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Aldi’s Colway Real Mayonnaise placed equal first with a score of 80%. A jar costs $2.79, or 61c per 100g – the lowest price per unit of the product spread. Judges relished its “mild” and “pleasant” aroma and “traditional mayonnaise appearance”, while noting its “creamy, smooth texture with balanced citrus acidity, subtle sweetness, mustard and whole-egg flavour”.

Woolworths Whole Egg Mayonnaise also received a score of 80% for its “good shape retention” and “balanced flavour with pleasant vinegar acidity, sweetness, oil and mustard”. It costs slightly more than its equal-first counterpart, with a price tag of $2.80 per bottle or 64c per 100g.

The silver medal went to Aldi’s Colway Authentic Mayonnaise, which scored 77% and costs 78c per 100g. Judges remarked on its “homogeneous texture with a balanced flavour of mustard, vinegar and fat” – although, judge and food consultant Brigid Treloar told Guardian Australia, she noted its slightly orange appearance, like it has “been under the sunlamps”.

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Treloar, one of three judges including chef Serkan Tamcelik and food technologist Petra Sugiarto, said the products were assessed for their appearance (“Does it dollop?”), smell (“I don’t think mayo should have a strong aroma”), and whether its flavour was creamy, smooth and balanced.

She also considered whether the mayonnaises were properly emulsified. “In some of them, it was like … here’s a little bit of salt, here’s a little bit of sugar, here’s a little bit of oil, but it didn’t come together.”

One mayonnaise simply didn’t cut the mustard. According to Choice the worst-ranked product was Coles 97% Fat Free Mayonnaise at a score of 47%, with judges giving it the wooden spoon for its “translucent, pale appearance” and “thick, gummy, glue-like consistency”.

“It was so sweet,” Treloar said. The mayonnaise has a sugar content of 18.9g per 100g, at least double the sugar content of almost all the other tested products. Praise 99% Fat Free Traditional Mayo had the highest sugar content overall, with 20.9g per 100g, but still scored 63%.

The Choice taste test revealed that 27 of the 29 mayonnaises contained sugar, which is not traditionally found in French-style mayonnaise.

Speaking generally, Treloar sad due to cost, some mayonnaise manufacturers might use thickening or emulsifying agents to achieve a desired texture and mouthfeel. French mayonnaise typically comprises of egg yolks and a neutral-tasting oil, as well as lemon or vinegar, and dijon mustard.

Kewpie – which Treloar acknowledged has a “diehard” fanbase – was given a middle-of-the-pack score of 67%. Treloar said compared to the other products, Kewpie was more “savoury”, with a more prominent soya bean oil flavour. Comprising 9.5% egg yolk, Kewpie had the highest egg content of the tested mayonnaises.

Some products, meanwhile, didn’t contain egg at all and are therefore suitable for vegans. The best vegan mayonnaise was Hellmann’s Plant Based Mayo, which attracted a score of 77% and an overall equal-third ranking. Judges said it had a “thick and glossy appearance”, although it was “slightly gummy” on the palate.

Treloar said the taste test was one of the “most gruelling” she has done. “Certainly doing 29 mayonnaises, I was pacing myself, because it can make you feel quite sick.” %!s()

Guardian Australia revealed last month that private colleges were offering discounts to rush students into the graduate diploma of management (learning) ahead of its deregistration on 5 October, which the government says was being used by some non-genuine students to remain in the country. The assistant minister for international education, Julian Hill, said at the time the system had been “misused”.

The regulator says since the ban was announced on 4 September, more than 1,300 new enrolments had been issued and more than 1,500 students have had their future enrolments brought forward.

Some immigration education agents have offered promotions for the month of September, including in WhatsApp messages and texts, encouraging students to join the course or those who have a future enrolment to study now. Several ads promote discounted course fees or a free certificate of enrolment to join immediately.

The Department of Home Affairs has issued letters of concern to several providers asking them to explain their behaviour and practices.

Hill said he was prepared to use powers not previously exercised on colleges that have breached the rules, preventing them from being able to recruit new students.

“The message to providers, agents and students is simple: do not try to game this measure,” Hill told Guardian Australia.

“A paper enrolment, a rushed orientation or token activity is not a licence to evade the intent of the action and curious patterns are now being actively examined.

“Providers should expect any attempt to circumvent the intent of these measures to attract close regulatory scrutiny, looking at the substance of what occurred, not simply the paperwork.”

The course is taught by close to 450 institutions, has more than 15,000 current students and has more than 40,000 future students registered. More than 1,500 of those students have brought their enrolment forward. Any student who begins the course before 5 October will be allowed to complete it “where no integrity breaches are identified”.

One private college has sent immigration agents a promotion offering “attractive” commissions with same-day offer letters and confirmation of enrolment for students, with two “special intakes” on 21 September and 2 October – just three days before the course is cancelled.

As part of the rule changes, students who have “packaged” a lower-level vocational course with the graduate diploma will need to enrol on to a higher-level course to meet their visa requirements. By fast-tracking the start date of the graduate diploma, that could mean studying two courses at the same time.

Hill said regulators were monitoring students whose study arrangements appeared not to be genuine, such as those studying two full-time courses at once.

He warned students in “non-genuine” arrangements could put their student visa or any future visas at risk.

“Students should be very wary of anyone pressuring them to start another course immediately, particularly while they are still completing their existing studies,” Hill said.

“Genuine students deserve clear advice and quality education – not arrangements created for someone else’s commercial benefit.” %!s()

This is a trait that Marvel Tōkon: Fighting Souls handles smartly, which in a way is surprising, because it usually makes him quite annoying. In most appearances, Deadpool references everything — nothing is safe. Marvel editorial, art of all mediums new and old, assorted real-life celebrity drama, specific stories from comics’ past (not just Marvel, either), and more I can’t think of right now; all of it ripe fruit for Wade to riff on in one of the many jokes-per-minute spouting from his scarred mouth. This became true of the vast majority of his comic runs, once the meta awareness, fourth-wall-breaking became a central part of his character identity, and defined non-comic appearances like High Moon’s 2013 Deadpool game and Ryan Reynolds' (admittedly, kinda perfect) portrayal from the 2016 film onwards. No, X-Men Origins: Wolverine does not count.

The problem is that this is an exceedingly difficult superpower to write well. Deadpool is designed to be annoying, yes, but specifically to the characters in the story. Creator Rob Liefeld intended for him to be "Spider-Man, except with guns and swords, and a jackass." The X-Men and the Avengers are sick of his shit, as are his villains, and that’s the core of his comedic approach: wearing people down with his relentless quips, sophomoric insults and incomprehensible (to them) references to universes beyond.

The problem arises when Deadpool starts annoying the audience, and in a way that isn’t intentional; when Wade’s voice grinds on me as much as it does Wolverine, it stops being funny and just makes me want to stop listening. The issue peaked with that Deadpool game, in which he genuinely cannot shut up, and very quickly grates on the ears with instantly dated references and smarter-than-thou jokes on game and narrative design (as if to excuse the game’s own flaws in both). It is, and I truly hate to say this, a shining example of what’s come to be known and despised as 'Reddit humour'. Hearing Nolan North’s Wade in that game makes me miss his performance in Ultimate Marvel vs Capcom 3, a take on the character where he’s still pretty damn irksome, but is at least earnest, focusing his comedy in on Marvel and Capcom history. And, occasionally, the competitive fighting game community itself, yelling "WHERE YO CURLY MUSTACHE AT?" at a nonplussed Magneto.

With all of these past versions in mind, Marvel Tōkon’s interpretation of Deadpool carefully maintains the threshold of annoyance, limiting Wade a little and focusing on reverence over ridicule (while also bringing back Nolan North, which is vital). Rather than being aware of all media ever, Deadpool specifically bears an encyclopedic knowledge of fighting games and the culture around them. With an in-universe explanation that he somehow got his hands on a fighting game strategy guide (his reading of which happens to be his disaffected, aloof blocking animation), his moveset, voice lines, win screens, and character select portrait all borrow elements from the genre, spanning the most well-known to the most niche. I’ll try to limit myself in describing them and just focus on some personal highlights, but for a quick overview, know that he pulls from Street Fighter, Tekken, Mortal Kombat, Marvel vs Capcom itself, Guilty Gear, Blazblue, Dragonball Fighterz, and even deep cuts like JoJo’s Bizarre Adventure: All Star Battle and Street Fighter: The Movie: The Game (if you can believe such a thing existed).

So, just for a few specific examples I love, Deadpool borrows: Cell’s intro (pictured up top), Kazuya Mishima’s Electric Wind God Fist, May’s Totsugeki (dolphin included), E. Honda’s butt slam, Doctor Doom’s Foot Dive, Johnny Cage’s nut punch, Captain Sawada’s Hara-Kiri (from SF:TM:TG!), and, somehow, Guilty Gear’s Roman Cancel mechanic, ported over entirely just for him. Several of these are only available while Deadpool is recovering from damage, self-inflicted or otherwise, tying these Fourth Wall Attacks (their actual name) to his healing factor and his casual willingness to suffer grievous bodily harm. Optimal Deadpool play requires getting hurt on purpose to access these moves, which is so antithetical to standard fighting game design that it loops around to fit Deadpool perfectly.

His Deadpool Corps super starts out with Sol Badguy's Volcanic Viper uppercut (yelled out as "AQUATIC VIPER!", what with the dolphin he’s swinging around), and his Tokon Assemble closes out with a simulated opponent ragequit — whether they do in real life is another question — followed by Dio Brando’s timestop. Did I mention Deadpool is voiced by Dio’s VA, Takehito Koyasu, in Japanese? Oh, and, finally, the variations of his reference-laden Fever Dream super include, to name a few, Wade screaming "LET’S GO, WADE!" in his own EVO Moment 37, a recreation of Justin Wong’s infamous 'friend zone' photo (poor guy), and Kazuya dropping his father off a cliff in Tekken.

Okay, that was maybe more than a few. There’s just so much packed into this character, so many more examples that James would understandably cut for length if I tried to include, and it's a joy for a girl so in love with fighting games to pick through. It's also what makes Tōkon’s interpretation of Deadpool work for me, where so many others have only irritated. At no point is his fourth-wall-breaking intended to punch down, or even sideways; there's no attempt to crudely ridicule any single person, game, movie or other creative work, as if he and his writers are so above it all. Well, maybe Wong, but I think he’s handling it well. Point being, it's much more a collection of tongue-in-cheek yet ultimately affectionate FGC in-jokes than an endless reel of smug, poorly ageing pop culture references.

The depth and breadth of fighting game knowledge on show is proof of a fundamental, earnest love for the them, past and present, and Deadpool himself is a vessel for Arc System Works to show their appreciation for the genre they’ve worked in for decades - while simultaneously honouring the character's history by tying these references into a unique powerset on the mechanical level. It’s a pretty massive swing, and yet ArcSys have nailed it, not least because they've done something I previously thought impossible: warming my cold heart to the merc with a mouth. %!s()

Granted, the CW has only been in the sports business for three years. But it was a reminder that, as the network marks its 20th anniversary this month, the broadcast network is admittedly in quite a different place than it was even a few years ago.

And that’s by design: Under new owner Nexstar, which took over the CW in 2022, the network has undergone a rather dramatic transformation. While previous co-owners Warner Bros. and CBS utilized the CW as a place to program young adult dramas from its respective studios, Nexstar has aimed to broaden out the CW to focus on low-cost procedural drama acquisitions, repeatable unscripted fare and live sports that it feels better suits its stations’ needs.

Coincidentally, the final scripted holdover from the previous CW ownership, “All American,” wrapped its run with a series finale on Sept. 28.

“I always greatly respected what Warner Bros. and CBS were doing with the CW and the brand they built,” says CW president Brad Schwartz. “But it was very clear when we took over that was probably not the type of business that could survive in the future. Our job was to create a network that the local stations can be successful with.

“And that meant, how do we disrupt ourselves and move forward from this young adult scripted brand that was built over years and certainly was defined?” he continues. “Broadcast TV continues to be the greatest platform for bringing the most amount of people together simultaneously. And the product that is the best for doing that is sports. And so, if we were going to evolve the network, get the network to profitability, then moving into sports certainly became a very important strategy.”

In building CW Sports, the network started with LIV Golf and then brought in Atlantic Coast Conference college football (joined later by deals with the Mountain West and Pac-12 conferences). The CW also has Professional Bowlers Assn. coverage, AVP beach volleyball and has signed a seven-year deal with NASCAR to air its O’Reilly Auto Parts Series, which consists of 33 races annually.

According to NASCAR chief media and revenue officer exec vice president Brian Herbst, the O’Reilly series saw a 6% increase in viewership this year on the CW, on top of a 9% bump the previous year.

“Every meeting that we had with the CW/Nexstar folks, it seemed like they were going to be aggressive in building out their content and programming plan,” Herbst says. “And one of the anchor properties that they were betting on was NASCAR. We thought the distribution strategy was great in terms of a free-to-air broadcast network across all 120 million-plus TV homes, as well as a marketing strategy at the Nexstar local station group level … We’re super happy with the results for the first couple of years, and we expect continued growth out of it for the balance of the term.”

Meanwhile, the CW reunited with the WWE (which was part of the network’s initial 2006 launch with “Smackdown”) in 2024 with “WWE NXT,” which airs live on Tuesdays.

“Brad and his team are always finding fresh, creative ways to engage our core audience and reach new fans, all while staying true to the NXT brand,” says Shawn Michaels, senior VP of talent development creative at WWE.

Schwartz says all of that adds up to 700 hours of live sports this year, up from zero just a few years ago.

“The old CW used to just program two hours a night, seven nights a week,” he says. “We’re going to do over 1,250 hours of programming this year. Nearly half of that is now live sports.”

Nexstar networks president Sean Compton adds that the company has calibrated the CW’s focus “as a program provider for affiliates. Properties like NASCAR, college football, basketball and WWE [pull] significant numbers of viewers to our stations, and that audience flow strengthens the entire local brand of those stations. That’s the outcome that matters to us the most being a company that owns a lot of local TV stations.”

On the unscripted front, the CW has invested in repeatable franchises like the cop docuseries “Police 24/7,” as well as game shows like “Scrabble” (hosted by Craig Ferguson) and “Trivial Pursuit” (hosted by LeVar Burton). All three of those shows have been given large episodic orders so that they can be sold into daytime syndication, including on Nexstar stations.

“While the syndication market’s gotten very thin, we’ve built those shows for our primetime audiences while complementing the off-net need for our stations, whether it’s daytime or in fringe time slots,” Compton says. “They debuted this fall in syndication with 94% clearance across the U.S. It’s a theme that we’re less reliant on major studios.”

As “All American” ends, the CW continues to focus on acquisitions — particularly from Canada — to fill its scripted needs. That includes “Law & Order Toronto: Criminal Intent,” from Lark Prods., Cameron Pictures, Universal Global TV and Citytv; “Wild Cards,” from Blink49 Studios, Front Street Pictures and Piller/Segan, commissioned for CBC; “Sullivan’s Crossing,” from Reel World Management, CTV and Fremantle; and next up, “Private Eyes West Coast,” from Lionsgate Canada, Piller/ Segan and commissioned for Corus Entertainment in Canada.

Lionsgate Television Group chair Kevin Beggs notes that Schwartz did something similar at Pop TV, where he programmed Canadian import “Schitt’s Creek,” which went on to be a critical and awards hit.

“They all kind of knew at the CW that they have to reshape the model, and we are happy to be a supplier of that model,” Beggs says. “It’s not for every show, but for a really smart, efficiently produced drama or game show, it makes all the sense in the world — if we can figure out how to budget it correctly and keep the quality at a high level, which is really one of Brad’s skills. That’s how you have a small-budgeted show like ‘Schitt’s Creek’ relative for what he was paying, garner multiple Emmys and become the ‘it’ show of the year. It’s the dream. Everyone says, ‘Well, I want that.’ That’s what he’s doing there, and we’re excited to be part of it.”

The CW’s new crop of dramas runs a bit more procedural, and skews broader than the young adult fare that most viewers remember from the network’s first 20 years. But Schwartz notes that the legacy of the CW’s YA fare lives on elsewhere, such as Netflix’s “Wednesday” and Prime Video’s “Sterling Point,” “Off Campus” and “The Summer I Turned Pretty.”

“Those all are shows that would be classic CW shows,” he says. “But it was just very clear if you were going to build this business forward and make it profitable, that you had to change it.” %!s()

“It was an extraordinary thing, and it’s where I met Aaron. ‘The West Wing’ never would have happened if that hadn’t happened. It’s where we became friends,” Whitford says on a phone call from his New York base, where he’s in rehearsals for the new production of the iconic play. It opens Oct. 8 at Lincoln Center Theater, just about one week after he receives a star on the Hollywood Walk of Fame Sept. 30. “West Wing” co-stars Martin Sheen and Dule Hill are scheduled to speak at the ceremony.

In the revival, Whitford tackles Col. Jessup, so memorably played by Jack Nicholson in the 1992 film — and even if you’ve never seen the play or film, you know the line that Nicholson yells at Kaffee (Tom Cruise in the film): “You can’t handle the truth!”

Since he landed the role, he’s repeatedly been asked about how he’ll say the iconic line.

“I woke up and my lovely wife was kind of gazing at me, and she was just like, ‘How are you going to say it? I heard you running lines last night.’ And I’m like, ‘I’m not gonna do it.’ My own wife. This is ridiculous,” he says with a laugh. “I don’t know how I’m gonna do it. I shouldn’t know how I’m gonna do it. She’s like, ‘Do it,’ and I did it, and she was not impressed.”

Sorkin was just 26 and Whitford, 30, when they first met. “We were talking about how strange it is because Aaron is like an institution. I’m doing this play where, frankly, it’s much better to be the understudy who surprises you,” he says in a characteristically self-deprecating way. In the original production, he played both Lt. Ross and the understudy for the role of Lt. Kaffee. “It’s much better to be that than the guy with his name on the poster. I can tell you that.”

Whitford jokes about not taking acting seriously — “I love acting, I’m just not sure I respect it,” he says — telling a story about how after an L.A. screening of “Get Out,” “people were blown away.”

“All these people, like, blowing smoke up my ass, and I’m kind of believing it,” he says. “My kid turns to me and very casually says, ‘No offense, Dad. I’ve seen dogs be good in movies.’ Which is only devastating because it’s true.”

But it’s his way of staying grounded. He allows himself this aphorism: “The best way to take the work seriously is to not take yourself seriously doing the work. There are two atmospheres on a set. One is, ‘I hope you don’t fuck this up,’ and the other is, ‘I can’t wait to see what you’re gonna do.’ And now that I am a white-haired senior citizen about to have the star on the Walk of Fame, I know the best way to get to the good work is for the atmosphere to be more like recess than like school.”

The three-time Emmy winner’s resume is packed with memorable characters, from “The West Wing,” “Studio 60 on the Sunset Strip,” “The Handmaid’s Tale” and “Transparent” to “Get Out,” “tick… tick… BOOM!,” “Death by Lightning” and, most recently, “The Diplomat.” But that’s just a fraction of his career.
And he hopes to do more comedies moving forward, pointing to a short directed by his wife, Amy Landecker, for Funny or Die called “Bradley Whitford: Emotional Stuntman.”

“That may be my favorite part ever,” he says, and you believe him. He also loved the work he did with her — and loved working with her — on her 2025 feature debut, the comedy “For Worse.”

As for his honor on the Hollywood Walk of Fame, he feels odd.

“I always said, there’s no segues in show business. You feel like you’re starting out, and then suddenly you’re Wilford fucking Brimley,” he says with a wry laugh. He thought about his late parents when he first got the Walk of Fame news. “I wish they could be there because they would really get a kick out of that. They certainly didn’t push me into show business, but I have vivid memories of my father’s joy at a high school play, taking a picture. They would really get a kick out of it that I get to spend all eternity with Allison Janney and Lucille Ball, dodging dog doo.”

The kid from Wisconsin got hooked on acting in grade school — “I will probably never be better than I was in seventh grade as Teddy in ‘Arsenic and Old Lace,’” he says.

“It sounds really corny, but I was like, Oh, my God! When I play a sport, I have to turn off my brain and my heart. When I read a book, I have to turn off my body. When I play an instrument, I have to stand still. But this is everything,” he remembers. “I really had that moment in seventh grade. Like, holy fuck, I need my brain. I need my heart. I need to prepare. I need to let go. And I guess I still enjoy that.”

Back to the present, Whitford is thrilled to be reuniting with Sorkin for “A Few Good Men,” and sees the urgent relevancy to today in this 37-year-old play he says is about obeying — and so much more.

“It’s not only about obeying illegal orders, it’s about what I think is a really fundamental question going on in the world: What is the best way to survive? Is it through cooperation, or is it through dominance?” he says. “And I see the play as a kind of an argument about that.”

Though it raises questions about how we use the law to solve problems and the men in charge of the military, Sorkin’s writing is still infused with hope. Whitford feels that Sorkin is radical in his own way: “It’s kind of radical not to be cynical.”

The actor is outspoken about his progressive politics and works closely with many different organizations.

“Something I’ve been saying for a long time is — pulling together what a bunch of people have said — despair is a luxury that my children can’t afford, that their future can’t afford, and action is the antidote,” says Whitford. “What I see as the sort of civic virus of this malignant narcissist who has somehow gotten himself elected again, we have to fight our way out of this. We can’t give in to it.”

He continues, “I’m actually amazed because I do a lot of stuff with the Democratic Party in my home state of Wisconsin. My fear is always that young people — justifiably — are going to check out, get cynical about the political process and leave that process and sentence themselves to a gulag dictated by the business interests who do participate in the political process. And I haven’t seen that happen. And I’m actually optimistic about how things are going to change politically, but boy, I didn’t see this coming.”
He’s also very aware that some want celebrities to shut up about politics.

“There’s nothing less democratic than telling people they should shut up. I try not to censor myself. I always feel like I should be doing more,” he says. “Uninformed celebrities spouting their idiotic political views start with the guy in the Oval Office.” %!s()