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At least two people have been killed in a tragic incident involving an Air Canada Express flight that struck a ground vehicle while landing at New York's LaGuardia Airport. The accident occurred on Sunday night, and the airport has been closed since then, with flights diverted to other airports. The aircraft, operated by Jazz Aviation, a regional partner of Air Canada, collided with a firefighting truck on Runway 4 at approximately 11:40 pm on Sunday (03:40 GMT on Monday). The vehicle was driving to respond to a separate incident. According to the Port Authority, 32 of the 41 injured individuals had been released by Monday, while nine remained hospitalized with serious injuries. The passengers and crew members on board Flight AC8646, which departed from Montreal, included 76 people, four of whom were crew members. The CRJ-900 aircraft struck the vehicle at a relatively low speed of 39 kilometers per hour (24 miles per hour). Emergency response protocols were immediately activated, and the US Federal Aviation Administration (FAA) issued a ground stop for all departures to LaGuardia. The National Transportation Safety Board has dispatched a 'go team' to investigate the collision. The incident has caused significant disruptions, with arriving planes being diverted to other airports or returning to their point of origin. New York's Emergency Management has warned of potential cancellations, road closures, traffic delays, and emergency personnel presence near the airport. LaGuardia Airport, which served 33.5 million passengers in 2024, has been experiencing flight disruptions due to poor weather and staffing impacts from a federal funding lapse.

Iran has reportedly claimed to have downed a US F-35 fighter jet during a combat mission, a development that could challenge the aircraft's reputation as 'unkillable'. According to sources familiar with the matter, the incident occurred last week when the F-35 made an emergency landing at an airbase in the Middle East. The Iranian Islamic Revolutionary Guard Corps issued a statement saying it had targeted a US aircraft, and Iran's semiofficial Tasnim news agency released military footage purporting to show Tehran's air defence systems hitting a US F-35 stealth fighter. The F-35, manufactured by Lockheed Martin, is considered the cornerstone of Washington's aerial firepower, boasting advanced stealth technology, sensors, and high-speed computing. Its ability to gather and share data from a 360-degree camera suite and other sensors makes it a formidable asset in modern warfare. If confirmed, this would be the first time an F-35 has been struck by Iran during the ongoing conflict. Defence experts emphasize that even if the claims are true, it does not necessarily mean stealth technology is becoming obsolete, but rather that even advanced aircraft like the F-35 are not invulnerable in a dense, adaptive air-defence environment. The incident is under investigation, with the US military's Central Command stating that the pilot was in stable condition after the emergency landing. The US has not yet confirmed that the F-35 was hit by Iranian fire, with President Donald Trump stating, “We’re flying wherever we want. Nobody is even shooting at us.” This development comes amid heightened tensions between the US and Iran, with at least 13 US service members killed and roughly 200 wounded during combat operations against Iran. In Iran, at least 1,444 people have been killed and 18,551 injured since the start of the conflict.

The global energy crisis caused by the war in Iran and the fallout from the Ukraine conflict is equivalent to the combined force of the twin oil shocks of the 1970s, according to the head of the International Energy Agency (IEA).Fatih Birol, the IEA's executive director, warned that the growing fallout could be seriously compounded by interruptions to the 'vital arteries of the global economy', including petrochemicals, fertilisers, sulphur, and helium.The crisis, which started with bombings against the regime in Tehran on 28 February, already represents the loss of 11m barrels of oil per day and about 140 bcm of gas. This is comparable to the losses seen in the 1973 and 1979 oil crises, which saw a loss of about 5m barrels of oil per day each, and Russia's 2022 invasion of Ukraine, which removed about 75bn cubic metres (bcm) of natural gas from international markets.Birol said that at least 40 energy assets in the Gulf region had been severely or very severely damaged, so even an end to the conflict would not immediately restore energy supply. He also noted that the Asia Pacific region had been badly affected by the closure of the Strait of Hormuz, through which about 20% of the world's oil supply is transported.The IEA has taken emergency measures, including the release of 400m barrels of oil from strategic reserves, the largest emergency measure in its history. Birol said he is consulting world leaders about another possible release of emergency oil supply, noting that the initial move was only 20% of overall stocks.

The Last Blossom, directed by Baku Kinoshita and written by Kazuya Konomoto, is a quiet, contemplative anime feature that rarely gets a theatrical release. The film opens in a lonely prison cell, where the elderly former yakuza Akutsu finds an unexpected confidant in a talking balsam flower.Over the course of one sleepless night, Akutsu's life story unfolds in bursts. Thirty years prior, another balsam flower grows in the back yard of Akutsu's humble house, which he shares with Nana and her baby son, Kensuke. The relationship between the taciturn man and the bubbly young woman is seemingly platonic; Kensuke is not his son. Yet there are hints of romantic attraction; they share bowls of piping hot ramen noodles, play endless rounds of Reversi, and join in harmonising the Ben E King classic Stand By Me.In contrast to this alternative nuclear family, the yakuza world is still strictly traditional, revolving around machismo and codes of brotherhood. When Kensuke is diagnosed with a heart condition, Akutsu is lured into a criminal plot, which leads to his incarceration. Though encompassing much bloodshed and even a hidden treasure subplot, The Last Blossom is most moving as an exploration of human conscience, where a capacity for violence and kindness coexist.The paradox is reminiscent of Shōhei Imamura’s Palme d’Or winner The Eel, starring Koji Yakusho as a wife-murderer who shelters a pregnant woman after his prison release. With his unassuming buzzcut, in stark contrast to his flamboyant yakuza peers, Akutsu bears a striking resemblance to Yakusho’s protagonist. Though a minor work compared to Imamura’s, The Last Blossom similarly questions conventional notions of justice, and the impossibility of weighing one’s good and bad deeds.The Last Blossom is in UK and Irish cinemas from 27 March, and in Australian cinemas from 23 April.

The Tyne-Wear derby between Newcastle United and Sunderland AFC ended in a 2-1 victory for the visiting team, but the match was overshadowed by reports of racist abuse directed at Sunderland's Lutsharel Geertruida by home fans.The incident occurred early in the second half, prompting referee Anthony Taylor to temporarily halt play in accordance with the Premier League's on-field anti-discrimination protocol. Granit Xhaka, Sunderland's captain, informed Taylor of the alleged abuse, which led to a discussion with both managers and the player involved.The Premier League has launched a full investigation into the incident, with Northumbria Police making one arrest during pre-match skirmishes between rival fans. Newcastle United has condemned the abuse and vowed to work with authorities to identify and hold accountable those responsible.In a statement, Newcastle United said: "We are aware of a report of racism made by a visiting player against someone in the crowd during our Premier League match against Sunderland. Our stance is clear – we do not tolerate discrimination of any form. We will work with the authorities to fully investigate and will ensure any individuals are identified and held accountable."Sunderland AFC also released a statement, expressing their support for Geertruida and condemning the racist abuse: "Sunderland AFC is aware of the reported incident of racist abuse directed at Lutsharel Geertruida during today's fixture at St. James' Park. We stand with Lutsharel, who has our complete backing, and we commend him for displaying bravery and leadership by reporting this incident to the match officials."The incident has highlighted the ongoing issue of racism in football and the need for clubs and authorities to take a strong stance against such behavior.

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."

The online gaming industry has become a cutthroat world where success is fleeting. Developers are under pressure to create games that generate immediate and significant returns, making it difficult for them to sustain player engagement. Consider the case of Highguard, a free-to-play game that launched with a peak of 100,000 concurrent players on Steam. However, 90% of players abandoned the game within a week, and the developer, Wildlight Entertainment, announced that it would end service on March 12, after fewer than 50 days online. The game's failure can be attributed to several strategic errors, including a refusal to conduct public play tests before release and a complex structure that was difficult for players to understand. However, the main reason for its failure is the increasingly demanding expectations for immediate returns in the live-service game market. Live-service games are investments that are meant to deliver endless revenue, and developers are under pressure to emulate the success of genre juggernauts like Fortnite. However, executives and developers have different priorities, and the online commentariat is often negative about these types of games. Sony, for example, has greenlit several live-service games, but most of them have been canceled before release. One of its few successes is Helldivers 2, which sold 20 million copies and still has a healthy player base. Bungie's new game, Marathon, has also received critical acclaim, but its fate is uncertain due to the high expectations for returns. The game's developers have spent years maintaining Destiny, a trailblazing online shooter, which gives Marathon a significant advantage. However, the pressure to generate profits is still a major challenge, and the game's success is not guaranteed. In conclusion, the online gaming industry is becoming increasingly challenging, and developers are under pressure to create games that generate immediate returns. While some games, like Marathon, show promise, the existential threat facing them is the same: profit margins.

The announcement of BTS's comeback album has transported me back to a bygone era, one marked by all-consuming passion and a dash of secrecy. As a teenager, I was deeply invested in K-pop, particularly BTS, but I often found myself hiding this obsession from peers due to fear of ridicule. In those days, it was uncommon for groups of girls to openly discuss or watch new music videos from popular K-pop bands like BTS or One Direction. We'd often gather in private settings, like late-night Skype calls or in the back of a classroom, to share and enjoy our favorite content. This clandestine nature of fandom was partly due to the stigma attached to being a 'fan girl.' The author recalls feeling self-conscious about their enthusiasm and downplaying it to avoid being labeled as 'crazy' or 'obsessed.' This behavior was not unique; many teenage girls have similar experiences, often softening their passions to fit in or avoid criticism. The question remains: why is it that displaying genuine emotion is frequently misconstrued as unhealthy dependence? Looking back, the author feels a sense of protection and softness towards their younger self, who found solace, connection, and belonging through BTS's music and universe. During a particularly challenging time, when the author moved to Melbourne alone at 17, BTS's extensive content provided comfort and something to look forward to. This period of intense fandom ultimately helped the author make meaningful connections and discover creative outlets like writing. The experience was pivotal in their personal development, offering a safe space to express themselves and explore their creativity through fan art, fan fiction, and more. With the release of BTS's new album, Arirang, and a world tour on the horizon, the author is eager to revisit their teenage self, embracing the excitement and joy that comes with being a fan. This nostalgia-tinged comeback is not just about the music; it's about reconnecting with a part of themselves that they had set aside.

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.