Saturday Night Live U.K. returned for its second season Saturday with a cold open taking direct aim at Prince Harry and Meghan Markle’s widely publicized move back to Britain, opening the show with a royal-family sketch built around jokes about the couple’s finances and their Netflix production deal.

The sketch began with Larry Dean playing King Charles III and Emma Sidi playing Queen Camilla, relaxing together at Balmoral Castle in Scotland. “I do love our weekends away. No responsibilities, just like every other day,” Camilla says at the start of the scene.

Harry and Meghan crash the royal getaway

The couple’s quiet retreat is interrupted by the arrival of Harry, played by Jack Shep, and Meghan, played by Ayoade Bamgboye. Much of the sketch centers on the pair sharing a prolonged, affectionate embrace, much to the visible irritation of King Charles. “Daddy, I’m home,” Harry says as the two arrive.

“What do you two want?” Charles asks, clearly unhappy to see them. “Don’t tell me you’ve spent that Netflix money already.”

Harry’s response became one of the sketch’s most-quoted lines, though outlets reported the figure differently. Some accounts, including Deadline and Bleeding Cool, quoted Harry as saying, “It was $60 million. How long was it meant to last?” Other outlets, including Variety and several syndicated reports, quoted the figure as $16 million. Variety itself flagged the inconsistency, noting that the dollar amount differed between accounts of the same exchange.

Charles continues to press the point, delivering one of the sketch’s sharper lines: “What a waste you’ve become, you’re lucky your father is not around to see this,” a jab that reportedly drew a strong reaction from the studio audience.

Meghan’s lifestyle brand gets its own dig

The sketch also turned its attention to Meghan’s business ventures, referencing her Netflix lifestyle series and consumer product line. In the scene, Meghan presents Camilla with an ice tray as a gift. “I made it myself,” she says. “I can give you the recipe. I’m a whizz in the kitchen.” Harry adds a line undercutting the moment, telling Camilla, “She hires the best chefs.”

A new prime minister crashes the scene

The sketch also introduced George Fouracres in a new role as fictional U.K. Prime Minister Andy Burnham, arriving mid-scene wearing his character’s signature yellow Manchester badge. Fouracres previously drew acclaim on the show for his portrayal of former Prime Minister Keir Starmer, and his debut as the Burnham character continued the show’s pattern of using its cold opens to satirize current U.K. political figures alongside the royal family storyline.

“I’m the new PM. And I’m nothing like the last one,” Fouracres’ character announces, before launching into a set of jokes referencing Burnham’s policy agenda over the summer and his efforts to appear relatable despite holding high office. The bit closed with the character declaring, “I will buy everybody a pint, because I want you to like me. I need you to like me,” a line mocking his character’s eagerness to be liked by the public.

A premiere hosted by Jeff Goldblum

Saturday’s episode marked the Season 2 premiere of SNL U.K., which aired on Sky, and was hosted by actor Jeff Goldblum, who opened the broadcast with a musical number about spending time in London. The returning cast for the new season includes Hammed Animashaun, Ayoade Bamgboye, Larry Dean, Celeste Dring, George Fouracres, Ania Magliano, Annabel Marlow, Al Nash, Jack Shep, Emma Sidi, Paddy Young and Freddie Meredith.

Coverage of the premiere noted that the show’s producers had a wide array of material to draw from heading into the new season, given the extended summer news cycle surrounding Harry and Meghan’s relocation, which had already generated substantial tabloid and mainstream media coverage in the U.K. and internationally in the months before the episode aired.

Real-world context behind the joke

The sketch’s premise draws directly from real developments this year involving the couple’s move back to permanent residence in the United Kingdom, following nearly six years primarily based in California after they stepped back from royal duties in 2020. That return has been accompanied by public reporting on the couple’s finances, their production deal with Netflix, and renewed tension with the royal family, including a recent letter from Buckingham Parlace reaffirming that Harry and Meghan remain non-working members of the royal family, described in that correspondence as “private citizens.”

Sources cited by entertainment outlets covering the couple’s relocation have offered competing explanations for the timing of the move, with some pointing to financial considerations and others describing a desire to be closer to Harry’s father and to repair strained family relationships.

SNL U.K.’s second season is scheduled to continue with new episodes in the coming weeks, with comedian and presenter Amelia Dimoldenberg set to host the following episode on Sept. 26, joined by musical guest Rachel Chinouriri. The show’s cold-open format, mirroring the long-running U.S. version of Saturday Night Live, has continued to lean heavily on current events and public figures for its opening sketches, with Saturday’s premiere continuing that pattern by using the summer’s biggest royal-family storyline as its season-launching target.

Every company website sits on infrastructure that consumes electricity around the clock, stores data somewhere specific and relies on a support model chosen at the point of purchase. In 2026, web hosting has quietly become a sustainability, compliance and service decision, and that explains why a growing number of UK SMEs are switching provider: they want a smaller environmental impact, clearer data sovereignty and support from real people rather than ticket queues.

The digital carbon footprint: why hosting is a sustainability metric

A website never sleeps. The servers that keep it online, the cooling systems that prevent overheating and the backup infrastructure protecting the data all draw power continuously. Industry estimates put data centres at roughly one to two per cent of global electricity use, and demand keeps rising as business moves online. For a firm working towards carbon neutral operations, hosting is a measurable part of its environmental footprint rather than an invisible overhead.

Procurement teams have started to notice. Ethical consumerism, long established in retail, has crossed into business technology: sustainable business tech once meant refurbished laptops, but now extends to the cloud services a firm rents every month. The complication is that green claims do not all mean the same thing. Some providers buy carbon offsets to balance emissions from conventional power. Others run directly on renewable energy, avoiding the emissions in the first place. A third group reduces consumption through efficient hardware and offsets only what remains.

For owners comparing green hosting in 2026, the useful habit is to look for evidence rather than adjectives. The Green Web Foundation maintains a public directory verifying whether hosts genuinely run on renewable power. Efficiency figures matter too: a data centre’s power usage effectiveness (PUE) rating shows how much energy goes to computing rather than cooling, and lower figures mean less waste. Providers publishing this level of detail tend to be more credible than those relying on vague promises.

Data sovereignty and the UK legal landscape

Environmental impact is only one reason hosting has climbed the agenda. The question of where data physically sits has become equally prominent. UK data sovereignty, the principle that business information should remain within reach of UK law, matters to any firm holding customer records, payment details or commercially sensitive material. Files in an overseas facility can fall under foreign jurisdictions, and untangling which rules apply becomes a legal exercise few small businesses are equipped for.

Hosting on UK-based infrastructure simplifies that picture. Data stays within a familiar legal framework, supplier due diligence becomes easier and customer questions about where information is held can be answered without hesitation. Stating that company data remains in the UK is increasingly a commercial asset rather than a technical footnote.

A note of caution is warranted, however. Server location alone does not make a business compliant with UK GDPR or the Data Protection Act 2018. Obligations around lawful processing, security controls, processor contracts and international transfers still apply, and the Information Commissioner’s Office is clear that responsibility sits with the business wherever its servers happen to be. Choosing UK web hosting removes layers of complexity; it does not remove accountability.

Performance deserves an equally sober assessment. Keeping a website close to its audience can reduce latency, but real-world speed depends on routing, caching, software architecture and the quality of the platform itself. Claims that local infrastructure is automatically faster than a global cloud oversimplify: testing against your own traffic matters more than generic benchmarks.

The value of human expertise in a ticket-driven market

The third factor behind switching decisions is harder to quantify but easy to recognise: what happens when something goes wrong. Large global providers have industrialised support, channelling customers through chatbots, knowledge bases and ticket queues. That model scales efficiently, yet for a small business whose website generates leads or takes orders, waiting two days for a templated reply means lost revenue. Reaching a technician who already knows the account, investigates immediately and owns the problem carries real commercial value.

This is where smaller independent providers have found their opening. NetWeaver, a leading ethical web hosting provider based in Lancashire, illustrates the approach. Founded in February 2001, the company has spent 25 years offering a human-centred alternative to Big Tech, with technical support handled in-house by its own UK team rather than an outsourced call centre. Its servers run in UK data centres powered by renewable energy, and the company states it has reached a Net Zero level of operation while openly acknowledging that no universally accepted standard for Net Zero yet exists.

Migration is another barrier the human model addresses. Moving a website involves file transfers, databases, DNS changes and the risk of downtime, which deters many businesses from switching even when they want to. Providers that manage the transfer themselves remove that obstacle. NetWeaver includes free website migration, scheduled to suit the customer, alongside published pricing from £4.50 a month with no hidden extras. Such transparency makes the long-term cost of ownership easier to forecast than the introductory discounts and steep renewal uplifts common among larger rivals.

How to audit a digital supply chain for ethical alignment

For owners persuaded their hosting deserves a fresh look, the practical question is how to assess it. An ethical audit works best when it asks verifiable questions rather than accepting marketing language at face value. The following criteria give the process structure:

• Energy source and evidence. Ask whether servers and cooling run directly on renewable energy, whether offsets cover what remains and whether independent verification exists.
• Server and backup location. Establish where primary servers and backups are stored; backups are easily forgotten and can sit in a different jurisdiction from the main site.
• Support model and escalation. Find out who answers when something breaks, whether support is in-house or outsourced and how complex issues are escalated.
• Security controls. Look for concrete measures such as firewalls, malware scanning, DDoS protection and daily off-site backups rather than generic assurances.
• Pricing transparency. Compare monthly and annual costs, renewal terms and what is actually included, because headline discounts frequently disguise expensive renewals.
• Migration and exit. Check whether the provider will move an existing site free of charge, how downtime is avoided and how easy it would be to leave.
• Performance testing. Judge speed against your own traffic and audience location instead of relying on published benchmarks.

Weighed together, these criteria turn an abstract commitment to ethical procurement into a routine supplier check. They also explain why providers such as NetWeaver, with published green policies, UK infrastructure and inclusive migration, keep appearing on small business shortlists. Sustainability alone is not enough: a credible choice must still clear the hurdles of security, reliability and fair pricing. The providers gaining ground in 2026 can evidence all four.

A measured switch can support both responsibility and resilience

None of this means every business should change hosts tomorrow. The sensible first step is an audit: map what the current provider delivers against the criteria above, from energy sourcing and data location to support quality and renewal pricing. Where the gaps are small, staying put may be rational. Where they are wide, switching has become far easier than its reputation suggests, particularly when the receiving provider manages migration and absorbs the cost.

What is clear is that hosting has joined the list of decisions through which a business expresses its values and protects its operations at the same time. Digital infrastructure may be invisible to customers, but its consequences, environmental, legal and commercial, are not. The owners treating it as a strategic choice in 2026 are finding that responsibility and resilience point in the same direction.

Venture capital investment in California has reached an astonishing 366 billion USD this year alone.

The funding appears to be heavily concentrated. 86 cents of every dollar went to AI companies, and a large percentage of this to the world’s largest AI firms.

This concentration of capital however, risks starving the smaller, more innovative companies that stand ready to bring new and disruptive products to our market. It’s time venture capital refreshed its approach.

Why can small startups be so disruptive?

Small startups tend not to have the stifling bureaucratic layers or lengthy approval processes that weigh down technology giants such as Meta or Google.

A small team at a growing startup can pivot from one project to another and act independently at the drop of a hat. This agility is a real asset, making smaller companies more likely to pursue unconventional ideas that might never be approved at a large firm but could change an industry forever.

Smaller firms and startups can also go all-in on a single problem or niche. Large firms, however, are forced spread resources across numerous competing priorities to mitigate risk for profit hungry shareholders. For innovation, deep focus on one problem will always beat spreading resources thinly across multiple issues.

Small firms also benefit from flat hierarchies. Engineers and developers can talk directly to decision-makers because they are often sat right next to them, ensuring those doing the grunt work quickly receive the leadership backing they need.

Rotem Farkash: venture capital is overlooking smaller innovators

So far this year, California, the global centre of the technology industry, has attracted an astonishing $366 billion, or around 90% of all the venture capital in the US.

And while this sounds like good news for small startups in the state, worryingly, just two of tech’s biggest players, Anthropic and OpenAI, accounted for half of the $366 billion raised.

Rotem Farkash, an entrepreneur and frequent commentator on tech, argued that venture capital’s chase of wild AI returns risks leaving many promising startups without the backing they need.

“Investors are being drawn towards a small number of highly valued AI companies. But when so much capital is concentrated in a small number of firms, startups across every sector are overlooked, regardless of the quality of their product.”

Farkash added: “Smaller startups – not only those working in AI – deserve and require more access to funding. Giving more of them the resources they need could unlock significant innovation.”

How startups are solving problems big and small

A technology disruptor might revolutionise an entire industry and change daily working habits. It might also solve a small, but significant problem.

One company that is revolutionising customer service is Sierra, which was founded in 2023.

AI chatbots developed in the past reduced customer service response times but still left most issues for people to deal with. Sierra’s agents change that. They can handle open-ended conversations, manage complexity and ambiguity, and solve complex problems without human intervention.

Sierra also has a novel pricing system which is based on successful outcomes. The company reports a 70% resolution rate and a customer satisfaction score of 4.5 out of 5.

Another disruptor is Faivelo, recently founded by Benjamin Brookarsh, which was created to solve a problem that frustrates many businesses.

Major email platforms have raised their prices for the third consecutive year, many using the compulsory integration of AI tools such as smart replies – whether you want them or not – into their offering as the latest reason. In response, Faivelo has developed an email platform offering unlimited mailboxes on a custom domain. This reduces the growing burden of per-seat pricing on businesses, particularly SMEs.

Small startups are key to innovation

Tech giants like OpenAI, Anthropic, Meta and Google have produced innovations that are changing the world. It is likely they will continue to develop groundbreaking technology and products.

But smaller companies are fast-moving innovators unencumbered by bureaucracy, bloating and the internal politics of technology’s giants. More venture funding should be directed towards truly innovative startups. Who knows, one of them could become the next Microsoft or Google.

This article was written by

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Its title is “Creativity: Minds and Machines.” The event will link philosophy, artificial intelligence, consciousness, cognitive science, and the arts. It will compare human and machine creativity. It will also ask what creative work can tell us about the system that helped make it.

The ICCS Conference

The International Center for Consciousness Studies holds an annual conference on philosophy of mind and the study of consciousness. The 2026 meeting is the third in the series. It will focus on creativity in humans and machines. That theme reaches beyond art. It also bears on practical judgment, personal identity, and the way people understand other minds.

Dmitry Volkov, Pietro Perconti, and Alessio Plebe founded the center in 2024. They did so in collaboration with the University of Messina. The center is a non-profit cultural association that supports philosophical and interdisciplinary research on mind and consciousness.

The annual meeting uses current cases to test old questions. AI now writes, makes images, gives advice, and helps people tell stories about their lives. Each case calls for its own kind of evidence. A good result may show what a tool can do. It may say less about what the tool knows or feels. A record of prompts and edits may reveal who shaped the work. Critics can still judge the work on its own terms. The ICCS philosophy is to understand how these forms of inquiry fit together.

What Counts as Creativity in Humans and Machines?

Creativity can refer to an agent’s capacity. It can describe how a work was made. It can also name a quality that an audience finds in the work. These uses are linked, but they are not the same. A reader may find a poem original. That judgment does not show that the system that generated it had an aim or understood the poem.

AI also makes control hard to place. Developers build and train a model. Writers and artists created much of the material used in training. A user sets the task and chooses among the results. An editor or curator may then revise the work. The model can still affect what options appear and which forms recur. Such cases raise plain questions: who made the key choices, who changed the work, and who should count as its author?

Recombination is not a clean test of machine creativity. Human artists also work with old forms, styles, and materials. Better questions concern whether a system can pursue a project over time. Can it weigh options and revise its work for reasons it grasps? Can it maintain a goal without being prompted again? The history of a work may matter as much as its novelty.

An impressive result does not by itself show that a system understands what it made. Nor does it establish intention, consciousness, practical judgment, or subjective experience. Similar works can come from very different processes. Audiences therefore look at the work and what they know about how it was made. “Synthetic Creativity. The Observer’s Perspective” will ask how AI changes those judgments.

The panel on artificial wisdom moves from works of art to choices. Practical wisdom is not just skill at finding an efficient means. It also involves judging which ends are worth pursuing in a given case. What is appropriate may depend on the needs and vulnerabilities of the people involved. A system can give useful advice without being wise itself.

The ICCS Conference 2026 Program

The Third Annual Conference, “Creativity: Minds and Machines,” will address the theme through panels on artificial wisdom, creative processes, artificial consciousness, human agency, self-narrative, theory of mind, and the arts. The program will move between questions about AI systems, human responses to them, and broader problems of consciousness and perspective.

The event is organized under the patronage of Università Roma Tre, Pontificia Università Gregoriana, Comune di Roma, the UNESCO Chair in Ethics of AI and Practical Wisdom, and the Society for the Ethics and Politics of AI (SEPAI).

Day 1 will take place at Roma Tre University. One panel will ask whether an AI system can be wise. Another will study the place of consciousness in creative work. Pietro Perconti’s panel will focus on the judgments made by an audience. The last panel will ask what could count as evidence that a machine is conscious. Such a standard would need to identify the relevant indicators. It would also need to say how strong the evidence must be.

Day 2 will take place at the Pontifical Academy of Sciences in Casina Pio IV. “The Existential Agency of AI” will study how AI can affect human choice. The self-narrative panel will look at memory and life stories. An AI tool may draft a passage or suggest a reading of the past. That influence does not make the tool the author of a person’s life. The final panel will ask how artworks represent minds and how audiences interpret the mental states they portray.

Day 3 will begin at the Pontifical Gregorian University. “Consciousness, Perspectivism, and the Arts” will compare several uses of perspective. Art can present a point of view. Psychology can study how people grasp another person’s view. Philosophy can ask what it takes to have a point of view at all. A general discussion will follow. The day will end with the Dennett Prize ceremony in the Sala della Protomoteca at the Capitoline Palace.

Questions that recur across the three days include:

• What would count as evidence of creative agency?
• What evidence could support a claim about conscious experience?
• How should a work’s history affect judgments of authorship?
• When AI helps shape an autobiographical narrative, who controls the story?
• Who is responsible when an AI system shapes a decision?

Perconti, Plebe, and Volkov Across the 2026 Program

The three co-founders will all take part in the 2026 program. Pietro Perconti will chair “Synthetic Creativity. The Observer’s Perspective” on September 1. The panel will ask how viewers, readers, and curators judge AI-made work. They may consider the work itself, but also its history. Facts about prompts, edits, and public display can change a judgment about authorship.

Alessio Plebe will speak later that day. His panel is “Standards for Artificial Consciousness.” It will ask what researchers should look for in an artificial system. Behavior may be one source of evidence. A system’s design, its checks on its own activity, and its contact with the world may also matter.

On Day 2 of the ICCS, Dmitry Volkov will take part in a panel titled “The Existential Agency of AI.” Its focus is the effect of AI on human freedom and self-understanding. AI tools can shape how people write, form ties, and interpret their own choices. They can also create new forms of reliance. The panel will ask what this means for human agency. It will also ask whether any form of agency should be ascribed to the systems themselves. Volkov is also scheduled on September 3. He is listed with Keith Frankish and Andy Clark for the introduction of Nicholas Humphrey.

Nicholas Humphrey and the 2026 Dennett Prize

The Dennett Prize is an annual ICCS award. It honors a scholar whose work has greatly advanced the study of the brain and consciousness. The prize is named after Daniel Dennett. Andy Clark received the first award in 2025.

Nicholas Humphrey is the 2026 laureate. He is a theoretical psychologist who studies how consciousness evolved. His work on blindsight showed that visual skill can remain when conscious sight is impaired. His theory of social intelligence asks why the need to understand and predict other beings helped shape human thought.

Humphrey’s work on animal cognition gives the AI debate a wider base for comparison. Adult human thought is not the only model available. Other animals have different forms of perception, memory, and social skill. It does show why mere likeness to adult human performance is a poor test for consciousness.

Humphrey is due to give the Dennett Lecture on the final day. Its title is “Consciousness and the Soul: the reality of an illusion.” The lecture will take place in the Sala della Protomoteca at the Capitoline Palace. It will link the idea of the soul with the self, personhood, and agency. It will also place the felt self in an account of human evolution.

The title points to an illusionist view of phenomenal consciousness. An account of evolution asks how the felt self arose and what it does. Illusionism asks how we should understand the way that experience seems. Keith Frankish, Dmitry Volkov, and Andy Clark are scheduled to introduce Humphrey.

Creative Output, Agency, and Consciousness

The program separates two questions that often blur together. One concerns the work. The other concerns the system that helped make it. “Synthetic Creativity” looks at the work, its history, and the judgments of an audience. “Standards for Artificial Consciousness” asks what facts about the system would support a claim that it is conscious. A work can seem original even when that second question stays open.

The Day 2 panels show why the issue is not limited to machine minds. An AI tool can affect a human life without having a life of its own. It may select a memory, draft part of an autobiography, or suggest a view of the past. Those acts can shape how a person understands their own life. The hard question is how much control the person keeps.

The arts panels add a related distinction. A work can present a point of view. An audience can then infer a thought, feeling, or aim. Yet the act of presenting a view does not prove that the system has one. Theory of mind studies how people read hidden mental states. The study of consciousness asks whether there is a subjective point of view at all.

Humphrey’s work changes the frame once more. Blindsight shows that useful vision can occur without conscious sight. Research on other animals shows that other minds need not resemble adult human cognition in every respect. Set beside the AI panels, these examples warn against one simple test. Similar behavior may have different causes. The history of the system and the work still matters.

ICCS Conference 2026 FAQ:

What is the ICCS Conference?

It is the annual conference of the International Center for Consciousness Studies, focused on philosophy of mind and interdisciplinary research on consciousness. The program draws on psychology, neuroscience, cognitive science, and artificial intelligence. The 2026 meeting, “Creativity: Minds and Machines,” is the third event in the series.

Where will the event be held in 2026?

It will run from September 1 to 3, 2026, in Rome and Vatican City. Day 1 will be at Roma Tre University. Day 2 will be at the Pontifical Academy of Sciences in Casina Pio IV. Day 3 sessions will be held at the Pontifical Gregorian University, with the final ceremony at the Sala della Protomoteca in the Capitoline Palace.

What topics are on the ICCS program?

Day 1 of the full program focuses on AI, creativity, wisdom, and possible signs of machine consciousness. Day 2 turns to human agency, self-narrative, art, and theory of mind. Day 3 focuses on perspectivism and the arts. Nicholas Humphrey’s lecture will add an evolutionary and comparative perspective on consciousness, including work on animal cognition.

Who founded the International Center for Consciousness Studies?

Dmitry Volkov, Pietro Perconti, and Alessio Plebe founded the center in 2024. They worked with the University of Messina. All three will take part in the 2026 conference program in Rome. Perconti will chair a panel, Plebe will speak, and Volkov will join a panel and help introduce Nicholas Humphrey.

Who will receive the Dennett Prize in 2026?

Nicholas Humphrey will receive the 2026 award. He will give the Dennett Lecture, “Consciousness and the Soul: the reality of an illusion,” during the final-day ceremony. Keith Frankish, Dmitry Volkov, and Andy Clark are due to introduce him. Clark was the first laureate in 2025. The ceremony will be in the Sala della Protomoteca at the Capitoline Palace.

Minds, Machines, and the Limits of Comparison

The International Center for Consciousness Studies will hold the conference “Creativity: Minds and Machines” in Rome and Vatican City. It will run from September 1 to 3, 2026. The official three-day program ranges from artificial wisdom and artificial-consciousness standards to human agency, self-narrative, art, and perspective. Nicholas Humphrey’s lecture adds an evolutionary and comparative perspective on consciousness. Across these topics, one question returns for researchers and audiences alike: what can a result show about the mind behind it? Human and machine outputs may look alike, yet they may arise from different kinds of minds — or from systems for which the category of mind remains unsettled.