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The Foreign Press Association (FPA) has strongly condemned a violent assault by Israeli soldiers on a CNN crew in the occupied West Bank. The incident occurred while the crew was reporting on the aftermath of an assault by Israeli settlers and the establishment of an illegal outpost near the Palestinian village of Tayasir.The CNN team, which included photojournalist Cyril Theophilos, was detained by Israeli soldiers who aggressively targeted the crew and Palestinian civilians, pointing their rifles at them despite the journalists identifying themselves. The soldiers attempted to infringe the crew's right to film, ordering them to stop and threatening to confiscate their camera.In a disturbing escalation, an IDF soldier approached Theophilos from behind, placed him in a chokehold, slammed him to the ground, and damaged his camera. The FPA described the incident as a direct attack on press freedom, emphasizing that the use of force was excessive and dangerous.The association has called for an investigation into the incident, asserting that such behavior reflects a deeply alarming pattern of hostility toward the media and cannot be tolerated. The military has announced that the incident will be looked into, with Lt Col Nadav Shoshani stating that the soldiers' conduct does not represent the IDF and that an apology has been made.This incident is the second such event involving CNN this month, following an unprovoked assault on a CNN producer by Israeli police officers during Ramadan, which resulted in a fractured wrist. The ongoing violence in the West Bank and the surge in deadly attacks by Israeli settlers have raised concerns about the safety of journalists and the protection of press freedom in the region.

Saudi Arabia has urged the US to ramp up attacks on Iran, a Saudi intelligence source has confirmed, while it is weighing a decision on whether to join the fight directly. The Saudi source confirmed reporting that the kingdom’s de facto leader, Crown Prince Mohammed bin Salman, has urged Donald Trump not to cut short his war against Iran, and that the US-Israeli campaign represented a “historic opportunity” to remake the Middle East.The intelligence source said Riyadh was not just calling for the military campaign to be continued, but to be intensified. Trump appeared to confirm the report about the crown prince’s role, telling journalists on Tuesday: “Yeah, he’s a warrior. He’s fighting with us.”There are no reports of active Saudi military involvement in the nearly four-week-old war so far, but a Saudi political analyst said the kingdom was likely to take that step if current peace efforts led by Pakistan failed.“What matters now is Iran’s decision,” Mohammed Alhamed, a Saudi geopolitical analyst, said. “If Iran engages seriously, there is still a path to contain escalation. If it rejects the conditions and continues its attacks, the threshold for Saudi action will be crossed.”Alhamed added that Saudi Arabia “is not reacting impulsively”.“It is calibrating its response and preparing for a scenario where escalation, if it happens, will be deliberate and decisive,” he said, adding that Saudi Arabia “has not been pushing for war.”“It has been trying to avoid being drawn into it, while keeping all options on the table,” he said.Saudi Arabia has come under Iranian drone attack, as part of Tehran’s response to the US-Israeli attack on 28 February. One drone strike a week ago hit an oil refinery in Yanbu on Saudi Red Sea coast.The attack on Yanbu signalled an Iranian warning that it could also threaten that economic lifeline.“I believe that Saudi Arabia still maintains cautious neutrality in the Iran-Israel-US war,” Hesham Alghannam, a Saudi defence expert told Agence France-Presse. But he added: “If the Houthis strike Saudi assets, Riyadh may shift toward defensive coalition support or limited retaliation.”The crown prince solidified his hold on power by cultivating a close relationship with Trump, but will now have to rethink Saudi reliance on the US for its security, observers have argued.“MBS [Mohammed bin Salman] has lost the bet on all his investments over the last several years,” Ellie Geranmayeh, senior policy fellow at the European Council on Foreign Relations said. “He financially invested in Trump and Trump’s family and his corporation and his White House, but at the end of the day the views of the Saudis and of the whole Gulf have been sidelined by the wishes of Benjamin Netanyahu.”

The Guardian is calling on readers to share their favorite books they've read recently as part of their ongoing 'what we're reading' series. Readers can recommend fiction or non-fiction books they've enjoyed by filling out a secure online form. The form is encrypted, ensuring that only The Guardian has access to the contributions.Share Your RecommendationsTo participate, readers simply need to provide their recommendations and contact information. One of The Guardian's journalists will be in touch before publishing the recommendations.For those having trouble with the form, an alternative link is provided: click here. Readers can also access The Guardian's terms of service and privacy policy for more information.

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.