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Juba, South Sudan – Growing up, Khloe Nyanda was taught to stay small and avoid taking up space. Defying that lesson, the 21‑year‑old law student at the University of Juba pursued modeling after being inspired by South Sudanese supermodel Adut Akech, whose refugee‑to‑runway story she describes as a "crown".Nyanda’s ambition mirrors that of a new generation of South Sudanese talent, with 95% of models from the country naming Akech as their spark. She began modeling in 2023, but her family remained skeptical, fearing the clash between academic responsibilities and a fashion career.Her personal journey has been marked by familial estrangement after she rejected an arranged marriage and a modelling coach’s advances, leading to loss of support from her stepbrother and other relatives.Beyond social pressures, Nyanda faces systemic obstacles. Since 2023 she has endured multiple visa rejections despite contracts with agencies in London, Paris, and Italy. An attempt to attend Milan Fashion Week was denied by the Italian embassy in Nairobi over bank‑statement issues, while two separate applications to the French embassy in Kampala were also turned down. The absence of South Sudanese embassies in France and Italy forces hopeful models to obtain travel documents from neighboring countries, inflating costs and delays.Another emerging model, 20‑year‑old Alek Mayen Garang, balances her senior‑year studies with runway aspirations. Born in Greater Jonglei and raised in Renk, she spent part of her childhood in Kampala before returning to South Sudan amid the 2016 conflict. Garang draws inspiration from Anok Yai, the American‑South Sudanese model named Model of the Year at the 2025 British Fashion Awards.Unlike Nyanda, Garang found an ally in her elder sister, who accompanied her to her first runway show and helped negotiate parental approval. Her early challenges were technical—learning to walk in heels, maintaining strict diet and skincare regimens—and the lingering fear of rejection at auditions.Both women are part of a broader South Sudanese surge in global fashion. Nine of the world’s top 50 models on models.com hail from South Sudan, underscoring the country’s deep talent pool. Former models have transitioned to design and entrepreneurship, founding South Sudan Fashion Week and creating bespoke wedding gowns.Industry veterans now coach new talent, urging them to prioritize education alongside modeling. Yet a new anxiety looms: the potential rise of AI‑generated Black models, which could further destabilize already precarious careers.Within South Sudan, the Ministry of Culture, Museums and National Heritage has been criticized for its limited engagement with the modeling sector. Advocates argue that official endorsement could shift parental attitudes and legitimize modeling as a respectable profession.Garang recently won the “creativity” award at the national Miss Junub beauty pageant, expanding her vision from personal success to mentoring emerging designers and models. Nyanda, meanwhile, envisions a future beyond the runway: she plans to invest her earnings in establishing a credible mother agency, as well as a school and hospital for orphans, aiming to reinvest in her homeland.“South Sudan is not a place I am running from; it is the place I am running for,” Nyanda declares, embodying a resolve to reshape societal expectations and create pathways for the next generation of South Sudanese talent.

The 2026 Bafta games awards, held in London, recognized several standout games in the industry. Clair Obscur: Expedition 33, with 12 nominations, was a favorite to win big, and it did, taking home awards for Best Game and Debut Game, as well as Performer in a Leading Role for Jennifer English.Another major winner was Dispatch, a superhero comedy that won Animation, Audio Achievement, and Performer in a Supporting Role for Jeffrey Wright. Ghost of Yōtei, a historical samurai slasher, also had a strong showing, winning Music and Technical Achievement.Other notable winners included Atomfall for British Game, No Man’s Sky for Evolving Game, and Blue Prince for Game Design. The Bafta Fellowship was presented to Ilkka Paananen, chief executive and co-founder of Supercell.

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)”

Asif Kapadia has been appointed to direct the final chapter of the ITV documentary series “70 Up,” slated for broadcast later this year. The series, which launched in 1964, was voted the most influential UK television programme of the last 50 years in a 2024 Broadcasting Press Guild poll. Kapadia, celebrated for his award‑winning documentaries on Amy Winehouse, Ayrton Senna and Diego Maradona, described the role as an "incredible honour and privilege" and called the original “Up” series the ultimate portrait of human life. ITV’s factual controller Jo Clinton‑Davis praised the appointment, noting that Kapadia will bring “passion, creativity and incredible flair” while safeguarding the series’ legacy, which she said has become “part of our cultural fabric.” The series was conceived by Granada’s Tim Hewat, who adapted the Jesuit maxim “Give me the child until he is seven and I will show you the man” into a longitudinal study of British social class. Michael Apted, who served as the series’ long‑time director, passed away in 2021; his earlier prediction that the project would continue “as long as I’m above ground” has now been fulfilled. Over the decades, viewers have followed fourteen participants from childhood to senior age. Notable stories include Liverpool’s Neil Hughes, who dreamed of becoming an astronaut at 14, later endured homelessness, and ultimately emerged as a lay preacher and Liberal Democrat councillor. Only one participant, Charles Furneaux, chose to exit the experiment early, while others, such as scientist Nick Hitchon, have passed away. With Kapadia at the helm, “70 Up” will serve as a tribute to both Apted’s pioneering vision and the courage of the cast, who have shared their lives across seven‑year intervals for more than six decades.

Equity’s Choreographers and Movement Directors Network (CMDN) says that theatre’s physical storytellers are still marginalised by awards bodies and should receive dedicated recognition.At the recent Olivier Awards, Fabian Aloise secured the best theatre choreographer prize for "Evita" at the London Palladium. While the network welcomed the visibility, it pointed out that the movement directors behind the nominated productions were omitted from any specific category, sparking a broader debate about the language used to credit theatrical creation.CMDN highlighted several movement directors whose work shaped this season’s most impactful shows, naming Leanne Pinder ("Punch"), Sarah Golding ("Kenrex"), Imogen Knight ("Dead Man Walking"), Jenny Ogilvie ("Into the Woods"), Sung Im Her ("The Glass Menagerie"), Lucy Hind ("Inter Alia") and Kloé Dean ("The Boy at the Back of the Class").Movement direction, the network explains, is not always dance but is essential to a production’s physical language, characterisation and dramatic flow. "If we celebrate the impact of physical storytelling, we must also evolve how we acknowledge the artists behind it," CMDN said.The network praised the Black British Theatre Awards for expanding their choreography category in 2022 to include movement direction, but noted that the UK Theatre Awards and Critics’ Circle Awards still lack dedicated categories for either choreography or movement direction.Founded in 2023 by movement director and choreographer Polly Bennett, CMDN now counts over 200 members. In a 2025 interview, steering‑group member Ellen Kane asked, "Why aren’t there Oscars or BAFTAs for choreography? Why aren’t we being credited?"Last month, more than a hundred theatre professionals signed a petition urging the Olivier Awards to create a separate video‑design category, arguing that the current system lumps video designers with other disciplines. This year’s Olivier winners illustrate the overlap: Tom Pye (set) and Ash J Woodward (video) shared the best set‑design award for "Paddington: The Musical", while Aideen Malone (lighting) and Roland Horvath (video) shared best lighting‑design for "Into the Woods".

Richard Desmond, the media tycoon and former proprietor of the Daily Express and Channel 5, has lost his claim for up to £1.3bn in damages against the Gambling Commission. The claim was related to the regulator's decision not to award him the 10-year licence to run the national lottery.Desmond's companies, Northern & Shell investment company and the New Lottery Company, had launched a legal action against the Gambling Commission in 2022, arguing that the commission made 'manifest errors' in the process governing the UK's largest public sector contract, worth £6.5bn. The legal process was lengthy, with Desmond's costs estimated to have reached £55m by May last year.The media mogul claimed the commission's mistakes caused him to incur £17.5m of needless costs in pursuing his bid. However, he was also seeking up to £1.3bn in damages to reflect hypothetical lost earnings from running the lottery.The licence was ultimately awarded to Allwyn, a new vehicle owned by Czech billionaire Karel Komárek, which has been running the draw since 2024. On Friday, Mrs Justice Smith dismissed Desmond's claim, stating that the claimants had failed to make out any case of 'manifest error' on the part of the commission.The competition for the award of the fourth licence was found to have reached a lawful outcome. Desmond had previously failed with a separate claim that Allwyn had received an unlawful £70m marketing subsidy from the Gambling Commission.

Christine Baranski, known for her TV roles in The Good Fight and The Gilded Age, is set to make her West End debut in a revival of Noël Coward's comedy Hay Fever. She will star as Judith Bliss, a newly retired actor, alongside Richard E Grant, who will play her novelist husband.Baranski, a two-time Tony award winner for best featured actress in a play, expressed her excitement to “tear a passion to tatters” in the 1925 play about a family toying with their guests at a country house party. The production, directed by Emily Burns, will run at Wyndham’s theatre from 22 September to 12 December.Baranski described the play as a “101-year-old comedy of appalling manners” that requires “quicksilver delivery and suave flamboyance.” She also praised Grant as “whip-smart and wickedly funny.” This production marks a significant return to the theatre for Grant, who has recently appeared in supporting roles in films like The Thursday Murder Club and Nuremberg.The revival of Hay Fever is part of a recent surge in productions of Noël Coward's works, including Fallen Angels and Easy Virtue. Baranski's West End debut is a long-awaited event, with the actress having attended her first West End play in 1971 as a student at Juilliard.

Lionel Messi has officially taken ownership of UE Cornella, a Barcelona‑based club competing in Spain’s fifth division, after finalising the purchase earlier this week.The Argentine legend, who spent two decades at FC Barcelona amassing multiple La Liga titles, Champions League trophies and Ballon d’Or awards before departing in 2021, is now venturing into club ownership.In a statement the club described Messi’s arrival as “the beginning of a new chapter in the club’s history,” emphasizing a long‑term vision and a strategic plan that blends ambition, sustainability and a deep connection to its working‑class neighbourhood roots.Founded in 1951, UE Cornella has previously nurtured talent such as Arsenal goalkeeper David Raya and former Barcelona defender Jordi Alba, the latter of whom currently shares the pitch with Messi at Inter Miami.Now 38‑year‑old Messi is also focused on representing Argentina at the 2026 World Cup in North America, where the Albiceleste will defend their title.The club announced the deal on Thursday but did not disclose the financial terms of the transaction.

Metro Bank has approved a £2.6 million annual remuneration package for chief executive Dan Frumkin, the highest ever for the lender since its 2010 launch. The figure more than doubles the £1.2 million he earned in 2024. The pay rise comes on the heels of a dramatic restructuring that saw the bank cut over 1,000 jobs in spring 2024 and suspend Sunday trading, measures taken after a £925 million rescue led by Colombian billionaire Jaime Gilinski Bacal, who now owns 53% of the institution. Metro’s turnaround has delivered a record pre‑tax profit of £87 million for 2025, prompting the board to approve a complex bonus scheme. The package includes a £1.2 million annual bonus, a £470,000 deferred bonus from 2023, and a salary of £938,875, plus additional tax, life‑insurance and pension benefits. Under the scheme, Frumkin could earn up to £60 million over five years if Metro’s share price exceeds certain thresholds – it must stay above 120p in 2028 and could reach 437p, a level that would trigger the maximum payout. Metro’s shares currently trade around 141p. The bonus plan was endorsed by 88.6% of voting shareholders, despite objections from proxy advisers ISS and Glass Lewis. The bank did not disclose how many of those votes were cast by Gilinski’s holdings. Founded by US billionaire Vernon Hill, Metro Bank distinguished itself with dog‑friendly branches and seven‑day opening hours. However, a 2019 accounting error forced the resignation of its founder and top executives, and the bank struggled to satisfy regulators, leading to the 2023 capital infusion. In a statement, a Metro Bank spokesperson said the remuneration committee’s approach is “based on the delivery of long‑term growth generation and the continued turnaround of the bank,” emphasizing alignment with shareholder interests. Frumkin, who joined Metro in 2020 after senior roles at RBS and Northern Rock, now stands at the centre of a debate over executive pay in a sector still recovering from the 2007‑08 financial crisis.