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Reeves’ pubs U-turn: how business rates sparked a revolt, and why ministers are now under fire

Reeves’ pubs U-turn: how business rates sparked a revolt, and why ministers are now under fire

15 January 2026

Paul Francis

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Rachel Reeves is preparing a U-turn on business rates for pubs after an unusually public backlash from landlords, trade bodies, and even some Labour MPs. In recent days, pubs across the country have reportedly refused service to, or outright barred, Labour MPs in protest, turning a technical tax change into a political flashpoint about competence, consultation, and whether the government understood its own numbers.


Two pints of frothy beer on a wooden ledge, reflecting on a window. Warm, dim lighting creates a cozy atmosphere.

The row centres on business rates, the property-based tax paid on most non-domestic premises. For pubs, it is often one of the highest fixed costs after staffing and energy. And while the government has argued its reforms were meant to make the system fairer for high street businesses, many publicans say the real world impact is the opposite: higher bills arriving at the same time as wage costs and other overheads are already rising.


What changed and why pubs reacted so fiercely

The immediate trigger was the November Budget package, which set out changes tied to the 2026 business rates revaluation and the planned move away from pandemic era relief. As the details landed, hospitality groups warned that many pubs would be hit by sharp rises because their rateable values, the Valuation Office Agency’s estimate of a property’s annual rental value, had increased significantly at revaluation.


A Reuters report published on 8 January 2026 described the government preparing measures to “soften the impact” of the planned hike after industry warnings that closures would follow. It also noted trade body concerns about elevated rateable values and warned that thousands of smaller pubs could face a bill for the first time.


The anger quickly became visible. ITV News reported on pub owners in Dorset who began banning Labour MPs after the Budget, with the campaign spreading as other pubs joined in.   LabourList also reported that more than 1,000 pubs had banned Labour MPs from their premises in protest.   Sky News similarly reported that pubs had been banning Labour MPs over the rises due to begin in April.


How business rates are actually calculated, with pub-friendly examples

Business rates can sound opaque, but the calculation is straightforward in principle:

Business rates bill = Rateable value x Multiplier, minus any reliefs


Where it became combustible for pubs is that multiple moving parts changed at once: revaluation shifted rateable values, multipliers were adjusted for different sectors, and pandemic era relief was being reduced or removed.


The government’s own Budget factsheet includes worked examples that show why bills can jump even when headline multipliers look lower.


Example 1: a pub whose rateable value rises modestly: In 2025/26, a pub with a £30,000 rateable value used a multiplier of 49.9p and then deducted 40% retail, hospitality and leisure relief. The factsheet sets out the steps: £30,000 x 0.499 = £14,970, then 40% relief reduces that to a final bill of £8,982. After revaluation, the rateable value rises to £39,000. The pub qualifies for a lower small business multiplier of 38.2p, so before reliefs: £39,000 x 0.382 = £14,898. Transitional support caps the increase, resulting in a final bill of £10,329.

Even here, the bill rises. The cap stops it from rising as sharply as it otherwise would, but it still climbs.


Example 2: a pub whose rateable value more than doubles: In the most politically explosive scenario, the factsheet describes a pub whose rateable value rises from £50,000 to £110,000 at revaluation. In 2025/26, the bill is calculated as £50,000 x 0.499 = £24,950, then reduced by 40% relief to £14,970. In 2026/27, before any relief, the bill would be £110,000 x 0.43 = £47,300. Transitional support then caps the increase, producing a final bill of £19,461.

That is still a meaningful jump in a single year, even with protections. For pubs operating on thin margins, that scale of increase can mean the difference between staying open and closing.


This is why so many publicans argue that the political messaging did not match the lived reality. They were told reforms would support the high street, then saw calculations that delivered higher costs.


What Reeves is now doing to correct it

The government has not published the full final package yet, but multiple reports describe a targeted climbdown.


Reuters reported that a support package would be outlined in the coming days and that it would include measures addressing business rates, alongside licensing and deregulation.   LabourList reported that Treasury officials were expected to reduce the percentage of a pub’s rateable value used to calculate business rates and introduce a transitional relief fund.   The Independent reported ministers briefing that Reeves was expected to extend some form of relief rather than scrap support entirely from April, after pressure from Labour MPs and the sector.


In practical terms, “softening” the rise can be done in a few ways:

  • Increasing or extending pub-specific relief so bills do not jump as sharply in April 2026

  • Adjusting the multiplier applied to pubs within the retail, hospitality and leisure category

  • Strengthening transitional relief so the cap on year to year increases is tighter

  • Supplementary measures like licensing changes, to reduce other cost pressures


The direction of travel is clear: the Treasury is trying to stop the revaluation shock from landing all at once on pubs.


The critics’ argument: ministers did not do their homework

The most damaging strand of this story is not the U turn itself, but the allegation that ministers did not understand the impact at the point of announcement.


Sky News has reported internal disquiet about the business rates increase, reflecting wider unease about the political cost of the policy.   ITV has also reported pub owners arguing that the “devil is in the detail,” a polite way of saying the announcement did not match the numbers that followed.


Most seriously, reporting summarised from The Times states that Business Secretary Peter Kyle acknowledged ministers did not have key details about the revaluation’s effects on hospitality at the time of the November Budget, and that the property specific revaluations created an unexpected burden for some pubs.


That admission fuels the criticism that this was not simply a policy misfire, but a failure of preparation. The core accusation from critics is straightforward: if the government is reshaping a tax system built on property values, then the people in charge should have had a clear grasp of what the valuation changes would do to real businesses. If they did not, they were not doing the job properly.


Even if ministers argue the valuation process is independent, the political reality is that pubs heard one message, then saw another outcome. The result has been a crisis of trust that a late rescue package may soften, but not erase.


What this episode tells us about tax policy and trust

Pubs are not just businesses. They are community anchors and cultural institutions, which is why this backlash travelled so quickly from accountancy jargon to front-page politics.

Reeves’ U turn may yet prevent the worst outcomes for some pubs. But the episode has exposed a deeper vulnerability: when the government announces complex reforms without convincing evidence, it understands the knock on effects, and the backlash is not only economic. It becomes personal, symbolic, and politically contagious.


If the Treasury wants to draw a line under this, it will need to do more than patch the numbers. It will need to convince the public and the businesses affected that decisions are being made with full visibility of the consequences, not discovered after the revolt begins.

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The Lost Legends of Cinema: Films That Never Came to Be

  • Writer: Connor Banks
    Connor Banks
  • Aug 12, 2024
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Film Snapper

In the glittering world of Hollywood, not all dreams make it to the silver screen. Some projects, despite their enormous potential and the star-studded talent attached to them, remain forever in the realm of "what could have been." Among these are some of the most intriguing and ambitious films never made, each with its own unique story that has captivated the imaginations of fans and filmmakers alike. From Alejandro Jodorowsky’s psychedelic epic to George Miller’s ambitious superhero ensemble, these unproduced films offer a glimpse into alternate cinematic realities.


Jodorowsky's Dune: The Psychedelic Epic

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Jodorowsky's Dune stands out as perhaps the most legendary of these unfinished projects. In the mid-1970s, avant-garde filmmaker Alejandro Jodorowsky embarked on an audacious quest to adapt Frank Herbert’s science fiction masterpiece, "Dune." His vision was nothing short of revolutionary, intending to create a 10-14 hour cinematic experience that would transcend traditional film and become a transformative journey for viewers. Jodorowsky assembled an extraordinary team, including surrealist artist Salvador Dalí, Orson Welles, Mick Jagger, and H.R. Giger, with a soundtrack by Pink Floyd. Despite the staggering talent and creativity involved, the project was ultimately deemed too ambitious and costly. Financial and logistical issues, combined with Hollywood's reluctance to back such an unconventional vision, led to its demise. The story of "Jodorowsky’s Dune" was later immortalised in a 2013 documentary, offering a fascinating look at what might have been and showcasing the profound influence it had on future science fiction films.



The Man Who Killed Don Quixote: A Dream Delayed

The Man Who Killed Don Quixote concept art piece

Equally compelling is Terry Gilliam’s "The Man Who Killed Don Quixote." Gilliam, known for his work with Monty Python and his uniquely surreal directorial style, spent nearly three decades attempting to bring this project to life. The film, a loose adaptation of Miguel de Cervantes’ classic novel, faced an extraordinary array of setbacks. The initial production in 2000 was plagued by natural disasters, financial issues, and a severe back injury suffered by lead actor Jean Rochefort. These calamities, captured in the documentary "Lost in La Mancha," halted the project, and subsequent attempts to revive it faced similar challenges. It wasn’t until 2018 that Gilliam finally completed the film, though it differed significantly from his original vision. The journey of "The Man Who Killed Don Quixote" remains a testament to artistic perseverance, highlighting the often tumultuous path from script to screen.


Atuk: The Cursed Comedy

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"Atuk," based on Mordecai Richler’s novel "The Incomparable Atuk," has earned its place in Hollywood legend due to the so-called "Atuk curse." This comedy about an Inuit navigating the modern urban jungle was attached to several high-profile actors, each of whom died under tragic and unexpected circumstances before production could begin. John Belushi, Sam Kinison, John Candy, and Chris Farley all expressed interest or were cast in the lead role, only to meet untimely deaths. The eerie pattern of misfortune has led to a macabre fascination with the project, ensuring that "Atuk" remains one of the most infamous unproduced films in history.


Batman: Year One: The Dark Reimagining

Concept of Gotham City as seen from Above

In the realm of superhero cinema, Darren Aronofsky’s "Batman: Year One" represents a radical departure from the traditional portrayals of the Dark Knight. Aronofsky, known for his dark and psychologically intense films, envisioned a gritty reboot of Batman that would strip the character down to his essence. This version of Bruce Wayne would lose his fortune, live on the streets, and don a makeshift costume. Despite the intriguing premise, Warner Bros. ultimately chose a different path, opting for Christopher Nolan’s "Batman Begins," which balanced realism with a more traditional narrative. Aronofsky’s bold vision remains a fascinating "what if" scenario, reflecting the creative risks involved in reimagining iconic characters.


Justice League: Mortal: The Superhero Ensemble That Almost Was

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Finally, George Miller’s "Justice League: Mortal" was an ambitious attempt to bring together DC Comics' most iconic superheroes in a single film long before the success of the Marvel Cinematic Universe. With a cast that included Armie Hammer as Batman, D.J. Cotrona as Superman, and Megan Gale as Wonder Woman, the project promised a sprawling, epic narrative. However, it was plagued by a series of setbacks, including the 2007-2008 Writers Guild of America strike, financial issues, and concerns over audience confusion due to multiple actors playing the same characters in different franchises. Despite never being made, "Justice League: Mortal" has become a source of endless speculation and interest, illustrating the complexities and challenges of launching a shared cinematic universe.


The Allure of the Unmade

These unproduced films, each with their unique blend of ambition, talent, and misfortune, offer a tantalising glimpse into the alternate realities of cinema. They stand as reminders of the fragile nature of filmmaking, where even the most promising projects can falter and fall into the realm of legend. Yet, their stories continue to inspire, serving as both cautionary tales and sources of endless fascination for those who dream of what might have been.

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