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Here comes Patrick Cummins in his green blazer, and the crowd breaks out into applause as he walks to the middle for the first time.

I’ll tell you what, I didn’t see Broad warm up with the others, he was hanging out with Bairstow, who isn’t playing.

Adam McKay’s laboured satire challenges political indifference to looming comet catastrophe but misses out on the comedy

Having long complained that movies aren’t engaging with the most vital issue of our time – the climate crisis – it’s perhaps churlish of me not to be glad when one comes along that does exactly that. But Adam McKay’s laboured, self-conscious and unrelaxed satire Don’t Look Up is like a 145-minute Saturday Night Live sketch with neither the brilliant comedy of Succession, which McKay co-produces, nor the seriousness that the subject might otherwise require. It is as if the sheer unthinkability of the crisis can only be contained and represented in self-aware slapstick mode.

With knockabout hints of Dr Strangelove, Network and Wag the Dog, Don’t Look Up is about two astronomers discovering that a Mount Everest-sized comet is due in six months’ time to hit planet Earth and wipe out all human life. The scientists urgently present their findings to the White House, but find that the political and media classes can’t or won’t grasp what they are saying: too stupefied with consumerism, short-termism and social-media gossip, and insidiously paralysed by the interests of big tech. Leonardo DiCaprio plays nerdy, bearded astronomer Dr Randall Mindy, nervous of human interaction and addicted to Xanax. Jennifer Lawrence is his smart, emotionally spiky grad student Kate Dibiasky. Meryl Streep is the panto-villain president, Jonah Hill her son and chief-of-staff, and Mark Rylance is the creepy Brit tech mogul Sir Peter Isherwell.

Bridge theatre, London
Nicholas Hytner brings a dazzling wizard’s touch to this adaptation of Philip Pullman’s fantasy tale

Nearly two decades ago, Nicholas Hytner triumphantly staged Philip Pullman’s trilogy His Dark Materials at the National Theatre. He returns to that questing world with this version of the first volume in another trilogy, set 12 years earlier than His Dark Materials. Hytner displays the same wizard’s touch for turning Pullman’s fast, fantasy narratives into theatrical gold. His supremely elegant production is vast, but never unruly, on a set that dazzles but does not swamp the storytelling.

Bryony Lavery’s adaptation is lean without short-changing us on the story. A newborn Lyra Belacqua is being hunted by the theocratic authorities after her anti-Christian future is prophesied. Malcolm is the 10-year-old son of an inn-keeper (a single mother here) who becomes embroiled in Lyra’s care along with his prickly fellow adventurer, Alice.

NHS halves wait for third jab for over-40s from six to three months in ‘boost to booster programme’

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Millions of people in England will be able to book their Covid booster vaccine on Wednesday as the NHS cuts the qualifying time from six months after a second dose to three.

Every adult aged 40 and over and all those in high-risk groups will be able to arrange their Covid booster jab to take place three months after their second dose as the vaccine programme widens significantly today.

Chatham House researchers say professional enablers continue to offer foreign kleptocrats ‘a home-from-home in London’

Un-policed and often unenforceable anti-corruption laws have made the UK the global money-laundering capital for a post-Soviet Union elite, severely damaging Britain’s international reputation and the rule of law, the London-based thinktank Chatham House says in a report.

The research calls for new measures to constrain what it described as a near-self-regulated army of professional enablers – accountants, lawyers and reputation managers – that service Russian criminals in the UK.