The UK competition watchdog has written to Ticketmaster threatening legal action over the way it sold more than 900,000 tickets for Oasis’s reunion tour, days before what is expected to be the most popular, and profitable, run of gigs in British history kicks off.
In March, the Competition and Markets Authority (CMA) published concerns that Ticketmaster may have misled fans, some of whom paid more than £350 for tickets with a face value of £150, in the way it priced tickets for the band’s comeback gigs when they went on sale last August.
In response, Ticketmaster said it had made changes to “some aspects” of its ticket sales process. However, the CMA said that they were not sufficient to address its concerns.
The CMA told Ticketmaster the voluntary undertakings it would accept to address its concerns.
In a letter to the business and trade select committee – which has been investigating ticket pricing, competition and consumer protection – the CMA said it received a response from Ticketmaster this month.
“Having carefully considered Ticketmaster’s response, the CMA’s view is that there is a fundamental disagreement … about whether Ticketmaster’s practices infringed consumer law,” the CMA said in a section of its submission relating to the Oasis investigation, published on Wednesday.
“Ticketmaster has declined to provide undertakings in the terms sought by the CMA or indicate whether there is a form of undertakings which it would be prepared to offer.”
The CMA is concerned that the ticketing company may have breached consumer protection law by labelling certain seats as “platinum”, and selling them for almost 2.5 times the price of standard equivalent tickets, without sufficiently explaining that they did not offer any additional benefits and were often located in the same area of a stadium as standard tickets.
The regulator also said fans were not informed there were two categories of standing tickets at different prices, with many waiting lengthy periods in online queues without understanding they would be paying much higher prices than they expected.
It also said that while it had not found evidence that Ticketmaster used an algorithmic “dynamic” pricing model during the Oasis sale it was concerned that consumers were “not given clear and timely information about how the pricing of standing tickets would work”.
The CMA said that the failure of the consultation process with Ticketmaster means that it is now in a position to look at taking legal action.
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“The CMA has written to Ticketmaster to confirm that it has now discharged its obligation to consult with Ticketmaster and, given that no undertakings have been offered or agreed, is now preparing to litigate the matter if necessary,” it said in the letter.
“The CMA will, in parallel, continue to engage with Ticketmaster in an effort to secure a voluntary resolution, should it indicate a clear and timely commitment to do so.”
The much-anticipated tour, which reunites Noel and Liam Gallagher after years of fractious relations, will kick off on Friday in Cardiff.
The Google Photos app has been updated to make it easier to navigate your gallery and view image information. Google says the photo view — the screen that appears when you open an image in Google Photos — has been redesigned to provide a “simpler, more modern, and more intuitive UI” while adding a new light mode, glanceable photo details, and streamlined action menus.
These changes are available now for iPhone users, and will be coming to the Google Photos app for Android “soon,” according to Google. The update doesn’t remove any of the previous functionality provided by the app, but some features may have been relocated.
The biggest visual change is the introduction of light mode, which will automatically match the photo view background to match your device’s system theme. Information is now also displayed at the top of each photograph that provides the date, time, and location where it was captured. Some pill-shaped “badges” are sometimes located underneath those details that allow users to play or pause a Live or Motion photo, change the photo’s category, save shared images, and manage storage.
Several actions can now be found under the three-dot menu at the top right of the photo view, including About, Create, Cast, Save as, Download or Delete from device, and Google Lens. The latter was previously located on the photo view taskbar, and has now been replaced with an “Add to” menu that allows users to archive photos, organize them into albums, or secure them in a locked folder.
Lastly, photo stacks and bursts can now be managed via their own three-dot menu, which will appear beside whatever thumbnail is currently selected. Here you’ll find options to change the top image, remove images, unstack, or select multiple photos to take bulk actions.
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There’s a new star in your child’s favorite YouTube videos: junk food.
Messages promoting candy, sugar-sweetened drinks, fast food, and sweet or salty snacks brands frequently appear during videos viewed by 3- to -8-year-olds on YouTube and YouTube Kids, according to a new paper from researchers at the UConn Rudd Center for Food Policy and Health.
This is the first study to measure young (ages 3 to 8) children’s actual exposure to food brands while watching YouTube or YouTube Kids videos of their own choice on their own mobile devices. To mimic their typical video viewing habits, 101 children used their own mobile devices to watch videos on the YouTube platform of their choice, YouTube or YouTube Kids, for 30 minutes in their own homes.
The study’s findings, published in the Journal of the Academy of Nutrition and Dietetics, found that 75% of 6- to 8-year-olds and 36% of 3- to 5-year-olds viewed promotions for unhealthy food and beverage brands, averaging 7 such messages during 30 minutes of video watching. Moreover, some 6- to 8-year-olds saw alcohol ads while watching YouTube videos.
The majority of food brand appearances (73%) promoted candy, sugar-sweetened drinks, fast food or other restaurants, and sweet or salty snacks. Healthy products (including water, plain milk, 100% juice) made up just 3% of appearances. Food and beverage brands appeared more often when children watched YouTube (60%) compared to YouTube Kids (36%).
“More than half of food brands in these videos came from companies that participate in the Children’s Food and Beverage Advertising Initiative, a U.S. food industry self-regulatory program,” says Jennifer Harris, Ph.D., Senior Research Advisor at the Rudd Center. “Despite these companies’ pledges to only advertise healthier choices to children, child-influencers frequently promoted their brands, including candy, sugary drinks and sweet and salty snacks.”
Children viewed food brand promotions while watching YouTube videos during video previews (i.e., thumbnails), accounting for 23% of brand appearances, and ads, accounting for 17%. However, more than 60% of food brand appearances were embedded within the video content. Lifestyle videos, primarily influencer videos, contributed 77% of these appearances and most (71%) showed the influencer or another character consuming or preparing to consume the product.
The FTC has called on companies and social media influencers to discontinue these common stealth marketing practices that blur the line between entertainment and advertising, especially when aimed at young children.
“Very young children are being bombarded with unhealthy product promotion on YouTube and YouTube Kids, frequently embedded in their favorite videos as props or part of the storyline, which disguises persuasive intent,” says Frances Fleming-Milici, Ph.D., the study’s lead author and Director of Marketing Initiatives at the Rudd Center. “As children as young as age 3 spend more and more time on these platforms, policies must be enacted to protect them from this stealth marketing of products that harm their health.”
Currently, Google, YouTube’s parent company, bans food and beverage advertising on YouTube Kids and during “made-for-kids” videos (a subset of videos designated for children under age 13). However, over one-third of 3- to 8-year-olds who watched YouTube Kids, a channel specifically created for children, viewed food brand appearances embedded in videos and thumbnail images. Moreover, brand appearances in “made-for-kids” videos on the main YouTube platform contributed most of 3- to- 5-year-olds’ total branded food exposures. Therefore, watching YouTube Kids or “made-for-kids” videos does not protect children from exposure to stealth marketing promoting unhealthy food brands.
In addition, not one video embedded with a food or beverage brand disclosed food company-sponsored content, as required by the U.S. Federal Trade Commission.
To stay connected with the UConn Rudd Center’s work, you can follow them on social media and subscribe to their mailing list.
After a productive stint at Benfica, Nazareth was rewarded with an offer from Barcelona in July 2024, where she was signed for a record €500,000 fee – the biggest in Portuguese women’s football history.
The terms included four seasons with the Spanish giants, seeing Nazareth through to 2028.
It sent shockwaves through the sport but also spoke to the prestigious side’s belief in the midfielder’s talent.
For Nazareth, the headline-making transfer fee sparked mixed feelings. On the one hand came a weight of expectation, seeing every performance through the lens of money. But on the other hand, came a sense of belief.
“If they paid this amount for me to be here, it’s because they believe in me, it’s because I have value. And I believe, I believe that I can eventually be worth this,” the Portuguese star told Forbes Portugal.
“I also have to be able to change my way of thinking, I have to value myself, and that means recognising my quality.”
Accepting Barcelona’s investment in her, Nazareth has been rising to the challenge of the game in Spain.
Up until her ankle injury in March of this year, the Portuguese prodigy had shown flashes of her potential. She scored three goals in 12 starts with three assists in the Liga F this season and bagged three goals and two assists in the Champions League.
The step up in work ethic, she says, has been significant, but the special environment has balanced the challenge.
“It’s a different level. I remember that in the first training session I was like, ‘What have I gotten myself into?’” Nazareth continued to Forbes Portugal on her initial experiences at Barcelona.
“I’m not saying that there wasn’t quality at Benfica, because there is a lot of quality, but, once again, without comparing, it’s a different world. It’s playing with the best, it’s easy to play with them, they all think the same way.”
London, July 2, 2025 – NEOM McLaren Electric Racing has today revealed a striking new livery for the season finale of the ABB FIA Formula E World Championship in London on July 26-27.
Unveiled at McLaren Racing’s Never Stop Racing fan experience in Trafalgar Square, the design reimagines the team’s identity as a bold “away kit,” creatively expressing the ambition of Oxagon, NEOM’s reimagined industrial city.
The partnership between Oxagon and the NEOM McLaren Electric Racing Team highlights the power of strategic collaboration to drive meaningful change. By combining McLaren’s technological edge with Oxagon’s vision for advanced and clean industries, the two organizations are working to redefine how technology, sustainability and design converge to shape the future of industry – within NEOM and beyond.
Developed between the two brands, the livery introduces dynamic new colors inspired by Oxagon, while retaining the signature papaya elements that define the NEOM McLaren Electric Racing Team’s visual identity. This distinctive design will also feature on the race suits and helmets of drivers Sam Bird and Taylor Barnard.
“This special edition livery offers a fresh take on our existing design — a purposeful “away kit’ that shines a light on Oxagon, one of NEOM’s key regions,” said Ian James, Team Principal, NEOM McLaren Electric Racing Team. “It represents more than bold visuals; it symbolizes a partnership rooted in innovation, collaboration and real-world industrial transformation.”
“Our work with the NEOM McLaren Electric Racing Team demonstrates how cross-industry partnerships can accelerate sustainable transformation,” said Vishal Wanchoo, CEO of Oxagon. “By combining McLaren’s performance and efficiency with Oxagon’s vision for clean, connected manufacturing, we’re advancing the kind of innovation that is shaping the future of industry.”
Since the launch of the international Oxagon x McLaren Accelerator Program in 2023, two successful cohorts of scale-ups from around the world have completed the 12-week program designed to fast-track deep tech and next generation solutions to advance industries. From autonomous mobility to smart logistics and supply chain innovation, the program has already led to pilot projects within NEOM and commercial opportunities across the Kingdom of Saudi Arabia. In 2024, out of seven companies, four were shortlisted to pilot their technologies in the port on HSE, worker wellbeing, robotic container handling and condition-based predictive maintenance.
The NEOM–McLaren partnership, established in 2022, extends beyond motorsport sponsorship to reflect a shared commitment to high performance, innovation and the development of future talent. Revealed in London and inspired by Oxagon, the livery captures the spirit of the partnership and its role in advancing progress through design, technology and shared values.
WASHINGTON, July 02, 2025 (GLOBE NEWSWIRE) — FTI Consulting, Inc. (NYSE: FCN) today announced that it will release financial results for the second quarter ended June 30, 2025 before the New York market opens on Thursday, July 24, 2025.
A conference call will be held to discuss these financial results on Thursday, July 24, 2025, at 9:00 a.m. Eastern Time and will be hosted by senior management.
The conference call will be simulcast live on the Internet and can be accessed by logging onto the Company’s investor relations website. A replay of the webcast will be available on the Company’s investor relations website for 90 days.
About FTI Consulting FTI Consulting, Inc. is a leading global expert firm for organizations facing crisis and transformation, with more than 8,100 employees located in 33 countries and territories as of March 31, 2025. In certain jurisdictions, FTI Consulting’s services are provided through distinct legal entities that are separately capitalized and independently managed. The Company generated $3.70 billion in revenues during fiscal year 2024. More information can be found at www.fticonsulting.com.
FTI Consulting, Inc. 555 12th Street NW Washington, DC 20004 +1.202.312.9100
Surprising as it sounds, this spirited production of Rameau’s Les Indes galantes represents the work’s first staging in the UK. Then again, French opéra-ballet has always presented challenges, from the substantial forces required to do it justice to the need for specialist vocal techniques rarely encouraged this side of the Channel: a gifted practitioner of the French baroque must be across a dizzying nine different types of trill.
Premiered in Paris in 1735, Rameau’s ballet héroïque tapped into Enlightenment tropes of the noble savage and the export of European ideals to the New World, whether the inhabitants wanted it or not. Its exotic locations – Turkey, Peru, Persia and the North American wilderness – present a modern-day director with a veritable minefield of cultural sensitivities. Happily, Bintou Dembélé, whose roots are in French hip-hop, navigates these perilous waters with ease, conjuring up an irresistible blend of pop culture and inclusive storytelling.
Presented on a bare stage, with musicians on rostra at the back, there are times when this discreetly truncated interpretation comes across as more choreographed concert than opera, but with musicians and dancers ranging freely throughout the auditorium it also feels thoroughly immersive. Lighting designer Benjamin Nesme’s illuminated floating circle does duty as a rose-tinted Persian fountain, the torrid Peruvian sun and a North American forest. The disc’s detachable light sticks are often all that’s required to illuminate a singer’s face. Charlotte Coffinet’s gender-fluid, street-savvy costumes bring a chilled vibe to musicians and dancers alike.
Crushing it … Les Indes Galantes at The Grange festival, 2025. Photograph: Richard Hubert Smith
The production simmers before it sizzles. The abstract choreography of the prologue occasionally treads water, ditto in the Turkish act. By the time we make landfall in Peru, however, the supple dancers – drawn from Dembélé’s company Structure Rualité – are crushing it with spellbinding outbursts of breaking, popping and waacking. The Inca temple, volcanic eruption and all, is vividly conveyed, while Rameau’s Dance of the Peace Pipe crackles with leaps, whoops and stamps. The subsequent slow-motion slaughter of one half of the company by the other is a powerful reminder of colonialism’s brutal legacy.
Musical standards are exemplary. Cappella Mediterranea, playing under founder and conductor Leonardo García-Alarcón, produce a dynamic, spicily textured and disciplined blend, complemented by the specialist baroque voices of the Belgian Choeur de chambre de Namur. Four busy singers cover the various vocal roles, all thoroughly idiomatic and blessed with immaculate diction. Ana Quintans is a standout as the goddess Hébé; Laurène Paternò a feisty North American maiden; Alasdair Kent – a proper French high tenor – makes a charmingly fickle Spaniard; and sonorous bass Andreas Wolf is enormously persuasive as the fanatical Inca high priest. The Grange festival deserves the Legion of Honour for bringing this imaginative production to our shores.
