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New Jersey Governor Mikie Sherrill publicly challenged FIFA after reports surfaced that round‑trip train tickets from New York’s Penn Station to MetLife Stadium could exceed $100 for the 2026 World Cup. Current NJ Transit listings show a standard fare of $12.90 for the same route, but a recent The Athletic report suggests the price could jump dramatically, with no discounts for children, seniors or people with disabilities. NJ Transit told Fox 5 New York that the final fare has not yet been set, but a decision is expected within days. In a social‑media post, Governor Sherrill emphasized that the state inherited an agreement in which FIFA contributes $0 toward transportation, leaving New Jersey Transit with a projected $48 million bill to safely move an estimated 40,000 fans to each of the eight matches, including the final. "FIFA is making $11 billion off this World Cup and charging fans up to $10,000 for a single ticket for the final," Sherrill said. "I won’t let New Jersey commuters shoulder that cost. FIFA should pay for the rides, and if they don’t, I won’t let our residents be taken for a ride." Sherrill added that she would approve any fare increase if FIFA does not intervene, stating, "I will, if that’s what it takes, because I’m not putting it on the backs of New Jerseyans." On Wednesday, NJ Transit’s board unanimously passed a resolution empowering CEO Kris Kolluri to set World Cup rail fares at levels sufficient to "cover any and all costs" associated with transporting the projected fan volume. Kolluri confirmed that the fare structure will not be cross‑subsidized by regular commuters. New York City Mayor Zohran Mamdani backed Sherrill’s stance, noting that FIFA often offloads costs onto local municipalities and suggesting that a partnership could make the event more affordable for everyone. FIFA responded by highlighting the original 2018 Host City Agreements, which required free transportation for fans, and noting a 2023 amendment that shifted to a "cost‑to‑use" model. The organization also claimed it had advocated for federal funding to support host‑city mobility plans. Sherrill, a Democrat elected last year on a platform of affordability, has already redirected $5 million earmarked for a fan festival at Liberty State Park toward smaller watch parties across the state. Transportation pricing for this World Cup has become a broader discussion, with Massachusetts raising its Boston‑to‑Foxborough fare from $20 to $80, underscoring growing concerns over fan‑accessibility and cost burdens.

For the first time in Hollywood history, an authorized generative‑AI version of a major star headlines a feature film. The western As Deep As the Grave showcases a digitally recreated Val Kilmer, whose voice was synthesized by UK‑based firm Sonantic using archival recordings. The project, delayed by Kilmer’s death in April 2025, received full cooperation from his estate and his daughter Mercedes, who helped craft the visual deep‑fake of the actor. Mercedes Kilmer confirmed that her father embraced emerging technologies as a storytelling tool, a sentiment the filmmakers say they honored throughout production. At Wednesday’s CinemaCon trade show in Las Vegas, the trailer revealed that Kilmer’s character, Father Fintan—a Catholic priest and Native American spiritualist—appears for roughly one hour of screen time. The footage shows the priest at different ages, including a spectral elder who advises a child, “Don’t fear the dead and don’t fear me.” Writer‑director Coerte Voorhees explained that the narrative was built around Kilmer’s heritage and his love of the Southwest. He added that the production adhered to SAG‑AFTRA guidelines and that the estate was financially compensated for the use of archival material. The film also stars Tom Felton, Abigail Breslin and Abigail Lawrie. In a March interview with Variety, Voorhees noted that Kilmer’s family repeatedly emphasized the project’s importance to the late actor. The Kilmer case follows a growing trend of AI‑generated performances. In 2022, Bruce Willis consented to a digital twin after a dementia diagnosis, while actors such as Matthew McConaughey and Michael Caine have licensed their voices to AI firms for approved uses. Estates of legends like Laurence Olivier, Judy Garland and James Dean have similarly partnered with the marketplace ElevenLabs. Beyond film, celebrities are exploring AI for digital meet‑and‑greets; Paris Hilton and Kendall Jenner have reportedly signed deals with Meta for AI‑powered appearances on Instagram, and users can even query an AI version of Deepak Chopra for advice on a range of topics. Nevertheless, some stars remain cautious. Morgan Freeman, Tom Hanks and Scarlett Johansson have publicly expressed skepticism about deep‑fake replicas of their likenesses.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

Massive Attack has returned with their first single in a decade, 'Boots on the Ground', featuring the iconic voice of Tom Waits. The song is a seven-minute track that showcases the band's signature dark and experimental sound.The song's release marks a significant event in the music world, especially given Massive Attack's influential history in shaping the trip-hop genre with their debut album Blue Lines in the 90s. The band's music has since evolved to incorporate more abstract and disquieting elements, as evident in 'Boots on the Ground'.The track features a haunting intro and coda with Tom Waits's labored breathing, creating an unsettling atmosphere. Waits's vocals are unmistakable, and his presence elevates the song to a new level of intensity. The lyrics are surreal and disturbing, tackling themes of violence and authority.The song's accompanying video features the work of a documentary photographer, showcasing powerful images of Black Lives Matter protests, ICE raids, and homeless veterans. This visual component adds to the song's impact, making it a thought-provoking and timely release.'Boots on the Ground' is a fitting addition to Massive Attack's discography, reflecting the band's continued ability to push boundaries and create music that resonates with the current times. The song's dark and ominous tone, combined with Tom Waits's haunting vocals, makes it a standout track in the band's oeuvre.

The Broadway adaptation of The Fear of 13, a play by Lindsey Ferrentino, has been described as sturdy and dependable, but ultimately unremarkable. The play tells the true story of Nick Yarris, who spent 22 years on death row for a crime he did not commit.Based on Yarris's memoir and documentary, the play follows his journey from a troubled youth to his wrongful conviction and eventual exoneration through DNA evidence. Despite its powerful subject matter, the play's execution feels safe and conventional, lacking the depth and inventiveness needed to make a lasting impact.The cast, featuring Adrien Brody and Tessa Thompson, delivers solid performances, with Thompson bringing warmth and understatement to her role as Jacki, Yarris's love interest. However, the play's structure has been criticized for being lopsided, with too much focus on setting up the story and not enough on the emotional depth of the characters.Ferrentino's writing is crisp and propulsive at times, but falters when attempting more lyrical moments, such as the play's final monologue, which falls into vagueness and cliché. The play's themes of hope, perseverance, and the beauty of everyday life are worthy, but not particularly new or insightful.Overall, while The Fear of 13 is a well-crafted and engaging play, it ultimately feels like a fleeting experience that fails to leave a lasting impact on the audience.

When Capcom first unveiled Pragmata alongside the PlayStation 5 in 2020, the teaser promised high‑octane space action. Six years later, the game finally launched on April 17, 2026 at a retail price of £49.99, revealing a narrative that leans more toward emotional storytelling than pure spectacle.Set on a moon‑based research outpost operated by the fictional Delphi corporation, the story revolves around a cutting‑edge 3D‑printing material called Lunafilament. When the station loses power, Earth‑based engineer Hugh is dispatched to investigate, only to discover a silent, half‑printed landscape littered with abandoned tools and unfinished constructs.Gameplay hinges on a novel hacking mechanic. Hugh is accompanied by Diana, a 3D‑printed android designed to resemble a six‑year‑old girl, who can infiltrate enemy code in real time. Players trigger a side‑screen mini‑game that reveals robotic foes’ weak points, turning combat into a blend of reflex shooting and strategic code‑breaking reminiscent of classic handheld RPGs.Beyond the mechanics, the title’s emotional core emerges through the evolving bond between Hugh and Diana. Their interactions feel organic, with Diana sketching pictures, playing hide‑and‑seek, and gradually learning about humanity through Hugh’s stories. This father‑daughter dynamic avoids saccharine tropes, instead offering moments that genuinely resonate.Exploration rewards curiosity: the lunar base gives way to tropical jungles, sun‑kissed beaches, and a half‑printed recreation of New York City. An underground shelter functions as a hub for upgrades, training simulations, and further character development, echoing the atmospheric pacing of titles like Death Stranding.Visually, the game benefits from the direction of Cho Yonghee, known for the acclaimed Nier: Automata. Despite its ambitious art direction, Pragmata runs smoothly on both the high‑end PS5 Pro and the portable Switch 2, demonstrating impressive optimization across hardware tiers.In sum, Pragmata stands out as a beautifully crafted single‑player adventure that marries inventive combat with a surprisingly moving narrative. Its blend of sci‑fi aesthetics, heartfelt storytelling, and polished performance makes it a noteworthy addition to the current generation of console releases.

Sudan, one of the world's most impoverished countries, has been ravaged by a civil war that began in 2023. The conflict, driven by a power struggle between the army and the paramilitary Rapid Support Forces (RSF), has left the nation unrecognizable. Over 40,000 people have been killed, and about 14 million – a quarter of the population – have been forced to flee their homes. Civilian infrastructure across the country has been extensively damaged.“We are not just facing a crisis – we are witnessing the systematic erosion of a country’s future,” Luca Renda, the United Nations Development Programme’s (UNDP’s) resident representative in Sudan, told Al Jazeera. A report by the UNDP and the Institute for Security Studies highlights the scale of Sudan’s economic collapse. Even under the most optimistic scenario of peace being achieved in 2026, Sudan would still lose an estimated $18.8 billion in gross domestic product (GDP) by 2043.The war has had a devastating impact on Sudan's infrastructure and basic services. $6.4 billion was lost in GDP in 2023 alone, reflecting a simultaneous collapse across all major parts of Sudan’s economy. The destruction of infrastructure has triggered displacement and made it difficult for people to secure adequate housing or access basic services. Up to 40 percent of power generation capacity has been lost, and key water infrastructure has been destroyed or seized, cutting communities off from clean water and sanitation.The labor market has also been severely affected, with agriculture – once the backbone of Sudan’s economy – severely hit. Cultivated land has shrunk, adversely impacting rural livelihoods. Average incomes have fallen back to levels last seen in 1992. About 90 percent of manufacturing activity has been destroyed in key economic hubs, eliminating thousands of jobs.The oil industry has suffered significantly, with oil output falling amid widespread instability and infrastructure damage. The Khartoum refinery, which previously processed up to 100,000 barrels per day, has been out of operation since July 2023. Key infrastructure, including pipeline routes carrying crude to Port Sudan, has been hit.The collapse of the Sudanese pound and supply chains has caused a sharp rise in living costs. Food prices have surged, with four pieces of bread now costing about 1,000 pounds, an amount that had previously bought six pieces. Wages have failed to catch up with inflation, leaving many households without access to necessities. Nearly half the population is now experiencing acute food shortages.The economic collapse has had a profound impact on Sudan's people, with 34 million people in need of assistance and 19 million facing acute food shortages. The war has caused death, trauma, and profound loss, casting a long shadow over Sudan’s future and dimming the prospects of a generation whose lives are being shaped by violence. If the conflict continues to 2030, Sudan’s economy in 2043 would be about $34.5 billion smaller than it would have been without the war, and GDP per capita would drop by roughly $1,700.

Antonio Guterres urged the international community to stop all arms shipments to Sudan as the conflict entered its fourth year, warning that the continued flow of weapons threatens to exacerbate an already dire humanitarian situation. The UN chief highlighted that the protracted war has led to massive civilian casualties, displacement, and a collapse of essential services, and that further arming of warring factions will only deepen the crisis. Guterres called on regional powers and global suppliers to honor existing embargoes and to cooperate with UN mechanisms aimed at monitoring and restricting illicit arms transfers. He emphasized that a decisive halt to weapon deliveries is a prerequisite for any meaningful peace negotiations and for restoring stability in the Horn of Africa. While the statement did not specify new sanctions, the appeal underscores the UN’s growing frustration with the lack of progress in diplomatic efforts and the persistent inflow of arms that fuels the conflict. International observers note that curbing the arms flow could create a more favorable environment for ceasefire talks, potentially easing the suffering of millions of Sudanese who have endured years of violence and displacement.

On the third anniversary of Sudan's civil war, international donors have pledged $1.5 billion in humanitarian aid to alleviate the suffering of millions affected by the conflict. The pledges were made during a conference in Berlin, attended by about a dozen foreign ministers and over 60 delegations.United Nations Secretary-General Antonio Guterres described the anniversary as a 'tragic milestone in a conflict that has shattered a country of immense promise.' He emphasized that the consequences of the war are not confined to Sudan, but are destabilizing the wider region.The conflict in Sudan began in April 2023, when fighting erupted between the military and the paramilitary Rapid Support Forces (RSF) after a long-simmering power struggle. The war has resulted in nearly 34 million people needing humanitarian assistance and over 4.5 million being forced to flee their homes.Guterres also highlighted the dire situation for women and girls in Sudan, who have been terrorized and subjected to systematic sexual violence. The conference aimed to not only rally donors but also to help revive stalled negotiations to end the fighting, although the two sides fighting the war were excluded.Sudan's Ministry of Foreign Affairs criticized the meeting as a 'colonial tutelage approach,' accusing Western leaders of trying to impose their agenda and vision without consulting or coordinating with Khartoum. The ministry stated that it 'will not accept that countries and regional and international organizations convene to decide on its affairs and bypass the Sudanese government under the pretext of neutrality.'German Foreign Minister Johann Wadephul announced that his country pledged 212 million euros ($250m) in humanitarian aid and thanked donors for their pledges. He emphasized that the aid will help alleviate the suffering of the people in Sudan, save lives, and show that the conflict has not been forgotten.