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The horror film The Mortuary Assistant, based on Brian Clarke's popular indie video game of the same name, stands out for its convincing practical effects. The movie recreates embalming techniques with remarkable accuracy, much like the game, which allows players to learn about these processes in detail.The film's strength lies in its simulation element, effectively placing viewers in the shoes of someone preparing a body for cremation. However, this aspect may appeal to a more niche audience compared to mainstream horror movies.Unfortunately, the film lacks balance in its narrative, with the characters of Rebecca and Raymond being portrayed as dark and tormented, leaving little room for contrast or character development. The introduction of demonic possession adds a familiar horror element, but it feels somewhat disconnected from the rest of the story.Despite its well-crafted direction and impressive practical effects, The Mortuary Assistant falls short in delivering a well-rounded horror experience. A potential sequel could explore more complex characterisation or a schlockier, more formulaic approach to create a more engaging narrative.The Mortuary Assistant is available on Shudder and AMC+ from 27 March.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.

England coach Brendon McCullum has been given the green light to continue his role despite the team's dismal 4-1 Ashes defeat. However, he has been urged to strengthen ties with county teams to enhance collaboration and communication.The England and Wales Cricket Board (ECB) will confirm McCullum's continuation on Monday, following a comprehensive review of the Ashes series. As part of the review, McCullum has agreed to adopt a more rigorous approach to training and preparation, which includes measures like a midnight curfew during the World Cup in India and Sri Lanka.A key area of focus for McCullum is to build better relationships with counties, many of which feel marginalized by his selection approach. The ECB's managing director of men's cricket, Rob Key, has taken initial steps by inviting county directors of cricket to a meeting at Lord's to discuss selection strategies.The appointment of a new national selector to replace Luke Wright, who stepped down for personal reasons, is also underway. One potential solution being considered is the introduction of liaison officers from counties to facilitate regular discussions on selection with Key, McCullum, and the new selector.Surrey head coach Gareth Batty recently highlighted concerns that the pathway between county and international cricket had become 'misted over', despite several Surrey players being part of the Ashes tour and England's T20 World Cup squad.

In the end, a comedy show leaves you with a feeling that tells you whether it worked or not. The general consensus about the inaugural episode of Saturday Night Live UK is that it did work, though some may feel the cast of 11 actors and 20-strong writing team only just got away with it.The show began with an impression of Keir Starmer by George Fouracres, followed by the guest host monologue by Tina Fey, former head writer at the original SNL. Like many sketches to come, it started stiltly but warmed up to end in relative triumph.One of the stronger sketches featured a skincare range called Undérage by Pedolay, with the tagline "everyone will think your husband is a nonce!" While some sketches went on too long—a tradition almost as longstanding as the cold open—others hit their mark better.A sketch about David Attenborough's Last Supper with reanimated icons offered a disturbingly good Diana impression by Jack Shep, followed by two successful bits featuring Hammed Animashaun as an honest film critic and as part of a team dedicated to making the internet "as bad as it can possibly be."The team recovered with a solid Weekend Update presented by Ania Magliano and Paddy Young, which contained proper jokes for grownups, including references to "Boris Pistorius/Saddam Walliams" and a joke about "It's a Sin becoming a musical as if a TV show about the Aids crisis could get any gayer."While a Shakespeare sketch and a bra-fitting sketch had mixed results, and performances by Wet Leg were described as "god-awful," the reviewer concluded that the show did not fail and could become more successful as the team and audience settle in over coming weeks.The review acknowledges that while the show could have been a lot worse, it also could have been better. However, the attempt to retool a legacy American brand for British audiences was refreshing and ambitious, with potential for growth and improvement.

The play 'Slippery' by Louis Emmitt-Stern delivers a knotty dissection of the queer dating scene and bereavement in many forms. The story revolves around Jude and Kyle, exes who reunite in Jude's Canary Wharf penthouse after a decade apart.Ten years ago, they were a hedonistic couple, partying into the early hours. Now, their lives have diverged: Kyle has left behind the party lifestyle, while Jude is grieving the death of his partner, Sam. As they catch up, their lies begin to crack open, revealing a complex web of emotions.John McCrea and Perry Williams shine as the exes, capturing the nuances of their characters' past and present selves. McCrea, in particular, is a standout performer, effortlessly shifting from grief-stricken to a magnetic seducer.The production, directed by Matthew Iliffe, effectively conveys the intimacy of a past love that still lingers. However, the script's constant revelations can feel forced, detracting from the realism of the story.Despite this, 'Slippery' remains a compelling exploration of queer relationships, grief, and the complexities of human emotions. The play is set to run at Omnibus theatre in London until 11 April.

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.

England rugby is at a critical juncture following its fifth-place finish in the Six Nations, marking the team's least successful championship in half a century. The Rugby Football Union has initiated a thorough review with remarkable speed, with insiders emphasizing that the process aims to support head coach Steve Borthwick rather than punish him. Despite the disappointing campaign, Borthwick is expected to remain in his position through the summer. As one well-placed source noted: "This review is about supporting Steve to make improvements. If change is needed, change is needed but it's not about punishing him." The comprehensive examination seeks feedback from both senior and younger players to understand the root causes of England's painful defeats against Scotland, Ireland, and Italy. Exeter's director of rugby, Rob Baxter, emphasized that the problems are multifaceted: "The reality is that it's never one thing that's the problem. Finishing fifth is down to a collection of things that have slowly added up and then multiplied." The review will particularly focus on what transpired in the three weeks following the first match, examining whether issues stem from culture, environment, selection, or tactics. A strategic disconnect emerged during the tournament between England's stated ambition to play vibrant rugby and their actual performance. Sale's director of rugby, Alex Sanderson, observed: "They've got quite a wide coaching team, a lot of cooks – not 'spoil the broth' but there's a lot of opinions to take in." Following the Ireland match, England appeared to revert to a pragmatic, defensive approach against Italy, only to show significant improvement when adopting a more expansive style against France. With the Rugby World Cup just 18 months away and England now ranked sixth in the world, selection decisions have become increasingly urgent. The team faces crucial choices at fly-half and center, with differing opinions on whether to prioritize experience or emerging talent. Former England center Simon Halliday advocates for continuity, particularly praising Tommy Freeman's performance against France: "He ripped them to pieces and looked really good against France. He's a frightening prospect to defend against." Concerns about England's talent pipeline have been raised following mixed results at junior levels. While the under-20 team won the championship in 2024, recent performances have been inconsistent, including a 63-33 defeat to France's under-18s and a sixth-place finish at the junior world championships. However, there are promising signs, with clubs like Bath developing significant young talent including Kepu Tuipulotu, Vilikesa Sela, and Tyler Offiah. The structure of English rugby's domestic pyramid faces scrutiny as the end of automatic promotion and relegation approaches, with an expansion league planned for 2029-2030. The gap between the Premiership and the Championship has widened, raising questions about how to provide young players with essential senior experience. Simon Gillham, chair of the Tier 2 board, acknowledges the challenges but remains optimistic: "For the Champ clubs it's a case of head over heart. I'm absolutely convinced the Champ will continue to grow."

Mythmatch is a match-three game that has captured the essence of ancient Greek mythology, blending it with a heartwarming tale of friendship and community. Players take on the role of Artemis, the immortal daughter of Zeus, who is determined to become the God of the Hunt. To achieve her goal, Artemis must first earn favor with a council of her elders on Mount Olympus, and they all have puzzle-based jobs for her.The game seamlessly integrates elements from various puzzle games, such as Plants vs Zombies and Overcooked, into its match-three gameplay. As Artemis navigates her way through the challenges set by the gods, she gets cast out of Olympus and sent down to the mortal town of Ithaca, home of Odysseus. Here, the game transforms into a rural life sim, where players help the locals by constructing new buildings, assisting their trade with other settlements, and solving their complicated lives.The gameplay cycle revolves around spending days on Earth becoming a more useful deity and then returning to Olympus at night to try to better your score at the challenges set by the gods. As players become indispensable in the lives of the mortals, they reward Artemis with ecclesiastical XP (experience points), which can be spent to make the Olympian puzzle tasks easier.The visual style of Mythmatch is gentle and cartoonish without being overly cute, and the characters are well-drawn and sympathetic. The game tackles timeless sociopolitical themes, including unrequited love, social anxiety, absent fathers, corporate greed, and the philosophy of leadership. The game is also extremely funny, with a unique sense of humor that adds to its charm.Overall, Mythmatch is a lyrical poem about beautiful and rewarding game design. With its interlocking systems, pleasing pace, and ebb and flow between Olympus and the mortal realm, the game is almost hypnotic. If you're looking for a new game to get lost in, Mythmatch is available now for £16.75.

The typical car has grown significantly in size over the years, with SUVs now accounting for 46% of global new car sales. While they offer more space and a higher vantage point for occupants, they pose significant risks to pedestrians, particularly children, who are 77% more likely to die if struck by an SUV compared to other cars.London Mayor Sadiq Khan is taking steps to address these concerns, including a review of SUVs' environmental impact and potential policy proposals such as higher charges for SUV owners. This move is in line with public sentiment in other cities, where residents have shown support for measures like tripling parking fees for SUVs in Paris and higher parking charges in Cardiff.The UK government can learn from cities like Helsinki and Oslo, which have achieved significant reductions in road deaths and serious injuries. London's ultra-low emission zone (Ulez) has also led to significant air quality improvements since its rollout in 2023. However, the government needs to address the issue of SUVs' large carbon footprints, including their manufacture, which consume about 20% more oil than medium-sized cars.The conversation about the UK's growing number of giant cars needs to accelerate, and Ministers should re-examine the tax system for new SUVs, which are currently taxed far less heavily than in many European countries. By taking bold action, the government can make the city cleaner and safer for its residents.