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Chris Evans’ attempt to resurrect the 1990s chatshow juggernaut TFI Friday began quietly on Virgin Radio’s YouTube channel earlier this year. The lo‑fi series, titled TFI: Unplugged, featured a handful of high‑profile guests – Danny Dyer, Chris Hemsworth, Bono and Noah Wyle – and quickly attracted enough viewers for Channel 4 to commission six late‑night episodes. While the media spotlight has been on Claudia Winkleman’s foray into celebrity interviewing, Evans’ revival arrives with far less fanfare and pressure. The new format is deliberately stripped back: a cramped studio, casually dressed staff, and a budget that Evans himself jokes is “only 1% of the original”. Channel 4 commissioning editor Cimran Shah pitched the show as “personality‑led, stripped‑back chat”, positioning it as a precursor to today’s visual podcasts. In practice, the production feels more like a video‑recorded audio interview than a full‑blown TV spectacle. The episode lineup mixes legacy and fresh talent. Vintage performances from Sleeper, The Cure and Garbage provide a nostalgic soundtrack, while contemporary guests such as Jack Savoretti – who Evans repeatedly hails for a recent chart‑topping album – and Indian star Shreya Ghoshal, who covers Coldplay’s “Fix You”, aim to broaden appeal. A promised appearance by Gemma Arterton and Peter Capaldi never materialised; instead, singer‑songwriter Sam Ryder appeared despite having lost his voice. One of the few moments that truly harkens back to the original is a splice of Evans’ 1999 interview with David Bowie, in which the legendary musician bizarrely claims to have contracted gastroenteritis from eating monkey meat. The clip underscores Evans’ desire to remind viewers of the show’s storied past, even if the anecdote feels more odd than iconic. Critics note that the new Unplugged version lacks the “laddish, often cruel humour” that defined the 1990s TFI Friday, including infamous segments like the “Fat Lookalikes”. The original’s chaotic energy and Britpop‑fuelled vibe have been replaced by a more restrained, if still frenetic, studio atmosphere. In terms of relevance, the series appears out of step with current trends. Unlike interview podcasts that create an intimate, off‑camera feel, Evans’ format retains the sweaty, over‑the‑top live‑TV aesthetic without delivering the depth or novelty that modern audiences expect. Overall, TFI Friday Unplugged may not reshape the UK chatshow landscape or outshine Winkleman’s high‑profile debut, but it does carve out a modest niche for nostalgia‑driven viewers. Its inexpensive production model proves sustainable, even if the show remains a modest footnote in the broader revival of British talk‑show culture.

Netflix co-founder Reed Hastings is leaving the streaming service he co-founded 29 years ago, as the company regains its footing after losing a $72 billion deal for Warner Bros Discovery to Paramount Skydance.In a letter to investors released on Thursday, Netflix said Hastings will not stand for re-election at its annual meeting in June and plans to focus on philanthropy and other pursuits.The company's stock plunged about 8 percent on the news of Hastings's departure. The co-founder is credited with helping to revolutionize how movies and television shows are delivered in homes, upending Hollywood's business model.“Netflix is growing revenues double-digits, expanding margins in 2026 and gushing free cash flow,” said LightShed Partners media analyst Richard Greenfield. “While the Q1 was uneventful financially, the departure of Reed Hastings has spooked investors.”Netflix reaffirmed in a 14-page shareholder letter that its mission remains “ambitious and unchanged” – to entertain the world, providing movies and series for many tastes, cultures and languages. The company’s full-year outlook remained unchanged.The company did not say how it plans to spend the $2.8 billion termination fee it received after losing the Warner Bros movie studio and HBO, and lifted its earnings per share to $1.23 in the first quarter compared with 66 cents per share in the same quarter last year.Revenue rose to $12.25 billion, an increase of 16 percent from the year-ago period, modestly exceeding analyst forecasts of $12.18 billion.Netflix, which long told investors that a Warner Bros acquisition was a “nice to have, not need to have” proposition, highlighted areas of future growth.The company said its investment in expanding its entertainment offerings, with video podcasts and live entertainment – such as the World Baseball Classic in Japan – is driving engagement.It plans to use technology to improve the user experience and improve monetization, as advertising revenue remains on track to reach $3 billion in 2026 – a twofold increase from a year ago.

Reed Hastings, the co-founder of Netflix, is leaving the streaming service's board of directors after 29 years. Hastings will not stand for re-election at the company's annual meeting in June and plans to focus on philanthropy and other pursuits.In a letter to investors, Netflix said Hastings' decision to step down is not a result of any disagreement with the company. The company's stock dropped about 8% on the news of Hastings' departure.Hastings co-founded Netflix in northern California and led it through its pivot from a mail-order DVD company to a leading streaming TV service. He stepped down as CEO in 2023.Netflix reaffirmed its mission to entertain the world, providing movies and series for many tastes, cultures, and languages. The company's full-year financial outlook remained unchanged. Revenue rose to $12.25 billion, an increase of 16% from the year-ago period, modestly exceeding analyst forecasts.The company plans to use technology to improve the user experience and monetization, with advertising revenue on track to reach $3 billion in 2026, a twofold increase from a year ago. Netflix also highlighted areas of future growth, including video podcasts and live entertainment.

Jessie Ware's latest album, Superbloom, marks a return to her disco-pop roots, building on the success of her previous albums What's Your Pleasure? and That! Feels Good!. The album features a more straightforwardly retro sound, with lush orchestration and a focus on grownup pop.The album's sound is influenced by Table Manners, Ware's popular podcast co-hosted with her mother Lennie, which has attracted A-list guests like Margot Robbie and Paul McCartney. This crossover appeal is evident in tracks like Automatic, featuring a spoken-word appearance from Colman Domingo.Ware's songwriting and production are notable for their classiness and taste, with Superbloom showcasing her ability to craft great melodies and choruses. While the album may lack a standout hit like Free Yourself from her previous album, it is well-written and well-made, with a focus on disco-infused pop.The album's string arrangements are particularly noteworthy, avoiding glitterball cliches and instead evoking the ghost of Charles Stepney's psychedelic soul. Overall, Superbloom is a confident and well-crafted album that solidifies Ware's position as a leading figure in the disco-pop genre.

Adam Scott, a familiar face in the entertainment industry since the 90s, has had a diverse career spanning films like Hellraiser IV: Bloodline, Star Trek: First Contact, Knocked Up, and Step Brothers. One of his most memorable roles was as Ben Wyatt in Parks and Recreation, where he played a state auditor and the anxious policy wonk turned devoted husband to Leslie Knope, played by Amy Poehler.Since his time on Parks and Recreation, Scott has continued to work in both comedy and drama, appearing in shows such as The Good Place and Veep, as well as taking the lead in the Apple TV hit Severance. His film work has also been notable, with roles in Madame Web alongside Dakota Johnson and as an absent father in Stephen King’s The Monkey.In addition to his acting career, Scott also runs a podcast series called U Talkin’…, where he deep-dives into bands like U2, REM, and Talking Heads. He has also expressed his fandom on occasion, such as when he met his hero Mark Hamill on Jimmy Kimmel.Now, Adam Scott is set to star in the supernatural horror film Hokum, which is scheduled to release in cinemas on May 1st. Fans have the opportunity to ask him questions about his career and upcoming projects, with responses to be published in a reader interview series. Questions must be submitted by 3pm BST this Thursday, April 16th.

Why does the war in Sudan persist three years after it began? According to the latest episode of Al Jazeera’s podcast The Take, the answer lies in the network of external actors that continue to fund and arm the warring factions – the Sudanese Armed Forces (SAF) and the Rapid Support Forces (RSF). The episode, hosted by journalist Malika Bilal and featuring political analyst Dallia Abdelmoniem, explores how regional and global rivalries have turned Sudan into a proxy battleground. With the United States and Israel engaged in a broader confrontation with Iran, and tensions in the Strait of Hormuz inflating oil prices, the cost of fuel and food in Sudan has surged, worsening an already dire famine situation. Key insights from the discussion include: Foreign financing and arms supplies keep both the SAF and RSF operational, preventing a decisive military outcome. US‑Israel‑Iran dynamics divert international attention and resources, allowing the Sudanese conflict to fester. Rising global fuel prices driven by Strait of Hormuz instability increase transport costs, making humanitarian aid more expensive and less accessible. Food price spikes exacerbate famine risk for millions of displaced Sudanese, deepening the humanitarian crisis. The podcast also notes that without a coordinated diplomatic push to address the external backers and the broader geopolitical tensions, a sustainable cease‑fire remains unlikely. Production credits go to Tamara Khandaker (producer), with contributions from Noor Wazwaz, Sari el‑Khalili, Spencer Cline, Chloe K Li, and Tuleen Barakat. Editing was handled by Alexandra Locke, while Alex Roldan provided sound design and Hisham Abu Salah and Mohannad al‑Melhem managed video editing. Listeners can follow the conversation and future episodes on X, Instagram, Facebook, and YouTube.

Gary Neville’s sports‑media outfit, The Overlap, has secured ownership of two of the United Kingdom’s most followed football YouTube channels, a transaction estimated at a seven‑figure sum.The channels—The United Stand and That’s Football—bring together approximately 3.7 million subscribers, bolstering The Overlap’s audience to around 6 million across all its platforms.While the partnership may appear surprising given past on‑air sparring, Neville acknowledged his former criticism of “those bloody YouTubers” and Goldbridge’s frequent jabs at his own Manchester United opinions. He emphasized that no grudges remain and that the collaboration is driven by business logic, not personal rivalry.Speaking to the press, Neville said the deal is designed to tap the “noise segment” of football coverage—fans’ appetite for constant debate, opinion, and analysis when live matches are not on. He described the goal as delivering “direct, personality‑led content” that keeps supporters engaged around the clock.The United Stand, with 2.26 million subscribers, is the largest Manchester United fan channel on the platform, while That’s Football reaches 1.46 million viewers with broader Premier League coverage. Under the new ownership, The United Stand will debut formats such as “Stick to United” (featuring ex‑players and journalists) and a daily news show titled “The Daily United.” That’s Football is slated for a rebrand and the launch of a daily football‑news podcast channel.The Overlap, founded in 2021, already produces flagship shows like “Stick to Football,” “Fan Debate” with Wayne Rooney and Paul Scholes, and a cricket‑focused series launched last year. This acquisition follows its earlier move in January, when Global took a majority stake in the company, underscoring YouTube’s rising influence in sports broadcasting.Neville framed the purchase as the first of “hopefully a few more” aimed at building premium channels for major clubs across the UK and Europe. He assured fans that any new content will complement Goldbridge’s existing style, adding “value and intelligence” through contributions from former players and journalists.Goldbridge, whose real name is Brent Di Cesare, expressed enthusiasm for the next phase, noting that a decade of building The United Stand and That’s Football has prepared him for the resources and credibility The Overlap can provide to elevate his platforms.

National Gas announced that the United Kingdom will have enough gas to satisfy summer demand despite recent tensions in the Strait of Hormuz. The network, which runs the country’s gas pipelines, says domestic and Norwegian supplies will cover the low‑usage months, meaning liquefied natural gas (LNG) imports will be minimal this summer. The real challenge lies ahead. While renewable rollout is accelerating, gas will remain a core part of the UK’s energy mix for at least the next two decades. It accounts for about 37% of total gas consumption in 2024, with domestic heating being the largest single use. Replacing millions of boilers with heat pumps cannot happen quickly, especially given the current sluggish pace. Government plans for 2030 still require the full 35 GW of gas‑fired generation capacity to stay online as backup. Energy department data released in early 2025 showed gas demand “broadly stable” for the third consecutive year, representing roughly half of the nation’s 75.2% fossil‑fuel dependency. In the debate over new North Sea drilling licences, the key question is where future gas will come from. Oxford energy economist Sir Dieter Helm, speaking on a Chatham House podcast, warned that gas will dominate the energy supply for the next decade or two and that the cheapest, least polluting option is pipeline gas—not LNG. Analysis from Wood Mackenzie confirms this hierarchy. Pipeline gas from modern Norwegian platforms has the lowest carbon intensity, followed by UK North Sea pipelines. By contrast, LNG adds significant emissions during liquefaction and regasification, and US LNG is the most carbon‑intensive because much of it originates from shale gas with higher methane leakage. Wood Mackenzie’s import forecasts to 2045 paint a stark picture: if domestic production wanes, the UK could rely on US LNG for over 60% of its total gas supply by 2035. The firm notes that Middle‑East gas is geared toward Asian markets, while US cargoes are increasingly directed to Europe, raising concerns about over‑reliance on a single supplier. These projections underpin the argument for expanding UK North Sea extraction. More domestic drilling would reduce dependence on US LNG—a geopolitical risk given the United States’ tendency to use energy as a foreign‑policy lever—and would also lower the overall carbon footprint of the gas supply chain. Critics often claim that North Sea output is exported, so it does not improve national security. Two counter‑points are clear: first, gas delivered directly via pipeline to the UK network is inherently more secure than trans‑Atlantic cargoes; second, the UK could negotiate long‑term, fixed‑price contracts with producers, a model that worked well in the early days of North Sea development. None of this diminishes the importance of renewables and nuclear power. Electrification remains the long‑term goal, but gas will stay in the energy basket for years to come. Offshore Energies UK estimates that, with a pragmatic licensing approach, reliance on LNG could be limited to 6% of total gas supplies by 2035. Assuming political stalemate eases, the pending approval of the Jackdaw field—accounting for roughly 6% of current domestic production—could spark a more nuanced debate about the UK’s gas procurement strategy, moving beyond the simplistic “renewables vs. gas” narrative. Reflecting on the recent Iran‑UK conflict, Prime Minister Rishi Sunak highlighted the need for “secure, homegrown energy”. The logical follow‑up is twofold: accelerate electrification to cut gas demand, and while gas remains essential, avoid turning the UK into an “energy prisoner of the US”. Beyond the geopolitical and environmental benefits, expanding North Sea output would also support jobs, tax revenue, and the balance of payments.

History’s Greatest Fails pairs author Elizabeth Day with historian Dan Jones to explore celebrated historical missteps. After a witty reunion anecdote about their Cambridge days, the duo tackles the myth of Richard III’s villainy and promises a future episode on Henry VIII and Anne Boleyn, dubbed the "Ross and Rachel of early modern history."Strangely follows presenters Poppy Damon and Luke Jones as they plunge into off‑beat news stories, such as the macabre tale of a surgeon who amputated his own legs and the obscure origin of Neil Hopper’s "eunuch‑maker" moniker. The show balances factual depth with a tongue‑in‑cheek tone.Passenger Seat is a slow‑burn true‑crime podcast produced by Pennsylvania writer Tom Joudrey. The inaugural season recounts the 2012 kidnapping of Jennifer Hurst in Ohio, unraveling the puzzling motive behind the crime and the surprising gratitude she later expressed in court.Big Bro With Kid Cudi marks rapper Kid Cudi’s entry into the "celebrity podcast industrial complex". His first interview features Kylie Jenner, who drops the usual Kardashian PR veneer to discuss family dynamics, her upcoming acting role in the film The Moment, and a brief nod to Timothée Chalamet.Northern News reunites comedian Amy Gledhill with Ian Smith to spotlight odd and delightful headlines from the north of England that often slip under the radar. Regular contributors such as Stevie Martin, Alison Spittle and Phil Wang add extra comic flair.