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In the midst of escalating tensions, a heart-wrenching story emerges from Gaza. Inaam al-Dahdouh, a 62-year-old mother, sits in her makeshift tent with her six grandchildren, clinging to a photograph of her three sons, who have been detained by Israeli forces for two years. As Palestinian Prisoners' Day is marked on April 17, Inaam's anguish deepens. Her sons, Mahmoud, Alaa, and Diaa, were arrested during an Israeli attack on al-Shifa Hospital in December 2023. They were bound, blindfolded, and taken away, leaving behind a family torn apart. The situation worsens with the recent approval of an Israeli law allowing the execution of Palestinian prisoners convicted of killing Israelis. This move has sparked international condemnation and fears among families like Inaam's. Over 9,600 Palestinians are currently imprisoned, a nearly 83% increase since the war began, with 350 children and over 3,530 administrative detainees held without charge. Inaam's sons are civilians; Mahmoud is a father of six, Alaa had completed his law degree, and Diaa was about to start life after high school. Despite reassurances that the new law targets specific categories of prisoners, Inaam cannot shake off the fear that her sons might be affected. “They can endure hunger … we tell ourselves they can endure it. But execution? Not to that extent,” Inaam says, fighting back her emotions. She urges a global stance to pressure Israel to reverse its decisions against prisoners, emphasizing that a prisoner has the right to live and dignity. Inaam tries to fill the void by caring for her grandchildren and teaching them the Quran, a gift for her imprisoned sons. Her story highlights the human cost of the ongoing conflict and the desperate need for a resolution to protect the rights and lives of Palestinian prisoners.

Kharg Island, a strategic location in the Persian Gulf, has become a front-line target in the ongoing conflict between the United States and Iran. The island is the heart of Iran's oil trade, and the US has struck military sites there, escalating tensions in the region.Despite the critical role Kharg Island plays in Iran's economy, 8,000 people call the island home. Their lives have been severely impacted by the conflict, with bombs falling and ships stopped from moving. The situation on the ground is dire, with residents facing significant challenges in their daily lives.The US naval blockade on Iranian ports has further exacerbated the situation, severely impacting Iran's oil exports and economy. The blockade is part of a broader effort by the US to enforce sanctions on Iran and limit its ability to export oil.The conflict has significant implications for the global economy, particularly in terms of oil prices and supply chains. As tensions continue to escalate, the international community is watching closely to see how the situation will unfold.

Citizens of southern Lebanon have started to return to their homes, marking a significant shift towards normalcy in the region. The return of residents has been met with joyful celebrations on the roads, signaling a hopeful period ahead for the community.The calm atmosphere in southern Lebanon is a welcome change for locals who have faced numerous challenges. As people begin to rebuild and restart their lives, the region is slowly coming back to life.This development is a positive sign for the future of southern Lebanon, offering a glimmer of hope for peace and stability in the area.

In the devastated Gaza Strip, a father's quest for truth has become a desperate fight against time and uncertainty. Mohammed Lubbad's world was shattered on October 13, 2023, when an Israeli strike destroyed his home, killing several family members, including his wife and daughter.As Mohammed struggled to come to terms with his loss, he received news that his pregnant wife, Amal, had given birth to a son via Caesarean section at Kamal Adwan Hospital. However, the child's fate remained a mystery as Amal had died from head trauma and abdominal wounds shortly after.Mohammed's search for his son was complicated by the chaos and destruction caused by the ongoing war. He was told that his son might be among a group of premature infants at al-Shifa Hospital, but a lack of accurate medical documentation made it difficult to confirm.As the uncertainty grew, a bitter dispute emerged with another family who claimed the child was theirs. Despite similarities in the child's description, the two families were unable to resolve the matter.In a bid to find closure, Mohammed waited over two years for the evacuated children to return to Gaza. When they finally arrived on March 31, he went to Nasser Hospital in Khan Younis to try and see the child he believed was his. However, a minor dispute broke out with the other family, and medical investigators intervened.The police investigations department confirmed the dispute and emphasized that the initial registration of the baby under the other family's name could not be considered conclusive. Mohammed strongly believes the child is his and insists on a DNA test to settle the matter.However, DNA testing is currently unavailable in Gaza due to the destruction of specialized laboratories during the war. The police investigations department has called for the provision of DNA testing equipment or the facilitation of urgent sample transfers to accredited laboratories in Egypt or Jordan.Mohammed's ordeal has taken a significant psychological toll, affecting his life and work. He refuses to give up and plans to escalate his efforts by organizing a protest outside al-Shifa Hospital. For Mohammed, the truth is the only way to move on from the trauma and uncertainty that has haunted him since the war began.

Guardian’s weekly pick showcases seven standout series available to stream from 21 April to 24 April 2026, ranging from gritty dramas on BBC iPlayer to a nature documentary on Disney+.Half Man – Richard Gadd’s first television drama since Baby Reindeer lands on BBC iPlayer on Friday 24 April. The two‑timeline story follows brothers Ruben (Jamie Bell) and Niall (Gadd) as they navigate a volatile, tender relationship in a hostile school environment. Young Niall is portrayed by Mitchell Robertson, while Stuart Campbell plays an aggressive Ruben, delivering a raw look at adolescent trauma.Unchosen – Netflix releases this unsettling thriller on Tuesday 21 April. Molly Windsor stars as Rosie, a woman trapped in a cult‑like household run by Christopher Eccleston’s domineering Mr Phillips. When the enigmatic Sam (Fra Fee) arrives, Rosie’s instincts clash with the patriarchal control, while her husband Adam (Asa Butterfield) adds further tension.Ramy Youssef: In Love – The third HBO Max special drops on Saturday 18 April. Youssef blends sharp cultural commentary with humor, tackling topics from Saudi‑Arabia comedy festivals to AI‑generated porn and modern masculinity, all while maintaining his signature wit.Criminal Record – Returning to Apple TV on Wednesday 22 April, the thriller reunites detectives June Lenker (Cush Jumbo) and Daniel Hegarty (Peter Capaldi). The duo confronts a far‑right threat at an Islamist rally, with Lenker’s investigation colliding with internal police resistance.Orangutan – Disney+ streams this Borneo‑and‑Sumatra documentary on Wednesday 22 April. Narrated by Josh Gad, the film follows young primate Indah through dense jungle hazards, offering intimate wildlife footage that challenges the high bar set by David Attenborough.Running Point – (Details omitted due to truncation) continues the week’s eclectic mix of streaming options, rounding out a diverse slate that caters to drama lovers, comedy fans, and nature enthusiasts alike.

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.

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.

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.