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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.

The US inflation rate experienced a significant surge in March, rising to 3.3% over the year, with prices increasing by 0.9% compared to the previous month. This spike is largely attributed to the escalating conflict with Iran, which has resulted in a substantial increase in energy prices.The Consumer Price Index (CPI) for energy rose by 10.9% in March, primarily driven by a 21.2% increase in gasoline prices. This increase accounted for nearly three-quarters of the monthly all-items increase. Airfares also saw a notable rise, increasing by 2.7% in March and 14.9% higher than a year earlier.Core inflation, which excludes volatile food and energy prices, rose at a more modest 0.2% over the month and was 2.6% higher over the year. The annualized inflation rate has not exceeded 3% since summer 2024.The conflict with Iran has driven the American economy into deeper uncertainty, adding to the precariousness that began with Donald Trump's tariffs last year. The war has also led to a rise in oil prices, with US crude oil priced 10% higher than before the conflict and nearly 30% higher since the start of the year.Recent data shows that prices are affecting producers, with the gross domestic product (GDP) for the last quarter of 2025 revised down from an initial 1.4% to 0.5%. The prices index in the Institute for Supply Management's survey of managers saw its largest one-month increase in 13 years, rising from 63 in February to 70.7 in March.Consumer confidence is also falling, with the University of Michigan's closely-watched consumer confidence survey recording a 10.7% drop to its lowest level on record. Survey director Joanne Hsu noted that many consumers blame the Iran conflict for unfavorable changes to the economy.Despite the challenges, the labor market appears resilient, with employers adding 178,000 jobs in March and the unemployment rate falling to 4.3%. However, the Federal Reserve faces a tricky situation in adjusting interest rates amid the conflict, as raising rates could help curb inflation but risk destabilizing the labor market and increasing unemployment.

Midway through the fifth day of the County Championship’s second round, Ollie Pope joined an elite group by becoming the 11th centurion in Division One this season. Five of those centuries belong to Surrey, with Jamie Smith already on two. The pre‑season favourites, despite a drawn opening match, looked formidable at the close of play, sitting at 412 for six.Leicestershire’s situation could not be more contrasting. Fresh from promotion, the side suffered a defeat to Sussex in their opener and, by the second session, appeared short on confidence, ideas and quality. Late‑stage wickets offered a brief spark, but the scoreboard told a different story.A crowd of 4,700 spectators braved a brisk early‑spring day at the Oval. With Surrey’s top six all boasting international caps, the match was inevitably examined for potential England implications. The first surprise came from Leicestershire’s own Josh Hull, who marked the second anniversary of his solitary Test appearance.Now 21, Hull has shed the rawness of his debut against Sri Lanka in September 2024, showing improved pace and reliability. He opened his season with a wicket in his first over, dismissing Dom Sibley lbw, and later produced a short ball that struck Pope’s helmet and an edge from Smith before being pulled after a brief spell.When Hull returned for a fourth spell deep in the final session, Smith repaid the effort with a brutal low‑flying pull for six, pushing his total past 150 runs. The partnership underscored Surrey’s growing dominance as the day progressed.Jamie Smith’s 166 from 240 balls marked his second century in the opening two Championship games, a knock highlighted by a patient start – one run from his first ten balls – before accelerating with a flurry of boundaries.Smith’s innings unfolded with cautious intent: after a modest 28, he unleashed three fours in as many deliveries, eventually reaching 166 before being caught by Ajaz Patel off Ben Green’s 90th over. The innings demonstrated both resilience and flair, cementing his role as a key run‑maker.For Pope, the century arrived after a seven‑month drought without a first‑class fifty and a solitary century against India at Headingley 21 innings earlier. His 24‑run start, achieved on half the balls faced by Smith, quickly turned into a commanding display as he steadied the innings.Both batsmen left the Oval with the confidence of seasoned internationals. A delayed emergence of Dan Lawrence after Pope’s boundary suggested the wicket was never in serious contention. Ben Foakes contributed a steady 62, while Leicestershire, with an average of 226 for the season, will need to conjure more surprises to bridge the gap.

The Grand National, a premier horse racing event, is on the horizon at Aintree, with Jagwar emerging as a top contender. Trained by Oliver Greenall and Josh Guerriero, Jagwar has demonstrated remarkable attributes that make him a strong candidate to claim victory.At just seven years old, Jagwar has youth on his side and has only had eight starts over fences, indicating room for further improvement. His recent performance at Cheltenham, where he finished half a length behind Johnnywho in the Ultima Handicap Chase, showcased his potential. Jagwar's ability to appreciate the additional mile on Saturday could give him an edge over his competitors.While Jagwar does tend to make occasional mistakes, the current fence design is more forgiving than in previous years, mitigating this concern. His stable companion, Iroko, had a similar profile before last year's National but ran a fine race in fourth; however, his recent form has been less convincing.Other contenders, such as Gorgeous Tom and Stellar Story, have shown promise but may not offer the same level of appeal as Jagwar. Mark Walsh, riding for JP McManus, will be in the saddle on Saturday and could be poised to sign off his time with the green-and-gold by securing a major victory.Aintree's racing schedule also features other promising horses: Hold The Serve at 1.20, Scorpio Rising at 1.55, and Leave Of Absence at 2.30, all of whom have potential for strong performances.

Brandon Holtz, a 39-year-old real estate broker from Illinois, has achieved an incredible feat by qualifying for the Masters tournament as an amateur golfer. Ranked 3,262 in the world amateur golf rankings, Holtz secured his spot by winning the US Mid-Am, a route into the Masters for amateur players aged 25 and over.Holtz's journey to the Masters is an unlikely one. He didn't play golf at college, instead being on a basketball scholarship at Illinois State. He only took up golf seriously after finishing college, spending his early 20s on the mini tour trying to make it as a pro. However, it cost him more than he won, and he eventually paid $200 to the US Golf Association to have his amateur status reinstated in 2024.His background in elite college basketball has proven to be more helpful than his short time on the Hooters Tour. As a shooter, Holtz was able to perform under pressure, a skill that suited him well in the Mid-Am, a matchplay event. He won it with his driver, which he says is the best club in his bag.Despite struggling in his first round with a score of 81, Holtz remains optimistic. 'This is a dream come true really,' he said. 'The experience as a whole is incredible. It was definitely not what I wanted to do on the golf course today, but I had a lot of fun.'Holtz's story is an inspiration to many, showing that it's never too late to pursue your dreams. As he said, 'I'm 39, chasing a dream and here we are.'

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

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.

The acclaimed HBO series Hacks is set to conclude with its fifth and final season, which promises to be a joyful and lighter chapter in the story of its two lead characters.Created by Paul W. Downs, Lucia Aniello, and Jen Statsky, Hacks has been a critical darling since its debut in 2021, earning a 99% Rotten Tomatoes score and 12 Emmy wins, including Outstanding Comedy Series in 2024.The show revolves around the unlikely partnership between Deborah Vance (played by Jean Smart), a veteran comedian, and Ava Daniels (played by Hannah Einbinder), a young comedy writer. Their relationship evolves over four seasons, navigating the challenges of comedy, fame, and personal growth.Paul W. Downs, who plays Jimmy on the show, revealed that the creators had the ending in mind from the beginning. The final season focuses on Deborah's comeback and her relationship with Ava, which has deepened into affection, mutual respect, and love.The new season features a more playful tone, with episode ideas that include anxiety dream sequences, a meditation on AI, and a farcical episode where Deborah forces Ava to lean into a misunderstanding. Downs describes the season as “sunnier, more playful, but with just enough heart and pathos” to provide a satisfying conclusion.Hacks has been praised for its unique take on comedy and its ability to transcend the entertainment industry, exploring themes of identity, dignity, and human connection. The show's conclusion will be available on Sky and NOW in the UK, HBO Max in the US, and Stan in Australia.

The 2026 NFL draft is shaping up to be an interesting one, with a mediocre quarterback class and a lack of standout players at skill positions. However, amidst the uncertainty, several under-the-radar prospects have emerged as potential game-changers. Cole Payton, QB, North Dakota State, is a one-year starter with impressive athleticism, but his throwing mechanics need refinement. He could be a late-round pick with potential as a developmental quarterback or a do-everything offensive weapon.Chris Bell, WR, Louisville, is a big, physical receiver who excels on short routes and has the ability to create after the catch. Despite concerns about his injury history and penalty issues, Bell has the talent to make an impact outside the top 50 picks.Max Iheanachor, OT, Arizona State, is a mammoth tackle with exceptional size, athleticism, and strength. Despite being a relative newcomer to football, Iheanachor has shown promise and could sneak into the first round if teams bet on his raw talent.Caleb Banks, DL, Florida, is a disruptive defensive lineman with a rare combination of size, speed, and power. However, his persistent foot injuries and relatively muted production raise concerns about his durability and potential impact.Uar Bernard, DL, NFL International Player Pathway Program, is a 21-year-old Nigerian prospect with extraordinary athleticism, but it's unclear if he can translate his skills to the football field. Teams will likely take a chance on him in the seventh round, given his roster exemption and potential for development.