result

Russell appeared on course for a comfortable win as the race unfolded with few incidents of note in the opening stages.

Piastri moved up from third on the grid to second by passing Ferrari’s Charles Leclerc at the start but the Australian lacked the pace to chase Russell, who edged away into a comfortable lead.

Behind, Piastri soon found himself holding off Hadjar, who won an early battle with McLaren’s Lando Norris and then passed Leclerc to challenge the McLaren.

Meanwhile, Verstappen was making his way up from eighth place after a qualifying session in which a cascade of problems had prevented him qualifying second to Russell.

By lap seven, he was past Hadjar into third place after the Frenchman did not fight him.

The three cars circulated together in a stalemate, with no-one able to pass and the teams all waiting for the expected accident that would lead to a safety car and a cheap pit stop.

That happened on lap 30, when Williams’ Alex Albon crashed at Turn Five.

On the restart, six laps later, Verstappen passed Piastri into Turn One to move into second place.

But the race was almost immediately put back under caution after a pile-up at the first corner caused by Alpine’s Franco Colapinto, who cannoned into team-mate Pierre Gasly, who in turn clattered into Norris.

Behind them, the two Racing Bulls also came together, Arvid Lindblad tipping Liam Lawson into a spin, leading to a sarcastic response from the New Zealander on the radio.

That put Verstappen on to Russell’s tail for another restart but the Briton handled the situation coolly, accelerating early and catching the Dutchman somewhat unawares.

He was unable to shake Verstappen, who was always about 0.5secs behind but never quite close enough to try a move into Turn One, the only significant overtaking place.

There was one last chance for Verstappen on the final lap.

Valtteri Bottas crashed his Cadillac at Turn 15, and after backing off for the yellow flags, Russell lost his turbo which in turn cost him electrical boost.

Verstappen closed in on the run to the line and there was just 0.196secs between them as they crossed the line, the closest green-flag finish to a grand prix since the 2002 United States Grand Prix.

Russell has now finished on the podium in three of the four races since the summer break and asked what has changed for him since then, he said: “I think it’s just having more experience with this new driving style I’ve adopted and every race since the break I feel like I’ve gone from strength to strength. I feel more like myself again.”

Mercedes driver Kimi Antonelli won the Spanish Grand Prix after McLaren’s Lando Norris lost out because of the bad timing of a virtual safety car.

Norris was leading comfortably from pole position when the VSC was called on lap 15. The timing was terrible for the world champion – he had already passed the pit exit when the VSC was called.

That meant Antonelli and Verstappen were able to pit under the VSC, saving time, while the caution period ended before Norris could make it around to the pits again.

He did then come in but, to make matters worse, the stop was slow and he rejoined in fifth place.

Norris was able to recover only to third around this track where overtaking is next to impossible.

Antonelli’s eighth win in 14 races this year puts an even tighter stranglehold on the championship for the Italian.

He is now 81 points ahead of team-mate George Russell, who finished fifth after a difficult race on a confusing strategy, and 101 clear of Ferrari’s Lewis Hamilton, who retired early on with brake failure.

The key stories of the maiden race on the new Madring were:

Norris knew that holding on to the lead would be tough from pole but he robustly defended from Antonelli into the first corner.

The Mercedes driver cut the chicanes at Turns One and Two, and again at Turns Five and Six, each time getting into the lead, each time having to give it back.

After that, Norris set about building a lead and looked to be in control of the race as he extended his lead progressively, moving 5.6 seconds clear 10 laps in, and 6.2 when Lance Stroll’s Aston Martin stopped at Turn 20 with brake failure.

The VSC was called, but Norris had already reached the pit straight, while Antonelli and Red Bull’s Max Verstappen had not and could come in.

Norris came in the next time around, but the VSC ended a couple of corners before he reached the entry to the pits, allowing the cars still on track to get back up to racing speed – a stop under a safety car saves a driver about 10 seconds over one under green-flag conditions.

To make matters worse, McLaren’s mechanics had trouble with both the right-hand side wheels, and the stop took seven seconds rather than the usual two.

Norris came out in fifth place, 6.3secs behind Russell, and his hopes of winning were gone.

More to follow

When it comes to romantic comedies, it’s not where it’s going — that’s a foregone conclusion — but how it gets there. The way the central couple navigates the twists, turns, roadblocks and unforced errors that entangle their budding relationship is the beating heart of these films. It’s what sets each one apart and delivers its entertainment value. That’s the test: pass or fail.

Which brings us to “Finding Emily,” a sweet new entry from Working Title Films, the producer of such gold-standard rom-coms as “Four Weddings and a Funeral,” “Notting Hill” and “Love Actually.” It may not be destined for a place alongside those favorites, but “Emily” has a wonky charisma all its own that just might satisfy fans of those British charmers.

Or not.

That’s because the film’s journey, which follows Owen, a struggling musician (Spike Fearn) searching for his vanished dream girl with a hand from a cynical psychology student (Angourie Rice), may not feel quite captivating or propulsive enough to carry its pie-in-the-sky story to its inevitable finale. As someone behind me at the end of the film’s screening said, “Well, that plane took a while to land.” I can’t fully disagree.

Fortunately, the movie, inventively directed by first-time feature helmer Alicia MacDonald, is anchored by a pair of winning performances by Fearn (“Alien: Romulus,” “Ella McCay”) and Rice (2024’s “Mean Girls” musical). Their quirky, endearing moments and oddball chemistry often patch over — or at least divert us from — the contrivances and bits of filler in Rachel Hirons’ busy script.

Owen, who works as a sound engineer at the Manchester City University student union, falls headfirst for an enchanting redhead (wearing fairy wings, no less) named Emily (Sadie Soverall), whom he meets at a party. But when he tries to text her the next day, he realizes the number she gave him is missing a digit. Was that on purpose or an accident?

No matter, Owen is obsessed with finding her, even if he doesn’t know her last name and there are 318 Emilys in the campus directory. A false lead misdirects him to one of those women, Emily Raine (Rice), a psych major writing her thesis on the “self-sabotaging madness” of romance. It’s a theory clearly waiting to be blown to smithereens.

Their meet-cute develops into an offbeat friendship when the “wrong Emily” (is she really?) offers to help lovestruck Owen track down the “right Emily” (is she really?), secretly using him as a real-life case study to nail her dissertation. If she succeeds, the Iowa transplant will be able to secure the work visa she needs to stay in her adopted England.

It’s a device that adds to the character’s urgency, if not her likability. Though in true rom-com fashion, this Emily is appealing in other required ways — and is also adorable. The plot kicks into high gear when, again to fuel her thesis, she deviously provides Owen with a contact list of every Emily in the college database and suggests he mass-email them to locate the elusive, fairy-winged Emily.

This goes all kinds of wrong, setting off a viral brouhaha and turning the hapless Owen into an unwitting pariah. The loud-and-proud gang of Emilys brands him a stalker and a “toxic incel” (as well as the jauntier “Email Guy”). The mania is compounded by Owen’s stab at damage control when he appears on a campus podcast hosted by a savvy button-pusher (Nadia Parkes, pitch-perfect), unaware the show is going out live on video. Oh, and none of this results in a response from his desired Emily.

Amusing and brightly satirical as this turn of events is, it begins to feel more like a tempest in a teapot than the sustainable story engine Hirons was aiming for.

The film hits its predictable highs and lows as the mismatched Owen and Emily get closer and romantic complications mount. The search for “Fairy Emily” yields some anticlimactic results.

Still, there’s a kind of hip, comfort food aspect to the entire enterprise that keeps it an easy, if slightly cluttered and overlong watch. (See plane-landing comment.) MacDonald makes superb use of the story’s Manchester backdrop. The city’s vibrant neighborhoods and residents, along with its dynamic music scene, practically form their own character.

The vivid, at times overly kinetic supporting cast includes Prasanna Puwanarajah as Emily’s egotistical psych professor, Timothy Innes as her oblivious crush and Cora Kirk as her supportive, strong-willed flatmate; Jack Riddiford and Isabella Laughland as Owen’s brother and his better half; and Kat Ronney as a take-no-prisoners student body president — also named Emily. Minnie Driver is sadly underused as the school’s detached dean.

So does “Finding Emily” pass the aforementioned rom-com test? Flaws aside, it’s ultimately a pleasant enough way to beat the heat, grab a few laughs, take in a fine soundtrack and find yourself in some good company. But even if your name happens to be Emily, you won’t be fully swept away.