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Disney introduced InfinityVision at this year’s CinemaCon, positioning it as a certification for premium large‑format (PLF) auditoriums that meet or exceed undisclosed standards for screen size, brightness and sound quality. While the name sounds like a Marvel spin‑off, the label applies to any film, not just superhero titles. Disney claims roughly 300 screens worldwide already carry the badge, though a public directory has yet to appear. The timing is strategic: Disney’s Avengers: Doomsday is slated for a December debut that coincides with the release of the third Dune film, which has secured a limited run on coveted Imax screens. By promoting InfinityVision, Disney hopes to reassure audiences that alternative PLF venues—such as Dolby, RPX and other branded auditoriums—can deliver an equally spectacular experience, a tactic the author dubs screenmaxxing. Screenmaxxing has become a lifeline for a theatrical sector under pressure from streaming and rising ticket prices. Even the smallest multiplex PLF screens dwarf the televisions owned by the majority of consumers, yet theatres cannot simply charge a $5 premium for a larger screen; they need to sell a demonstrably superior visual and auditory package. Today’s market offers a bewildering array of PLF options, especially in cities where multiple chains compete. Directors like Ryan Coogler (Sinners) and the team behind Project Hail Mary use the variety of formats as a marketing hook, explaining aspect‑ratio differences and visual nuances to fans. Even legacy formats have resurfaced: Paul Thomas Anderson’s One Battle After Another revived the rarely used VistaVision, an analog high‑definition process dormant for half a century, alongside traditional 70mm and Imax prints. Adding to the mix, a new digital projector brand—HDR by Barco—is being rolled out to compete with Dolby‑branded auditoriums. The technology promises deeper blacks, heightened contrast and unprecedented brightness, and has already been adopted by the Alamo Drafthouse chain for its dine‑in locations. Many of these Barco‑equipped rooms also feature Dolby Atmos sound, though the author cautions against conflating sound systems with projection technologies. To gauge HDR by Barco’s performance, the writer visited the Brooklyn Alamo Drafthouse, one of three New York venues using the system (the others are Regal locations equipped with RPX screens). While the recent Super Mario Galaxy movie showcased the projector’s vivid palette, the reviewer chose a more demanding test: Lee Cronin’s horror‑reimagining The Mummy. Compared with a prior Dolby projection of the same film, the Barco version delivered a noticeable boost in clarity—especially in shadow‑heavy scenes—without the oversharpening or motion‑smoothing artifacts sometimes seen on consumer TVs. The experience was “brighter” yet retained natural colour balance, offering a subtle but real upgrade over standard cinema projection. Despite the technical gains, the piece questions whether another premium brand can truly shift audience habits. The author argues that healthy competition among laser‑projection systems may prevent theatres from settling for “dim” images, encouraging cinephiles to seek out PLF venues. However, blockbuster spectacles like the climactic battle in Avengers: Endgame remain visually underwhelming even on an InfinityVision‑certified screen, suggesting that format alone cannot rescue a film’s visual impact. Ultimately, the most compelling case for premium formats may be the construction of genuine Imax theatres, not retrofits. True Imax auditoriums prioritize height over width, delivering an immersive field of view that even high‑end digital projectors struggle to match. Yet only a few dozen such venues exist worldwide; most “Imax” screens are simply Dolby, Barco or RPX rooms equipped with the brand’s hardware. Screenmaxxing, therefore, is likely to remain a niche pursuit rather than a universal solution for the exhibition industry. While hunting for the loudest, sharpest presentation can be entertaining, an overabundance of competing formats may reinforce the perception that a standard movie‑going experience is insufficient—potentially undermining the very audience the industry hopes to attract.

A stunning visual compilation of 20 photographs has been curated to encapsulate the essence of the past week on a global scale. Published by The Guardian, this collection offers a unique perspective on international events, highlighting the diversity and complexity of global affairs.The photographs, selected by Jim Powell, provide a glimpse into various aspects of life and current events worldwide. While specific details about each image are not provided, the collection serves as a testament to the power of visual storytelling in journalism.This initiative by The Guardian underscores the importance of photography in capturing pivotal moments and conveying the nuances of global issues. By presenting these images, The Guardian aims to engage its audience and foster a deeper understanding of international developments.

Iran’s foreign minister Abbas Araghchi announced that the Strait of Hormuz is now fully open to commercial vessels, a statement that raised hopes for de‑escalation in the Middle‑East conflict and sent global oil prices tumbling. President Donald Trump took to social media to celebrate the news, proclaiming it a "great and brilliant day for the world" and asserting that Iran had pledged never to shut the strategic waterway again. Trump also claimed that Tehran had agreed to suspend its nuclear programme indefinitely and would forfeit any frozen U.S. funds, suggesting that a deal‑making session could occur over the upcoming weekend. In contrast, the Islamic Revolutionary Guard Corps (IRGC) offered only qualified support for Araghchi’s declaration, indicating that commercial traffic would be permitted only along a prescribed route and under IRGC naval permission. The United States, however, signalled that its naval blockade of Iranian ports will remain in force until all transactions are completed, warning that few vessels are likely to risk passage under the current uncertainty. Oil markets reacted swiftly: Brent crude slipped below $90 per barrel, easing inflationary pressures that had surged after the strait’s earlier closure. Simultaneously, a ten‑day truce in Lebanon entered its second day, temporarily halting Israeli airstrikes against Hezbollah‑aligned forces and offering a brief respite to civilians after weeks of intense fighting. Despite the truce, an Israeli drone strike in southern Lebanon killed a civilian, and Defence Minister Israel Katz reiterated that the Israeli Defence Forces were not withdrawing and could resume operations. In Paris, representatives from roughly 40 nations gathered at a conference co‑chaired by France and the United Kingdom to discuss a coordinated plan for safeguarding the strait, which historically carries about one‑fifth of the world’s oil and gas shipments. French President Emmanuel Macron welcomed Araghchi’s statement but urged a "full, unconditional reopening" by all parties, while UK Prime Minister Keir Starmer called for any reopening plan to be "lasting and workable". The International Maritime Organization’s secretary‑general, Arsenio Domínguez, said the agency is reviewing the announcement to ensure it complies with the principle of free navigation for all merchant vessels. Pakistan’s army chief Field Marshal Asim Munir, acting as a key mediator, arrived in Tehran to advance negotiations for a more durable peace, underscoring Pakistan’s growing diplomatic role in the region. Overall, while the Hormuz opening has eased immediate market pressures, the broader geopolitical landscape remains volatile, with the U.S.–Iran cease‑fire set to expire soon and regional actors still poised for further confrontation.

Richard Wagner’s near‑death at sea in 1839 inspired the legend of the cursed ghost ship that underpins The Flying Dutchman. The Welsh National Opera (WNO) brings this myth to life in a fresh production that treats the libretto as a poetic meditation on birth, love, and mortality. Directed by Jack Furness, the opening scene intertwines a woman’s labor with the overture’s turbulent surges, symbolising the birth of Senta—destined to lose her mother and become haunted by the Dutchman’s promise of redemption, which can surface only once every seven years. Visual motifs—circling movements, blood‑red dresses echoing the ship’s sails—reinforce the cyclical fate of both protagonists. Designer Elin Steele and lighting designer Lizzie Powell conjure stormy seas and mist without literal ships, allowing the audience to focus on the raw emotions conveyed by the singers. Minimalist set pieces, occasional gold‑dust flourishes, and precise costume changes keep the drama tight and immersive. The cast delivers a musically rewarding performance. James Creswell shines as Daland with crystal‑clear German diction, while Simon Bailey portrays the tormented Dutchman with a compelling blend of menace and sympathy, especially in the final act. Rachel Nicholls as Senta offers a believable, passionately deluded love, delivering bel canto lines with immaculate pitch. Tenors Trystan Llŷr Griffiths (the Steersman) and Leonardo Caimi (Erik) make strong impressions, though the opera’s numerous choruses feel over‑extended. The WNO orchestra, under the authoritative baton of outgoing music director Tomáš Hanus, creates a convincing tempest that underpins the drama. Facing a thin 2026/27 season, the company is eager to prove its vitality, making these performances a must‑see—though audiences should not anticipate a conventional resolution. Staging dates include the Wales Millennium Centre in Cardiff (19 April), Theatre Royal Plymouth (24 April), Birmingham Hippodrome (7 May) and Milton Keynes Theatre (15 May).Review by Rian Evans, The Guardian, 17 April 2026.

Saudi Arabia has withdrawn its bid to host the 2035 Rugby World Cup as a result of the Public Investment Fund's (PIF) new financial strategy, prioritizing projects with potential returns. The country's sports minister, Prince Abdulaziz bin Turki al-Faisal, had expressed interest in bidding for the tournament last year, but no expression of interest was submitted to World Rugby.The PIF's 'value realization' phase of its Vision 2030 economic plan, published recently, has led to the decision to put rugby aspirations on hold. This shift in focus will impact various projects, including LIV Golf, which will see its funding withdrawn next year.While Saudi Arabia and other Gulf countries, such as Qatar and the United Arab Emirates, had considered a joint bid, it has not materialized. World Rugby's bidding process is ongoing, with countries like Argentina, Japan, and Spain having submitted initial expressions of interest.The decision to step away from the Rugby World Cup bid was made before the conflict in Iran began, and the PIF governor, Yasir al-Rumayyan, confirmed that all spending projects are being reviewed. The PIF will continue to invest in sports but will focus on domestic projects, such as infrastructure related to the 2034 football World Cup and the Formula One track near Riyadh.

The play 'Huw Fyw' by Tudur Owen takes audiences on a sentimental journey through the life of a curmudgeonly World War II veteran, exploring themes of PTSD, generational trauma, social exclusion, and the weight of irreconcilable grief.Starring Tudur Owen in the eponymous role, the Welsh-language production is marked by its absolute and unironic sincerity, with its heart unabashedly worn on its sleeve. The play's setting, mostly confined to Huw's grimy living room, adds to its plausibly compact and winningly persuasive nature.Despite some convoluted plotting, the play is deftly directed by Steffan Donnelly, with four very fine performances from the cast, including Owen, Leah Gaffey, Owen Alun, and Dafydd Emyr. The play's sentimentality resists tipping into mawkishness, instead offering a poignant survival strategy to cope with the horrors of war.The production's strange double nostalgia for the 1990s and 1940s adds to its uncanniness, making it a must-see for audiences. 'Huw Fyw' is currently showing at Dance House, Cardiff until 18 April, and will be touring until 8 May.

The cyberpunk genre is renowned for its arresting imagery, with petroleum flares illuminating the perpetually rainy landscapes of movies like Blade Runner. Replaced, a new 2D action-platformer from Belarus-based Sad Cat Studios, adopts a similar visual style but with a unique twist: it incorporates softly diffusing sepia and warm primary colours, creating a comforting rather than ominous atmosphere.The game's story follows Warren, a scientist who merges with a powerful AI, becoming a man-machine entity. The gameplay involves platforming and combat, but the article notes that Replaced relies heavily on familiar action-platformer tropes in its early stages. However, as the game progresses, it introduces a refugee encampment with a more relaxed pace, allowing players to explore and interact with the environment.Despite its beautiful visuals, Replaced's generic irradiated wilds often detract from the experience. The game's most memorable section involves sneaking back into a heavily guarded facility, where the atmosphere and tension are palpable. This section stands out for its powerful evocation of real-world issues, such as the Mexico-US border wall and the West Bank barrier.Replaced is now available for £16.99/$19.99, offering a unique blend of cyberpunk nostalgia and action-platforming gameplay, albeit with some familiar flaws.

The UK's benefits budget has become a contentious issue in the country's political landscape, with some politicians suggesting that cuts to welfare spending could be used to fund defence. The Conservative party has pledged to cut welfare spending by £23bn to get Britain working again. However, experts warn that this approach could have severe consequences for vulnerable populations.Labour peer George Robertson recently sparked controversy by suggesting that cuts to benefits could be used to finance defence. However, the government has pushed back against this idea, with Chancellor's deputy James Murray stating that there is no 'zero-sum game' between these two budgets. Experts point out that the benefits budget is not out of control, with Ruth Curtice, chief executive of the Resolution Foundation, noting that working-age benefits have remained fairly flat as a proportion of GDP. The real challenge lies in pension costs, which are rising due to demographics and the triple lock mechanism.Cuts to welfare benefits have had devastating effects in the past. For example, George Osborne's £15bn cuts in 2015 led to 450,000 children being plunged into poverty. The basic out-of-work rate remains low, at £98 a week universal credit, which is 9% lower in real terms than in 2010. Politicians must be transparent about what they plan to cut and who would be affected. The Institute for Fiscal Study's Eduin Latimer notes that other countries spend more on health benefits. Stephen Timms, the minister for social security and disability, is reviewing disability benefits with a focus on reform rather than cuts.The debate over defence spending is also heating up, with Robertson warning of a national security crisis. However, experts question the efficiency of defence spending, citing the National Audit Office's criticism of the Ministry of Defence's accounts and the failure to verify spending. The £6bn Ajax armoured vehicle project is a prime example of a costly and delayed project.

The Plague, directed by Charlie Polinger, is a gripping debut feature that plunges into the psychological depths of a boy's water polo training camp in the summer of 2003. The film impressively captures the brutal hierarchy driven by braggadocio, bullying, hazing, and gaslighting among the young campers.The story follows Ben, a latecomer to the camp, played by Everett Blunck, who desperately tries to ingratiate himself with the cool crowd led by the impish Jake, played by Kayo Martin. Ben aims to avoid the pariah status of Eli, played by Kenny Rasmussen, who is supposedly afflicted with a made-up disease dubbed 'the plague' by the group.The film's stylistic bite is reminiscent of David Fincher's work, with a stunning initial submerged shot of a pool glittering like a starfield. Polinger also showcases a keen ear for the nonsense conversations among the 12-year-old campers, discussing topics such as 90s rock outfit Smash Mouth and the ethics of bestiality.While the film flirts with body horror, it never quite resolves its suggestion that the plague could be psychosomatic. Despite this, the young performers stand out in their unfiltered rawness, particularly Blunck, Martin, and Rasmussen. The film is a memorable education in the laws of the tween jungle, with Joel Edgerton providing a reassuring presence as Coach Daddy Wags.The Plague is set to be released on digital platforms from April 20, 2026.