Author: admin

  • Creative Australia chief executive facing mounting pressure to resign after Khaled Sabsabi controversy | Creative Australia

    Creative Australia chief executive facing mounting pressure to resign after Khaled Sabsabi controversy | Creative Australia

    Creative Australia chief executive Adrian Collette is facing mounting pressure to resign after the body’s decision to reinstate Khaled Sabsabi as Australia’s 2026 Venice Biennale representative.

    Senior arts figures have also criticised the Creative Australia board, as a former chair of the selection panel for the biennale said the board and Collette did not “understand or at least trust the power and complexity of the visual arts”.

    An external report, released on Wednesday, recommended a review into Creative Australia’s governance processes, better training for future board members, and the urgent appointment of a board member with deep visual arts expertise, after the protest resignation of artist Lindy Lee shortly after the board voted to withdraw the Sabsabi commission in February.

    But Max Bourke, general manager of the Australia Council from 1987 to 1994, said he was “appalled” by Creative Australia’s handling of the controversy and called for Collette’s resignation. A former arts adviser to the federal government also told Guardian Australia that the CEO should step down.

    Callum Morton, professor of fine art at Monash University who chaired the selection panel for the 2017 biennale, said he did not believe the current selection process – where the chief executive, informed by a panel of experts, makes the final decision – was flawed.

    It was a process that delivered last year’s Archie Moore exhibition at Venice, which won the Golden Lion, he pointed out.

    But Morton added that a series of “kneejerk reactions that caved into baseless scaremongering” on the part of the executive and board ultimately betrayed the artist.

    “It speaks to a CEO and board who frankly didn’t seem to understand or at least trust the power and complexity of the visual arts,” Morton said.

    “I think the conversation should be less about the process and more about how we choose board members, so that the right industry experts are given proper place and a voice to advise on these matters.

    “This will help boards avoid these self-inflicted crises that hurt artists and arts workers and embarrass our reputation nationally and internationally.”

    The Blackhall & Pearl report also expressed surprise that Creative Australia management had not requested a contentious issue report into the selected artist, given this appeared to be standard practice in the organisation’s other grant and investment decisions.

    Another senior arts figure told Guardian Australia that although a panel of experts acting in an advisory capacity recommended Sabsabi for Venice, “either way, it was Adrian Collette, the CEO of Creative Australia, who made the final decision”.

    “Firstly, he’s got no visual arts expertise. Secondly, the board doesn’t seem to have been involved in the deliberations at all,” they said.

    “This is the most important thing Creative Australia does – it’s the biggest decision they make. You would expect the CEO to have appropriate expertise, and the board to be fully engaged. That simply didn’t happen.”

    Prof Jo Caust, a principal fellow at the University of Melbourne’s school of culture and communication, said the Blackhall & Pearl report highlighted serious problems with governance at Creative Australia.

    “If you look at the current board, some are arts people, but some clearly are not,” Caust said. “You need people who understand the sector, who can stand up and be counted.”

    The Blackhall & Pearl report did not identify a failure of process, governance or decision on the part of the Creative Australia board, but said that “with the benefit of hindsight there are things the Board might have done differently”.

    Whether the board erred in its decision to decommission Sabsabi was an assessment outside the scope of its terms of reference, the report said, but added that it believed “the board and Creative Australia are able to learn from this exercise and be better prepared should a similar situation arise in future”.

    Guardian Australia has requested comment from Collette and the acting chair of the Creative Australia board, Wesley Enoch.

    Continue Reading

  • How to Watch Sharkfest 2025 Online Free, National Geographic Schedule

    How to Watch Sharkfest 2025 Online Free, National Geographic Schedule

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    Year after year, summertime and shark programming go hand in hand, but with 2025 marking Jaws‘ 50th anniversary, the shark-centric content seems to be hitting an all-time high.

    On June 15, all four movies in Steven Spielberg’s cult-favorite franchise got their streaming debut exclusively on Peacock: Jaws, Jaws 2 (1978), Jaws 3 (1983) and Jaws: The Revenge (1987). Then, ahead of Discovery Channel premiering its 37th annual Shark Week on July 20, National Geographic is set to kick off its 13th annual SharkFest on Saturday, July 5.

    Nat Geo’s television event has over 25 hours of new programming. This includes Jaws @ 50: The Definitive Inside Story, a documentary diving into the film’s lasting impact, featuring rare archival footage plus interviews from Spielberg and other acclaimed Hollywood directors, top shark scientists and conservationists. Additionally, Sharkfest is home to an assortment of multi-part docuseries exploring shark behavior and the ongoing mystery surrounding these creatures.

    Sharkfest 2025 kicks off on National Geographic channel on July 5, at 8 p.m. PT/ET, with Sharks Up Close With Bertie Gregory, followed by hours of new content airing over the coming days (see full schedule below). Cord-cutters can watch National Geographic on any live TV streaming service that carries the channel, including Philo, DirecTV, Fubo, Hulu + Live TV and Sling.

    Plus, select Sharkfest 2025 series and specials (also listed below) will begin streaming on Sunday, July 6, on both Disney+ and Hulu.

    Since select streamers are offering free trials and limited-time discounts, viewers can watch the special programming at no cost; keep reading to learn more about each option.

    At a Glance: How to Watch Sharkfest 2025 Online

    • TV premiere date: Saturday, July 5, at 8 p.m. PT/ET
    • TV channel: National Geographic
    • Stream Nat Geo online: Philo, DirecTV, Fubo, Hulu + Live TV, Sling
    • Stream online (select programming): Disney+, Hulu
    • Disney+ and Hulu premiere date: Sunday, July 6

    How to Watch Sharkfest 2025 Online Without Cable

    Seven-day free trial; $28 and up per month thereafter

    Watch National Geographic for free with a seven-day trial to Philo, one of the most affordable cable alternatives. After the free trial, the Philo base plan is $28 per month.

    How to Watch Sharkfest 2025 Online Free, National Geographic Schedule

    DirecTV

    Five-day free trial; packages from $34.99 per month

    Nat Geo is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate or Premier. Plus, DirecTV is offering a five-day free trial for its streaming service. Learn more about each plan option, including how to build your own channel lineup (starting at just $34.99 per month), at directv.com.

    How to Watch Sharkfest 2025 Online Free, National Geographic Schedule

    Fubo

    7-day free trial; packages from $79.99 per month

    Watch National Geographic with a subscription to Fubo, which offers a seven-day free trial for new subscribers. After the trial, plans start at $64.99 for the first month and $84.99 monthly afterward.

    Hulu - Live TV's logo.

    Hulu

    Three-day free trial; packages from $82.99 per month

    Watch Nat Geo for free with a three-day trial to Hulu + Live TV, which comes bundled with Disney+ and ESPN+, starting at $82.99 per month.

    How to Watch Sharkfest 2025 Online Free, National Geographic Schedule

    Sling

    Packages from $23 for the first month

    New subscribers to Sling’s Blue plan can stream National Geographic at a discount, as the live TV streaming service is currently half off for the first month ($50.99 $25.50).

    New customers can also stream select Sharkfest 2025 programming (see list below) for free with a 30-day trial to the Hulu (with Ads). Following the trial period, packages start at $9.99 per month with ads or $18.99 per month without ads.

    Finally, cord-cutters can watch select Sharkfest 2025 programming with a subscription to Disney+, starting at $9.99 monthly. Disney has a selection of bundles that include Disney+, Hulu, Max and/or ESPN+ from $10.99 monthly. Learn more about all of Disney’s streaming packages here.

    Sharkfest 2025 Release Schedule

    • Sharks Up Close With Bertie Gregory: Premieres July 5 at 8/7c on National Geographic; streams July 6 on Disney+ and Hulu
    • Investigation Shark Attack: Six-part series premieres nightly beginning July 5 at 9/8c on National Geographic; streams July 6 on Disney+ and Hulu
    • Super Shark Highway: Six-part series premieres nightly beginning July 5 at 10/9c on National Geographic; streams July 6 on Disney+ and Hulu
    • Jaws @ 50: The Definitive Inside Story: Premieres July 10 at 9/8c on National Geographic; streams July 11 on Disney+ and Hulu
    • Sharks of the North: Premieres July 12 at 10/9c on National Geographic; streams July 6 on Disney+ and Hulu
    • Shark Quest: Hunt for the Apex Predator: Premieres July 13 at 9/8c on National Geographic; streams July 6 on Disney+ and Hulu

    Continue Reading

  • ‘Balcony solar’ may at last become a reality for flat residents in Britain | Solar power

    ‘Balcony solar’ may at last become a reality for flat residents in Britain | Solar power

    From herb boxes and flower pots to washing lines and hanging baskets, residents of Madrid, Berlin and other European cities are well versed at making the most of their compact balconies – even generating power for wifi, the kettle and the TV.

    “Balcony solar” allows urbanites to install a small number of panels in the tight space outside apartments, which then generates electricity that can be used for the household. Soon flat owners and renters in the UK could be able to use the same “plug-in” technology, which is currently prohibited here.

    The DIY systems which have grown in popularity in countries such as France, Italy, the Netherlands and Germany are typically plugged straight into the home’s power sockets, saving money on electricity bills and allowing people access to a new source of power.

    So why can’t balconies in the UK simply have the same systems installed? Regulations around solar systems and wiring here mean that professionals must be involved in their installation and the panels cannot simply be plugged into the mains like a toaster.

    In some European countries, where electrical systems are different to the UK, residents are allowed to put in place their own small systems – such as a few panels being hung off a balcony.

    Thomas Newby of the Leeds-based engineering company Morgan & Newby says this difference in regulation means the technology has grown in popularity. In Germany, Balkonkraftwerk (balcony power plant) systems are now installed at 1.5m apartments.

    “Various countries permit systems limited in output to 800W to be connected via a standard appliance plug to a socket-outlet,” he says. “As a result of this lower cost entry point, well suited to apartments where the solar modules can be hung or positioned on the balcony, uptake has increased significantly of late.”

    This week the government said it would launch a safety study “with the aim of unlocking opportunities for plug-in solar over the next few years” as part of a new plan to triple the UK’s solar capacity by 2030.

    In theory, this could mean people in flats would have a much cheaper way to access solar energy as the cost of labour is taken off the bill. And renters could take the systems with them when they move from flat to flat. This would give people who usually do not have access to cheap power a way to reduce their energy bills.

    Newby said a typical kit containing two solar panels, a battery to store energy and the plugs needed to convert it to the household electrics would cost about £2,000. Batteries are used to store energy which is generated and not used immediately in the home, especially on sunny days such as those experienced last month, when temperatures reached 33C.

    The study by the Department for Energy Security and Net Zero will look at whether the plug-in systems would be safe to use in the UK, where the electricity supply system is significantly different to countries such as Germany.

    skip past newsletter promotion

    Solar Energy UK, the trade body for the industry, said the installation of plug-in solar panels is not allowed under building regulations or planning policy.

    “This is due to a range of considerations including aesthetics, structural/building safety and consumer safety. There are other practical considerations including the location of electric sockets and cable protection – we do not tend to have electrical sockets installed on balconies in this country,” said Gemma Grimes, director of policy.

    “The installation of all electrical equipment comes with risks, and it is important that any risks are fully understood prior to widespread rollout. We are aware of examples on the continent – including Germany – and are keen to learn from their experience.”

    Continue Reading

  • Bring a Loupe: A Pair Of Honest Tudors And The First Quartz-Powered Patek Philippe Wristwatch

    Bring a Loupe: A Pair Of Honest Tudors And The First Quartz-Powered Patek Philippe Wristwatch

    If you’ve been reading Bring A Loupe with regularity during my tenure, you would already know my affinity for gilt-dialed Tudor Submariners. As with the Rolex Sub, there is a deep and nerdy history to explore when it comes to those offered by Tudor throughout the vintage period. In the 1960s, while Rolex’s Subs featured dials with a deep gloss, now known simply as “gilt” dials, their Tudor contemporaries offered a different finish — matte gilt. The text and chapter ring tone are the same, but the black of the dial is softer, making for a distinctly different look in the metal. Some collectors have begun to shy away from Rolex gilt dials, fearing fragility and scratches on the gloss surface. With the Tudors, there is less to worry about.


    Continue Reading

  • Sony’s latest flagship OLED TV, a ‘proper’ projector, PMC floorstanders and more earn five stars

    Sony’s latest flagship OLED TV, a ‘proper’ projector, PMC floorstanders and more earn five stars

    It is finally July, which as well as a heatwave in our native shores, also brings a fresh entry into our regular Pick of the Month column.

    Here, we once again detail all the products to earn five-star ratings from our team of hi-fi and home cinema experts over the past month.

    Continue Reading

  • Perplexity's New Max Plan Targets Power Users With Unlimited AI Access – TechRepublic

    1. Perplexity’s New Max Plan Targets Power Users With Unlimited AI Access  TechRepublic
    2. Perplexity launches a $200 monthly subscription plan  TechCrunch
    3. The rise of $200/pm AI plans — why Perplexity, ChatGPT and Gemini are all going up  Tom’s Guide
    4. Aravind Srinivas announces Perplexity Max with unlimited Labs and early Comet, Veo 3 access  India Today
    5. Perplexity adds a Max tier just as expensive as its rivals  Mashable India

    Continue Reading

  • Lux Vide’s Luca Bernabei Leaving As Fremantle Ups Stake To 100%

    Lux Vide’s Luca Bernabei Leaving As Fremantle Ups Stake To 100%

    Lux Vide boss Luca Bernabei is exiting the firm he joined more than three decades ago, with Fremantle upping its 70% stake to 100%.

    Bernabei, whose father Ettore Bernabei co-founded Lux Vide in 1992, joined The Medici, Costiera and Sandokan producer in 1994 as an associate producer and worked his way up to CEO in 2013. Luca Bernabei’s sister Matilde Bernabei, who also founded the company, will remain on the board and become Lux Vide President.

    During Luca Bernabei’s tenure, the company became the first in Italy to win an Emmy for Joseph from The Bible Collection and picked up Golden Globe and Emmy nominations for co-produced Coco Chanel. Other big-budget credits include Netflix‘s Medici starring Dustin Hoffman, Richard Madden and Sean Bean, Prime Video’s Leonardo starring Aidan Turner and Devils, the high-stakes financial thriller with Patrick Dempsey.

    Bernabei is exiting as Fremantle ups its stake to 100%. The super-indie took a 70% stake in Lux Vide in 2022, with the founding Bernabei family retaining the remaining 30% at that point.

    Alongside Matilde Bernabei, the new Lux Vide board will include Valerio Fiorespino (COO and interim CEO of the Fremantle Italy Group); Elena Bucaccio (Head of Drama Lux Vide); Corrado Trionfera (Head of Production Lux Vide); Manuela Monterossi (General Counsel of the Fremantle Italy Group); Valentina Monaca (CFO of the Fremantle Italy Group) and Barbara Pavone (Chief Marketing and Sales Officer). Lux Vide’s leadership team also includes Sabina Marabini (Head of Local Development), Niccolò Dal Corso (Head of International Development), who will report to Bucaccio.

    Matilde Bernabei said: “We are happy to introduce our new management team. They are highly experienced professionals and recognized leaders. I am happy to be able to work with them to take Lux Vide to new goals, also thanks to our solid relationship with Fremantle. Since day one, Fremantle has fully supported the company, the team and the projects. Series such as Hotel Costiera and Sandokan are proof of this: international productions that we could not have made without their involvement.”

    Bernabei is not the first founder of a Fremantle-backed production outfit to step down this week. On Wednesday, Gaspard de Chavagnac, the co-founder and CEO of Asacha Media Group, revealed he was exiting as Fremantle completed its integration of Death in Paradise producer Asacha.

    Continue Reading

  • Call for delay to EU rules on GPAI models and ‘high-risk’ AI

    Call for delay to EU rules on GPAI models and ‘high-risk’ AI

    AI Act rules applicable to ‘general purpose’ AI (GPAI) models are due to take effect on 2 August 2025. A highly anticipated code of practice to support compliance with those rules, which was supposed to be published by the AI Office in early May this year, has yet to be finalised and published. Further AI Act rules applicable to ‘high-risk’ AI systems will take effect in August 2026.

    Both sets of rules should be postponed, to allow for “innovation-friendly” changes to, and simplification of, the rules to be considered, a group of 50 European business leaders have said. They warned that the “Europe’s AI ambitions” are “at risk” as a result of “unclear, overlapping and increasingly complex EU regulations”. The group includes senior leaders from AI trade associations as well as companies such as Airbus, BNP Paribas, Mercedes Benz, and Phillips.

    The group’s call, made in an open letter to senior EU officials, coincided with a report by Politico which suggested that the European Commission is considering delaying implementation of the GPAI code to the end of 2025.

    According to Politico, the Commission will also decide by the end of August whether to delay implementation of the rules on ‘high-risk’ AI. That decision, according to Politico’s report citing an interview with EU commissioner Henna Virkkunen, will be influenced by whether new standards, being designed to support compliance with the ‘high-risk’ AI regime, have been finalised.

    “We welcome recent discussions considering the need to postpone the enforcement of the AI Act as relevant guidelines and standards continue to be developed, and as various industries work together to find solutions that work for everyone,” the business leaders said.

    “To address the uncertainty this situation is creating, we urge the Commission to propose a two-year ‘clock-stop’ on the AI Act before key obligations enter into force, in order to allow both for reasonable implementation by companies, and for further simplification of the new rules. This should apply both to obligations on e.g. high-risk AI systems, due to take effect as of August 2026, and to obligations for general-purpose AI models (GPAI), due to enter into force as of August 2025 while the corresponding and much anticipated code of practice has yet to be released,” they said.

    “This postponement, coupled with a commitment to prioritise regulatory quality over speed, would send innovators and investors around the world a strong signal that Europe is serious about its simplification and competitiveness agenda. In the context of the broader review of EU digital rules you have announced, it would also create the room needed to develop an innovation-friendly implementation strategy and identify pragmatic avenues for regulatory simplification, covering both GPAI models and high-risk AI systems as well as broader digital regulations. We have developed detailed proposals and are ready to work hand in hand with the Commission,” the group added.

    “It is a remarkable letter”, said Dr. Nils Rauer, expert in AI law and regulation at Pinsent Masons. “It is important to note that the authors do not call into question the overall need for a sound regulatory framework for AI – their concern is legal certainty. AI, if used in a false manner, can become poisonous.”

    “All new laws initially come with some level of uncertainty,” added Anna-Lena Kempf, also of Pinsent Masons. “There are no court decisions or administrative orders yet which could provide steer on how the legal provisions are to be understood and applied.”

    EU proposals for “simplification” of the EU’s digital policy rulebook are expected to be published in the autumn. That Commission package is anticipated in response to increasing industry and political pressure to reduce regulatory burdens in digital markets. The US government, for example, has called on the EU to do more to support technological innovation by companies, with many US-headquartered technology companies operating in the EU market, while Mario Draghi, the former European Central Bank president, in a report into EU competitiveness, last year urged action to reduce regulation – particularly for tech companies.

    Earlier this summer, EU law makers at the Council of Ministers were presented with wide-ranging proposals for digital regulatory reform. Those proposals, drafted by the Polish government, including potentially using ‘stop the clock’ legislative instruments to delay the effect of legislative provisions that have already been finalised – including the enforcement provisions in the AI Act – in the same way that has happened already in the context of EU sustainability-related due diligence and disclosure obligations.

    Last month, the Commission open a consultation regarding implementation of the AI Act’s rules on ‘high-risk’ AI systems. According to the consultation, some changes to those rules are under Commission consideration – including in relation to the classification of high-risk AI systems and the obligations associated with providing, deploying, importing or distributing those systems. The consultation closes on 18 July 2025.

    Rauer said: “It is no secret that the EU AI Act is a highly complex piece of legislation. The European legislator is trying to build a regulatory framework both for AI systems and AI models with distinguished obligations for providers, deployers, importers etc. In this context, it is a challenge for businesses to define their own role and to make sure their own products are compliant by design and by default.”

    Out-Law revealed in April that the mainstream emergence of DeepSeek – the Chinese open source AI tool developed at a fraction of the cost of other LLMs on the market, and without access to the same computing power – has spurred discussions within the Commission around classification of GPAI models in the context of the scope of rules applicable to GPAI models under the AI Act.

    Continue Reading

  • Why the left gains nothing from pop stars’ support

    Why the left gains nothing from pop stars’ support

    The high priests of speaking out are John Stuart Mill, an English philosopher, and Martin Niemöller, a Lutheran pastor. “Bad men need nothing more to compass their ends,” Mill warned, “than that good men should look on and do nothing.” Niemöller famously ventriloquised the many Germans who kept silent when the Nazis “came for the socialists”, the trade unionists and the Jews: “Then they came for me—and there was no one left to speak for me.”

    Continue Reading

  • Rugby union in England: how can financial sustainability be achieved?

    Rugby union in England: how can financial sustainability be achieved?

    Rugby union in England stands at a crossroads. The professional era, launched with optimism in 1995, has struggled to deliver a viable business model nearly three decades after its inception. 

    Recent years have seen several high-profile club collapses, mounting debts and a sector-wide dependency on wealthy benefactors. This article examines how rugby union could make the transition to a more financially sustainable future, drawing on insights from industry and academic work.

    The crisis defined

    Three historic English clubs – London Irish, Wasps and Worcester Warriors – fell into administration between 2022 and 2023. Their debts exceeded a combined total of £90 million. 

    Indeed, no Premiership rugby club turned a profit in 2022/23, according to the 2024 Leonard Curtis rugby finance report, the first publicly available deep dive into the financial performance of the game. 

    Gloucester Rugby came closest to breaking even, with a loss of just over £0.5 million, but all the other Premiership clubs posted losses of more than £1 million. The highest loss, posted by Saracens, was £5.3 million. 

    Seven of the ten clubs were technically insolvent, operating only due to continued financial injections from owners. Many clubs also showed significant amounts of debt on their balance sheet, ranging from £15.6 million (Exeter Chiefs) to £60.8 million (Bristol Bears). 

    There are broader systemic failures underpinning this crisis, according to research on rugby union’s finances (see Wilson and Plumley, 2017; Golding et al, 2025). 

    One study that analyses 20 years of club accounts finds persistent loss-making, weak cost control and a mismatch between expenditure and revenue growth (Golding et al, 2025). Another draws similar conclusions using an earlier ten-year dataset, and confirms that the game has encountered financial difficulties over the last two decades (Wilson and Plumley, 2017). 

    Despite recent substantial investments from private equity firm CVC Capital Partners and a lucrative TV deal with TNT Sports, clubs continue to burn through cash at an alarming rate. 

    Indeed, if current trends persist, there is a realistic possibility that even more clubs may vanish, weakening the competition and threatening the sport’s domestic and international appeal.

    Striving for financial sustainability: a long-term play

    The historical finances show a rather bleak picture for the sport. Yet there have been green shoots of recovery in the last two seasons with highly competitive league competitions and match day attendances. TV audiences and fan engagement have also boosted.

    Could these developments offer promise for the future of rugby union in England? Echoing calls in the academic and industry research, we present a roadmap for the sport to tackle these significant challenges head on and move towards financial sustainability. 

    The proposed changes address governance, cost structures and affordability, alternative revenue streams, league structure, community roots and resilience. 

    Implement centralised governance

    Rugby union has historically suffered from a fragmented governance structure. It has grappled with issues surrounding salary caps and open versus closed leagues. The salary cap has consistently been raised throughout the sport’s history, and there remains debate as to whether it should be set independently by an external body rather than by the clubs themselves, to ensure more sensible and sustainable levels. The Premiership (tier 1) has also at times placed a moratorium on relegation, most notably between 2020 and 2022. 

    Issues like these have meant that the sport has borrowed elements of both the European model of team sport (open leagues, no or little wage control, no revenue sharing) and the American model of team sports (closed leagues, revenue sharing, salary caps and franchise systems). Rugby union has often adopted a hybrid of these models, which has caused governance strain and financial challenges. 

    English rugby union clubs operate with a high degree of autonomy, often prioritising short-term sporting success over long-term stability. Other governing bodies in the sport operate a more centralised model – for example, the Irish Rugby Football Union (IRFU) employs players and owns the professional teams. This model has helped the IRFU to control costs, manage player welfare and deliver national team success. 

    English rugby could learn from this. A unified governance structure combining the Rugby Football Union (RFU), Premiership Rugby Limited (PRL) and the clubs is perhaps a way forward. Such an entity could oversee central contracting of players to manage wage inflation, a unified commercial and broadcast deal to pool revenues, and standardised financial reporting and benchmarking. 

    Tackle the cost base 

    Rugby union clubs have too often built cost structures based on ambition, rather than affordability. The notion of building a cost base and then trying to generate revenues to cover it is fundamentally flawed, often resulting in the excessive losses detailed above. 

    As a result, cost control must go beyond the salary cap and look to audit and reduce non-player costs (including the size of executive teams or underused facilities). A shared service model, particularly in the area of player cost and wage control, across clubs is also an option that could reduce duplication and allow the opportunity for flexible player contracts tied to central funding or revenue metrics.

    The salary cap system, introduced in 1999, was intended to enforce financial responsibility. Yet repeated breaches – most notoriously by Saracens – and loopholes have undermined its efficacy. 

    What’s more, the cap – set at £6.4 million for the 2024/25 season (although with various exceptions) – is considered more of a target up to which clubs should spend, rather than a limit that should be balanced against revenues earned. The ‘hard’ cap must be properly enforced, with severe penalties for breaches, real-time salary audits and full transparency.

    Some argue that regulatory reforms, like the post-Saracens Myners report, were reactive rather than transformative (Golding et al, 2025). A proactive and independently monitored cap – possibly linked to club turnover (as in French rugby) – would align spending with income more effectively. Stricter monitoring of wage bills and centralised regulation could also dramatically improve fiscal discipline.

    Diversify revenue streams

    Rugby clubs have generally failed to diversify revenue beyond income from match days. The pandemic exposed this vulnerability, with many clubs reliant on gate receipts collapsing as stadiums sat empty. 

    Rugby must embrace modern revenue-generation tactics, such as stadium development and multi-use facilities. Clubs that own their stadiums can benefit financially by offering a range of different events that could unlock year-round revenue. For example, Gloucester Rugby host music concerts to generate revenue out of season – a simple yet effective use of their ground. 

    Clubs must also maximise their presence on digital platforms, aiming content at a younger audience, including behind-the-scenes footage or promoting young players, such as Henry Pollock, as brand ambassadors. They could also provide streaming of academy or women’s games and find new ways of engaging with fans through digital platforms, following models seen in football and the National Football League (NFL) in the United States. 

    Technology should also be used to create ‘loyalty loops’, recognising that a customer’s journey does not end with the first transaction, enabling clubs to grow the next generation of fans and generate added value revenue opportunities. Customer relationship management (CRM) systems, fan apps and data-driven insights can all be enabled to personalise and enhance the supporter experience. 

    Vertical integration could help in this regard. Clubs could bundle merchandise, memberships and experiences into unified fan offerings to deepen engagement and spending. Global expansion and international tours could further leverage rugby’s growing markets (for example, in Japan and the United States, where the sport’s popularity is rising).

    Some initiatives closer to home have already brought early success. Hosting regional rivalry ‘event games’ at national stadiums can draw bigger crowds and is a strategy that should be pursued. 

    For example, in 2024/25, Bristol Bears launched their new ‘big day out’ fixture where they played a match at Cardiff’s Principality Stadium, which has a capacity of 74,500 compared with Ashton Gate’s 27,000. The same season also saw Harlequins play two home games at the Allianz Stadium (Twickenham), bringing in crowds of 60,000 and 82,000. Similarly, Saracens played a fixture at the Tottenham Hotspur Stadium with a crowd of 55,000.

    This momentum needs to be maintained through family-friendly initiatives and entertainment zones to improve the appeal of match days. 

    Reform the league structure and restore promotion/relegation with prudence

    The temporary ‘ring-fencing’ of the Premiership – whereby promotion and relegation were suspended – until 2024/25 was intended to stabilise clubs. In reality, it has had the opposite effect, weakening the integrity of the competition and diminishing incentives for Championship clubs. 

    A more dynamic but financially prudent structure could involve a two-tier Premiership, with controlled promotion/relegation based on financial and sporting criteria. The new set of minimum standards criteria is a positive step forward in this regard. This helps to ensure that Premiership clubs and promoted clubs have suitable facilities to protect player safety and welfare, and to provide a good quality, safe environment for spectators.

    Revenue sharing and parachute payments – allocations to relegated clubs to lessen the financial impact of dropping a league – could also protect promoted/relegated clubs from financial challenges. But revenue distribution models are never easy to implement, as clubs will always protect themselves over collective action.

    Provide incentives for community roots and social impact

    Rugby union’s heritage lies in its communities, as it does in most European team sports. Yet financial pressures have eroded these bonds, which at its most extreme has led to clubs ceasing to exist.

    The sustainability of the sport depends on rebuilding those connections, not just for attendance but also for broader social relevance. Connections with an active fan base are crucial for restoring repeat revenue-generating activities and selling more content.

    Clubs must have the incentives to develop youth academies and invest in grassroots, to help to build a fan base for the future. They must also play an active role in contributing to social outcomes (for example, education, health and social inclusion projects through club outreach). 

    The sport should also seek to leverage women’s rugby and diversityas new growth markets. New fans can be enticed to double-header games, as we see in the Hundred cricket franchise tournament. 

    With England set to host the 2025 Women’s Rugby World Cup, now is the time to invest in women’s clubs, ensuring that growth is matched with sound financial foundations.

    Align with climate goals for long-term resilience

    Environmental sustainability is no longer optional, as highlighted in the 2024 Leonard Curtis report. Climate events disrupt matches, damage infrastructure and increase costs. To date, only two current Premiership clubs – Bristol Bears and Northampton Saints – have signed the United Nations Sports for Climate Action Framework. 

    By taking steps to limit their emissions – through less carbon-intensive travel (particularly in European competitions), installing renewable energy sources in stadiums, promoting green transport options for fans, and engaging sponsors aligned with environmental, social and governance (ESG) values – rugby clubs can both contribute to the climate change agenda and reap financial benefits. 

    Beyond compliance, this also presents a branding opportunity that can help clubs to become more attractive to younger, socially conscious fans and corporate partners.

    Conclusion: a call to action

    Rugby union is not beyond saving, but the clock is ticking. The Leonard Curtis report posts clear warning signs. What’s more, the RFU chief executive Bill Sweeney has publicly declared that the game’s model is ‘broken’.

    The path to financial sustainability will require courage, collaboration and innovation. Stakeholders, from the RFU and club owners to fans and potentially even the government (as we have seen with football’s creation of an independent regulator), must recognise that the sport’s romantic ideals must now be grounded in economic reality. Rugby’s survival depends on finally matching that passion with professionalism.

    Where can I find out more?

    Who are experts on this question?

    • Bill Gerrard
    • Andy Golding
    • Daniel Plumley
    • Rob Wilson
    Authors: Daniel Plumley, Rob Wilson and Andy Golding
    Photo: leighcol for iStock

    Continue Reading