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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.

Victoria's ambitious plan to introduce a four-bin waste system for all households is facing resistance from local councils and residents. The scheme, which was launched in 2020 with the goal of positioning Victoria as a leader in recycling, requires households to have separate bins for organics, recycling, rubbish, and glass.The rollout of the purple-lidded bin for glass was expected to be completed by 1 July 2027, but 35 councils are now calling for a pause on the deadline, citing concerns over the added cost of the service and practical issues such as space constraints. Independent research estimates that implementing the purple bin collection could cost a typical council $4m and $1.4m a year to operate.Councils and residents are questioning whether four bins are necessary, especially with the launch of the state's container deposit scheme, which accepts some glass bottles. 42 of the state's 79 councils have already implemented a separate glass recycling service, but many are struggling with the costs and logistics.Experts argue that expanding the container deposit scheme to include more types of glass containers could reduce the need for kerbside glass separation. South Australia's container deposit scheme has achieved a 99% recovery rate for glass, compared to 11% for kerbside bins. Queensland's scheme has also seen high recovery rates for glass.The Victorian government has invested $129m to support councils with the rollout, but councils are seeking a more flexible approach that takes into account local needs and circumstances. The debate highlights the challenges of implementing large-scale environmental initiatives and the need for collaboration between governments, councils, and residents.

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.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

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.

Negotiations are intensifying between the Australian National Rugby League (NRL) and the UK’s Super League over a prospective takeover that could reshape the sport’s calendar and governance. The NRL’s chief executive, Andrew Abdo, told The Guardian that any acquisition would hinge on a major investment package and a decisive move to re‑introduce a winter competition, the first such change since 1996.Abdo travelled to England this week to discuss the feasibility of the deal, emphasizing that the London Broncos would be pivotal to the NRL’s vision. He warned that British clubs would need to surrender the extensive control they currently wield if they hope to benefit from the financial backing the NRL could provide.The proposed shift to a winter schedule is driven by the prospect of a global broadcast arrangement that would allow the NRL to sell television rights throughout the year. While a summer season avoids clashing with the Premier League, Abdo argued that a unified calendar could attract new fans and sponsors on an international scale.Super League clubs are reportedly losing close to £20 million annually. An infusion of NRL capital could not only cover the salary‑cap obligations for every club but also free up resources for further investment in facilities, talent development and marketing.Governance would also undergo a overhaul. The NRL operates under an independent commission, whereas Super League’s club owners currently dominate decision‑making. Abdo stressed the need for an independent governing body to make “tough calls” and separate day‑to‑day club interests from the sport’s strategic direction.London’s role is another cornerstone of the plan. Abdo highlighted the city’s diverse population and commercial potential, suggesting that a strong London franchise could boost fan acquisition, sponsorship deals, and overall league visibility.With the existing Sky Sports broadcast contract set to expire at the end of the season, timing is critical. The NRL aims to align its own TV‑rights expansion with a possible partnership, viewing broadcasting as the key lever for global growth.While no formal offer has been lodged, Abdo indicated that the NRL will present its findings to its board and Australian clubs before any official proposal is made. The next few weeks will be decisive for both leagues as they weigh the benefits of a combined, year‑round rugby league ecosystem.

The most iconic sequence in wildlife filmmaking history has been revisited in a new documentary, 'A Gorilla Story: Told By David Attenborough'. The film, directed by Oscar-winning James Reed and produced by Leonardo DiCaprio, follows up on Attenborough's 1970s encounter with a family of gorillas in Rwanda. During the filming of 'Life on Earth,' Attenborough had a playful and profound encounter with the gorillas, which he described as having 'more meaning and mutual understanding in exchanging a glance with a gorilla than with any other animal I know.' The documentary reveals that while conservation efforts have led to a significant recovery of Rwanda's gorilla population, the specific family Attenborough met has undergone significant changes. The dominant silverback, Gicurasi, is aging, and a new challenger, Ubwuzu, is asserting his dominance, leading to power struggles and violence within the family. The film beautifully captures the personalities and social dynamics of the gorillas, but its short runtime of just over an hour leaves some storylines underdeveloped. Despite this, the documentary shines when Attenborough reflects on his past experiences and the gorillas he has come to know. As Attenborough approaches his 100th birthday, his appearance in the documentary adds an emotional and elegiac tone. His reflections on Pablo, a gorilla who protected his family to the end, are particularly poignant, showcasing Attenborough's ability to articulate moments with 'exactly the right weight.' 'A Gorilla Story: Told By David Attenborough' is now available on Netflix, offering a unique blend of natural history and personal reflection.

Video released by regional media captures scenes of spontaneous jubilation across Lebanon as a ceasefire with Israel comes into force. Residents gathered in public squares, streets and coastal promenades, waving flags and expressing palpable relief after a period of heightened military alert.While detailed reports on the negotiations remain limited, the immediate public reaction underscores the deep desire for stability in a region long marked by intermittent hostilities. The footage, filmed in several Lebanese cities, shows crowds chanting, children playing, and local businesses reopening, signaling an early return to normalcy.Analysts note that the ceasefire, though fragile, offers a critical window for diplomatic engagement and humanitarian aid delivery to affected areas. The visible optimism among Lebanese citizens highlights the broader regional hope that de‑escalation can translate into lasting peace.