Sorted Magazine

Author: Val Fraser

  • Motoring: The Skoda Octavia Estate is a comfortable ride

    Motoring: The Skoda Octavia Estate is a comfortable ride

    Skoda has come on leaps and bounds in recent years, and nowadays, the Octavia is one of the highest-regarded cars in its class.

    It is challenging to make a typically boxy car attractive, but that hasn’t stopped Skoda from trying – and it’s got decent looks with thinned-out headlamps and a chiselled lower grille.

    Three trims are offered, with the entry-level SE getting 16-inch aerodynamic alloy wheels, a 10-inch touchscreen with DAB radio, Apple CarPlay and Android Auto, LED headlights and day-running lights, electrically adjustable door mirrors, dual-zone climate control and lumbar support for the front seats.

    The SE Technology gets navigation and a 12-month internet subscription via the infotainment system, while the SE L gets 17-inch aero alloys plus microsuede upholstery and rear tinted windows.

    There is also a performance vRS version of the Octavia Estate, but that’s another story. For people who don’t drive like their hair set on fire, the SE L is the top-of-the-range model – and that is what is tested here.

    Two petrol engines are offered – a 1.0-litre TSI with 110PS and a 1.5-litre TSI with 150PS, although both are available as non-hybrids or mild hybrids.

    It is the diesel I’m interested in, though – the 2.0-litre TDI.

    You get from 0-62mph in 8.8 seconds, which is reasonably good, with lots of low-rev grunt from the engine, which pulls away well from a standing start.

    It doesn’t break a sweat at motorway speeds and deals with low-speed driving around town just as well.

    Regarding handling, the Octavia is set up for a comfortable, soft ride, which can cause the odd bounce over uneven road surfaces. But despite this, it’s no slouch when it comes to cornering.

    There is plenty of grip; the steering wheel weights up nicely at higher speeds, and while it’s not nimble or particularly fun to drive, it more than ticks the box.

    The DSG automatic gearbox changes smoothly, and it’ll automatically take itself out of gear to coast when it can, saving fuel.

    Inside, the cabin is well-designed, with an attractive layout and soft-touch materials. The Skoda doesn’t look quite as high-end as some of the German premium brands, but in some lighter colour combinations, it doesn’t look far off.

    The dashboard is shaped, so the centre of it is closer to the occupants in the front, bringing the infotainment touchscreen within easy reach.

    The infotainment system is impressive, with a sharp and responsive screen, large icons and an intuitive menu layout, although there’s a lack of shortcut buttons. At the same time, the Virtual Cockpit digital instrument cluster is equally nice and informative.

    Alas, most of the air-con controls are buried in the screen, so it’s a fiddle to use on the go. But at least the temperature controls always remain in view along the bottom of the screen, regardless of which menu you’re on.

    The Octavia is very comfortable to sit in, too, and visibility from the driver’s seat is reasonably commanding.

    There is a lot of space in the front and rear, too, so even taller occupants won’t be struggling for room. And there are lots of places to store things, including a deep cubby behind the gear lever.

    Boot space is a generous 640 litres, which expands to a massive 1,700 litres with the back seats folded down in a 60/40 configuration.

    Economy figures are impressive, too, with this test car claiming 62.5mpg, producing just 118g/km of CO2.

    Skoda has a good reputation for reliability, but you’ll still only get a three-year, 60,000-mile warranty included, although you can extend this if you’re willing to pay extra.

    The Octavia Estate earned a five-star Euro NCAP safety rating and comes with automatic emergency braking, driver fatigue sensor and lane-keep assist as standard. In addition, the SE Technology adds front and rear parking sensors, while the SE L model gets adaptive cruise control.

    Skoda Octavia Estate

    Overall, the Octavia Estate is a nice to drive, comfortable, pleasant and a highly practical machine, boasting impressive economy figures, especially on the diesel.

    Regrettably, the diesel is more expensive than the petrols, which manage miles-per-gallon figures of 50 or more. So, unless you’re doing high mileage and need the extra fuel economy, on balance I’d probably go for the petrol instead.

    Fast Facts – Skoda Octavia Estate [SE L 2.0 TDI 150PS DSG] as tested:

    Max speed: 140 mph

    0-62 mph: 8.8 secs

    Fuel economy: 62.5 mpg (WLTP)

    Engine layout: 2.0-litre four-cylinder diesel, front-wheel drive

    Max. power (PS): 150

    CO2: 118 g/km

    Price: £32,390

  • Faith: The Return of the Prodigal

    Faith: The Return of the Prodigal

    What do you associate with the word home? A person or a place perhaps? Somewhere in which there is a strong sense of welcome and belonging? What then when life goes pear shaped, or we make a choice which leads us down a road to lostness and loneliness? Don’t we just long to be home? it’s almost as if we are programmed with a need to head back to the familiar, to what represents security, no matter what the reason for our leaving in the first place.

    Sadly, there is a generation of young people growing up who have left home because it wasn’t a good place to be. Their feeling of lostness must be greatly amplified.

    I first read Henri Nouwen’s book The Return of the Prodigal in the mid nineties. With a subtitle of A Story of Homecoming I immediately connected with the theme. The book is centred around the story of the Prodigal Son which Jesus told. Nouwen discovers much about himself as he sits and looks at the original Rembrandt painting based on that story. Little did he know what a journey of discovery would take place in his own heart.

    As Nouwen examines the three principal characters in the story, he can identify with the younger son in his desire to leave behind safety and security, strike out on his own, and subsequently squander the inheritance his father gives him. He can also identify with the elder son’s anger and self-righteousness at seeing what he regards as his faithfulness overlooked by the father, whilst his younger brother’s waywardness is seemingly celebrated.

    But he also draws out the nature of the compassionate father, who loves both sons equally. Nouwen realises that he needs to go beyond identifying with either of the sons, and to move away from adolescent desire for independence and sibling rivalries, and to become a welcoming father himself to others.

    Neuwen is very honest about his own inner struggles and failings as he looks at the two sons. About his own journey Neuwen writes: The farther I run away from the place where God dwells, the less I am able to hear the voice that calls me Beloved, and the less I hear that voice, the more entangled I become in the manipulations and power games of the world.

    Speaking of the younger son Neuwen writes: Once he had come again in touch with the truth of his sonship, he could hear, although faintly, the voice calling him the Beloved and feel, although distantly, the touch of blessing. This awareness of, and confidence in, his father’s love, misty as it may have been, gave him the strength to claim for himself his sonship, even though that claim could not be based on any merit.

    It’s all too easy for us to wander off to distant lands, squander our inheritance and then feel a sense of disconnection and disappointment. This book is a reminder that our heavenly father still looks out every day, hoping his kids will come back home.

    The Return of The Prodigal by Henri Nouwen is published by Dartman, Longman and Todd.

    Main Photo Credit: Alejandro Luenjo via Unsplash

  • Motoring: The Peugeot 308 SW is a pleasantly surprising contender

    Motoring: The Peugeot 308 SW is a pleasantly surprising contender

    If you’re after an estate car, Peugeot might not be the first manufacturer you look towards.

    But the 308 SW (short for Sports Wagon) might be right up your street.

    With modern looks, an imposing front end and diagonal claw-like day-running lights, it’s something different and full of personality.

    It is the Allure Premium, on test here, with 17-inch alloys, a 10-inch infotainment touchscreen with Apple CarPlay/Android Auto, voice control, LED headlights, leather steering wheel, 3D SatNav, and keyless entry/go.

    Power comes from a 130PS 1.2-litre petrol hooked to an eight-speed automatic gearbox.

    While a 1.2-litre three-cylinder doesn’t sound exciting, it’s excellent for its size. There is quite a bit of low-end grunt to get you off the line and a surprising amount of performance on offer.

    Granted, it won’t pin you back in your seat, but it’s more than capable and well-suited to all speeds.

    The ride comfort is up to the job, and the handling impresses. The 308 SW is adept at taking bends thanks to grippy tyres and a well-tuned chassis. However, the steering needs to weight up sufficiently in the corners to really push limits.

    Inside, the cabin is well-designed and futuristic, with a flat-bottomed, curiously flat-topped steering wheel. Then there’s the i-Cockpit display on the dashboard, which looks lovely and is angled towards the driver.

    The screen is clear, responsive, intuitive, and highly customisable. Meanwhile, the digital instrument screen is informative and pleasant to look at. That said, the flat-topped steering wheel can obstruct it.

    The cabin is reasonably spacious, too, although taller rear-seat passengers might feel a little cramped. Boot space is 608 litres, which expands to 1,634 litres if you fold the rear seats in a 60/40 split.

    In terms of running costs, you’ll get 52.1mpg from the PureTech 130 engine, producing 130g/km CO2 in the process.

    Peugeot’s reliability is average nowadays, but a three-year unlimited-mileage warranty is on hand.

    The 308 SW achieved a four-star safety rating from Euro NCAP. Safety kit, such as automatic emergency braking, active safety brake, blind-spot assist, lane-keep assist, and traffic sign recognition, are included.

    The Peugeot 308 SW is a pleasantly surprising contender in the estate market, offering good looks, practicality, and generous equipment levels.

    The French family motor impresses, given the small engine, and its handling defies its large body.

    Furthermore, Peugeot hasn’t been greedy with the asking price.

    Fast Facts – Peugeot 308 SW (Allure Premium PureTech 130 Auto) as tested:

    • Max speed: 130 mph
    • 0-62 mph: 9.9 secs
    • Combined mpg: 52.1
    • Engine layout: 1.2-litre three-cylinder turbo-petrol with front-wheel drive
    • Max. power (PS): 130
    • CO2: 130 g/km
    • Price: £30,860

    All Photos: Courtesy of Peugeot 308 SW

  • Comment: Remembering my water-gypsy ancestors

    Comment: Remembering my water-gypsy ancestors

    Beneath the trailing branches of a weeping willow tree, boat-master Mark stands, clip board in hand, calling out the names of his passengers for the day. Queuing politely, one by one, little groups step forward and board the narrow boat. Mark pauses to welcome each guest with a smile, and his assistant Gayle, warns us to mind our heads as we descend the five wooden steps down into the body of the barge.

    As the midday sun heats the air, a luminous light creates a hot fuzzy haze over the surrounding countryside. England’s distinctive greens gleam pleasantly against a turquoise sky. It is this striking colour combination, enhanced by a watery Turner-esque sort of light and shadow, which pulls phone cameras out of pockets. It’s enthralling. Everyone is taking photos. Like we’re seeing things for the first time.

    Under Mark’s careful hand, the old coal barge glides along the canal, moving just a smidge slower than some walkers on the tow path. An abundance of vegetation lines the embankment, water lilies are momentarily submerged and tall green blades bow down gracefully in the rolling wake of the boat. Every now and then the hypnotic scrolling scene is interrupted by a gaggle of baby ducklings paddling quickly atop the water as they try to catch up with Mummy.

    Up on deck Mark points to a pile of chunky, sliced tree trunk on the bank: “Last week that tree fell right across the canal and blocked our path completely, we had to get the passengers off the boat and have them picked up by coach.” He tugs his cap and chuckles: “I towed the boat back up the canal, all the way to the marina!” He seems quietly pleased that his normally uneventful journey was interrupted by a victorious mini-drama.

    Thin sandwich triangles and volcanic jam scones are served on a ceramic cake stand adorned with painted pink roses. In an unhurried fashion two smiling ladies serve us tea, coffee and fizz. Everything is mesmerizingly slow; the boat; the water; the service; the pace; the chatter; my thoughts. A tinny radio plays familiar northern soul tracks, playful children wander up and down. The underside of a low stone bridge draws a small crowd of passengers onto the small front and rear decks. They comment on the quality of the bridge’s workmanship, but the sight sends a shiver down my spine.

    I’m reminded that my great uncle was crushed when he accidentally slipped between his boat and the side of a bridge such as this. Several days passed before he died. I try to imagine what life must have been like for him and my great-grandparents who lived and worked on a canal boat similar to this one. On a warm summer’s day, in capable hands, on a well cared for boat, it feels oh so safe and civilised. In this comfortable re-imagined construct I can’t begin to understand the level of treachery and risk my ancestors endured. And perhaps I don’t have to. Perhaps they wouldn’t want me to. Perhaps they would just want me to raise a glass to them and experience the magic of a safe, slow, sail, drenched in vibrant colour and sunshine.

    Main Photo Credit: James Homans via Unsplash

  • Comment: NHS tips for busy fathers

    Comment: NHS tips for busy fathers

    Achieving the right work-life balance can be challenging for any parent, especially in a world altered by the pandemic.

    However, there are ways to make it work, and NHS Property Services (NHSPS) has shared some helpful tips for Fathers’ Day that can guide dads, and mums, in achieving that balance.

    One of the most important things you can do is to eliminate daytime distractions by setting boundaries and sticking to them. This means turning off your phone or computer during family time or setting aside specific hours for work-related tasks.

    Another important tip is to structure your time to be optimized. This means planning your day and setting achievable goals for your work and personal life.

    You may also want to consider scheduling family time on your calendar to ensure that you make time for your loved ones.

    Delegating tasks to your team can also be helpful, as it can free up more time for you to focus on your priorities.

    It is also important to aim for integration rather than trying to separate work and family life altogether. This can involve finding ways to incorporate your family into your work life or finding ways to bring your work home with you.

    Finally, remember that quality time with your family is more important than quantity. Being fully present during family time can show your commitment to your children and your work.

    Helen McCarthy, Chief People Officer for NHSPS, said: “This Fathers’ Day, take these tips to heart and strive for a healthy work-life balance. It may not be easy, but with some effort and intentionality, you can find a way to make it work.

    “Remember, your family and your work are both important and finding a balance is key to living a happy and fulfilled life.”

    Main Photo Credit: Caroline Hernandez via Unsplash

  • OUT NOW, OUR LATEST ISSUE

    OUT NOW, OUR LATEST ISSUE

    Buy Now
  • Motoring: The Nissan Juke Hybrid blends performance and economy

    Motoring: The Nissan Juke Hybrid blends performance and economy

    Nissan has continued its plans to offer a hybrid version of all its petrol cars with its crossover SUV, the Juke, getting the electrifying treatment.

    The Juke’s also had some tweaks, with a revised front end, although it retains the same basic funky shape it’s known for.

    There are a bunch of trims, and the Tekna+ reviewed here gets aerodynamic alloys, exterior styling tweaks and two-tone metallic paint.

    The powertrain is a 1.6-litre petrol engine and an electric motor, producing 143PS.

    The battery is only 1.25kWh, providing an all-electric range of just two miles. But the Juke’s all about preserving fuel economy, rather than engineless driving.

    That said, the engine doesn’t start up until you hit third gear or 35mph, and you can override this to leave it in all-electric mode.

    The Juke Hybrid is keener to make progress than the pure petrol model. But the rate of acceleration dips as you approach 70mph.

    A Sport mode helps increase the accelerator response, although the Juke is anything but sporty in terms of handling. Why? Well, it’s not incredibly athletic in the bends, despite a firm ride.

    The Nissan is better suited to dual-carriageways and motorways, while the automatic gearbox is well-refined.

    Inside, the Juke is fashionable, with circular air vents adding personality. Additionally, the materials feel pretty nice, although there are cheaper plastics on show.

    The infotainment screen protrudes over the top of the dashboard and has been improved along with the car’s makeover. What’s more, the digital display gives valuable information about energy usage and battery statistics.

    The seats are comfortable, and forward visibility is okay but compromised at the rear. That said, the hybrid includes a camera, which helps.

    There is good space in the front and back, although not enough to comfortably fit three adults in the rear. Meanwhile, storage could be better, with small door bins and only one cupholder.

    Boot space is 354 litres, ballooning to 1,114 litres with the back seats folded, while the adjustable boot floor helps minimise the load lip.

    Nissan says you’ll get 56.5mpg, producing 114g/km CO2. But perhaps even more importantly, the Juke earned a five-star safety rating from Euro NCAP. The safety kit includes intelligent emergency braking, lane departure warning and intervention, traffic sign recognition and tyre pressure monitoring. The Tekna+ adds lane-keep assist, a 360-degree camera, blind spot intervention and rear cross-traffic alert, amongst other technology.

    Overall, the Juke is improved on the previous model, and the hybrid offers a respectable blend of performance and good economy figures.

    Choosing the hybrid does push the price up, so other rivals that are even better to drive may appear on your radar.

    Fast Facts – Nissan Juke Hybrid (Tekna+ trim) as tested:

    • Max speed: 103 mph
    • 0-62 mph: 10.1 secs
    • Combined mpg: 56.5
    • Engine layout: 1.6-litre four-cylinder + electric motor
    • Max. power (PS): 143
    • CO2: 114 g/km
    • Price: £30,150

    All Photos: Courtesy of Nissan Juke Hybrid

  • Opinion: Is Annika all at sea?

    Opinion: Is Annika all at sea?

    Annika is either a TV crime drama, a crime drama spoof, or a comedy. I’m not sure exactly which. However you look at it, the BBC hit series is a contemporary take on the archetypal loner who tirelessly pursues justice, outwits the bad guys, no matter what the personal price. Nicola Walker plays the role of Detective Inspector Annika Strandhed, newly promoted and desperately trying to fit in and lead her team at the Marine Homicide Unit (MHU) based on the bonny, bonny banks of Scotland. Each episode conveniently races from corpse to conclusion in the space of 45 minutes. This is handy on a school night when you can’t afford to be awake at 3am trying to work out whodunnit.

    The creator, Nick Walker (no relation to Nicola Walker), and the screenwriters have carefully woven together several multi-layered story threads into each self-contained episode. The complex characters gradually unfold their individual back stories, and we get to know them bit by tiny bit. The cultural sub-plot is very much of the moment, though the dialogue is sometimes choppy and the script does seem to follow a formula. The crime drama scenario centres around a marine-based murder, usually committed by the least nasty person on screen, which is then cleverly solved. Red herrings notwithstanding, DI Annika, has her final show down with the culprit and the cuffs are on. But, as with so many police procedurals, this insightful competence is starkly contrasted by the flawed protagonist’s messy personal life and a crippling inability to solve very much of anything at all in that regard.

    Annika personifies that fashionable modern trend of always being switched ‘on’. Her head is all over the shop. She’s stressy, awkward, and never fully present in the moment. When she’s working, she over shares her personal troubles with her subordinates at every opportunity, they have no choice but to listen. When she’s with her 15-year-old daughter Morgan, who inevitably gets drawn into the saga, she seems mentally absent and still puzzling over the latest crime to be solved. When she’s enveloped by what has to be some of the most beautiful scenery in the world, Annika is stuck in her own head, mumbling musings from her mental archives.

    For good or ill, the screenwriters have employed a gimmick known as breaking the fourth wall, in which a character talks directly to camera. Remember Shirley Valentine talking to the wall, and the viewer? In that movie, another male writer, Willy Russell, took a stab at unpacking the inner workings of the female mind. I’m still working out how I feel about the integrity of that arrangement. These ‘asides’ certainly hold the viewer’s attention. Between dealing with brutally murdered corpses, Annika casually unpacks stories about her Nordic ancestors and encrypted snippets of her personal history. The viewer becomes a kind of imaginary friend or therapist. Though we’re not actually physically present in Annika’s fictional world, we’re recruited to be involved in helping to process her issues. The audience is asked not so much whodunnit, but rather, who is she?

    While the scenery, atmospheric music and production values are truly spectacular, the complex writing is thoroughly crafted and the characters are well developed, I was left feeling quite sad for Annika. She seems friendless, forlorn, desperately casting around to be liked and validated. And for all her career success she’s battling with that most modern ailment, a deep down loneliness and disconnection. I can’t figure out if Walker plays the socially awkward loner brilliantly, or if she’s just playing a parody of herself. Episode four suddenly shifts up into will-they-won’t-they gear, but before that there’s no evidence that Annika has any significant connections in her life. No Mum, sister, best friend, neighbour, romantic partner or community group. The effects of social isolation have been sort of normalised, perhaps even glamorised, on screen. Is this a brilliant work of art imitating life? Or an unhealthy invitation for life to imitate art?

    In a troubling reflection of the digital age in which we live, Annika simply sends her inner most thoughts out into the ether, reaching out to everyone, and ultimately no one. It’s a dysfunctional one-way relationship in which she controls the narrative while attempting to befriend the viewer. She’s wrestling with some big stuff, trying to figure out the way forward alone, without any wise counsel from friends. She’s married to the job so there’s just work, a saintly round-the-clock devotion to it, and not very much else. A lifestyle choice of self-medicating with alcohol, and drinking alone, is hinted at. In spite of all her cleverness, corny quips and crime case closures, Annika’s life is out of balance. She does not seem to be a happy bunny, and if I were her friend in real life, I would be really quite worried about her.

    Main Photo Credit: Val Fraser

  • Faith: Liverpool to host Gospel Music Festival

    Faith: Liverpool to host Gospel Music Festival

    Liverpool is set to host a Gospel Music Festival featuring The Kingdom Choir and Called Out Music. The festival, which will take place in Stanley Park, has been organised by Liverpool Lighthouse.

    Anu Omideyi, Liverpool Gospel Music Festival Director and Music Director at Liverpool Lighthouse said: “As part of the wider vision to spread the power and joy of gospel music alongside the positive impact of black culture, the festival will be accompanied by a programme taking gospel music into schools. In partnership with music education hub Resonate, the schools programme will initially pilot the work with two secondary schools in June and will roll out to more schools in the next academic year, with the eventual aim of curriculum change that will see young people nationwide learning about the music genre.”

    Gospel Music is an inclusive, joyful, music genre that, in addition to relating to the Christian faith, celebrates the stories, histories, cultures and achievements of black communities. Much modern mainstream music, as well as many genres of music of black origin, owe their origins and inspirations to gospel music. However, these roots often go unacknowledged and unrecognised. This will be the first ever mainstream UK gospel festival.

    Liverpool is a city with a strong music and cultural heritage, well known for being the home of The Beatles, the European Capital of Culture, 2008 and recent host to The Eurovision Song Contest. It also has deep links to black history through its role as a slave trading port in the 19thcentury and the location of the International Museum of Slavery. Liverpool is also home to Liverpool Lighthouse, which is currently working to develop the National Gospel Music Centre, a hub for supporting and developing gospel music and gospel music artists in the North West.

    Rebecca Ross-Williams, Creative Director of Liverpool Lighthouse said: “It is beyond exciting to announce Liverpool Gospel Music Festival this September, as it responds to a national need, as there isn’t an equivalent. It’s the right time for the festival, with a drive to make September Gospel Music Heritage Month, with Liverpool as UNESCO City of Music, having such a strong music heritage and because of Liverpool’s contribution to black history. Liverpool Lighthouse is committed to supporting the protection and development of Gospel Music and we aim to provide a much needed platform for Gospel Music artists, showcasing some of the best internationally, and bringing joy to our audiences.”

    Main Photo Credit: Courtesy of Liverpool Lighthouse

  • News: NHS celebrates 75th birthday

    News: NHS celebrates 75th birthday

    This summer, two momentous occasions are being celebrated: the 75th birthday of the NHS and ten years since NHS Property Services (NHSPS) was established.

    To mark these milestones and as a way of saying ‘thank you’ to all NHS colleagues, NHSPS will be joining in with the annual NHS Big Tea event, hosting tea parties across the nation.

    The business is encouraging colleagues to join in celebrations on July 5th or any day that week.

    NHSPS’ charitable partner is Young Lives Versus Cancer, but NHS charities will also be supported.

    Tea parties will be thrown in the North, Midlands, London, and the South for all NHSPS colleagues. But that’s not all: the organisation is encouraging its workers to host their own parties locally.

    Helen McCarthy, Chief People Officer for NHSPS, said: “The NHS Big Tea is a call to join an outpouring of gratitude on 5 July – the birthday of the NHS and NHSPS. It is a celebration to show thanks, a shared moment of happiness and kindness, hospitality, and reflection.

    “So, we’re asking colleagues to please put 5 July in their diary and take some time out to get together, share a cuppa and cake, and raise money. Whether a Big Tea is held at work, at home, or in the local community, joining in the celebrations is what counts.”

    Helen added: “We are encouraging colleagues to invite their ‘invi-teas’, stock up on tea party treats, and plan some fun games to help raise funds and support other NHS colleagues, patients, and volunteers. We look forward to seeing the nation coming together for this brilliant event.”

    For more information, visit nhsbigtea.co.uk.

    Main Photo Credit: Christian Bowen via Unsplash