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Moby, the renowned musician, has shared his honest playlist, offering a glimpse into his personal music preferences. He recalls the first song he fell in love with, 'I Fought the Law' by the Clash, which he would record on an old Dictaphone and listen to repeatedly.Moby also shares the first single he bought, 'Convoy' by CW McCall, which he played 40 times in a row, raising concerns for his mother about his future as a musician and addict.He takes pride in never doing the same karaoke song twice, with notable attempts at 'My Way' by Frank Sinatra and 'In Da Club' by 50 Cent. Moby also reveals the song he inexplicably knows every lyric to, 'I Know You Got Soul' by Eric B & Rakim, which he played 8,000 times while DJing in the 80s.Moby discusses the best song to play at a party, 'Been Caught Stealing' by Jane's Addiction, which surprised a crowd of 15 people at a house party in 1989. He also shares the song he can no longer listen to, 'Lola' by the Kinks, due to its gross and transphobic lyrics.Moby confesses to secretly liking 'My Heart Will Go On' by Céline Dion, a song he thought he'd never admit to enjoying. He also shares the best song to have sex to, '4′33″' by John Cage, and the song that changed his life, 'I Feel Love' by Donna Summer.Other songs on Moby's playlist include the song that makes him cry, 'Vincent' by Don McLean, and the song that gets him up in the morning, 'Not to Touch the Earth' by the Doors. He concludes by sharing the song he'd like played in his funeral, 'Last Night' from his 2008 album of the same name.

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.

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."

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."