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Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

AI‑Driven Power Race The AI boom is prompting the biggest wave of power‑infrastructure investment since the early days of cloud computing. Companies are scrambling to lock in natural‑gas supplies and build on‑site generators, a move that could reshape electricity markets in the southern United States. Scale of the Projects Microsoft is partnering with Chevron and Engine No. 1 to construct a natural‑gas plant in West Texas that could reach 5 GW of capacity. Google has confirmed a collaboration with Crusoe for a 933 MW plant in North Texas. Meta is adding seven more plants to its Hyperion data‑center complex in Louisiana, bringing total on‑site capacity to 7.46 GW—enough, the company notes, to power the entire state of South Dakota. Combined, these projects exceed 13 GW, roughly equivalent to the average electricity demand of a mid‑size U.S. state. Supply Constraints and Cost Pressures Wood Mackenzie warns that turbine prices have surged 195% versus 2019 levels. If a 2020 turbine cost $1 million, the same unit now costs about $2.95 million, inflating the equipment share of a plant’s budget from 20% to up to 30%. The consultancy also notes a six‑year lead time for turbine delivery, meaning new orders cannot be placed until 2028. This bottleneck could delay the rollout of additional capacity precisely when AI workloads are accelerating. Resource Availability and Market Risks The U.S. Geological Survey estimates that a single gas‑rich region holds enough supply to power the entire United States for 10 months. While abundant, production growth in the three leading shale basins—responsible for three‑quarters of U.S. output—has slowed, tightening the long‑term outlook. Natural gas accounts for about 40% of U.S. electricity generation (EIA). Consequently, any spike in gas prices reverberates through wholesale electricity markets, raising the cost of power for all consumers, not just data‑center operators. Strategic Risks for Tech Companies Behind‑the‑meter gas plants allow firms to claim “self‑supply,” but they merely shift demand from the public grid to the gas grid, potentially driving up wholesale gas prices. Industrial users—petrochemical plants, fertilizer manufacturers—cannot easily substitute gas with renewables, so they may push back against large‑scale data‑center consumption. Extreme weather, such as the 2021 Texas freeze, can curtail wellhead output, forcing a choice between keeping AI workloads online or supplying heat to households. In sum, the AI‑driven rush for natural‑gas power plants highlights a fundamental physical constraint: the digital economy still depends on finite, market‑sensitive energy resources. Betting heavily on a commodity that can swing dramatically in price may prove costly if AI growth plateaus or if gas supply tightens.

Israel’s military announced plans to bomb the Sohmor and Mashghara bridges spanning the Litani River in the western Bekaa Valley, stating they are being used by Hezbollah. The threat comes as Israeli forces intensify a ground invasion that began in early March. Al Jazeera reporter Obaida Hitto described the two spans as “the main arteries for goods, for people, for movement” between the rest of Lebanon and the western Bekaa. He warned that their destruction would effectively isolate the western Bekaa, making it extremely difficult for residents to reach the hub of Chtoura, hospitals, and other essential services. According to the same source, Israel has already demolished at least six other bridges over the Litani River since the offensive escalated in early March, signalling a systematic effort to sever transport links. Human‑rights organisations have condemned the targeting of civilian infrastructure, arguing that the strategy appears designed to isolate the region and contravene international humanitarian law. The deepening ground operation, announced last week, also includes plans to raze “scores of residential homes,” raising further concerns about the scale of civilian displacement. On Friday, the South Lebanon Water Establishment reported that Israeli strikes damaged critical water facilities in Ibl al‑Saqi and al‑Maysat, and impaired solar‑power installations at several stations. The authority called the attacks a “clear and explicit violation of all international conventions and norms” protecting civilian services. In the same wave of violence, the National News Agency (NNA) confirmed that four people were killed across Lebanon on Friday, including two worshippers exiting a mosque in the western Bekaa town of Sahmar. Since the conflict erupted on 2 March, more than 1.2 million people have been forced from their homes, according to UN data. Lebanon’s Ministry of Public Health cites a death toll of 1,345 and over 4,000 wounded nationwide. The fighting has also claimed the lives of at least three United Nations peacekeepers this week, with two additional peacekeepers seriously injured after an explosion near a UN position in al‑Adaissah. UNIFIL spokesperson Kandice Ardiel urged all parties to respect the safety of peacekeepers, emphasizing that combat activities must not endanger UN personnel.

Ukraine has made significant gains on the battlefield, halving the Russian rate of advance in the past three months and reclaiming 470sq km of occupied territory this year. The country's military has also dealt a major blow to Russia's oil export capacity, striking key terminals and refineries, including Ust-Luga and Primorsk, which account for about 60% of Russia's oil export capacity.Ukrainian President Volodymyr Zelenskyy has secured agreements with several Gulf states, including Saudi Arabia, the UAE, and Qatar, to export Ukrainian drone know-how in return for joint drone production support. This has enabled Ukraine to increase its drone production and effectively counter Russian advances.The Ukrainian military has also targeted Russian munitions production, striking the Promsintez explosives plant in the Samara region, which produces 30,000 tonnes of military explosives annually. According to estimates, Russia has lost 45% of its missile production capacity due to Ukrainian strikes.In response to Ukrainian attacks, Russia has begun to extend its drone strikes throughout the day, imitating Iran's tactics against the US and Israel. However, Ukraine has successfully shot down over 90% of the drones launched by Russia.

At the Oxford Brookes Headington campus, a group of over 100 students are working tirelessly to build the fastest and best-designed race car possible for this year’s Formula Student competition.The Oxford Brookes Racing (OBR) team, the UK’s most prestigious Formula Student team, has won more design awards than any other UK university and frequently secures top spots in the international race held annually at Silverstone.Success in the competition is crucial as it gets the team noticed by the industry, where a handful of engineering jobs can have upwards of 10,000 applicants. Several OBR alumni are currently working in every Formula One team.“A lot of the coverage on TV is based around the drivers, but not really the actual engineers,” said Thomas Cawdery, a team manager and third-year motorsports technology student. “This is what you don’t see in Formula One. The engineers who make it happen.”The OBR team is entirely run by students and operates out of two buildings, where scores of people are working hard – cutting and shaping carbon fibre chassis by hand, and running simulations on computers. Students of all ages are teaching and learning from one another.While actual Formula One cars have much more power than the students are allowed for safety reasons, the complexity of the cars is very similar. “They’re the same if not more complex than Formula One cars,” Cawdery said.The OBR team surpasses industry expectations in some aspects, particularly in terms of gender balance. Unlike most Formula One teams, where only about 10% of engineers are women, OBR has a much better gender balance.Emma Deery, a first-year mechanical engineering student, finds the inclusive environment encouraging. “In the industry, a lot of women find themselves the only woman on their team. Here it’s different. We have a lot more women and a lot of women in leadership roles.”The OBR team will compete for the top spot this summer against 102 other teams from 27 countries. The competition is a useful recruitment tool for big industry names, as it showcases innovative engineering skills.Ross Brawn, the legendary former team principal, once said, “There are two really innovative forms of motorsport left. One of them is Formula One and the other one is Formula Student.”

The Royal Shakespeare Company's upcoming production of Bertolt Brecht's 'The Resistible Rise of Arturo Ui' offers a timely warning against the rise of fascism, echoing current events in Britain and the US. The play, a satire about the rise of Hitler, features Mark Gatiss as Arturo Ui and music by the alternative rock band Placebo.Gatiss notes that the rhetoric used by Arturo Ui is 'the same rhetoric today', describing it as 'really frightening'. The play's themes of corruption, violence, and the dangers of unchecked power are as relevant today as they were when Brecht wrote the play in 1941.The production features a unique blend of music and theatre, with Placebo's Brian Molko and Stefan Olsdal creating a score that captures the brutality and urgency of the play. The music is designed to be 'loud and abrasive', with Molko describing the process of creating the score as 'like being in a dark room and feeling your way around'.Gatiss, who has a history of playing villains, says that he has put a moratorium on playing characters akin to Sherlock's Mycroft Holmes, but was drawn to the role of Arturo Ui after seeing a production at Darlington Civic Theatre with Robin Askwith in the lead. The play's director, Seán Linnen, encouraged the cast to experiment and find new ways to bring the play to life.The production's themes and message are particularly relevant in today's world, with Gatiss stating that 'we feel helpless' in the face of rising fascism. The play's epilogue, which calls on the audience to act against the rise of fascism, still gives Gatiss 'goosebumps'. As Gatiss notes, 'you have to do something. Go down swinging, at least.'

A recent performance at the Royal Festival Hall by the renowned Argentinian pianist Martha Argerich and her Korean mentee Dong-Hyek Lim left the audience in awe. The duo's setlist included Mozart's Sonata for Two Pianos in D Major K448 and Ravel's two-piano arrangement of La Valse, as well as a surprise encore of Schubert's Fantasia in F minor D940.The performance was marked by a sense of gentle anarchy, with Argerich and Lim chatting and occasionally bowing between works. Their onstage negotiations about swapping pianos and furious looks at page-turners added to the charm. The audience was treated to moments of astonishing pianistic ventriloquism, particularly in the second movement of the Mozart sonata, where Lim imitated Argerich's gossamer touch in a breathtaking sotto voce passage.Argerich, widely regarded as the greatest pianist alive today, brought her unique touch to the performance, conjuring 50 shades of grey in the Schubert and veiled, suspended-animation pianissimo in portions of the Rachmaninov. Lim, on the other hand, favoured bright attack and primary colours. The Ravel arrangement was deliciously muddy, with the work's intoxicating pulse gradually rising from the depths as the two pianists exchanged bass detonations.The encore, a monumental 20-minute rendition of Schubert's Fantasia, was a testament to the duo's exceptional chemistry and skill. Argerich pushed forwards, ever-faster, her hands barely skimming the keyboard, as Lim scrambled to keep up, the waltz teetering on the brink of catastrophe in a high-wire act that couldn't have been more thrilling.

Bath’s historic Farleigh House training centre has been spruced up this week with black flags fluttering alongside a new “Choose Greatness” banner, signalling the club’s ambition as they approach a Champions Cup last‑16 tie with Saracens. For Max Ojomoh, the atmosphere feels like a personal challenge. Just weeks after collecting the Man of the Match award for his decisive performance against Argentina, the 25‑year‑old found himself omitted from Steve Borthwick’s Six Nations squad. Ojomoh believes that a dominant display for Bath – especially after the 62‑15 demolition of Saracens in the Premiership – could revive his England prospects, but he also acknowledges that national selectors may have a specific back‑line profile in mind for the upcoming World Cup. Reflecting on his Argentina heroics, Ojomoh said, “If that was my final Test, I’m happy to have left a mark on international rugby.” Yet the disappointment of watching England lose to Ireland from a Moroccan pub underscores how close the margins are for a player on the fringe. He explained the selection dilemma: with centre Ollie Lawrence returning from injury, the squad needed a more physical ball‑carrier, and Ojomoh’s role as a second‑receiver/playmaker meant he was the one to make way. England’s coaching staff have asked him to sharpen three key areas – post‑contact metres, defensive intensity and overall work‑rate. While these are valid targets, Ojomoh points out that few English centres combine his blend of pace, vision and creative kicking. Back at Bath, his partnership with newly‑signed Finn Russell has blossomed. “When we signed Finn, I didn’t expect us to think alike on attack,” Ojomoh remarked, highlighting a shared instinct that fuels his confidence. Coach Johann van Graan’s influence is evident, with the club’s motivational signage and a focused training environment that Ojomoh describes as “single‑minded”. He hopes the upcoming match will provide a platform for a first home Champions Cup quarter‑final since 2002. Family wisdom also plays a role; his father, former England centre Steve Ojomoh, reminded him that “the cream always rises to the top”. With a business degree from the University of Bath and a hobby of online chess, the younger Ojomoh is aware that consistent club performances could shift national perception. Looking ahead, Ojomoh is determined to make the 2027 World Cup squad. He admits that obsession over selection can be self‑destructive, emphasizing the need for mental clarity and playing with the same confidence he shows in his head. As Bath prepares for the high‑stakes clash with Saracens, Ojomoh’s mantra remains clear: choose greatness, stay true to his strengths, and let his on‑field X‑factor speak for itself.

Nearly three decades after the groundbreaking debut Endtroducing….. first hit shelves, DJ Shadow is once again revisiting his back catalogue. Following a celebrated 25th‑anniversary reissue that was remastered at Abbey Road Studios, the Californian producer is preparing a new archival release.In May, Shadow will issue The Mo’Wax Singles 1993‑1997, a meticulously curated box set that compiles eight 12‑inch records of his original singles for James Lavelle’s Mo’Wax label. The collection also includes alternative mixes, brand‑new artwork, and material recovered from dusty DAT tapes and original master mixes.“This box wasn’t made for the casual listener, it was made with the hardcore fan in mind,” Shadow explained in a statement. “I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.”With the release timed to a period of reflection, Shadow is opening the floor to fans and journalists alike. He invites readers to submit questions about his pioneering sampling techniques, collaborations ranging from Wong Kar‑wai and Zack de la Rocha to Danny Brown and Deftones, and even the infamous Miami Beach show that was halted for being “too future.”Submit your queries in the comments by 6 pm BST on 8 April, and the most compelling answers will be featured in an upcoming issue of Film & Music.