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DODGER DILEMMA 

Jammie Dodgers unveils new flavour with an 'exotic twist'... and fans are divided

Biscuit lovers had mixed reactions upon learning there was a new Mango and Passionfruit flavour available to buy at supermarkets.

The 140g packet of biccies is 90p at Sainsbury's and just one of a range of new flavours of the iconic brand.

The flavour is mango and passionfruit. Credit: Facebook

A photo of the mango and passionfruit Jammie Dodgers was shared to the Newfoods UK social media pages where reactions where mixed.

"Wish they would just stick to original!!!! More jam!!!!!!!!" wrote one person.

Another added: "Oh yum."

A third commented: "Tasteless."

And a fourth reacted: "We need to get these."

A spokesperson for Fox Burton's which makes Jammie Dodgers said they expect the new flavours to fly off the shelf.

"We are very excited about these new flavours and expect them to do well in market," the spokesperson told The Sun.

Another of the unique flavours available at supermarkets is cherry, apple and blackcurrant, and strawberry Jammie Dodgers.

Last year, the brand raised eyebrows when shoppers found a re-released banana version of Jammie Dodgers.

The banana flavouring replaces the classic jam filling that Brits have grown to love over the years.

The yellow-flavoured biscuits were first launched in the UK in July 2022 inspired by the Minions film, The Rise of Gru.

It was not the first new flavour the biscuit company has tried - other tempting flavours have been launched such as cherry and apple.

https://www.thesun.co.uk/money/35361009/jammie-dodgers-unveils-new-flavour-exotic-twist/

Texto para a questão

How to write, according to the bestselling novelist of all time

     Everyone has a book inside them, or so the saying goes. In this day and age, those who want help coaxing the story out can receive instruction online from some of the world’s most popular authors. Lee Child and Harlan Coben, who have sold hundreds of millions of books between them, teach thriller writing; Jojo Moyes offers tips on romance yarns. And now Agatha Christie, the world’s bestselling writer of fiction, with more than 2 bn copies sold, is instructing viewers in the art of the whodunnit—even though she died in 1976.

     Christie’s course is the result not of recently unearthed archival footage, but artificial intelligence. BBC Maestro, an online education platform, brought the idea to the Christie family, which still controls 36% of Agatha Christie Ltd (AMC Networks, an entertainment giant, owns the rest). They consented to bring the “Queen of Crime” back to life, to teach the mysterious flair of her style.

     A team of almost 100—including Christie scholars as well as AI specialists—worked on the project. Vivien Keene, an actor, provided a stand-in for the author; Christie’s face was mapped on top. Crucially, Ms Keene’s eerily credible performance employs only Christie’s words: a tapestry of extracts from her own writings, notebooks and interviews.

    In this way, the creator of Hercule Poirot and Miss Marple shares handy writing tips, such as the neatest ways to dispatch fictional victims. Firearms bring ballistic complications. Be wary of poisons, as each works in a unique way. Novice authors can “always rely on a dull blow to the head”.

     Many of Christie’s writing rules concern playing fair. She practiced misdirection and laid “false clues” alongside true ones, but insisted that her plots do not cheat or hide key evidence: “I never deceive my readers.” In sections devoted to plot and setting, she explains how to plant key clues “in plain sight” and plan events with detailed “maps and diagrams”. She advises viewers to watch and listen to strangers on buses or in shops and to spice up motives for murder with a love triangle.

    Some of the most engaging sections come from “An Autobiography”, published posthumously in 1977: Poirot’s origins among the Belgian refugees who reached Devon during the First World War, or fond memories of her charismatic, feckless brother Monty, who had “broken the laws of a lot of countries” and provided the inspiration for many of Christie’s “wayward young male figures”.

    By relying on Christie’s own words, BBC Maestro hopes to avoid charges of creepy pedagogical deepfakery. At the same time, it is that focus on quotation which limits the course’s value as a creative-writing toolbox. The woman born Agatha Miller in 1890 speaks from her own time and place. She tells wannabe writers to use snowstorms to isolate murder scenes (as they bring down telephone wires) and cites the clue-generating value of railway timetables, ink stains and cut-up newspapers. These charming details are irrelevant to modern scribblers.

      Yet anachronism is not the course’s biggest flaw: it is that it lacks vitality. Christie enjoyed a richer life than learners will glean from this prim phantom: she was a wartime nurse (hence her deep knowledge of toxins), thwarted opera singer, keen surfer and archaeological expert who joined her second husband on digs in Iraq. Furthermore, her juiciest mysteries smash crime-writing rules. The narrator does it; the detective does it; all the suspects do it. Sometimes there’s no detective: in “The Hollow” (1946) Christie regretted that Poirot appeared at all. With its working-class antihero and gothic darkness, “Endless Night” (1967) shatters every Christie cliché. This high-tech, retrofitted version of the author feels smaller and flatter than the ingenious original.

The Economist, May, 8th, 2025