PEMBROKESHIRE could soon see life-size artwork reproductions of many National Gallery masterpieces, including works by Turner, Constable and Cezanne at locations throughout the county, in a scheme submitted to the national park.

In a Pembrokeshire Coast National Park application to the park’s own planners, permission is sought for the installation of 12 life-size National Gallery artwork prints on various locations in the national park, between June and November of this year.

Of the 12 locations for the ‘Art on your doorstep’ project, 11 will be on existing structures, the last on a self-standing structure at Oriel y Parc, St Davids.

Carew will see four artworks: Constable’s The Hay Wain, at the tidal Mill Bridge; Koninck’s ‘An extensive landscape by a road, with a river,’ in the car park opposite Carew River which overlooks the castle; Hans Holbein the Younger’s ‘The Ambassadors,’ in the national park workshop; and Turner’s The Fighting Temaraire, by the village’s war memorial.

Castell Henllys will feature two works: Cezanne’s Bathers, and Titian’s Baccus and Ariadne.

St Davids’ Oriel y Parc will feature Van Gogh’s Wheatfield of Cypresses, and Canaletto’s The Stonemason’s Yard.

Porthclais will host Van Gogh’s Sunflowers, with Claude-Joseph Vernet’s A shipwreck in Stormy seas at Strumble Head.

Rosebush’s Tafarn Sinc will display Turner’s Rain, Steam, Speed, and a site at the skate park overlooking Tenby’s South Beach will host Monet’s Bathers at La Grenoville.

The application will be considered by the national park planning committee.

ACCLAIMED theatre-maker Sam Freeman is bringing We’re Not Getting A Dog to the Torch Theatre in Milford Haven this February — a new, comic, roughly 72-minute solo show packed with domestic observation and a quietly rueful bite.

Told through passive-aggressive letters, early-morning jet-washing and the small rituals we cling to in an effort to make a house feel like a home, the production casts a wry eye on what it means to live close to other people — neighbours we see every day, yet barely know.

“It’s really hard to describe the show,” Freeman said. “I guess it’s best to imagine a really gorgeous Radio 4 late-night comedy, but performed live — it’s heart-warming and like being wrapped in a warm hug. It’s a show to warm the soul.”

The performance weaves multiple storylines together: a couple sprinting through rain to catch a bus, a man staring at a blank laptop screen in despair, and a woman opening an envelope to reveal a photograph. Each moment builds towards a bigger picture, drawing the audience into a narrative where not everything is as straightforward as it first appears.

“It’s a real joy to perform because you let this story unfold,” Freeman added. “You see these moments where people laugh, occasionally cry, but also join the dots and discover that not everything is as simple as it first may seem.”

Read from a little black book, the show has been described as a hidden gem — a quietly powerful and comic examination of home, connection and distance.

And for anyone wondering about the dog on the poster, Freeman has an answer.

“Everyone wants to know about the dog on the poster… It’s my border terrier Poppy — absolute psychopath,” he said. “Whether she makes it into the show… well… you’ll have to see it to find out.”

We’re Not Getting A Dog will be performed at the Torch Theatre on Saturday, 14 February at 7.30pm. Tickets are £8. For more information, visit the Torch Theatre website or contact the Box Office on (01646) 695267.

Trading has crept into everyday conversation. You hear it in adverts, see it on social media, and watch it turn into a kind of entertainment. For many people, that creates confusion: is trading investing? Is it gambling? Is it something normal people should do, or is it a specialist world best left alone?

Let’s start with the basic question: what is trading? Trading is buying and selling financial instruments with the goal of profiting from price movement. That could mean shares in a company, currencies, commodities, or broader market indices. It can happen over minutes, days, or months. What makes it trading is the intention to act on price changes rather than simply holding long term.

Trading versus investing: the difference that matters

Investing usually means buying something because you believe in its long-term value. You might hold for years, collecting dividends or benefiting from growth over time. Trading is more tactical. A trader might buy the same share, but their focus is on near-term movement, not a multi-year thesis.

This difference matters because it changes how you manage risk. A long-term investor can often tolerate short-term volatility. A trader needs clearer exit plans, because the trade’s “reason” can disappear quickly.

Many people sit somewhere in the middle: they invest most of their money long term and experiment with small amounts in more active strategies. That can be sensible, but only if the “experiment” is treated as education rather than income.

Why trading became popular in the UK

Part of the rise is cultural and technological. Apps made markets feel accessible. News coverage made market moves feel like sport. Low savings rates in the 2010s pushed people to look for alternatives. Then, periods of volatility created the illusion of easy opportunity.

But accessibility can be a trap. Easy access does not mean easy skill. Trading is one of those activities where “a little knowledge” can be worse than none, because it tempts you to act confidently without a proven process.

What people trade, in practice

In the UK, many new traders encounter shares, indices, and currency products. The more liquid the market, the more predictable its pricing behaviour tends to be. That doesn’t mean it’s safe—it means it’s less prone to wild distortions.

The instrument you choose shapes your experience. Some instruments move slowly and steadily; others are sharp and fast. For beginners, slower tends to be better, because it allows time to think.

Risk: the part that decides whether trading becomes a problem

If there’s one point worth repeating, it’s that trading outcomes are dominated by risk management. You can have a good idea and still lose money if you risk too much. You can also have an average idea and still survive if your losses are controlled.

This is where people drift into gambling behaviour without noticing. If you’re increasing size after a loss to “win it back”, trading has become emotional. If you’re placing trades because you’re bored, trading has become entertainment. If you’re following anonymous tips, trading has become outsourcing your decisions to strangers.

A healthy approach is to decide your risk before you enter. That means knowing where you’re wrong and how much that wrongness costs. Without that, you’re not trading—you’re hoping.

Scams and misinformation: a local consumer issue, not just a finance issue

Readers in Wales and across the UK are not immune to scams dressed up as trading. Fake “investment groups”, impersonation adverts, and pressure tactics thrive in uncertain economic times. The safest assumption is that anyone promising guaranteed returns is not serious.

It’s also worth remembering that legitimate finance includes warnings for a reason. Risk disclosures are not decoration. If you don’t understand the product, pause. If you can’t explain it in plain language, you shouldn’t be risking money on it.

So, should you trade?

That depends on your goals, your temperament, and your willingness to treat it as a skill. If you want a stable financial future, the boring fundamentals—budgeting, emergency savings, sensible long-term investing—matter more than trading.

If you are curious, approach trading as education: start small, use a structured plan, and focus on process, not quick wins. The win is learning without damaging your finances or your headspace.

Trading is real. It’s not inherently good or bad. But it demands respect—because the market will take money from people who treat it casually.