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The United Nations refugee agency has revealed that nearly 900 Rohingya refugees were reported dead or missing in the Bay of Bengal and the Andaman Sea in 2025. This was the deadliest year on record for maritime movements in South and South East Asia.Thousands of people continue to make the dangerous journeys in 2026, with the UNHCR describing the area as an “unmarked graveyard for thousands of desperate Rohingya refugees”. Over the last decade, some 5,000 Rohingya are thought to have drowned at sea.Hundreds of thousands of Rohingya refugees began fleeing Myanmar in 2017 amid an ethnic cleansing campaign. They largely settled in refugee camps in Bangladesh, which continues to give refuge to those fleeing today. However, humanitarian aid in the country has been reduced due to funding shortfalls, and there is limited access to education and opportunities in the camps, prompting people to attempt the dangerous sea crossings.More than 2,800 Rohingya have made the sea journeys this year, with the majority leaving from Cox’s Bazar in Bangladesh or Rakhine State in Myanmar in the hope of reaching Malaysia or Indonesia. The UNHCR hopes that highlighting the record death toll will make people aware of “what the Rohingyas are going through inside Myanmar and in the refugee camps and in the wider region” and prompt solutions to avoid another record toll in 2026.

The Premier League weekend fixtures are set to kick off with several highly anticipated matches. Brentford will face Fulham on Saturday at 12:30 PM at the Gtech Community Stadium. The referee for this match is Paul Tierney, who has given an average of 3.75 cards per game this season. In another match, Leeds will host Wolves at Elland Road on Saturday at 3 PM. The referee for this fixture is Tim Robinson, who has given an average of 4.22 cards per game this season. Newcastle will welcome Bournemouth to St James' Park on Saturday at 3 PM. The referee for this match is Tom Bramall, who has given an average of 4.05 cards per game this season. Tottenham will host Brighton at the Tottenham Hotspur Stadium on Saturday at 5:30 PM. The referee for this fixture is Stuart Attwell, who has given an average of 4.85 cards per game this season. In a highly anticipated match, Chelsea will face Manchester United at Stamford Bridge on Saturday at 8 PM. The referee for this match is Michael Oliver, who has given an average of 3.04 cards per game this season. On Sunday, Aston Villa will host Sunderland at Villa Park at 2 PM. The referee for this fixture is Sam Barrott, who has given an average of 3.63 cards per game this season. Everton will welcome Liverpool to Goodison Park on Sunday at 2 PM. The referee for this match is Chris Kavanagh, who has given an average of 3.88 cards per game this season. Nottingham Forest will host Burnley at the City Ground on Sunday at 2 PM. The referee for this fixture is Tom Kirk, who has given an average of 4.50 cards per game this season. In the final match of the weekend, Manchester City will host Arsenal at the Etihad Stadium on Sunday at 4:30 PM. The referee for this highly anticipated match is Anthony Taylor, who has given an average of 3.92 cards per game this season. The Monday night match features Crystal Palace hosting West Ham at Selhurst Park at 8 PM. The referee for this fixture is Darren England, who has given an average of 4.47 cards per game this season.

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.

Chris Evans’ attempt to resurrect the 1990s chatshow juggernaut TFI Friday began quietly on Virgin Radio’s YouTube channel earlier this year. The lo‑fi series, titled TFI: Unplugged, featured a handful of high‑profile guests – Danny Dyer, Chris Hemsworth, Bono and Noah Wyle – and quickly attracted enough viewers for Channel 4 to commission six late‑night episodes. While the media spotlight has been on Claudia Winkleman’s foray into celebrity interviewing, Evans’ revival arrives with far less fanfare and pressure. The new format is deliberately stripped back: a cramped studio, casually dressed staff, and a budget that Evans himself jokes is “only 1% of the original”. Channel 4 commissioning editor Cimran Shah pitched the show as “personality‑led, stripped‑back chat”, positioning it as a precursor to today’s visual podcasts. In practice, the production feels more like a video‑recorded audio interview than a full‑blown TV spectacle. The episode lineup mixes legacy and fresh talent. Vintage performances from Sleeper, The Cure and Garbage provide a nostalgic soundtrack, while contemporary guests such as Jack Savoretti – who Evans repeatedly hails for a recent chart‑topping album – and Indian star Shreya Ghoshal, who covers Coldplay’s “Fix You”, aim to broaden appeal. A promised appearance by Gemma Arterton and Peter Capaldi never materialised; instead, singer‑songwriter Sam Ryder appeared despite having lost his voice. One of the few moments that truly harkens back to the original is a splice of Evans’ 1999 interview with David Bowie, in which the legendary musician bizarrely claims to have contracted gastroenteritis from eating monkey meat. The clip underscores Evans’ desire to remind viewers of the show’s storied past, even if the anecdote feels more odd than iconic. Critics note that the new Unplugged version lacks the “laddish, often cruel humour” that defined the 1990s TFI Friday, including infamous segments like the “Fat Lookalikes”. The original’s chaotic energy and Britpop‑fuelled vibe have been replaced by a more restrained, if still frenetic, studio atmosphere. In terms of relevance, the series appears out of step with current trends. Unlike interview podcasts that create an intimate, off‑camera feel, Evans’ format retains the sweaty, over‑the‑top live‑TV aesthetic without delivering the depth or novelty that modern audiences expect. Overall, TFI Friday Unplugged may not reshape the UK chatshow landscape or outshine Winkleman’s high‑profile debut, but it does carve out a modest niche for nostalgia‑driven viewers. Its inexpensive production model proves sustainable, even if the show remains a modest footnote in the broader revival of British talk‑show culture.

The Premier League is heating up with a series of high-stakes matches this weekend. Manchester City's clash with Arsenal on Sunday could prove decisive in the title race, with City looking to close the gap and potentially take the lead. In other key matches, Tottenham Hotspur host Brighton & Hove Albion on Saturday, with Spurs desperate to avoid relegation. Chelsea welcomes Manchester United to Stamford Bridge in the evening kick-off, with both teams eager to secure a win and boost their European qualification hopes. On Sunday, the Merseyside derby between Everton and Liverpool takes center stage, with Liverpool seeking to maintain their Champions League qualification bid. Leeds United host Wolverhampton Wanderers on Saturday, with Leeds aiming to take a significant step towards Premier League safety. The weekend's action also features Women's Six Nations and County Championship cricket, with several teams vying for promotion and top honors in their respective competitions.

Marcus Rashford's future at Manchester United hangs in the balance as his loan spells at Aston Villa and Barcelona come to an end. The 28-year-old has not played for United since December 2024 and is currently on loan at Barcelona, who have the option to purchase him for €30m (£26m).Manchester United sit comfortably in third place in the Premier League, seven points above sixth-placed Chelsea, but will not want to see the gap close come full time at Stamford Bridge. A return to Europe's top table is vital for United, which would result in players' wages increasing, including Rashford's salary reaching £325,000 per week on his deal, which runs until 2028.Michael Carrick, United's manager, has stated that the door is not completely closed on Rashford playing for United again. 'There's decisions to be made in time on certain things, and obviously Marcus is in that situation. But at this point in time, nothing's been decided,' Carrick said. 'Certainly from my perspective, whoever's here I want to work with, make the best out of, and help them improve.'Rashford's situation is complicated by United's desire to sell him, but few clubs could match his current earnings. Carrick will want to see his team bounce back from Monday night's home defeat by Leeds, but faces a defensive crisis with Harry Maguire and Lisandro Martínez out of the lineup.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

Sean Shibe's latest album, Vesper, is a masterclass in guitar virtuosity and imagination. The album features a thoughtfully curated selection of works by three British composers: Thomas Adès, Harrison Birtwistle, and James Dillon.Shibe's playing is acutely articulate and technically impeccable as he surveys the guitar's expressive potential through the lens of these composers. The album includes Thomas Adès's Forgotten Dances, a homage to the baroque dance suite, which combines stately harmonics with sneaking slides and pounces.The revelation for some will be five melodic miniatures by Harrison Birtwistle, including Berceuse de Jeanne and Sleep Song, bewitching lullabies that showcase Shibe's mastery of the guitar. Beyond the White Hand, a thorny piece that lasts over 18 minutes, is a testament to Shibe's technical skill and musicality.The album concludes with James Dillon's 12 Caprices, a series of concise meditations that explore the relationship between the structure of the instrument and its modes of expression. Overall, Vesper is a mind-expanding and imaginative recital that showcases Shibe's virtuosity and musicality.

The play 'Huw Fyw' by Tudur Owen takes audiences on a sentimental journey through the life of a curmudgeonly World War II veteran, exploring themes of PTSD, generational trauma, social exclusion, and the weight of irreconcilable grief.Starring Tudur Owen in the eponymous role, the Welsh-language production is marked by its absolute and unironic sincerity, with its heart unabashedly worn on its sleeve. The play's setting, mostly confined to Huw's grimy living room, adds to its plausibly compact and winningly persuasive nature.Despite some convoluted plotting, the play is deftly directed by Steffan Donnelly, with four very fine performances from the cast, including Owen, Leah Gaffey, Owen Alun, and Dafydd Emyr. The play's sentimentality resists tipping into mawkishness, instead offering a poignant survival strategy to cope with the horrors of war.The production's strange double nostalgia for the 1990s and 1940s adds to its uncanniness, making it a must-see for audiences. 'Huw Fyw' is currently showing at Dance House, Cardiff until 18 April, and will be touring until 8 May.