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The Royal Opera's new production of Britten's 'The Turn of the Screw' begins with an eerie effect: the tenor's voice emerges from absolute blackout, setting the tone for an evasive ghost story that will keep audiences on edge. Director Natalie Abrahami and designer Michael Levine have crafted a staging that masterfully builds tension, using water as a recurring motif to underscore the themes of innocence and corruption.The set design features a traditional country house with doors, beds, and the Governess's haunted desk, while Duncan McLean's videos project images onto an invisible screen, adding to the sense of unease. The ghosts and their silent doppelgangers move through the space, creating skilful misdirections and emphasizing the Governess's desperation.The cast delivers richly woven performances, with Isabelle Peters shining as the intense Governess, Claire Barnett-Jones warm as Mrs Grose, and Elgan Llŷr Thomas persuasive as the volatile Peter Quint. The children, played by Phoenix Matthews and Emilia Blossom Ostroumoff, bring extraordinary detail and presence to their roles.Conductor Bassem Akiki draws a compelling performance from the 13 players in the pit, and the tension only loosens its grip when the cast and production team take their bows. This production of 'The Turn of the Screw' runs at the Linbury theatre, London, until 6 April.

The UK government has announced a significant intervention in the country's industrial sector, investing £100m to reopen a carbon dioxide plant on Teesside. The Ensus plant, which was mothballed in September, will restart operations for an initial three-month period, with hopes that it could then remain open indefinitely.The decision to reopen the plant comes amid concerns that the war in Iran could trigger shortages of CO2, a gas that has various uses ranging from carbonating drinks and keeping food fresh to medical procedures and the sedating of animals for slaughter. The plant's reopening is expected to bolster production of CO2 and help ensure the resilience of supply chains.The Business Secretary, Peter Kyle, approved the reopening of the plant, stating that the government would 'always do what's needed to ensure resilience and protect British businesses from the worst impacts of global uncertainty.' The move is part of wider government efforts to ensure the UK maintains access to critical industrial resources during global supply shocks.The UK's food and drink industry faced a CO2 crisis in 2021, after the easing of pandemic restrictions sent the price of wholesale gas soaring, pushing up the manufacturing costs of fertiliser production, which also produces the gas as a byproduct. The crisis resulted in the government providing a temporary bailout to the American company CF Fertilisers to help restart CO2 production at its Teesside factory.The Ensus plant has had operations on Teesside since 2010, using distillation and fermentation to convert wheat into bioethanol. CO2 is a byproduct of this process, as well as high-protein animal feed. The company, which is headquartered in Middlesbrough, employs about 100 people.

Photographer Peter van Agtmael captured a striking image during his first trip to Iraq 20 years ago, which has become a defining moment in his career. The photograph shows a dejected soldier sitting in a domestic living room, highlighting the incongruity of war in everyday life.Van Agtmael, who was 25 at the time, had been embedded with the US military for six weeks. He wanted to move beyond traditional war photography, which often focuses on violence and horror, and explore the human side of conflict. This image, he says, crystallized his understanding of the US military's role in the Middle East and the absurdity of war.The photograph shows a soldier in a mundane setting, which could be anywhere in the world. Van Agtmael notes that this juxtaposition of war and domesticity reveals the complexity of human nature and the proximity of war to everyday life. He believes that war is part of the human soul and that it's essential to acknowledge this reality.Van Agtmael's experience in Iraq was formative, and he reflects on the failures of the war in Iraq and Afghanistan. He questions the effectiveness of externally created regime change and the long-term impact of military interventions.As a war photographer, van Agtmael has grappled with the moral complexities of his work. He believes that thoughtful documentation of human violence can have a moral impact, but also acknowledges the challenges of being a witness to extreme violence.Now a father, van Agtmael has shifted his focus away from war photography. He reflects on the changing nature of his work and the importance of finding new purpose in life.

Surrender to It is a film that seems to have been made without regard for the clichés that have been established by similar movies in the past. Writer-director Tim Bryn Smith appears to have ignored the criticism that greeted films like Peter's Friends back in 1992, which featured a similar premise of actors reuniting.The story revolves around a group of former thespians who met at a drama workshop and are now reuniting for a hiking weekend. The cast includes Daemian Greaves, Melissa May Smith, Fletcher Graham, and Chantelle Lee, among others. However, their performances are marred by stiff gestural quality and amateur production values.The script, credited to Bryn Smith and Chris Wetton, feels disjointed and like it was cobbled together from improv exercises and random suggestions. The film tries to balance maudlin tones with comic subplots, but the result is a mess. One subplot involves a bereaved couple mourning their dead son, while another focuses on a movie star recovering from a scandal.The film's production values are also lacking, with scissorhand editing and poorly executed plot twists. Despite its flaws, Surrender to It will be available on digital platforms from 30 March.

Sardar Azmoun, one of Iran's top football players, has been expelled from the national team over allegations of disloyalty to the government. This development has significant implications for Iran's participation in the upcoming FIFA World Cup, which is co-hosted by the United States, Mexico, and Canada.Azmoun, who plays for Dubai's Shabab Al-Ahli, upset Iranian authorities by posting a picture on his Instagram feed with Dubai's ruler, Mohammed bin Rashid Al Maktoum. This move was perceived as a disloyal act, especially given the strained relations between Iran and the UAE, which have included rocket and drone attacks by Iran on the UAE.The 31-year-old striker, known for his impressive career abroad with clubs like Zenit Saint Petersburg, Bayer Leverkusen, and Roma, has scored 57 goals in 91 internationals since his debut in 2014. His absence will undoubtedly weaken Iran's team, Team Melli, in their upcoming matches.Criticism against Azmoun was severe on state TV, with football pundit Mohammad Misaghi stating that Azmoun's actions were an act of disloyalty and that he was not worthy of wearing the national team jersey. There was no immediate response from the Football Federation of the Islamic Republic of Iran (FFIRI) regarding the matter.This incident comes at a time when Iran's women's national team is dealing with its own controversy, with several players seeking asylum in Australia after being branded 'wartime traitors' on Iranian state TV for not singing the national anthem before a Women's Asian Cup match.

UK MPs have called on the government to halt a contract with Palantir, a US-based spy-tech company, after it was revealed that the firm will gain access to a vast trove of highly sensitive UK financial regulation data. The Financial Conduct Authority (FCA), the watchdog overseeing thousands of financial bodies, has hired Palantir to apply its AI systems to two years' worth of internal intelligence data to help tackle financial crime. However, the Liberal Democrats and Green party have raised concerns over Palantir's ties to Donald Trump and the potential risks to national and economic security. The Liberal Democrats have called for a government investigation into the contract, citing concerns that it could be "a huge error of judgment". Palantir, founded by Peter Thiel, a billionaire supporter of Trump, has built up over £500m in contracts in the UK, including with the NHS, police, and Ministry of Defence. The company supports the US and Israeli militaries and the ICE immigration crackdown. Insiders at the FCA have questioned whether there are sufficient safeguards in place to prevent the data from being exploited. There are concerns about the potential for data about sensitive FCA investigations into high-profile figures to be accessed during Palantir's work. The FCA has insisted that Palantir will be a "data processor", not a "data controller", meaning it can only act on instruction from the regulator. The FCA will retain exclusive control over the encryption keys for the most sensitive files, and the data will be hosted and stored solely in the UK. Despite these assurances, MPs have expressed concerns over the risks associated with the contract. Daisy Cooper, the Liberal Democrats' Treasury spokesperson, called for an investigation into the FCA's Palantir contract, citing concerns over Palantir's ties to Trump. The Green party MP Siân Berry has called for the government to "step in immediately and protect our national and economic security by blocking this contract award". Palantir has denied claims that it may "use customer data for our own purposes", stating that this is "something that we have no business interest in, and that we are legally and contractually prevented from doing".

Palantir, a Miami-based company backed by billionaire Peter Thiel, has secured a three-month trial contract with the Financial Conduct Authority (FCA) to analyze a vast amount of sensitive UK financial regulation data. The deal, worth over £30,000 per week, aims to help the FCA tackle financial crimes such as fraud, money laundering, and insider trading.The FCA has awarded Palantir the contract to investigate its internal intelligence data, which includes highly sensitive case intelligence files, information on problem firms, and reports from lenders about proven and suspected frauds. Palantir will apply its AI system, known as Foundry, to huge quantities of information held by the watchdog, including recordings of phone calls, emails, and social media posts.The contract has raised concerns about privacy and the company's ethical reliability. One source expressed concerns that Palantir may share the information it learns from the FCA with other parties. Palantir's technology is used by the Israeli military and in the US president's ICE immigration crackdown, leading to criticism from left-wing MPs.The FCA has stated that it has strict controls in place to ensure data is protected and that Palantir will only act on instruction from the regulator. The data will be hosted and stored solely in the UK, and Palantir will have to destroy the data after completion of the contract.Experts have highlighted the potential benefits of using AI to tackle financial crimes, but also emphasized the need for robust protocols to protect sensitive information. Prof Michael Levi, an expert in money laundering, noted that AI is a potentially valuable technology to tackle financial crimes, but also raised concerns about the ownership and control of the data.

Bach's St John Passion is a masterpiece that comes close to being an opera, and this new recording by Pygmalion, conducted by Raphaël Pichon, brings out its theatrical qualities in spades. The ensemble's performance is razor-sharp throughout, with a vigorous engagement with the reflective chorale texts.The St John Passion relies on the Evangelist to narrate the bulk of the story, and Pichon is fortunate in having Julien Prégardien on tenor vocals. Prégardien's voice rises to an outraged shriek as he declares Barrabas a murderer, and his achingly florid recall of Peter's bitter tears is noteworthy.The soloists are also impressive, with Huw Montague Rendall bringing tonal richness and unswerving gravitas to the role of Jesus, and Christian Immler's agitated Pilate swinging back and forth like a tormented weathervane. Ying Fang's purity and Lucile Richardot's otherworldliness round off one of the most theatrical St Johns in the catalogue.