logo
Jeremy Clarkson's girlfriend Lisa Hogan shares terrifying picture of mangled plane after miraculously surviving crash

Jeremy Clarkson's girlfriend Lisa Hogan shares terrifying picture of mangled plane after miraculously surviving crash

The Sun22-07-2025
JEREMY Clarkson's girlfriend Lisa Hogan has recalled the terrifying moment she almost died in a plane crash as she shared a picture of the horror incident.
The model, 51, was involved in a near-death experience back in 1996 when the vessel came off the runway at RAF Northolt in London and collided with a van on the A40.
6
6
6
Lisa, who was 25 at the time, was heading into the UK capital for a film role and thankfully escaped any serious injuries - along with everyone else involved.
After Jeremy, 65 - who she has been dating since 2017 - addressed the fact the couple had "walked away from three crashes over the years", Lisa went into more depth about her experience.
Following the Top Gear alum's piece in the Sunday Times, Lisa took to Instagram to post an image of her plane crash wreckage.
It showed the Spanish Learjet 25 plane split in two following the impact from the van.
In her caption, she explained: "Amazingly the pilots, van drivers and I survived.
"I took another flight the same day."
Lisa added: "And landed safely."
On her next Instagram slide, it was business as usual for the Clarkson's Farm star who uploaded a clip of their "huge" pig Richard Ham.
FLIGHT HORROR
Amazon Prime star Jeremy recently opened up on the pair's unlucky track record on air travel.
He told the Sunday Times: "Whenever Lisa and I board an aeroplane, we are usually pretty confident that it will land safely because between us, we've walked away from three crashes over the years.
Jeremy Clarkson's girlfriend Lisa Hogan strips to swimsuit for cold water swim despite weather warning
"Both mine involved broken landing gear and were fairly minor but hers was a proper shunt.
"She was the only passenger in a Learjet that careered off the end of the runway at Northolt and on to the A40, where it was hit so hard by a van that it split in two.
"It's amazing no one was killed and if you google the images, you'll see what I mean.
Meet the cast of Clarkson's Farm
Clarkson's Farm began streaming in 2021 and follows Jeremy Clarkson and his team managing Diddly Squat Farm in the Cotswolds. Here's a 'who's who' of faces in the Clarkson's Farm cast.
Jeremy Clarkson: Presenter and journalist; also known for Top Gear, The Grand Tour and Who Wants to be a Millionaire?
Lisa Hogan: A former actress and Jeremy's partner, who assists in the running of the farm shop.
Kaleb Cooper: A young farm worker from Chipping Norton, who forms a double act with Jeremy on-screen. He's later promoted to farm manager in series three.
Gerald Cooper: Specialist in the construction and maintenance of dry stone walls and the farm's "head of security". Of no relation to Kaleb.
Charlie Ireland: Nicknamed "Cheerful Charlie", a professional land agent who advises Jeremy on land management.
"The upshot is that the law of averages suggests we are unlikely to be involved in any such thing again, which is why we can both enjoy the champagne and the food, and settle smoothly into a state of deep relaxation."
LOVE STORY
In June 2024, Irish lass Lisa opened up on RTÉ Radio about how she and Jeremy initially started their romance.
Lisa said they "met through mutual friends who had tried to set us up a couple of times".
The turning point came at a Christmas party, as she explained: "I was just about to leave and we were introduced and he said, 'No, no, come on, sit down and have a chat'. And that was it, really.
"So he called me a couple of days later and I thought, 'Ok, you've got a bit of a rep' — so he had to really court me!
"He courted me for a solid three months!"
She added: "He's very, very good company. And he does make an effort to make me laugh a lot, which I really appreciate. And we do get on."
Lisa was married for 30 years to Baron Steven Bentinck before they split in 2011, and shares three children with him — Wolfe, Alice and Lizzy.
Lisa built her career in the modelling industry in the 1990s before switching to entertainment and TV.
She is best known for appearing in Clarkson's Farm on Amazon Prime Video, where she plays an active role in managing the farm and its shop.
Lisa also had somewhat of an acting career, playing a small part in the 1997 movie Fierce Creatures alongside Hollywood royalty — John Cleese Jamie Lee Curtis and Kevin Kline.
She's appeared as herself on shows including Loose Women in 2021, and Ant & Dec's Saturday Night Takeaway in 2022.
6
6
6
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

S Club 7 singer exits Celebrity SAS early: ‘I'm done'
S Club 7 singer exits Celebrity SAS early: ‘I'm done'

The Independent

time3 minutes ago

  • The Independent

S Club 7 singer exits Celebrity SAS early: ‘I'm done'

Hannah Spearritt and Louie Spence withdrew from Celebrity SAS: Who Dares Wins during the very first episode of the new series. S Club 7 singer Spearritt quit before the second challenge, saying: "I'm done, I'm sorry, I've reached a point." In a pre-recorded interview which was played after her withdrawal, she said: 'I don't think I'll go on the first day', adding she 'wouldn't forgive myself'. Former TV dancer Spence withdrew during the second challenge after throwing a grenade into a building with hostages still inside, admitting he lacked conviction. The gruelling series began with a daunting 26-foot plunge into water and a swim as the initial trial.

Kelsey Parker pens heartbreaking letter to her 'angel' baby after tragically losing third child
Kelsey Parker pens heartbreaking letter to her 'angel' baby after tragically losing third child

Daily Mail​

time4 minutes ago

  • Daily Mail​

Kelsey Parker pens heartbreaking letter to her 'angel' baby after tragically losing third child

Kelsey Parker paid tribute to her late baby after tragically losing her third child. The podcaster, 34, suffered heartbreak in June after her son Phoenix - her first child with boyfriend Will Lindsay - was 'born sleeping.' After an incredibly stressful and challenging month for the family, Kelsey, Will and her children with late husband Tom Parker - Aurelia, six, and Bodhi, four - headed on a much-needed family holiday. On Sunday, Kelsey shared a video of herself on the beach during the trip alongside a heartbreaking letter to Phoenix. The podcast host penned: 'A Letter to My Angel. It's hard to find the words. 'There is no preparing for this kind of heartbreak. I had dreams for you, your first giggle, your first steps, the way you would cling to me when the world felt too big.' Kelsey continued: 'All those moments I imagined are now part of a different kind of story — one I never thought I'd have to write to you. 'But this isn't just about pain, it is about the quiet but powerful love you brought into this world. 'About how you changed me — made me softer, more grounded, and somehow even more grateful. 'Grief and gratitude can exist together. I grieve what was lost, but I am so thankful I had the chance to carry you for 9 months and love you unconditionally, I told you every day I loved you. 'You will always be mine. My son. My light. My why. 'I share this not because I have answers, but because silence can be lonely. 'And if you are walking through a similar kind of grief, please know you're not alone. There's a quiet sisterhood in this heartbreak, and I feel you deeply. 'For now, I'm learning to live with the ache, to breathe through the waves, and to find little pockets of peace in the middle of the storm. 'And I know that even though I can't hold you in my arms, I carry you in my heart, always.' Kelsey confirmed the loss of her unborn third child, a son she had planned to name Phoenix, one week before his planned due date. Breaking the news in a poem, she announced the news on Instagram in June. She penned: 'The world grew quiet as you arrived, So loved, so longed for, yet not alive. Our precious boy, our angel light, Born with wings, took silent flight'. 'We named you Phoenix, brave and bright. A soul of love, of warmth and light Though we never heard you cry, You'll live in hearts that won't ask why. 'No breath you drew, no eyes to see, Still, you mean everything to me. You'll journey with us, softly near, in every sigh, in every tear. Taking to her Instagram stories: she added: 'Before I receive an influx of lovely messages and heartfelt wishes, I wanted to just say that I truly appreciate everything you are all going to say and share. 'But with the news being so raw, I would really like to ensure that we as a family are given space and time to process this devastating and earth-shattering news. 'I love you all and thank you for your understanding and space. Love always, Kelsey, Will, and the Parker Family'. Kelsey met tree surgeon Will on a night out last year, with the couple announcing their relationship in September. It followed on from Kelsey tragically losing husband Tom in 2022, after an 18-month battle with a deadly and aggressive form of brain cancer. If you have been affected by anything in this article, please contact The Lullaby Trust on 0808 8026868

‘We can hear their saliva': why are so many actors suddenly using microphones?
‘We can hear their saliva': why are so many actors suddenly using microphones?

The Guardian

time4 minutes ago

  • The Guardian

‘We can hear their saliva': why are so many actors suddenly using microphones?

Wig, robes and moves like Jagger. Rosamund Pike's star turn as a crown court judge, at the National Theatre in London, has proved that there's just one prop you need to turn even the most serious of subjects into a punk performance – a microphone. And Inter Alia is only the latest in a number of major openings to star the humble handheld: from Greek tragedy to Chekhov, the device seems to be increasingly common in West End productions. Microphones were integral to Thomas Ostermeier's meta-theatrical production of The Seagull at the Barbican, and Jamie Lloyd – having used handhelds to transform James McAvoy into a rapping Cyrano de Bergerac three years ago – has deployed them in both Shakespeare (Much Ado) and Lloyd Webber (Evita). And no production used them more controversially than Daniel Fish's Elektra, whose lead, Brie Larson, spoke her entire part into an on-stage amp, distorting her own voice with a range of effects pedals. Microphones have been a source of contention in the theatre ever since Trevor Nunn introduced radio mics to the National in 1999. But a handheld isn't something a director is trying to hide, unlike the miniature, hands-free microphones that audiences are now used to seeing actors wear. 'Personally I think those things that sit on the top of people's foreheads, like a bug, look silly,' says Fish. 'But here the microphone becomes an instrument, right? It's something that the actor can play with so it becomes a very dynamic thing.' While it might not have been in use in Sophocles' time, Fish found it a fascinating proposition in the rehearsal room. 'Elektra is about a woman who refuses to be quiet, so the idea of amplifying and centring her voice felt important,' he says. 'This is a person for whom the only power that she has, the only chance of justice, is through the noise she makes.' One of the memorable elements of Larson's sonic performance was the way she sang, rather than spoke, the word 'no' – highlighting just how many times it appears in the play, although the punk sensibility did divide the critics. Or, as Fish puts it, 'the show pissed a lot of people off'. Ostermeier enjoys the 'attitude' that handheld mics can bring to a performance (put one in a rehearsal room, and every actor wants to be the one holding it). 'Of course, it's about who has the power to talk and who is excluded, about status and power,' says the German director, 'but it's also about pop culture.' Ostermeier enjoys placing theatre within the context of the entertainment industry it belongs to: his Seagull kicked off with an actor performing some Billy Bragg, then asking the audience if they were ready for 'a little bit of Chekhov'. In that deliberately meta production, on-stage microphones were employed throughout to help indicate when characters were speaking to each other or 'performing' for a wider audience. Cate Blanchett found it transformative for the part of Irina Arkadina, a famous actor and hopeless showoff: 'They helped the story we wanted to tell,' says Ostermeier, 'which is that Arkadina is completely lost in it. She doesn't have a real relationship with other human beings any more without some form of media in between.' There is nothing new about handheld mics on stage, as all these directors are keen to point out: pioneers from the Wooster Group to Pina Bausch to Marina Abramović were using them in the 1970s. 'It's a technique that's been around for a long time,' says Katie Mitchell, whose wordless, sonically driven work Cow | Deer arrives at the Royal Court in September. 'I've always been interested in how you can amplify the spoken voice without having to distort your body or your voice to make it sound louder,' says Mitchell, who has been working with microphones for decades now (in her own version of The Seagull in 2006, Hattie Morahan's Nina whispered her lines into one). It's a paradox of the microphone that while it presents as performative and even political, it can also bring us closer to the character's subjective experience. 'We're being invited into a more intimate relationship – we can hear their saliva, their breathing,' says Mitchell. That requires technicians as sensitive and responsive as the performers themselves, such as Laura Hammond, the sound engineer who live-mixed the scenes in Elektra. 'A lot of times everything just goes into the computer, everything is set,' says Fish, 'and that makes me want to pull my hair out.' For some theatre lovers, the current vogue for on-stage amplification is less welcome. One veteran actor in Ostermeier's own company, who like so many stage actors has trained his voice to fill large spaces, refuses to use microphones. 'He's annoyed because it's a theatrical fashion,' says the director, 'and he doesn't want to be part of this fashion any more.' Mitchell acknowledges the challenge microphones represent to the proud tradition of voice work in theatre: 'There's a sense if you're not allowing actors to use all their skill for vocal projection and you're just mediating it with technology, this undermines that tradition. But I'm always of the position that a healthy society should have a wide spectrum of performance modes.' As ever, there's a danger that a popular technique becomes a fad, used without a sense or purpose. 'It moves from innovation to convention to cliche awfully quickly,' admits Fish. But right now, Mitchell believes the age of the microphone is something to be enjoyed. 'All these practitioners have got good political or intellectual underpinnings – let's celebrate it, and not police each other. Let's just chill.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store