It features a new race in the Spanish capital Madrid. This is in addition to the event at Barcelona’s Circuit de Barcelona-Catalunya, which has hosted the Spanish Grand Prix since 1991.
Barcelona’s contract runs out after next season but it is in the running to be one of the events that rotates with the Belgian Grand Prix, whose new contract sees it host races in four of the next six years.
Other events to have expressed an interest in rotating are Germany, Portugal and Turkey.
F1 is also working on finalising plans for a new race in Thailand’s capital Bangkok, perhaps from 2028.
There have been six sprints each year since 2023 and F1 has not increased that for 2026 because of the added strain on the teams as a consequence of the new chassis and engine regulations that are being introduced.
However, F1 bosses are considering increasing the number of sprint events from 2027 to as many as 12, which would mean sprints at half the races during the season.
A sprint event features a shorter race with its own qualifying session, before qualifying and the main event. A traditional grand prix weekend has three practice sessions before qualifying and the grand prix.
There are also discussions about modifying the format of sprint events, which could include trying out reverse grids.
F1 president Stefano Domenicali said: “With four competitive sessions rather than two during a conventional grand prix weekend, F1 sprint events offer more action each day for our fans, broadcast partners and for the promoters – driving increased attendance and viewership.”
Sprints also generate more income for the sport as promoters are prepared to pay a premium to host them.
Domenicali added: “The 2026 season will usher in a new era of regulations, so having three new sprint venues will only add to the drama on track.”
Thirty years ago, the coming-of-age romantic comedy “Clueless” opened in movie theaters and went on to become an enduring American pop culture touchstone.
“I’m thrilled that people love it and continue to love it,” the movie’s star, Alicia Silverstone, said in a recent conversation in New York. “Young people. Old people. It’s really gone on and on, and obviously that’s lovely.”
AMC Networks is counting on Silverstone’s multigenerational appeal to help boost the New York-based media company’s streaming service Acorn TV, which specializes in British dramas and other programs from overseas.
Silverstone is the lead in the new Acorn original series “Irish Blood,” which premiered Monday. She plays hard-bitten Los Angeles divorce lawyer Fiona Sharpe, who heads to Ireland to resolve a mystery involving the father who abandoned her as a child.
AMC has also signed the imperishable Brooke Shields to star in another Acorn project titled “You’re Killing Me.” She portrays a mystery novelist who teams with a young wannabe writer and influencer to investigate murders in a small New England town. The series starts shooting this summer and is set to premiere in 2026.
Why put two iconic American actors on a streaming platform with a well-defined niche of providing viewers with international locations and accents that at times require closed-captioning even when the language is English?
Even the small players in streaming have to get bigger.
AMC does not have the deep pockets to compete with the likes of Netflix, Prime Video and Disney+. The company has blazed its own digital path by serving dedicated audiences who will pay for an additional streaming service that caters to their passions, such as Shudder for horror fans and HIDIVE for anime lovers.
The company’s suite of streaming services has around 10.4 million customers. Even with that modest figure, AMC Networks’ streaming revenue has steadily grown to the point where it will soon surpass what the company earns from its traditional TV channels such as AMC, BBC America, Sundance TV and WE, which continue to see subscriber declines because of cord-cutting.
AMC has found that the strong fan bases for its niche services are willing to absorb price increases and are less likely to cancel. The company has managed to keep its streaming platforms priced at less than $10 a month.
Brooke Shields is set to star next year in “You’re Killing Me,” a new small-town mystery from Acorn TV.
(Evelyn Freja / For The Times)
Now AMC Networks is looking to accelerate its subscriber growth and Acorn — the most popular and profitable of its standalone offerings — is seen as the platform best suited to the task.
“It’s a service we really believe in,” Courtney Thomasma, executive vice president for streaming and content strategy at AMC Networks, told The Times in a recent interview. “Over the last year, we’ve been really focused on looking for ways to continue to raise awareness of the brand and invite new viewers in who we know would also love it. We’re doing that with a focus on investing in the brand and inviting bigger talent that’s more familiar to North American audiences.”
Many fans of Acorn — which started out as a direct marketer of British TV series on home video and was acquired by AMC in 2018 — are what Thomasma calls “armchair travelers” who want to take in a French vineyard or the cobblestone streets of Chelsea. But AMC believes aligning Acorn more closely to the mystery genre will widen its appeal.
A monthlong promotional campaign under the banner of Murder Mystery May — which featured a number of season premieres — drove Acorn TV subscription sign-ups to a four-year high. The 20 million hours watched during the month was the best ever for the service, according to AMC.
The emphasis on mystery provides Acorn the latitude to cast Silverstone and Shields. One way AMC attracts star talent is the opportunity to put their own creative stamp on their programs. “They become as invested in the success of the projects as we are,” Thomasma said.
Silverstone came on to “Irish Blood” as executive producer and became involved in the development of the series. She was involved in the hiring of key positions in the production and worked with the writers. She’s happy with the result.
“I thought it was quirky and also an emotionally deep drama,” Silverstone said. “There’s a lot for me to do.”
Shields and writer Robin Bernheim pitched the generation gap tandem at the center of “You’re Killing Me” to AMC, and the actor remains deeply involved in the process as shooting begins. “This is the first time I’ve ever had this much creative control as an executive producer,” Shields said in an interview. “I feel lucky that they entrusted me to do what we’re doing.”
Silverstone, left, with Ruth Codd in “Irish Blood.”
(Szymon Lazewski / Acorn TV)
Acorn teams with production partners around the world and generates revenue from selling some of its series for second runs on international broadcasters and PBS. AMC spends in the range of $1 million per episode for its cost-efficient series, which are heavy on dialogue and largely car-chase free. The audience is older — they are avid readers who are likely to subscribe to newspapers, watch cable news and PBS, and enjoy solving puzzles.
And though Acorn is hoping to attract more younger subscribers, the service won’t be losing its British accent.
Acorn recently launched “Art Detectives” with Stephen Moyer, who also is an executive producer. The series, about a Heritage Crime Unit that solves murders connected to art and antiques, had the strongest premiere in the streamer’s history.
Later this year, it will offer a new six-episode series starring Matthew Lewis, known for his Neville Longbottom role in the Harry Potter films. Based on the series of Canon Clements mystery novels by the Rev. Richard Coles, “Murder Before Evensong” is a co-production with British broadcaster Channel 5.
“We pride ourselves on being a boutique neighborhood store, the kind that you walk in, you know the owner [and] the owner knows you,” Thomasma said. “We have deep connection to our audience.”
The race started on a wet track after a soaking wet morning, but with the sun out and more rain heading towards Silverstone.
Verstappen held the lead through a brief challenge from Piastri off the line but he could not shake the McLarens, and Piastri was soon challenging him hard for the lead.
Before he could try a move, though, a virtual safety car was deployed after Sauber’s Gabriel Bortoleto crashed at Turn Two on lap four.
The race was restarted on lap seven, and Piastri was past Verstappen on the Hangar Straight before two laps were over, building a 2.9-second lead after just one lap.
It was then Norris’ turn to challenge the Red Bull, but Verstappen gifted him the position when he slid off at Becketts on lap 11, just as heavy rain started.
That brought the drivers into the pits for fresh intermediates. By then, Aston Martin’s Lance Stroll had gained time by an earlier change to soft tyres when the track was drying and emerged in fourth place, with Hulkenberg in fifth after stopping for inters on lap 10, so benefiting when others had to drive on a wet track on slick tyres and then pit.
The rain became heavier and a safety car was deployed on lap 14. The race restarted on lap 18, but a second safety car was sent out within a lap after Racing Bulls’ Isack Hadjar ran into the back of Kimi Antonelli’s Mercedes at Copse because he could not see him in the spray.
When the race restarted for the last time on lap 22, with Verstappen spinning from second down to 10th, Piastri started to try to build a lead but he was not able to get more than four seconds ahead before Norris came back at him – he was less than two seconds back by the time Piastri pitted to serve his penalty with nine laps to go.
Stroll was unable to hold on to his third place, soon being passed by Hulkenberg and then Hamilton and eventually dropping down to seventh place.
Behind Verstappen, Alpine’s Pierre Gasly, who was fifth at the restart, lost places to Hamilton and the Dutchman but was able to secure sixth place.
Williams’ Alex Albon was eighth, ahead of Fernando Alonso, who was frustrated by his team’s strategy costing him places in the topsy-turvy early part of the race, and then pitted a couple of laps too early for slick tyres as the track dried in the closing stages.
That dropped him to last, but he recovered to take ninth, ahead of Mercedes’ George Russell, who also stopped early for slicks for the final time.
