Political satire is under threat; reality keeps stealing its punchlines. When the absurdities of political life require little embellishment before spilling into complete lunacy, how far can comedy go before it stops being funny? Alejandro Iñárritu’s Digger sits at the heart of this dilemma.

In a world dominated by men, the publishing industry has seemingly forged a matriarchy.

Pike and Clancy have each faced a jury of twelve, but their real trial is being held before millions online. In a time of live-streamed court cases, each woman must endure her own cyber-courtroom before the face of the public, while an army of armchair sleuths (online “detectives”) rush to investigate their crimes and publish conspiracies, all without ever leaving their houses.

Ah, the Great British Bake Off. An indulgent way to sweeten the impending darkness of autumnal evenings. Nigella is a calm and thoughtful presence in the tent, a natural judging counterpart to fiery Paul Hollywood, and on the surface not much has changed. However, Nigella’s attitude is quietly setting a precedent that this show has been in desperate need of.

I recently came across a TikTok by Tilly Middlehurst, a Cambridge graduate who speaks out on social and political affairs. She was responding to people mocking her for using “big words” such as “norm” and “culture”, or commenting “word salad” under a video in which she mentioned “religion” and “economy”.

Mercedes driver Kimi Antonelli could mathematically win the 2026 World Drivers Championship (WDC) in Austin this weekend, a feat that would make him the youngest world champion in the sport’s history. Would his title mark the start of an era of dominance, or merely the culmination of a season of good fortune?