the Pacific Ocean on one side and the Santa Monica Mountains on the other, sets up a groovy, glamorous equivalent to the backwater country setting of Chekhov’s original, in which all of the characters seem to be suffering from terminal ennui.

“Strife,” John Galsworthy’s 1909 social drama about the human cost of a deadlock between management and labor, is transferred from the England-Wales border to Pennsylvania of the 1890s. The play, directed by Ellen Geer and Willow Geer, isn’t adapted in the freehanded way of “The Seagull: Malibu,” and the change of locale doesn’t always seem natural.

The production’s opening scene is slightly disorienting. The directors, called to an emergency meeting at the home of the chairman of the board of the American Steel Corp., have the haughty mien of British aristocrats. Later, at the freezing cold abode of one of the leaders of the strike, the impoverished scene takes on unmistakable Dickensian notes. There are a fair number of Irish accents in the mix, but I wouldn’t have been surprised if one of the actors broke out his best cockney.

“The Seagull: Malibu” isn’t always consistent in setting up the time period, but the production’s larkish approach is infectious. Arkadina (Susan Angelo) plays the self-absorbed actress mother who sold out to Hollywood. Defensive about her age, she’s even more prickly about the condescending attitude of her would-be avant-garde playwright son, Constantine (Christopher Glenn Gilstrap), who basically thinks she’s a B-movie hack.

Gilstrap’s Constantine looks more like a future yacht rock frontman than a theatrical renegade. Angelo’s Arkadina seems destined to have her career resurrected in the next decade by a recurring role on either “Dallas” or “Dynasty.” The charged Oedipal dynamics between them are vividly fleshed out.

Rajiv Shah and Susan Angelo in “The Seagull: Malibu” at Will Geer Theatricum Botanicum.

(Ian Flanders)

Willow Geer plays Masha, the Chekhov character who insouciantly declares that she’s in mourning for her life. Her Masha is a pothead and sloppy self-dramatizing drunk, hopelessly in love with Constantine, who only has eyes for Nina (Caroline Quigley). Masha confides her discontent to Dr. Dore (Daniel Reichert), a Gestalt therapist who, like Chekhov’s more traditional Dr. Dorn, has an empirical worldview that stands in stark contrast to the romantic dreaminess of everyone else at the estate.

Thad (Tim Halligan), Arkadina’s rechristened brother, suffers from fragile health and a sketchy backstory. Halligan, however, gives the character definition, especially when advocating for his nephew and risking the wrath of his volatile, penny-pinching sister. Trigger (Rajiv Shah) is the new version of Trigorin, the established writer who, as Arkadina’s younger lover, resists becoming her property even as he enjoys the perks of their celebrity relationship.

The boldly amusing and good-natured production makes the most of the fading California hippie era. The final act, unfortunately, is dreadfully acted. Quigley’s Nina is a delight in the play’s early going, all innocence and starry-eyed enthusiasm. But there appears to be no artistic growth when she returns to encounter a still-lovesick Constantine. Quigley’s acting is as melodramatic and artificial as Nina’s was said to be before her travails and losses transformed her talent.

This isn’t the production’s only failure of subtlety, but it’s surely the most consequential. Still, if you can cope with a deflating finale, there’s much to enjoy in this update of “The Seagull,” not least the glorious Topanga summer night backdrop, which translates Chekhov’s setting into a rustic West Coast paradise.

Emily Bridges and Franc Ross in “Strife” at Will Geer Theatricum Botanicum.

(Ian Flanders)

I can’t remember ever having seen a Galsworthy play, so I was grateful for Theatrium Botanicum’s vision in producing “Strife.” Awarded the Nobel Prize in literature in 1932, Galsworthy is better known for his novels than his plays. (The 1967 BBC television adaptation of his Forsyte family chronicles brought him immense posthumous acclaim.)

“Strife” is an intelligent thesis play, not on the verbal or theatrical level of George Bernard Shaw’s sparkling comedy of ideas but impressive all the same for its complexity of argument and compassionate determination to understand all sides of a problem. The play is especially resonant at this moment when workers are treated like items in a budget that can be erased without regard for human consequences.

There’s a rousing speech about the God of Capital, “a white-faced, stony-hearted monster” that says, “‘I’m very sorry for you, poor fellows — you have a cruel time of it, I know,’ but will not give you one dollar of its dividends to help you have a better time.” These words are spoken by David Roberts (Gerald C. Rivers), a labor hard-liner and rabble-rouser, who is the ideological enemy and (mirror image of) John Anthony (Franc Ross), the chairman of American Steel who refuses to give an inch to the demands of the workers.

In portraying these intractable figures in equivalent moral terms, Galsworthy reveals, if not his privileged background, then his muddled thinking on economic justice. But this large-cast drama (one of the reasons it’s rarely produced today) provides a broad spectrum of human experience, adding depth and nuance to what is undeniably a vigorous debate.

Brian Wallace, left, and Gerald C. Rivers in “Strife” at Will Geer Theatricum Botanicum.

(Ian Flanders)

Enid Underwood (Emily Bridges), Mr. Anthony’s married daughter, is desperate to help her ailing servant, Annie Roberts (Earnestine Phillips), whose health has been destroyed since her husband, David, has been on strike. Enid’s sympathy is strong, but her class allegiance is stronger, setting up an intriguing character study that takes us into the heart of the societal dilemma Galsworthy diligently dissects.

The acting is often at the level of community theater — broad, strident and overly exuberant. Galsworthy, to judge by this revival, seems to be working far outside the tradition of realism. I wish the directors had reined in some of the hoary excesses of the performers, but I felt fortunate to experience a play that might not be an indelible classic but is too incisive to be forgotten.

Hvar is known to tourists for its vibrant nightlife and party culture, but with new laws clamping down on the main town’s shenanigans, a hidden gem on the other side of the island is the next best thing

Hvar, one of Croatia’s many islands, is just a two-hour ferry ride from Split. The main spot, Hvar Town, is known as a party destination with tourists pouring in during the summer months to go straight from the beach to the clubs and back.

But, less than an hour away from the hustle and bustle is a lesser-known side of the island. Family-friendly, tranquil and everything you could imagine in a sliver of Mediterranean paradise.

This is Stari Grad, one of the oldest towns in Europe with a full-time population of less than two thousand people. Arriving by ferry on this secluded side of Hvar, it’s easy to forget it’s a ‘party island’ at all as you’re enveloped in the serenity of Mediterranean countryside.

Stari Grad’s crystal-clear waters and iconic long bay create the most gorgeous views as the sun sets right down the middle of it during the summer months. The waterside promenade also boasts a plethora of local bars and restaurants where you can watch the dazzling display with a glass of Bogdanusa from the edge of ancient Roman mosaic floors dating back to the second century.

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Down the city’s narrow alleyways, you can find a range of local treats and handmade goods, from painters to bakers. All are experts in their crafts and friendly as they come. In the summer, the streets come alive with flowers complementing the ancient stonework, making for some stunning photos.

The medenjaci, traditional Croatian cookies, are to die for. The island is also known for its lavender fields, with several vendors offering dried plants, oils, and other handmade lavender products. After a few minutes of walking, you may even come across Petar Hektorović’s castle.

The Renaissance poet built the pinnacle of a writer’s sanctuary into his favourite town, which is still mostly intact today. It has all the plants he collected during his travels and his famous fishpond. It may not sound like much, but the atmosphere is indescribable, like pure tranquility in physical form.

All of this is just a short walk away from Valamar’s [PLACES] hotel. Providing some of the upbeat party culture Hvar is known for without distracting from the natural wilderness it’s surrounded by. When the sun goes down, the pool stage lights up as DJs and performers take over, excited chatter takes over as cocktails pour out of the multiple bars until the late hours of the evening.

The resort features apartments and villas just a few short steps from the ocean, where a secluded beach allows visitors a dip in the crystal clear waters. It also features a quaint spa next to an array of huts, bean bags and lounging chairs in a ‘quiet zone’ that creates a true break away from all the stressors of life. Allowing you to completely unwind as the birds sing in harmony with the rhythm of the ocean.

Just next door is the family-friendly Valamar Amicor resort. Water slides, game rooms, sports courts, even virtual reality football, are just a quick walk or tricycle ride from the lavish villas. Its delicious buffet restaurant also caters to every picky eater imaginable, from pancakes to oysters.

Our local guides note that mid-summer is Hvar’s busiest time of year, which also means prices for resorts and activities go up. However, they also point out that even the depths of winter rarely hit single-digit temperatures here.

For anyone planning a getaway, they recommend skipping July or August and going for May, June, or September, when temperatures are just as high but the beaches are empty and the rates are lower.

The tourist hotspot of Hvar Town is less than an hour’s drive away from Stari Grad. If you plan the right route, you might even come across local family wineries up on the mountains that offer unmatchable views of the bay as you sip.

Our little group even managed to catch a glimpse of Jeff Bezo’s super yacht sailing in as he and Lauren Sanchez enjoyed the last few days together before their lavish wedding.

Out in Hvar Town, there’s something to do and see down each cobbled street. From the 16th-century fortress lording over the city to a museum dedicated to the Hvar detective who pioneered forensic fingerprinting techniques.

From Hvar’s port, sailboats depart for several local swim spots and other islands. The blaring sun can get intense out on the sea, so sunscreen is recommended at the bare minimum, but diving into a still, crystal-clear ocean is an inimitable feeling.

Of course, there’s still Hvar’s vibrant nightlife, but authorities are clamping down on rules this summer to curb the onslaught of rowdy tourists it’s known for collecting. They are limiting noise levels, cutting parties earlier, and adding fines for things like wearing beach attire in certain venues.

Book it

[PLACES] Hvar by Valamar has doubles from £123 (€144), FLEXI Half Board included

Valamar Amicor Resort 4* offers villas from £285 (€334), half Board included

Jadrolinija runs ferries to Stari Grad

Kapetan Luka sails catamarans from Hvar.

Go to Visit Stari Grad and Visit Hvar to find out more.

An incredible UK beach boasting three miles of white sand and crystal-clear water has been described as ‘Heaven on Earth’ and one of the world’s best – and yet it sees hardly any tourists

With powdery soft sand and ‘jewel-like’ waters, this stunning slice of coast feels worlds away from the dreary UK.

In fact, back in 2009 – a picture of this beautiful three-mile beach was accidentally used by Thailand’s tourist board, after they mistook it for the tropical hotspot of Kai Bae. Seriously, with sand as white as sugar, grassy dunes, and breathtaking mountain views, it’s hard to believe this ‘tropical’ beach isn’t stranded somewhere in the middle of the Indian Ocean.

Instead, it’s situated on Berneray, an island in the Outer Hebrides archipelago, around 40 miles from the Scottish mainland. Beloved by locals, and often overlooked by tourists – West Beach has been described as ‘Heaven on Earth’, and it’s easy to see why.

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“I spent two hours on this beach and despite its incredible beauty, I never saw another soul,” one traveller wrote in her review of the beach earlier this year. “The beaches of Harris are also amazing, but this is the best beach I have ever been to. It’s magical!”

Another agreed, hailing: “Three miles of white sand and tall sand dunes, crystal clear emerald-coloured waters, and you can only meet a few people along the entire stretch of the beach. The beauty of nature at its best,” while a third added: “[It’s] one of the most beautiful beaches we have ever been to. Endless empty white sand and beautiful dunes and topped with Machair.”

Now, West Beach is likely slated for a huge tourist boom, after being featured on Lonely Planet’s list of the 25 best beaches in the world. Winning the ‘best beach for untamed beauty’ category, the travel firm hailed the beach for its picturesque sands and unspoilt landscape.

“The brave might go for a swim in these chilly waters that rarely get above 13°C (55°F), but it’s a real paradise for beachcombers, bird-watchers and hikers,” it hailed. “Grassy elevated dunes offer a perfect perch for pristine beach views and are the best place to spot cormorants, gannets and more. Come in the spring when the surrounding landscape is a burst of colour thanks to the wildflowers that grow in abundance.”

Located almost 700 miles from central London, getting to Berneray isn’t so straightforward. Flying to Benbecula Airport in the Outer Hebrides is probably the quickest way. You can fly directly here from Glasgow – or get a stopover flight departing from London Heathrow.

Despite being faster than driving, indirect flights can still take around nine hours – and cost around £396 for a return in July. After touching down in Benbecula, you’ll need to drive around 45 minutes up to Berneray, or take the W16 Bernerary bus to Road End (which takes around 45 minutes) before walking down to the coast.

*Prices based on Google Flight listings at the time of writing

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Ecuador in South America is a country steeped in culture, rich in history and bursting with natural beauty – yet it doesn’t see many tourists. Here’s why it should be on your list

Fancy a getaway to an under-the-radar destination? Though bursting with cultural heritage and stunning landscapes, the South American gem of Ecuador tends to slip under the tourist radar but truly deserves a spot on your bucket list.

In 2023, Ecuador welcomed just shy of 1.5 million wanderers to its shores. In comparison, with a whopping 125 million holidaymakers flocking to Spain in the same timeframe, Ecuador certainly isn’t topping the charts as a travellers’ favourite. Yet, adventure gurus from Adventure Life have dished out all the insider info on why you should be writing Ecuador into your next adventure itinerary, reports the Express.

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Things to do

“The archipelago consists of 19 islands and numerous smaller islets, each offering a unique glimpse into nature’s unparalleled creativity, as this unique ecosystem hosts a variety of species not found anywhere else in the world.”

The Galápagos Islands promise remarkable encounters with the animal kingdom – snorkel alongside playful sea lions or watch in awe as giant Galápagos tortoises roam their native turf. Curious explorers can join expert-guided excursions, delving into the mysteries of the islands and their extraordinary residents.

A volcanic past has sculpted the islands into an extraordinary geological tapestry, from Sullivan Bay’s black lava flows to Bartolomé Island’s spatter cones – the terrain is as diverse as its furred and feathered inhabitants.

Rainforest

The Ecuadorian Amazon, a treasure trove of biodiversity, offers guided tours through its lush greenery where visitors can marvel at exotic orchids, ancient towering trees, and an array of wildlife including vibrant macaws and the elusive jaguar.

Tourists have the opportunity to immerse themselves in the culture of the Amazon’s inhabitants, learning about their use of rainforest resources, traditional cuisine, and age-old ceremonies.

For the more adventurous souls, there are options to kayak along serene rivers, trek jungle paths, or zip-line across the rainforest canopy.

Nature

Nature enthusiasts and thrill-seekers alike can ascend the formidable Cotopaxi volcano, one of the planet’s highest active volcanoes, or traverse the Quilotoa Loop with its breathtaking volcanic crater lake.

Adventure Life highlights the cultural vibrancy of the Andes, especially during the many festivals that dot the calendar. “The Andes are also alive with cultural richness, evident in the numerous festivals that fill the calendar. One of the most vibrant is the Inti Raymi, or Festival of the Sun, which celebrates the Inca sun god and marks the winter solstice with music, dancing, and ritual ceremonies,” they say.

A trip to the Andes wouldn’t be complete without delving into its market towns. Otavalo boasts one of South America’s largest and most renowned indigenous markets, brimming with handcrafted textiles, jewellery, traditional musical instruments, and artwork.

History

“You can explore significant architectural landmarks such as the ornate La Compañía de Jesús, which is adorned with gold leaf interiors, and the imposing San Francisco Church, which houses masterpieces of the Quito School of Art.”

Quito’s vibrant culinary scene is another highlight, offering everything from upscale restaurants that showcase local staples like Andean potatoes and exotic Amazonian fruits to street vendors serving up traditional empanadas and hornado.

The capital’s proximity to nature is best experienced at the nearby TelefériQo. The cable car provides stunning views over the city and ascends towards hiking paths on the Pichincha Volcano’s slopes.

“Ecuador seamlessly blends a rich history, unparalleled natural beauty, and vibrant cultural expressions into a journey that feels both timeless and essential,” according to Adventure Life.

“For those looking to explore beyond the familiar, Ecuador presents an unmatched choice of activities and scenery in which to immerse yourself.”

Death in Paradise fans have been given exciting news about the hit BBC show as bosses have announced a special book for a limited time only.

Death in Paradise fans might have to wait a bit before jetting off again to the make-believe island of Saint Marie with DI Mervin Wilson (Don Gilbert) at the helm.

While new episodes are on the horizon, fans of the BBC series can now play sleuth themselves thanks to an exhilarating book from the bosses.

For those eager to test their investigative skills, the Death in Paradise Puzzle Book is available for a limited-time, allowing people to see if they have what it takes to join the police team.

Flaunting the news on Instagram, the show’s official page revealed: “Big News! For a limited time only, you can get a copy of The Death in Paradise Puzzle Book for just £9.19 on Amazon!

Casting you among your favourite characters on the island of Saint Marie, the puzzle book features 150 murderously challenging brain-teasers to test your wits! Get your copy now!”

The announcement swiftly sparked excitement in the comments section, with one user exclaiming: “I have mine and I absolutely love it”

Another chimed in with their own joy: “I got mine [sic]” Overcome with enthusiasm, another tagged a pal, posting: “No way!”

Taking to the online review space, a satisfied customer shared: “Great for fans of the show. I bought it for a long journey and it helped pass time so quickly. Variety of different types of puzzles link into the overarching story, presenting a decent mix in terms of ease and challenge. It gets my wholehearted endorsement.”

Another fan gushed: “Great present for a Death in Paradise fan.”

On Amazon, the book has earned a 4.5-star rating and currently sits at the top spot as the number one best seller in the TV Tie-in Humour category, reports the Express.

The excitement continues to mount as filming for the new series of Death in Paradise is well underway, confirmed by the show’s Instagram a few weeks ago.

Season 14 concluded on a poignant note as audiences saw Commissioner Selwyn Patterson (played by Don Warrington) make the bittersweet decision to depart the island.

In an emotional scene with Catherine Bordey (portrayed by Elizabeth Bourgine), he disclosed his plans to visit his daughter, casting uncertainty on his return date.

The future remains unclear for the beloved character in the upcoming series 15.

Catch up with all the episodes of Death in Paradise on BBC iPlayer.

Death in Paradise star Élizabeth Bourgine has shared a glimpse of the season 15 filming as the cast and crew are currently in Guadeloupe working on the next instalment

Death in Paradise star Élizabeth Bourgine has treated her followers to a behind-the-scenes glimpse of the upcoming 15th series, currently being filmed in the sun-drenched climes of Guadeloupe.

The seasoned French actress shared a series of snaps on Instagram, including one with the caption: “Shooting series 15 of Death in Paradise.”

At 68, Élizabeth posted an image from the production monitor that showcased her as Catherine Bordey, looking intently into the lens.

Another photo showed Élizabeth beaming while keeping herself cool with a handheld fan during a filming break. Her post was met with enthusiasm from fans, with comments such as: “Can’t wait to watch, looking beautiful as always.”

One fan remarked: “With each season it just gets better and better! Looking forward to 15.”

This sneak peek arrives amidst viewers’ worries for Don Warrington’s character, Commissioner Selwyn Patterson, particularly after his shocking decision to resign from the force in the finale of series 14, reports Wales Online.

Concerned fans have voiced their hopes on social media for Selwyn’s return, with remarks like: “With Selwyn back, please.”

Another fan said: “Love the new inspector! His storyline is so interesting. I hope it isn’t the end of Selywyn. I always look forward to his scenes.”

As the show progresses, the future of Selwyn in Saint Marie remains uncertain, especially after he was temporarily replaced by Sterling Fox (Trieve Blackwood-Cambridge), only to reclaim his position following Fox’s brief tenure.

The series ended on a surprising note when Selwyn announced he was leaving the police force to visit his daughter Andrina (Genesis Lynea), declaring: “I won’t be staying. It felt wrong to say yes. Too much has happened and right now I can’t see a way to get back to how things were.”

Fans are also excited for the return of Don Gilet as DI Mervin Wilson, who decided to stay in Saint Marie after discovering he has a brother. Élizabeth Bourgine is expected to reprise her role as Catherine, teasing a potential new love interest.

Other actors likely to come back include Shantol Jackson as Naomi Thomas, Ginny Holder as Darlene Curtis, and Shaquille Ali-Yebuah as Sebastian Rose.

The show left its audience on tenterhooks with a Christmas cliffhanger, and following the festive special in December, viewers are looking forward to series 15, which is slated to air in early 2026.

Seasons one to 14 of Death in Paradise are available to watch on BBC iPlayer.

In the latest episode of The Envelope video podcast, we sit down with “Paradise” creator Dan Fogelman in front of a live audience at the Newport Beach TV Festival to hear what he has planned for Season 2 of Hulu’s buzzy dystopian drama and much more.

Kelvin Washington: Hey, everybody, welcome to this week’s episode of The Envelope. Kelvin Washington here alongside Yvonne Villarreal and Mark Olsen as usual. You two, we want to have a conversation about Emmy nominations. We know they’re gonna be coming up — this will be the last episode before we find out who is nominated — so you got some some bold takes? You got some things on your mind? Don’t roll your eyes!

Yvonne Villarreal: No, not rolling! I’m getting ready. You know, streaming obviously still dominates a lot of the conversation, whether it’s “Severance” or “The Studio.” But I’m going to say, I look forward to seeing my girl Kathy Bates get a nomination for “Matlock” on CBS. That is my prediction and I’m sticking with it.

Washington: All right, Mark, you got a bold one for us?

Olsen: I’m going to go with Matt Berry for “What We Do in the Shadows.” The show just wrapped up its sixth and final season. And he’s just been such a comedic powerhouse on that show. And season after season, he’s been so inventive, so fun. And I just think it’d be great to see him recognized for the totality of the work that he’s done there.

Washington: The person I’m gonna name is in this show you mentioned, “Severance.” Tramell Tillman. Milchick. There’s a moment on my other show that I do, I danced and everyone said, “Oh, you’re Milchick! What do you think, you’re Milchick?” Everyone’s just screaming — it was a whole thing. That was one of the signature moments of the season, I think.

Villarreal: Why don’t you ever do that here?

Washington: First off, it’s early. You don’t know what I’m gonna do the rest of this episode. You don’t know.

Villarreal: I don’t have a drumline here.

Olsen: He’s in the new “Mission: Impossible,” “The Final Reckoning,” and I saw that at a public [screening], and the moment he came onscreen, people cheered in the audience. Like he has such a fan base from the show.

Villarreal: Well earned.

Olsen: Beautiful thing for him! Let’s talk about, you had something cool you got to do, Yvonne, speaking with someone that you’re familiar with, Dan Fogelman, showrunner for “Paradise.” You got to this at the Newport Beach TV Festival, where you sat down and had this conversation in front of a live audience. He got a showrunner of the year award as well. It was really cool, right?

Villarreal: It was very scary. I do like audiences, but I do get a little nervous. Speaking with somebody that I’ve talked to many times helps ease the sort of stage fright there. Dan Fogelman is somebody that I have spoken to a lot of times over the years because I covered “This Is Us” from beginning to end.

And it’s funny because I remember, last year I was on the set of “Only Murders in the Building,” which he is a producer on, and they were filming on the Paramount lot for their sort of trip to L.A. last season. And he had just started production on “Paradise” on the same lot. And he took a break and headed over to our neck of the woods on the Paramount lot to show everybody a cut of a scene that they had just wrapped for “Paradise.” He was so excited to share that with everyone, and he’s like, “Yvonne, you gotta see this, you gotta see this,” and it’s Sterling K. Brown doing a scene and you’re just in awe of it. This show has political intrigue, there’s a murder mystery, there’s the destruction of the planet, and the premise is Sterling K. Brown plays a Secret Service agent who’s accused of killing the president and is sort of trying to unravel who was really at fault here, and that’s just on the surface. There’s a lot more to it than that because Dan Fogelman is known for his twists, and he didn’t disappoint here. So it was really fun to unpack that with him in front of an audience

Washington: A whole lot of twists in that show, for sure. All right, without further ado, let’s get to that chat with Dan Fogelman. Here’s Yvonne.

Sterling K. Brown in “Paradise.”

(Brian Roedel / Disney)

Villarreal: Dan and I go way back.

Fogelman: “This Is Us” days.

Villarreal: I had the great privilege of covering “This Is Us” from beginning to end. And that show, I would often come to you and say, “Why are you making me cry?” And “Can you make me cry some more?” This show, it was very much, “What is going on here?” Talk about the genesis of this show, because it actually predates “This Is Us,” the kernel of the idea.

Fogelman: I’d started thinking about this show long before “This Is Us.” When I was a young writer in Hollywood, they start sending you on all these “general” meetings, which is, basically, you go to meetings with important people with no agenda. And it can be a very awkward dance. You tell your same origin story a hundred times. At one of these meetings, I was meeting with a captain of industry, a very important person. As that person was speaking to me, I was not hearing anything he or she was saying. I was calculating how much money I thought they were worth. I was thinking, “Is this a billionaire? Am I in the room with a billionaire?” And on the way home — this was a long time ago — it was in the shadow of 9/11, and a nearby construction site dropped something, and it made a loud boom, one of those booms that shakes you for a second, and I thought to myself, “Wow, when the s— really hits the fan, that guy’s gonna be as screwed as all the rest of us, because all the people that must take care of him are going to run after taking care of their own people.”

I started thinking about that. I started to think about a Secret Service agent and a president, somebody whose job it is to take a bullet. And this idea of telling a murder mystery of an ex-president underground and learning later that the world has ended above. That was the impetus behind it. I kind of put it away. I wrote “This Is Us.” I talked with some big sci-fi writers about the idea, thinking maybe I could produce it for somebody better than me to make it. And then when “This Is Us” ended, I was like, “I’m gonna try and do that one.” And so it took like 15 years to come back around.

Villarreal: What do you remember about those conversations with the other sci-fi writers?

Fogelman: People thought, “Oh, that’s a cool idea.” But that’s as far as it goes because that’s lot of work to then figure out the cool idea. And that became the problem with this show. I wrote it and I had to sit down and figure out how we were going to do it, and what was the tone going to be, and what were the twists and turns. They all kind of said, “Thanks but no thanks,” because it seemed really hard, I think. I just waited and did it. It takes a while and it takes a village; it takes a lot of writers sitting with you and figuring out how to shape the world.

Villarreal: How much was it tugging at you during “This Is Us”?

Fogelman: During “This Is Us,” I was pretty in “This Is Us” and a couple of other projects at the time. The last two years were like fraught with COVID, and there was no more in-person stuff, and everybody was wearing masks on set. It was a really tough two years of a six-year show. At the end, in the final season, we did 18 episodes and I had 18 Post-it notes on my wall in my office, and each time I would finish a script, I would “X” it out. And each time I’d finish an edit, I’d “X” it out. Because that was how much left I had to do. They’re still on my wall in my office to this day because it was so exhausting and it was such a big accomplishment to just be done with that, when it was over, I was like, “Oh, now’s the part where I take the Post-it notes off the wall.” And I never did. They’re just still hanging on by a thread there. But then I took a break for six months, and I started getting the itch to write something. That idea kept poking through and poking through. I just wrote it without telling anybody first.

Villarreal: One of my favorite things about a creator like Dan, a writer like Dan, is you’re that person who likes to watch people watch something. During “This Is Us,” I remember you would be so excited about a scene or something, and you’d be like, “You gotta see this,” and you would screen it in the next room. “Paradise” too — when “Only Murders in the Building” was shooting on the Paramount lot for their trip to L.A., you were doing “Paradise” at the same time, and you took a break to sort of come see the set of “Only Murders,” which you’re an executive producer on. And you had this scene with Sterling and you wanted to show it.

But you were hesitant about pitching this to Sterling, which I’m sort of surprised by because I think you know when something’s good. Talk a little bit about what made you nervous about giving it to him and what he would say.

Fogelman: I’m a person who operates off of obligation. My best friend, [who] gave a speech at my wedding, said, “You can ask Dan for anything and he’ll feel too guilty not to do it.” He’s like, “He’s my ride home tonight” — that was his joke at my wedding. I felt worried that Sterling would feel obligated after “This Is Us.” When we ended “This Is Us,” I remember very vividly Sterling wrapping, and I did a little impromptu quick thing when he was wrapping and I was like, “Sterling, you go out in the world now and make us proud.” We could all see what’s coming for Sterling and what remains to be coming for him. I was like, “Go win your Oscars. Don’t forget us when you’re even more famous” — that kind of thing. To come back to him a year and a half later with a script for another TV show with the same guy, I wasn’t worried that he wouldn’t like it; I was worried that it would put him in a weird position. He was so gracious. I sent it to him. I had written it picturing Sterling but never vocalizing that to myself. Then I started letting friends read it to get their feedback, and they’re like, “Did you develop this with Sterling, or was it his idea?” And I was like, “No, I’ve never talked to Sterling about this.” And it started occurring to me that if I didn’t get Sterling, I had a huge problem because that is who I’ve been picturing. I sent it to him, and he read it that day and called me back and said, “Tell me where it goes” — because obviously if you watch the pilot, it doesn’t tell you a lot about where it’s going. I gave him the broad strokes of where it was going for three seasons. I said: “It’s three seasons, I want to shoot it in L.A. Here’s what the arc of it is. Here’s where it’s going. Here’s what happened in the world.” And he said, “I’m in.” We just kind of shook hands. And that day we were off to the races.

Villarreal: What did he think about the twists in that first episode?

Fogelman: Sterling emotes, right? Sterling will come into the writers’ room — he’s an executive producer on the show — and if you pitch him something surprising, he falls to the floor and rolls on his back like a golden retriever. He reacts and he emotes. So, he was really into it. He had the same question I think everybody had after the pilot, which is, “What happens now?” I kind of had the rough answers. As you know, he’s the best guy. I was just outside, and somebody was asking me, like, “How do you get Julianne Nicholson and James Marsden to do your show?” I’m like, “Well, it helps if you already have Sterling K. Brown because they all want to work with Sterling.” And hopefully they tolerate me and the script. It’s been a gift with him.

Villarreal: You said Sterling sort of became the person you were thinking about as it evolved. How did you decide who should be which characters? Why was Sterling right for Xavier? Why was Julianne right for this tech billionaire?

Fogelman: There’s not a lot of art to it. You just kind of see it in your brain a little bit. Sterling I’d worked with, I had known Julianne and James from their work, not personally. The other actors in the show, for the most part, I’d known of their work or whatnot. Most of them read, and when you’re doing this job, a big part of your job is you see a lot of really beautiful, talented people read the same lines of dialogue. And your job is to think, “Which person fits it? And which person makes it most interesting?” Jon Beavers, who plays Billy Pace, was an actor I didn’t know. And I really wanted him from the moment I saw him on tape. I was like, “This is the guy for that part.” But I knew, because it was only four episodes, that there might be a clamoring for a bigger name in the part. Because it would be possible. Because you could go cast anybody because it’s a month of work if they were willing to pay him. And so Jon came in and he read and he read again. And then you get to a part where it’s like chemistry tests. And he was reading with Nicole [Brydon Bloom] and a couple of other people who [were in the running to] play Jane. And I just loved him. He walked out of the room at the end of it, and I ran out after him and I said, “Jon, would you ever look at a new scene that I haven’t given you yet? It’s from the fourth episode, and you’ve only got the pilot to audition off of.” I knew the scene was big, and I wanted to have a piece of material that would be undeniable if I needed it to win with the powers that be. And Jon sat with the scene for three minutes and came in to me and said, “I’m ready.” And he came in, and it became his big scene right before his death in the show where he confronts Julianne’s character, Sinatra. And actually, when I first Zoomed with Julianne, I showed her the scene. I was like, you want to see something cool? This guy did this in three minutes without any preparation and look how good it is. And so part of it is just like a gut instinct or really liking somebody for it. And I had that with everybody in the cast on this one.

Should I be funnier? I feel like I should be funny.

Villarreal: Do you have a Sterling story?

Fogelman: What’s my best Sterling story…

Villarreal: He’s bare naked in this.

Fogelman: Oh, my God. When I first showed him — because Sterling takes eight years to watch or read anything, except for this pilot. And it drives me crazy because I want Sterling to like it, and I’m very excited. I’m like, “Have you seen the second episode?” He’s like, “I haven’t had time, man.” I’m like, “You haven’t had time to watch a 50-minute episode of television? It’s been a month!” And it drives you crazy. But then he finally saw that third episode and he was like, “Dan, all anyone’s going to talk about is my ass. Is it gonna be released in the first batch of episodes?” ’Cause he went a hundred years down the road and was seeing the press where they always wanted to ask a question about his ass. But he loves it. He’s so proud of it. And the first person to see “Paradise” was my mother-in-law [and wife]. I showed them the first three episodes at home before anyone had seen it. [My mother-in-law] had lived and breathed “This Is Us” with me; my wife was in the show. And when that part came on, the shower, she started fanning herself. And she said “Oh, Sterling!” That made him very happy. That was his proudest moment of the show, I think.

Villarreal: This show is marketed as a political thriller, and the question that looms over the season is, “Who killed the president?” But then you get to the final moments of that season opener and you realize, “OK, there’s a lot more to this. This seemingly all-American town is really this community carved under a Colorado mountain after an apocalyptic event.” What was going through your mind in terms of how to piece it out? How meticulous were you in the edit — like, is this is revealing too much too soon?

Fogelman: It’s less in the edit, because at the edit you’re already pretty bound to what you’ve scripted, but it was in the writing stages. My intent for the show was that in the first season of eight episodes, we were going to provide answers every week, ask new questions and hopefully have provided a complete meal by the end of the season where, for the most part, I think any question you’ve been asking in the course of the first series of the show is answered by the end of the season. I was very clinical about that. I get frustrated when shows give you too much too quickly but also when they withhold for too long. I thought, for this one, I wanted to be really calculated about it. In the second episode, you start learning, “Oh, wow, the world really did end, something catastrophic happened” and you’re learning more about Sinatra; in the opening sequence of [Episode] 2, Sinatra is telling all these other scientists that something imminent is coming for the world. We would constantly, in the writers’ room, put ourselves in the minds of the television audience. If I was watching at home, I’d say, “Oh, they’re all in the ‘Truman Show’; this is all fake, it’s a social experiment.” At what point do we get rid of that theory for the audience? At what point do we tell the audience and show the audience what actually happened on the day the world ended? And so that was really calculated with how we were gonna parse it out.

Villarreal: The press get episodes ahead of time. But it was interesting watching people watch it week to week and see their reactions on social media. The show launched with three episodes, then it switched to weekly. How much were you involved in those discussions about starting with three episodes at launch?

Fogelman: That was a big conversation. I’ve got a great studio and network who involve me in the conversations. I don’t know if I could move the needle if I disagreed strongly with anything, but they at least involve me. My first instinct had been, “Let’s let the pilot be the only thing that gets put out in the world and let people talk about it and what that ending says.” But then you have to acknowledge the fact that people are being served television in just a very different way these days. The whole point of the show is I wanted to make something that was hopefully artful and well done but also propulsive, and you don’t want to frustrate people. We’re accustomed to hitting that drip of next episode, next episode. So while I did want that week-to-week build and momentum, I was also aware we have to give them a little bit more to hook them in. And ultimately you trust the people that are like, “We know how things play.” I wanted this show to get seen. That was a big conversation: Was it one episode? Was it two? Or was it three? Ultimately, they decided three. The downside of that is you get less weeks to build the momentum of a television show that people are starting to talk about. It worked in our favor this time. I think it’s what we’re going to do this coming season, most likely. We do it on “Only Murders” as well — release two or three up top. I did “This Is Us” and other network television shows where it was like, you know when “This Is Us” launched, it had that big twist ending, and then people sat on it for a week and talked. But it was a different time. It was 2016, and we were not as on that Netflix kind of drip of just sitting like hamsters hitting the dopamine button. You have to weigh that. I love a weekly release. My whole goal with this show was to capture a small sliver of the zeitgeist where people could be talking about something, hypothesizing and talking, and I knew that required a weekly release. But how many [episodes to launch with] to get people like locked and loaded was a big debate.

Villarreal: What was the episode or the moment that you were most eager to see how people responded to?

Fogelman: So, my process always has been, I find strangers — I could pick out 20; I try and have them vetted by people who know them, so friends of my writers, friends of actors — and I start bringing them into my edit bay early and screen for them. There’s this old screening process that used to happen in television and film, which is really bad, because you just literally give people dials. You guys familiar with this? You give people dials and you say, “When are you liking something? Turn up your dial.” All you’ll hear is they don’t like that actor, they don’t like that moment. And I’m like, “Well, yeah, the grandfather was dying. I don’t expect them to be going, ‘Weeeee!’” It was a very broken system. But I do believe in screening stuff for people and seeing how they react, even if you’re not going to change it; even if you go, “Well, you’re stupid, you don’t get how brilliant I am.” I bring people into my edit bay all the time and strangers who sign [nondisclosure agreements] — I would do that on “This Is Us,” I did that here. I was very interested to see what happened at the end of the pilot to people. Are they following it? Are they following the ending the right way, the way I want them to? After that, you would start hearing murmurings in the room as the camera’s rising and as the guy’s going “the world’s ending” and they realize they’re underground. After, I will say things like, “When did you start realizing something was amiss? Did any of you get ahead of it?” I will get a little bit more granular. It was exciting in the fourth episode when we killed a character, watching an audience in my small little edit bay, watching them go with that episode, knowing we were about to pull the rug out from under them. And that they were going to have a reaction — that was exciting. It’s exciting when it goes the way you want it to go. They were turning to me going, “You motherf—, you can’t!” You’re like, “Oh, good. That’s good. That’s a good day at work!” Watching people watch that last episode and feeling them move with the explosions, that’s my most exciting thing. I started doing films, and this experience of communally watching stuff you don’t get in television. For me, you get limited opportunities to watch people react to the thing that you slave over every detail of as a group. I have 300 people making our TV show right now, and we never get to see people watch it. That’s a really exciting part.

Villarreal: Fans are so savvy — they can rewatch, they can zoom in, they can pause and really look at details. Are you ever worried they’re going to get to the mystery before you’ve gotten there?

Fogelman: I screen ad nauseam. As an example, in our premiere, there’s an assassination attempt of the president in the premiere, and the guy doing the assassination attempt is a character that hides in plain sight throughout the series; then we get to the end, and that’s the murderer.

Villarreal: Spoiler alert.

Fogelman: But that actor’s mother, or longtime manager, was at the premiere and said to the actor, “I wish I got to see an episode you were in.” And he was like, “I was in that episode.” And she said, “What?” We do that level of testing where we feel pretty confident when it’s going out in the world, it’s not gonna get spoiled. But we were locking our pilot, the first episode, before Christmas, to air in January, and the big expensive shot was the big final shot that goes up and reveals the inner workings of the dome. I showed my brother-in-law and my sister-in law. My brother-in-law had taken way too many weed gummies, so he wasn’t the best audience, but at the end, he’s like, “Are they in outer space?” I kind of was like, “You’re so stoned. You need to stop with the weed gummies.” But then somebody else in the room was like, “Oh, I thought that for a second.” I went back into my writers; I was like, “Go screen it for your families more.” And one out of every 20 persons was having a misunderstanding that they were in a space station. So we went back and we spent a fortune — I had people work over the holidays because I got more granular. I was like, “What is it that’s saying space station to people?” And it was these red lights we had combined with a couple of other different lighting choices, and we went to the drawing board with our visual effects to make sure there was no confusion about what was going on at the end of it. I’ve always said good television is made by people who take it way too seriously. And I have like 20 people in my writers’ room and 300 people on my crew that take it really seriously and that’s part of it.

Villarreal: How does it compare to sort of the secrecy that surrounded “This Is Us”? There were red scripts, there were NDAs.

Fogelman: The world has moved faster now, so I’m less worried about it. “This Is Us” was an anomaly because it was so in the zeitgeist for a moment — “How did he die? What were the secrets?” But it was also so early in this moment of the internet and spoilers and whatnot that now I’ve kind of chilled out a little bit. I do “Only Murders in the Building,” and the showrunner of that show, John Hoffman, is very frenetic all the time that if one little Easter egg is in a trailer, it’s going to ruin the surprise for everybody. And I worry a little bit less now, maybe because I’m old and lazy, but I worry a little less. I think the media is pretty forgiving. I watch “Survivor,” it’s my favorite show, and I’m so tired of those blurbs you see on your timeline that they show the face of the person who got voted out the night before; it drives me absolutely insane. I have to like blur my vision all the time. I hate it. But I think for the most part, the media’s done a better job [with] if there’s a spoiler, you’re going to have to dig for it as opposed to it being accidentally in your face. I thought “White Lotus,” did it [well]; everybody was really responsible with it this year.

Villarreal: Inherent to this apocalyptic event is this idea of starting over, starting fresh and trying to correct some of the mistakes or errors of the past. What intrigued you about those existential questions at play here?

Fogelman: I think we’re all there a little bit right now. I had this idea 15 years ago, and the idea that everything was changing and it was quicksand under our feet was a little less prevalent back then. I was very drawn into the early years of “The Walking Dead” — those early seasons of that show were so good because ultimately it wasn’t about zombies or apocalypse, it was about, “If the s— hits your fan, what levels will you go to to protect the people you love? How far would you break bad?” I was interested in that notion. I was interested in the notion of putting a really good man in the center of it as opposed to an antihero. Because Sterling exudes decency as a human being, and this character is so hard and quiet and [an] old-school action hero. I was curious about what it was like to put that guy in that world, so that appealed to me.

I went to a little carnival recently, and my little boy wanted to get a balloon animal. He was really patiently waiting in line for the balloon animal. And I was watching him, and he was really patiently just waiting and waiting, and this mother kept coming over and bringing multiple kids and cutting the line in front of him because her kid was in front him, and she kept bringing friends and other kids. And I was using it as a case study and I was watching my little boy; I’m like, “I wonder how he’s gonna react.” He stood there patiently, but the balloon animal guy said “five more minutes and I’m packing up.” I was like, “Oh, is he gonna run out of time?” I was originally watching it as a case study on my little boy. Then I started filling with rage. And I was like, “I’m going to kill this woman. I’m going to have to go over and be the parent who says, ‘Excuse me, ma’am, your children are not in line for the balloon animal. My son is.’” And I was like, “No, don’t do it, don’t do it.” It fascinated me what started happening in me as I held back and didn’t say anything. And he got his balloon animal. He’s a spoiled little brat. He’s fine. But that stuff really intrigues me, especially if you raise the stakes to end of the world and all of that.

Villarreal: What did it make you think about in terms of the lengths you’ll go to?

Fogelman: I think we’d all go to extraordinary lengths. And whereas “The Walking Dead” focused on that, this focuses a little bit more on what the people in power do. As you learn more about Julianne’s character, Sinatra, [the question becomes], “What length will you go to save not just your own family but a portion of humanity? What are the right things to do in these situations?” And so it takes my balloon animal story and puts it on steroids a little. And that was really interesting to me.

Villarreal: Speaking of case studies, I feel like we’re living a case study right now in terms of a president and the people around him and the influence or power that they have. And obviously [the show] predates some of the [recent] headlines — whether it’s Trump and Elon Musk or whomever. What was the research you were seeing about the power dynamics in a role like that that were interesting to you at the time?

Fogelman: That really caught us off guard, the Elon Musk-president relationship, because there was one point in our third episode where, in a flashback, Julianne [as Sinatra] walks into the Oval Office from a side room, and I remember having my bulls— meter going off on my own television show going like, “Is this realistic? She’s not the chief of staff of this guy. Could she really be walking in and out of the Oval Office?” And lo and behold, here we are, all this time later. So I was like, “I guess it’s realistic.” Our research was actually somewhat more focused on the logistics of building a bunker city, of governing in a bunker city, of, “What would the electric vehicles be like? How would they source food and clothing?” There are so many more answers hidden in the production design of the show than you actually see onscreen. We had a dissertation written by a professor of sociology on how the best way to govern would be. A benevolent dictatorship was deemed the best form of government for this particular situation by people who said, “How would you keep people alive and in a functional way?” I’m not talking in the United States, I’m talking about in this bunker city. That’s what we think in our mind’s eye Sinatra had the research to see and say, “I’m going to try and do the right thing for all these people down below as best I can and try and keep the people at bay.” We did a lot of research on governance, on infrastructure, on things about nuclear and thermal energy that I can’t fathom nor understand, but that my writers all understood — how the place was powered and all of that. A little less on power dynamics between billionaires and power just because I think you kinda know what that is. It’s a lot of people in a room who are used to being the only person who everybody listens to.

Villarreal: But also, who do you trust? Cal [the president, played by James Marsden] has Xavier, he’s got Sinatra. It’s interesting to see whose input he takes in.

Fogelman: And ultimately, we try and make everybody fallible, but also everybody kind of have a point of view and a place where they’re coming from. I think in the second season of the show, you’ll see where Sinatra was coming from on the big picture even more. You kind of know where Marsden’s coming from, you know where Sterling’s coming form, and those are all the people pushing against one another in the show.

Villarreal: No matter what side of the political spectrum you fall on, I feel like everybody feels like we’re in a doomsday situation at the moment and change is needed. How do you create escapist TV at a time like this where people have issues on either side?

Fogelman: I remember when the show was coming out, having a degree of concern about that, just based off the timing and things I couldn’t control. We’ve been here in different ways before. When you look at all the periods of history, it always felt at different points of our history, like, “Oh my, wow, the sky is really falling. This is for real this time. This isn’t like it was for our parents’ generation or the generation before; this is worse.” The X factor right now that’s making people say, “No, this is the one that’s the worst” is the technology has shifted so dramatically. When the Archduke Ferdinand was assassinated, it was with a single person. Now those single people have much more scary stuff. The technology and the AI is much scarier. I wanted to make something that had climate change as a factor, but I also wanted to create a scenario that wouldn’t be the one that would keep people up at night. This is an extreme kind of worst-case scenario fluke occurrence that could happen. It’s based in some science, but it’s not the most likely way the world is going to end. We were trying to find ways so it could be palatable.

Villarreal: Thanks for that assurance because that was my concern. How likely is this to happen?

Fogelman: We have a writer on our show who’s one of the foremost experts on climate change.

Villarreal: Please talk about that.

Fogelman: Stephen Markley. He wrote a novel recently — it’s a masterpiece of a novel. He was hired for the show because of it — called “The Deluge.” Part of entertainment is we created a big tsunami and a big crazy action-adventure episode of television. The reality of climate change will happen quickly, but in less world-encompassing kind of ways. And if we don’t get on top of it, it’s a huge, huge catastrophe waiting to happen. As an example, and Stephen covers this in his book: I’m by no means a climate-change expert, but a lot of us roll our eyes when we talk about six inches of sea-level rise because it doesn’t seem like the thing that’s going to necessarily end the world. But along with the many, many, many, things that come along with that, when that inevitably happens, if we don’t stop, when parts of Miami go underwater, it won’t be a drowning of a half of a state or a city necessarily, because it will happen slowly and then quickly. What will happen is, as we’ve seen out here in California with the fires, you’re talking about an economic and housing collapse that will dwarf anything we saw in 2008. If you think about how hard it is to get your home insured now in California, just wait. That’s the stuff that’s less sexy than a tsunami sweeping over a 400-story building. But unless we get our heads out of our asses, it’s coming. Our balancing act is, “How do we make something not pedantic, make it entertainment, make it so that you can do it, but also maybe shake people a little at the same time?”

Villarreal: The conversations in that writers’ room must be insane — just TED Talks all the time.

Fogelman: It’s also a lot of fart jokes. It’s a nice balance. But it’s a heady, heady place. Season 2 deals with a lot really heady stuff, and I try and understand it as best I can and then let the smart people battle it out.

Villarreal: I want to get into some of the details of the show because details make everything. Can you talk to me about why Wii?

Fogelman: We just thought it was funny. But also, in Season 2, you’ll learn the origin of the Wii for Jane. Our sixth episode that we’re shooting right now actually is called “Jane,” and it’s her backstory episode.

Villarreal: How about the fries? How did you land on the cashew cheese fries?

Fogelman: We landed on the fries primarily because we decided there would be no dairy down below because having real dairy would require so much maintenance of chickens and eggs and infrastructure and animals and cows that it wouldn’t be feasible. Cashew and nut cheese was the thing that they would put on cheese fries. We thought it was an interesting way of making it a key clue in the show, but that also tied into where they were and what they don’t have.

Villarreal: Are we going to learn any of the other songs on Cal’s mixtape? Are they important?

Fogelman: No, there is another song that plays heavily towards the end of our season from his oeuvre of music, but no. We’re actually getting very Elvis-heavy [in] Season 2, not related to Cal’s music. That’s a little bit of a spoiler.

Villarreal: Can you talk about Phil Collins of it all and finding that cover? Was it originally like, “We want the Phil Collins version”? Or “We want this really eerie, scary version”?

Fogelman: Originally, the show was called “Paradise City,” and the song at the end was Guns N’ Roses’ “Paradise City.” Then I soured on it as a title and it made the song being the song less important. When I got my first editor’s cut of the pilot, she had found that cover — Julia [Grove], our editor — and put it in. And I was like, “Oh, yeah, that’s it. That’s the one.” In my mind, I always thought it would probably be a cover of one of those two songs. I don’t know why, because there’s something about ’80s music — you’re really on a fine line when you use it on a show or in a movie; it can get funny quickly, even if accidentally. Like, “We Built This City,” if you put that in without it being a cover, it makes you smile, but maybe in the wrong way in the genre of television. We felt that it would be good to use covers from the very beginning that could evoke the songs but kind of transform them a little bit.

Villarreal: This show has you thinking about budgets in a different way because you’re dealing with special effects or action scenes in a way you weren’t on “This Is Us.” What’s a scene from the series we’d be surprised got a lot of notes because you have to be like, “I don’t know if we can do it this grand because this is what we’re working with…”?

Fogelman: We never got that. We have a really great studio and network that work with us. We’re given the money we have, and then it’s how we choose to use it. We knew Episode 7 was going to be an expensive episode for us where you show the world actually ending. So what we would do is on Episodes 5 and 6, if we needed to cut a corner here or there, we would do that to save up the money for that. But we never really had that on this show. We also stayed on budget. I’m sure we would have had that if we were over budget, but we never really had that.

Villarreal: You’re about to get the showrunner of the year award, and as a fellow writer who’s very fearful of ever becoming management, I’m very interested to know how your creative process has changed since becoming a showrunner.

Fogelman: It’s a big job. I don’t always relish it. I was with a group of showrunners the other night for a different thing, and we were all just lamenting how exhausted and miserable we all were — in a funny way, because we also all love it. The management is tough. You’re the CEO of a large company. I say 200, 300 people, [but] it’s really 1,000 people when you talk about the people who day play and do special effects and visual effects and all of the stuff. It’s a lot of bodies, and you’re managing a lot of people, and managing people is the hardest part of your job. It takes up a lot time. I don’t go to set very much anymore. I did at the beginning of my showrunning career because I felt like I should and because I wanted to be there because I was the boss. And I started realizing it was just not a good use of my time. I mainly focus on writing, breaking the episodes, writing them and editing them, and that’s where my time goes. But you need to be there for people. On any given day, there’s somebody on your crew who’s not happy with something, and you’re putting out those fires. It’s a tremendous amount of work. One of the things that’s been striking to me, and I say this to people all the time, is, at the end of “This Is Us,” I would make gestures to people who worked on the show, whatever they were, but what would stand out more than anything, and I always felt like it was doing so little, [was] to write somebody a note on stationery. And I was constantly struck by how much it meant to people to be individually seen. People are really kind of lovely and great and don’t require that much. They just wanna be seen and they want their work to be seen. And it’s the difference between writing a little note to somebody that says, “You’re doing a great job” versus “I saw what you did on Tuesday, on Thursday, with that scene, and it’s not lost on me, and I see you, and I appreciate you.” It takes one minute of my time, but I’ve learned how meaningful it can be to people. You try to be better at it and then you inevitably fail. If you were a decent person, you go home and you’re scolding yourself, but it’s been an eye-opening, weird experience.

Villarreal: Well, before we wrap, I know we talked earlier backstage that you’re about halfway through shooting Season 2. What can you share?

Fogelman: I’m really excited about it. I just started editing. Like you said, I show people stuff all too much. And so I’ve just started editing the first two [episodes] and they’re really good.

Villarreal: How soon do things pick up?

Fogelman: Right after. It’s a slightly different show at times in the second season in that part of the season lives outside in the world. We’ve lived almost entirely claustrophobically inside the bunker [so far], and we do live there a lot in [Season 2] and pick up directly from where we left that world. But you’re also living in Sterling’s story and the story of the people he comes across, and those stories eventually collide. It’s a different, exciting show. Shailene Woodley joins the cast this year. I just wrote her a note. She’s extraordinary in the show. I’m really excited for people to see her in it. When you’re doing something different, it’s exciting and daunting, and that’s the best kind of feeling. You’re like, “Oh, I’m not dead inside. I’m very excited about this season.”

Villarreal: Is there something that won’t make sense now but will when we watch?

Fogelman: Elvis.

Villarreal: Any other people from “This Is Us” making an appearance?

Fogelman: Right now, yes, there’s a few. I’m careful about it because I don’t want it to get distracting with Sterling. I did a show called “Galavant,” and one of my actors in it, Tim Omundson, was one of my favorite actors ever, and he had a part in “This Is Us” and now is joining in a part here. There’s another one that I think they’ll yell at me if I announce it, but it’s smaller. I’m always looking at stuff to do with those guys. I just saw Mandy [Moore] and Chris Sullivan the other day, and I’m always looking for stuff for those guys; Milo [Ventimiglia] and Justin [Hartley] and all those guys.

A Channel 4 sitcom, starring a Death in Paradise favourite, is now trending on Prime Video despite having been released over a decade ago

A sitcom featuring Ardal O’Hanlon that originally aired over a decade ago has found new popularity on Prime Video.

London Irish, which first graced Channel 4 in 2013, boasts a star-studded cast including Death in Paradise’s Ardal O’Hanlon and Derry Girls’ Peter Campion. The show centres around a group of Belfast expats navigating life in London.

The series was the brainchild of Lisa McGee, the creative force behind Derry Girls. Despite only running for six episodes and Channel 4 deciding against a second season, London Irish has found renewed interest.

Now available on Prime Video, the show has been given the ‘trending now’ label, demonstrating its enduring appeal 12 years after its initial release.

The cast also features Sinéad Keenan, known for her role in Unforgotten, Game of Thrones actor Ker Logan, No Offence’s Tracey Lynch, and Kat Reagan, reports Wales Online.

Phoebe Waller-Bridge, the creator and star of BBC’s Fleabag, also makes a guest appearance in London Irish, portraying a character named Steph in one episode.

The synopsis for London Irish reads: “Conor and Bronagh are twenty-something siblings from Northern Ireland who, along with friends Packy and Niamh, are trying to make their way through London life.

“The foursome find navigating the big city challenging, particularly as they’re playing by their own unique set of rules, leading to all sorts of mischief.

“Conor is highly unpredictable and tends to just go with unbelievable things that tend to happen to him while his older sister, Bronagh, is the opposite of him – cynical, dark and fierce. Self-confident Niamh is ambitious and can be ruthless when she doesn’t get what she wants.

“Packy is the closest thing the group has to a parental figure and tries to keep the others in line but often gets dragged into their madness.”

Ardal, who portrays Chris in the sitcom, first gained recognition in Father Ted before joining BBC One’s Death in Paradise as DI Jack Mooney.

He left the popular drama series in 2020, but recently appeared in spin-off series Return to Paradise. His character featured remotely as part of a storyline with DI Mackenzie Clarke (Anna Samson).

London Irish is available to stream now on Prime Video.

The Television Academy first embraced Sterling K. Brown nine years ago and has kept him in a loose side hug ever since. Brown’s a contender for lead actor in a drama for his role as a Secret Service agent in “Paradise,” a Hulu thriller that reunites Brown with “This Is Us” creator Dan Fogelman.

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Emmy nominations Brown has received across …

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Different projects, including for narrator (“Lincoln: Divided We Stand”) and character voice-over (“Invincible”).

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Brown’s first two wins came in back-to-back years — for supporting actor in a limited series in 2016, as prosecutor Christopher Darden in “The People v. O.J. Simpson,” and lead actor in a drama series in 2017 for his performance as Randall in NBC’s big-feelings family saga “This Is Us.”

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Brown has received two nominations in a single year three times: 2018, 2020, 2021.

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The Screen Actors Guild Awards also love Brown, who has won four times from 11 nominations, including …

2019

Twice in one year as part of both the winning film (“Black Panther”) and TV drama (“This Is Us”) ensembles.

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Brown received his first Oscar nomination in 2024 for his supporting role as the hedonistic, hurting brother of Jeffrey Wright’s novelist in “American Fiction.”

My favorite books fall into one of two categories: novels that immerse me in another world, or nonfiction works that transform how I see our world.

When I read the latter, I share what I learned from the book with my partner for months afterward. She jokes that these books become my personality, but it’s not really a joke. In grad school, a professor asked us to each share a fun fact about ourselves, and I shared that my favorite book is about parking minimums. (I was studying business, not urban planning, so no one else seemed to find this very “fun.”)

When given the chance to write this newsletter, I knew I had to convince subscribers to check out “Paved Paradise: How Parking Explains the World” by Henry Grabar. True to the title, it will change how you see the world — it did for me, at least.

Today, I talk to Grabar about why he became fascinated with parking policy, whether L.A. can pull off a car-free Summer Olympics in 2028 and how the current White House administration is affecting the future of American transportation. I also share some of my other favorite books about transportation and urban planning before checking out the latest news in the book world.

✍️ Author Chat

This Q&A has been edited for length and clarity.

You cover various urban issues for Slate. Was there a book that inspired your interest in these topics?

The first thing I read about city planning that made me feel like this was a real subject of inquiry and study was Jane Jacobs’ famous book, “The Death and Life of Great American Cities.” She even has a passage about parking lots as “border vacuums” and the way that they kind of suck the life out of the surrounding streets. I read that when I was probably 17.

My direct inspiration for “Paved Paradise” came more out of my reporting for Slate. It just seemed that beneath every single subject, there was a story about parking. Then I learned that many people in the field had already devoted their careers to studying parking. But that just meant there was a lot of interesting material there and a big gap between what professionals understood about the importance of parking and what the general public saw as its role.

‘Paved Paradise,’ by Henry Grabar

(Penguin Press)

You mentioned Jane Jacobs’ book. What are some of your lesser-known favorite books about transportation and urban planning?

“Family Properties” by Beryl Satter is a great book about race and housing in Chicago.

“Saving America’s Cities: Ed Logue and the Struggle to Renew Urban America in the Suburban Age” by Lizabeth Cullen is a biography, but it’s also an urban renewal history that offers an interesting and nuanced perspective on the aims of the urban renewers.

“The Invention of Brownstone Brooklyn: Gentrification and the Search for Authenticity in Postwar New York” by Suleiman Osman holds many interesting lessons for our cities today.

As a famously sprawling city, L.A. features prominently in Paved Paradise. Since the book came out, city leaders have promoted the idea of a car-free Olympics. Do you think that’s feasible?

That would be great. I hope they stick to that aim. It’s going to be challenging, of course, but at the same time, if there’s one thing we know about mega-events, it’s just very, very difficult on a spatial level to get everybody where they’re going if everyone arrives in a single-family vehicle.

I was at the Olympics in Paris last year, where I met [L.A. Mayor] Karen Bass very briefly. She seemed inspired by what was happening there. But it’s hard to make a point-by-point comparison between Paris and Los Angeles because they’re such different cities. At the same time, I do think planners in L.A. grasp this will be a much more fun event if it can summon some of that public-spiritedness that was on display in Paris, where the venues and the fans zones were all connected, rather than these isolated sites that are only accessed by car.

Henry Grabar’s ‘Paved Paradise’ diagnoses the blight of parking.

(Lisa Larson-Walker)

Since you published your book, Donald Trump has returned to the White House. To what degree does the federal government affect how much, at a city level, we are able to chip away at our parking-dependent infrastructure?

The federal government is a huge player in the way our cities and streets look. There are a lot of city and county transportation departments wondering what will happen with these projects where money was allocated by Washington or they were expecting it to be allocated later.

If there’s any silver lining to it, to accomplish their transportation goals, cities are going to have to do more with less and rethink some of the policy decisions they’ve taken for granted that are in their control, like parking policy.

Is there another topic in this realm that you hope to turn into a book someday?

I’m working on another book that follows the construction of a series of multifamily buildings from start to finish. By embedding with these projects as they make their way through the acquisition of the land, the design of the building, the zoning, the permitting, the financing and finally the construction, I’ll be able to identify and illuminate some of the barriers to having enough housing that go beyond whether it is permitted by zoning, which I know is a hot topic in California.

I’m trying to look across the country because this is increasingly a national problem, and there are variations from place to place in the issues that come into play.

📚 Book Recs

Now for some other books that have, to varying degrees, become my personality…

“Crossings: How Road Ecology Is Shaping the Future of Our Planet” explains how highways affect wildlife in ways both obvious (roadkill) and obscure (traffic noise pushing birds away from their habitats). Author Ben Goldfarb also highlights the creative solutions road ecologists are coming up with to help animals navigate our car-centric world.

If you’ve had an address your whole life, you’ve probably never thought much about it. “The Address Book: What Street Addresses Reveal About Identity, Race, Wealth, and Power” changed that for me. Author Deirdre Mask digs into the consequences of not having an address, the dark reasoning behind why we began numbering homes and so much more.

In “Road to Nowhere: What Silicon Valley Gets Wrong About the Future of Transportation,” author Paris Marx pokes holes in many of the silver-bullet transportation solutions we have today, from autonomous vehicles to electric scooters, arguing these efforts often overlook the most vulnerable in our society and sometimes create more problems than they solve.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

📰 The Week(s) in Books

President Biden at a campaign rally in Raleigh, N.C..

(Matt Kelley / Associated Press)

Jake Tapper and Alex Thompson’s buzzy book about Joe Biden’s diminished capacities and the associated cover-up is “reads like a Shakespearean drama on steroids,” Leigh Haber writes in her review of “Original Sin: President Biden’s Decline, Its Cover-Up, and His Disastrous Choice to Run Again.” Times television and media business reporter Stephen Battaglio spoke with Tapper about the book. “I have never experienced the ability to get behind the scenes in so many different rooms as for these recountings as I was for this book,” the CNN anchor said. “I felt like people needed to get this off their chest. It was almost like they were unburdening themselves.”

Media mogul Barry Diller’s memoir, “Who Knew,” hit shelves this week. Here are the four biggest revelations.

In his new book, “Is a River Alive?,” Robert Macfarlane questions the way we treat nature by visiting three threatened rivers in different parts of the world.

With his 40th novel, “Nightshade,” out this week, author and former Los Angeles Times reporter Michael Connelly shared what keeps him writing at 68 years old.

In his new book, “Diet, Drugs, and Dopamine: The New Science of Achieving a Healthy Weight,” David A. Kessler argues Big Food has purposefully engineered ultraprocessed foods to be addictive. The Times spoke with Kessler, a former FDA commissioner, about healthy long-term weight-loss strategies, guidelines for using GLP-1s safely, the body-positivity movement and improving lifespan.

If you haven’t gotten enough book recs by this point in the newsletter, The Times has also compiled 30 must-read books for summer.

IF you’re setting your patio up ahead of the summer, B&M may have just the thing to level up your space.

This decor buy will help turn your garden into a paradise without breaking the budget.

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From hosting barbecues to enjoying relaxing evenings in the setting sun, who doesn’t plan to make the most of the good weather this summer?

And adding an extra touch to your outdoor set up can help create a cosy atmosphere into the night.

B&M is currently selling outdoor candles for just £2, reduced from £4.

These outdoor candles come in two seaside-themed shapes: shell and starfish.

“This shaped candle will make a beautiful addition to your garden,” the product description reads.

Manufacturers added that this item is “perfect for some ambient outdoor lighting”.

It can help turn your outdoor space into a “coastal paradise” this summer.

After transforming her own patio, one woman shared her top tips on Maison de Cinq.

She recommended placing “candles on the table for added ambience”.

Certain outdoor candles also have a practical purpose in your garden during the summer.

You can pick up a £3 citronella candle for repelling pests from Home Bargains.

And one Home Bargains buy is said to add a touch of glamour to your garden.

Another item from the bargain retailer is perfect for attracting birds to your space.

You can also pick up a B&Q buy that creates a “tranquil atmosphere” in your garden.

A £3 garden decoration from Aldi that turns your outdoor space into a “lush oasis”.

And the Aldi outdoor patio furniture, including a rattan effect corner sofa.

Home Bargains also has a £5 decor buy that turns your patio into an “outdoor living room”.

Plus, a 79p Home Bargains item that will instantly level up your outdoor space.

A £10 B&M product adds inches to your fence, elevating your garden’s privacy.

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A National Park in Indonesia is famous for its stunning pink beaches, but to best enjoy the area there are a few policies travellers need to be aware of, including where to stay and when to visit

Pink beaches are a bucket list destination for avid travellers given their scarcity and, in some cases, protected status. These special beaches – defined by the distinct pale pink hue of their sands – can be found in various parts of the world, from Greece to Barbados to Sardinia.

The Komodo Islands of Indonesia are one such infamous destination. The UNESCO Heritage Komodo National Park comprises 29 islands, with Komodo Island being just one among many including other well-known destinations like Rinca and Padar.

Komodo itself has become famous for two things, one being the Komodo dragon and the other its iconic pink sands. But its notoriety has led to a few warnings being issued to would-be tourists over the years.

READ MORE: Incredible EU beach with pink sand is so cherished visitors are banned forever

In 2019, for instance, Komodo Island was considering completely closing off to tourists after reports that Komodo dragons were being smuggled from the island. The closure was initially intended to start in 2020 but was later cancelled, though general tourism of the park is still closed.

Now tourists are warned of another precaution when planning to visit the island, a further consequence of the island’s increasing popularity. Due to growing crowds, travellers are urged to avoid arriving during certain periods to limit crowding.

According to the travel marketplace, Seek Sophie, travellers should avoid the rainy season from January to March as boat trips don’t run during this time. That said, the only way to see Komodo National Park is on an island-hopping boat tour. Travellers can choose between a sightseeing boat tour or a diving boat trip. Even one-day speedboat trips can be cancelled though, if weather conditions are poor.

Komodo National Park requires all boat trip passengers pre-register their journey. After you have booked your boat trip, you’ll be required to submit a copy of your passport with your photo, full name, nationality, and passport number to your boat host at least one day before your trip, otherwise you’ll be denied entry to the park.

If you’re aiming to see the Komodo dragons as well as the famous pink beaches, avoid July and August which is mating season. Seek Sophie also advises travellers to avoid arriving during local holidays like Raya as these are generally exceptionally busy times, unless you’re prepared to queue for popular attractions like the Padar lookout.

But don’t let the tourist warnings and policies scare you off, Komodo National Park is a one-of-a-kind destination that is certainly worth experiencing first-hand. In fact, Time Out recently listed the Padar Island viewpoint as one of the most beautiful places in the world.

Once you are in the Park though, there are several pink beaches to explore, though the one near Komodo Island is where most boats stop off. That said, because of its convenience and popularity, the sand has grown increasingly paler as travellers make souvenirs of the sand.

Tourists taking sand became a huge problem on pink sand beaches, particularly the famous Spiaggia Rosa (Pink Beach) of northern Sardinia. Budelli Island – home to one of only two pink sand beaches in Italy – subsequently barred access to all tourists for life.

As on Komodo Island and most pink beaches, the sand gets its distinct colour from the high concentration of red-coloured, shelled microorganisms that are ground by the waves and transported to the beach. After decades of tourists collecting the sand and with no time to recover, beaches like Spiaggia Rosa eventually lose their colour completely.

Those planning a trip to the Komodo National Park are encouraged to be respectful of the ecological sensitivity of the area. It is to protect the region that there are no hotels in the Park. Travellers wishing to prolong their trip can stay in Labuan Bajo town or opt for an overnight boat.

St Mary’s in the Isles of Scilly may be just 28 miles off the southwestern tip of England, but it offers an idyllic escape that feels worlds away from mainland Britain

Just 28 miles off the southwestern tip of Cornwall lies an island that feels worlds away from mainland Britain. With crystal-clear turquoise waters and white sandy beaches that rival the Caribbean, St Mary’s in the Isles of Scilly offers a surprising and idyllic escape – all without leaving the UK.

This 2.5-square-mile island may be small, but it promises an unforgettable experience. The adventure begins with the journey itself. Most visitors arrive on the Scillonian III ferry from Penzance, a scenic two-hour and 45-minute voyage that serves as a perfect transition from the hustle of daily life to the relaxed pace of island time.

For those looking for a quicker and more thrilling option, a 15-minute helicopter ride from Penzance provides spectacular aerial views that rival even some of those found in the Caribbean.

READ MORE: Tiny airport is world’s smallest with 400m runway but dubbed most beautiful

Once you arrive, a visit to The Garrison, a star-shaped fortification dating back to the 16th century, offers a fascinating glimpse into the island’s strategic military past. Walking along its ramparts, you’ll be treated to sweeping panoramic views of the entire archipelago, making it a prime spot for photography that rivals observation decks in major European cities.

St Mary’s is home to several pristine beaches that feel as though they’ve been transplanted from far more exotic destinations. Porthcressa and Porthmellon beaches feature soft, powdery white sand and crystal-clear waters that shimmer in the sunlight. Thanks to the island’s unique microclimate, which is warmer than mainland Britain, the conditions are ideal for swimming, particularly during the summer months.

It also serves as the perfect base for exploring nearby islands. Small inter-island boats regularly depart from the quay, making it easy to take day trips to Tresco, home to the famous Abbey Gardens, or to St. Martin’s, known for its award-winning vineyard. As you glide across the crystal-clear waters, you might even spot seals playfully swimming beneath the surface.

The surrounding waters are teeming with marine life, and kayaking along the coast often brings you up close to the curious seals, who pop their heads above the water to investigate. Birdwatchers flock to the islands for a chance to see rare species attracted by the islands’ unique position.

What makes St Mary’s even more special is its surprisingly mild climate, which feels more akin to the coastal towns of Spain than the typical British weather. While it may not boast sunshine every day of the year, the island enjoys far more bright days than the mainland, making outdoor exploration a delight no matter the season.

The island offers over 30 miles of walking trails, many of which follow the dramatic coastline. These paths wind through landscapes that range from windswept headlands to sheltered coves, each offering stunning vistas perfect for nature photography that could grace the covers of magazines.

St Mary’s captivates with its beaches reminiscent of tropical paradises, intriguing history, and remarkable natural beauty. This tiny island, just off England’s tip, offers an experience that feels both foreign and familiar, leaving you to wonder why more travellers haven’t yet discovered this gem, hidden in plain sight.

READ MORE: Liz Earle shoppers ‘blown away with results’ of £36 moisturiser ‘reduces wrinkles’

Beyond Paradise have given a first look at the final of the hit BBC detective drama series, which ends tomorrow night

Beyond Paradise have shared a first look at the upcoming series finale. DI Humphrey Goodman is back to tackle another case, which involves a mysterious disappearance of a regular character.

In the upcoming episode of the hit show, nurse Lucy has vanished on her way to work, leading to the police team stepping in. Kelby’s rival Josh Woods receives a worrying voicemail from Lucy – but what has happened to her?

In the recording, Lucy shouts ‘devil’ and then there is a huge growl but could the legend of the Devil’s Hump hold a clue into solving what happened to her? Elsewhere, Humphrey is struggling with his personal and professional life as Rosie’s birthday is fast approaching – their focus turns to making sure she has the best day.

Nothing has yet to be confirmed about a new series but Kris Marshall – who plays Humphrey – teased that there would be more stories “beyond” the third series in a chat before the latest set of episodes aired.

“This series offers the same great mix of intriguing crimes and compelling drama that viewers expect. What makes Beyond Paradise unique is its ability to be dramatic without being melodramatic. It’s a light-hearted crime drama that tackles serious, relatable issues without getting overly heavy,” he said of what’s to come.

“Each episode is packed with content – there’s a real sense of magic in how much is crammed into just one hour. It’s thought-provoking and heart-warming without feeling overly sentimental. We don’t take ourselves too seriously, and I think that’s one of the show’s greatest strengths. There’s plenty to look forward to in this series and beyond.”

Martha star Sally Bretton added: “Audiences can expect more intriguing puzzles to solve, of course! But it’s also about watching Martha and Humphrey continue to navigate their new life together, adjusting to the addition of a new family member.

“It’s not always graceful but there’s always love at the core of everything they do. The beautiful settings remain a highlight and the stories will take viewers on a journey – one that is both captivating and emotionally fulfilling.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

BARGAIN supermarket Aldi has launched a gorgeous new garden must-have – and it’s perfect for creating your own Mediterranean retreat.

Shoppers can snap up the Decorative Table for just £14.99, helping transform any patio, balcony or backyard in no time.

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The easy-to-assemble table measures 35cm across and 50cm high, and it neatly folds away when not in use for handy storage.

It’s suitable for both indoor and outdoor use and features beautiful hand-painted designs to give your space a splash of colour.

There are three stylish options to choose from – a charming hummingbird, a cute bee or a sunny lemon pattern.

But that’s not all hitting the famous Middle Aisle this spring – Aldi’s Specialbuys are packed with outdoor bargains.

Here’s what else you can pick up:

• Solar String Lights – £7.99
• Solar Marrakesh Lantern – £9.99
• Solar Water Feature – £49.99
• 30cm Olive Planter – £4.99

The Solar String Lights and Marrakesh Lantern are ideal for bringing a cosy glow to garden parties, while the Olive Planter adds a rustic Mediterranean feel to any corner.

Aldi’s garden ranges have been flying off the shelves in recent weeks, so if you’re keen to spruce up your space, you’ll need to be quick.

It is important to remember to always shop around when buying something like this as you might find a cheaper alternative.

Websites like Trolley and Price Spy let you compare thousands of products across different retailers to find the best price.

Price Spy even lets you see how much an item has cost over time, so you can see if the current price is a good deal.

A quick scan on the Google Shopping/Product tab will also bring up how much retailers are selling a certain item for too.

Previous garden sales

Recent Specialbuys from the discounter has included the popular solar lights range.

As well as a cheaper alternative to the Karcher pressure washer by some £80.

Elsewhere, B&M released a number of garden furniture, this included a Sienna double egg chair which retails for £250.

It also released the Paris 2-Seater Pod Chair is on sale also priced at £250.

Recently, Argos slashed its prices on a massive range of outdoor and DIY essentials, with discounts of up to £60.

Three weeks ago, Wilko knocked down prices on patio sets, lounge chairs, and bistro sets.

This was a huge sale on outdoor furniture – offering up to £500 off just in time for spring.

In February, Dunelm had a huge clearance sale with discounts of up to 75% on hundreds of items.

And most homeware stores hold sales in the summer.

Last summer, Dobbies launched a huge summer sale with prices slashed by up to 50%.

The items on sale included garden furniture, plants and homeware.

How to save money when shopping at Aldi

Unlike other major grocers, Aldi does not have a rewards or point card system but that does not mean you cannot save on your shop.

Every week the store releases a list of special buys, which are unique bargain products you find online at Aldi and in store.

The store releases a fresh range of deals every Thursday and Sunday, so be sure to check regularly to see what’s new.

Meanwhile, the store also regularly sells fruit and vegetables at highly discounted prices, as part of its ‘super six’ deal.

It also does weekly saving offers on typically pricey items such as meat and fish.

Plus, it’s worth keeping an eye out for products with red stickers on them.

These are added to items that have been reduced due to them being close to their best before date or slightly damaged.

The best time to get these reduced products is towards the end the day, when you can get discounts worth up to 75%.

Playwright a.k. payne, who studied under Geffen Playhouse Artistic Director Tarell Alvin McCraney at Yale, chooses not to capitalize their name. They (note the choice of pronoun) don’t wish to have their identity determined by suspect structures.

This biographical information is pertinent to payne’s “Furlough’s Paradise,” which won the 2025 Susan Smith Blackburn Prize and is now having its West Coast premiere at the Geffen Playhouse. The play, a two-hander directed by Tinashe Kajese-Bolden, concerns two bracingly intelligent Black cousins who grew up together but whose lives have diverged.

On the surface, not much connects these characters, but surfaces can mislead. Once as close as siblings, these cousins are trying in their different ways to imagine a world that will allow them to discover themselves outside of inherited assumptions and oppressive hierarchies.

Mina (Kacie Rogers), a graduate of an Ivy League school, works for Google and lives with her white girlfriend, Chelsea, in Los Angeles. Sade (DeWanda Wise), whose name is pronounced shah-day, like the singer, has been granted a weekend furlough from prison to attend the funeral of her mother.

They have not seen each since Sade was sent to jail. Mina’s father died during this period, and she now keeps a small apartment in her hometown, a kind of safe house that allows her to commune with her past and escape from the endless striving of California. (The location is unnamed but described in the program as a U.S. Great Migration city in late 2017, so perhaps Pittsburgh, where the playwright has roots.)

The death of Sade’s mother, the twin of Mina’s father, is an occasion for a double mourning. But it’s also an opportunity for a double rebirth. Mina and Sade are witnesses not only to each other but also to the conditions that formed and deformed their dreams.

“Furlough’s Paradise” is a small play that expands outward to the social and metaphysical worlds, not unlike McCraney’s “The Brothers Size,” a palpable influence.

Projection designers Yee Eun Nam and Elizabeth Barrett create a kaleidoscopic background on Chika Shimizu’s pied-à-terre set. With help from Pablo Santiago’s lighting and Cricket S. Myers’ sound design, the production magnifies in cinematic fashion the inner lives of the characters.

This lyrical drama, choreographed by Dell Howlett, floats at times like a movement-theater piece reaching for the heavens. The acting is grounded in realism but the writing refuses to keep the characters under lock and key. Life may have thrown up walls but nothing can block their yearning.

What does liberty mean and how can it be lived in an unfree world? (The word “liberty” is projected onto the set along with other thematically relevant vocabulary at the start of the play.)

Mina shares her dream of raising children outside of the fixed binaries of gender. Sade reveals the utopia she and her girlfriend, along with other fellow inmates, have been imagining, a collective portrait of a peaceful haven for “free formerly incarcerated Black girls.”

The cousins are content to spend the weekend holed up with each other, sorting through the past and measuring the distance between them. Costume designer Celeste Jennings illustrates their differences through clothing choices that reflect Sade’s more marginalized status and Mina’s more assimilated reality.

Kacie Rogers, left, and DeWanda Wise in “Furlough’s Paradise” at Geffen Playhouse.

(Jeff Lorch)

Mina is surprised that Sade isn’t more eager to exploit her weekend out of jail, but Sade relishes the freedom to just be. Accustomed to not having options, she’s perhaps better able to appreciate the quiet togetherness of being holed up in her cousin’s apartment.

They watch TV and movies, eat cereal, play music and resurrect the cast of characters from their youth. August Wilson made it his mission to put the rituals of Black life onstage, to give representation to the daily customs of a people who had been denied visibility in mainstream culture.

Payne follows suit, though the references in “Furlough’s Paradise” are largely from pop culture (“The Fresh Prince of Bel Air,” “The Proud Family” and “The Cheetah Girls”) and the name-checking can sometimes seem slightly pandering, a playwright pushing easy buttons. But the play digs deep into the challenge of shaping a life into something that doesn’t feel like a betrayal.

Mina resents when Sade harps on the inequities of their childhoods. She thinks her cousin is making excuses for some bad choices.

But Sade reminds Mina that small differences in parental belief and imagination can make a world of difference. Mina’s father flouted strictures; Sade’s mother subjugated herself to them — that is, until Sade went to jail on a serious felony and compassion for her daughter awakened her long-dormant maternal loyalty.

“Furlough’s Paradise” makes the case that character isn’t defined by elite education or criminal record. (The exact nature of Sade’s crime goes unstated.) Our identities are a complicated calculus of opportunity and challenge. If being alone is the eternal problem, as Sade and Mina seem to acknowledge, love, in all its gnarly reality, is the only way to be truly seen.

The kinetic staging, while keeping the action from becoming claustrophobic, sometimes oversteps the mark. The skips in time that occur in the play are unnecessarily italicized. The choreography is refreshing but might be more so with a little more restraint. What distinguishes payne as a rising talent is the breadth of human understanding that makes the characters of “Furlough’s Paradise” seem like old friends by the end of the drama.

Rogers’ Mina and Wise’s Sade are so singularly and contrastingly themselves that it’s not clear how they will ever reconcile their versions of the past. But this reunion catalyzes their desire to connect the dots that constitute their parallel lives.

“Furlough’s Paradise” makes you care deeply about what will happen to Mina and Sade once the authorities come to collect Sade. I left the theater wishing not only the playwright a safe journey but also the play’s characters.