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Egil Johansen, the landlord of the Kenton pub in Hackney, east London, describes recent incidents involving children as "like the wild west." He has now banned children entirely after a three-year-old fell down a cellar hatch while parents sat elsewhere, a five-year-old crashed into staff carrying drinks, and six parents brought 10 hyperactive children after a birthday party while ignoring their behavior."In every case, the parents blame us when something goes wrong or get really angry when we ask them to control their children," says Johansen, who has run the pub for 17 years. "I'm legally obliged to keep children safe on my premises and if the parents let their children run riot, the only answer is to not allow them in at all."Johansen initially tried banning children only after 5pm, but this interim measure failed to address the underlying issues. Despite online criticism framing him as the "baddie," he expresses sadness about the situation: "I'm a publican; I'm a people-person. It gives me no joy to ban anyone, but it's just not safe: parents don't control their children and our other customers were beginning to go elsewhere. I had no choice."The Kenton's decision reflects a growing trend among UK pubs seeking to differentiate themselves from establishments that "resemble soft play centres without the ball pit." While some welcome this shift, others view it as unwelcoming to families, creating a culture war in the pub industry.Lee Jones, landlord of the Brewers Arms in West Malvern, Worcestershire, reversed a previous child ban: "We're dog-friendly, child-friendly, adult-friendly. We're just friendly – we don't distinguish. Pubs are for the community and I don't see bans in the spirit of what we're here for." Jones reports that when children become rowdy, staff can address the issue with parents, though this is rarely needed.Stephen Boyd, who runs the Alma in south London, took a different approach after attempting to attract young families. He found families with children consumed disproportionate time and resources with special requests for diluted drinks, heated beverages, and customized meals, while adult customers waited longer for their orders."You just need a couple screaming, banging on a table or running up and down, and it dictates the whole atmosphere of the pub," Boyd says. "Parents would take massive umbrage if staff asked them to stop their children doing something." After implementing a child ban, he describes the change as "a fucking revelation" with staff retention improving and takings doubling.Despite the positive results, Boyd faced significant backlash: "I got a lot of online hate. Mainly from people who had never been to the pub but felt I was doing something morally hateful."Tom Stainer, chief executive of the Campaign for Real Ale, acknowledges the debate is "very live" but emphasizes: "But you do have to look at the responsibility of the parents in these situations, not just at the pubs. They're the ones responsible for making sure that their children behave."Financial considerations also drive some decisions. Mandy Keefe, landlady of the Wheel Inn in Ashford, banned children partly for behavioral reasons but also financial ones: "If a third of my Sunday customers were children eating from a reduced-rate child's menu and not drinking any alcohol, that wouldn't be financially viable."Across the UK, pubs are making individual decisions based on their specific circumstances, but as Johansen's experience demonstrates, it only takes one serious incident to settle the question for good.

Partridge Boswell's poem, 'The Gathering', has been crowned the winner of this year's National Poetry Competition, a prestigious award that attracted over 21,000 entries from poets across 113 countries. The poem delves into themes of language, love, and the struggle to make sense of global suffering, state violence, and war.Boswell's work is a reflection of his attempt to process the emotional burden of following distressing global events. He describes how he wrote elegies, parodies, and rants to cope with his discomfort and disbelief. The poem specifically addresses the challenge of maintaining language's potency in the face of the relentlessness of the news cycle and the difficulty of resisting false narratives.The judges praised 'The Gathering' for its ambition, emotional stakes, and philosophical perspicacity. They noted that the poem reflects on the tensions between personal grief and state violence, particularly in Gaza. The poem questions how to preserve the potency of language amid the overwhelming nature of global events.Boswell, who is also the author of the Fool for Poetry prize-winning chapbook Levis Corner House and the Grolier prize-winning collection Some Far Country, will receive £5,000 for his winning poem. His work, along with the runner-up and third-place poems, will be published in the spring 2026 issue of The Poetry Review.The National Poetry Competition, founded in 1978, has a history of recognizing talented poets. Past winners include Carol Ann Duffy, Sinéad Morrissey, James Berry, and Tony Harrison. This year's competition saw seven commended poets receive £500 each, while Damen O'Brien's poem Axe secured the runner-up position with a £3,000 prize.

The estate of late British tech tycoon Mike Lynch has been ordered to pay £920m to the technology company Hewlett-Packard (HP) two years after he died in a superyacht disaster.The ruling by London’s high court said the estate was liable to pay the sum as compensation, costs, and interest for HP’s acquisition of Lynch’s firm Autonomy, after a UK legal ruling in 2022 that he duped the US firm into paying £8.2bn for his software firm Autonomy.The deceased entrepreneur’s estate has been estimated to be worth about £500m, so the damages could leave it bankrupt.Lynch and six others, including his 18-year-old daughter Hannah, died in August 2024 on a trip with friends and family celebrating his acquittal on US fraud charges relating to HP’s $11bn takeover of Autonomy in 2011.HP accused Lynch and Autonomy’s former chief financial officer, Sushovan Hussain, of inflating the firm’s value before the takeover. HP wrote down Autonomy’s worth by $8.8bn (£6.5bn) within a year of the purchase.The US tech company has sought damages in UK civil proceedings of up to $4.55bn from the estate of the late tycoon, who was once hailed as Britain’s answer to Microsoft founder Bill Gates.However, the level of the claim was ruled last year by the high court to be “always exaggerated”, as it concluded that Lynch’s estate owed £700m in compensation. The £920m figure includes costs and interest.Lawyers for Lynch’s estate sought permission to appeal against Tuesday’s ruling, which was refused. However, the estate can apply directly to the court of appeal.HP welcomed Tuesday’s decision, which it said in a statement “brings us another step closer to resolution of the dispute”.A spokesperson for the Lynch family said: “We are disappointed by the court’s refusal and believe an application to the court of appeal should follow in the interests of justice. HP’s $5bn damages claim has already been shown to be vastly exaggerated.“Today’s judgment describes the exaggeration as ‘without foundation’ and the purposes for which it was ‘calibrated, publicised and pursued’ as objectionable, misleading shareholders and extending the litigation unnecessarily.“Dr Lynch’s acquittal in the US, where witnesses were properly cross-examined, exposed the truth. The damage to Autonomy was the result of HP’s own actions and failures, not wrongdoing at Autonomy.”

Richard Kind, a versatile actor known for his roles in films like 'Inside Out' and TV shows such as 'Only Murders in the Building', is set to take the stage in London's West End in Mel Brooks' musical 'The Producers'. Kind will play the role of Max Bialystock, a charismatic and cunning Broadway producer, at the Garrick theatre from March 23 to May 9.Kind, who has a reputation for his dynamic performances, describes his interpretation of Max as a 'big bear' who 'lumber' across the stage, drawing inspiration from Zero Mostel, who originated the role in the 1967 film. He contrasts his approach with that of Nathan Lane, who played the role on Broadway, saying, 'Nathan glides. I'm a big bear. I lumber.'The actor, who has had a long and varied career in both comedy and drama, notes that theatre offers him a chance to take on more challenging roles. 'I'm at the point where I can say 'no' to a stage role unless it's challenging,' he explains. Kind's extensive experience includes work with Second City, the Chicago improvisational troupe, and roles in sitcoms like 'Spin City' alongside Michael J Fox.Kind also opens up about his friendship with George Clooney, a close pal who has been publicly criticized by Donald Trump. Kind expresses his protectiveness towards Clooney and his disdain for Trump, showcasing his strong opinions and 'ugly' language when discussing the former president.With his characteristic wit and candor, Kind reflects on his career, stating, 'I'm all over the place! Nobody works more than me.' His performance in 'The Producers' promises to be a highlight of London's theatre scene this season.

A new and disturbing trend in scams, known as 'friendship fraud,' is on the rise, specifically targeting older people who are lonely or bereaved. This type of scam involves criminals using social media platforms to build relationships with potential victims, often over a long period, before requesting money for various reasons. The scam typically begins with a connection on social media, where the fraudster will research and tailor their initial messages to appear as though they share common interests with the victim. Once a level of trust is established, the scammer will begin to make requests for money, often for small amounts or seemingly urgent needs. According to TSB, the average amount lost by victims of friendship fraud is £3,100. In some cases, victims have lost as much as £4,000 or more over several years. The fraudsters often request payments through bank transfers or gift cards, making it difficult for victims to recover their losses. Experts warn that older people who are lonely or bereaved are particularly vulnerable to these scams, as they may be more desperate for human connection and more likely to trust someone who appears to share their interests. Caroline Abrahams of Age UK describes the fraud as 'especially horrible and insidious,' noting that it can have devastating consequences for victims, including financial loss, health issues, and a breakdown in trust. To avoid falling victim to friendship fraud, experts advise severing contact immediately if someone you met online requests money. If you suspect you or someone you know has been targeted, report it to Report Fraud and discuss it with your bank. Documenting all interactions with the scammer can also help in efforts to recover losses or prosecute the fraudster.