boss

Despite the club’s success on the pitch during Nuno’s time as manager, his relationship with Marinakis became increasingly strained.

In August, Nuno revealed he feared for his job.

Internal tensions at the club were believed to centre around disagreements over their transfer business.

Previously, Nuno had criticised the club’s activity in the summer transfer window, saying they had wasted a good chance.

Edu was appointed as Forest’s global head of football earlier in the summer and has taken firm control over the club’s recruitment operation.

“I always had a very good relationship with the owner – last season we were very close and spoke on a daily basis. This season it is not so well,” Nuno said.

“Our relationship has changed and we are not as close. Everybody at the club should be together but this is not the reality.”

In total, Forest have made 13 signings for about £196m based on reported initial fees.

As for the outgoings, Anthony Elanga, Danilo and Wayne Hennessey were all among the players whose Forest careers ended this window.

In May last season, Marinakis appeared to confront Nuno on the pitch following a 2-2 draw against Leicester at the City Ground.

Forest later said the incident was because of the owner’s frustration that striker Taiwo Awoniyi had continued to play following an 88th-minute injury, which subsequently required what was described as “urgent” surgery.

The club said there was “no confrontation” and it was “fake news” to suggest otherwise.

However, those missed points against an already-relegated side were part of a run that saw Forest – who had been in contention for Champions League qualification – only pick up eight points from their last eight matches of the 2024-25 campaign.

They qualified for the Conference League but were moved into the Europa League for 2025-26 at Crystal Palace’s expense after the Eagles were deemed to be in breach of multi-club ownership rules.

Nestle has fired its chief executive after just one year in the job because he failed to disclose a “romantic relationship” with a “direct subordinate”.

The Swiss food giant, which makes Kit Kat chocolate bars and Nespresso coffee capsules, said Laurent Freixe had been dismissed with “immediate effect” following an investigation led by Nestle’s chair and lead independent director.

The BBC understands the inquiry was triggered by a report made through the company’s whistleblowing channel.

Nestle chair Paul Bulcke said: “This was a necessary decision. Nestlé’s values and governance are strong foundations of our company. I thank Laurent for his years of service at Nestlé.”

The relationship was with an employee who is not on the executive board and the investigation began because it represented a conflict of interest, the BBC has learned.

As well as Mr Bulcke, independent director Pablo Isla oversaw the inquiry into Mr Freixe “with the support of independent outside counsel”.

The Financial Times has reported that concerns were raised about Mr Freixe’s relationship with an employee earlier this year and, after an internal investigation, the claims were found to be unsubstantiated.

After the complaints persisted, the newspaper reports that Nestle conducted another investigation with help from outside counsel after which the claims were upheld.

A spokesperson for Nestle said: “We acted at all times in line with best practice corporate governance.

“The external investigation was opened shortly after the initial internal investigation, and today’s decision shows that we are taking allegations and investigations seriously.”

Mr Freixe had been with Nestle for nearly 40 years but stepped up to the global chief executive role last September, replacing Mark Schneider.

Nestle confirmed that he will not receive an exit package.

The BBC has contacted Mr Freixe for comment.

Philipp Navratil, who has been with Nestle since 2001, has been appointed as Mr Freixe’s successor.

Mr Bulcke said the company was “not changing course on strategy and we will not lose pace on performance”.

Mr Bulcke is set to step down as chair next year and Mr Isla, the former boss of Zara-owner Inditex, has been proposed as his replacement.

Other companies have parted ways with their chief executives following investigations into their personal relationships with colleagues.

BP chief executive Bernard Looney, who led the oil giant for three years, quit after admitting he was not “fully transparent” initially.

Steve Easterbrook was fired by McDonald’s in 2019 after it found he had a consensual relationship with an employee.

But McDonald’s said a further investigation found that the British executive had three additional relationships with staff.

He initially received $105m (£77.5m) in a severance package which he later returned. In 2023, he was fined $400,000 by the US financial watchdog for misleading investors. He paid the penalty without admitting or denying the claims.

Additional reporting by Dearbail Jordan.

HE’S HERE. Racing’s Messiah. The saviour.

Lord Allen has today taken over as BHA Chairman, and, according to racing’s leaders, he will take the sport to a new era of prosperity.

1

The celebrations have already started.

Betting and Gaming Council chief executive Grainne Hurst said: “The appointment of Lord Charles Allen as chair of the BHA is great news for the sport.

“Charles will bring the kind of authority and leadership that racing has been crying out for.”

Will he? Do you believe that? Evidence for this is what?

Firstly, don’t get me wrong here. I want Charles Allen to be the special one. And if he can do it working the odd day here and there then fair play.

But how could Hurst possibly know if what she says is factual or not? Basically it’s just words.

It’s just what people say when someone takes over a job of supposed authority.

Indeed, we haven’t only heard it before, we have heard it time and time and time and time again.

What was said about former BHA chief executive Julie Harrington on her arrival at BHA?

Well, chair Annamarie Phelps enthused: “This is a vital leadership role for the organisation and British racing.

“Julie’s hands-on knowledge of horseracing, coupled with her governance and business experience, make her the ideal person to carry on with the task of restoring sustainable prosperity after the Covid crisis.

“We’ve got the right person, for the right job, at the right time.”

Really? Laughable.

How about Nick Rust, another BHA chief executive?

BHA Chairman Steve Harman said: “I am delighted that Nick Rust is able to join us early in the New Year. I know he will do a great job.”

And then there was chief executive Paul Bittar.

Paul Roy, another Chairman of the British Horseracing Authority, said: “Paul Bittar is a racing enthusiast through and through.

“He combines keen management and financial skills with love for the sport and a well-informed understanding of the challenges that British Racing must overcome at this time.

“After a prolonged and painstaking search, the selection team was unanimous in putting him forward for the job.”

I’m not slagging these people. It’s up to you to decide whether racing has thrived under their tenure.

The point I’m making is the quotes are all the same. More Messiahs than George Frideric Handel!

And I like Handel.

Anyone who has worked in racing for a reasonable period, knows exactly how difficult it is to change its format and its funding mechanism.

They would also know it’s a nigh on impossible task to unite the different factions.

Let’s face it, most are in it for themselves. Few truly care if horse racing is thriving 50 years after their death.

So the Messiah is here. Just like the Messiahs before him. Let’s hope Lord Allen sparks a vibrant racing future.

He has the chance to do so instantly and can start with two things.

Sorting the expected Racing Tax and getting to grips with the nonsensical affordability checks.

Do that straight away. Or, essentially, fail.

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Remember to gamble responsibly

A responsible gambler is someone who:

• Establishes time and monetary limits before playing
• Only gambles with money they can afford to lose
• Never chases their losses
• Doesn’t gamble if they’re upset, angry or depressed
• Gamcare – www.gamcare.org.uk
• Gamble Aware – www.gambleaware.org

Find our detailed guide on responsible gambling practices here.

It was an experience that will long live with me for a number of reasons, as I broke my Ibiza virginity in style at the iconic Pacha nightclub, writes Jamie Roberts

The brand Pacha is a globally recognised name and rightly so. It is widely known as being the iconic, glamorous, and historic nightclub that helped create the legendary dance culture on Ibiza 52 years ago.

So when the opportunity to party VIP at the height of summer arose, I knew I had to take it. As a White Island virgin at the ripe age of 38, I wondered if my more “chilled” outlook on nights out these days would see me last the distance until the 6am curfew. Let’s face it, in recent years, that time of day for me is more likely to be the start of the working day rather than still sipping tequila alongside thousands of revellers.

But, I knew I had to throw myself into the legend that is Pacha in full force as Dutch DJ Mau P headlined his fantastic Baddest Behaviour residency. Unlike some of the party island veterans, this may well have turned out to be a once-in-a-lifetime opportunity for me. And it’s safe to say that from the outset, the labyrinth that is Pacha Ibiza dragged me fully into its core.

READ MORE: Pacha Ibiza’s newest resident Mau P on ‘iconic’ moment with huge DJREAD MORE: Andy Carroll and Lou Teasdale’s romantic ‘make or break’ holiday after split

In the beginning, it was clear that the iconic spot isn’t just resting on its name and hoping legends of the past keep it afloat. In fact, as I was shown around at the start of the night, one passionate worker – who proudly shared he had been with the company for over 40 years – admitted his old office space is now an outdoor toilet as the space continues to evolve with the changes of society.

Explaining how Pacha is determined to keep moving with the times and add to the experience, he revealed that the smoking ban and the Covid pandemic made it a necessity to expand. This left the venue deciding to create further high-end boutique spots for its expectant revellers. But even as it grows, the space still gives off its unique vibes at every turn.

A special shout-out has to go out to the Paradiso rooftop bar. While anyone with a Pacha ticket can enter this area before midnight, it’s a welcome addition for those looking for a secluded pre-drink before hitting the dance floor until the early hours.

From walking through the Pacha Family outside spot, and also the Paradiso bar, it was noticeable that the venue was focusing on enhanced comfort with its open-top forest-like feel.

But once inside the venue, there were twists and turns that opened up new worlds thanks to an electronically tagged wristband. From the exclusive Ricardo’s room, to the special section floating above and behind the DJ booth to party the night away, the freedom to roam offered a lot more space. For those wanting to immerse themselves truly into the Pacha feel, you could also take to the main floor and embrace the busier vibe under the strobe lights and smoke cannons.

It’s clear the club takes pride in creating a buzz with its bolder than ever lighting displays and 360-degree immersive visuals. But despite all of the luxuries of the Pacha club and its impressive VIP, there was one thing throughout that surprised me – the apparent openness of smoking. As a non-smoker, this threw me back to my heavier partying days circa 2005 – just before the smoking ban came into play.

And while the smoking ban has created bougie outdoor elements, it seemed as though there may have been a much more relaxed take in certain private areas.

But is Pacha Ibiza VIP worth it? For this ageing dad-of-one, I’d definitely say yes – and I’m sure after taking it all in, it’s a benefit for those of all ages to fully experience one of the most iconic spots in the dance world.

As for the Ibiza Final Boss, long may he enjoy his newfound fame and VIP treatment. He is lucky enough to be living his best life this summer – something I would also certainly do if anyone was to film this ginger Mr Muscle character-of-old lookalike!

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

Jack Kay quickly became known as the Ibiza Final Boss after being filmed dancing on the White Island and his stock continues to rise in the UK

He’s a phenomenon that has taken the internet by storm. He is the Ibiza Final Boss. But what does the White Island actually think of their latest craze?

Jack Kay became an overnight internet sensation after a video of him dancing in the open air club Zero Six West on the party isle went viral earlier in the month thanks to his distinctive look. He was quickly dubbed by many as the Ibiza Final Boss.

With travel companies and Lego immediately jumping on board with the craze, as well as celebrities quickly commenting on the 26-year-old’s style, he has since been swooped up by big talent agency Neon Management. The savvy experts have also represented other TV personalities and reality show stars, such as Joey Essex and Gogglebox’s Stephen Webb.

READ MORE: Pacha Ibiza’s newest resident Mau P on ‘iconic’ moment with huge DJREAD MORE: Lou Teasdale romance puts Andy Carroll at risk of angering new bosses

And now we wait to see what delights they can throw his way as he continues to tour the UK’s establishments and party festivals, living off his unique appearance. It’s also thought that the agency sees potential for him to pursue various opportunities, including TV shows and podcasts.

Some say he has hit the jackpot, with rumours suggesting he could be about to bag a six-figure income if he is to play his cards right. But after being snapped in Ibiza with the likes of Wayne Lineker after being flown back to the island in a private jet, it’s unclear if his notoriety is quite as big as back in Blighty.

Almost a month on, was it just a fad or is he here to stay? In the UK, it certainly seems as though we have not heard the last of the North East native who is quite rightly cashing in on his instant fame. Just the past weekend, he was living his best life at Creamfields, mixing it with some of the biggest names performing.

And he has also hinted at a number of big appearances back where he was first spotted. But locals on the island where he rose to fame may not be as excited – or bothered – about his partying appearances.

At Newcastle airport prior to my whistle-stop journey, there were a number of holidaymakers sharing the signature bowl cut – with one muscly man also donning a BOSS top. While it was clearly designer brand Hugo, it did feel as though he may have been playing on the latest craze slightly with the choice.

After stepping out into the Balearic sunshine, it appeared as though locals weren’t quite as keen to play up to the star of the moment. On my way to my hotel, I thought I’d drop in his moniker and was met with a ‘who?’ response.

I didn’t push it, so I can’t be sure if this was a language barrier or indeed just someone who hadn’t been swept up in the moment. I was met with similar response in a shop while looking at souvenirs. Again, my joke questioning of any Final Boss memorabilia was met with a confused gaze.

Whether I would have received a warmer interaction if I had headed closer to his usual party scene in San Antonio, I’m not sure, but sadly I wasn’t in town long enough to find out. While British partiers were more receptive of the “legend” inside one bar in Ibiza Town, when I asked if he’d been there was a simple eye roll and shrug response.

Needless to say, whether Ibiza likes it – or even knows much about it – or not, there has to be a doff of the hat to Kay for cashing in on the moment in any way possible. He was welcomed with open arms to DJ decks across the island and popped up on exclusive guest lists of some of the hottest venues. And now he could be about to set himself up for a wealthier future off the back of living in the moment with his pals on a holiday.

There are not many people out there who would turn down such a life-changing opportunity. And he certainly appears to be living his best life while he can, and I certainly don’t blame him. Let’s see what he gets up to next!

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Chelsea manager Enzo Maresca thinks Cole Palmer’s injury is “not random” and is concerned about the lingering effects of winning the Fifa Club World Cup.

The 23-year-old forward has been ruled out of Saturday’s Premier League match at home to Fulham.

Palmer’s injury has been linked to an unprecedented 12-month season where his team played 64 matches, including the expanded Club World Cup tournament in July.

After beating Paris St-Germain in New Jersey on July 13, and having less than two weeks to prepare for the current campaign, Chelsea had their shortest ever gap between seasons. This included the 2019-20 and 2020-21 campaigns, which were impacted by the Covid pandemic.

When asked about Palmer’s absence, Maresca said: “I don’t think that it is random that our three players with the most minutes last year were Levi [Colwill], Cole and Moi [Caicedo].

“Levi is injured, Cole too and Moi today only had his first training session since the West Ham game.

“It is not random, it is the amount of games. Look at [Manchester] City last year, they lost Rodri after two or three games. He was a player that had the most minutes for them.

“We are going to have problems this season for sure because of last season. But It’s about how we can adapt and get players to recover.”

England defender Colwill started 35 of Chelsea’s 38 league matches last season but is expected to be out for the majority of the season after knee surgery.

Meanwhile, Caicedo is now a doubt for the visit of Fulham, having been Chelsea’s only player to start every league match last season.

Palmer, who pulled out of last week’s win at West Ham with a niggle in the warm-up, was also a near ever-present in the previous campaign.

Maresca added: “I have said that with Cole we are much better with him than without him. But if he has some problems we need to give him the right time to recover.

“It doesn’t matter if Estevao [Willian] is there or not, we can’t tell Cole he can relax, we need Cole back at 100%.”

Maresca’s complaints occur within the wider context of global players’ union Fifpro’s legal actions against world football governing body Fifa.

Fifpro president Sergio Marchi claimed Fifa “chose to continue increasing its revenue at the expense of the players’ bodies and health” in July after Chelsea’s 3-0 victory over PSG to end the tournament in the United States.

That came in response to claims by Fifa president Gianni Infantino that he was running “the most successful club competition in the world”.

Welcome to Screen Gab, the newsletter for everyone who needs a mental health break from the Taylor Swift-Travis Kelce engagement vortex.

Three years after “The Terminal List” ended its first season, Prime Video’s prequel to the military-espionage thriller arrives. The debut season of the flagship series concluded with — spoiler alert! — Navy SEAL commander James Reece (Chris Pratt) discovering his closest ally, Ben Edwards (Taylor Kitsch) was involved in the ambush mission that led to the death of his platoon, as well as his wife and daughter. “The Terminal List: Dark Wolf” traces Ben’s journey from Navy SEAL to CIA operative. Creator and showrunner David DiGilio stopped by to discuss expanding the Jack Carr book universe and working with Kitsch.

Also in this week’s Screen Gab, our streaming recommendations are different types of nostalgia plays: Noah Hawley’s timely television prequel to the ‘Alien’ film franchise that is set on Earth, and “Gunsmoke,” the classic western that first hit TV screens 70 years ago and is finding new life in the streaming era.

ICYMI

Must-read stories you might have missed

Olivia Colman, left, and Benedict Cumberbatch of “The Roses,” a remake of “The War of the Roses,” photographed in London in June.

(Jennifer McCord / For The Times)

Olivia Colman and Benedict Cumberbatch are a match made in heaven — or, in ‘The Roses,’ hell: They’ve known each other for years, but having the opportunity to spar in a savage new take on ‘The War of the Roses’ was too good for the longtime friends to pass up.

How Taylor Kitsch became Hollywood’s go-to actor (and veterans’ favorite) for military roles: The star of ‘The Terminal List: Dark Wolf’ discusses his new prequel series and how, with the help of military veterans, he learned to embody a Navy SEAL.

Telluride Film Festival returns with an eclectic mix of politics, auteur visions and the Boss: The 52nd edition blends star power and auteurs, with world premieres from Scott Cooper, Chloé Zhao and Edward Berger, plus new work from Yorgos Lanthimos and Noah Baumbach.

Inside romance queen Emily Henry’s literary empire and soon-to-be cinematic universe: The author has become the master of the contemporary romance novel, publishing six bestsellers since 2020. Now, five are being adapted into movies and shows.

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Recommendations from the film and TV experts at The Times

Sydney Chandler as Wendy in FX’s “Alien: Earth.”

(Patrick Brown / FX)

“Alien: Earth” (Hulu, Disney+)

Reimagining a nearly 50-year-old franchise like “Alien” isn’t for the faint of heart (or stomach). The iconic sci-fi horror saga has already spawned a tangled web of sequels, prequels and spin-offs of wildly varying quality. But Noah Hawley — who turned “Fargo” and “Legion” into bold, brainy extensions of their cinematic roots — brings a jolt of fresh, unnerving life to “Alien: Earth.” The horror is real, the xenomorphs still terrifying (and, yes, there are new critters too). But this isn’t just eight hours of people running from acid-blooded monsters. It’s a sprawling, idea-rich vision of a future ruled by tech oligopolies, where minds are uploaded into synthetic bodies and morality is outsourced to machines — a world as indebted to Ridley Scott’s “Blade Runner” as his original “Alien.” The monsters are back, but the deeper thrill is how Hawley keeps you thinking even as you’re bracing for the next kill. Now midway through its eight‑episode run, “Alien: Earth” doesn’t just extend a franchise. It reanimates it with a mind of its own and a brand-new set of fangs. — Josh Rottenberg

James Arness, Amanda Blake, Ken Curtis and Milburn Stone in “Gunsmoke.”

(CBS)

“Gunsmoke” (Peacock, Pluto TV)

I long for the simple times when my family and I would gather around the television to watch the latest episode of “Gunsmoke.” The drama that featured James Arness as no-nonsense Marshal Matt Dillon was a staple in millions of households throughout its 20-year run, which ended in 1975. In the streaming era, “Gunsmoke” is now sparking a lot of new heat, and has ranked at least twice among Nielsen’s top 10 list of most-streamed acquired series. Beginning Saturday, MeTV will kick off a month-long 70th anniversary salute to the drama, airing specially-themed weeks such as “Best Characters of Dodge City” and five made-for-TV movies. — Greg Braxton

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Ben Edwards (Taylor Kitsch), James Reece (Chris Pratt) in “The Terminal List: Dark Wolf.”

(Justin Lubin / Prime)

Taylor Kitsch rose to fame with his portrayal of brooding football player Tim Riggins on “Friday Night Lights,” but he’s spent a good portion of his career since then stepping into the military mindset — as my former colleague Michael Ordoña astutely unpacked in his profile of the actor. With “The Terminal List: Dark Wolf,” which further expands Jack Carr’s book universe, Kitsch reprises his role as Navy SEAL-turned-CIA operative Ben Edwards in Prime Video’s prequel to 2022’s Chris Pratt-led series. Premiering its first three episodes earlier this week, the series takes place five years before the events of the first season of “The Terminal List” and explores Ben’s origin story and his crisis of faith that eventually led to his betrayal of James Reece (Pratt). Showrunner David DiGilio stopped by Screen Gab recently to discuss why Ben is a worthwhile character for a spin-off, the story behind that AC/DC needle drop and more. — Yvonne Villarreal

What was it about the story of Ben Edwards that resonated with you and made you so passionate about wanting to explore his origin story?

Ben is an ever-evolving character. He was different in the book than he was in our scripts for Season 1 of “The Terminal List.” Then Taylor arrived and brought a whole new layer of empathy, complexity and danger to the role. Unlike Reece, who represents a light wolf character pulled into a dark place by a conspiracy, Ben Edwards is a man with innate darkness inside him. But he also values loyalty, brotherhood and freedom. And that dichotomy in a character means we can give Taylor a ton of great stuff to play. It makes Ben unpredictable. And we get to watch how Ben evolves from a leader in the SEAL Teams to a Black Side Operator who thinks he can use his dark wolf for good.

You had involvement from real veterans in the making of the series, including in the writing of the season. There are seven episodes and five were written by veterans. Walk me through finding the voices to join the room and how did that enrich discussion as you broke stories?

As we were making Season 1 of the flagship series, we made a commitment to military authenticity. The lived experience is what defines Jack Carr’s writing in the books, and we wanted to make sure it translated to the shows. During Season 1 of “The Terminal List,” two military veteran storytellers in particular — Max Adams, a former Army Ranger, and Jared Shaw, a former Navy SEAL — really stepped up our action and authenticity and our storytelling overall. When it came time for “Dark Wolf,” we elevated Max and Jared to executive producer[s]. And we were able to include Jack Carr in more of the writing and creating side of the show as well. But we didn’t stop there. We brought writer-producer Kenny Sheard — also a former SEAL — into the writers room and brought back Ray Mendoza — a former SEAL and technical advisor on Season 1 — to second unit direct. So, between Max, Jared, Kenny, Ray and Jack Carr himself, I don’t think you have a show that’s more committed to getting it right for the military veteran audience.

Is there a personal connection — for you or the veterans who worked on the show — behind the use of AC/DC’s “Hells Bells” to score the time jump in the first episode?

Interesting story. We were trying to use Led Zeppelin for that training montage in the pilot. The band is notoriously tricky to clear, but we made it to about the five yard line before it got denied. Sadly, we’d been temp-editing with that song for months and were all quite attached. So we now had to pivot … quickly. We found AC/DC’s “Hells Bells” by asking our military veteran storytellers for bands/songs that were big for them during deployments. AC/DC was near the top of the list, and the civilian side of our EP team had connections to the music as well. We tried three AC/DC songs for the sequence, and “Hells Bells” was a no-brainer. But, truly, a classic example of the adage “don’t fall in love with the temp.” We made this music selection way tougher than it needed to be!

Tell us a good story about Taylor Kitsch and his time on the inflatable boat.

I think the biggest thing we learned from putting Taylor on that boat in the pilot is that we weren’t in Kansas anymore. Meaning, Budapest production is very different than production in the U.S. In the States, you would have a full “marine unit” dedicated to getting a scene like that. Half a dozen camera boats and follow boats built specifically to capture that sequence. In Budapest, we were tying camera men down on the boat itself, and turning tourist river boats into parts of our armada. Boats could not keep up with those beastly gunship engines. Smaller boats got waked. We got the scene, and we got it safely. But after the ease of filming the flagship series in Los Angeles, I think that day told all of us that Budapest would be a city with unique production challenges. But I give a huge hat tip to the Budapest crew, because even on a day like that, they never complained. And I think having the cast and American crew together in a foreign city really helped bond us all into one big family.

What have you watched recently that you are recommending to everyone you know?

My last watch was probably while flying to and from South Africa and Toronto for the filming of “The Terminal List” Season 2. I downloaded and binged “Adolescence” [Netflix] and Season 2 of “Andor” [Disney+]. I’m surprised more folks don’t talk about “Andor.” It’s probably the most smartly-written show on streaming these days. A World War II resistance film wrapped up in incredible sci-fi visuals. And on “Adolescence,” the performances were incredible. But note to all, whatever you do, don’t watch that show’s finale in a crowded airport lounge in London. I was bawling.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

Might not surprise folks to hear, but it’s either “Saving Private Ryan” [Prime Video, Pluto TV] or “Gladiator” [Prime Video, Paramount +]. Both movies capture the warrior’s ethos and sense of brotherhood that we strive for in the “Terminal List” shows. They also combine great action with big emotional character-driven scenes. Hollywood’s balance of VFX and character work was probably at its zenith right around the turn of the century. So I love to rewatch those films as a reminder of the balance I strive for in my writing, and for the balance we try to build into the Jack Carr Universe shows.

In recent years, film festivals haven’t felt all that festive. Audiences have dwindled, streaming has upended viewing habits and the pandemic and Hollywood strikes have rattled the industry, leaving even the most glamorous events to fight for their place on the cultural calendar.

Then there’s Telluride. For more than a half-century, the tiny mountain gathering has thrived as a kind of anti-festival: no red carpets, no prizes, no tuxedos, just movies. Perched 8,750 feet up in a box canyon in the Colorado Rockies, it’s reachable only by twisting roads or a white-knuckle drop into one of the nation’s highest airports. Festival passes are pricey and limited in number, which makes Telluride feel at once intimate and exclusive. With its mix of industry insiders and devoted film lovers, that isolation and tight-knit atmosphere have become part of Telluride’s mystique, and the promise of early Oscar buzz keeps filmmakers, stars and cinephiles making the pilgrimage. Since 2009, only five best picture winners have skipped Telluride on their way to the top prize.

“It’s so hard to get to Telluride — you don’t end up here by accident,” festival director Julie Huntsinger says by phone. “We’ve always felt it’s incumbent on us to show either brand-new things or extraordinary things that make your time worth it. You know how cats will bring you a mouse? I always feel like I’m bringing you a mouse or a bird, and I just hope you’ll like it.”

Rolling out over Labor Day weekend, the 52nd Telluride Film Festival will supply a slate of fresh offerings, including a handful of world premieres. Scott Cooper’s “Springsteen: Deliver Me From Nowhere” drops Jeremy Allen White into the boots of the Boss, tracing the creation of his stark 1982 album, “Nebraska.” Chloé Zhao’s “Hamnet” unites Jessie Buckley and Paul Mescal in a haunting portrait of grief. Edward Berger’s “Ballad of a Small Player” finds Colin Farrell wandering Macau as a gambler chasing luck and redemption. And Daniel Roher’s “Tuner” gives Dustin Hoffman a rare return to the screen in a crime thriller about a piano tuner who discovers his ear is just as effective on safes as on Steinways.

Also in the mix are a number of films coming from Cannes and Venice: Yorgos Lanthimos’ “Bugonia,” Noah Baumbach’s “Jay Kelly,” Kelly Reichardt’s “The Mastermind” and Richard Linklater with a double bill, “Blue Moon” and “Nouvelle Vague,” proof that Telluride remains a haven for auteurs.

At last year’s Telluride, politics dominated the conversation on- and off-screen. Hot-button issues, from abortion access to climate change to the Israeli-Palestinian conflict, ran through the program, while guests such as Hillary Clinton, James Carville and special prosecutor Jack Smith joined the usual roster of actors and filmmakers. Ali Abbasi’s “The Apprentice,” a searing portrait of Donald Trump’s early years, was one of the buzziest titles.

This year the lineup is broader, though politics still runs through it. Ivy Meeropol’s “Ask E. Jean” follows writer E. Jean Carroll through her legal battles with Trump, while Kleber Mendonça Filho’s “The Secret Agent” uses a 1970s-set thriller to revisit Brazil’s military dictatorship, with Wagner Moura (“Narcos”) as a professor on the run. “This year is pretty political too,” Huntsinger insists. “There are a couple of films that, if you’re paying attention, have important things to say. I just hope everybody feels a little braver after a lot of the things we show.”

German-born director Edward Berger, who brought his papal thriller “Conclave” to last year’s edition, returns with a strikingly different film in “Ballad of a Small Player.”

“I would defy anyone to stack up his films and say they’re by the same filmmaker,” Huntsinger says. “This is a beautiful, very dreamlike, nonlinear exercise in spirituality and introspection. ‘Conclave’ felt disciplined — not that this film is undisciplined but it exists on a totally different plane.”

Zhao, who won the directing Oscar for 2020’s “Nomadland,” has adapted “Hamnet” from Maggie O’Farrell’s acclaimed novel about the death of Shakespeare’s only son in what Huntsinger describes as one of the festival’s most emotionally powerful selections.

“Chloé is a person of immense depth,” Huntsinger says. “She has such a deep feel for human beings. This is a sad, mournful but beautiful meditation on loss. People should be prepared to cathartically cry. There isn’t a false note in it.”

Another festival favorite, Lanthimos makes his third trip to Telluride with “Bugonia,” a darkly comic sci-fi satire that reunites him with Emma Stone following their earlier collaborations on “The Favourite” and “Poor Things.” A remake of the 2003 Korean cult film “Save the Green Planet!,” it follows a conspiracy-minded beekeeper (Jesse Plemons) who kidnaps a powerful pharma executive (Stone) he believes is an alien bent on destroying Earth.

“Be prepared to get your a— kicked,” Huntsinger says. “Emma is outstanding, and we should never take her for granted, but Jesse Plemons steals the show. He next-levels it in this one.”

Baumbach also marks his return to Telluride with the dramedy “Jay Kelly,” which centers on an actor (George Clooney) and his longtime manager (Adam Sandler) as they journey across Europe, looking back on the choices and relationships that have shaped their lives. Huntsinger likens the film to a cinematic negroni: “It’s substantial but also fun, with an almost summery feel. It’s about where you’re headed after a certain stage in life, told without heavy-handedness.”

The filmmaker and screenwriter, who previously brought “Margot at the Wedding,” “Frances Ha” and “Marriage Story” to the festival, will be honored this year with a Silver Medallion. He shares the award with Iranian director Jafar Panahi, whose drama “It Was Just an Accident” won the Palme d’Or at Cannes, and Ethan Hawke, represented in the lineup with Linklater’s “Blue Moon” and his own documentary about country singer Merle Haggard, “Highway 99: A Double Album.”

Few films in the lineup will be more closely watched than Cooper’s Springsteen biopic, with Emmy-winning “The Bear” star White channeling the Boss during the making of one of his most uncompromising albums. “Jeremy delivers in the same way that Timothée Chalamet did in [the Bob Dylan biopic] ‘A Complete Unknown,’ where you just think, Jesus, what can’t this kid do?” Huntsinger says. “Scott’s a great filmmaker, and the movie delivers on its promise.”

The music thread continues with Morgan Neville’s documentary “Man on the Run,” drawn from never-before-seen home movies Paul McCartney shot in the early 1970s, not long after the Beatles’ split. The footage shows McCartney retreating to Scotland with his family and offers what Huntsinger describes as a revelatory glimpse at a less-mythologized moment. “You also understand there wasn’t a villain in the Beatles breakup,” Huntsinger says. “It’s an expansion on history that’s really needed.”

Elsewhere in the documentary lineup, Oscar-winning filmmaker Laura Poitras returns with “Cover-Up” (co-directed by Mark Obenhaus), an exploration of investigative journalist Seymour Hersh’s career that builds on her politically charged films like “Citizenfour” and “All the Beauty and the Bloodshed.”

For all its flannel-and-jeans ethos, Telluride isn’t immune to the economics of 2025. Lodging and travel costs have soared, amplifying concerns that the showcase has become a festival largely for the well-off. Huntsinger concedes the expense but points out pass prices haven’t budged in more than 15 years as she works to keep it accessible.

“I was concerned for a while because our audience was aging, but we’ve really worked on making sure that younger people and people on fixed incomes can come,” she says. “I can see the difference — it’s not just people of means. And I promise you, I’ll keep fighting for that. I hope the lodging people will realize they got a little out of hand and start lowering prices too.”

For all the turbulence and doomsaying that has rattled Hollywood in recent years, Telluride has managed to hold fast to its identity.

“The devotion people have to this weekend makes me think there’s hope,” Huntsinger says. “They’re not coming here for anything but film-loving. To hear people say, ‘I would not miss this for the world’ makes me really proud and hopeful. After everything we’ve all been through, I think we still have reason to keep doing this crazy little picnic.”

“So, Yoane won’t be involved. But as far as I’m concerned, there’s been no movement in any way and fully expect Yoane to be here come next Tuesday.”

Andrews felt the decision not to involve Wissa against the Cherries was “best for the group”.

The Brentford boss, appointed in June after Thomas Frank’s departure to Tottenham, said he always knew Wissa – who has scored 49 goals in 149 appearances for the Bees – would be a transfer target this summer.

“I knew there was, or would be, interest,” added Andrews. “Naturally, when you score that amount of Premier League goals and play as well as he did last season in particular.

“He’s built his career at this football club over the last four years where he’s grown in stature, presence. I’m not surprised by it.”

Despite Nuno’s latest comments, it seems clear there is considerable friction behind the scenes at the City Ground.

If Forest continue to win games, then sacking him becomes that much tougher.

But can Nuno really expect to come out on top in a dispute with the owner and head of football?

“This is a battle that Nuno will lose,” European football expert Julien Laurens told BBC Radio 5 Live.

“We all know that once you start questioning your owner, it’s done. For him to come out with this unprompted, he offered it to the whole world, he knows that it is coming and that he can’t win this battle.

“We also know that him and Edu don’t get on. He was already there when Edu arrived at the club, and we all know when a new sporting director arrives, they like to come with their own people.”

Former Manchester City defender Nedum Onuoha said Nuno may consider resigning now that the relationship was “broken”.

“Nuno’s stock is so high with the fanbase, they will want to fully believe in him,” he told BBC Radio 5 Live.

“But it is also so awkward for them because they will be grateful for what the owner has done for the club in the last few years.

“With Edu coming into the club in such an important position, he will want his own people in play, because they will never really fully trust the person that is already in play? If he could pick a manager now, would he pick Nuno? No.

“That will be nagging for as long as possible, but Marinakis and Edu won’t be rooting for him to fail so they can make the change.

“But the relationship is broken and I would not be surprised if Nuno walks before he is sacked.”

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Scotland head coach Steve Clarke has conceded he “feels the pressure” to get the nation to their first World Cup finals in 28 years.

Under Clarke’s guidance the Scots have reached two European Championships, but have failed to emulate the achievement of Craig Brown’s group in 1998.

The country’s latest qualification campaign, this time for next summer’s finals in the United States, Canada and Mexico, commences away to the formidable Danes on 5 September.

“I feel the pressure,” the stoic and normally unshakable Clarke told BBC Sport.

“I think there is a pressure because we do want to get there, the whole country wants to get there, and obviously as a head coach a little bit of that comes back on me.

“But I’m looking forward to it.”

The Scotland boss was speaking to Match of the Day’s Kelly Cates as he prepares for what potentially could be his last campaign.

The 61-year-old, who is due to name his squad next week, has previously said he is 75% sure his time in charge of his country will come to a close after this World Cup campaign ends.

It is a journey which started just over six years ago, with Scotland having not qualified for a major finals since that French sojourn back under Brown.

A summer fling has been flung twice at the Euros, albeit with the Scots falling flat in their attempts to make it out of a group for the first time.

In World Cup qualifying, a glorious chance to make it to Qatar was passed up in a home play-off to Ukraine.

ITV boss Kevin Lygo has lifted the lid on upcoming cuts to the channel’s daytime offerings, admitting that certain shows are a huge expense to make

ITV boss Kevin Lygo has insisted the channel will try to make their daytime shows look the same next year but admitted it will be “challenging” – as he spoke out about the budget cuts to daytime.

From January 2026 Lorraine Kelly’s morning show on ITV will be cut from an hour to 30 minutes as more than 220 jobs across the station’s daytime output are being cut, the broadcaster announced in May.

Asked directly if the best days of daytime TV were behind them at ITV, ITV managing director Lygo said “no, I don’t think so” but admitted there would be changes.

He said: “As a commercial broadcast you earn most of your money with big audiences in peak time. That is what advertisers want and the cost of those has gone up and up and up. Those are the things that drive us commercially.

“Those morning shows have been on forever and they are brilliant and they are watched and they are seven hours of TV a day but they do cost a great deal of money.

“So we thought, is there a way of keeping those long standing brands on air and keeping the familiar faces on that give comfort to people? So the editorial brief was if you have a lot less money, which you will do from January, to try to make it so the audience isn’t shocked. They should look more or less the same, they are less funded so that will be challenging to the producers. But unfortunately that means people doing a perfectly good job will lose their jobs because we need fewer people making them.”

Lygo also defended the decision to keep Torode’s John and Lisa’s Weekend Kitchen on air on ITV after he was sacked from MasterChef following an independent report.

Questioned over this decision to let him remain on screen, Lygo said he “felt it was a bit much for us to jump on the bandwagon and just deny these shows to go out.”

He added: “We don’t know the details, the BBC haven’t come out with that. We pre-recorded those shows. We did ask the producers of our shows if there were any incidents and they said everything was fine.”

Torode was sacked after the report, initially examining allegations against Wallace, upheld a complaint against him for use of racial language. Torode has apologised but denied the incident took place.

In a separate session at the Edinburgh TV Festival, the BBC’s chief content officer said the corporation “acted fast” after misconduct allegations against former MasterChef presenter Gregg Wallace.

Wallace, 60, issued an apology saying he was “deeply sorry for any distress caused” and that he “never set out to harm or humiliate”, after a review said 45 out of 83 allegations made against him were upheld.

Speaking at the Festival, Kate Phillips said: “I think when complaints came to me about Gregg Wallace, which was 2019, when I dealt with it, I always dealt with it straightaway.

“So there were two complaints. I dealt with them. I acted on them fast.

“I think we weren’t as joined-up in the BBC as we are now, so I didn’t know about some of the historical things that had taken place. So if I’d known about those at the time, yes, I may have acted differently, but I acted on the information I was given.

“I think I acted responsibly. I left him in no doubt of the expected behaviour that we expect at the BBC, if you like. I stand by the actions I took at the time with the knowledge that I had.”

ITV staff working on daytime were told in a meeting in May that 220 production staff out of 440 will lose their jobs

On the other daytime shows as previously revealed in the Mirror there will be cuts to Loose Women which will see less panelists needed than the current rota of 26.

One insider insister 8-10 might leave in the New Year and it would mean the next six months would see panelists being more outrageous and bold with their comments than normal to keep the spot on the show. ITV have insisted there will be no widespread cuts when it comes to panelists.

Good Morning Britain will also see big cuts and changes but the one constant will be Susanna Reid. A source previously told the Mirror: “When there are cuts this big normally no one is safe but Susanne Reid is someone ITV want to build the show around and is seen as an essential part of daytime. She is 100% safe from the cuts but will be very worried for friends she has on GMB and what the cuts mean for the quality of the programme on screen.”

Hundreds of staff are now in a consultation process at ITV.

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