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Thousands of Iranians who had fled Tehran during the recent war have begun returning to their homes or workplaces, despite the fragile truce and looming anxiety over the approaching ceasefire deadline.Mehdi, a 36-year-old IT professional, is one of them. He had fled to the north with relatives in the early days of the war, but has now returned to find his home damaged by blasts, with shattered glass and blown-out bedroom window frames.The city is riddled with ruined buildings, destroyed infrastructure, and an economy in turmoil. Mehdi describes the experience of hearing missiles hit nearby: 'There's a whistling sound I hope you never hear … a missile so close that you don't know if it's going to hit your house or your neighbour's.'Many residents, especially those reliant on the internet, have lost their livelihoods due to the 45-day internet blackout imposed by Iranian authorities. This has left most of Iran's population cut off from the world, with some paying large sums to access the internet through Starlink and VPNs.Noor, an activist based in Tehran, says 10 million Iranians depend on internet access to run small businesses or make an income. The economic pressure has become unbearable, with food items and medications for patients with serious or chronic illnesses becoming difficult to find or afford.The economic crisis has worsened, with factories struggling to operate due to a lack of raw materials, construction workers losing jobs, and workplaces laying off staff or reducing their workforce.

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.

On 17 April 2026 the Guardian released its weekly sports quiz, testing readers on recent European football semi‑finalists, Tottenham’s relegation history, the first female head coach in Europe’s top five leagues, and a range of other sporting milestones. The quiz, published on the Guardian’s website, aims to engage fans by linking current events with historic trivia. European Cup tally: The quiz asks how many times Bayern Munich, Arsenal, Paris Saint‑Germain and Atlético Madrid have collectively won the competition. The correct answer is seven – Bayern’s six titles, PSG’s inaugural win last season, while Arsenal and Atlético have yet to lift the trophy. Tottenham’s relegation: After a 14‑match winless streak, Spurs fell into the relegation zone. The quiz asks when they were last demoted; the answer is 1977, a year also marked by Elvis Presley’s death, Pelé’s final professional match, the debut of Star Wars and Manchester United’s sacking of Tommy Docherty. Breaking the glass ceiling: Marie‑Louise Eta became the first woman to manage a club in Europe’s top five leagues when she was appointed interim boss of Union Berlin. Her tenure is expected to be brief as she will move to the women’s side next season. Golf history: Rory McIlroy’s sixth major win prompts the question of which European golfer has more majors. The answer is Harry Vardon, who captured seven majors (six Opens and one U.S. Open) and is celebrated as golf’s first international star. Masters oddities: Shane Lowry made Masters history by becoming the first player to record two holes‑in‑one at Augusta, the 35th hole‑in‑one overall at the tournament. Women’s Six Nations: Wales suffered a 24‑19 defeat to Scotland in the opening round, continuing a recent run of wooden‑spoon finishes. World Cup coaching: Carlos Queiroz was appointed Ghana’s manager, giving him the chance to coach at a sixth World Cup after previous stints with South Africa, Portugal and Iran. Grand National legacy: I Am Maximus joins the post‑war elite of multiple Grand National winners, following Tiger Roll, who claimed back‑to‑back victories in 2018 and 2019. Managerial debut: Former England midfielder Jack Wilshere secured his first trophy as a manager, guiding Luton Town to an EFL Trophy win at Wembley. County Championship rule change: The quiz highlights that Tom Westley, Jonny Bairstow and others have all been substituted this season under new regulations allowing injury or personal‑circumstance replacements. NBA consistency: The Boston Celtics have reached the playoffs for a 12th consecutive season, though they have captured only one championship in that span (2024). Combat sports crossover: Oleksandr Usyk will face kick‑boxing legend Rico Verhoeven, who held the heavyweight kick‑boxing world title for 12 years, in a bout billed as “Glory in Giza” at the Egyptian pyramids. Snooker prodigy: Fourteen‑year‑old Stan Moody qualified for the World Snooker Championship after playing a decisive match while recovering from tonsillitis, underscoring his remarkable determination. Overall, the quiz blends current headlines with historic facts, offering readers a chance to test their knowledge while reflecting on the broader narratives shaping sport today.

The 2026 NBA playoffs are shaping up to be a thrilling competition, with several top teams vying for the championship. Oklahoma City Thunder are the defending champions and are favored to repeat, led by Shai Gilgeous-Alexander.However, teams like the San Antonio Spurs, led by rookie sensation Victor Wembanyama, are looking to make a deep run. The New York Knicks are also a strong contender, with Jalen Brunson leading the charge.The Miami Heat are considered a dark horse, with a strong team culture and Bam Adebayo leading the way. The Boston Celtics are also a top contender, with Jayson Tatum and Jaylen Brown leading the team.In the Western Conference, the Thunder are favored to make it to the finals, but teams like the Spurs and Pelicans could make a surprise run. In the Eastern Conference, the Knicks and Celtics are the top contenders.The playoffs are expected to be highly competitive, with several teams having a legitimate chance of winning it all. Jokić and Gilgeous-Alexander are considered two of the most important players in the postseason.

Stuart Heritage revisits Hacks as its final season rolls out on Sky Atlantic, Now, HBO Max and Stan, asking whether the series can recapture the brilliance that earned it an Emmy for Best Comedy in 2024.When the show first burst onto the scene, it was hailed as the pinnacle of comedy, outshining drama‑heavy series like The Bear. Its early acclaim rested on the razor‑sharp chemistry between Jean Smart (Deborah Vance) and Hannah Einbinder (Ava), a dynamic that felt both vicious and hilarious.That reputation has been challenged by newer satire such as The Studio, which swept the 2025 Emmys with bigger stars and slicker production. In contrast, Hacks managed only supporting trophies for Smart and Einbinder, prompting the question: can the show rally in its swan song?The latest run marks a noticeable upgrade from the muddled third and fourth seasons, where Vance’s late‑night talk‑show stint exposed the series’ structural cracks. This season, Vance is slapped with a Conan O’Brien‑style gag order that bans her from public jokes, giving her a fresh, if absurd, source of conflict.Early episodes burst with energy as Vance concocts wild schemes—pursuing an EGOT, penning a memoir, even eyeing a Madison Square Garden gig. The momentum feels promising, yet the show’s signature venomous satire is muted.Where Hacks once thrived on Vance’s bitter, anti‑heroic edge and her hostile banter with Einbinder’s Ava, the current tone has softened into a more amicable camaraderie. This shift defangs the series, making it feel less like the cutting industry critique it once was.The finale lands as a bewildering, almost ChatGPT‑generated one‑act play, delivering an unearned climax that feels more like a stunt to secure another Emmy for Smart than a satisfying narrative closure.Despite uneven seasons, the core performances remain the show’s strongest asset. Smart and Einbinder continue to deliver compelling, powerhouse portrayals that will likely be the lasting memory of Hacks for its fans.In the end, the final season offers moments of fun but ultimately signals the end of the series’ once‑sharp satire, leaving viewers to mourn the loss of its original bite.

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.

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.

Marcus Rashford's future at Manchester United hangs in the balance as his loan spells at Aston Villa and Barcelona come to an end. The 28-year-old has not played for United since December 2024 and is currently on loan at Barcelona, who have the option to purchase him for €30m (£26m).Manchester United sit comfortably in third place in the Premier League, seven points above sixth-placed Chelsea, but will not want to see the gap close come full time at Stamford Bridge. A return to Europe's top table is vital for United, which would result in players' wages increasing, including Rashford's salary reaching £325,000 per week on his deal, which runs until 2028.Michael Carrick, United's manager, has stated that the door is not completely closed on Rashford playing for United again. 'There's decisions to be made in time on certain things, and obviously Marcus is in that situation. But at this point in time, nothing's been decided,' Carrick said. 'Certainly from my perspective, whoever's here I want to work with, make the best out of, and help them improve.'Rashford's situation is complicated by United's desire to sell him, but few clubs could match his current earnings. Carrick will want to see his team bounce back from Monday night's home defeat by Leeds, but faces a defensive crisis with Harry Maguire and Lisandro Martínez out of the lineup.

Wrexham AFC, the football club co-owned by Hollywood stars Ryan Reynolds and Rob Mac, has been awarded a £3.8m government grant without a contract or a completed state aid assessment in place. This has raised questions over whether the award was lawful.The club has received a total of £18m in taxpayer-funded grants to help redevelop its stadium, the Racecourse Ground. This is significantly more than any other club in the UK.Responses to freedom of information requests suggest that Wrexham county borough council awarded the money before completing the usual steps. Alexander Rose, a partner specialising in subsidy control at law firm Ward Hadaway, stated that the lack of a final state aid assessment at the time the grant was awarded would have left it vulnerable to legal challenge by a rival.However, there is little prospect of Wrexham AFC being forced to repay the cash, as the one-month window for challenges to be filed has since closed. The leader of Wrexham council, Mark Pritchard, said: “All due diligence and checks were in place ahead of the transfer of any funding and we refute any accusations to the contrary.”Reynolds and Mac took over the club in 2021, bringing with them a wave of sponsorship and global interest via their Disney TV series Welcome to Wrexham. The club has been able to far outspend their lower-league rivals, transforming the club’s fortunes.Wrexham, which was granted city status in 2022, awarded the £18m to the star-studded club as part of its “Wrexham Gateway” urban improvement scheme. Most of the money went towards developing the stadium, despite the club having deep-pocketed owners.The first £3.8m tranche of cash was awarded on 8 February 2022, less than a year after Reynolds and Mac’s takeover. Another £14m was awarded in September 2025.Public authorities that give out grants are required by law to judge if they comply with the principles of subsidy control, to ensure taxpayer money is not misspent. However, in response to a freedom of information request, Wrexham council said it only had “draft assessments” in place before the money was awarded.The council said the final assessment it provided was submitted nearly five months later, on 6 July 2022. In response to questions, the council shared a draft assessment it said dated from 7 September 2021.Rose said: “At the time the £3.8m grant was awarded there was a duty to carry out a principles assessment. Evidence that this assessment wasn’t finalised when the grant was given would certainly have helped a challenger, for example a rival football club.”“Subsidy control rules exist to ensure there’s a level playing field in which businesses can compete,” he added. “That includes in professional football. They’re also an important protection for the taxpayer, preventing wasteful and unnecessary subsidies from being awarded.”Recipients of large grants almost always sign contracts to ensure taxpayer money is spent as promised. Yet the council said the grant was authorised by its executive board and “provided in advance of the finalisation of the grant funding agreement”.The council said the grant funding agreement – apparently covering the whole £18m – was only created in July 2023.The contract was then completed on 17 September 2025, when the £14m tranche was awarded.The two-year delay between the creation of the contract and its signing also offered another potential benefit to Wrexham council: new subsidy control laws that came into force days earlier in August raised the threshold for mandatory scrutiny of the grant by the Competition and Markets Authority.Delaying the subsidy meant the award to Wrexham AFC was not subject to this scrutiny.While it was tapping taxpayer money, the club was also able to raise huge amounts from private backers. In the year to June 2025 it raised £36m through share issues. Three months after the second grant, Reynolds and Mac announced the sale of a stake in the club to Apollo, one of the world’s largest private equity firms.Bloomberg reported that Wrexham was valued as high as £350m. The club then raised another £47.8m in January, according to corporate filings.In the year before it received the £14m grant, Wrexham was able to repay loans worth £10.6m to Ryan Reynolds’s company, according to accounts published last month. It also lost £3.8m from the collapse of Argentex, a currency brokerage that entered special administration in July 2025 because of failed foreign exchange trades.Pritchard, the council leader, said: “The grant represents a small investment compared to what the club will be investing at the Racecourse … In fact, as the club has grown in both stature, ambition and from external investment, the percentage of public investment compared to that of the club has shrunk from roughly 68% of the project costs to around 25% currently.“This demonstrates further value for money in regard to the initial investment from the public purse.”Wrexham AFC said the club is itself making a “significant financial investment with the support of our ownership group and investors”. Accounts published last month show the club has signed a £69.2m contract to build a new stand.The spokesperson said the “funding ensures the facility can be brought up to the required standard to host international sporting events, including international football and rugby matches (as opposed to just meeting domestic football criteria)”