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His task now is to turn champions into serial winners.

Arteta has overseen a total transformation of the club since his appointment in 2019. Arsenal, 10th in the Premier League table when he took over, were in a state of drift. Now, they are re-established among Europe's elite, unrecognisable in all departments.

Arteta has joined a select group of 13 managers to have won the Premier League. He now has the chance to join an even smaller group, made up of only Sir Alex Ferguson, Pep Guardiola, Jose Mourinho and Arsene Wenger, by winning it more than once.

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Securing a first Champions League, after guiding Arsenal to only their second final last term, is another chance for immortality.

The agreement over his new contract, described as an "utmost priority" by co-chair Josh Kroenke in May, reflects the club's belief that they are in the best possible hands. It also gives Arteta the chance to get closer to Guardiola's longevity at Manchester City.

The club feel the departure of Arteta's old mentor from City, coupled with instability elsewhere, presents an opportunity to capitalise. Arsenal are in their "win window", to quote Kroenke. "We think we have a chance here to dominate," he said in May.

Arteta's task has been made harder by the failure to add a level-raising forward in the summer. But his squad is replete with players in or approaching their peak years, between 24 and 28, now with the added experience of having won major silverware.

The group look well-set to build on their success. But Arteta, the rookie head coach-turned elite manager whose work other clubs now strive to emulate, might be Arsenal's biggest asset of all, which is why the news of his contract agreement is so significant.

Who better to nurture the culture which has underpinned their success than the man who painstakingly implemented it?

Arteta ensures stability, allowing Arsenal to operate from a position of strength. "Getting the foundations in place is usually the hardest part of the journey," added Kroenke.

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His tenure has been a story of steady improvement, both domestically, where Arsenal have ended a 22-year wait for the title, and in Europe, where they have gone from Champions League quarter-finalists, to semi-finalists, to runners-up in three years.

But there is work to do to sustain the trajectory.

Their defeat to Brighton highlighted room for improvement. It felt like a slap in the face to Arsenal, largely because it was so uncharacteristic. Arteta's side, defined by their steeliness, hadn't lost a Premier League game by a margin of three goals since 2023.

Arteta will hope to use the result as a wake-up call, and a reminder to his players that there can be no room for complacency in their efforts to retain their crown. "This is a big lesson for all of us to understand what it takes to win at this level," he said.

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He might even come to be grateful for it.

Arsenal went into the season as most people's favourites to win the title. But only a handful of sides have gone back-to-back in the Premier League era. Arsenal haven't managed it since the 1930s. History shows the enormity of the task ahead of them.

Part of the challenge for Arteta is to continue evolving the team.

Heavily impacted by injuries to their best attacking players for a second consecutive season last term, Arsenal leaned into their defensive and set-piece prowess to get over the line in the title race. They remain a formidable outfit on both fronts.

Clearly, there is still work to do in the transfer market to bring their attack up to the same level. For now, though, Arteta must get more from what he has, helped, at least, by a far clearer injury list.

It is worth noting that the last time he had Kai Havertz, Martin Odegaard and Bukayo Saka fit for a full season, in 2023/24, Arsenal broke a club record for goals. The trio, together again at last, scored 10 goals in their first seven games of the campaign.

More broadly, there have been signs of a return to a more possession-orientated playing style, and a greater desire to control games with the ball rather than without it.

It is of course still early in the campaign to make definitive judgements. But Arsenal's numbers are up for possession, passes and passes in the final third compared to last season.

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Most interestingly, they are attempting nearly twice as many build-up attacks, defined as open-play passing sequences of 10 or more passes leading to a shot or touch in the opposition box.

The Brighton gamed showed teething problems as they struggled to play through their opponent's press, repeatedly landing themselves in trouble. But for the most part Arsenal have looked a more cohesive and purposeful outfit in their attacking play.

They trail Manchester City by three points in the Premier League table but the underlying data, usually the strongest indicator of future success, has them as the best-performing team again this season, despite what happened against Brighton.

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There has been less reliance on set-pieces. All but one of their 16 goals in all competitions this season have come from open play, the only exception being Saka's late penalty in their win over Sunderland.

There was further evidence of increased offensive threat in their Champions League opener against Napoli, when they attacked relentlessly, only scoring once but generating 4.05 expected goals, their highest figure on record in the competition.

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The club will have to use future transfer windows to complete his squad. But the continued emergence of academy products, with Max Dowman and Marli Salmon the latest to benefit from the environment now in place at London Colney, offers further encouragement as Arteta's tenure enters a new era. %!s()

Italy did not qualify for the third World Cup in a row. An unthinkable prospect given they have won the competition four times.

The first two failures to qualify were masked over by the Euro 2020 triumph at Wembley. That at least gave the nation hope.

• Italy fixtures: Who do they play in the Nations League?
• Crisis! Italy fail to qualify for third straight World Cup

The third World Cup failure was one last straw. A 48-team World Cup did not include Italy. It brought about the resignations of not just head coach Gennaro Gattuso, but also Italian FA president Gabriele Gravina and Gianluigi Buffon as the team's head of delegation.

"It's a sensitive subject that affects me a lot, because not qualifying for three World Cups in a row is tough, and Italy certainly doesn't deserve that," Italy captain Gianluigi Donnarumma tells Sky Sports.

Now Italy have gone back to the future. Roberto Mancini, the manager who won the Euros five years ago, is back at the helm.

"We have to work. The only way forward is to work," adds Donnarumma. "There has now been a change of coach, the return of Mr Mancini - and the objective is to work and try to take Italy back to where it deserves to be.

"I know it's not easy for the fans, but especially for us, because only we know how much it means to us to play in a competition like the World Cup.

"So we'll give everything to bring Italy back to where it deserves to be. We have a great responsibility because history says that Italy should always be there. History has taught us that. So we have to bring Italy back to where it belongs."

Yes, Italy belongs at the top table. But it has been far off the level for some time. The latest World Cup disaster was the latest in a long line of slippery slopes since they reached the top of the world in 2006.

Twenty years later, that penalty shoot-out win over France is still Italy's last appearance in a World Cup knockout game. They have just won just one World Cup match since then - the 2-1 victory over England in Brazil 2014.

Yes, there was the successful European Championships campaign of 2012 that saw Italy reach the final. But since those days, Italy have not been the same. And there are multiple reasons for it.

Italy have not been able to replicate the world-class talent they once possessed. The World Cup-winning side of 20 years ago had the likes of Fabio Cannavaro, Alessandro Nesta, Gattuso and Alessandro Del Piero.

Six years later in 2012, that generation still lived on through Buffon, Daniele De Rossi, and Andrea Pirlo. But since the retirement of stalwarts Giorgio Chiellini and Leandro Bonucci, the next generation of Italian football has been lost.

According to the CIES Football Observatory, between 2020 and 2025, Italy produced just 413 football exports. It ranked 24th in the world, behind the United States, Japan and Russia.

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The other four nations in Europe's big five leagues all managed over 1,000 players in the same category. Italy's players - young or old - are just not as fancied by Europe's elite.

The lack of quality coming from the Italian ranks could also be seen in the national team. Between June 2025 and February 2026, only one capped player for the national team was under the age of 24 - Inter's young forward Pio Esposito. England managed a dozen in the same period.

In 2025, Italy also gave 1.9 per cent of their Serie A minutes to eligible players under the age of 21. That was the second-lowest out of the top 50 leagues in world football. Only the United Arab Emirates Pro League managed fewer.

It also contributed to a weaker Serie A last season. Veteran players Kevin De Bruyne, Luka Modric and Jamie Vardy were among the high-profile signings. And there was a similar lack of creativity amongst the managers too.

The likes of Antonio Conte, Max Allegri, Gattuso, Luciano Spalletti and Maurizio Sarri have all been passed around the top Italian clubs without much variation. Even this summer, Sarri moved to Atalanta, while Allegri joined Juventus.

Cesc Fabregas' Como revolution - resulting in their Champions League qualification earlier this year - is exactly what can happen when tactical ideas emerge from outside that never-ending cycle. Ruben Amorim has also turned up at AC Milan and played some eye-catching football with the Rossoneri.

But there are some signs that times could be changing for Italy. Mancini's first Italy squad back contained a few positive surprises. A 34-player roster included nine uncapped players - and 11 players under the age of 23.

That includes Borussia Dortmund's 18-year-old striker Samuele Inacio, Chelsea-bound defender Honest Ahanor, now at Crystal Palace. Brentford's Michael Kayode is among the new 'young revolution'.

As well as Inacio and highly-rated Inter forward Esposito - who has five goals in nine Italy caps - there is also FC Nurnberg's Ali Zoma who has 20 goals in 36 appearances in the German second division. Midfielder Issa Doumbia is also a key player at Sporting CP this season.

There's a new generation of young Italian stars.

"There will certainly be some established players. We're getting older, but we're still young, and there will also be some very young players joining the team," says Donnarumma.

"So it will be a mixture, and we need to help these young players integrate well. They can give us a great deal of help.

"They're certainly talented players who need to play and gain experience, but I'm sure Italy will return to where it belongs."

Italy have a very tricky Nations League group, with Belgium, Turkey and France competing in a very competitive Group A.

But a nation who has been lingering in the dark for so long needs just one spark.

Watch The World Football Show this Thursday on Sky Sports News to see more analysis of Italy's recent plight and a preview of Roberto Mancini's second spell at 2pm %!s()

The company that manages Parton's businesses and properties, She's Alive, is seeking a temporary civil restraining order against him.

In court filings, She's Alive alleged that Seaver mounted "an obscene, deliberate and escalating campaign of threats", claiming he said he would ruin her empire if the estate did not pay him. He has denied the claims.

In a statement to TMZ, external, he said that text messages and emails quoted in the court application had been taken out of context to make it look like he was threatening people.

"Nothing in this lawsuit were threats and most of the comments I stand by," he said.

"A lot of these messages are two guys having rage talk and crying on the phone together while we were grieving."

Seaver, the son of Parton's sister Cassie, owns a company that provided the singer's security detail for the last 20 years of her life.

Last week, he was fired by She's Alive as head of security for her properties.

In a statement at the time, Seaver and his company said the dismissal was "unexpected" and "unexplained".

They added: "We refuse to be intimidated by those whose actions we believe are being taken in bad faith and with the intent to profit from the life of someone who willingly gave so much."

The request for a restraining order was filed in Nashville on Tuesday by She's Alive, which is run by Parton's longtime manager Danny Nozell.

The court documents quoted a series of exchanges in which someone, identified by the estate as Seaver, threatened to destroy Parton's brand.

In one, he's alleged to have said he would become "the hand of retribution for my entire family", according to the court documents.

Another said: "I'm going to set up a podcast dedicated to ruining Dolly's brand partnerships and telling the violations these people have done on us. It's going to be great. Or [expletive] pay me."

The papers also claimed that Seaver used his experience as a military contractor to intimidate employees.

In an exchange with one of Parton's lawyers, he allegedly described himself as a "killer" and said that on the day his aunt died, he had sold $27m (£20m) in arms and ammunition to the Haitian police.

"All I do is warfare... Everyone needs to be worried about what I might do," he was accused of saying, according to a copy of an email attached to the complaint.

In his statement published on TMZ, Seaver said: "I am a career soldier and military contractor and do conduct arms deals for foreign governments. I am a security professional and I am a killer."

But he denied making threats and said he had been "talking frankly in a private way with Danny who I thought was my friend".

The messages have resulted in some employees and lawyers for Parton's trusts and estates resigning, according to the court documents.

She's Alive has also had to hire private security for its employees, including at their homes, the filing states.

The BBC has contacted Seaver and She's Alive for further comment.

Previously, Seaver was known to the public for announcing his aunt's death in a video posted to her Instagram account on 25 August.

Speaking in front of a black background, he was sombre and reflective as he introduced himself and shared the unexpected news.

"This video announcement is something Dolly asked of me years ago, before I fully absorbed it as a future reality," he said in the video.

Seaver added that he had followed in his father Larry's footsteps in becoming Parton's head of security, a post he held for more than 20 years.

Nozell started working for Parton in 2004, first as a tour consultant and later as her manager.

In the 2019 Netflix film, Dolly Parton: Here I Am, he said his job was to transform her from a "heritage act" into a "superstar", and he took responsibility for reviving her international touring career.

In a statement last month, he said the singer had "worked up until the day she died" on multiple projects, and envisioned a legacy that continued long beyond her death.

"She loved seeing her dreams come to life, and loved knowing her work brought people joy," he said in the statement.

"Ever the planner, Dolly worked with the team that she handpicked, for the past several years to build a project roadmap that will guide us for decades to come."

The estate now faces a public tug of war over that legacy. %!s()

10. Pokemon Detective Pikachu

Veteran British actor Bill Nighy voicing the equally legendary Mewtwo is just one of the reasons why Pokemon Detective Pikachu is an enjoyable time. Tim (Justice Smith) and Lucy’s (Kathryn Newton) adventure to find the former’s missing father unravels a mystery worthy of this world’s greatest detective. Voiced with charm by Ryan Reynolds, Detective Pikachu is just the pocket monster for the job, as he leads us through Ryme City and a view into the world of Pokemon as we’ve never seen before.

9. Devil May Cry

Few games have as flashy action as Capcom’s Devil May Cry does, so it’s no surprise that the Netflix series based on the games has some of the sharpest animation seen on the platform. Demon hunter Dante is tasked with keeping the Earth safe from the Hellish threats lurking in a neighboring realm, and stylishly unloads thousands of bullets doing so. Season 1 builds up to a truly bonkers finale of the sort the source material demands, as Hoon Lee’s villainous White Rabbit steals the show, while 2026’s second season shines the spotlight on the enigmatic Vergil. It’s never subtle, but certainly entertaining, even if it’s not the best Netflix adaptation on our list.

8. Sonic the Hedgehog 3

If at the turn of the century you’d have told us that Jim Carrey and Keanu Reeves were starring in a movie together, we would have been very excited. If you’d then told us that they’d be playing Dr Robotnik and Shadow the Hedgehog, we’d have been confused, but likely still excited. The fact that the Sonic films are seemingly the only ones that can coax Carrey out of retirement will always be confusing, but we’re not complaining too much when the third of this trilogy has given us some of his best work in a long time. Sonic the Hedgehog 3 is the best of a series that only seems to be getting better over time, as they up the stakes, absurdity, and quality of Ben Schwartz’s loveable blue blur’s adventures with each outing.

7. The Last of Us

A prestige TV adaptation of The Last of Us always felt inevitable. The original game is very much structured like a show, after all. And when it comes to the first season of HBO’s series, that destiny looked to be one fulfilled to great success, with Pedro Pascal and Bella Ramsey slotting into the shoes of beloved characters Joel and Ellie. If it had stopped there, you’d likely see this show near the very top of this list. But following an uneven retelling of the, admittedly, much more complex source material that is The Last of Us Part 2, the jury remains out on whether it will be able to do the full story justice by the time the series finishes. Still, there’s no denying the quality of the production on show, with that first season’s journey across a post-apocalyptic America providing some of the best moments, and episodes, of television of the past few years.

6. Resident Evil

Quantity over quality would’ve been the way most described Resident Evil’s big-screen efforts of the past. Then Zach Cregger arrived. The Weapons and Barbarian director took the essence of what has made Capcom’s survival horror series so enduring and translated it into 90 minutes of non-stop action. Each and every moment of its riveting runtime is aimed at provoking an instinctive reaction from us, whether that be to laugh or scream, sometimes managing to do both within seconds of each other. Bryan’s evening from hell through Raccoon City encapsulates what it’s like to play through one of the games in a way that none of the previous attempts ever did. It’s scary. It’s funny. It’s absurd. It’s Resident Evil.

5. Cyberpunk: Edgerunners

Cyberpunk: Edgerunners takes Night City’s streets from the 2020 RPG and tells a moving tale that’s as resonant as its striking animation. Yes, it’s all based on Mike Pondsmith’s tabletop game, widely considered a keystone of the genre, but this is a TV show based as much on CD Projekt’s creation as anything, with whole city blocks and characters redrawn in this prequel. In some ways, it delivers the title’s themes in a manner that’s even stronger than in the game, thanks to how well-realised its lead, David, and the characters that surround him are. It’s wonderfully additive to CD Projekt’s world — an extension of a place so many of us have gotten lost in, but seen through different eyes.

4. Castlevania

Netflix’s Castlevania series was consistently fantastic over its four-season run, elevating the storytelling ability of the games and giving a new dimensionality to characters that had previously been built with gameplay first in mind. It deliciously plays in the grey areas between good and evil, with varying factions and motivations all in play up until its satisfying conclusion. Borrowing from the Game of Thrones playbook of never letting any character feel safe from their fate, it’s a thrilling interpretation of the Konami series, and a trailblazer when it comes to what’s possible with video game adaptations.

3. Arcane

Sparked by Arcane Season 1’s eye-catching inventiveness and heartfelt character work, a whole new legion of fans found themselves enmeshed in the League of Legends universe, if in a completely unexpected way. Riot’s MOBA undoubtedly has a huge, devoted player base, but it's the developer work outside of the arenas that is so impressive, whether that be the toe-tapping catchiness of virtual bands such as K/DA, or Arcane, genuinely one of Netflix’s best shows, video game-related or not. Season 2 may not have quite lived up to the astronomical heights set by its first batch of episodes, but the artistry of animation studio Fortiche, combined with a coming-of-age story laced with rebellion and betrayal, still stands as one of the greatest translations of a video game into a different medium.

2. Fallout

The writers and producers behind this Prime Video series hit the nail on the head when it came to adapting Bethesda’s RPG series. Fallout, the game series, is all about the world it's set in, from the quirky characters found within it to the oddities of its post-nuclear war locations. And so taking the vibe and feeling of wandering around the wasteland was always going to be the right move for the show, rather than simply retelling any of the game’s storylines. So far, we’ve had two seasons full of fan-favourite details that miraculously never quite feel like pandering, but instead use famous iconography and factions to tell their own tale. The best compliment you can give the show is that it feels just like watching a game you haven’t played yet, plucked from another corner of the Fallout universe. It’s reverent of its source material without feeling beholden to it, and as violent and funny as it needs to be for good measure.

1. Pokemon

Pokemon is so ingrained in our culture that it’s kind of difficult to recall where it all started. For many of us, it would have been with the animated series starring Ash Ketchum as an ambitious young trainer. Some of us would even have watched the first seasons of the show before we played any of the Game Boy games or swapped trading cards at school – so much so that you can almost be forgiven for not thinking of the original run of the anime as a video game adaptation (a beast that has gone on to realise over 1,300 episodes in its own right).

The series feels so in step with the games that they have influenced each other over time, especially in the mid- and late-’90s. Ash’s adventures with Squirtle, Charmander, Venusaur, and the gang wouldn’t exist without the release of Pokemon Blue, Red, and Green, but Yellow wouldn’t have followed soon after if Pikachu hadn’t become the show’s breakout star. It’s an ouroboros effect that created foundational memories for many growing up at the time, serving as a gateway into video games and Japanese animation for a whole generation. It’s almost so obvious that you forget it was an adaptation in the first place, but there’s no denying the massive impact Pokemon had, and the joy and tears shared when watching it.

Simon Cardy

Senior Editor

Simon Cardy is a Senior Editor at IGN who can mainly be found skulking around open world games, indulging in Korean cinema, or despairing at the state of Tottenham Hotspur and the New York Jets. Follow him on Bluesky at @cardy.bsky.social. %!s()

“The Station,” which is supported by the Doha Film Institute, launched positively from the Cannes Critics’ Week in May.

The film’s selection “continues the DFI’s long-standing commitment to nurturing promising talent from the region and bringing their stories to audiences around the world,” the fest said in a statement.

“’The Station’ embodies the spirit of cinema we believe in at Doha Film Institute: stories rarely heard that cross borders and remind us of our shared humanity,” said DFI CEO Fatma Hassan Alremaihi, who also heads the festival, in a statement. “Sara Ishaq has created a film of extraordinary courage and tenderness, transforming a story rooted in Yemen into one that speaks to audiences everywhere. In opening Doha Film Festival 2026 with ‘The Station,’ we are opening a space for dialogue, connection and a deeper understanding of the world through the power of film.”

Ishaq added, “The world of ‘The Station’ distills what I love and cherish about Yemen into a fragile utopia, constantly overshadowed by turmoil beyond its walls. At its core, this film is about people in all their complexity, contradictions and humanity. It is an ode to the people of Yemen, who have endured years of war with dignity and strength.”

The film, which features mostly non-professional Yemeni actors, is produced by Screen Project (a Ta Films Company) and Georges Films. It is co-produced by One Two Films, KeplerFilm, Barentsfilm, Setara Films and The Imaginarium Films.

Last year’s inaugural Doha Film Festival opened with Tunisian director Kaouther Ben Hania’s politically charged Gaza-set drama “The Voice of Hind Rajab.”

The revamped Doha Film Festival has transformed the Doha Film Institute’s existing Ajyal Film Festival, dedicated to youth and family-friendly cinema, into a more ambitious international event for a broader audience. It has four competition strands: international feature film competition, short film competition, the Ajyal film competition (judged by the festival’s unique youth jury) and the Made in Qatar competition, dedicated to projects made in Qatar regardless of the director’s provenance. %!s()