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Starbucks's UK retail arm secured a significant £13.7m corporation tax credit last year, even as it reported a 6% increase in sales to £556.3m and added over 90 new stores, bringing its total to 1,304. The tax credit, which can be used to offset future tax bills, follows losses widening to £41.3m in the 12 months to September.The company's financial performance was impacted by £40m in royalty and licence fees paid to its parent company, Starbucks Emea. These fees, which are paid to a UK-based entity that collects similar fees from across Europe, the Middle East, and Africa, significantly contributed to the losses.Despite the losses, Starbucks UK's sales growth was driven by price increases, new loyalty schemes, and the introduction of “freshly baked in-store food”. The company also shifted its workforce towards full-time staff, reducing overall staff numbers by 244 to 5,352.Critics, such as the Fair Tax Foundation, argue that this situation highlights a recurring issue where large corporations like Starbucks use complex financial structures to minimize their tax liabilities. “This all feels so very Groundhog Day,” said Paul Monaghan, chief executive of the Fair Tax Foundation. “As per a decade ago, Starbucks UK reports annual growth in income and store numbers, whilst at the same time declaring a loss due to the payment of hefty royalty fees to other Starbucks subsidiaries. The end result, no corporation tax is paid.”In response, a Starbucks spokesperson emphasized the company's commitment to paying all taxes due, stating that it “manages its global tax responsibilities in keeping with its mission and values.”The company's financial challenges are expected to continue, with Starbucks UK citing a “challenging consumer environment” characterized by inflationary pressures, reduced discretionary spending, and increased competition. The company has received financial support from its parent group, including £30m in cash to keep the business afloat and a further £60m in February.

Bafta has issued an unreserved apology for the events surrounding John Davidson's Tourette's outburst at this year's ceremony. An independent review found 'weaknesses' in the organization's planning and crisis procedures.Davidson, an executive producer on the Bafta-winning film I Swear, made headlines after involuntarily shouting the N-word during a live broadcast. The incident sparked widespread criticism and concern.The review identified 'structural weaknesses' in Bafta's planning, escalation procedures, and crisis coordination arrangements. Specifically, it noted that the organization did not fully appreciate the risks associated with a live broadcast appearance and lacked a clear operational command structure to respond effectively.Bafta's board accepted the review's conclusions and apologized to the Black community, the disability community, and all members, guests, and viewers. They acknowledged that the incident diminished and overshadowed what was supposed to be a celebratory event.The apology comes after the BBC ruled that its airing of the slur, despite a two-hour tape delay, breached editorial standards. Bafta has committed to addressing the recommended areas of improvement to prevent similar incidents in the future.

Compiling a definitive Top 10 of superhero movies proves as elusive as “herding thunder through a spreadsheet.” Critics must decide whether to prioritize cinematic craftsmanship, cultural influence, or the raw emotional resonance that these films generate.Over the past two decades the genre has diversified dramatically, spanning crime‑driven Batman sagas, family‑friendly adventures like The Incredibles and Guardians of the Galaxy, political allegories such as Captain America: The Winter Soldier and Black Panther, and experimental visual feats exemplified by Spider‑Man: Into the Spider‑Verse. This breadth makes any hierarchical ranking inherently subjective.Influence remains a key metric. Richard Donner’s Superman (1978) demonstrated that audiences would pay to see a man fly, paving the way for half a century of cape‑wearing blockbusters. Similarly, Iron Man reshaped the modern blockbuster formula, launching the Marvel Cinematic Universe and redefining franchise economics.Emotional impact also matters. Logan stands out as a bruised, mournful western that subverts the genre’s usual invincibility myth, presenting a weary Wolverine confronting mortality. Its rawness offers a rare catharsis rarely found in superhero narratives.Event status cannot be ignored. Avengers: Endgame turned its opening weekend into a cultural ritual, with multiplexes resembling revival tents where audiences collectively cheered, gasped, and celebrated. Even a “colder” analysis must acknowledge that the film transformed anticipation into a generational sacrament.Visual innovation is another hallmark. The Oscar‑winning animation Spider‑Man: Into the Spider‑Verse made comic‑book ink feel alive, delivering a sensory overload that redefined what animated superhero storytelling could achieve.Cultural relevance caps the discussion. Black Panther emerged as a modern myth that forced critics to confront race, identity, and heritage within blockbuster fantasy, expanding the perceived centre of the superhero universe beyond the traditional Batman, Superman and Spider‑Man triad.While outliers like Alex Garland’s Dredd and Guillermo del Toro’s Hellboy II: The Golden Army deserve mention, the critic’s final Top 10 list reflects a balance of influence, artistry, and cultural weight:1. The Dark Knight2. Spider‑Man: Into the Spider‑Verse3. Superman (1978)4. The Incredibles5. Spider‑Man 26. Dredd7. Spider‑Man: No Way Home8. Avengers: Endgame9. Spider‑Man10. Logan

Stefano Gabbana left his post as chair of Dolce & Gabbana effective 1 January 2026, describing the move as part of a "natural evolution" of the company’s organisational structure and governance.The luxury house stressed that the resignation will not affect Gabbana’s creative responsibilities within the group.According to Bloomberg, Alfonso Dolce – Domenico’s brother and the group’s chief executive – assumed the chairmanship in January, taking over the role from the co‑founder.Sources indicate that Gabbana is exploring options for his 40 % equity stake as the brand continues negotiations with its bank lenders. In parallel, former Gucci chief Stefano Cantino has been appointed to a senior management position as part of the reshuffle.A D&G spokesperson added that the company “has no statement to make at this time” regarding its debt position, as talks with banks remain ongoing.The Italian label, founded in 1985, is grappling with a slowdown in the high‑end fashion market, a trend intensified by uncertainty surrounding the war in Iran – a region that represents a crucial market for luxury brands.In March, Dolce & Gabbana hired Rothschild & Co as its financial adviser to prepare for creditor discussions. At that point the group carried €450 million (£391 million) of bank debt, incurred after a 2025 refinancing aimed at supporting a new growth strategy while preserving independence. Lenders had temporarily waived certain borrowing terms.Ownership of the company remains split: each designer holds a 40 % stake through a holding vehicle, while the remaining shares are owned by Alfonso Dolce and their sister Dorotea.Founded by Stefano Gabbana and Domenico Dolce, the brand quickly became synonymous with a “molto sexy” Italian aesthetic, gaining global visibility after Madonna commissioned costumes for her 1993 Girlie tour. By 2009, Dolce & Gabbana reported a turnover of €1 billion.Despite its commercial success, the house has faced a series of controversies over the past 15 years, ranging from accusations of racism and homophobia to backlash over culturally insensitive advertising, which have at times threatened its market position.

The ongoing conflict between the US and Israel and Iran has significantly altered the dynamics of the nuclear programme negotiations. Former US envoys who dealt with Iran have stated that the US-Israeli attack on Iran and Tehran's subsequent closure of the Strait of Hormuz have given Iran new tools and resolve to resist pressure to shutter its nuclear programme.Two senior negotiators for the Joint Comprehensive Plan of Action (JCPOA), the Obama-era agreement to limit Iran's nuclear uranium enrichment in exchange for sanctions relief, said the Trump administration's war had handed Iran a coveted weapon by demonstrating its ability to cut off the Strait of Hormuz, an economic chokehold that one negotiator said would help Iran 'balance the asymmetry of power' with the US.Alan Eyre, a former diplomat who helped negotiate the JCPOA, noted that 'this administration, to say it more politely, cannot unsoil the bed. There's no way to get back to the status quo ante before this war started.'In 2018, Donald Trump withdrew the US from the JCPOA, which barred Tehran from enriching its uranium to weapons-grade. Trump called the deal 'one of the worst and most one-sided transactions' the US had ever entered into.However, after a strategy of high pressure – first through returning sanctions and then, after Trump's return to power in 2025, a war that was meant to destroy Iran's nuclear and ballistic missile capabilities – the current US administration has found itself in more complex negotiations than before its campaign of economic and military strikes.Robert Malley, a Yale lecturer who was former special envoy to Iran under Joe Biden and a lead negotiator on the JCPOA, said: 'The strait of Hormuz wasn't an issue before the US decided to strike. You have all the issues inherited from the past, but you just added a few, because the US has handed Iran a tool that it always had, but it never thought of using, or never felt it could.'The chances for a comprehensive agreement addressing all of the US and Iran's grievances appear slim. While the Obama administration sought to negotiate exclusively on Iran's nuclear programme in the lead-up to the 2015 agreement, the Trump administration has sought a broader deal limiting Iran's ballistic missiles programme and its support for regional proxies, such as Hezbollah in Lebanon and the Houthis in Yemen.

The Artemis II mission is set to make a profound impact on the world, inspiring future generations to pursue careers in science, technology, engineering, and mathematics (STEM). The crew's journey represents a significant milestone in space exploration, uniting people across the globe in their quest for knowledge and discovery.As the world watches, the Artemis II mission is poised to ignite a sense of wonder and curiosity about the vastness of space and the possibilities that lie beyond our planet. By pushing the boundaries of human exploration, the crew is embodying the spirit of adventure and cooperation that defines humanity's pursuit of excellence.

Britain’s recent reversal of the on‑shore wind ban, announced by Energy Secretary Ed Miliband, has set in motion a wave of proposals to install more than one hundred colossal turbines across the Cambrian Mountains of mid‑Wales. The Cambrians, a 500‑square‑mile stretch of moorland and high ground that remains the most extensive wilderness south of Scotland, could soon host turbines reaching 220–230 metres – roughly 50% taller than any existing on‑shore turbine in England and Wales and more than twice the height of Big Ben. Each turbine would sit on a 2,000‑tonne concrete foundation and require at least 100 tonnes of steel. The scheme also envisions over 200 km of new pylons to link the farms to the National Grid, alongside roads, repair bays and storage depots. Analysts note that the construction phase would generate a substantial carbon footprint, especially given the turbines’ relatively short operational life of 20–25 years. Environmental organisations, including the Wild Wales Trust and the Campaign for the Protection of Rural Wales, have rallied against the plans, warning that they would "degrade and industrialise huge areas of the uplands and valleys" and could encroach on Wales’s sole UNESCO biosphere reserve in the Dyfi valley. Local opposition is hampered by the region’s sparse population, but activists have been posting hand‑drawn notices on the Glaslyn uplands and highlighting the visual impact of proposed turbine clusters – for example, a hilltop site slated for 26 turbines that would dominate the skyline across the country, and a location dubbed “Artists Valley” that could be renamed after a row of 37 similar structures. Critics argue that Wales, which is moving toward renewable self‑sufficiency and already exports surplus power, does not need these installations for its own energy security. Instead, the turbines appear designed to feed the broader UK grid, echoing historic instances where Welsh resources were harnessed for the benefit of other regions, such as the 1960s water transfers to Liverpool. With the Cambrian Mountains lacking any national‑park protection – a status denied in the 1950s due to local farming opposition – the landscape remains vulnerable to large‑scale industrialisation. The proposed developments raise a fundamental question: should a politician’s ambition for renewable credentials outweigh the preservation of one of Britain’s most pristine natural areas?

Mom’s mantra – “don’t borrow trouble” – became the compass that steadied Feimster during the uncertain early years of her comedy career. She says the simple advice helped her shift focus from endless worry to actually performing. Growing up, Feimster was captivated by Carol Burnett’s slapstick brilliance, a love sparked by her grandmother’s nightly reruns. The legendary comedian’s on‑ and off‑screen silliness shaped Feimster’s own comedic sensibility. When she was cast as the beaver Nibbles in the upcoming Zootropolis 2, the process was anything but typical. “The script was top‑secret,” she recalls, noting that she entered the recording booth with only a brief scene description from director Jared Bush, never knowing how pivotal her character would become. Feimster also laughs about a nightmare charity gig in a Virginia biker bar, where the stage was literally a wooden crate, the lighting resembled a construction site, and a karaoke machine served as the sound system. “Nobody, including me, enjoyed the show,” she admits. Unlike many performers, she has no elaborate pre‑show rituals. She arrives minutes before the curtain rises, chats with the audience, and treats each performance like a regular day, much to the amusement of co‑host Tom Papa. The relentless travel schedule is a double‑edged sword. Feimster describes the constant touring as exhausting, with the added pressure of having to write fresh material after every special. “You finish one project and must start from scratch,” she says, highlighting the creative churn that fuels her growth. On set with Arnold Schwarzenegger for the film Fubar, Feimster found the experience inspiring. She notes that the legendary actor’s varied career – from bodybuilding champion to governor – made every day on set feel like a master class. Looking ahead, Feimster has wrapped two Netflix comedies: one starring Will Ferrell as a washed‑up pro golfer where she plays his caddie, and another ensemble with Kim Kardashian, Nikki Glaser and Brenda Song. She hints at a future shift toward a more serious, less self‑referential role. Meanwhile, her current stand‑up show “Takin’ Care of Biscuits” continues its North American and European leg, with a stop at London’s Hackney Empire on 3 June and the tour running through 9 August.

The rapid advancement of artificial intelligence (AI) has led to a growing concern about who controls the companies behind these technologies. OpenAI, the creator of ChatGPT, is at the forefront of this discussion, with its products now integrated into various aspects of our lives, from smartphones to defense contracts and law enforcement. Investigative journalist Ronan Farrow's recent piece in The New Yorker has raised important questions about the power dynamics at OpenAI, particularly surrounding its billionaire founder and CEO, Sam Altman. Farrow's article suggests that Altman's leadership and the company's operations have sparked concerns about its growing influence and the potential risks associated with its technology. OpenAI's market valuation has reached an astonishing $852 billion, despite a projected loss of $14 billion in 2026. This commercial momentum has led to a significant expansion of its operations, including a deal with the US military to use its technology in classified operations. This move has raised eyebrows, especially given the company's own staff researchers' concerns that AI could be a "threat to humanity". The article also highlights the connections between OpenAI executives and political figures, including a $25 million donation to a Trump fundraising vehicle by OpenAI's top executive, Greg Brockman. These ties have sparked concerns about the company's commitment to democracy and its potential influence on AI regulations. The debate surrounding OpenAI and AI regulation has led to a "QuitGPT" campaign by activist/historian Rutger Bregman, calling for a worldwide boycott of Altman's company. As AI continues to shape our world, it is essential to consider the implications of who controls these technologies and the need for meaningful social, political, legal, and economic guardrails to minimize harm.