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FIFA President Gianni Infantino has come under fire for the high ticket prices for this year's World Cup in North America. In response, Infantino defended the pricing, stating that the event is the organization's only source of income every four years. Speaking at Semafor's annual world economy summit in New York, Infantino emphasized that FIFA is a nonprofit organization with 211 member nations. 'The main, and so far the only, revenue-generating event for FIFA is the World Cup,' he said. 'The World Cup takes place one month every four years, so we generate money in one month. The 47 months until the next World Cup, we spend that money.' Infantino highlighted that three-quarters of FIFA's member countries rely on grants from the organization to support their football programs. He also noted that the World Cup is a global event that captivates a massive audience, justifying the high ticket prices. A check on the secondary market showed that tickets for the US opener against Paraguay were listed as high as $1,359, while tickets for the final could go for as much as $25,000. In an effort to address complaints about ticket affordability, FIFA introduced a $60 ticket option for a limited number of seats in each venue. Infantino described North America as 'a very special market' and mentioned that he has been living in the US for the past two to three years to better understand the market. This year's World Cup will feature a record 48 teams, organized into 12 groups of four, with games hosted in the US, Canada, and Mexico. The tournament will consist of a record 104 matches.

Every year on April 17, Palestinians commemorate Prisoner’s Day to bring attention to the thousands of men, women, and children held in Israeli prisons. This year’s observance is particularly significant due to Israel’s recently enacted death penalty law, which exclusively targets Palestinians convicted of deadly attacks.Rights groups have strongly criticized the law, labeling it a violation of international law and inherently discriminatory. The United Nations human rights chief has even suggested it could constitute a possible “war crime”.According to the prisoners’ rights group Addameer, nearly 10,000 Palestinians are currently being held in Israeli prisons, both within Israel and in occupied territories. These individuals are viewed by Palestinians as political prisoners who must be freed.The historical context of Prisoner’s Day dates back to April 17, 1971, when Mahmoud Bakr Hejazi was released in the first prisoner exchange between Israel and Palestine. In 1974, the Palestinian National Council officially designated April 17 as Prisoner’s Day, which has since served as a day of national and international solidarity with the Palestinian struggle against Israel’s continued occupation.Administrative Detention and Its ImplicationsAs of early April, 9,600 Palestinians were in Israeli custody. Of these detainees:3,532 are administrative detainees – held without charge or trial.342 are children.84 are women.119 are serving life sentences.Administrative detention is a longstanding Israeli policy allowing authorities to hold Palestinians without charge or trial for six-month periods that can be renewed indefinitely. Critics argue that this system is widely abused and denies due process, with over one-third of detainees being held under administrative detention.The Plight of Palestinian ChildrenIsrael is the only country that tries children in military courts, often denying them basic rights. 342 children were being held in Israeli prisons this month, with over 12,000 Palestinian children detained by Israeli forces since the outbreak of the second Intifada in 2000. These children are often subjected to physical and psychological torture, interrogated without parental or legal presence, and exploited for information or used as leverage against their families.The New Death Penalty LawThe new law allows military courts to impose the death penalty on Palestinians convicted of killing Israelis in acts of “terror.” This law, approved on March 30 and set to take effect by the end of April, applies to Palestinians from the West Bank tried in Israeli military courts. The Palestinian Authority has condemned the bill as a “war crime against the Palestinian people”, citing violations of the Fourth Geneva Convention.The rights group B’Tselem noted that the conviction rate for Palestinians tried in military courts is about 96 percent, often based on ‘confessions’ obtained through pressure and torture.A Legacy of DetentionSince 1967, Israeli forces have detained an estimated one million Palestinians, or about 20 percent of the Palestinian population. This systemic practice has fragmented communities, perpetuated cycles of trauma, and generated widespread resentment. For many families, arrests have become an inevitability, with freedom remaining uncertain for those currently behind bars, just as it has for generations before them.

Arsenal manager Mikel Arteta has called on his side to view the forthcoming clash with Manchester City as a "huge privilege" rather than a source of pressure, stressing the importance of character in what could be a title‑defining encounter. The Gunners currently enjoy a six‑point lead over Pep Guardiola’s City ahead of the Sunday showdown at the Etihad Stadium, but City hold a game in hand that could swing the balance in their favour during the season’s final weeks. Recent form adds drama: Arsenal have dropped three of their last five matches across all competitions, including a League Cup final defeat to City, a shock FA Cup quarter‑final loss to second‑tier Southampton, and a home league loss to Bournemouth. In Europe, Arsenal scraped past Sporting Lisbon, drawing 0‑0 to clinch a 1‑0 aggregate win in the Champions League quarter‑finals, yet their domestic performances have been below the standards expected of a title challenger. Addressing criticism of the squad’s mental resilience, Arteta told reporters, "We have earned the right to be in this position and to be challenging, with an opportunity to win against arguably the best team and best manager this league has ever seen. That is a huge privilege." He added, "Who is more privileged to be in this position? I feel very privileged to have earned the right to play such a big and great game." Arsenal are chasing their first English league title since 2004 after finishing runners‑up for three consecutive seasons. In both 2023 and 2024, they squandered substantial leads, allowing City to overtake them. Artura believes a victory at the Etihad would place Arsenal in a "virtually unassailable" position. "Winning at this stage brings us a bit closer," he said, noting there are six games remaining and the match is "really important for both teams." Reflecting on the recent League Cup loss, Arteta urged his players to channel that pain into motivation: "The pain we felt afterwards, we need to use the right way on Sunday. Learn from that game and the things we want to change for the next one." He also dismissed rumors of a motivational fire‑lighting stunt at the training ground, explaining that the club employs varied themes to prepare for each match, with the players' own initiative being the most valued. Statistically, Arsenal have failed to win any of their last ten league visits to the Etihad, losing seven of those encounters—a barren run that stretches back to 2015. When asked whether he might advise his side to settle for a draw to protect their six‑point cushion, Arteta was unequivocal: "We prepare every game to win, that is why we are where we are, and we are going to continue to do the same."

Syria has taken full control of every former U.S. military site, completing a handover that Damascus says demonstrates the successful absorption of Kurdish‑led fighters into national structures.The final U.S. convoy departed Qasrak air base in Hasakah on Thursday, ending a presence that began in 2014 when American troops entered the fight against ISIL alongside Kurdish units that later formed the Syrian Democratic Forces (SDF).In Damascus, President Ahmed al‑Sharaa received the two most senior SDF officials – military commander Mazloum Abdi and political head Ilham Ahmad – accompanied by Foreign Minister Asaad Hassan al‑Shaibani and the presidential envoy overseeing the integration process.The Ministry of Foreign Affairs hailed the completed handover as evidence of the government’s drive to bring the entire country, including border areas and the northeast, under a single state authority. It stressed that the transfer was carried out in full coordination with the United States, pointing to a constructive relationship that dates back to al‑Sharaa’s 2025 meeting with then‑U.S. President Donald Trump.U.S. Central Command confirmed that American forces have “completed turning over all of our major bases in Syria as part of a deliberate and conditions‑based transition.”The handover follows a January cease‑fire agreement between Damascus and the SDF and a March integration pact that places Kurdish fighters into the Syrian national army, deploys Syrian security forces to the city centres of Hasakah and Qamishli, and transfers control of border crossings and civilian institutions to Damascus.Syria’s entry into the international coalition against ISIL in November reshaped its role from obstacle to partner, fundamentally altering the rationale for a continued U.S. military footprint.Analyst Charles Lister noted that the last U.S. convoy was routed overland through Jordan rather than Iraq to reduce exposure to potential attacks by Iranian‑backed militias operating in the region.

Ten years after Prince’s death, friends and collaborators such as George Clinton, Apollonia Kotero and drummer Charles “Chazz” Smith share personal memories that illuminate his musical brilliance and private life.George Clinton, the legendary leader of Parliament‑Funkadelic, remembers meeting the 19‑year‑old Prince in 1977 and immediately recognizing a talent “a new version of Sly Stone.” Clinton praised Prince’s ability to master guitar, keyboards, bass and drums, noting his “arranging genius” inherited from his pianist father and his dance flair “like James Brown.” Clinton also recalled how Prince later signed him to Paisley Park Records and inducted him into the Rock and Roll Hall of Fame, cementing a friendship that survived countless late‑night studio sessions.Apollonia Kotero, actress and singer who starred alongside Prince in the 1984 film Purple Rain, describes a bond that spanned 33 years. She recounts the grueling shoot—jumping into a freezing lake, suffering hypothermia, and Prince’s frantic plea, “Please don’t die, Apple. I love you.” Their relationship, she says, was “family, not romance,” and Prince’s protective nature shone when he cared for her during illness. Kotero also recalls a surreal moment when Prince hummed the opening melody of “When Doves Cry” into her answerphone, urging her “Don’t erase this!” as a reminder of his creative process.Beyond the studio, Kotero notes Prince’s voracious appetite for literature and politics, his 3 a.m. visits that turned into midnight drives across Hollywood, and his habit of showing her walls plastered with fan mail—a testament to his deep connection with his audience.Charles “Chazz” Smith, Prince’s cousin and original drummer in the early band Grand Central, paints a picture of Prince’s childhood obsession with music. After a spontaneous Sly and the Family Stone concert in Minneapolis, Prince declared, “We’re gonna form a band, and you’re gonna be the drummer.” Within weeks, a newly gifted guitar allowed him to replicate Santana’s “Black Magic Woman” note for note, signalling the start of an insatiable drive to master every genre—from rock to funk to ballads.In the final months of his life, Prince’s friends observed a shift. He reclaimed the rights to his catalog in 2014, began repaying debts, and expressed grief over the death of Vanity, his longtime muse. Smith recalls a poignant encounter six weeks before Prince’s passing: after a brief hug, they exchanged the words “I love you,” marking the last conversation they ever shared.These testimonies collectively reveal a portrait of Prince that goes beyond his public persona: a relentless virtuoso, a compassionate confidant, and an artist whose influence continues to reverberate a decade after his untimely death.

The newly opened V&A East Museum in Stratford marks the latest milestone in the East Bank cultural quarter on the Queen Elizabeth Olympic Park. The £135 million, architect‑designed outpost sits beside the V&A Storehouse—recently listed among Time’s “World’s Greatest Places to Visit 2026”—and joins Sadler’s Wells East, the London College of Fashion and the forthcoming BBC Music Studios.Once described by V&A East director Gus Casely‑Hayford as “a place where fridges went to die”, the area has been transformed into a vibrant creative hub. Yet outside London, many venues face falling visitor numbers, job cuts and closures, highlighting a stark contrast with the newly polished facilities.Culture Secretary Lisa Nandy is betting on the Arts Everywhere Fund—a £1.5 billion package over five years announced in 2025—to shore up the sector’s creaking infrastructure. This week, £130 million was distributed to more than 130 museums, theatres, venues and libraries, representing the largest cash injection into the arts for a decade.The funding reaches a diverse range of institutions, from Newcastle’s iconic Baltic Centre for Contemporary Art to the modest Armitt Museum in Ambleside, and from the Royal Shakespeare Company in Stratford to Gloucestershire’s trailblazing TwoCan Theatre Company, which offers workshops for deaf, neurodivergent and disabled participants.Despite these initiatives, the UK remains among the lowest spenders on culture in Europe, with per‑capita public funding down nearly a third since 2010. Nevertheless, the cultural sector contributed an estimated £40 billion to the economy in 2024, underscoring its role as a significant wealth generator and a soft‑power asset.Financial support must also reach the people who run these institutions. Over the past year, staff at several leading museums have staged protests and faced redundancies, and even before its doors opened, V&A East workers sent an open letter demanding a living wage for all employees.In its inaugural year, the V&A Storehouse attracted 500,000 visitors, many of whom were younger, more diverse and locally based than the museum’s traditional audiences. The new V&A East hopes to replicate this success, emphasizing the need for parallel investment in arts education to nurture future audiences.Decades of neglect cannot be reversed overnight, and costs continue to rise. While the Arts Everywhere Fund is a cause for celebration, it also signals Labour’s broader commitment to making art accessible to everyone, reinforcing the message that, even in tough times, culture matters.

New Jersey’s transit authority has officially set the price of a return train ticket to the 2026 FIFA World Cup matches at MetLife Stadium at $150, a dramatic increase from the usual $12.90 fare between Penn Station and the stadium.The announcement also revealed premium parking will cost up to $225 in an ADA‑designated lot adjacent to the venue, with general spectator parking eliminated on match days.Governor Mikie Sherrill explained that the state faces a $48 million expense to safely move an estimated 40,000 fans per match. She emphasized that FIFA is not contributing financially, stating, "FIFA should cover the cost of transporting its fans. If it won’t, we will not be subsidizing World Cup ticket holders on the backs of New Jerseyans who rely on NJ Transit every day."Under the new scheme, fans must purchase a special NJ Transit World Cup ticket that includes a wristband for the return journey. Departures from Penn Station will be organized in time‑blocks, with multiple security checkpoints along the route.For those preferring road travel, a round‑trip bus service is available for $80, picking up passengers from two New York City locations and a park‑and‑ride site in Clifton, New Jersey, which can accommodate roughly 2,500 vehicles. Shuttle buses will then transport riders to the stadium, and tailgating will be prohibited.Sherrill highlighted that the existing host‑city agreement with FIFA provides zero dollars for fan transportation, shifting the entire burden onto NJ Transit. She contrasted this with FIFA’s projected $11 billion revenue from the tournament.FIFA’s event operations chief, Heimo Schirigi, responded that the pricing model could have a “chilling effect,” potentially driving fans toward alternative transport and increasing congestion. He reiterated FIFA’s long‑standing collaboration with host cities to develop efficient mass‑transit options.To lessen disruption for regular commuters, NJ Transit will suspend outbound service from Penn Station for four hours before each MetLife match and will offer free Path train and bus rides on affected days. Additional Path service is planned, and employers are encouraged to allow remote work.Discounts for regular riders on the two busiest match days, June 22 and June 30, will be funded by the NJ/NY host committee, according to Sherrill.Other U.S. host cities have taken different approaches: Kansas City is offering $15 bus shuttles to Arrowhead Stadium, while Philadelphia will keep its standard $2.90 fare for trips to Lincoln Financial Field.With limited parking and higher transit costs, officials are urging fans to rely on public transportation across all eleven host cities, emphasizing the broader economic and logistical challenges of hosting a global sporting event.

Mercedes driver George Russell has expressed understanding if Max Verstappen decides to leave Formula One due to his dissatisfaction with the current regulations. Verstappen, a four-time world champion, has been vocal about his discontent with the new rules, which he believes overly emphasize energy management.Russell, currently second in the world championship behind his teammate Kimi Antonelli, noted that Verstappen has achieved everything he set out to do in the sport, having won four world championships. “Formula One is bigger than any driver,” Russell said. “You wouldn’t want to lose Max because we all enjoy racing against him.”Verstappen has hinted at exploring opportunities in other racing disciplines, such as GT racing, and is set to participate in the Nurburgring 24 Hours in May. His race engineer, Gianpiero Lambiase, is leaving Red Bull to join McLaren, adding to speculation about Verstappen's future in F1.Russell also acknowledged that the current performance disparity between Red Bull and teams like Mercedes could affect any driver's motivation. “Now, the complaints he currently has are different to the complaints of Mercedes, Ferrari and McLaren because we are at the front end of the grid,” Russell added.Meanwhile, Antonelli, just 19 years old and in his second season, has taken the championship lead with back-to-back wins, setting new expectations for himself and his team.

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.