After Metroid Prime 4 went unmentioned in Nintendo’s latest financial results, a reader tries to pinpoint exactly what wrong with the controversial Switch 2 sequel.

Late to the dodgy party, but I finally finished my playthrough of Metroid Prime 4 on Switch 2, and whilst I enjoyed it to some extent, and there were some excellent moments in the campaign, I would be remiss to not acknowledge its very severe flaws that undercut the sense of progression, cohesion, and general identity of a Metroid game.

Let’s get the positives out the way first, the presentation is gorgeous, with some stunning vistas and art design in planet Viewros. The soundtrack and general alien soundscape is quite exquisite. Every moment involving the morph ball is just really fun, tactile, and representative of some of the stronger facets of the game’s level design.

I particularly enjoyed the echoes of Super Mario Galaxy with the gravity tether pull ability in this mode of movement and the half pipe-boosting activities. In fact, I want Nintendo to commission a morph ball only spin off, where you’re just negotiating increasingly trickier obstacle courses, à la a modern Marble Madness.

The Viola bike is a neat addition, which looks ace and controls really slickly. The bosses are generally of a high quality and among the best in the Prime series, especially the epic lava facility boss. And the new psychic abilities, like the Metal Gear Solid Nikita missile style psychic shot, are just really darn cool, if underutilised.

The ‘dungeon’ areas are also pretty well designed, if a little too linear, and demonstrate flashes of prime Metroid Prime in aspects of their design. Although the mining area was a missed opportunity, which was marred with repetition, facing wave after wave of the same mindless feral foes in an aesthetically and structurally uninteresting location.

Now to address the awfully salient and stinky elephant in the room: the open-ish world in Metroid Prime 4 felt beyond bland and ultimately pointless. I tried, I really tried to find some redeeming qualities about this massively incongruent addition to the formula, but alas I just could not. And this overriding feeling was exacerbated by some of the most egregious examples of padded backtracking I’d ever had the displeasure of experiencing in a modern game.

Having to go through a desert of Starfield levels of uneventfulness, more than once, to return to base, to have Myles MacKenzie upgrade Samus’s abilities, was contrived and just insulting to the first lady of gaming’s self-efficacy. How the heck does the bespectacled brainbox interface so intuitively with the alien tech anyway? Never mind, must, suspend, disbelief…

The absolute nadir point in the game is when you’re tasked with harvesting the green crystals growing throughout the desert. This was one of the most tedious and interminable moments in the franchise’s history, which absolutely pulverises the game’s pacing. What on Earth were Retro Studios even thinking with this awful piece of design?!

It beggars belief Retro Studios/Nintendo thought this half-baked fusion of classic Metroid Prime and semi-open world design was a good idea. The game’s problematic development gestation is pretty well known by now, but evidently the schizophrenic identity crisis in the game’s design decisions led to the corruption of a more cogent vision.

As for the other conspicuously contentious point, I actually didn’t mind the companions that much, other than Myle’s frequently intrusive reminders; painfully stating the obvious and treating me like a colossal nincompoop. I mostly found the marines to be inoffensive and, thankfully, largely peripheral for the most part. But their inclusion in the first phase of the final boss fight was, much like the semi-open world design and crystal-gathering palaver/aggravation, retrograde to say the least.

I dread to think what Nintendo will do with the 3D series if the sales were really as inauspicious as the early sales estimates suggest. Let’s just hope that they foster a sharper acuity of vision and thought going forward, that’s if they give the 3D series another chance. After all, there’s still nothing in the industry that looks and plays quite like Metroid Prime, and something, anything to occupy Samus and her interstellar talents is still better than zero missions.

By reader GG

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Glitz, glamour and engaging ensemble – but falls short of its predeccesor.

Back in 2006 I remember getting dragged kicking and screaming by my future wife to see The Devil Wears Prada – and I actually enjoyed it.

It’s remarkable to think 20 years have passed since then – and even more remarkable that the main players here haven’t really changed one bit.

That goes for their characters too as, other than a few minor mentions of Andy’s (Anne Hathaway) personal life and journalism career and Emily (Emily Blunt) heading off to pastures new, this sequel feels like it could’ve been set two months later rather than two decades.

As well as the lead quartet – also including Meryl Streep’s Miranda and Stanley Tucci’s Nigel – director David Frankel and co-writers Aline Brosh McKenna and Lauren Weisberger are back on board.

And if you enjoyed the first flick you’ll lap this one up too; the outfits remain resplendent and the locations lush, while Streep is still an acidic delight, seemingly devoid of kindness or selflessness, until the odd tiny amount creeps through Miranda’s icy exterior.

Tucci’s loyal, soft-spoken Nigel is the movie’s heart and Andy maintains her desire to win Miranda’s approval, while securing her own future.

READ MORE: MOVIE REVIEW: We find out throwback horror ‘Dolly’ is far from child’s play

Blunt laps up the chance to be more villainous and Justin Theroux’s Benji is a sleazy, easily-manipulated presence.

Much of the plot focuses on the challenges impacting the journalism industry, which hit close to home for this writer but may leave others shrugging their shoulders as they await the next gorgeous gown to appear.

Patrick Brammall’s Peter, though charming, feels shoehorned in as Andy’s romantic interest and is one of the elements that could have been cut to trim down the testing two-hour running time.

But I liked how Miranda was forced to reluctantly tone down her attitude due to more modern attitudes – not many actors could make hanging a coat up a comedic highlight – and there are a few third-act surprises as several characters jostle for power.

The Devil Wears Prada 2 falls short of its predecessor but remains queen of the catwalk when it comes to glitz, glamour, an engaging ensemble and a personal peek behind the curtain of the fashion industry.

● Pop me an email at ian.bunting@reachplc.com and I will pass on any movie or TV show recommendations you have to your fellow readers.

● The Devil Wears Prada 2 is showing in cinemas now.

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Manchester City manager Pep Guardiola has spoken with Phil Foden on how to get the best out of him again

Pep Guardiola has told Phil Foden to focus on what he does best on a football pitch as Manchester City look to bring the England star back into form. The 25-year-old was the best player in the league two years ago but struggled badly last season and after shining in the first half of this season his form has disappeared again.

City have shown their faith in Foden this week, agreeing to a new long-term deal for the academy graduate that will commit him to the club into the next decade. But he hasn’t started a Premier League game in more than two months and his chances of making Thomas Tuchel’s England squad for the World Cup are getting weaker with every week he cannot force his way into Guardiola’s team.

The City boss has long maintained that he has no doubts that Foden will find his best form again, and has continued to use the player from the bench. However, he has also held talks with the midfielder to try and guide him towards that as the Blues hope for more returns on someone who has already given them so much.

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“I said many times, I have no doubt about Phil. About his impact. He’s a home ground player for our academy. I’ve been massively important in our seasons together,” said Guardiola.

“And I wish from the bottom of my heart he can come back to his best and play the next years with all of us. The minutes he played at Everton, his movements and his aggressiveness, we’ve talked about it and said ‘So, Phil, who you are as a player? What is your biggest quality?’

“It’s ball, turn and go. Go, turn and go. And attack the box. And don’t lose that. It doesn’t matter if you are in better form or bad form. So, you are not a team player like to control the game. Your quality is be a machine attacking the ball with the sense of assists and goals. And make the keeper threat that you’re going to shoot.

“And it happened two or three times against Everton. At that moment, go on the pitch with one, two down or three. One, three is not easy. You know that? And he did really well.”

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He continued: “My message to Downing Street tonight is very, very clear – they have got a lot of listening to do to the fact that Labour have been hammered here in Scotland and an SNP Government, after 19 years in office, has just been emphatically returned to office, and Scotland needs respect as a consequence of that election outcome.”

HM Revenue and Customs has issued a scam alert after an “increased” number of people have been targeted by fraudsters claiming they are owed a tax refund

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Britons are being urged to stay vigilant following “increased reports” of individuals being targeted by fraudsters. HM Revenue and Customs has issued a warning that scammers may get in touch claiming you’re owed a tax refund in a bid to steal your personal information.

If you’re “unsure” about any communication you receive, you should avoid clicking on links or sharing any details. You can also flag suspected scams to the authorities.

In a post shared on social media platform X, HMRC said: “SCAM ALERT! We’re receiving increased reports of customers being contacted by scammers claiming they are due a tax refund.

“Always take the time to stop and think if the request is genuine before sharing personal information or clicking on any links. If you’re unsure, don’t click on any links and report it to us.

“To find out if you are due a tax refund, you can log into your HMRC online services account on GOV.UK or the HMRC app.” On the Government website, HMRC has provided additional guidance on staying safe.

Use the following checklist from HMRC to work out whether the contact you’ve received is a scam. You can apply it to phone calls, emails and text messages.

According to HMRC, it could be a scam if it:

• Rushes you
• Is threatening
• Is unexpected
• Asks for personal information like bank details
• Tells you to transfer money
• Offers a refund, tax rebate or grant

Below are other signs to look out for.

Suspicious phone calls

HMRC will never:

• Leave a voicemail threatening legal action
• Threaten arrest

Text messages

GOV.UK said: “HMRC does send text messages to some of our customers. In the text message we might include a link to GOV.UK information or to HMRC webchat.

“We advise you not to open any links or reply to a text message claiming to be from HMRC that offers you a tax refund in exchange for personal or financial details.”

To help fight phishing scams, you can send any suspicious text messages to 60599 (network charges apply) or email: phishing@hmrc.gov.uk, then delete them.

WhatsApp messages

If you have subscribed to the UK Government Channel on WhatsApp, you will receive updates that might include occasional tax-related reminders. These will be single message alerts and you will not be able to reply. GOV.UK said: “HMRC will not communicate with you for any other reason using WhatsApp.”

QR codes

HMRC uses QR codes in letters and correspondence. It said: “The QR code will usually take you to guidance on GOV.UK. We will tell you if the QR code takes you anywhere else.

“You will never be taken to a page where you have to input personal information. When you are logged into your HMRC account, we may use QR codes to redirect you. For example, to take you to your bank’s login page.

“If we’re using QR codes in communications you’ll be able to see them on the list of genuine HMRC contacts.” To help fight phishing scams, you can send any suspicious emails containing QR codes to phishing@hmrc.gov.uk then delete them.

Gift or payment vouchers

HMRC will never ask you to pay with gift or payment vouchers.

Report a scam

You can report a disclosure of personal information to the HMRC security team online here.

If you’ve been a victim of a scam and suffered financial loss, you can report it to Report Fraud through their website or by calling 0300 123 2040.

If you live in Scotland, you can call 101.

As Memories told last week, the country was shut down, with violence breaking out in many places as police battled with pickets to get food supplies – and copies of The Northern Echo – out to the people.

READ FIRST: HOW THE ECHO DEFIED THE PICKETS TO PRINT TWO MILLION PAPERS DURING THE GENERAL STRIKE

Leading the strike in the North East was Will Lawther, a miner from Chopwell, in Gateshead, which was known as “Little Moscow” due its left-wing politics which Will, a member of Durham County Council from 1925, fully embraced. He was also the Labour candidate for the Parliamentary seat of Barnard Castle.

The Northern Echo of May 11, 1926 (Image: Chris Lloyd)

As our reproduction front page shows, he was arrested on May 10, 1926, and charged with “interfering with food distribution and police intimidation” – it seems he was trying to stop food convoys reaching Consett from Newcastle by blocking the roads. The authorities presented this as an attempt to steal the food and sell it on the black market; Will probably saw it as lawful picketing and making sure the strike committee was in charge of the neighbourhood.

That front page from May 11, 1926, really is a page in history: as well as Lawther’s arrest, it features the first report of the most notorious incident during the General Strike in the North East when pickets targetting a coal train they believed was being operated by blacklegs instead managed to derail the Flying Scotsman at Cramlington.

READ MORE: HOW PICKETS DERAILED THE FLYING SCOTSMAN DURING THE GENERAL STRIKE

Will Lawther, the MP for Barnard Castle from 1929 to 1931, who was arrested during the General Strike (Image: wikipedia)

As the strike came to a messy end, Lawther was tried at Gateshead on May 13 under the Government’s “Emergency Regulations” designed to crack down on strikers’ activities.

“Lawther denied that he was a Communist and that the people of Chopwell were terrified out of their wits by mob law,” said the Echo. “There was a demonstration outside the court. The police charged the crowd and two men were arrested.”

The Northern Echo of May 14, 1926, reporting on Lawther’s imprisonment (Image: Chris Lloyd)

Realising that Lawther was a political hot potato, and heeding Conservative Prime Minister Stanley Baldwin’s plea that “bygones should be bygones” now the strike was crumbling, the magistrates fined Lawther only £50 – the most lenient sentence possible. However, he refused to pay and was jailed for two months in Durham.

In 1929, the people of Barnard Castle – who have a surprising history of electing early Labour MPs – returned him to Parliament, although they booted him out two years later.

He became the first president of the National Union of Mineworkers and had Communist sympathies until the Second World War, after which he used his position on the Trades Union Congress to defeat the hard left.

He was knighted in 1949 – reputedly the first miner ever to be so honoured – and lived in Whitley Bay until his death in 1976.

A podcast series looking at Lawther’s role during the strike and at his remarkable career has just been created by the Find My Past genealogy website and features Jonathan Kindleysides, the Head of Industry at Beamish Museum. Google “A Family History of the General Strike” to find it.

Two lots of father and sons, as well as one mother and daughter were elected in the South Cambridgeshire elections

It was a family affair for some of the winning candidates in the South Cambridgeshire District Council elections. The Liberal Democrats won a clear majority in South Cambridgeshire today (Friday, May 8), winning 43 out of 45 seats.

The party initially held 34 seats, however they have gained back seats from the Conservatives, leaving the Conservatives with only two seats in the council. Amongst the Liberal Democrats that won were three sets of family members.

Father and son John and Henry Batchelor retained their seats for the Linton ward. There was also Natalie Warren-Gunn, who retained her seat for Longstanton, and her daughter Yasmin Deter winning the seat for Cottenham.

Henry Batchelor said he was “very honoured” to be re-elected for Linton, and also alongside his father. He added: “We are very happy to be given the public’s trust again and for me, I was born in Linton, and my roots are in Linton.”

John joked that his son gained around 40 more votes than him. However, he said he was “very proud”.

Natalie Warren-Gunn said she was “really pleased” to be re-elected for Longstanton. She added: “I can continue with the work I started.”

Natalie said that there is a “lot of change and transition” in the areas she oversees. She said she can “carry on with the momentum” in those areas.

Yasmin said it was “really exciting” to be elected in the same council as her mum. She added: “In particular, because of devolution that is ahead, [it will be good] being able to see each side with the district and county.”

Father and son Martin and Ariel Cahn were also elected under the Liberal Democrats. Martin won his seat for Histon and Impington, while Ariel won in Harston and Comberton.

Organised by Vogue, the Met Gala this year was based around the theme of “costume art”. An accompanying exhibition of the same name opens at New York’s Metropolitan Museum of Art on May 10, with a focus on the dressed body.

Responses to the Met Gala – the US fashion event of the year – and its related Costume Art exhibition have been sharply divided. On the one hand, critics have applauded the exhibition’s use of an inclusive range of mannequins, representing a wide group of bodies that go far beyond the normal “model physique”.

On the other, this apparent celebration of diversity has been contrasted with the overwhelming thinness of the red carpet at the Gala, as well as the involvement of its honorary chairs, Amazon founder Jeff Bezos and his wife Lauren Sánchez Bezos. The couple were said to have sponsored the event to the tune of $10m (£7.4m), sparking calls for a boycott.

As the influential fashion commentators Diet Prada noted, this year’s Met Gala was more poorly received than ever before, with speculation rife about why some celebrities were missing the event.

As artwashing is now an established media tactic, the positive elements of the exhibition could be viewed as a distraction from the negative capitalistic associations of its sponsors.

However, in an age dominated by Ozempic and other GLP-1 drugs, an exhibition celebrating bodies of all shapes and sizes does far more than pay politically expedient lip service to the idea of diversity.

Diversity fights back

The exhibition – masterminded by Andrew Bolton, the British-born curator of the Costume Institute at the Met – pairs garments and artworks “organised into a series of thematic body types that reflect their pervasiveness and endurance through time and cultures”.

The choice of these thematic body types – which divide into sections including the Naked Body, the Classical Body, the Ageing Body and the Disabled Body – had been the subject of media coverage long before column inches were filled with the usual discussions of celebrity outfit choices.

Over the past month, a series of articles and related social media posts have trailed that the show would feature a physically diverse array of mannequins. This would support the exhibition’s stated aim of exploring distinct bodies across time and space. On April 21, sculptor Frank Benson – most famous for his figurative works – posted on social media that it had been the “honour of a lifetime” to create a group of mannequins for the Met’s show.

These newly commissioned mannequins allow the show to present its garments on an array of bodies – variously abled, fat and thin, and in different states of pregnancy and undress. These are not one-off pieces. As Benson confirmed, the mannequins will be transferred afterwards into the Costume Institute’s permanent collection and used in future exhibitions.

Each of the figures wears a mirrored mask, encouraging viewers’ identification with these more “realistic bodies”. In so doing, the curators utilise a highly literal but effective means of reflecting the norm within clothing and spaces usually reserved for the thinnest of bodies.

Alongside the forms of the mannequins themselves, “the Corpulent Body” (the Met’s somewhat unfortunate wording) is also invoked through specially commissioned photography and fashion design, including work by designers Karoline Vitto and Michaela Stark.

Stark has created some of her highly recognisable undergarments that truss the body in silk organza ties – resulting in pockets of fat and bulging extrusions that encourage speculation on what the beautiful erotic body might look like.

Is there a future for body positivity?

Despite this, recent data from industry insiders suggests a broader backward slide in representation that counters the narrative pushed by the exhibition. The model Felicity Hayward has done pioneering work season after season recording plus-size representation on the runways: the autumn/winter 26 lineup (shown in Europe and US in February) had the lowest numbers of size inclusive models for years.

Of the 3,840 looks shown at New York Fashion Week, only 20 were shown on plus-sized bodies. This was a staggering 50% lower than it had been the previous year.

Vogue Business interviewed a number of casting directors on this notable shift. One, Chloe Rosolek, described this “regression in inclusion” as the literal “erasure of women’s bodies”. The Costume Art exhibition seems to stand firm against this shift.

But as many social media observers have noted, the exhibition’s attempts at representing equality and body positivity feel at odds with a red carpet that was populated by an ever-thinner group of celebrities. With weight-loss easier to achieve than ever thanks to the widespread use of GLP-1 drugs, many figures in the public eye have appeared to lose significant amounts of weight.

The Gala guestlist did include a more diverse crowd, including the disabled transgender model Aariana Rose Philip, whose body one of the mannequins was based upon. But in event roundups dominated by influencers, singers and actors, this bodily diversity makes little impression.

While Instagram feeds suggest the most important and fashionable of red-carpet appearances belong to the thinnest bodies, the exhibition itself does seem to achieve its goals in furthering representation of diverse bodies. And it does so on one of the most influential and public stages.

Fat studies scholar Jeannine A. Gailey argues that people who are fat are simultaneously paid undue attention on account of their “taking up too much space”, and are also ignored due to the perception of fatness as both undesirable and morally questionable.

Conversations around what kind of bodies are valued through forms of representation feel very relevant to the aims of Costume Art, thanks to its prominent portrayal of fat, ageing and disabled bodies.

Despite its problematic associations with Bezos, Costume Art nevertheless provides a highly visible – and thereby meaningful – counter to the world of ever-shrinking thinness that Hollywood appears to cling to, perhaps offering the body positivity movement a much needed life raft. However, now that anyone can access these weight-loss shortcut drugs, one wonders how long body positivity can remain afloat.

A Utah judge has ruled that cameras will be allowed in the courtroom during proceedings for Tyler Robinson, the man accused of fatally shooting Charlie Kirk, rejecting defense arguments that extensive media coverage could taint a future jury pool.

The ruling made by Judge Tony Graf Jr. on Friday comes as the case continues drawing national attention and as conspiracy theories continue to swirl online about the assassination that shook the country in September.

Judge Graf also moved Robinson’s preliminary hearing to July 6 through July 10, citing the massive volume of evidence still being reviewed in the high-profile death penalty case.

He claimed this move was necessary so that Robinson’s attorneys would have enough time to review discovery materials. He did, however, acknowledge the public’s interest in moving the case forward without unnecessary delays.

Robinson faces multiple charges, including aggravated murder, in the September 10, 2025, killing of Kirk, the founder of Turning Point USA. The charges are eligible for the death penalty.

In the immediate aftermath of Kirk’s killing, conspiracy theories spread rapidly across social media, podcasts and political forums before authorities had publicly identified a suspect or motive.

The Southern Poverty Law Center (SPLC) summarized some of these theories ahead of court proceedings.

Some commentators falsely claimed the shooter was transgender, echoing broader anti-trans narratives pushed by extremist groups. Others alleged the assassination was part of coordinated political violence by the left, despite federal research showing most political violence in the United States is linked to right-wing extremism. And some conspiracy theories promoted antisemitic claims or alleged that Robinson had been radicalized by college professors.

The defense had sought to block cameras and electronic media coverage, arguing the intense publicity surrounding Kirk’s killing could prejudice potential jurors. They also presented experts who testified that livestreamed proceedings and online commentary could reinforce public bias.

Graf ultimately rejected those arguments, finding they did not justify a blanket ban on cameras.

Policies on cameras and livestreaming vary among states, and many, including Utah give judges discretion over whether to allow cameras. Cameras are generally prohibited in federal courts.

Investigators also disputed claims that media coverage had been uniformly biased against the defense.

“I think the tone of it went both ways. I think some of the tone of it was negative toward the prosecution and some of it was negative toward the defense as well,” Utah County Attorney’s Office investigator Cole Christiansen testified in April. “Some of it was negative toward Erika Kirk, and some of it was negative toward Charlie Kirk.”

The judge also noted that most people consume information about the case through commentary and social media rather than watching proceedings live, meaning a camera ban would not necessarily limit exposure to potentially prejudicial coverage.

Graf further pointed to safeguards already in place, including restrictions on camera placement, courtroom decorum rules and limits on what attorneys can publicly say about the case.

Robinson is scheduled to return to court on May 19.

Ian Watkins was attacked and died in HMP Wakefield where he was allegedly slashed with a make-shift knife with Rico Gedel and Samuel Dodsworth on trial for his murder

A nurse started “screeching” at Ian Watkins’ injuries before the singer “gargled” on his own blood after being attacked in jail, a prison officer said. Rico Gedel, 25, also known as Rashid, and Samuel Dodsworth, 43, are both accused of murdering the former Lostprophets frontman at HMP Wakefield on October 11 and are on trial at Leeds Crown Court.

Watkins, 48, was jailed for 29 years in December 2013 with a further six years on licence, after admitting a string of sex offences – including the attempted rape of a fan’s baby, The Mirror reports.

The court heard how prison officers went to the aid of Watkins after he was allegedly attacked with a makeshift knife, and a nurse also attending to him made a “screeching” sound when she saw the extent of the injuries. It was after this that Watkins began “gargling” before going into cardiac arrest and dying.

Jurors sitting on the trial have so far heard how he suffered three injuries caused by a makeshift knife during a 20-second attack. Footage showing a blood-soaked Watkins emerging from his cell has been released by West Yorkshire Police after jurors were shown it by prosecutor Tom Storey KC.

Both Gedel and Dodsworth deny murdering Watkins. Gedel is accused of carrying out the attack, while Dodsworth is accused of keeping watch and disposing of the weapon in a bin in the recess area.

On Friday, two prison officers gave evidence from the witness box, with one noting he first became aware of Watkins’ injuries while on the landing of B wing.

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He said: “I don’t remember the time, but I remember seeing something. From what I remember, I remember stood looking down the landing. I kind of had a bit of a view down the landing but not much of one.

“From what I saw, I saw Mr Watkins come out of his cell, wearing a white T-shirt, and I remember seeing blood down the front of his shirt. He didn’t really do anything, he just kind of stood there and looked towards where me and two other officers were stood.

“He went back towards his cell, like he was trying to get back in for whatever reason. I alerted the two staff members I was stood with in case they didn’t see it and all three of us went to his cell.”

The officer said a colleague went to help Watkins, while he and another went to apprehend Gedel, who he saw punch another inmate. After being apprehended, Gedel was taken to his cell, neighbouring Watkins’. Officers were then said to have carried out a strip search before one kept watch.

Peter Moulson KC, for Gedel, asked the officer if he heard any sentences uttered by Watkins such as: “Get away from my cell you s***stain.” Mr Moulson said: ” And then the ‘N’ word is used in this context, Watkins said: ‘This is an – N word – free zone.’

“Did you hear Watkins to the effect of: ‘If you don’t move from the cell now, I’m going to f****** stab you.’ And finally, from Watkins: ‘I’m going to count to three’ and then the words, ‘One, two’.” The officer said he did not hear any of those statements, but was close enough that he would have heard it if it was said.

Another officer was then called into the courtroom to give evidence and told how he had been in charge of unlocking the cells on the left-side of the wing – where Gedel’s and Watkins’ were situated – on October 11 last year. He said he interacted with both inmates.

Of Gedel, he said they spoke and added: “As I opened his door, I saw it was Mr Gedel and basically said to him, ‘What you done this time?’ And we laughed a bit and had a smirk and I went onto unlock the other cells.”

He said the comment was due to his move onto B wing. He said “sometimes it is just a normal move, but other times prisoners will be moved if there’s been an incident or something similar to that,” reported YorkshireLive.

The next cell the officer unlocked was Watkins. He said: “As I opened his door, he was sat on his bed doing a drawing. I asked what he was drawing and he showed me. It was a picture of another prisoner’s partner and we had a chat and that was that. He did a lot of paintings and drawings.”

After he unlocked the cells, the officer said he then began to carry out cell searches to make sure everything, including the locks and windows, were secure. The officer said he did not think Gedel was in his cell when it was searched, but Watkins was in his. He added: “He was still doing his drawing…”

The officer said he then joined other officers on the landing. He told the court: “I made an observation to the left to look down the landing, and there were two workmen and as they got past Watkins’ cell, one made a gesture, to the left-hand side of his neck, as in a slicing motion.

“At that time, that’s when Mr Watkins’ put his head out of his cell. Mr Watkins’ was leaning out of his cell, so his head was present just outside of the cell structure, and at that moment in time, that’s when I noticed a lot of blood coming away from his neck.

“First instinct, I told the two other members of staff, and we made our way down to Mr Watkins’ cell, and [a colleague] held him and helped him into his cell and we made our way down the stairs to apprehend Mr Gedel.” The officer said it was “fair” to assume Gedel had been involved. He said: “Experience, from myself, I know of Mr Gedel from previous wings. He has carried out numerous assaults from other locations.”

Once Gedel was apprehended, the officer said he went back to Watkins’ cell to assist with treating him. He said: “I could see a cut to his right ear, a large laceration to his right cheek, and also a very large laceration from his left cheek to lower neck.”

The officer said Watkins was “sat in his bed” and was “still conscious and spoke to me”. He said: “I asked if he was ok when I first went in and he said that yes he was fine. I was trying to keep him awake and keep him talking.

“As I showed the nurse the injury to his neck, the nurse was quite shocked and made a ‘screeching’ noise and at that point, I think that’s when Mr Watkins realised what had happened and he deteriorated even further. He fell back onto his bed and was gargling.”

The officer said the nurse then expressed the opinion Watkins was going into cardiac arrest and CPR was administered, but Watkins’ died.

The trial continues.