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Stuart Heritage revisits Hacks as its final season rolls out on Sky Atlantic, Now, HBO Max and Stan, asking whether the series can recapture the brilliance that earned it an Emmy for Best Comedy in 2024.When the show first burst onto the scene, it was hailed as the pinnacle of comedy, outshining drama‑heavy series like The Bear. Its early acclaim rested on the razor‑sharp chemistry between Jean Smart (Deborah Vance) and Hannah Einbinder (Ava), a dynamic that felt both vicious and hilarious.That reputation has been challenged by newer satire such as The Studio, which swept the 2025 Emmys with bigger stars and slicker production. In contrast, Hacks managed only supporting trophies for Smart and Einbinder, prompting the question: can the show rally in its swan song?The latest run marks a noticeable upgrade from the muddled third and fourth seasons, where Vance’s late‑night talk‑show stint exposed the series’ structural cracks. This season, Vance is slapped with a Conan O’Brien‑style gag order that bans her from public jokes, giving her a fresh, if absurd, source of conflict.Early episodes burst with energy as Vance concocts wild schemes—pursuing an EGOT, penning a memoir, even eyeing a Madison Square Garden gig. The momentum feels promising, yet the show’s signature venomous satire is muted.Where Hacks once thrived on Vance’s bitter, anti‑heroic edge and her hostile banter with Einbinder’s Ava, the current tone has softened into a more amicable camaraderie. This shift defangs the series, making it feel less like the cutting industry critique it once was.The finale lands as a bewildering, almost ChatGPT‑generated one‑act play, delivering an unearned climax that feels more like a stunt to secure another Emmy for Smart than a satisfying narrative closure.Despite uneven seasons, the core performances remain the show’s strongest asset. Smart and Einbinder continue to deliver compelling, powerhouse portrayals that will likely be the lasting memory of Hacks for its fans.In the end, the final season offers moments of fun but ultimately signals the end of the series’ once‑sharp satire, leaving viewers to mourn the loss of its original bite.

San Francisco‑originated Philz Coffee announced on Friday that it will keep Pride flags displayed in all of its locations, overturning a policy introduced just days earlier that called for their removal.Chief executive Mahesh Sadarangani said in a statement, "I made a mistake and I am sincerely sorry," adding that the Pride flag represents "a symbol of safety and belonging for people who don’t always find that in the world," and that he does not wish to deprive any customer of that feeling.When the policy was first unveiled, Sadarangani framed it as a move toward uniformity, indicating that other non‑U.S. flags would also be taken down to maintain consistency across stores.The decision triggered an immediate and vocal backlash from both employees and customers. An online petition opposing the ban quickly amassed more than 7,300 signatures, reflecting the chain’s long‑standing reputation as an ally of the LGBTQ+ community.State Senator Scott Wiener, whose district includes San Francisco, condemned the policy on social media and suggested it was linked to Philz’s recent acquisition by private‑equity firm Freeman Spogli, raising concerns about corporate influence on inclusive practices.Sadarangani credited San Francisco Pride leaders Suzanne Ford and Jupiter Peraza for prompting the reversal, noting their outreach helped the company understand the broader impact of the decision."What gave me reason to engage with Mahesh was something I don’t always see from a CEO in this situation: genuine humility," Ford said. "He reached out, listened, and understood that this wasn’t about optics—it was about whether queer people and the employees who support them feel safe and seen. That matters."Founded in 2003, Philz Coffee has grown from a single San Francisco shop to a network of over 80 locations across California and Chicago, positioning itself as a community‑focused brand.The controversy occurs against a backdrop of nationwide debates over Pride symbols. Republican‑led states have recently removed rainbow flags from public spaces, and the Trump administration previously took down a rainbow flag at New York City’s Stonewall monument before agreeing to a settlement that restored it.Across the country, rainbow crosswalks have been targeted for removal, prompting cities like Miami Beach to install alternative displays—such as rainbow‑colored benches and plaques—to demonstrate solidarity with LGBTQ+ residents.

Disney introduced InfinityVision at this year’s CinemaCon, positioning it as a certification for premium large‑format (PLF) auditoriums that meet or exceed undisclosed standards for screen size, brightness and sound quality. While the name sounds like a Marvel spin‑off, the label applies to any film, not just superhero titles. Disney claims roughly 300 screens worldwide already carry the badge, though a public directory has yet to appear. The timing is strategic: Disney’s Avengers: Doomsday is slated for a December debut that coincides with the release of the third Dune film, which has secured a limited run on coveted Imax screens. By promoting InfinityVision, Disney hopes to reassure audiences that alternative PLF venues—such as Dolby, RPX and other branded auditoriums—can deliver an equally spectacular experience, a tactic the author dubs screenmaxxing. Screenmaxxing has become a lifeline for a theatrical sector under pressure from streaming and rising ticket prices. Even the smallest multiplex PLF screens dwarf the televisions owned by the majority of consumers, yet theatres cannot simply charge a $5 premium for a larger screen; they need to sell a demonstrably superior visual and auditory package. Today’s market offers a bewildering array of PLF options, especially in cities where multiple chains compete. Directors like Ryan Coogler (Sinners) and the team behind Project Hail Mary use the variety of formats as a marketing hook, explaining aspect‑ratio differences and visual nuances to fans. Even legacy formats have resurfaced: Paul Thomas Anderson’s One Battle After Another revived the rarely used VistaVision, an analog high‑definition process dormant for half a century, alongside traditional 70mm and Imax prints. Adding to the mix, a new digital projector brand—HDR by Barco—is being rolled out to compete with Dolby‑branded auditoriums. The technology promises deeper blacks, heightened contrast and unprecedented brightness, and has already been adopted by the Alamo Drafthouse chain for its dine‑in locations. Many of these Barco‑equipped rooms also feature Dolby Atmos sound, though the author cautions against conflating sound systems with projection technologies. To gauge HDR by Barco’s performance, the writer visited the Brooklyn Alamo Drafthouse, one of three New York venues using the system (the others are Regal locations equipped with RPX screens). While the recent Super Mario Galaxy movie showcased the projector’s vivid palette, the reviewer chose a more demanding test: Lee Cronin’s horror‑reimagining The Mummy. Compared with a prior Dolby projection of the same film, the Barco version delivered a noticeable boost in clarity—especially in shadow‑heavy scenes—without the oversharpening or motion‑smoothing artifacts sometimes seen on consumer TVs. The experience was “brighter” yet retained natural colour balance, offering a subtle but real upgrade over standard cinema projection. Despite the technical gains, the piece questions whether another premium brand can truly shift audience habits. The author argues that healthy competition among laser‑projection systems may prevent theatres from settling for “dim” images, encouraging cinephiles to seek out PLF venues. However, blockbuster spectacles like the climactic battle in Avengers: Endgame remain visually underwhelming even on an InfinityVision‑certified screen, suggesting that format alone cannot rescue a film’s visual impact. Ultimately, the most compelling case for premium formats may be the construction of genuine Imax theatres, not retrofits. True Imax auditoriums prioritize height over width, delivering an immersive field of view that even high‑end digital projectors struggle to match. Yet only a few dozen such venues exist worldwide; most “Imax” screens are simply Dolby, Barco or RPX rooms equipped with the brand’s hardware. Screenmaxxing, therefore, is likely to remain a niche pursuit rather than a universal solution for the exhibition industry. While hunting for the loudest, sharpest presentation can be entertaining, an overabundance of competing formats may reinforce the perception that a standard movie‑going experience is insufficient—potentially undermining the very audience the industry hopes to attract.

Victoria's ambitious plan to introduce a four-bin waste system for all households is facing resistance from local councils and residents. The scheme, which was launched in 2020 with the goal of positioning Victoria as a leader in recycling, requires households to have separate bins for organics, recycling, rubbish, and glass.The rollout of the purple-lidded bin for glass was expected to be completed by 1 July 2027, but 35 councils are now calling for a pause on the deadline, citing concerns over the added cost of the service and practical issues such as space constraints. Independent research estimates that implementing the purple bin collection could cost a typical council $4m and $1.4m a year to operate.Councils and residents are questioning whether four bins are necessary, especially with the launch of the state's container deposit scheme, which accepts some glass bottles. 42 of the state's 79 councils have already implemented a separate glass recycling service, but many are struggling with the costs and logistics.Experts argue that expanding the container deposit scheme to include more types of glass containers could reduce the need for kerbside glass separation. South Australia's container deposit scheme has achieved a 99% recovery rate for glass, compared to 11% for kerbside bins. Queensland's scheme has also seen high recovery rates for glass.The Victorian government has invested $129m to support councils with the rollout, but councils are seeking a more flexible approach that takes into account local needs and circumstances. The debate highlights the challenges of implementing large-scale environmental initiatives and the need for collaboration between governments, councils, and residents.

Wrexham AFC, the football club co-owned by Hollywood stars Ryan Reynolds and Rob Mac, has been awarded a £3.8m government grant without a contract or a completed state aid assessment in place. This has raised questions over whether the award was lawful.The club has received a total of £18m in taxpayer-funded grants to help redevelop its stadium, the Racecourse Ground. This is significantly more than any other club in the UK.Responses to freedom of information requests suggest that Wrexham county borough council awarded the money before completing the usual steps. Alexander Rose, a partner specialising in subsidy control at law firm Ward Hadaway, stated that the lack of a final state aid assessment at the time the grant was awarded would have left it vulnerable to legal challenge by a rival.However, there is little prospect of Wrexham AFC being forced to repay the cash, as the one-month window for challenges to be filed has since closed. The leader of Wrexham council, Mark Pritchard, said: “All due diligence and checks were in place ahead of the transfer of any funding and we refute any accusations to the contrary.”Reynolds and Mac took over the club in 2021, bringing with them a wave of sponsorship and global interest via their Disney TV series Welcome to Wrexham. The club has been able to far outspend their lower-league rivals, transforming the club’s fortunes.Wrexham, which was granted city status in 2022, awarded the £18m to the star-studded club as part of its “Wrexham Gateway” urban improvement scheme. Most of the money went towards developing the stadium, despite the club having deep-pocketed owners.The first £3.8m tranche of cash was awarded on 8 February 2022, less than a year after Reynolds and Mac’s takeover. Another £14m was awarded in September 2025.Public authorities that give out grants are required by law to judge if they comply with the principles of subsidy control, to ensure taxpayer money is not misspent. However, in response to a freedom of information request, Wrexham council said it only had “draft assessments” in place before the money was awarded.The council said the final assessment it provided was submitted nearly five months later, on 6 July 2022. In response to questions, the council shared a draft assessment it said dated from 7 September 2021.Rose said: “At the time the £3.8m grant was awarded there was a duty to carry out a principles assessment. Evidence that this assessment wasn’t finalised when the grant was given would certainly have helped a challenger, for example a rival football club.”“Subsidy control rules exist to ensure there’s a level playing field in which businesses can compete,” he added. “That includes in professional football. They’re also an important protection for the taxpayer, preventing wasteful and unnecessary subsidies from being awarded.”Recipients of large grants almost always sign contracts to ensure taxpayer money is spent as promised. Yet the council said the grant was authorised by its executive board and “provided in advance of the finalisation of the grant funding agreement”.The council said the grant funding agreement – apparently covering the whole £18m – was only created in July 2023.The contract was then completed on 17 September 2025, when the £14m tranche was awarded.The two-year delay between the creation of the contract and its signing also offered another potential benefit to Wrexham council: new subsidy control laws that came into force days earlier in August raised the threshold for mandatory scrutiny of the grant by the Competition and Markets Authority.Delaying the subsidy meant the award to Wrexham AFC was not subject to this scrutiny.While it was tapping taxpayer money, the club was also able to raise huge amounts from private backers. In the year to June 2025 it raised £36m through share issues. Three months after the second grant, Reynolds and Mac announced the sale of a stake in the club to Apollo, one of the world’s largest private equity firms.Bloomberg reported that Wrexham was valued as high as £350m. The club then raised another £47.8m in January, according to corporate filings.In the year before it received the £14m grant, Wrexham was able to repay loans worth £10.6m to Ryan Reynolds’s company, according to accounts published last month. It also lost £3.8m from the collapse of Argentex, a currency brokerage that entered special administration in July 2025 because of failed foreign exchange trades.Pritchard, the council leader, said: “The grant represents a small investment compared to what the club will be investing at the Racecourse … In fact, as the club has grown in both stature, ambition and from external investment, the percentage of public investment compared to that of the club has shrunk from roughly 68% of the project costs to around 25% currently.“This demonstrates further value for money in regard to the initial investment from the public purse.”Wrexham AFC said the club is itself making a “significant financial investment with the support of our ownership group and investors”. Accounts published last month show the club has signed a £69.2m contract to build a new stand.The spokesperson said the “funding ensures the facility can be brought up to the required standard to host international sporting events, including international football and rugby matches (as opposed to just meeting domestic football criteria)”

When the traditional photo of the world’s top 16 was taken outside Sheffield’s Crucible Theatre on Friday, Ronnie O’Sullivan and Judd Trump were conspicuously absent. Their failure to attend the press event—required by player contracts—cast a shadow over the opening weekend of the World Snooker Championship.Organisers have not explained the duo’s absence, but the snooker community worries it could trigger disciplinary measures. Financial penalties are unlikely, yet the mood shift was palpable among players and journalists.Defending champion Zhao Xintong arrives as the clear favourite, with bookmakers offering odds reminiscent of Stephen Hendry’s dominance in the 1990s. The tournament’s long‑term deal with the Crucible is no longer the headline; instead, the focus is on whether Zhao can break the “Crucible curse” that has plagued first‑time champions.World No 8 Shaun Murphy, a 2005 champion, voiced his disappointment: “It’s become normal that they don’t turn up for these things… It’s a real shame, and they could have done more to promote the game.” Murphy stressed that the absence reflects on the players themselves rather than on snooker as a whole.Beyond the headline names, the championship showcases a historic record 11 Chinese players in the 32‑man field, underscoring China’s growing influence on the sport. Zhao’s 2025 triumph marked the first world title for a Chinese player, and his presence continues to boost the game’s profile in Asia.At the same time, fresh British talent is emerging. Nineteen‑year‑old Stan Moody of Halifax and twenty‑year‑old Liam Pullen from York have qualified for the first time, while Antoni Kowalski, aged 22, becomes Poland’s inaugural Crucible competitor. World No 14 Mark Allen praised the “strength in depth” these youngsters bring, and Murphy echoed the sentiment, suggesting that visible success could inspire a new wave of UK players.All eyes will eventually turn to O’Sullivan, who is slated to begin his campaign on Tuesday against qualifier He Guoqiang. Until then, the tournament balances the allure of established stars with the promise of a new generation poised to seize the spotlight.

Oil and gas prices experienced a significant decline of almost 10% on Friday following Iran's announcement that the Strait of Hormuz is open to commercial shipping. This development could pave the way for tankers carrying millions of barrels of oil and gas to access the global market.Iran's foreign minister stated that vessels are free to transit the Strait of Hormuz during the 10-day ceasefire between Israel and Lebanon. Brent crude, the international benchmark, fell by 9% to $90 a barrel, while the benchmark European gas contract dropped by about 8.5% to €38.80 (£33.80) per megawatt hour.The US naval blockade on Iran's use of the strait remains in full force, according to Donald Trump, until a deal is reached with Tehran. Trump expressed optimism that the process will move quickly, as most points have already been negotiated.The crisis in the Strait of Hormuz has disrupted supplies of Middle Eastern crude and gas, as well as refined fuels from Gulf refineries, in what the International Energy Agency has described as the biggest energy supply crisis in history. Before the crisis, over 130 ships a day travelled through the strait, but this has reduced to a trickle under threats from Iran's Revolutionary Guards.There are currently around 800 tankers stuck in the Gulf, with about 300 being oil and gas tankers. It remains uncertain whether tankers will be required to pay a fee of about $2m (£1.5m) for safe passage through the strait.Analysts, such as Giovanni Staunovo from UBS, view Iran's comments as a sign of de-escalation, but emphasize the need to see a substantial increase in the number of tankers crossing the strait.

Tottenham Hotspur, a club with a rich history and significant financial resources, finds itself in a precarious position, battling relegation with only six games remaining in the Premier League season. The team's struggles have been well-documented, with just 30 points from 32 games, placing them 18th in the league table.The appointment of Roberto De Zerbi as manager has brought a mix of tactical acumen and emotional intensity, but the Italian tactician faces a monumental task in rescuing the team's season. De Zerbi's approach focuses on the psychological aspect of the game, emphasizing the need to restore belief and harness the talent within the squad.The team's decline has been attributed to a combination of factors, including mismanagement, constant instability, and a lack of clear direction. The revolving door of managers, with four changes in the last 12 months, has left the players without a clear identity or tactical discipline. The impact of long-term injuries to key creative players such as Dejan Kulusevski, James Maddison, and Mohammed Kudus has further exacerbated the team's struggles.De Zerbi's high-risk, high-reward system requires time to implement, but with relegation looming, he is prioritizing the mental aspect of the game, urging his players to draw on the principles drilled into them under former manager Ange Postecoglou.With crucial matches against Brighton and Wolves on the horizon, Tottenham has the opportunity to pick up vital points and inject some much-needed confidence into the team. However, the question remains whether De Zerbi's approach can yield the desired results in time to avoid relegation.

The Chisenhale Gallery in London greets visitors with an unsettling aroma that oscillates between sweet butter and a harsh, chemical perfume, immediately signalling that the exhibition is designed to disturb both mind and nostrils.At the heart of the show stands a massive mobile health unit – a former US‑British field ambulance acquired at a military auction. Its presence transforms the pastel‑painted gallery into a simulated triage zone, complete with faded chemical warnings, triage forms and evacuation maps. Among the discarded paperwork, a single sheet reveals that the vehicle participated in decontamination after the 2018 Novichok attack on double‑agent Sergei Skripal, adding a chilling historical layer to the installation.The surrounding walls are coated in Baker‑Miller pink, the hue once tested in US jails to calm aggressive inmates. This “drunk‑tank pink” juxtaposes the sterile pink of the health unit, blurring the line between soothing and coercive environments.Beyond visual cues, the exhibition assaults the senses with a bespoke scent concoction. Crowther blends substances derived from powdered milk – a symbol of industrialised sustenance – with hexadecanal, a naturally occurring skin compound known to dampen aggression in men while provoking it in women, and famously emitted by newborns. The result is a “sweetly putrid” odor that feels both familiar and alien, prompting visitors to question whether they are inhaling rubber, milk, or something more sinister.Through this multisensory tableau, Crowther frames colour and smell as potential psy‑ops, probing how basic human experiences can be industrialised and militarised. She asks: What does health mean when it is administered by the state or corporate entities? Who truly benefits when care becomes a tool of surveillance and control?Visitors navigate a space that oscillates between comfort and exploitation, leaving them to wonder whether they are being nurtured or manipulated. The exhibition runs at Chisenhale Gallery until 14 June 2026, inviting the public to confront the uneasy overlap of medical aid, military apparatus and sensory manipulation.