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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.

The Plague, directed by Charlie Polinger, is a gripping debut feature that plunges into the psychological depths of a boy's water polo training camp in the summer of 2003. The film impressively captures the brutal hierarchy driven by braggadocio, bullying, hazing, and gaslighting among the young campers.The story follows Ben, a latecomer to the camp, played by Everett Blunck, who desperately tries to ingratiate himself with the cool crowd led by the impish Jake, played by Kayo Martin. Ben aims to avoid the pariah status of Eli, played by Kenny Rasmussen, who is supposedly afflicted with a made-up disease dubbed 'the plague' by the group.The film's stylistic bite is reminiscent of David Fincher's work, with a stunning initial submerged shot of a pool glittering like a starfield. Polinger also showcases a keen ear for the nonsense conversations among the 12-year-old campers, discussing topics such as 90s rock outfit Smash Mouth and the ethics of bestiality.While the film flirts with body horror, it never quite resolves its suggestion that the plague could be psychosomatic. Despite this, the young performers stand out in their unfiltered rawness, particularly Blunck, Martin, and Rasmussen. The film is a memorable education in the laws of the tween jungle, with Joel Edgerton providing a reassuring presence as Coach Daddy Wags.The Plague is set to be released on digital platforms from April 20, 2026.

The Agentic Leap: Codex Goes BackgroundOpenAI is intensifying its rivalry with Anthropic by significantly upgrading its Codex tool. The latest update transforms Codex from a passive assistant into an active, autonomous agent capable of operating in the background of a user's desktop. This allows the AI to open applications, click, and type without interrupting the user's primary workflow.Parallel Operation: Codex can now run multiple agents simultaneously on a Mac, handling auxiliary tasks like iterating on frontend changes or testing apps while the user focuses on top-level projects.Browser Control: A new in-app browser feature enables Codex to issue commands and execute tasks on specific web applications, with plans to eventually command the browser fully beyond localhost.Memory and Context: The 'memory' feature allows Codex to recall previous work sessions, generating important context about how a specific user works to improve future assistance.Image Generation: Codex has gained the ability to generate product concepts, slide visuals, and mockups, expanding its utility beyond pure code.Expanded Plugin Ecosystem: The tool now supports 111 plug-in integrations, including tools like CodeRabbit and GitLab Issues, allowing it to handle clerical work across Slack and Google Calendar.Enterprise Integration and Pricing StrategyThe update is not just about features; it is a calculated business move designed to capture enterprise workflows. By offering a new pay-as-you-go pricing option for ChatGPT Business and Enterprise customers, OpenAI is lowering the barrier to entry for corporate adoption of these advanced agentic tools.The sheer volume of integrations—111 plugins—serves as a critical data point. It demonstrates OpenAI's strategy to make Codex a central hub for corporate productivity, capable of bridging the gap between coding and general administrative tasks.Strategic Pivot: From Consumer Tools to Corporate AutomationThis development marks a clear shift in OpenAI's strategy. After a period of focus on consumer-facing tools like Sora 2, the company is retreating from the consumer market to double down on enterprise capabilities. This aligns with the broader industry trend of moving from simple chatbots to autonomous agents that can execute complex workflows.The Future of Autonomous Coding AssistantsAs OpenAI and Anthropic battle for supremacy, the definition of a 'coding assistant' is changing. We are moving toward a future where AI agents are not just suggestions but active participants in the development lifecycle, capable of managing entire workflows autonomously. The winner of this war will likely be the provider that best integrates these agents into existing corporate infrastructure.

Chancellor Rachel Reeves cautioned that the push to raise Britain’s defence budget will likely demand reductions in other spending areas, notably welfare, as the nation confronts escalating geopolitical pressures. She emphasized that the government is exploring a range of options but aims to avoid new taxes or extra borrowing, noting that “we already spend £1 in every £10 on servicing the debt.” Reeves highlighted her willingness to challenge party orthodoxy, pointing to last year’s budget moves that freed additional funds for defence, and said, “I’m willing to make difficult choices for national security.” Speaking on the sidelines of the International Monetary Fund spring meetings in Washington, she referenced the government’s 10‑year defence investment plan and stressed the importance of allocating resources appropriately. While refusing to detail which welfare programmes might be trimmed, Reeves reaffirmed that “national security always comes first” and confirmed that Labour will keep its manifesto pledge to retain the pension triple‑lock. Her stance mirrors Health Secretary Wes Streeting, who earlier warned that welfare reforms could be required to meet “the challenge of the world we face.” The Starmer administration faces mounting pressure from opposition MPs and senior military figures, especially after US President Donald Trump’s threats to withdraw the United States from NATO and the ongoing Iran‑Israel and Russia‑Ukraine conflicts. Current forecasts show UK defence spending reaching 2.6 % of GDP by April 2027, surpassing targets set by both Labour and the opposition before the 2024 general election. Reeves proudly noted that her previous budgets delivered “the biggest uplift in defence spending since the end of the Cold War,” arguing that a robust economy depends on strong national security. The IMF warned that a further escalation in the Middle‑East could trigger a global recession, with the UK potentially hit hardest among G7 nations, and cautioned that government debt is on track to hit its highest level since World War II. To fund household and business support without widening the fiscal gap, Reeves suggested reprioritising other budgets, criticizing the blanket subsidies of the previous Conservative government that cost over £100 billion and contributed to higher inflation and interest rates. She concluded that “the best way to help families and businesses is to keep prices, costs and interest rates down,” underscoring the fiscal balancing act ahead.

The recent WNBA draft saw Azzi Fudd selected as the No 1 overall pick by the Dallas Wings, marking a significant achievement for the talented young player. Fudd, who played under Geno Auriemma at UConn, distinguished herself as one of the best shooters in college basketball and was named an All-American by the Associated Press. However, rather than focusing on her impressive athletic career, the draft night discourse was dominated by her relationship with teammate Paige Bueckers, who was also a top pick in the WNBA draft last year. The pair confirmed they were dating in 2025, but have kept their relationship largely private. This fixation on the personal lives of WNBA players raises questions about the media's priorities and the cultural context of women's sports. Experts argue that the surge of interest in the love lives of WNBA players is fueled by social media, which makes it easy to form parasocial relationships with athletes. Dr. Alicia Smith-Tran, an associate professor of sociology, notes that women athletes continue to be seen as lesser than their male counterparts, and the focus on their romantic lives is a manifestation of this marginalization. The conversation around romance in the WNBA also contributes to the fetishization of queer couples and relationships. Frankie de la Cretaz, author of the Out of Your League newsletter, warns that queer relationships are often dehumanized and become fodder for people to project their own desires onto. In the case of Fudd and Bueckers, their relationship has become a side point, overshadowing their achievements as athletes. As the WNBA enters its 30th season, it's essential to recognize the cultural significance of women's sports and the importance of respecting athletes' personal boundaries. The focus should be on their skills, contributions, and achievements in the workplace, rather than their personal lives. By doing so, we can work towards a more nuanced understanding of women's sports and the athletes who play them.

Ollie Watkins opened the scoring in the 16th minute, marking his 100th goal for Aston Villa and giving Unai Emery’s side a decisive edge in the Europa League quarter‑final second leg against Bologna.The England striker, still hoping for a late recall to Thomas Tuchel’s World Cup squad, added to a first‑leg 3‑1 advantage that had already put Villa in a strong position. Goals from Emiliano Buendía and Morgan Rogers – the latter converting after a missed penalty – extended the lead, while Ezri Konsa capped the aggregate triumph with a late volley after a corner from Tammy Abraham.Villa’s 6‑1 aggregate victory sets up an all‑English semi‑final against Nottingham Forest, while the club also prepares for a crucial Premier League clash with Sunderland as they chase a top‑five finish.Emery, who is chasing his fifth Europa League title, fielded an unchanged XI – a first in his tenure – and maintained an unbeaten European record when John McGinn and Youri Tielemans start. The 4‑4‑2 formation saw Rogers drop deep to link play, delivering a low cross that Watkins turned into his simplest strike of the season.Watkins’ goal was his fifth in seven games and a club‑record 10th in European competition, underscoring his resurgence after being omitted from the England squad. He hinted that a strong showing could bolster his case as a potential deputy for Harry Kane.Villa’s dominance at home in Europe is evident – they have won 15 of their last 17 major continental matches. Financially, the club reported a modest £9.5 million loss for the year ending June 2025, making a swift return to the Champions League both a sporting and economic priority.Emery’s ambition remains clear: while the Europa League trophy is within reach, the ultimate goal is to lift the Champions League and secure the club’s future. As he wrote in his programme notes, “All of you fully deserve to have your team showing up when the best teams are still competing.”

Hull FC's fans and players came together in a heartfelt display of unity and support for coach John Cartwright following the team's loss to St Helens. The emotional show of solidarity came as Cartwright's future with the club hangs in the balance after a tumultuous 10 days.The match saw St Helens secure a 24-14 victory at the MKM Stadium, but the focus was on Cartwright as the game ebbed into its closing moments. The big screen inside the stadium panned to the coach, prompting a stadium-wide round of applause from the fans, despite Hull FC heading for a fifth league defeat in eight games.At full time, hundreds, if not thousands, of fans stayed to applaud Cartwright once again as he conducted his media duties. This display of unity from Hull FC's fans towards their coach mirrored the spirited performance from Cartwright's players on the field.The reason for such emotion was clear: this had all the hallmarks of Cartwright's last stand in charge of Hull after a tumultuous 10 days. The Black and Whites confirmed last week that Cartwright would leave at the end of the season, with the club already understood to have agreed a deal to bring in Steve McNamara next year.Cartwright responded on Monday by expressing his feelings of being 'betrayed and disrespected' by the club's lack of communication over that decision. With time to consider whether an early parting of the ways is the best course of action, Cartwright may have actually coached Hull for the final time.“I honestly don’t know,” Cartwright said when asked what happens next. “I’ll let the dust settle on that. I’ve got a couple of meetings early next week and then we’ll find out. They’re very passionate fans and they’ll have their opinion on something and they’ll make it known. It means a lot to me to see it.”Despite the loss, Hull were superb in the first half, leading 12-6 by the break thanks to tries for Logan Moy and Amir Bourouh. However, St Helens, led by coach Paul Rowley, showed their resilience and navigated an emotionally charged evening to go top of the table.The final act of this night belonged to Cartwright, who, after his media duties, walked down the tunnel with his players in one last show of unity. His players have displayed how they feel; now it is down to Hull’s hierarchy to show their hand.

Big Mood returns for a second season on Channel 4, aiming to blend a serious look at bipolar disorder with broad‑scale comedy. Lead actress Nicola Coughlan reprises Maggie, now emerging from a harrowing episode of lithium poisoning that left her hallucinating and confused. The debut series introduced Maggie in the throes of a manic episode, followed by a depressive crash after she stopped her medication to protect her creative output. While the first season earned praise for its insightful depiction of mental illness, the new installment quickly pivots toward slapstick scenarios – from a militant maid of honour to a secret‑husband extortion plot – that dilute the original emotional weight. Central to the drama is Maggie’s strained bond with best friend Eddie, played by Lydia West. Their friendship, already intense in season one, becomes increasingly implausible as Eddie abandons London for California without explanation. In season two, Eddie resurfaces under the control of a dubious wellness guru named Whitney, who has siphoned her finances and seeks to erase any lingering connection with Maggie. Rather than deepening the exploration of mental health, the series now focuses on a far‑cical showdown between the two women. Maggie, now in a “stable girl” routine of retinol and Hello Fresh meals, obsessively attempts to expose Whitney as a fraud, enlisting Eddie’s friend Will – a character described as “incorrigibly nice” yet treated with contempt by both protagonists. The tonal shift raises questions about the show’s core ambition. While Coughlan delivers an empathetic performance that captures Maggie’s inner turmoil, the surrounding plotlines feel disjointed and at times toxic, especially in the portrayal of the once‑intoxicating platonic romance that now appears more destructive than supportive. Humor, inherently subjective, may still resonate with viewers who appreciate the series’ millennial‑centric chaos. However, the blend of “knockabout farce” with moments of genuine drama feels uneven, suggesting that the show’s initial promise of a heartfelt, realistic bipolar narrative has been eclipsed by over‑reaching comedic contrivances. In conclusion, Big Mood season two struggles to reconcile its dual aims. The ambitious premise that once offered a nuanced look at mental illness now feels buried beneath a barrage of gimmicks, leaving audiences to wonder whether it’s time for the characters – and perhaps the series itself – to move on.

A recent Cochrane review analyzing 17 clinical trials involving over 20,000 people with mild cognitive impairment or dementia has concluded that anti-amyloid drugs have a 'trivial' effect on cognition and dementia severity over 18 months.The review, which assessed seven anti-amyloid drugs, found that improvements in functional ability were 'small at best' and that the drugs caused more swelling and bleeding in the brain than the placebo.The findings are a blow to the new wave of drugs designed to slow Alzheimer's by clearing clumps of amyloid protein that build up in the brain. Despite initial hype, with some regulators approving drugs like lcanemab and donanemab, many countries have stopped short of providing them through public health services due to concerns over their effectiveness and cost.Critics of the review argue that it combines results from older, failed drugs with those from newer, more effective medicines, which may skew the conclusions. However, the review's authors defend their approach, stating that all the drugs aimed to remove amyloid from the brain and assessed the impact on patients in a similar way.The review's lead author, Edo Richard, notes that the effect sizes are too small for patients and caregivers to notice, and that the drugs are also 'burdensome' due to the need for regular intravenous drug infusions and MRI scans.Experts in the field, such as Robert Howard, express concerns that the drugs may not truly alter the course of Alzheimer's, and that it's unfair to raise expectations in patients. Meanwhile, Alzheimer's Research UK argues that the review's conclusions are limited by its methodology and that anti-amyloid treatments will not be the whole answer to curing Alzheimer's.