A Sky News presenter has expertly demolished a senior Conservative MP’s attempts to downplay Labour’s success with the small boat crossings.

The French police claims to have prevented 185 small boats from reaching British shores in the last three months since Britain agreed to a new £660 million deal with its ally.

Channel crossings are also down around 40% compared to last year, although thousands of illegal migrants are still getting to the UK.

Sky’s Kamali Melbourne asked deputy Tory chair and the shadow minister for illegal immigration Matt Vickers live on air for his response to the news that small boat arrivals have still decreased.

But Vickers immediately rejected that interpretation of the stats, claiming the presenter was “gobbling up government garbage”.

“You always say that Matt. The numbers are going down. They’re 40% down,” Melbourne cut in.

The Tory MP insisted: “No they’re not! You’re picking the stats the government chooses to give you.

“The facts are: in the year to August 2025, 30,012 crossings were prevented by the French.

“In the year to August 2026, last month, 14,462 were stopped. That’s 52% down, that is an absolute disaster.”

Melbourne cut in: “You always do that, you did it to my colleague Anna recently and I won’t have you doing it to me now, I won’t have it.

“Listen. Home Office stats show that boat crossings are at their lowest since 2021. Are you going to dispute that statistic as well?”

Vickers tried to talk about crossing preventions, but Melbourne redirected the conversation onto crossings which actually made it over to UK shores.

The Tory MP then tried to talk about Keir Starmer’s record in office, but Melbourne cut in: “Matt. Are we going to do the stat I was just talking about? We’re at the lowest level now since 2021. Are you disputing that?”

“We’re nowhere near low enough,” Vickers said.

Melbourne pointed out the current level is lower than it was when the Conservatives were in office.

Vickers said: “It goes up, it goes down –”

Melbourne interrupted again: “You can’t just pick and choose which one you want to use, can you?”

The Tory deflected by saying: “Having record levels under the previous prime minister is not acceptable.”

Watch their exchange here.

It comes days after a YouGov poll for Sky found this week that 40% of Brits incorrectly think the number of small boats is going up compared to last year.

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The global gambling industry generated around $644 billion (roughly £474.88 billion) in revenue in 2025, according to Statista Market Insights.

This figure exceeds the GDP of countries such as Finland, Hungary, or South Africa, and surpasses the economies of over 100 countries.

In the breakdown of these revenues, the casino sector firmly holds second place, trailing only lotteries and outpacing sports betting. And its share continues to grow.

Today, gambling can be a fairly effortless experience for the user. It increasingly resembles scrolling an Instagram or TikTok feed: industry data shows people are opening betting apps on the Tube, spinning a slot on a lunch break, or placing a bet from the sofa in the evening.

Researchers who study mobile gambling behaviour have noted that this kind of constant, low-friction access is one of the patterns associated with a higher risk of harm. However, for someone playing during short mobile sessions, comparing complex Return to Player (RTP), volatility, or wagering rules manually is nearly impossible.

That is why UK players increasingly turn to platforms that publish operator data independently of the casinos themselves. Slotozilla’s dedicated guide to gambling in the UK, for example, lists licensed casinos alongside RTP figures reported by game providers and bonus terms as stated by operators.

Over the past five years, the online gambling segment has been growing faster than offline in almost all major countries. In the United Kingdom, according to the UK Gambling Commission, the digital segment accounts for around 46% of the industry’s total revenue. The main driver of this shift is smartphones.

The pattern repeats across regions, though the balance differs. The United States is now the single largest market at over $209 billion (£154.21 billion), driven by sports betting; Europe leans more heavily on casino and slots, while Asia is dominated by lotteries and land-based gambling hubs such as Macau. Different starting points, but the same direction of travel: revenue is steadily shifting from the casino floor to the screen.

Gambling now occupies the same niche as streaming, social media, and mobile games, and industry estimates suggest that the majority of global online gambling activity happens on mobile devices, though exact figures vary by market and methodology.

And since gambling has moved to smartphones, the formats that are easy to open for a few minutes are the ones that win. Slots fit this best – it is slots, rather than poker tables or sports betting, that have become the online engine of the entire industry.

So, where does all this industry money actually come from?

Laid out by what each layer actually does, the picture looks like this:

• Lotteries and bingo – the most established vertical, run largely by state and licensed operators.
• Casino games – the broad category that contains slots, table games and live dealer.
• Slots – the engine inside that casino vertical, accounting for over 80% of online casino revenue in the UK.
• Sports betting – wagering on real-world events, expanded sharply by the post-2018 US legalisation wave.
• High-volatility maths – not a revenue line of its own, but a design lever that shapes how long and how intensely people play.
• Retention loops – the habit layer that turns a one-off spin into a recurring session.

The first four are where the money sits; the last three are why it keeps flowing.

When you break billions down, the picture becomes surprising. The clearest way to see it is through the UK market: in the financial year (April 2024 to March 2025), online gambling generated £7.8 billion. Of this, £5 billion came from online casinos, and the largest share – £4.2 billion – was produced specifically by slots. That is over 80% of the segment’s revenue and the single biggest online gambling product by yield.

The mechanism behind these numbers is simple but rarely spelled out. Every slot has a Return to Player (RTP) – say, 96% – which means that, over millions of spins, the game pays back 96p of every pound and keeps 4p. That 4p is the house edge, and it is the foundation of all casino revenue. A single spin is unpredictable; a billion spins are not. This is why volume, not big individual wins, is what feeds the industry.

However, the word “slots” now covers very different kinds of games. Not long ago, audiences were kept engaged by classic titles with calm mechanics and steady pacing – such as Book of Ra, Starburst, or Mega Moolah. Today, however, users are more interested in crash games like Aviator, where you must cash out before the crash; high-volatility slots with long quiet phases and sudden spikes; and titles with extremely high maximum payouts.

The main secret behind the billions in revenue is volume. In a single quarter, Britons placed 26.1 billion bets and spins, of which 24.4 billion were on slots, with an average session lasting just 16 minutes. In other words, the vast majority of industry revenue is generated by ordinary people spinning reels for a few minutes, but doing so repeatedly.

But this short, fast session model also has an unpleasant side. The faster and more volatile the game, the easier it is to lose money if you do not understand the rules in advance.

Volatility is the second lever. High-volatility slots pay less frequently but offer larger potential wins – and it is precisely this rhythm of near-misses and sudden payoffs that keeps players spinning. The design borrows directly from behavioural psychology: variable, unpredictable rewards are among the most habit-forming reinforcement patterns known, the same mechanism that makes slot machines and social-media feeds difficult to disengage from.

Combined with the house edge, this means longer engagement converts into higher revenue for operators – and, correspondingly, a greater risk of harm for players who lose track of time or spend.

And here the player faces a new problem: there are thousands of similar-looking slots, and choosing among them is difficult. Yet if you look closer, this abundance has a very specific reason.

You might think that such a flood of releases is a spontaneous market growth. In reality, it is a strategy. The industry holds attention using the same mechanism as TikTok: the more fresh content there is, the longer a person stays engaged with the product. As a result, providers release dozens of games every month, and each new title competes for a player’s spare 15 minutes.

This pace is most visible on independent platforms that try to keep up with it. For example, the “new in 2026” selection on Slotozilla is constantly updated. And from what appears there, a clear pattern emerges: new games are increasingly built around retention mechanics.

Formats such as Megaways, with thousands of possible winning lines, are not just gimmicks – they are retention tools, engineered to shorten the gap to the next moment of excitement. A longer session, multiplied by the house edge, means more revenue for operators.

But it also means more opportunities for a player to lose more than intended, which is why mechanics like these have drawn scrutiny in several markets – the UK, for instance, introduced stake limits on online slots in 2025.

For players themselves, this conveyor belt turns into a choice overload trap, familiar from Netflix or YouTube: there are so many options that choosing takes more time than playing. Only in gambling, the cost of a mistake is higher than the cost of watching a video or film that simply disappoints you. Behind a flashy banner, there may be a slot with reduced RTP or unfavourable bonus conditions, and spotting this in advance is almost impossible.

The industry has a simple way of earning more – keeping real numbers out of sight behind a polished visual layer. A bright banner, a promise of a generous bonus, and a win animation on the casino homepage are designed to trigger emotions, while the actual game parameters remain in the background. This is where players are most often misled.

If the entire business model depends on the player knowing less than the operator, then the single most valuable thing a player can have is the data the operator prefers to keep hidden.

Aggregator platforms like Slotozilla, which positions itself as independent, aim to bring this layer to the surface. Its demo catalogue contains more than 4,500 slots from nearly 200 providers, each listed with the RTP, volatility, developer, and bonus wagering conditions as published by the provider – figures that aren’t always surfaced as clearly on casino landing pages.

The platform also reviews casinos in a dedicated catalogue, using its published How We Rate methodology, which assesses licence, public reputation, support quality, payment methods, transparency of bonus terms, and payout conditions before an operator is added. Slotozilla may earn a commission when players sign up through its listings – operators that don’t meet its licensing and fairness standards aren’t added to the catalogue regardless of commercial terms. As a result, instead of outdated reviews, the player gets up-to-date information on gambling in the UK, slots, and operators.

In essence, platforms like this aim to narrow the information gap between operator and player, making more of that picture available before the first bet – a choice grounded in published data rather than a banner promise alone.

So, why does an industry built on a few minutes of phone time out-earn more than a hundred national economies? The answer is the stack this article has walked through: a few large verticals – lotteries, casino, sports betting – sitting on top of a casino engine that runs on slots, where a small built-in margin on each spin compounds across billions of micro-sessions, while volatility, and retention loops keep those sessions coming.

No single bet is large. The scale comes from how many of them there are, and how well the system is built to repeat them.

The gambling industry has grown to the size of a mid-sized country’s economy not on high stakes, but on habit. Millions of short mobile sessions have proven more effective than any high roller, and that is why the entire product is optimised to make people return again and again.

In such a system, players have fewer and fewer ways to maintain a clear perspective. There is too much content, while the real conditions are hidden behind bright packaging. Platforms like Slotozilla aim to be valuable not by adding yet another catalogue to the existing ones, but by working to restore what the industry is systematically stripping away from the player: clarity before the first pound is ever wagered.

For users aged 18+ only, T&Cs apply. Gambling can be addictive, always play responsibly and only bet what you can afford to lose. Gambling sites have a number of tools to assist you to stay in control, including deposit limits and time outs. If you think you have a problem, advice and support is available for you now from BeGambleAware or Gamcare.

ITV has confirmed that the reality show The Neighbourhood will not be returning for a second season.

When it was first announced last year, the ambitious Graham Norton-fronted series had plenty of hype behind it, pitting different households in a purpose-build cul-de-sac against one another in a variety of different challenges to try and win their share of a hefty cash prize.

The head of entertainment and reality commissioning at ITV, Katie Rawcliffe, has now told Broadcast: “Everything we do at ITV is a risk. Nothing flies under the radar. [The Neighbourhood] was a really exciting, paper format and we obviously were really enthused by it… ultimately it didn’t land in a big enough way.”

Upon its release, The Guardian and The Telegraph each gave The Neighbourhood two stars, with the former claiming that Graham was the “tired” show’s only “saving grace”.

Meanwhile, The Times called The Neighbourhood “mediocre”, “derivative”, “bland” and “boring”, maintaining that it “doesn’t come within a country mile of” The Traitors, despite its best efforts.

Despite comparisons with The Traitors, Graham previously insisted that The Neighbourhood stood on its own two feet.

“It properly is a new format,” he told ITV. “It’s not ‘something meets something else’, it’s not, ‘it’s like this, but that’. I really thought, ‘I hadn’t seen this show before’.”

He continued: “It leans into our curiosity about what’s behind closed doors and there’s something really compelling and addictive about seeing the way the existing households interact with each other. I thought, ‘I’d watch that’ – and I’d never want to work on something I wouldn’t watch. I thought, ‘this show would hook me!’.”