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Richard Kind, a versatile actor known for his roles in films like 'Inside Out' and TV shows such as 'Only Murders in the Building', is set to take the stage in London's West End in Mel Brooks' musical 'The Producers'. Kind will play the role of Max Bialystock, a charismatic and cunning Broadway producer, at the Garrick theatre from March 23 to May 9.Kind, who has a reputation for his dynamic performances, describes his interpretation of Max as a 'big bear' who 'lumber' across the stage, drawing inspiration from Zero Mostel, who originated the role in the 1967 film. He contrasts his approach with that of Nathan Lane, who played the role on Broadway, saying, 'Nathan glides. I'm a big bear. I lumber.'The actor, who has had a long and varied career in both comedy and drama, notes that theatre offers him a chance to take on more challenging roles. 'I'm at the point where I can say 'no' to a stage role unless it's challenging,' he explains. Kind's extensive experience includes work with Second City, the Chicago improvisational troupe, and roles in sitcoms like 'Spin City' alongside Michael J Fox.Kind also opens up about his friendship with George Clooney, a close pal who has been publicly criticized by Donald Trump. Kind expresses his protectiveness towards Clooney and his disdain for Trump, showcasing his strong opinions and 'ugly' language when discussing the former president.With his characteristic wit and candor, Kind reflects on his career, stating, 'I'm all over the place! Nobody works more than me.' His performance in 'The Producers' promises to be a highlight of London's theatre scene this season.

Sebastian Korda produced a remarkable comeback to defeat Carlos Alcaraz in the third round of the Miami Open, marking one of the biggest upsets of the ATP season. The American, seeded 32nd, dominated the match for over an hour before Alcaraz mounted a fierce comeback, ultimately prevailing 6-3, 5-7, 6-4.Korda's resilience and determination were on full display as he overcame a difficult spell to secure the win. His serve was dominant for much of the match, and his ground strokes were clean and destructive. Alcaraz, known for his exceptional return skills, was effectively shut out of many service games.The match took a dramatic turn when Korda, leading 6-3, 5-3, lost seven consecutive points, allowing Alcaraz to stay in the match. However, Korda regained his composure to close out the third set and secure the victory.Alcaraz praised Korda's performance, saying, 'Sebi was incredible today. Played such a great game. A lot of tight, tight moments that I just didn’t make the most of it.' The loss marks a setback for Alcaraz as he prepares for the clay-court season.Korda's victory is significant for his career, as he looks to capitalize on the momentum and make a deeper run in the tournament. The win also boosts his confidence as he faces tougher opponents in the future.

Transitioning from the bright lights of the Stade de France to the familiar surroundings of the Crumbie Stand presents a unique mental challenge for international rugby players. For England's Ollie Chessum, however, the return to domestic competition proved fruitful as he delivered another tireless performance in Leicester's 33-19 victory over Bristol.The result not only elevates the Tigers to third place in the Premiership standings but also secured what could prove to be a crucial bonus point when playoff calculations are finalized. Bristol, who had been seeking bonus points of their own, ultimately left empty-handed and remain in fifth place following a match that maintained intensity from start to finish.The significance of this fixture was evident as Chessum and Joe Heyes were asked to immediately return to action following their Six Nations commitments, with Jack van Poortvliet also coming off the bench. This selection strategy proved effective, bolstered by another influential display from fly-half Billy Searle. The final try exemplified the Tigers' growing confidence under pressure.Even head coach Geoff Parling was urging his players to take calculated risks, shouting at Freddie Steward to kick the ball from deep rather than risk turnovers. When his players backed themselves from their own half, the decision paid dividends."I've been trying for a long time to get them to play what they see and that's what they did," Parling stated afterward, while also praising Chessum's contribution. "The Six Nations is physical but there's also an emotional toll. It's always a challenge for those guys when they come back after being away for eight weeks. Ollie was outstanding. He's a big emotional leader for us."Two decisive tries within a three-minute spell midway through the first half proved pivotal. When Leicester enters the "killing zone," they appear increasingly dangerous, as demonstrated by the close-range power of Joaquín Moro and Hanro Liebenberg, which left the Bears, missing rested Ellis Genge and dealing with injuries, with no answer.Bristol, however, proved difficult to contain for extended periods. Their industrious captain Fitz Harding, the league's top tackler this season, rewarded sustained pressure with a try, while Kalaveti Ravouvou continued his habit of scoring against the Tigers, escaping past Steward and Chessum to touch down down the right wing.The Bears' other first-half highlight came from hooker Gabriel Oghre, whose cultured left boot produced a magnificent 45-metre touchfinder from a defensive lineout. Oghre's versatility raises questions about why he isn't discussed more frequently among England's hooker options.While romantic backstories don't typically secure tight victories, the return of Scotland international flanker Hamish Watson on loan from Edinburgh added emotional significance. After 14 years north of the border, the 34-year-old relished the opportunity to run out to the traditional strains of Smoke on the Water at his boyhood club.Bristol continued to press, with Harding burrowing over for his second try, bringing Jimmy Williams' conversion to make it 20-19. Leicester needed to respond, and almost did when Searle launched an attack that might have yielded a spectacular try had Moro held the final pass.Though Izaia Perese soon crossed for Leicester's third try, the Tigers couldn't fully relax until the final moments. Steward's cross-kick initiated a daring raid up the right touchline, culminating in Hamer-Webb's exuberant dive over the line to seal the victory."We wanted to take Leicester out of their comfort zone and we did that at times," lamented Bristol's director of rugby Pat Lam. "We just need to finish more of our opportunities. You have to be at your best to win here and we weren't at our best."With seven regular-season rounds remaining, the stakes continue to rise. Bristol will host Harlequins at the Principality Stadium in Cardiff, while Leicester faces Gloucester at Villa Park in the latest edition of the Slater Cup.

The Gondoliers, Gilbert and Sullivan's last big hit, has been brought to life by the English Touring Opera in a production that is both a feast for the eyes and ears. The opera, which came hot on the heels of the famous quarrel over a carpet at the Savoy theatre, showcases Sullivan's sunniest and most sophisticated score paired with some of Gilbert's most brilliantly barbed lyrics.A sharply pointed satire on the pitfalls of egalitarianism, the plot features babies swapped at birth and a pair of gondoliers, one of whom may or may not be the son of the recently deceased King of Barataria. The production locates the action in the late 17th century, but contemporary resonances abound, including the cash-for-endorsements antics of the money-grubbing Duke and Duchess of Plaza-Toro.Visually stunning, Liam Steel's staging channels the chocolate box style of the D'Oyly Carte company, with set designer Michael Pavelka's revolving Venetian bridges and Laura Jane Stanfield's rococo costumes creating a feast for the eye. The ensemble cast, including Robin Bailey as Marco and Samuel Pantcheff as Giuseppe, deliver exceptional performances with boundless enthusiasm.The production's success can be attributed to the mischievous wit of Steel, who places dance at the heart of everything while never missing a trick with copious running gags and deft comic timing. A standout moment is the putting of the true king's elderly nursemaid to the rack, which is pure laugh-out-loud entertainment.

When Resident Evil emerged in the mid-1990s, it stood in stark contrast to the prevailing gaming landscape. The PlayStation and Saturn consoles were dominated by bright, arcade-style games like Daytona and Tekken, while Japanese publisher Capcom was primarily known for Street Fighter and Mega Man sequels. Scary games were rare at the time and mostly confined to the PC, making Capcom's horror title Biohazard (the Japanese name for the series) a radical departure that caught the attention of games journalists.Three decades later, the series has not only survived but flourished, becoming one of gaming's most successful franchises. Resident Evil has sold more than 180 million copies worldwide, with 11 core titles, numerous spinoffs and remakes, plus extensive film, television, and anime tie-ins. Its characters and monsters have become cultural icons, with its design tropes now embedded in gaming practice.The origins of Resident Evil can be traced back to 1989's Sweet Home, a Capcom role-playing game for the Famicom (Japanese NES). The game featured a group of filmmakers searching a haunted mansion for valuable artifacts, and while it was a modest domestic success, it never received an international release. However, senior producer Tokuro Fujiwara couldn't let go of his vision for horror as a distinct game genre."We have Tokuro Fujiwara to thank for the existence of Resident Evil," says Alex Aniel, author of acclaimed Resident Evil history book Itchy, Tasty. "He directed Sweet Home having believed that horror could become its own game genre, but wasn't satisfied with its rudimentary portrayal. He wanted to give horror another try once the technology was there to allow it – that opportunity finally arrived with the release of the original PlayStation."In 1993, young producer Shinji Mikami was brought in to oversee a horror game project inspired by Sweet Home. He expanded the haunted mansion concept, drawing influence from George A Romero's Dead trilogy and Alone in the Dark, creating a world haunted not by ghouls but by zombies, mutants, and monsters. The heroes were an experienced SWAT team investigating disappearances at a rural mansion owned by the sinister scientific organization: Umbrella Corp.The original vision for full real-time 3D visuals proved too ambitious for PlayStation hardware, leading Mikami and programmer Yasuhiro Anpo to develop a compromise: 3D characters combined with prerendered 2D backgrounds viewed from fixed camera angles. This restricted, expressionistic style emphasized the intense claustrophobia of the environment, with information always kept from the player by blind corners and shadowy doorways.This combination of tension, omission, and restriction is fundamental to Resident Evil's success as a horror franchise. Even as the camera evolved to over-the-shoulder views and first-person perspectives, characters remained vulnerable. Ammo, save points, and health items are jealously rationed, with extremely restricted inventories. This approach makes Resident Evil operate more like classic horror literature than a typical power fantasy video game.The series has also expertly referenced horror conventions while paying homage to its inspirations. "Kamiya's biggest source of inspiration came from Alien and especially its sequel, Aliens," says Aniel of Hideki Kamiya, who directed Resident Evil 2 and Resident Evil Zero. "For example, in Resident Evil 2, humans infected with the G-virus grow a parasite that eventually ruptures their host and emerges from within, growing into deadly creatures."Resident Evil has also demonstrated remarkable versatility in exploring different horror genres – gothic horror in its mansions and monstrous enemies, sci-fi horror in its biological experiments, and folk horror in its sinister villages and religious cults. This comprehensive approach allows it to mirror societal fears, a point underscored by the COVID-19 pandemic."The Covid pandemic reminded us just how real our fear of viruses should be," says Bernard Perron, professor of cinema and video games at the University of Montreal. "In that sense, the fear of a corrupt corporation like Umbrella, along with mad scientists who do not necessarily have humanity's best interests at heart, continues to resonate. These anxieties remain deeply embedded in our posthumanist societies."Throughout its evolution, Resident Evil has maintained a balance between familiarity and innovation. Characters like Jill Valentine, Claire Redfield, and Leon Kennedy provide continuity – relatable but cool figures who spout wry jokes like Hollywood heroes. Meanwhile, charismatic antagonists such as Albert Wesker, Lord Osmund Saddler, and Lady Dimitrescu ensure consistent engagement.The series also excels in pacing and structure, carefully delineating between exploration, puzzle-solving, and combat sections. Locations are filled with beautiful details – lavish furniture, eerie oil paintings, ornate gardens – making exploration pleasurable. After intense battles, players can retreat to safe spaces like Save Rooms, creating a rhythm that prevents fatigue."The series offers deep and entertaining gameplay experiences, but with a very low barrier to entry, even for newcomers," says Aniel. "The Resident Evil games are more accessible than ever: since they are often on sale, they are affordable even for customers in emerging global markets, available on every major game platform."Ultimately, Resident Evil's longevity stems from its ability to create uncertainty while maintaining familiarity. "You know what you will get, but you also don't know," the article concludes. "Around every corner there could be a shock or there could be nothing – it's the uncertainty that gets you. It allows us to write in our own fears and anxieties, or to discover new ones we hadn't considered or acknowledged. Like all great horror fiction, Resident Evil has survived because it looks us right in the eye and says, I know what scares you. Come and see."

Palantir, one of the world's biggest tech companies, has been accused of launching an intimidation campaign against a small Swiss magazine, Republik, after it published an investigative report on the company's activities in Switzerland.The report, which was a collaboration between Republik and the independent Swiss research collective WAV, alleged that Palantir had persistently courted Switzerland but had been rejected. The investigation found that Palantir had pitched itself to Switzerland's chancellor during the Covid-19 pandemic to help with data tracking, approached the Swiss army, and met Switzerland's then finance minister, Ueli Maurer.Palantir was not happy with the report and filed a lawsuit in a Swiss commercial court demanding that Republik print a detailed rebuttal. The company claims that the report paints a false and misleading narrative about Palantir and sets back important discourse on European software modernisation.The journalists behind the report say they had interviewed company executives and sent a full list of questions before publication, but that Palantir demanded they print a detailed rebuttal that went beyond the scope of their investigation. The lawsuit has sparked concerns about Palantir's tactics and the impact on journalism, with the European Federation of Journalists claiming that the legal action is an attempt at intimidation aimed at discouraging critical analysis of Palantir's activities."It does feel like an intimidation campaign," says Marguerite Meyer, a journalist who works with WAV. "However, we adhered to all journalistic standards, and had a thorough factcheck done. They are suing for an absurd list of changes."The investigation, which was published in December, gave an account of Palantir's years-long efforts to try to sell itself to the Swiss government. The journalists found that despite Palantir's efforts, no government contracts had been reported."We tried to find out, is there any kind of government agency that uses this software? I mean, they are in Switzerland, eventually some government official maybe thought they could use this Palantir," says Balz Oertli, who is also with WAV.The lawsuit has raised questions about Palantir's influence and the limits of journalistic scrutiny. Swiss law allows the subjects of a story to request a right of reply, but this has caveats: the right of reply has to be concise and stick to the facts of the story."This lawsuit for a right of reply is not about whether Republik was technically inaccurate or not. It is only about whether Palantir is allowed to place its view of the facts alongside that of Republik and whether Republik must publish it," says Dominique Strebel, an expert in media law and the editor-in-chief of Beobachter, another Swiss magazine.

BTS, the world's biggest pop band, has made a significant comeback with their new album 'Arirang', which showcases a blend of K-pop experimentation and memorable hooks. The album, named after a traditional Korean folk song, aims to reclaim the band's identity as a Korean act after their previous work became more westernized. The album features collaborations with western artists such as Jpegmafia and El Guincho, known for their work with Björk and Rosalía. The result is a diverse sound that captures the K-pop spirit of experimentation while maintaining a litany of catchy hooks. The album is divided into two distinct moods, with the opening trio of songs showcasing RM as the band's guiding creative force. The songs feature elastic beats, echo-laden drums, and processed vocals, demonstrating the band's ability to have fun and experiment with different sounds. The lead single, 'Swim', is a softer, more straightforward pop track that is expected to top the charts globally. However, the album also features deeper tracks like 'Merry Go Round' and 'Animals', which showcase the band's ability to balance light and serious themes. While the album has some minor flaws, such as duplicate themes and underwritten tracks, it concludes with a surprise: 'Into the Sun', a stripped-back track with vocal effects that adds a curious edge to the album. Overall, 'Arirang' is a successful bid by BTS to reclaim their status as a Korean act and a global pop phenomenon.

Graham Napier, a former Essex all-rounder, recalls the 2008 T20 Blast match where he scored 152 not out off 58 balls, breaking the English record for the highest score in T20 cricket. This impressive performance caught the attention of England's selectors and teams from the Indian Premier League (IPL), including Mumbai Indians, who were interested in signing him.Napier, who didn't have an agent at the time, was eventually signed by Mumbai Indians for an undisclosed fee. However, his availability was curtailed by Essex, and he only played one game for Mumbai, scoring 15 runs and taking one wicket. Napier reflects on the experience, stating that he was frustrated by not being allowed to participate in the auction and that the hype surrounding his performance was intense.Tymal Mills, a veteran of franchise T20 leagues, had a more successful auction experience, being picked up by London Spirit for £130,000 in the Hundred auction. Mills had previously been sold to Royal Challengers Bangalore for £1.4m in the 2017 IPL auction. However, he admits that he didn't deliver on his whopping auction fee in 2017, taking only five wickets in five games before injury struck.Mills offers advice to young players, including James Coles, who was signed by London Spirit for £390,000. Mills cautions that the auction process can be bruising and that players must be prepared for the highs and lows of the experience.Napier, now a fire safety officer in Suffolk, has no regrets about his career, stating that he's proud of his achievements and the experiences he had. He notes that loyalty was a significant factor in his career, playing for the same team from age 10 to retirement at 36.

In 1986, thrash metal reached a critical point with landmark albums from Slayer, Megadeth, and Metallica. However, across the Atlantic, a group of teenagers were forging their own path in the genre. Kreator, Sodom, Destruction, and Tankard, dubbed the 'big four' of German thrash metal, were faster and meaner than their American counterparts.These bands made up for their lack of finesse and professionalism with sheer aggression. Destruction vocalist and bassist Marcel 'Schmier' Schirmer notes that they focused on writing songs that 'punched hard' rather than striving for musical perfection.The German thrash metal scene was marked by its rough and violent approach, with bands drawing inspiration from English heavy metal albums and American thrash metal bands like Slayer. The scene was also influenced by the political climate of the time, with the presence of the Berlin Wall and the Cold War.Bands like Formel 1 from East Germany, who released their live album Live Im Stahlwerk in 1986, were also part of the thriving metal scene. Despite the challenges faced by these bands, including limited resources and censorship, they managed to create a lasting impact on the metal genre.Today, bands like Kreator, Sodom, and Destruction continue to tour and produce new music, with Kreator's 16th album, Krushers of the World, and Destruction's upcoming US tour with Overkill and Testament. The legacy of German thrash metal remains strong, with its unbridled aggression and brutal sound continuing to influence metal musicians to this day.