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Iran’s foreign minister Abbas Araghchi posted on X that, in line with the 10‑day Israel‑Lebanon ceasefire, the Strait of Hormuz is "completely open" for all commercial vessels for the remainder of the truce. The declaration follows a fragile agreement between Israel and Lebanon, whose acceptance by Hezbollah remains uncertain. The Iranian Ports and Maritime Organisation has already outlined a coordinated routing system for vessels, ensuring that traffic proceeds under strict supervision by the Islamic Revolutionary Guard Corps Navy, which will permit only non‑military ships. U.S. President Donald Trump echoed the openness of the strait in a social‑media post, emphasizing that it is "ready for business and full passage." However, he added that the U.S. naval blockade will continue "until Iran reaches a deal with the United States to end the war," signalling that commercial freedom does not equate to a lift of sanctions. Trump also claimed that Iran has pledged to "never close the Strait of Hormuz again," describing the waterway’s previous use as a "weapon against the world." A senior Iranian military official clarified that this promise applies solely to non‑military vessels, with IRGC Navy oversight. The conflict, which began on 28 February, has already claimed over 3,000 lives and saw Iran previously block the strait—a chokepoint through which roughly 20% of global oil and LNG shipments flow. After stalled U.S.–Iran talks in Pakistan, the United States expanded its blockade to Iranian ports in the Gulf. In Washington, Trump reiterated his administration’s pressure on Tehran to abandon its nuclear ambitions. He suggested a potential "cash‑for‑uranium" deal worth $20 billion, later describing the prospect of acquiring Iran’s "nuclear dust" without payment—a claim dismissed by Iran’s state media, which said no such negotiations ever occurred. Trump also announced that Israel is now "prohibited" from bombing Lebanon, stating that any U.S.–Iran agreement is not contingent on developments in Lebanon. UN peacekeepers reported no air attacks since midnight, though they accused Israeli forces of violating Lebanese airspace and conducting artillery fire. According to the U.S. Department of State, Israel may act in self‑defence against imminent threats but is barred from offensive operations in southern Lebanon. Senior analyst Mairav Zonszein of the International Crisis Group described the direct talks between Lebanon and Israel as a "potential breakthrough," while cautioning that a durable settlement remains distant. He noted that a diplomatic track strengthening the Lebanese government could gradually diminish Hezbollah’s political influence. Overall, the simultaneous declaration of an open strait and the continuation of a U.S. blockade underscores the complex interplay of commercial interests, regional security, and the broader quest for a diplomatic resolution to the Middle‑East conflict.

Ukraine has significantly damaged or destroyed a substantial amount of Russian oil and gas infrastructure over the past two weeks. This has led Russia to warn European countries and industries about funding Ukraine's long-range drone production, citing a potential escalation of the military and political situation in Europe. Russia's defence ministry stated that European leaders' decisions to support Ukraine's drone production are 'deliberate steps leading to a sharp escalation of the military and political situation on the entire European continent.' The ministry also warned of 'unpredictable consequences' and accused European leaders of 'dragging their countries into a war with Russia.' The warning came after Ukraine secured new agreements with European defence companies this week. Notably, Germany agreed to invest 300 million euros ($355m) in Ukraine's long-range strike capability and will separately invest in 5,000 mid-range attack drones. Norway also signed an agreement with Ukraine for joint drone production and donated 560 million euros ($661.5m) to support Ukrainian front lines. Ukraine's strikes have targeted various Russian oil infrastructure, including drilling platforms, pipelines, pumping stations, offloading terminals, and refineries. These strikes have been confirmed by geolocated video footage or Russian officials. In the past week alone, Ukraine struck two drilling platforms in the northern Caspian Sea, two oil pumping stations, an oil depot, an ammonia plant, a petrochemical plant, and an oil export terminal and refinery. Russia has missed out on $23bn windfall profit in March due to Ukraine's strikes, which have destroyed its ability to export at least 2 million barrels of oil a day. The strikes have hit a range of targets, causing significant financial losses for Russia. Ukrainian President Volodymyr Zelenskyy justified the attacks, stating that 'only significant financial losses force Russia to consider a scenario of abandoning this war.' The situation highlights the ongoing conflict between Ukraine and Russia, with European countries playing a crucial role in supporting Ukraine's military capabilities.

British food critic and journalist Grace Dent and Irish chef Anna Haugh have taken over as the new co-hosts of the popular cooking competition MasterChef. The duo, who have previously served as guest judges on the show, bring their unique blend of humor, warmth, and culinary expertise to the program.Dent, who grew up watching MasterChef with her father, says she never imagined she'd be hosting the show. 'We used to laugh our heads off at the critics,' she recalls. 'Just utterly ridiculous people, with their overblown egos, thinking their opinions on food matter. Who are these people?'Haugh and Dent make a wonderful pair, with Dent being funny and warm, and Haugh being pristine in her chef's whites and demanding of excellence. They come from working-class families and have succeeded in male-dominated fields. Dent believes that 'tenacity, hard work' are key to success, while Haugh thinks that 'success is authenticity. It's being able to pay your bills, [but] it's not about somebody else telling you that you're great. You have to be able to acknowledge it yourself.'The new hosts are focused on celebrating culinary ambition and promoting opportunities in the hospitality industry. 'MasterChef opens that door,' says Haugh. 'Tons of people, whether they win the show or not, enter into hospitality because they entered MasterChef. Our industry really needs that.'MasterChef starts on Tuesday, April 21, on BBC One at 9 pm. Don't miss the new season with Dent and Haugh at the helm!

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.

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.

Air Canada announced a temporary pause on a handful of routes departing from Toronto and Montreal to New York’s John F. Kennedy airport, attributing the decision to sharply rising jet‑fuel costs. The suspension comes as airlines worldwide grapple with fuel price spikes triggered by the ongoing US‑Israel war with Iran. Although the Strait of Hormuz reopened earlier this month, easing some oil‑price pressure, jet‑fuel costs remain markedly higher than before the conflict. In a related development, Spirit Airlines has appealed to the U.S. government for emergency financing worth hundreds of millions of dollars to mitigate its own fuel‑price surge, according to industry source reports. Air Canada explained that jet‑fuel prices have doubled since the start of the Iran conflict, rendering several lower‑margin routes financially untenable. The carrier said it is implementing “schedule adjustments, including frequency reductions,” to preserve overall network viability. Effective June 1, the airline will halt one Montreal‑to‑New York flight and three Toronto‑to‑New York flights, with service slated to resume on October 25. Additional temporary suspensions include the Salt Lake City‑Toronto corridor, which will be paused from June 30 and is not expected to return until 2027, as well as a postponed launch of a Guadalajara‑to‑Montreal service. Air Canada estimates the changes will impact about 1 % of its total passenger‑carrying capacity. Affected passengers will be offered alternative travel options, with the airline continuing to operate to LaGuardia and Newark airports 34 times daily across six Canadian cities. The move mirrors broader industry pressures: British low‑cost carrier easyJet projects a pre‑tax loss of £540‑£560 million for the six‑month period ending March, while Australian airlines Qantas and Virgin Australia have announced fare hikes and reduced flight frequencies. Moreover, the International Energy Agency warned that Europe possesses only six weeks of jet‑fuel reserves, raising concerns that further supply disruptions could trigger additional flight cancellations.

The world of cinema is often associated with scripted perfection, but a growing trend on social media suggests that some of the most iconic lines and scenes were improvised on the spot. However, this claim is often far from the truth.Across the internet, content creators are spreading misinformation about famous movie scenes, claiming that they were made up on the spot. For example, Al Pacino's kiss of death in The Godfather II and Heath Ledger's frustration in The Dark Knight are often cited as examples of improvisation.However, these claims are often fabricated and have been debunked by industry insiders. The accounts that spread these lies tend to have a lot in common, including a focus on "history" in their handles and a formulaic approach to their content.The trend is driven by a desire for engagement and profit. Social media platforms reward creators for making content that generates likes, replies, and shares, and some creators are taking advantage of this by spreading misinformation.Despite the fact that many commenters are savvy enough to point out the errors in these claims, they are still helping creators to profit. And while some creators may not be intentionally lying, they may not know when they are spreading untruths.The article suggests that this trend is a symptom of a larger issue - the monetization of misinformation on social media. It also highlights the importance of media literacy and critical thinking in the digital age.Ultimately, the myth of improvisation in cinema is a complex issue that resists a simple explanation. While it may be nice to feel involved in a production and to know a behind-the-scenes secret, it's also important to separate fact from fiction.

The 2026 Bafta games awards, held in London, recognized several standout games in the industry. Clair Obscur: Expedition 33, with 12 nominations, was a favorite to win big, and it did, taking home awards for Best Game and Debut Game, as well as Performer in a Leading Role for Jennifer English.Another major winner was Dispatch, a superhero comedy that won Animation, Audio Achievement, and Performer in a Supporting Role for Jeffrey Wright. Ghost of Yōtei, a historical samurai slasher, also had a strong showing, winning Music and Technical Achievement.Other notable winners included Atomfall for British Game, No Man’s Sky for Evolving Game, and Blue Prince for Game Design. The Bafta Fellowship was presented to Ilkka Paananen, chief executive and co-founder of Supercell.

UK Chancellor Rachel Reeves is poised to raise the government's windfall tax on low-carbon electricity generators to help limit household energy bills. The levy, introduced in 2022, targets excess profits made by owners of older renewable energy and nuclear plants.The chancellor is ready to hike the electricity generator levy, which currently stands at 45%, as electricity market prices soared following Russia's invasion of Ukraine. The increased tax will help shield consumer energy bills in the short term while the government consults on long-term plans to reform the wholesale market.The government is also expected to consult on plans to shift older, low-carbon projects onto newer set-price contracts, providing electricity at a guaranteed price. This move aims to weaken the link between gas market prices and electricity costs, which has led to a surge in electricity market prices across Europe.Executives across the industry have been informed to expect contact from officials on Monday to outline the government's determination to protect electricity costs from the surge in gas markets. The plans have already impacted shares in energy companies, with SSE falling over 6% and Centrica closing down 5% on Friday.The proposed reforms have sparked concerns within the industry, with some viewing them as a fundamental reform of energy markets. The government is considering radical proposals, including removing gas plants from the market and holding them in strategic reserve.