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The hedgehog called Peggy who helped heal hearts and inspired a memoir | Books | Entertainment

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Peggy, the hedgehog

Peggy, the hedgehog (Image: )

It was my toddler grandson Billy who first spotted the hedgehog in the autumn of 2021, caught in a net we used to clear debris from our pond. We tried to shake it free but it gave only the slightest tremor. My husband, Kim, is the son of a Yorkshire vet and notably unsentimental about animals but something melted within him when confronted by a hedgehog.

What was it? Something of Tolkien about a creature from somewhere else, finding itself in danger? Something sturdy and good natured, but in peril? He took a comb and a jug of warm, salty water and tenderly cleared the flies from the hedgehog’s eyes.

Our grandson watched, from a wary ­distance, camouflaged by his anorak and wellington boots. He carried a twig, hopeful of using it as a kind of defibrillator.

Then my husband stood up, checked his phone, and said he was going to take the hedgehog, whom we had named Horace, to a hedgehog hospital.

I laughed. There was no such thing as a hedgehog hospital and, surely, nobody would take in a hedgehog on a Sunday evening?

But there was one, Emma’s Hedgehog Hospital, on the outskirts of King’s Lynn near our Norfolk home. I discovered it was part of a volunteer hedgehog network across the country, a kind of National Health Service for hedgehogs. And I came to realise how much these wild creatures, which, thanks to Beatrix Potter, we have come to imagine as friendly washerwomen, are part of our national story. There is something magically appealing about hedgehogs.

In a world so fractious and binary, it is a subject on which everyone can soften and converse and be human.

If you wish to avoid the sound and fury of social media, you will always be safe discussing hedgehogs.

I also became grateful to hedgehogs for representing something deeper.

Saving Horace the hedgehog, whose name was quickly changed to Peggy once she was examined at Emma’s Hedgehog Hospital, coincided with the mortal illness of my father, Noel Harvey.

That same autumn, he suffered heart failure and was taken to King’s Lynn hospital. I went to the bungalow he shared with my mother, Susan, to fetch a sponge bag for him. There was his favourite armchair and, beside it, a side table.

On it were his reading glasses, his piles of books about birds or classical music or the Church and his binoculars.

A summary of him, really. Old-style Radio 4. The chair looked starkly empty with his imprinted form, for he had always sprung up as I let myself in with a hearty: “Hello ­darling, how lovely to see you.”

Under Covid rules, I could not see him in hospital, so I would drop off little notes with his daily newspaper.

What should I write to him about? The fate of a hedgehog seemed about right, not too serious, not too taxing, a story of recovery.

Sarah Sands with her father

Sarah Sands with her father (Image: )

Our immediate concern, both for the hedgehog and for my dad, was to get their weight and strength up for winter. We would focus on the spring.

My father loved the natural world and would watch from his armchair the birds outside the window at the feeder. It was far from the harsh lighting and cacophony of a hospital ward. Emma at the hedgehog hospital said that once Peggy had been cleared of ticks and maggots (not quite the image of Beatrix Potter’s hedgehog, perhaps) we should aim to release her by spring.

As for my dad, I started to hear from ­doctors the form of words chosen to pave the way for bereavement without sounding too brutally sudden. “It could be weeks or months,” they nodded. My father was a man of faith but he was entering the darkest ­valley. I consulted my sister, Joanna, who has always been solicitous in caring for my ­parents. If we did not get our dad out of ­hospital we might not see him again.

She agreed, but my mother was in poor health herself and there was ­ no additional room at their house ­for a carer, so we found a friendly nursing home nearby which had adjoining rooms for both my parents.

A week is a long time in hospital and my father looked thin, scared and unshaven when we collected him. A nurse on a double shift helped us get him to the car.

I saw much of this quality of compassion over the next few months. It was the great lesson of the pandemic. My parents had been married for nearly 70 years. They had known the better, and this was the worse, the sickness rather than health. I set up Alexa for them and played a song from their youth: Some Enchanted Evening from South Pacific. They looked at each other longingly across the room with yearning and tears. As the late Roger Scruton put it: “Love is the relationship between dying things.”

Winter sets in and Emma reported that Peggy’s weight was improving. She is up to 896g having gained 45g overnight. I feel proud of her.

The last time we could take my dad out was Christmas Eve. He was puzzled that his legs had started to give way beneath him, and my grown son had to lift him over the threshold. It was dad’s birthday, and the highlight of his year is the seasonal carol concert from King’s College Cambridge.

I learn later from the composer John Rutter that the reason we can hear them ­on the BBC is partly down to my dad.

The college was initially reluctant to have the broadcasting paraphernalia in the chapel, and their worst fears were confirmed when a window was damaged in the early days of the relationship. It was my father, who joined the BBC from the diplomatic service, who calmed the situation and persuaded King’s College to have another go. We listened to the start of the carol service in the nursing home car park in the fading afternoon light. My father bowed his head and tapped to the first lines of Once In Royal David’s City.

He was probably thinking of his son, my brother, the performer and composer Kit Hesketh-Harvey, who sang that verse as a chorister at Canterbury Cathedral.

My mother gave him a sharp solicitous glance, which she had started to do more often. She said to me: “You just don’t expect this to happen at our time of life.”

I nod sympathetically and then we ­both start laughing. What else do you expect to happen?

It was late February and I was at a diplomatic dinner in London, discussing the Ukraine crisis. A former secretary general of Nato – coincidentally, the hedgehog is the symbol of Nato – was talking of the delicate balance between strength and diplomacy and the importance of a united front, when a text pinged on my phone.

Emma said Peggy was ready to be returned to the wild and it had to be the next day. ­Her weight was right, the temperature was optimal. I could not argue with the ideal ­conditions of survival so headed home early to Norfolk. I put out kitten biscuits and water by a deluxe den I had built from twigs and moss in our back garden and fetched her in ­a cardboard box.

I released her into her twigs and moss home in the dark wet night under a full moon, switched off my phone and snuggled into my bed, thinking of homeliness for ­both of us.

I awoke just before dawn, still half dreaming, imagining I could hear footsteps on the gravel. Was someone after Peggy? Then I heard footsteps coming up the stairs and knew it was not a dream. I flung open the bedroom door, my heart pounding. It was my older brother, Kit. “Darling. Your phone was off. Dad died in the night.”

Back at the nursing home, the gentle ­ceremony of death took place, as my beloved father was changed into his checked shirt, and I was handed the watch which he ­never took off.

Hedgehog Diaries by Sarah SandsHedgehog Diaries by Sarah Sands [New River]

The nurses and carers formed a guard of honour as his stretcher was carried out. The rooks sung their rasping requiem to him from the trees as he was manoeuvred ­into the hearse.

Later, I returned home to shower and looked distractedly for Peggy. I could not see her. My father gone, now Peggy gone too.

I reported back to hedgehog volunteers that I had failed even to hang on to her for a night. One told me: “Just because you ­cannot see her, does not mean that she is ­not there.”

I repeat this to my mother. “Just because we cannot see them, does not mean they ­are not there.”

My dad is now part of the natural world he so loves. He was absorbed by it, and now it has absorbed him. And I pledge to him that I will care for nature in whatever form it comes to me.

  • The Hedgehog Diaries: A Story Of Faith, Hope And Bristle by Sarah Sands (New River, £14.99) ­is ­out now. Visit expressbookshop.com or call Express Bookshop on 020 3176 3832. Free UK P&P on orders over £25



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‘Masterpiece’ hailed as ‘the perfect movie’ now streaming in the UK | Films | Entertainment

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A “masterpiece” family comedy based on a classic novel and hailed as “the perfect movie” is streaming now in the UK. The Princess Bride (1987) is an American fantasy adventure that tells the story of a dashing farmhand called Westley (Cary Elwes) whose true love Buttercup (Robin Wright) is kidnapped as part of a devious scheme by the villainous Prince Humperdinck (Chris Sarandon), in a witty satire on classic fairytale narratives.

The star-studded cast also includes Mandy Patinkin, André the Giant, Christopher Guest, Wallace Shawn, Peter Falk, Fred Savage, Billy Crystal and Carol Kane. The film was directed by the late great Rob Reiner (This is Spinal Tap, A Few Good Men, When Harry Met Sally), and was adapted by legendary screenwriter William Goldman from his own novel of the same name.

Fans have flocked to IMDb to shower the beloved 1980s classic with praise. One called it the “perfect movie”, adding: “This is one of those rare films that gets better each time you watch it. With something for everyone, The Princess Bride combines romance, action, adventure and parody to create the perfect movie.

“Cary Elwes and Robin Wright are beautiful to watch and the story of their love is a wonderful backdrop to the adventure and intrigue played out in this story.

“Mandy Patinkin is wonderful as Inigo and gets to deliver some of the best lines in the film. Chris Sarandon is perfect in his role as the bad guy prince.”

Another wrote: “The simplest pleasures in life are the best, and this film is one of them. Combining a rather basic storyline of love and adventure this movie transcends the usual weekend fair with wit and unmitigated charm. Every character is a delight and you just want to see more of them.”

A third added: “One of those great treasures that you cannot dislike. No matter how many times you see, it takes you breath away, makes you laugh and gives you a taste of the old swashbuckler films of the 1930s.

“Rob Reiner directs this wonderful romance-comedy-adventure with passion and wit. A classic in a class of its own.”

A fourth said it’s not “by any means Citizen Kane (we already have one of those, anyway) but a champ in its weight class, with a perfect score, a fine script and good performances”.

“Far more true to the flavour of the original fairy tales that it spoofs than even the best of Disney’s takes. I loved it the first time I saw it and love it more now. Well worth watching. Recommended.”

A fifth called it “truly a one-of-a-kind masterpiece that everyone can and should enjoy”.

“There is nothing quite like The Princess Bride. It’s classic, timeless, charming, clever, hilarious, well-done, and just an all-around excellent film,” they wrote.

The Princess Bride was added to Disney+ on Wednesday, April 15. It’s also available to stream on Amazon Prime Video with a Lionsgate+ add-on. Alternatively, you can buy or rent it on YouTube, Sky Store, or Apple TV.



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007 First Light gets its Bond song, performed by Lana Del Ray | Gaming | Entertainment

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A Bond movie isn’t a Bond movie without an accompanying song by a popular artist of the time. It turns out that video games based on James Bond are no different with 007: First Light also receiving the same treatment – and its track will be sung by none other than Lana Del Rey.

The First Light track dropped on YouTube on April 16 and has since amassed over 460,000 views in its first 24 hours. It’s composed by David Arnold, who has composed music for five of the previous Bond films.

It’s something of a comeback story for Del Rey, who previously wrote and pitched a Bond song back in 2015 for Spectre, only to be beaten out by Sam Smith with Writing’s on the Wall. Del Rey’s song 24 still made it onto her Honeymoon album, but was never used in a Bond film.

Now, First Light will be the associated track to go along with IO Interactive’s upcoming James Bond game, presumably playing out over an opening credits scene.

This isn’t the first Bond video game to get its own theme song. 007: Blood Stone and Everything or Nothing both had theme songs composed by famous artists at the time, each composed by Joss Stone and Mya respectively.

Early reactions to Lana Del Rey’s latest performance are mostly positive, with one Reddit comment reading: “It’s reminding me of old Lana, I’m crying happy tears.”

A second commenter adds: “Old vibes are creeping back in and I’m not complaining one bit.”

Meanwhile, a third says: “I missed her cinematic sound so much.”

007: First Light will follow a much younger version of James Bond and will let gamers play out the early stages of his espionage career. It stars Patrick Gibson as Bond himself, and Lenny Kravitz as the game’s main villain.

The game is set to release on May 27, 2026 for PlayStation 5, Xbox Series X|S and PC. A Nintendo Switch 2 port was recently delayed to later in the year.

What do you make of Lana Del Rey’s new Bond song?

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‘Amazing’ period drama ‘just like Downton Abbey now on Amazon Prime | Films | Entertainment

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Renée Zellweger stars as Beatrix Potter

Renée Zellweger stars as Beatrix Potter (Image: Program content: © 2006 UK Film Council/Hopping Mad Distribution (IOM) Ltd. All Rights Reserved.Packaging design: © 2007 Allia)

Directed by director Chris Noonan, the 2006 biographical period drama Miss Potter charts the life and achievements of much-loved children’s author Beatrix Potter.

Weaving together animated sequences showcasing iconic characters from her world-renowned stories with real-life events and experiences, the film constructs a heartfelt and charming narrative for audiences worldwide.

Penned by Richard Maltby Jr., the Tony Award-winning creative behind the Broadway musical revue Fosse, Miss Potter stars Renée Zellweger in the lead role, alongside Ewan McGregor as her fiancé and publisher Norman Warne, and Lloyd Owen as her solicitor William Heelis.

The film hauled in over $35.8 million at the worldwide box office, against a production budget of approximately $30 million.

For her remarkable performance, Bridget Jones’s Diary actress Renée Zellweger earned nominations for both a Golden Globe Award for Best Actress – Motion Picture Comedy or Musical and a Saturn Award for Best Actress, reports the Mirror US.

The biographical drama brings the extraordinary story of Beatrix Potter, the cherished author and illustrator of The Tale of Peter Rabbit, to the silver screen.

Renée Zellweger and Ewan McGregor in Miss Potter

The film stars Renée Zellweger and Ewan McGregor (Image: Publicity Picture)

Miss Potter delves deeply into the trials and tribulations encountered by Beatrix Potter, as she confronts barriers within the publishing industry, societal pressures, and the anguish of personal tragedy.

Despite these challenges, Potter persevered and demonstrated exceptional creativity to establish her standing as a cherished children’s author. Critical response to Miss Potter has been mixed, achieving a 68% approval rating on Rotten Tomatoes.

One reviewer was effusive in their praise for the lead performances: “…boasts terrific work from both Renée and McGregor that’s heightened by their palpable chemistry together..”

However, not every reviewer was impressed, with one describing it as “Enchanting, perhaps, but a long, long way from meaningful.”

Making parallels to the popular series Downton Abbey, one reviewer suggested the film was “always accessible in a Downton-Abbey-goes-to-Play-School kind of way, as evidenced by Renée Zellweger’s chipper portrayal of Potter as a bustle-skirted bundle of squinty smiles and sudden blushes.”

Renée

Renée was also executive producer (Image: undefined)

An review emphasised Zellweger’s depiction of the legendary author: “Portraying a real-life hero can be a tough assignment. But Zellweger breezes through the role, flashing her puckish grin, talking in her soft, breathy voice and giving very human face to one of the most beloved figures of English letters.”

Audience responses were similarly divided, with one cinema-goer commending the production: “Chris Noonan did an excellent job of keeping it authentic. Zellweger fits this perfectly, a truly unique character of her times.”

The film has attracted a broad spectrum of reactions from audiences, with some lavishing it with acclaim. One admirer said: “Amazing cinematography and a stellar cast, all outstanding in their character. Lovely to look at and filled with perseverance and true grit. Filled with fantastic ideas and wonder.”

Another simply added: “Remarkable indeed” However, not everyone was convinced, with one viewer delivering a more forthright verdict: “Extremely odd and extremely dumb.” While another detractor contributed: “The script for this biopic is a mess.”

For Renée, Miss Potter represented her first time executive producing.

Speaking to IndieLondon about the venture, she said: “It was a terrible idea and I’ll probably never do it again [laughs].”

Before adding: “No, I’m just joking. It was a really interesting learning opportunity and I asked the guys if they would be interested in that kind of partnership because I really wanted us to get through creatively with these guys.” She finished: “They said OK, so we did.”

Despite the divided opinions, dedicated enthusiasts remain fervent about the film, with one declaring: “It’s one of my favorite movies – I would watch it over and over again. It’s very sweet and charming.

“I love how brave and enchanting she was.”

Meanwhile, one especially scathing reviewer offered no restraint concerning Renée’s depiction of Beatrix Potter, asserting: “Renée Zellweger is a disaster.” And further condemning it as: “A totally artificial and preposterous performance.”



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