The Hundred 2026 is reaching its dramatic climax and we have the Eliminators then the Finals still to come your way...
When and where are the Eliminators?
The Eliminators will take place on Friday August 14, at The Kia Oval.
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The women's match between Southern Brave and SunRisers Leeds is at 2.15pm and will be followed by the men's contest between Manchester Super Giants and SunRisers Leeds at 6pm.
Today's cricket scorecards: The Hundred and more
The Hundred - latest men's and women's tables for 2026
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Lauren Bell previews The Hundred eliminator between Sunrisers Leeds and Southern Brave Women.
SunRisers men's team will be looking to bounce back from their heavy loss to the Super Giants on Tuesday. If they had won, they could have gone straight through to the final!
What stars are on show?
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Seifert & Walter hit 10 HUGE sixes in Super Giants win
Who is ready for Harry Brook vs Jos Buttler 2.0?
As previously mentioned, SunRisers Leeds and Super Giants met on August 11, with the latter pulling off a huge 10-wicket victory, chasing down their target of 128 with 33 balls to spare.
Brook was restricted to just 10 runs from seven deliveries and will know he needs to do better than that if his side are going to make it through to Sunday's big dance.
He is used to partnering Buttler on the international stage, but now, he needs to ignore the man behind the stumps and try to stay at the crease for as long as possible.
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Phoebe Litchfield made her 50 off just 20 balls as she finished unbeaten on 71 to lead SunRisers Leeds to a nine-wicket win over Birmingham Phoenix
In the women's eliminator, Phoebe Litchfield (SunRisers) has been the gun batter across the competition, scoring 289 runs in eight matches. That is a remarkable strike rate of 168.
Meanwhile, Tilly Corteen-Coleman is the leading wicket-taker, with 13 wickets in eight matches.
Get ready for a battle between them!
Which teams are through to the Finals?
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Sophia Dunkley hit a quickfire half-century for Trent Rockets in their Hundred match against Birmingham Phoenix
In both the men's and women's competitions, Trent Rockets topped the table and are through to the Finals.
The men's team won six of their eight matches, while the women's team won seven, losing just once.
They will face formidable foes for whoever makes it through the Eliminator...
When and where are the Finals?
Both of the Finals take place on Sunday August 16 at Lord's Cricket Ground.
The women's final is at 2.15pm, followed by the men's final at 6pm.
Who will be performing?
At Finals Day, it is Ella Eyre who will take centre stage. Some of her biggest hits include 'Came here for love' with Sigala and 'Answerphone'.
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Friday August 14: Eliminators, Kia Oval (women's game - Southern Brave vs SunRisers Leeds - 2.15pm, men's - Manchester Super Giants vs SunRisers Leeds - 6pm) - Reserve Day, Saturday August 15
Sunday August 16: Finals, Lord's (women's game - Trent Rockets vs TBC - 2.15pm, men's - Trent Rockets vs TBC - 6pm) - Reserve Day, Monday August 17
Move over, Oscars: There’s a brand new awards show for bicoastal elitists.
“How Long Gone,” the cult-famous culture podcast hosted by Chris Black and Jason Stewart, has announced the inaugural edition of “The Goneies,” an intimate awards show taking place on Sept. 15 at Racket NYC in Manhattan. A limited number of tickets will go on sale at 9 a.m. ET here.
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Grammy-winning producer Brad Cook (Waxahatchee, Bon Iver) will serve as bandleader and musical director of the show, which will feature celebrity guests and surprise music performances. While specific details about “The Goneies” are limited, one might envision the “Las Culturistas Culture Awards” but straight — or, rather, for people whose Mariah Carey is Hamilton Leithauser.
Presented by Talkhouse, “The Goneies” marks the latest extension of the “How Long Gone” brand, which includes the podcast with more than 1,000 episodes, live performances, parties and red carpets hosted by Black and Stewart. In February, the duo announced “How Long Gone Today,” a video format of the show shot at a news-desk studio in Los Angeles.
“This will be a seismic gathering of the greatest minds of our generation,” said Black and Stewart in a statement. “People who make music, post selfies, act, think they are funny, the media elite, and most of all look hot will all gather in one room in Manhattan to receive awards based on merit and high achievement from a podcast that they may or may not even listen to. We will have several surprise guests standing in with our all-star house band led by Brad Cook, so if nothing else, you get to see one of your faves play a few songs.”
“To our knowledge, this is the first and only cultural awards show presented by a podcast, and we’re very proud of that,” added Talkhouse founder Ian Wheeler (a “Culturistas” dig!). “We’re also really excited to get Chris and Jason and all of their friends in front of a step-and-repeat for the very first time.” %!s()
The owner of Sports Direct has bought Harvey Nichols out of administration after the upmarket department store chain warned it could run out of money if it did not find new funding.
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Mike Ashley’s Frasers Group said on Thursday it had bought the chain, which is headquartered at its store in Knightsbridge, for an undisclosed sum on the day it was put into administration. Sources said he had paid about £40m for Harvey Nichols, which has 1,200 employees and 13 stores.
These consist of five large stores – in London, Edinburgh, Birmingham, Leeds and Manchester – and a smaller one in Bristol plus outlets in Dublin, Riyadh, Dubai, Doha, Kuwait and two in Hong Kong.
Frasers said it was acquiring the London, Edinburgh, Birmingham, Leeds, Bristol and Manchester stores. Discussions over the future of the Dublin shop were “ongoing” but Frasers said it had already bought certain stock and fixtures and “continues to support” trading there. The franchise agreements for the overseas stores will continue under the deal.
Harvey Nichols’s restaurant in the Oxo Tower in London is not included in the deal, and is being sold off separately. The administrator, FTI Consulting, said a sale was being finalised that would preserve 100 jobs and the ongoing operation of the business.
Frasers said in a statement: “Significant restructuring and integration of Harvey Nichols into the Frasers Group ecosystem will be required to create a sustainable business for the future, including a review and rationalisation of the store portfolio, organisational structure, operating model and cost base.”
Frasers bought the House of Fraser department store chain out of administration in 2018 and has since closed about 40 of its 60 stores. The group has been building its interests in luxury fashion with the Flannels chain and large stakes in the German brand Hugo Boss and the British handbag maker Mulberry.
Ashley has bought a series of struggling premium brands in recent years after starting out with a single sports shop. He has said he would keep Harvey Nichols’s Knightsbridge and Edinburgh stores, but rebrand the four other UK stores – in Birmingham, Leeds, Manchester and Bristol – as House of Fraser or Flannels.
The veteran retail analyst Richard Hyman said: “We can be certain that Harvey Nichols won’t be the same, because being the way it was has racked up huge losses and that won’t be tolerated by Mike Ashley.”
It is not clear if Ashley plans to keep the entire Knightsbridge flagship store as a retail and restaurants operation under the Harvey Nichols brand long-term, or if he might redevelop it bringing in some of his other brands such as Sports Direct, Flannels or gyms and other partners, such as a hotel, to fill the space more profitably.
Hyman teased: “Sports Direct might go well on that corner”, pointing to Lillywhites, the former department store on London’s Piccadilly, which Ashley has owned for decades and is now in effect a Sports Direct outlet.
Mike Ashley’s bid was said to have been more attractive than a potential offer from Next. Photograph: Yui Mok/PA
Harvey Nichols, which was founded in 1831 as a linen shop, became the flag-bearer for 1990s chic highlighted in popular culture by regular mentions in TV sitcom Absolutely Fabulous. It was put up for sale by its long-term owner Dickson Poon after failing to make a profit since the coronavirus pandemic locked out big-spending foreign tourists.
The Frasers Groupchief executive, Michael Murray – who is Ashley’s son-in-law – said: “Harvey Nichols is an iconic British institution with significant potential, but it is clear meaningful change is needed.
“The turnaround will require tough choices, and we are prepared to make those decisions, even if that means a smaller business in the near term, to create a stronger and more sustainable Harvey Nichols for the long term.”
Julia Goddard, chief executive of Harvey Nichols, said: “I look forward to working closely with Frasers Group to build on the momentum already under way.”
Lindsay Hallam, senior managing director at FTI Consulting which acted as administrator to Harvey Nichols, said the deal secured more than 1,000 jobs and “provides a strong platform for its next chapter”.
The Knightsbridge store opened in 1889. In the last century it was owned by the Burton Group, the former owner of Debenhams, before Poon bought it in 1991 for £53m and listed it on the London Stock Exchange in 1996.
In recent years the business has suffered from increased competition from Harrods and Selfridges as well as a host of online players, while its aspirational shoppers’ budgets have come under pressure from the cost of living crisis.
It reported a loss after tax of £105m after writing off inter-company loans for the year to 29 March 2025, according to accounts published over the weekend. The directors said the company was not a going concern, because it would run out of money within the next year and that it had no agreements for new funding.
The FTSE 100 retailer Next had been interested in taking over the business but sources said it wanted only one or two of Harvey Nichols’s stores, so Ashley’s bid was seen as more attractive.
Ashley, the controlling shareholder in Frasers, told the Financial Times last Friday that Harvey Nichols was in a “death spiral” and that it would be a “huge challenge” to turn it around. %!s()
CAF have given under-fire Gianni Infantino their backing, and now say the FIFA president must stand in March’s election.
Africa football confederation chief Patrice Motsepe says Gianni Infantino’s future should only be decided by elections, after Ireland became the latest federation to withdraw its support for the embattled FIFA president.
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Infantino is fighting to save his job after a barrage of criticism for his aborted plan to sell stakes in the World Cup to private investors.
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The governing bodies of European football (UEFA), North and Central America (CONCACAF) and Asia (AFC) stepped up the pressure on Infantino in a joint letter this week, declaring “trust is broken through deception, when an individual places himself above the collective that entrusted him with authority.”
It is believed they want Infantino to resign before he has the chance to seek re-election in March next year.
But Motsepe, a FIFA vice president and Confederation of Africa Football (CAF) president, is adamant that Infantino’s fate should be decided through the ballot box.
“If anybody has got any problem against anybody, whether it’s Gianni, whether it is anybody else, follow the process, follow the FIFA process, simple as that,” Motsepe told Sky News on Thursday.
“If you want to take him out, go for elections; let the 211 member associations decide. Do that and the vote will express whether they’ve got confidence in him or not.
“You’ve got to be very careful. There are elections taking place next year. Shouldn’t we allow that process to continue?”
Motsepe was in Salzburg at the UEFA Super Cup on Wednesday to hold talks with UEFA President Aleksander Ceferin, whose organisation are threatening to boycott the World Cup and Club World Cup in protest at Infantino’s scheme.
“I’ve heard so many stories about various issues and am careful to pass judgement on anything,” Motsepe said.
“Everybody has a right to be heard. Let’s have a hearing, and a proper forum.”
CAF had already backed Infantino, and Motsepe claimed there was no breach of rules over the World Cup sell-off talks because the proposals would be submitted to FIFA members for final approval.
“There’s a lot that’s problematic and negative that they have to fix,” Motsepe said.
“But he has apologised and said maybe there’s a different way these things should have been done, but we also take advice.”
However, there has been no end to the tidal wave of criticism engulfing Infantino.
On Thursday, the Football Association of Ireland (FAI) became the latest FIFA member to withdraw its support for Infantino.
“Following an FAI Board Meeting, the decision was taken to rescind the letter of support that the Association supplied earlier this year,” the organisation said.
“It has since written to FIFA to explain its reasoning. The Association is grateful for the support that FIFA provides to Irish football, but recent events have raised significant concerns regarding governance, transparency and the lack of meaningful consultation.”
The English FA and Welsh FA had already withdrawn their backing for the 56-year-old Swiss.
Six Arab federations, including Qatar, Morocco and Egypt, offered their backing to Infantino on Thursday morning. %!s()
Some of Latin America’s greatest arthouse directors — Celina Murga, Mariana Rondón, Santiago Loza, Matias Mariani and Christopher Murray — feature among 15 projects set to be unveiled at San Sebastián’s 2026 Europe-Latin America Co-Production Forum, the Spanish festival’s biggest industry centerpiece.
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The selection also frames hot emerging director such as Ernesto Martínez (“The Devil Smokes”) and first features which are sure to create interest. One case in point: Selma Cervantes’ “Mourning Sound,” set up at Teorema, founded by Michel Franco and partner Eréndira Núñez Larios and behind award-winning films such as “Memory,” “New Order,” “Heroic,” “Flies,” “Chronic” and “From Afar.”
Galvanized by new and emerging talent, the 2026 lineup also serves as a tribute to what outgoing San Sebastián Festival director José Luis Rebordinos has achieved with the Forum: Consolidating it as Europe’s most significant Latin American meet and mart when a presence at co-production platforms has become ever more essential for the survival of so many Latin American filmmakers.
Selected for the Forum, “The Rehearsals” marks Murga’s follow-up to “The Freshly Cut Grass,” presented by Martin Scorsese and a Tribeca best screenplay winner, and Murga’s fourth fiction film — after “Ana and the Others” (2003), “A Week Alone” (2007) and Berlin competition contender “The Third Side of the River” — films often displaying a large sense of place and unspoken but keenly observed emotions.
Mariani impressed highly with his Berlin Panorama title “Shine Your Eyes,” a Netflix pick-up for the world. “‘Nature Boy’ began when I asked myself: what would it be like to be the father of an alien?” Mariani told Variety of his new Forum project.
Rondón, behind another 2026 Forum project, “Looking for Sam,” won San Sebastián’s top Golden Shell in 2013 with “Bad Hair,” and, more recently, “It Would Be Night in Caracas,” a gripping thriller, Variety said, with Edgar Ramírez (“American Crime Story”) and Natalia Reyes (“Terminator: Dark Fate”).
San Sebastián-bound with “Giant Stones,” Murray competed in Venice 2016 main competition with “The Blind Christ” and at Sundance with “Sorcery” in 2024.
“The Amateurs” (“Los Inexpertos,” Felipe Solari Yrigoyen, Chile, Argentina)
Produced by Chile’s Quijote Films (“The Mysterious Gaze of the Flamingo”) and Argentina’s Gentil Cine and set at an eccentric convention populated by people dressed as iconic movie characters where the original Maltese Falcon statuette vanishes along with a mysterious Russian guest. “The Amateurs” shows “how ordinary people, in a remote corner of South America and far from Hollywood, are forced to step up when circumstances spiral beyond their control,” says Solari about his potential feature debut.
Blending archival research with hand-drawn rotoscoping, Gilbert’s follow-up to “Malqueridas,” Grand Prize winner at Venice Critics’ Week 2023, revisits a mother who killed her daughters during Chile’s nitrate crisis. Producer Paola Castillo says the technique creates “an ethical distance, without revictimizing.” Produced by Chile’s Errante with Germany’s Dirk Manthey Film, the project connects that historical case with mothers facing similar judgments a century later.
Thirty years after a young man entered psychiatric hospitalization carrying a notebook and camera, Loza reconstructs those days through documents and recreations, rooted in a deeply personal experience from his own youth. Varsovia Films produces with Uruguay’s Monarca Films, while Compañía de Cine has boarded international sales. Now finalizing its script and financing, the project is, in Loza’s words, “a poetic tale of survival” that also explores mental health, friendship and filmmaking.
Ayhe Productions and Kabiria Films back Acconcia’s fiction feature debut, following Bruno, a Black teenager with vitiligo sentenced to work at a residential home for minors with functional diversity, where he unexpectedly finds acceptance. Producer David Aymerich calls it “a special coming-of-age story portraying a reality rarely seen on screen.” Selected at Locarno’s Match Me!, the project is set to shoot in March 2027.
“Giant Stones” (“Piedras gigantes,” Christopher Murray, Chile)
The story of U.K. archaeologist Katherine Routledge’s arrival in 1914 on Rapa Nui to study its monumental moia statues and her conflictive role in an indigenous uprising. Winner of Hubert Bals Fund Development Support and set up at Fernando Bascuñan’s Planta, which had three films at Cannes from Dominga Sotomayor (“La Perra”), Lisandro Alonso (“Double Freedom”) and Federico Luis (“For the Opponents”).
‘The Illusions’
“The Illusions” (“Las ilusiones,” Ingrid Pokropek, Argentina, Spain)
Three Buenos Aires strangers make wishes on a shooting star, only for a cosmic mix-up to grant each someone else’s desire, setting fame, grief and love on a collision course. Pokropek says “the world of ‘The Illusions’ is luminous in the middle of darkness.” 36 Caballos produces with Spain’s Jaibo Films. In advanced development for a fall 2027 shoot, the project has secured ICAA minority co-production support and passed through Berlinale Talents Project Market, EAVE Puentes and ECAM Forum.
Seven years of research in Guatemala underpin Giampà’s first feature. “Working largely with non-professional actors whose own lives resonate with the story,” he says, the film follows a young agronomist searching for the truth about the father who abandoned her. Zoe Films and LaDoc produce with Mexico’s Fiasco. Set to shoot in autumn 2027, the project has passed through TorinoFilmLab FeatureLab and EAVE Producers Workshop.
“The Last Cruise” (“El último crucero,” Rachel Daisy Ellis, Brazil, Spain, Argentina)
British-Brazilian filmmaker and longtime Gabriel Mascaro producer and creative collaborator, Ellis turns to her own documentary work with “The Last Cruise,” a feature in development at Recife-based Desvia Filmes. Her directing debut, “Eros,” premiered at CPH:DOX, while she most recently produced Mascaro’s “The Blue Trail,” winner of Berlin’s Silver Bear Grand Jury Prize. Camile Reis produces alongside Ellis on the project.
“Looking for Sam” (“Buscando a Sam,” Mariana Rondón, Peru, Venezuela, Mexico)
13 years after “Bad Hair,” Sam, its lead, has been forced to emigrate from Venezuela. Searching for him, director Rondón and producer Marité Ugas end up at the fashion catwalks of Paris, discovering a tale of personal reinvention. “‘Looking For Sam’ wanders between fiction and documentary, where memory and identity blur and transform one another. It forces us to ask ourselves who we are when we leave behind who we once were,” Rondón told Variety.
‘Modern Mermaids Revolution
“Modern Mermaids Revolution” (“La revolución de las sirenas modernas,” Azul Vanni, Uruguay, Argentina, Brazil)
Vanni calls her feature debut “my own manifesto on how travesti and trans experiences can be represented in cinema.” Its protagonist, Sienna, loses her voice and begins growing scales after nearly drowning, entering an underground world of desire and danger. Uruguay’s Monarca Films produces alongside Argentina’s Groncho Estudio and Brazil’s Estudio Giz. Now financing for a first-half 2028 shoot, the project has passed through Tres Puertos, MECAS and Berlinale Talents Buenos Aires. Vanni is the first trans woman director in Uruguay to win a production grant from the country’s film agency.
“Mourning Sound” (“El último sonidero,” Selma Cervantes, Mexico)
After years abroad, Karina returns to Mexico following her mother’s death. Estranged from a country that no longer feels like home, she and her brother Nacho find a way to bridge their differences through their family’s tradition of being sonideros: DJs at popular neighborhood dances. Cervantes’ first feature, following the success of her short film “Sweatshop Girl,” starring Yalitza Aparicio, which premiered at Sundance 2023.
A departure for Mariani? “Celestino, a São Paulo public-school principal whose life fits on a form, takes in a boy who speaks no known language — a boy who absorbs organic matter, transforms with everything he consumes, and is quietly studying the man learning, against his will, to be his father, the logline runs. A sci-fi family drama penned with “Shine Your Eyes” co-scribe Maíra Bühler from Primo Filmes and Tatiana Leite’s Bubbles Project. A title to track.
“The Rehearsals” (“Los Ensayos,” Celina Murga, Uruguay, Argentina)
Eva (48) accompanies her mother Emilia (80), a prestigious retired doctor facing the progression of Alzheimer’s. The family home is also shared by two caregivers, Eva’s teenage son and her younger sister. Amid improvised celebrations, hospital visits and conflicts over care, a mysterious presence of bulls surrounds the house. “Blending realism and the fantastic, the film explores fragility and the possibility of finding love and vitality in being there for another person,” while “reflecting on the way our society looks at aging, deterioration and death,” Murga told Variety.
“They’re Taking Your Congos Away” (“Te vienen a quitar tus congos,” Nelson Carlo De Los Santos Arias, Dominican Republic, Spain)
One of the doyens of Dominican cinema, De Los Santos Arias returns after winning Berlin’s 2024 Silver Bear for Best Director with “Pepe.” His new project is an odyssey tracing the legacy of Spanish colonialism across the Caribbean. It is set up at Monte y Culebra, one of the Dominican Republic’s leading independent production companies.
“This Is the Memory I Would Like to Have of Mom” (“Este es el recuerdo que me gustaría tener de mamá,” Ernesto Martínez Bucio, Mexico, Spain)
Next up from Martínez Bucio and screenwriter Karen Plata after scoring the Berlinale Perspectives first feature award with childhood survival tale “The Devil Smokes,” “a distinctive debut feature which steers what could be a familiar home-alone tale into darker psychological recesses,” Variety said in its review. %!s()
