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A Pandemic-Era Road Trip Lacking Cinematic TractionThe latest entry into the pandemic-inspired cinematic canon, Bonnie & Clive, arrives as a super low-budget British comedy aiming to capture the chaotic energy of the Covid-19 lockdowns. While the behind-the-scenes footage suggests a joyous production, this enthusiasm struggles to translate into a compelling on-screen narrative, leaving audiences with a film that is perhaps too cheerful and ridiculous for its own good.From South London to Cornwall: A Camper Van EscapeThe narrative centers on Bonnie (played by Eleanor May Blackburn), who has a strict two-day window to travel from South London to her grandparents' house in Cornwall before lockdown restrictions take effect. Her journey takes a bizarre turn when a declined credit card leads to a kebab shop altercation involving a homeless busker named Clive (Michael Kodi Farrow). The duo eventually embarks on their journey in a retro 1990s camper van.The Catalyst: A failed payment and a makeshift ukulele stickup.The Passenger: The pair picks up Wilco (James Jip), a runaway social anthropology student fleeing university lockdowns.The Route: A scenic, westward drive featuring stops at Stonehenge and Dartmoor.The Burden of Unrelenting Quirkiness in Low-Budget CinemaDirectorial choices in Bonnie & Clive lean heavily into an intentional, almost grating quirkiness. The film's reliance on whimsical ukulele songs and over-exaggerated performances—reminiscent of children's television—detracts from the core narrative. A prime example of this absurdity is a scene involving the trio pushing a dead body in a wheelchair around the Eden Project. While indie films often thrive on eccentricity, the execution here feels persistently disjointed.The Niche Appeal of Micro-Budget UK ComediesAs Bonnie & Clive enters UK cinemas starting 3 June, its market performance will be a testament to the appetite for hyper-local, micro-budget filmmaking. While it may not break box office records or appeal to mainstream audiences seeking polished comedy, it serves as a time capsule of the pandemic era. Future indie filmmakers might look at this project as a case study in the importance of balancing on-set camaraderie with disciplined, restrained storytelling.

The Duchy’s Bold Rainforest Expansion TargetCampaigners from the Dartmoor Nature Alliance (DNA) unfurled a banner at Black‑a‑Tor copse urging the protection of England’s remaining temperate rainforests. In response, the Duchy of Cornwall announced a commitment to double the extent of its duchy‑managed Atlantic rainforest on Dartmoor, covering both Black‑a‑Tor and Wistman’s Wood, by 2040.Funding and Planting Numbers Highlight Scale of Restoration£30 million ring‑fenced by the UK government for wildlife‑rich habitat creation, including ancient woodland restoration.The Black‑a‑Tor copse spans 29 hectares (72 acres), a relic of Bronze‑Age oak forest.800 acorns collected by Moor Trees are being nurtured for future planting at the copse.1,200 saplings have already been planted at Wistman’s Wood over the past two years.Ecological and Community Implications for DartmoorTemperate rainforest is one of the world’s rarest habitats, with surviving pockets in western Scotland, Cornwall, Devon, Wales and Cumbria. The new target aligns with a recent Natural England report that identified livestock grazing as the chief threat to regeneration at Black‑a‑Tor. Excluding grazing, installing protective guards, and involving the roughly 200 commoners who hold grazing rights will be essential to the plan’s success.What the Next Decade Could Hold for UK Temperate RainforestsIf the Duchy meets its 2040 goal, Dartmoor could host twice its current rainforest area, creating a contiguous refuge for ancient oak, lichens and mosses. Success would also provide a model for other UK regions, potentially spurring additional public and private investments in woodland restoration and influencing national policy on land‑use and biodiversity.

The New Year’s Eve Giant Parade in LostwithielOn New Year’s Eve 2025, environmentalist Lisa Schneidau welcomed 2026 amid a spectacular procession of handcrafted giants, lights, drums and music in the town of Lostwithiel, Cornwall. The event marked the latest public celebration organized by the art collective The Lost Giants (TLG), showcasing giants built from wooden frames, cloth, papier‑mâché and card. How The Lost Giants Recreate Traditional Processional GiantsFounded three years ago by theatre designer Ruth Webb and illustrator Amy Webb, TLG draws on medieval guild traditions where villages crafted enormous mascots for festivals. Their repertoire includes the lantern parade giant in Tregona, a harvest procession for Hauser & Wirth’s Somerset gallery, and the iconic Peter – the first giant to parade Lostwithiel’s streets in 1990. Funding and Community Support Driving the RevivalGrant from the Ffern Folk Foundation (2026) to develop the Big Folk Archive and fund a new giant for a southwest environmental campaign.Community‑based creation model: local volunteers and artists pool skills, materials and ideas for each giant.Public call‑out for environmental groups to commission bespoke giants, emphasizing the “spirit of the land.” Why Giant‑Making Resonates with Modern Environmental ActivismTLG’s giants carry ecological messages – from the sisal mountain goat Ooelle to Old Crockern, a vengeful guardian spirit used in a Dartmoor re‑wilding protest. By giving land a “personhood” through towering figures, the collective helps campaigns visualise and vocalise otherwise abstract environmental concerns. Future Prospects for Community Giants Across the UKWith growing interest in seasonal celebrations and folk theatre, TLG expects more environmental groups to commission giants, expanding the practice beyond Cornwall into other regions. The online Big Folk Archive will document the movement, potentially inspiring a new generation of community‑driven, activist art.

The Morning on Dartmoor: A Glassy Canvas for Insect BalletA clear, wind‑less dawn on Dartmoor reveals pools so smooth they mirror the sky. Beneath that still surface, whirligig beetles stir, turning each puddle into a miniature dance floor.Whirligig Beetles: Dual‑Eyed Dancers of Surface TensionThese small, dark insects spin across the water like motorised apple pips, some carving circles, others rotating in pairs as if engaged in a barn dance. Their movements, reminiscent of Brownian motion, are both random and mesmerizing.Ecological Role and Adaptations of Whirligig BeetlesEyes split into two pairs, allowing simultaneous vision above and below water.Predatory diet includes mosquito larvae and fallen invertebrates.Capable of short‑range flight to colonise new pools, making them widespread across the UK.Rapid, frantic gyrations can bewilder predators, acting as a defensive display.Why Observing Small Wonders Matters in a Changing LandscapeAlthough easy to overlook, a brief pause to watch these gregarious insects offers a focus free from daily concerns. Their chaotic patterns echo sped‑up traffic or bustling crowds, reminding us that nature can both confound and captivate.Future Outlook: Reconnecting with Micro‑Nature in Everyday LifeAs urbanisation expands, moments like these become vital touchstones for environmental awareness. Encouraging more people to notice and cherish such micro‑ecosystems could foster broader support for conservation of habitats like the peat‑rich moorlands featured in the Guardian Country Diary collection, illustrated by Charlie Elder.

On a bright spring morning in Dartmoor, eight‑year‑old Orla and her family experienced a rare wildlife moment when a black adder emerged from the brambles, offering a vivid reminder of the island's hidden biodiversity.Unexpected Visitor: A Black Adder on a Spring WalkThe family had strayed off the main path to admire bluebells when Orla spotted a large, black snake with faint zigzag markings. Following her mother’s calm instructions to back away slowly, the adder lowered its head and slithered away under a rock, leaving the children both startled and fascinated.Adder Statistics: Size, Habitat and Venomous StatusSpecies: Vipera berus (common adder), with the black morph being a rare colour phase.Typical length: about 0.5 m for the observed individual; adults can reach up to 0.8 m.Habitat: heathland, moorland and open grassland across the UK, favouring sunny, sheltered spots.Venom: the only venomous snake native to the UK, though bites are rarely fatal.Population trend: estimated 100,000–150,000 individuals, with numbers stable but locally declining due to habitat loss.Why This Sighting Matters for UK BiodiversityAdder encounters are infrequent because the reptiles are shy and tend to avoid human activity. Public sightings like Orla’s serve several purposes:Raise awareness of the species’ ecological role in controlling rodent populations.Encourage responsible behaviour in natural areas, such as staying calm and giving wildlife space.Support conservation messaging that protects heathland habitats essential for the adder’s survival.Moreover, the story aligns with the Guardian’s Young Country Diary initiative, which invites young voices to share personal nature experiences, fostering a new generation of conservation advocates.Looking Ahead: Adder Conservation in a Changing ClimateClimate change may alter the distribution of suitable adder habitats, potentially pushing populations northward or into higher elevations. Conservation groups are therefore focusing on:Maintaining and restoring heathland and moorland ecosystems.Monitoring population health through citizen‑science reporting.Educating the public on safe coexistence with venomous wildlife.Continued engagement, especially from young observers like Orla, will be crucial in ensuring that the black adder remains a thriving, though elusive, part of the UK’s natural heritage.

10 pm – ITV1: The Murder Line introduces viewers to a gritty Canadian thriller where Minnie Driver plays a formidable crime‑family matriarch. Detective Henry Roland (Stephen Amell) uncovers a link between his childhood friend and a drug ring, thrusting him into Driver’s dangerous world amid a double‑murder plot. 7 pm – Channel 4: Secret Africa: Into the Wild follows explorer Lucy Shepherd on a six‑week trek across Tanzania. She joins nomadic tribesmen, helps build shelters and even harvests honey from a hive, offering an intimate look at the region’s landscapes and cultures. 7 pm – Channel 5: Queen Elizabeth II: The Unseen Photos reveals never‑before‑published images that show the monarch in candid, relaxed moments. Historians and biographers, including Andrew Morton, discuss how these pictures contrast with the public persona of the world’s most photographed woman. 7.50 pm – BBC Two: Inside Britain’s National Parks continues its series with an episode on Dartmoor’s uplands, featuring high‑definition footage of leaping salmon, carnivorous sundew plants, and traditional sheep‑dog training. 8 pm – Channel 4: World’s Most Secret Hotels returns with sweeping drone visuals of ultra‑luxury lodges, including a remote retreat on the world’s largest salt flats and Norwegian mountain cabins delivered by helicopter. 8.30 pm – BBC Two: Black British Music at the BBC: Volume 1 offers a two‑and‑a‑half‑hour archive showcase curated by Trevor Nelson, celebrating artists from Winifred Atwell to Olivia Dean and highlighting the legacy of Soul II Soul, Neneh Cherry, Sade and So Solid Crew. Sport coverage includes the opening day of the Snooker World Championship at the Crucible Theatre (10 am, BBC Two), Premier League fixtures (Brentford v Fulham at 11 am on TNT Sports 1, Chelsea v Man Utd at 7 pm, Tottenham v Brighton at 5 pm on Sky Sports), the Scottish Grand National from Ayr (12.45 pm, ITV1), Women’s Six Nations (Scotland v England at 1 pm, BBC Two), Premiership Rugby (Exeter v Northampton at 2.30 pm, TNT Sports 2) and the Women’s International Football World Cup qualifier (Iceland v England at 4.45 pm, ITV4).

The first signs of spring are emerging on Dartmoor, with the sun's warmth bringing life to the granite landscape. A young naturalist, Henry, ventures out onto the moor, binoculars in hand, to catch a glimpse of returning migrants. As he scans the valley, he's rewarded with the sight of a wheatear, one of the first birds to return to the UK after spending winter in sub-Saharan Africa. The wheatear's distinctive white rump, which gives it its name, is a striking feature. The name 'wheatear' originates from an old English phrase, literally translating to 'white arse'. For Henry, spotting this bird is a big milestone, signaling the arrival of spring. As he observes the wheatear, Henry notes its dashingly dressed appearance, with a soft slate grey back, warmer peach-colored chest and stomach, and of course, its notable white rump. The sighting fills him with excitement, as it's a sure sign that spring has finally arrived on Dartmoor.