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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.

The 2026 World Cup has come under fire for its exorbitant ticket prices and extortionate travel costs. A bus journey from south Boston to Foxborough, a distance of just half an hour, will cost fans £70. This is on top of the already high ticket prices, with a match between England and Croatia costing £516 and a ticket to the final costing as much as £8,333. The FIFA premium has been accused of being a mob-style shakedown, with the governing body taking a significant portion of revenue from ticket sales, broadcasting, merchandising, and concessions. Host cities are left to bear the costs of infrastructure, security, and other expenses. This has led to creative means of recouping costs, including high parking fees and expensive public transportation. The secondary resale market is also a concern, with tickets sold at face value being resold at a heavy markup, with FIFA taking a 15% cut. This has led to criticism that the tournament is actively hostile to its spectators, with travel bans imposed on some competing countries and an intentionally difficult entry process. The result is a World Cup that actively dislikes its spectators, with a goal of maximizing profit at the expense of the fan experience. The tournament's financial model has been accused of being exploitative and joyless, with fans being squeezed for every last penny they are able to pay.

According to a recent report, the cost of a round‑trip train ticket from New York City’s Penn Station to MetLife Stadium could surge sevenfold to more than $100 during the 2026 FIFA World Cup.The Athletic cited sources familiar with NJ Transit’s pricing strategy, noting that the agency told Fox 5 New York the exact fare has not yet been finalized, with a decision expected in the coming days.At present, NJ Transit lists a standard round‑trip fare at $12.90, with discounted rates for children, seniors and passengers with disabilities. The proposed increase would eliminate these reduced‑price options, pushing the ticket price above the six‑figure mark for a single journey.Transportation costs have become a focal point of the World Cup debate, joining concerns over the sky‑high match tickets. For context, the Massachusetts Bay Transportation Authority recently raised its Boston‑to‑Gillette Stadium fare from $20 to $80 for the tournament.New Jersey Governor Mikie Sherrill emphasized her commitment to protecting taxpayers, stating that the state will not subsidize travel for World Cup spectators."When I came into office about two months ago, I immediately got to work on the World Cup," Sherrill said. "One of the key things I wanted to make sure of was that we were not going to be paying for moving people who were viewing the World Cup on the backs of New Jersey taxpayers and New Jersey commuters."NJ Transit estimates that operating its services for the eight World Cup matches at MetLife—including the July 19 final—will cost roughly $48 million.The agency added, "The ticket prices for match‑day travel have not been finalized. However, as the Governor has clearly stated, the cost for the eight matches will not be borne by our regular commuters."In February, Governor Sherrill cancelled a planned $5 million fan festival at Liberty State Park, redirecting the funds toward smaller watch parties and events across the state.Officials anticipate tens of thousands of fans will rely on the rail network to reach MetLife, especially as parking availability will be sharply reduced compared with typical concert or NFL game days. NorthJersey.com reported that portions of Penn Station will be reserved exclusively for World Cup ticket‑holders for a four‑hour window before each of the eight matches.

United Airlines CEO Scott Kirby reportedly pitched a merger with American Airlines to US President Donald Trump in late February, according to sources. This potential deal would combine the world's two largest carriers by available capacity, significantly impacting the global air travel industry.The proposed merger would be the largest consolidation move in the airline industry in at least a decade, combining the 'big four' US carriers – United, American, Delta, and Southwest – into the 'big three'. Collectively, these airlines already control 74% of passenger capacity in the US market.Shares in United rose 3.9% and American climbed 9.3% during early trading in New York on Tuesday following the report. However, critics warn that the deal would likely face intense opposition from unions, rival airlines, lawmakers, and airports due to concerns around overlapping routes and job losses.Experts also caution that a merger would have a detrimental impact on passengers, leading to fewer choices, higher ticket prices, and more fees. Ganesh Sitaraman, director of the Vanderbilt Policy Accelerator, described the potential merger as 'an absolute disaster for the flying public'.William McGee, a senior fellow for aviation and travel at the American Economic Liberties Project, called the proposed deal 'undoubtedly the most absurd airline merger I've ever heard about'. He emphasized that a single US carrier controlling nearly 40% of the market would be unprecedented and harmful to consumers.Despite these concerns, some stakeholders, such as Capt. Dennis Tajer, spokesperson for the Allied Pilots Association, approached the report with an open mind, highlighting American Airlines' financial and operational challenges under current management.

Qantas announced a fare increase and a 5% reduction in domestic capacity for May and June, responding to a rapid shift in passenger demand away from airlines that transit the conflict‑ridden Middle East. In a market update released on Tuesday, the carrier said it is redeploying aircraft from its U.S. and domestic networks to capture strong interest in Europe‑bound travel, especially to Paris and Rome. The move follows service cuts by Persian Gulf carriers such as Emirates, Etihad and Qatar Airways, which have scaled back flights amid the escalating Iran conflict. To accommodate the new focus, Qantas and its low‑cost arm Jetstar will cut capacity across their domestic networks by about 5%, trimming frequencies on key inter‑city routes and suspending several regional services. Four temporary suspensions will take effect in mid‑May: Melbourne‑Hamilton Island, Melbourne‑Coffs Harbour, Sydney‑Busselton and Darwin‑Gold Coast. In addition, the Adelaide‑Mount Gambier route will be discontinued indefinitely due to low demand and soaring fuel costs. The airline warned that its jet‑fuel expenses are set to rise sharply, projecting a second‑half 2026 fuel bill of $3.1‑$3.3 billion, up from the previously forecast $2.2 billion. This surge is driven by higher oil prices linked to the Iran conflict. To offset the cost pressure, Qantas has already raised ticket prices and signalled that “further action” – likely additional fare hikes – may be necessary. While airlines typically use hedging contracts to lock in fuel prices, the current volatility limits the effectiveness of such safeguards. Following the market update, Qantas shares slipped more than 3% in early trading before stabilising, reflecting investor concern over the combined impact of higher fares, reduced domestic capacity, and elevated fuel costs.

The 2018 World Cup in Russia served as a high‑profile platform for Vladimir Putin, showcasing his nation and bolstering his personal legitimacy. The tournament was effectively a diplomatic bow to the Kremlin’s ambitions.Fast‑forward to the summer of 2026, and the buildup to the event has taken on a distinctly American flavour, with the competition becoming a backdrop for Donald Trump’s political narrative.The next edition, slated for 2034 in Saudi Arabia, presents a fresh set of challenges. Despite the kingdom’s controversial human‑rights record, the event offers Crown Prince Mohammed bin Salman an opportunity to polish his and the nation’s image. FIFA’s current reluctance to enforce independent oversight of migrant‑worker conditions raises fears that construction could be as deadly as the 2022 Qatar experience.These developments underscore a pressing need to insulate the World Cup from the whims of powerful leaders. One proposed solution is to fragment the tournament—treating it like a monopoly that has become too dominant.Evidence that this approach is feasible already exists: the 2026 World Cup will be co‑hosted by three nations, and the 2030 edition is set to span six countries across three continents (Spain, Portugal, Morocco, Argentina, Paraguay, Uruguay).Building on that, the author suggests a radical redesign: allocate each group stage to a different global city—Paris, Rio de Janeiro, Tokyo, Sydney, Johannesburg, London, the Basque Country, and so on. Knock‑out rounds could be broken into three‑match clusters and scattered worldwide, with the semi‑finals, final, and third‑place match awarded to the highest‑bidding venue.Carbon‑footprint concerns are addressed by noting that teams already travel long distances to a single host nation; distributing groups based on the median distance to participating teams would not significantly increase emissions.Financially, the cost of staging a traditional, single‑host World Cup has ballooned, limiting the pool of viable bidders to those seeking political or economic leverage. A decentralized format would dilute any single leader’s ability—whether Trump, Putin, or the Saudi crown prince—to manipulate the event for personal gain.Decentralisation would still align with FIFA’s stated objectives: expanding the sport’s reach, creating a truly global spectacle, and bringing football closer to fans worldwide.While FIFA claims a fiduciary duty to maximise revenue for its 211 member associations—justifying steep ticket prices and controversial sponsorships—the proposed model could actually enhance revenue by turning each small cluster of matches into premium, high‑value events.Precedent exists in the form of Euro 2020, which, despite being postponed by the pandemic, successfully unfolded across 11 European cities, delivering record‑breaking goal tallies and strong attendance figures.In sum, the most effective way to protect the World Cup’s cultural significance and prevent its exploitation by authoritarian figures may be to deconstruct and disperse it globally, turning a single‑host behemoth into a series of interconnected, locally hosted celebrations of the sport.

Los Angeles residents are facing sticker shock over the presale ticket prices for the 2028 Olympics, with many expressing frustration over the high costs. The tickets, which went on sale for local residents on April 2, range in price from $28 to thousands of dollars.Many residents found that the lower-priced tickets quickly sold out or were unavailable for popular sports like gymnastics and track and field, leaving them with more expensive options. A 24% service fee was also added to the ticket prices, which some residents found excessive.One resident, Kathy Dorn, spent around $1,200 on tickets to watch the rhythmic and artistic gymnastics preliminaries and the sailing finals. She was deterred from buying a ticket to a swimming event due to the high price of $558 per ticket for a two-hour event.Another resident, Tony Anthony, spent $11,000 on eight tickets for track and field events, with nearly $400 going toward the service fee. He noted that the lower-priced tickets were not available during his time slot.The LA Olympics committee has defended the ticket prices, stating that most of the $28 tickets went to purchasers in southern California and Oklahoma City. They also noted that the ticket prices are meant to ensure that the Games can break even without burdening the city with costs.The high ticket prices have raised concerns among residents, particularly in Inglewood, where the opening ceremony and some events will take place. Some residents are worried that they will be priced out of attending the Games and will have to bear the burden of traffic, congestion, and noise during the events.

Rachel Zegler has hailed the accessibility of Evita's free balcony scene, which became a landmark moment for London sightseers during the show's run last summer. The scene, which featured Zegler performing 'Don't Cry for Me Argentina' from the balcony of the London Palladium to crowds gathered on the street below, was a groundbreaking moment in theatre. At the Olivier awards on Sunday night, Zegler delivered the song again – this time on the stage of the Royal Albert Hall – and took home the award for best actress in a musical. Host Nick Mohammed noted that Zegler had become 'a new landmark for London sightseers' during Evita's run, allowing people who hadn't bought a ticket to watch the performance live for free on a giant screen. Zegler described Evita's director, Jamie Lloyd, as a 'genius' for staging the scene in such a way, giving 'a piece of theatre, just in the street' to young people who may not be able to afford West End ticket prices. 'It's so beautiful that Jamie Lloyd made such an accessible moment of theatre for people to walk by and witness something really, really cool,' she said. The actor, whose musical films include West Side Story and Snow White, praised Londoners for making her feel welcome and described those who had waited outside to watch the balcony scene as being 'so giving with their energy and love'. Zegler also acknowledged the difficulty of replicating the balcony scene, but she and Andrew Lloyd Webber have spoken of their hope that Evita will transfer to Broadway. Evita picked up two awards from five nominations at the Olivier awards, with choreographer Fabian Aloise also recognised for his work. The show was beaten to the prize for best musical revival by Into the Woods at the Bridge theatre.

Despite a three‑game winless run that has seen Liverpool knocked out of the FA Cup by Manchester City and trailing Paris Saint‑Germain 2‑0 in the Champions League quarter‑final, manager Arne Slot insists he feels "complete support" from both the club’s hierarchy and its supporters. Slot told reporters that sporting director Richard Hughes and chief executive Michael Edwards stand firmly behind him. He added that, surprisingly, the fans have also shown solidarity, chanting "We love Liverpool" even after the 4‑0 defeat to City. With Liverpool perched in fifth place in the Premier League – the final Champions League qualification slot – and Chelsea just one point behind, the upcoming home fixture against Fulham carries heightened importance for the club’s European ambitions. Off the pitch, a faction of supporters is organising a protest at Anfield over the owners’ plan to raise ticket prices. The movement recalls a 2016 demonstration when roughly 10,000 fans exited a match to oppose a similar price hike, eventually forcing the American owners to retreat. Slot expressed hope that the iconic Anfield atmosphere will remain intact, stating, "Anfield has always shown its importance in both good and tough times, and I trust the fans will continue to be a positive force, even during protest." In related news, Slot paid tribute to Andy Robertson, who will depart after a nine‑year spell at the club. The Scotland captain, now out of contract, has seen his role diminish following the arrival of left‑back Milos Kerkez. Slot described Robertson as a "great player and a great person" who has served Liverpool loyally for nearly a decade. Overall, Slot’s message underscores a belief that the club’s internal cohesion and the unwavering passion of its fanbase can help navigate the current challenges on and off the field.