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In a profound embarrassment for the Guardian newspaper, a forthcoming column by Adrian Chiles about having trouble getting a tight lid off a jar has been leaked in advance. “I felt like a cheese and pickle sandwich, as you do,” runs the leaked column. “And at first I couldn’t find the pickle anywhere. I thought to myself, surely we haven’t run out? I thought we had loads left!


“But then I finally found it - the missus had put it in the fridge, even though I’ve told her a million times there’s no need. Tsk, women eh? But then, just as I thought my problems were over, I couldn’t get the lid off! Honestly, it never rains but it pours, eh? I tried gripping it using a tea towel, but even that didn’t help. And the funny thing is, I saw one of those gadgets for getting the lids off jars in Sainsbury’s the other day, and I didn’t buy it. I wish I had now!”


Chiles’ regular columns for the Guardian have often been described as odd bedfellows for that newspaper’s usual fare of furious invective and withering sarcasm on political subjects, but the paper’s editor defended them as “a gentle look at the lighter side of life, the kind of thing we all need to read sometimes after a difficult day, and definitely not just published because he’s my husband.”


The Scott Trust, owners of the newspaper, said it was highly embarrassing his article had been leaked in advance, though frankly no more so than the ones published at the right time.







A top producer working on popular ‘stab in the back’ mainstream entertainment show has sensationally quit the programme and joined ITV. He left unannounced 24 hours after signing a new contract with the BBC to continue working on the show ‘forever.’ He reportedly signed the contract in blood and wept emotionally. Medical lawyers are now working on lab tests to establish whose blood it was, with observers said to believe it was his sleeping wife’s.


According to colleagues, the producer has a history of erratic fealty. A best friend at school said his school years were ruined when the supposed buddy exited the school gates with his arms round the bully who had tormented him for 5 years. ‘My ‘friend’ just winked and said, ‘Thanks for all that pocket money.’ To this day I still have trouble trusting pocket money’


The producer’s first wife also relayed stories of treachery. ‘He married me on the anniversary of the Molotov-Ribbentrop pact. That always stuck with me.’ She said he then filed for divorce on the anniversary of Lord Haw Haw’s first broadcast from Berlin. Finally, she blames herself. ‘I should have known not to marry a man called Salvatore Tessio.’


Like horror movie The Exorcist, which was hit with a raft of supernatural incidents during filming, The Traitors has, in like manner, suffered all kinds of personal cheating events. A general lack of trust pervades the sets and staff refuse to give up personal information, including their eye colour. ‘Everyone wears lenses which change colour at random in case the tea ladies are using facial recognition software to empty our middle class bank accounts.’ We contacted a BBC representative for comment and he is now in a relationship with my partner.







Ayrton Senna documentary, Senna: No Fear, No Limits, No equal is drawing the ire of viewers for not having been just released. The once lauded film documenting the life of the tragic Formula One racing driver, is, critics point out, now 13 years old. The documentary production team is scrambling to launch a defence of their work since it does in fact appear that the film isn’t new.


In 2012, Senna: No Fear, No Limits, No Equal, was chronologically new. At its launch, one of film maker Asif Kapadia’s people repeatedly referenced the newness of the work when questioned about its originality. ‘This is a new documentary. It is new. And so, we hope, in having made it very recently, that it will remain new. New Senna. New documentary. New newness.’ But now that his film has aged, Kapadia’s team is backtracking. ‘Look, we never ever maintained that Senna: No Fear, No Limits, No Equal was in its essence new. It wasn’t about newness. Or required newness qua newness.’


But critics point out that Kapadia’s new documentary, Senna: Newness qua Newness, again plays on the theme of newness as a strategic selling point. ‘I,’ said one. ‘I,’ he repeated, warming to his theme, ‘I think that Kapadia is a busted flush. The problem with his new work is there’s nothing new about it.’ Essentially new or in its essence new? ‘Old.’


Fans of the Brazilian motoring ace have called for a boycott of Kapadia’s works, including all future new ones. ‘For this guy to ever produce anything truly new, he’s going to have to be the newness he wants to see.’ Meaning? ‘Meaning he knew we knew the new doc wasn’t new new, just a new old version he knew not to be new.’


* Senna: No Fear, No Limits, No equal is out 13 years ago.




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