My childhood bully taught me about Farage and the power of apology

Last night, I was swapping matey WhatsApps with an old school pal. He was on holiday in South Africa and was just back from the beach; I was on a bus in the cold London rain. It was warm, friendly stuff – I’d say banter, but that word feels tainted these days – between two blokes who have known each other for more than 50 years.

But in the case of my “old friend” and me, there had been a rather significant gap of half a century when we were very much not in touch. The man, John Dickens, a charming and liberal-minded retired headteacher in Swindon, had been an obsessively antisemitic bully in our schooldays. When Nigel “Banter” Farage was accused of using similar racist and antisemitic slurs at school, I decided to get back in touch with Dickens to tell him how his behaviour had affected me and where he got all this nastiness from.

In a new interview with Laura Kuenssberg, Farage said he had not “for a single moment worried about whether he upset anyone”, saying: “I think there were two people who said they were hurt, all right, and if they genuinely were then that’s a pity and I’m sorry, but never, ever did I intend to hurt anybody. Never have.”

As Kuenssberg has since suggested, it has the flavour of the classic political apology – sorry if anyone felt hurt by what happened all those years ago.

Now, Nige mate, let me tell you what it actually feels like. What it is like for reasonably ordinary kids to be confronted with vile racist insults from unpleasant older boys in highly polished Cadet Force boots. And how hollow it sounds when those insults are later dismissed as meaningless.

You should know, Nige, I’m not what you might regard as an “oversensitive” Jew, seeing antisemitism in everything anyone says, especially about Israel. But the hurt I felt as a child was very real. My tormentor’s antisemitic heckling unsettled me deeply and lingered for decades afterwards.

When I finally confronted him, I fully expected that, like Farage, Dickens would dismiss it as schoolboy joshing – that he hadn’t meant anything by it, hadn’t realised it caused pain, or might say he couldn’t even remember doing it.

I could not have been more wrong. Unlike Farage, and in one of the most remarkable acts of decency I have witnessed, my school nemesis apologised profusely. On hearing my voice, and without prompting, he raised some of the awful things he had said and tried to explain what had been going on in his life. We had been 11, he said, and he had been trying to look tough in front of older boys.

I accepted his explanation. We talked and talked. We later shared a wonderful lunch together and are now firm friends. I wrote about this in The Independent last Christmas Eve.

John is a humble, decent man who did what anyone with integrity and character should do when confronting an embarrassing past – though few actually manage it.

Farage, by contrast, has repeatedly rejected allegations that he behaved in a racist or antisemitic way at school, arguing that the claims relate to events decades ago and describing the atmosphere as “banter” or typical schoolboy behaviour. He has also dismissed accounts from former contemporaries who recall offensive remarks, suggesting some critics may have had political motivations.

Farage has, over time, varied his characterisation of these accusations – at points describing them as “made-up fantasies”, while more recently offering qualified expressions of regret if offence was caused.

This time, speaking to Kuenssberg, Farage has addressed the allegations in a relatively dismissive manner, downplaying behaviour that several former classmates have described publicly as racist and intimidating.

Even though the young John Dickens was, by comparison, less extreme in his behaviour – no talk of gas chambers, no “go back to your own country” rhetoric – I never forgot what he said to me barely 20 years after the Holocaust had ended.

Before he started on me, I had never experienced antisemitic remarks. It was shocking and bewildering. I could not understand it – especially the sneering stereotypes about Jews and money. Ironically, my parents at the time were embarrassed by what they saw as the flashiness of some of our Jewish neighbours.

The experience marked me so deeply that, later in life, I sometimes pretended to be Greek – helped by my Greek-sounding surname – simply to avoid similar hostility. In a strange way, it prepared me for later encounters with far more explicit and vicious antisemitism, which has resurfaced in recent years.

What Farage appears not to grasp is that, had he been honest from the outset – as John Dickens was – much of this reputational archaeology might never have happened. All he had to do was what my former bully said:

“I want to come right out publicly and say how embarrassed and ashamed I am about how I behaved back then – and how regretful I am about the stupid, vicious things I used to say.”

Had Farage spoken in those terms, he might have had a chance of claiming moral ground. He might even have earned a degree of respect – perhaps even from me. Instead, I am left wondering whether he has resisted full acknowledgement because some of his fanbase admire that version of his past.

To good people, though, I’d say it’s more obvious than ever that Farage is just a fake Trump with bad teeth. Slightly brighter and more pub-able, but a chancer at best who, by his own admission, doesn’t give a moment’s thought about whether he has upset somebody or not.

Dior Sauvage: How the world’s most popular cologne became a red flag

There are few fragrances as widely loved and ridiculed as Dior Sauvage. The woody, peppery scent, which swaggered onto the market in a midnight blue bottle back in 2015, sells at a rate of roughly one bottle every 30 seconds. That’s around 12 million bottles per year, making it the number one scent among all fragrances – men’s and women’s combined. Yet, despite its intense appeal, Sauvage wearers have somehow garnered a reputation that, frankly, stinks.

“F***boy” and “red flag”: when influencers from the Gen Z and Millennial-focused lifestyle brand Eliza took to the streets of London with a hoodie spritzed with Sauvage and asked pedestrians to blind review the cologne for TikTok, the results were definitive. “It reminds me of a young questionable man,” one woman said warily. “I wouldn’t want to judge a man off of his perfume, but I’ve met too many who wear Dior Sauvage.”

“I would run,” another man added. “I don’t think I’d even be on this date in the first place.” Meanwhile, a second woman admitted the fragrance “gives me PTSD” because it smells like “every boyfriend” she’s ever had. Although she quite likes it, she knows she shouldn’t. The Calabrian bergamot and pepper top notes act as a primal warning to many to flee.

Notably, illicitencounters.com polled 2,000 women who had all been cheated on and found 25 per cent said the men who’d been unfaithful to them had all worn Dior Sauvage.

Before Sauvage in 2015, came Eau Sauvage in 1966, created by perfumer Edmond Roudnitska who wanted to appeal to career men who saw themselves as being refined and sophisticated at a time of carefree hippy freedom. “It really set itself out to be for the ‘classic man’,” says fragrance expert Aamna Lone. “The man who gets up and wears a suit and goes to work. If you walk around [London’s business hub] Farringdon now, you can still smell it,” she adds of the citrus-first fresh scent.

Powerful men today still associate themselves with the smell, to mixed reviews. Upon the release of Prince Harry’s tell-all memoir Spare, the world learned that King Charles would “slather the stuff on his cheeks, his neck, his shirt” and struggled to smell much else over his own waft.

Meanwhile, last Spring, French president Emmanuel Macron’s former aide claimed that the politician makes his presence known by dousing himself in “industrial amounts” of the cologne “at all hours of the day”. “It’s not subtle, but it’s fast,” they said. “It means: ‘watch out, here I come!’” Swindlers in the city, perhaps, plump for the same effect.

Then came 2015’s Sauvage, which was developed by François Demachy and aimed at younger men instead with a scent anchored in ambroxan and cedar to give it a warm, woody aroma. Véronique Courtois, chief executive officer of Parfums Christian Dior, has attributed its overwhelming success to its “vision of masculinity” that was “far away from all the stereotypes that existed on the market”. She told Women’s Wear Daily: “It encapsulated something bigger than us.”

The masculinity’s poster boy? Johnny Depp, who was accused of domestic abuse towards his former partner Amber Heard. Depp strongly denies the allegations. He unsuccessfully sued The Sun newspaper in London for describing him as a “wife beater”, after a judge concluded in 2020 that the description was “substantially true”. But he later sued Heard personally for describing herself as “representing domestic abuse”. In 2022, a Virginia jury found Heard’s claim was false and defamed Depp, who they awarded $10m compensatory damages.

Dior reportedly renewed his contract in 2023 for a whopping $20m. “He’s always been free,” Courtois said. “Even though he was a super Hollywood star.” Or, perhaps, exactly because of it.

“Sauvage: a decade of a global phenomenon. Powerful, yet noble. Wild at heart,” LVMH Moët Hennessy celebrated on social media on the scent’s 10th anniversary in September, alongside a video of Depp in a poncho.

Number one fragrance in the world with these associations? It’s hard to understand who’d want to be in the club. “It’s an incredibly accessible luxury fragrance,” says Experimental Perfume Club’s Head of Experience, Noor Khan, of the 60ml bottle of Sauvage that bobs around the £65 mark.

“A lot of younger guys love it,” he explains. “They’re going through a phase where they want girls to be attracted to them and are going on nights out and want to smell their best. They want a fragrance that’s a bit powerful. These guys are outgoing and see themselves as an alpha male.”

While women have slammed Sauvage on social media, many TikToks on the topic are actually of women sneaking into department stores to get a quick fix regardless. “[When] you haven’t smelt a liar and a manipulator in a while,” one post reads. “Unfortunately, I am addicted to this smell. It smells soooo good to me,” another woman laments in the comments.

The reason for this? The ambroxane. “It’s a synthetic ingredient that’s highly addictive,” explains Khan of the strong musk-like smell. “Sometimes, brands will use ambroxane as a ‘pheromone’ fragrance because it’s so enticing.” Herein lies the pick-up artist’s superpower.

While humankind has evolved to understand this alluring scent to be more of a warning you’re about to have your heart broken than an invitation to go weak at the knees, there is another way it has begun to backfire: overconsumption. Not only is the whole world wearing it, but buyers are also spraying it on with increasing intensity and leaving innocent bystanders’ nostrils burning in the streets.

“This fragrance is not office-friendly,” Khan makes clear. “These guys have no idea that there’s a specific time of day they should be wearing Sauvage. They’ll put loads of it on in the morning and expect it to last all day. It should only be two spritzes on your pulse points: one behind each ear, or on each wrist, then one behind the ankles or knees.”

Plus, although Macron and men like him might be stinking the place out, they don’t experience it like those around them. “It’s part anosmia, which is where you get accustomed to a fragrance and can no longer smell it on yourself,” explains Khan. Dior is prepared for this, offering Sauvage in varying degrees of strength from the original eau de toilette up to the elixir. “You’re getting the same fragrance family, but it’s getting stronger each time,” says Khan. “It’s very much still there.” Don’t we know it.

#NotAllMen who wear Dior Sauvage are “toxic” or “red flags”. That being said, the ones who aren’t may still find those who smell it on them ending up running a mile, thanks to the connotations. Khan and Lone quickly recommend a whole host of alternative scents, including Blue Talisman by Ex Nihilo, By the Fireplace by Maison Margiela, Amoral by Pernoire and Penhaligon’s Halfeti. The point is, more is out there.

Sauvage, like the potential situationships women on social media fear it’s spritzed on, has hypnotised us for over a decade. For better, or for worse. “There are a lot of fragrance snobs who think Sauvage is basic,” says Khan. “There’s a lot of backlash about it. But it’s a fragrance with mass appeal – that doesn’t happen by accident. Creating something that works on millions in different climates and cultures is very difficult. So, what they’ve done is fantastic.” That depends who you’re talking to.

The Gruffalo returns: How Axel Scheffler created the greatest monster in children’s literature

Twenty-seven short years ago the Gruffalo lumbered into the beloved bestiary that includes the Lion and the Unicorn, the Jabberwock and the Wild Things. Overnight, this fearsome, yet strangely lovable beast became a millennial classic to rival the kids’ book phenomenon that was Harry Potter.

A generation of bedtime storytelling has since thrilled to Julia Donaldson’s tale of impending dread in a deep, dark wood. Now, finally, there’s a new Gruffalo story, Gruffalo Granny, announced today (6 February), in advance of a world-wide book launch in September.

I went to meet Axel Scheffler, the artist whose prime as an illustrator has been devoted to his image of this iconic creature, and found myself sitting in off-season sunshine with this slightly rumpled, ex-pat German while he sketched the kids’ book character he refers to, with obvious affection, as “my monster.” If there’s a subtle frisson of pride in Scheffler’s voice that’s because this treasured monster is not just any old ogre, but a multi-million pound superstar.

The Gruffalo, with his “terrible tusks and terrible claws”, first clumped into our childrens’ consciousness in the spring of 1999. A generation later, Donaldson’s tale of a little brown mouse who “took a stroll” in a fairytale forest, outwitted some fearsome predators, to triumph over adversity with plucky cunning, has become part of every child’s imaginative landscape, a contemporary classic inspired by a Chinese fable, “The Fox that Borrows the Terror of a Tiger”. I suspect that quite a few parents will also confess to a mild obsession with this fabulous creature.

Scheffler’s not saying – he’s an easy-going, quite reticent man – but it’s a fair guess that this story has sold many hundreds of thousands of copies. The Gruffalo is now as much part of our children’s inner landscape as Hansel & Gretel. Here, the artist pauses mid-sketch to observe that such success would have astonished his father, who worried that his dreamy son would never amount to much. Scheffler pere was a teenage soldier who’d manned an ack-ack searchlight in Berlin during the final days of the Third Reich. Through the post-war “Wirtschaftswunder” years, in which the country redeemed itself after the horrors of World War, he had been the managing director of a German food factory.

Axel Scheffler is a baby-boomer, born in Hamburg in 1957, who grew up in a broken society re-making itself through hard work. His childhood reading, such as it was, involved Mickey Mouse and a Danish classic about “Petzi”, a naughty little bear. The Scheffler family was devoted to restoring the status quo, and were middle-of-the road in another way too: they were the kind of Anglophile Germans who loved to take English holidays. One idyllic visit to Devon during the magical summer of Seventy-Six became a turning-point for Axel; he has a

lifelong love for the British landscape. As a quite solitary boy, he would lose himself in drawing. In 1982, having done social work instead of military service in the Bundeswehr, the young conscientious objector packed his paints, brushes, easel and pencils to set off for the Bath Academy of Art in Corsham. It was here, ambushed by his vocation, that he discovered the simple ambition of becoming an illustrator.

The idea that this might be a “proper job” was slow to dawn, but he was happy in England. His early years, Scheffler admits, with a wry smile, did not involve too much starving in garrets. From a flat in Streatham, the young artist shopped his work to the magazines that still commissioned illustrations (Time Out; The Listener), and also to a rising generation of childrens’ book publishers. Walker Books gave him some work; then Faber commissioned a book cover and a set of illustrations for Helen Cresswell’s The Pie-Makers, followed by some more artwork for The Bottle-Rabbit (now a collector’s item). By the early 1990s, Scheffler was collaborating with an up-and-coming childrens’ book writer named Julia Donaldson, to make illustrations for her latest poem, “A Squash and A Squeeze”, a comic rhyme about farm animals.

Scheffler did not know it, but his new co-author was also in the throes of completing a childrens’ poem about a little brown mouse who outwits a monster. Better still, she was coming into her own – in the words of one critic – as “one of the best ears for prosody since WH Auden”. Donaldson, indeed, had already submitted her “Gruffalo” to a publisher who – for reasons shrouded in shame and mystery – let this quirky poem gather dust during the mid-90s. Eventually, in frustration, she’d recovered her neglected manuscript, dusted it off, and sent it to Scheffler. Was it, she wondered, something he might consider illustrating?

That was a no-brainer, of course. Donaldson’s seductive mix of Chinese folk-tale with nursery rhyme is touched with genius. “I remember very well reading it,” says Scheffler with Germanic understatement. As luck would have it, he was about to have dinner with a childrens’ book publisher, who, recognising the timeless brilliance of the poem, did not hesitate to make an immediate offer. Things moved quickly; the die was cast. All at once it became Scheffler’s responsibility to put flesh and bones on Donaldson’s sublime creation.

Inevitably, there was some trial-and-error in the birth pangs of the terrible “gruffalo”. Initially, Donaldson pictured her fearsome beast in a rougher guise. Later, she confessed to Scheffler a penchant for the art of Gustave Dore, the classic French 19th century book illustrator. Next, their publisher worried that Scheffler’s first sketches might alarm a juvenile audience. The Gruffalo’s eyes were too small; there was a problem with his teeth. Er…. In a word, “could you make him less scary?”

Scheffler was unfazed; these were typical publisher-illustrator exchanges. In the end, “my monster”, as he calls him, became that classic, the monster who’s not a monster. Of course he’s afflicted with “purple prickles” and has “a poisonous wart at the end of his nose”, but underneath, he’s a big softy. For all his “terrible teeth” (surely, he’s English?), he’ll scarper at the first hint of trouble.

The Gruffalo has the ageless charm of the perfect tale. Still, there’s no doubt that Scheffler’s visualisation is integral to its success. The artist is careful to repeat his admiration for Donaldson’s “genius” but, like Carroll’s John Tenniel, Milne’s EH Shepherd and Dahl’s Quentin Blake, he knows it’s his illustrations that supercharged her words towards posterity, with drawings that contribute to the making of a fictional universe.

A true classic, a poem about the power of a good narrative, The Gruffalo achieves a bewitching marriage of wonder and dread. The cool terror of the words becomes softened by the innocence, clarity and warmth of Scheffler’s art. “I see myself as a humorous illustrator,” he says, conceding that his art-work subtly complements Donaldson’s style. There is, he confides, “something in the Gruffalo books that reflects our personal history.”

Is it, I wonder, too fanciful to find him tapping into a rich vein of mittel-European fairy-tale imagery? Scheffler’s natural reticence resists this line of inquiry. “Let’s leave that to the psychoanalysts,” he replies with a laugh. Now, as he returns to drawing – for the umpteenth time – a portrait of the Gruffalo, he reflects on his brush with fame, and remarks “I am lucky not to be recognised.”

Home is Richmond Hill, where he lives with his partner Clementine, and their teenage daughter, surrounded by the tools of his trade – paints, brushes and a fistful of pencils. It’s not just sweetness and light. In a momentary flash of Teutonic steel, the shy anglophile shakes his head over Brexit. “A very sad day. Such a terrible mistake. What were you thinking?” Politics aside, he’s perfectly content. “There’s nothing else I want to do. I have no dream project.” Sometimes, possibly tongue-in-cheek, he wishes he could paint like Caspar David Freidrich, the supreme German Romantic landscape painter, but otherwise he’s happy.

Gruffalo Granny will be launched in September 2026, but that’s not really so new, whatever the publishers say. “The Gruffalo hasn’t changed after all these years,” he says, embellishing his drawing. Like Prospero, he seems to cherish his power over an imaginary kingdom.

It’s already been a generation. “Julia always said, No sequel for twenty-five years.” As our conversation comes to a close, Scheffler’s sketch is almost complete. Does he converse with the Gruffalo in his head? Scheffler seems puzzled. “Why would he talk to me? He’s a monster….” A beat. “My monster.”

Trump endorses Takaichi in rare intervention ahead of Japan election

Donald Trump has given his “complete and total endorsement” to Japanese prime minister Sanae Takaichi ahead of the snap election on Sunday, a rare intervention by a sitting American president in another country’s electoral politics.

In a post on his Truth Social platform on Thursday, Trump praised Takaichi as a “strong, powerful and wise leader” and said he would welcome her to the White House on 19 March.

“As President of the United States of America, it is my Honor to give a Complete and Total Endorsement of her, and what her highly respected Coalition is representing,” Trump said.

Public endorsements by American presidents in foreign elections are unusual, but Trump has increasingly weighed in abroad. He previously backed Argentina’s president, Javier Milei, and Hungary’s Viktor Orbán, framing the interventions around ideological alignment and American strategic interests.

Takaichi received Trump’s endorsement two days before the election she called after just a few months in office, seeking a stronger public mandate for her coalition.

Opinion polls show that her Liberal Democratic Party and its coalition partner Ishin are on course to win a comfortable majority of about 300 seats in the parliament’s 465-seat lower house.

But unrelenting snowfall, which has already claimed 35 lives and prompted stay-at-home advisories, could depress turnout, particularly in rural regions that traditionally play a decisive role in Japanese elections.

Forecasters say heavy snowfall will continue in some northern and western areas over the weekend.

The Japan Meteorological Agency warned of avalanches and blizzards in Hokkaido in the north on Friday and snowfall through the weekend on the Pacific coast in the Kanto region and Kyushu.

Campaigning is already widely affected with billboards buried under snow in several areas. This is Japan’s first mid-winter general election in more than three decades.

One of the key challenges to Takaichi’s prospects is high food prices. The Japanese allocate more of their spending to food than people in other developed economies. Surveys show inflation is among the most important issues for voters.

Takaichi’s proposal to suspend an 8 per cent sales tax on food to help households cope with rising prices has unsettled investors in recent weeks, contributing to a sell-off in government bonds and pressure on the yen.

At the same time she has pledged to accelerate a defence build-up, arguing Japan must strengthen its deterrence amid regional security risks. The plans have invited criticism from Beijing, which has accused her of reviving militaristic thinking.

Trump’s backing highlights the close personal relationship the two leaders have cultivated since Takaichi took office last October. One of her first engagements as prime minister was to host the American president in Tokyo, where they emphasised the strength of their alliance and announced new investment commitments. During that visit, Trump praised Takaichi for breaking the political glass ceiling by becoming Japan’s first female prime minister.

Trump’s endorsement of Takaichi came a day after he held a lengthy phone call with Chinese leader Xi Jinping which he described as “extremely good”.

According to Chinese state media, Xi stressed that Taiwan was the “most important issue” in China’s relations with America and urged Washington to act prudently on arms supplies to the island.

The timing has drawn attention in Tokyo, where ties with China remain strained over Taiwan and regional security.

A strong electoral result could give Takaichi greater political room to pursue her defence agenda, Japanese officials said.

Trump also confirmed that Takaichi’s visit to Washington in March would be her first since becoming prime minister and would coincide with the annual cherry blossom season, a longstanding symbol of bilateral ties. The two leaders previously announced they intended to mark the 250th anniversary of American independence in 2026 with joint celebrations.

Takaichi has said she will resign if her coalition loses its majority on Sunday.

Seven ways Amazon Business can make your budgets work harder in 2026

Late January marks the moment when the business year truly begins, making it the ideal time for companies of all sizes to maximise their early-year spending through smarter, business-focused purchasing with Amazon Business. Not surprisingly Amazon Business offers exceptional deals and special prices on everything your business needs during the Business Saving Event – until February 4. This is your last chance to save big on thousands of products, from office essentials to equipment upgrades, helping business leaders start the year organised, well-stocked, and ahead of the curve while freeing up valuable time to focus on serving their customers, but only until February 4.

Business-only rates and rapid delivery

Amazon Business is the online retailer’s platform for companies, retooling its familiar and intuitive shopping interface to create a business-focused experience. It helps teams stock up on core business essentials at the best possible price. Users benefit from business-only pricing available exclusively to registered Amazon Business customers, while Amazon’s rapid delivery times make it easy to plug last-minute gaps in supply.

Buying in bulk

Another way to stay fully stocked is to buy in bulk — and Amazon Business makes this flexible. You can purchase single items or pallet-sized orders of everything from stationery to cleaning supplies. Bulk buying improves budget efficiency, saves time, and comes with transparent guardrails for employees, as well as reorder lists for frequently purchased items.

Empowering teams

The beauty of Amazon’s business-specific platform is its familiar Amazon interface, making it easy for employees new to the procurement process to order essential supplies without involving business leaders. This not only saves time but empowers teams to work smarter and more efficiently.

Cost-aware purchasing and oversight

Consolidating your team into a single multi-user account gives you close oversight of spending and ensures budgets are allocated effectively. You can limit purchasing to approved items and guide team members toward approved suppliers, helping you stay on top of compliance goals.

Accessible spending data

Amazon Business accounts come with Amazon Business Analytics built in, providing instant visibility into your organisation’s purchase history. You can track spending, analyse trends, and create customised reports with intuitive visualisations, making it easier to identify savings opportunities and make data-driven buying decisions.

Simplified workflows

Amazon’s logistical expertise enables management of complex multi-address delivery preferences from a single centralised account. Delivery settings can be updated for multiple locations simultaneously, rather than individually. Combined with the platform’s unrivalled product range, this allows you to consolidate purchases across multiple suppliers into a single, streamlined procurement process, cutting down on administrative work.

Seamless integration

For companies using e-procurement and expense management systems such as Coupa, Concur Expense, or SAP Ariba, Amazon Business integrates seamlessly with over 300 platforms. VAT invoices are downloadable, and VAT-exclusive pricing is available, making it easier to incorporate spending data into decision-making processes.

Sign up for a free Amazon Business account to streamline your purchasing and take advantage of quantity discounts.

Teenagers ‘executed for watching Squid Game’ in North Korea

Schoolchildren are being executed by North Korea for watching K-Pop dramas and TV shows, including Netflix’s Squid Game, according to harrowing new testimony shared with Amnesty International.

The group included 25 individual in-depth interviews with North Koreans, including 11 who fled the country between 2009 and 2020. Most of the interviewees were aged between 15 and 25 at the time of fleeing.

Watching South Korean dramas such as Crash Landing on You, Descendants of the Sun and Squid Game, or listening to K-Pop, led to severe and humiliating punishments, including death in the most extreme instances, according to the escapees.

Those without money or connections face the harshest consequences in the communist state, with wealthy families able to pay off officials in exchange for clemency, according to the report.

“When we were 16, 17, in middle school, they took us to executions and showed us everything,” said Kim Eunju, 40.

“People were executed for watching or distributing South Korean media. It’s ideological education: if you watch, this happens to you too.”

Another North Korean escapee, Choi Suvin, personally witnessed the public execution of a person accused of distributing foreign media in Sinuiju in 2017 or 2018.

“Authorities told everyone to go, and tens of thousands of people from Sinuiju city gathered to watch,” she said. “They execute people to brainwash and educate us.”

She explained: “People without money sell their houses to gather $5,000 or $10,000 to pay to get out of the re-education camps.”

Kim Joonsik, 28, said he was caught watching South Korean dramas three times before leaving the country in 2019. He was able to avoid punishment because his family had connections, but said three of his sisters’ high school friends received years-long labour camp sentences in the late 2010s because their family could not afford to pay the bribes.

“Usually when high school students are caught, if their family has money, they just get warnings,” he said. “I didn’t receive legal punishment because we had connections.”

In 2020, the introduction of the Anti-Reactionary Thought and Culture Act outlawed the consumption of South Korean content and mandated five to 15 years of forced labour for those caught watching or possessing South Korean drama, music or films. The law describes the media as a “rotten ideology that paralyses the people’s revolutionary sense”.

The death penalty is prescribed for distributing “large amounts” of content or organising group viewings.

Last year, a 22-year-old citizen was publicly executed for listening to, and sharing, K-pop music and films, according to South Korea’s unification ministry.

A UN report, authored by the Office of the United Nations High Commissioner for Human Rights (OHCHR), warned of new laws, policies, and practices leading to increased surveillance and control over citizens.

“These testimonies show how North Korea is enforcing dystopian laws that mean watching a South Korean TV show can cost you your life – unless you can afford to pay,” said Sarah Brooks, Amnesty International’s deputy regional director.

“This is repression layered with corruption, and it most devastates those without wealth or connections.”

TV licence fee will go up in April, BBC reveals

The TV licence fee is to rise by £5.50 from £174.50 to £180 from 1 April, the Department for Culture, Media and Sport (DCMS) said.

The change will add an extra 46p a month onto the licence fee, and is larger than last year’s rise of £5.

DMCS says the increase has been calculated by using the consumer price index (CPI), the main metric used to measure inflation. This method is set to continue at least until the end of the BBC Charter Period in December 2027.

The TV licence is a legal permit that must be acquired to watch or record live programmes on any device. Anyone who watches or records broadcasted TV programmes must have a TV licence. This can either be through purchase or given free to those receiving pension credit and 75 years or older.

This includes the BBC iPlayer, and all forms of transmission such as smart televisions, laptops and tablets. It is not only BBC services that require a fee – streaming live sports also requires a TV licence.

The annual fee is the BBC’s primary source of funding, giving the public broadcaster £3.66 billion in 2023/24.

A statement from DMCS says: “The increase in the cost of the TV licence will help keep the BBC on a stable financial footing, enabling it to continue to deliver on its Mission and Public Purposes.

“The BBC is the UK’s number one media brand, with 94% of UK adults using the BBC each month last year and it remains the UK’s most widely used and trusted news outlet.”

It adds: “The government recognises the financial pressures on households and is committed to ensuring the BBC’s funding model is sustainable, fair and affordable.”

Last year, the government reportedly began looking at options to expand the licence fee and secure long term funding for the public broadcaster.

Culture secretary Lisa Nandy has said she is committed to upholding the licence fee until the review of the BBC’s Royal Charter is due in 2027. The minister launched a Green Paper on reforms last year which she said will consult “on a wide range of options being considered for the future of the BBC”.

The BBC’s 2025 annual report found that a further 300,000 households have stopped paying the licence fee, equating to a loss of around £50m in revenue for the corporation.

The report added: “As we approach the end of the charter, we will proactively research how we might reform the licence fee to secure the benefits of a well-resourced, universal BBC of scale for the long term.”

One industry proposal is to introduce a household levy that could be attached to council tax bands and still exclude certain groups, a model found in Germany. Ms Nandy has ruled out a new tax to fund the public broadcaster, as is seen in Sweden, Norway, Finland and Denmark.

Last month, it was reported that the BBC is working on ways to use iPlayer to find households that have not paid for a TV licence. The move would see up to 30 million online BBC accounts linked with home addresses for the first time to help find households that are accessing the streaming service without a licence.