We just tried Tesco's viral 'birthday cake' sandwich – and we have mixed thoughts
Celebrating 30 years of the Tesco Clubcard, the limited-edition sandwich is available in more than 1,000 stores nationwide - but only until 31 August. M&S's sandwich became so popular it daily sold out in most stores across the UK, and there's similar hype mounting for Tesco's take.
The idea of a sweet sandwich is derived from the Japanese fruit sando, a popular snack that includes fresh fruit, sliced white bread, and fresh whipped cream. This isn't the first time Tesco has nodded to the signature treat –14 years ago, the supermarket chain launched a strawberries and cream sandwich to mark Wimbledon.
But its latest offering has a playful spin thanks to its strawberry jam and cream cheese filling with a colourful sprinkling of rainbow confetti. Better yet, it costs £3 and is included in Tesco's office-favourite meal deal (a main, side and drink for just £3.60).
But is it a nostalgic homage to childhood birthday parties or a sickly addition to the meal deal line-up? Four of our team testers at IndyBest swapped their usual sarnie for the new birthday sando – here are our (mixed) thoughts.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Independent
27 minutes ago
- The Independent
Popular star to make shock return to soap
Catherine Tyldesley's character Eva Price is set to make a return to the ITV soap Coronation Street later this year. Eva will become the new landlady of the Rovers Return pub, joined by her new partner Ben Driscoll and his mother Maggie. Aaron McCusker and Pauline McLynn will portray Ben and Maggie, respectively, with Ben's two sons and Eva's daughter Suzie also joining the cast. The new landlords will be revealed in October, more than seven years after Eva's last appearance when she moved to France. This casting news follows the recent departure of Sally Ann Matthews, who played Jenny Connor, and other cast members from the long-running British soap.
Telegraph
28 minutes ago
- Telegraph
Hugh Laurie and Matthew Macfadyen star in new Harry Potter audiobooks
Hugh Laurie is to follow in the footsteps of his former comedy partner Sir Stephen Fry by appearing in a new Harry Potter audiobook series. Laurie, who collaborated with Sir Stephen on the long-running sketch show A Bit of Fry & Laurie, is part of a 200-person cast lending their voices to a new Audible series based on JK Rowling's novels. The actor and comedian said he was 'honoured' to be chosen to portray Albus Dumbledore, the headmaster of Hogwarts, in the series, Harry Potter: The Full-Cast Audio Editions. In June, Sir Stephen – who narrated all seven of the original Harry Potter audiobooks – publicly criticised JK Rowling for her gender critical views, claiming she has been 'radicalised' and is 'a lost cause'. Laurie, now best known for his role in the US medical drama House, said: 'I'm also deeply conscious of previous drivers Richard Harris, Michael Gambon, Jude Law, and the iconic narrations by Jim Dale [who voiced the US audiobooks of the Potter series] and m'colleague Sir Stephen Fry. 'Just below the horizon, but headed our way, is the rough beast John Lithgow [who will play Dumbledore in the new HBO TV series], his hour come round at last. This is great company, and it's a privilege to be among their number.' The new audio series will also star Matthew Macfadyen, who won Emmy awards in 2022 and 2023 for his role in the television series Succession, as Lord Voldemort. Riz Ahmed, the multiple award-winning actor and rapper, plays Prof Severus Snape, and Michelle Gomez, the Scottish actress who played Missy in Doctor Who, plays Prof Minerva McGonagall. Rachel Ghiazza, the chief content officer at Audible, said: 'Magic is coming alive as these brilliant actors lift iconic characters off the page and into our ears. 'Hearing these spellbinding performances in our state-of-the-art studios has been nothing short of extraordinary.' 'New series will reignite the magic' She added that the series would be released in the autumn and promised that it would 'reignite the magic for long-time fans and captivate a whole new generation of listeners'. Newcomers Frankie Treadaway, Max Lester, and Arabella Stanton will play Harry Potter, Ron Weasley, and Hermione Granger respectively in audiobooks one, two and three. Stanton, who previously played Matilda in the West End production of Matilda The Musical, will also play Hermione in HBO's new series. The three friends will be voiced by Jaxon Knopf, Rhys Mulligan, and Nina Barker-Francis from book four to the end. The first of the seven full-cast audiobooks, Harry Potter And The Philosopher's Stone, will be released by Audible on Nov 4 followed by Harry Potter And The Chamber Of Secrets on Dec 16. The remaining books will be released in the new year. Additional cast members will be announced this autumn.
The Guardian
35 minutes ago
- The Guardian
Millet: Life on the Land review – phallic forks and suggestive wheelbarrows enliven a landscape of toil
The figures in Jean-François Millet's 1859 painting The Angelus, a French icon that's come to the UK on loan from the Musée d'Orsay in Paris, seem extremely odd on close inspection. Their faces are obscure, their bodies intriguing under their shapeless work clothes. What age are they? How are they related? The man is quite young, his top shirt button loose, although his legs are as stiff as a doll's, inside thick, rough-cut trousers. It's harder to tell the woman's age because she stands in profile, a breeze pressing her heavy skirt against her legs, as she clasps her hands. They might be a married couple or, as this painting's unlikely fan Salvador Dalí claimed, mother and son. Their physicality is intense. The phallic prongs of a thick wooden potato fork and wheelbarrow shafts add to the feeling that, now the working day is done and they're saying their prayers, they can finally get to bed. But if they're mother and son? I refer you to Dr Dalí. I think there's a reason Millet makes The Angelus not so much a religious as an erotic landscape. It was the climax of his love affair with the French peasantry. Millet made it his life's work to portray the rural poor – a class that had been denied full humanity. He depicts lives of backbreaking toil but wants you to see that, behind the hoe, is a human being with a mind, a body, desires. Landscape artists often can't draw the human figure for toffee: that means you, Constable and Turner. But Millet foregrounds the body in stark existential moments of sweaty action. Work that in reality must have been repetitive and mindless becomes full of heroic drama. In The Winnower, a man throws grains in the air in a golden mist to separate the wheat from the chaff. Painted at the time of the 1848 revolutions, when liberal and socialist risings were shaking the wheat from the chaff across Europe, the winnower is, you realise, wearing a reddish-pink bandana, a white shirt and has a blue handkerchief – the colours of the tricolour flag that the first French Revolution invented. Millet's a revolutionary and his people have plenty to rebel against. In The Sower, a man is sowing seeds in a deep gully: it looks as if he has descended into hell. This pit looks completely barren yet here he is, sowing seeds anyway, the symbolism as hard to ignore as the arses of the two cows that loom against the stormy sky above him. His act may be that of a political campaigner, sowing seeds of change, yet it's also an image of artistic creativity. The character could be Millet himself, creating something beautiful out of the brutal realities of rural toil. His autobiography is compacted into this small show. Millet was a country boy from Normandy. His painting The Well at Gruchy captures the world he grew up in – a woman fills pots of water from a stone-roofed well that appears to be centuries old. Life is slow there, in Gruchy, and history a massive, immobile presence. The Faggot Gatherers, which Millet was working on up to 1875, looks like a riposte to the impressionists' emphasis on modernity and middle-class pleasures on boulevards and in cafes. Women lug bundles of sticks through Stygian winter gloom in a scene that could just as easily have been in the 1370s as the 1870s. He found one fan looking desperately for soul in the world. Vincent van Gogh wanted to emulate Millet as a peasant painter. You see their deep connection in Millet's drawing A Man Ploughing and Another Sowing. As the broken-looking sower stumbles in the foreground and a ploughman hunches behind him, a flock of black crows rise into the sky – like the birds Van Gogh would see over the wheatfield near the end of his life. Yet for all his brooding compassion, you can't miss Millet's turbulent sexuality. The two athletic men in his painting The Wood Sawyers look as if they are cutting up a giant penis. Then again, the slices of trunk also resemble freshly butchered meat – another one for Dalí. More conventionally sexualised are Millet's portraits of shepherdesses and milkmaids. His painting The Goose Girl at Gruchy may be as much a memory of adolescent longings as a painting from life. Van Gogh in a frenzied letter claims Millet's women are as sexy as Zola's – you can see how he got to this and how much Millet's fascination with the silent passions of country people has in common with Thomas Hardy's novels. It all comes together in The Angelus, which you keep coming back to after scanning his other works. The scene it immortalises is ancient, the lives these people lived largely lost to history. Millet freezes them like statues. They grow like grass from the hard earth that can't wait to take them back. Millet: Life on the Land is at the National Gallery, London, from 7 August to 19 October
