Earthshot Prize hits £24 million in a year as William faces critique, weaving philanthropy and pop culture

Prince William’s Earthshot Prize posted its strongest year yet, bringing in £24 million in income for the financial year ending March 31, 2025, according to accounts filed at Companies House. Of that total, about £23 million came from donations, including £5 million contributed by The American Friends of the Royal Foundation of the Prince and Princes of Wales. Since its separation from the Royal Foundation in 2022, the Earthshot has amassed £66 million in support, underscoring the prize’s global fundraising appeal. The prize was established in 2020 to celebrate those who turn bold ideas into real solutions to repair the planet, a mission that has drawn a wide array of corporate and philanthropic backers, from technology companies to major philanthropic funds. The Earthshot remains a flagship vehicle for William’s charitable strategy, with a donor roster that spans institutions such as Microsoft, the Bezos Earth Fund and Bloomberg Philanthropies, and a council that includes Sir David Attenborough, Cate Blanchett and Stella McCartney.

Britain’s royal biographer Tina Brown has drawn attention to what she described as criticisms of William’s work ethic and the scale of his philanthropy, arguing that the “Earthshot” approach could be perceived as underwhelming in comparison with its ambitions. Brown, who has long been a friend and confidante of William’s mother, Princess Diana, offered pointed commentary about public expectations surrounding the heir to the throne and his charitable investments. In response, supporters note the Earthshot’s evolving governance since 2022 and its ability to mobilize a diverse network of donors and partners across multiple sectors, a factor that the prize’s organizers say helps sustain momentum for climate solutions on a global stage.

Beyond the philanthropy beat, the culture and entertainment pages this week deliver a mosaic of high society, pop culture and industry chatter. Lilly Becker, the former partner of tennis legend Boris Becker, has revealed she moved to Germany with her 15-year-old son, Amadeus, explaining that financial pressures in London left them unable to sustain their lifestyle there. She described having had five euros in her bank account at one point and said the move to Germany offers her and her son opportunities that better align with their needs, following her triumph on a reality show in Germany earlier this year. Becker’s reflections add a personal layer to the broader discussion of wealth, celebrity, and the costs of maintaining a public life when economic pressures hit close to home.

Meanwhile, in other dynasty news, Daphne Guinness confirmed that her elder son, Nicolas Niarchos, married artist Malu Dalla Piccola on Spetsopoula, the private Greek island once owned by the Niarchos family. The union adds another chapter to the globe-spanning networks of prominent art and fashion circles, where old money and contemporary culture intersect. The spectacle of multi-generational wealth and social influence continues to fascinate entertainment audiences, even as the Earthshot story dominates philanthropic headlines.

In a different corner of the celebrity economy, Jamie Oliver faced criticism over his cookbook line’s handling of cultural authenticity after a product described as “Punchy Jerk Rice” drew accusations of an inauthentic portrayal of Caribbean cuisine. Levi Roots, the Jamaican-born entrepreneur behind Reggae Reggae Sauce, pushed back on those concerns, telling industry peers at an awards event that Oliver’s openness to experimentation in Caribbean dishes should be celebrated rather than stifled, even if not everyone loves every iteration. Roots emphasized that the goal of broadening access to Caribbean flavors could involve risk, but that bold moves help introduce audiences to cultures they might not otherwise encounter.

The historical and the contemporary also intersect in the Cirencester Park estate, where descendants of the late 8th Earl Bathurst recount a living sense of the past. Countess Bathurst described a house full of “ghostly” presences, with tales from the Oak Room of carved furniture dating to 1631 and a panelled bedroom where a guest felt a tug on the foot while no one else was present. Such anecdotes remind readers that the culture beat often glides between modern celebrity news and old-world lore, a continuum that keeps audiences engaged with the tapestry of Britain’s social calendar.

On the music scene, Sir Ringo Starr, touring with his All-Starr Band at 85, joked about retirement as a recurring theme within his family. He joked that retirement is something the drummer announces each year, only to continue performing as the tour persists and new engagements are booked for the year ahead. The Beatles veteran’s humor underscores a broader cultural truth: longevity in show business can coexist with the intention to stay active and relevant, even as fans naturally press for a softer exit from public life.

In another glimpse of the entertainment industry’s inner workings, Bobbi Brown, the makeup artist credited with pioneering the “natural look” in the industry, recounts in her forthcoming memoir how Jerry Hall asked to touch up her makeup after Brown had completed it. The anecdote, drawn from Still Bobbi, provides a vivid look at the backstage dynamics of glamor and artistry, where even defining moments of style can collide with personal preferences and industry egos.

Taken together, the Earthshot prize’s fiscal milestone, Tina Brown’s critique, and the week’s celebrity snapshots illustrate the interplay between philanthropy, prestige, and pop culture. The Earthshot’s ability to attract diverse, global donors and high-profile council members underscores its role as a modern flagship project for climate action, while the rest of the culture beat continues to chronicle the glamour, tensions and human stories that surround Britain’s entertainment and celebrity ecosystems.