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Two men have been disqualified from one of South Africa's premier marathon events, the Two Oceans Marathon in Cape Town, after finishing in the top 10 of the women's race. Luke Jacobs and Nic Bradfield were found to have swapped bibs with female runners, Larissa Parekh and Tegan Garvey, to compete in the women's category.The annual Two Oceans race, which includes a 56km ultramarathon and a 21.1km half-marathon, attracted over 16,000 participants. Finishing among the top 10 is a significant achievement for most runners. Jacobs and Bradfield finished seventh and 10th respectively, before being disqualified.The deception was uncovered by a marathon board member, Stuart Mann, after Jacobs posted pictures of himself at the race on social media with a bib displaying the name 'Larissa'. Further investigation revealed that Jacobs had competed using Parekh's bib, while Bradfield had used Garvey's bib after she suffered a hip problem and was unable to run.Swapping bibs is considered unethical and risky, as it can lead to incorrect medical treatment in case of an emergency. The practice can also be used to obtain a faster time for qualifying in future races. Mann warned that such actions carry far-reaching consequences and can result in disciplinary action, including bans from future events.Both Jacobs and Bradfield have apologized for their actions and will face disciplinary processes by the marathon's disciplinary subcommittee. The women they swapped bibs with, Parekh and Garvey, have also apologized and face two-year bans from the Two Oceans Marathon.

Cole Palmer, Chelsea's No 10, has expressed his commitment to the club amid speculation about a potential move to Manchester United. In an interview, Palmer emphasized that he has no plans to leave Chelsea and is focused on helping the team succeed.Palmer reflected on his contrast between shy conversational style and impactful performances on the pitch, where he has become known for his skill and 'Ice Cold' celebration. He discussed his injury struggles this season, which have limited his playing time, but expressed confidence in his recovery and ambitions for the World Cup.Palmer, who has recently captained Chelsea in an FA Cup match, discussed his leadership role within the team and his contract extension until 2033. He also touched on Chelsea's summer transfer plans and the need for more experienced players to complement the team's youthful core.Despite transfer speculation linking him to Manchester United, Palmer reiterated his commitment to Chelsea and his desire to compete for major trophies with the club. He also discussed his experiences with England and his hopes for the World Cup.

Disney introduced InfinityVision at this year’s CinemaCon, positioning it as a certification for premium large‑format (PLF) auditoriums that meet or exceed undisclosed standards for screen size, brightness and sound quality. While the name sounds like a Marvel spin‑off, the label applies to any film, not just superhero titles. Disney claims roughly 300 screens worldwide already carry the badge, though a public directory has yet to appear. The timing is strategic: Disney’s Avengers: Doomsday is slated for a December debut that coincides with the release of the third Dune film, which has secured a limited run on coveted Imax screens. By promoting InfinityVision, Disney hopes to reassure audiences that alternative PLF venues—such as Dolby, RPX and other branded auditoriums—can deliver an equally spectacular experience, a tactic the author dubs screenmaxxing. Screenmaxxing has become a lifeline for a theatrical sector under pressure from streaming and rising ticket prices. Even the smallest multiplex PLF screens dwarf the televisions owned by the majority of consumers, yet theatres cannot simply charge a $5 premium for a larger screen; they need to sell a demonstrably superior visual and auditory package. Today’s market offers a bewildering array of PLF options, especially in cities where multiple chains compete. Directors like Ryan Coogler (Sinners) and the team behind Project Hail Mary use the variety of formats as a marketing hook, explaining aspect‑ratio differences and visual nuances to fans. Even legacy formats have resurfaced: Paul Thomas Anderson’s One Battle After Another revived the rarely used VistaVision, an analog high‑definition process dormant for half a century, alongside traditional 70mm and Imax prints. Adding to the mix, a new digital projector brand—HDR by Barco—is being rolled out to compete with Dolby‑branded auditoriums. The technology promises deeper blacks, heightened contrast and unprecedented brightness, and has already been adopted by the Alamo Drafthouse chain for its dine‑in locations. Many of these Barco‑equipped rooms also feature Dolby Atmos sound, though the author cautions against conflating sound systems with projection technologies. To gauge HDR by Barco’s performance, the writer visited the Brooklyn Alamo Drafthouse, one of three New York venues using the system (the others are Regal locations equipped with RPX screens). While the recent Super Mario Galaxy movie showcased the projector’s vivid palette, the reviewer chose a more demanding test: Lee Cronin’s horror‑reimagining The Mummy. Compared with a prior Dolby projection of the same film, the Barco version delivered a noticeable boost in clarity—especially in shadow‑heavy scenes—without the oversharpening or motion‑smoothing artifacts sometimes seen on consumer TVs. The experience was “brighter” yet retained natural colour balance, offering a subtle but real upgrade over standard cinema projection. Despite the technical gains, the piece questions whether another premium brand can truly shift audience habits. The author argues that healthy competition among laser‑projection systems may prevent theatres from settling for “dim” images, encouraging cinephiles to seek out PLF venues. However, blockbuster spectacles like the climactic battle in Avengers: Endgame remain visually underwhelming even on an InfinityVision‑certified screen, suggesting that format alone cannot rescue a film’s visual impact. Ultimately, the most compelling case for premium formats may be the construction of genuine Imax theatres, not retrofits. True Imax auditoriums prioritize height over width, delivering an immersive field of view that even high‑end digital projectors struggle to match. Yet only a few dozen such venues exist worldwide; most “Imax” screens are simply Dolby, Barco or RPX rooms equipped with the brand’s hardware. Screenmaxxing, therefore, is likely to remain a niche pursuit rather than a universal solution for the exhibition industry. While hunting for the loudest, sharpest presentation can be entertaining, an overabundance of competing formats may reinforce the perception that a standard movie‑going experience is insufficient—potentially undermining the very audience the industry hopes to attract.

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)”

At a damp morning meeting in Sandy Park, Exeter Chiefs chairman Tony Rowe outlined the club’s next chapter: a potential sale to an American investment group that will be decided by the club’s 700‑plus members at an extraordinary general meeting on 7 May.Rowe, now 77, has steered the Chiefs for more than three decades, guiding the team from a modest county‑ground side to Premiership champions in 2010. Yet he admits that “romance doesn’t pay the bills” in today’s professional rugby, and a well‑funded owner could finally provide the financial muscle the club needs.The proposed buyer is described as a “mega‑wealthy multi‑sport investor” already active in British football. If the vote passes, the investor would inject fresh capital, allowing Exeter to compete for top talent such as marquee player Immanuel Feyi‑Waboso and to pursue broader ambitions.Rowe argues that English club rugby must look beyond nostalgia. “We’ve got to wake up and smell the coffee,” he said, emphasizing the need for an owner with deep pockets. He warned that the club’s current shareholder structure, which “has no money,” limits growth.The takeover is part of a wider trend of foreign money entering English rugby, following recent investments in Newcastle Red Bulls and Bath. Rowe believes a cash‑rich owner will position Exeter to help expand the Premiership from its current ten clubs to twelve, and eventually fourteen, with a view to incorporating Welsh sides.He suggested that adding “two Welsh clubs” could revitalise Welsh rugby, which he described as “on its arse,” and noted that travel logistics would not be a barrier for English clubs making weekend trips to Wales.Financial pressures remain acute. Rowe cited a £25 million loss from Covid and the post‑pandemic mini‑recession, compounded by a government grant that was later converted into a loan and a Rugby Football Union (RFU) contribution that covered only half of the promised support.He also criticised a £200 million 2018 deal that gave private‑equity firm CVC Capital Partners a 27 % share of the club’s commercial rights. “We should never have sold those shares,” Rowe lamented, adding that CVC has done little to boost sponsorship or “razzmatazz” for the sport.Looking ahead, Rowe stresses the importance of attracting a younger, millennial fan base, noting that “our future supporters are millennials” and that they will be the financial lifeline of the club.Despite the uncertainties, Rowe remains optimistic. He confirmed he will stay on under the new ownership, describing the investors as “long‑term” and “understanding of the sport.” He warned the new owners must respect Exeter’s Devonian heritage, likening the club’s future to a bus that needs a fresh fuel supply to reach “even greater success.”

The Football Association has initiated an investigation into allegations that Kettering Town manager Liam McDonald breached betting regulations. The allegations, which are historic, date back to McDonald's time as manager of Redditch around 10 years ago and include claims that he bet against his own team.The FA's betting rules strictly prohibit participants in the game from Step 4 upwards from placing any bets on football globally. Kettering Town currently competes in the Southern League Premier Central division, classified as Step 3 of the National League and the seventh tier of the overall pyramid.McDonald reportedly voluntarily brought the issue to Kettering's attention, and the club is standing by him. The FA has not yet issued any charges, and it remains unclear if they will do so. This case highlights the FA's ongoing efforts to uphold its betting rules, as seen in recent high-profile cases such as Ivan Toney's eight-month ban for breaching FA betting rules.

Barcelona’s aspirations for a Champions League title were extinguished for the second consecutive season when they fell 2‑1 to La Liga rivals Atletico Madrid in the quarter‑finals, losing 3‑2 on aggregate.Coach Hansi Flick acknowledged the disappointment, noting that the squad believed it could progress: “It’s tough because everyone really believed that we could make it happen today,” he said after the match.Despite the exit, Flick remains optimistic that the experience will accelerate the development of the club’s young core, which includes teenage sensation Lamine Yamal, midfielder Frenkie de Jong, and forward Pedri. The starting XI’s average age is under 25, positioning Barcelona as one of Europe’s most youthful line‑ups.Defensive frailties were starkly exposed. Barcelona conceded 20 goals in 12 Champions League matches and failed to keep a single clean sheet. In both legs of the tie, defenders were sent off for fouls that led directly to Atletico’s goals – Pau Cubarsi in the first leg and Eric Garcia in the second – highlighting the risks of Flick’s high defensive line.Financial constraints limit the club’s ability to splash on marquee signings. Veteran striker Robert Lewandowski is out of contract at 38, and the future of on‑loan winger Marcus Rashford remains uncertain. Additional questions loom over the contracts of Ferran Torres, Ronald Araujo and defender João Cancelo beyond the summer.Nevertheless, Barcelona’s domestic form remains strong. They sit nine points clear of Real Madrid in La Liga and retain the confidence that a league title is within reach, even as the quest for a sixth Champions League crown continues.De Jong emphasized the positive trajectory: “We’re growing every year. We have a young team, with a lot of talent and a lot of quality that can already compete for every competition.”Looking ahead, Flick hopes that a year of added experience will see Yamal, Pedri and Cubarsi return as battle‑hardened leaders capable of taking Barcelona further in Europe.

"The failure is big," Liverpool midfielder Ryan Gravenberch declared after the Champions League loss to Paris Saint-Germain. The defeat not only eliminates Liverpool from Europe but also seals a season that will finish trophyless. Manager Arne Slot has repeatedly insisted that the future looks very bright for Anfield, yet the club’s reality is starkly different. A business model built on lucrative broadcasting and commercial revenues now faces a potential top‑five miss, a scenario that would be financially and reputationally humiliating for a side that spent nearly £450 million on its squad last summer. Slot’s request for three seasons to steer Liverpool’s transition is under intense scrutiny. In the past 16 days Liverpool have played five matches: three defeats, two aggregate exits totalling 8‑0, and a solitary league win sparked by 17‑year‑old Rio Ngumoha. The pattern underscores a season riddled with setbacks. Sporting director Richard Hughes observed that despite a respectable xG of 1.94 against PSG, Liverpool’s performance fell short, a symptom of deeper issues. The situation worsened when forward Hugo Ekitiké collapsed with a suspected Achilles injury in the 27th minute, likely ruling him out for the remainder of the campaign. His absence further hampers the newly assembled £320 million front line of Alexander Isak, Hugo Ekitiké and Florian Wirtz, who have barely featured together. Slot’s tactical gamble of starting Isak after a four‑month hiatus and deploying a back five at the Parc des Princes backfired. Isak managed only five touches before being substituted at halftime, illustrating that a Champions League quarter‑final is not the venue for experimentation. After the second leg, Slot attempted to inject optimism, stating, "The good thing is Alex is back" and reiterating that the club can compete with Europe’s champions on home soil. Critics argue this positivity is misplaced, especially as Liverpool scrambles through the run‑in with key players missing. With six league games remaining, a fit Isak could be the difference between securing Champions League qualification and enduring further humiliation. Both Isak and Wirtz must begin to justify their hefty transfer fees, despite recent injury concerns and underwhelming output. In a candid interview with Ziggo Sport, Gravenberch summed up the mood: "No, actually not. It’s disappointing. We have to pick ourselves up as Sunday is waiting. We still have six matches in the league and we just want to play in the Champions League next year as well." He added that the season feels plagued by setbacks—late goals conceded and missed chances—making this a tough, failure‑laden campaign from which the squad must learn.

President Donald Trump announced on Fox Business that he will dismiss Federal Reserve Chair Jerome Powell if the central‑bank chief does not vacate the post by the statutory end of his term on May 15. “I’ll have to fire him, OK, if he’s not leaving on time,” Trump said, adding that he had previously held back the decision to avoid controversy. Powell, who has just over a month left in his tenure, has repeatedly been criticized by Trump for what the president calls a “bad job” and for refusing to lower interest rates despite Trump’s repeated demands since his return to the White House in January 2025. In January, Trump nominated former Fed governor Kevin Warsh to replace Powell. Warsh, known for his criticism of the Fed’s relatively high rates, is expected to align more closely with Trump’s push for rate cuts. His confirmation hearing before the Senate Banking Committee is slated for April 21, but the outcome remains uncertain. Republican Senator Thom Tillis of North Carolina, a member of the banking committee, has signaled he will block Warsh’s nomination until the Department of Justice concludes its criminal investigation into alleged misconduct surrounding the Fed’s headquarters renovation in Washington, D.C. Tillis described the probe as “reaching the point of absurd,” yet insists the investigation must be resolved before moving forward. The probe appears active: prosecutors made an unannounced visit to the construction site this week, as reported by the Wall Street Journal, underscoring the seriousness of the inquiry. During the same interview, Trump dismissed the investigation’s relevance, claiming the project was “probably corrupt, but what it really is is incompetence,” and questioned whether a $25 million renovation could balloon to a $4 billion expense. Powell responded in January with a rare public rebuke, labeling the investigation a “pretext” aimed at pressuring the Fed to lower rates. He warned that political intimidation could jeopardize the Fed’s ability to set monetary policy based on economic evidence. The legal backdrop adds another layer of uncertainty. The Supreme Court has yet to rule on Trump’s authority to fire a Fed board member without cause—a question that resurfaced after the president’s attempted removal of Fed governor Lisa Cook last summer. Justices appeared skeptical of such unilateral action during oral arguments in January. With the Fed’s independence at stake, the coming weeks will determine whether Trump’s threat translates into action, whether Warsh can secure Senate confirmation, and how the renovation investigation will influence the broader debate over political interference in U.S. monetary policy.