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Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

Japan's oyster industry is facing a severe crisis as a mass die-off of oysters in the country's Hiroshima prefecture threatens the livelihoods of local fishermen and the national cuisine. The die-off, which has resulted in up to 90% of oysters dying in some areas, is attributed to a combination of rising sea temperatures and a brutally hot summer last year.The oyster industry in Hiroshima accounts for almost two-thirds of Japan's supply of farmed oysters, producing 89,000 tons of the shellfish in 2023. The industry's struggles have prompted the government to step in with support measures, including five-year government loans at virtually zero interest and access to mutual aid programs for aquaculture businesses.Experts warn that mass die-offs could become more common due to climate change and global warming. 'It's difficult to put the brakes on climate change,' says Kazuhiko Koike, a professor at Hiroshima University. 'But if the rainy season ends early again with little rainfall, and is followed by prolonged high temperatures and hot weather, this could mean that low oxygen levels and food shortages will occur again.'The crisis has significant implications for local businesses and consumers, with oyster's being a popular Japanese dish. 'This is something out of the ordinary,' says Taketoshi Niina, a fishery owner in Kure. 'A lot of those that do survive are in poor condition … they are not of a high enough quality to sell to shops and restaurants.'

Aarti Holla-Maini, a British lawyer with a background in the satellite business, is the director of the UN's Office for Outer Space Affairs (Unoosa). She is responsible for alerting the UN secretary general if a large asteroid is on a possible collision course with Earth.On 27 December 2024, a robotic telescope in Chile spotted a distant rock, asteroid 2024 YR4, which was initially estimated to be the size of a small building. As the asteroid's impact probability increased, Holla-Maini's team drafted a letter to the UN secretary general, triggering the first global notification since the UN established a planetary defence collaboration in 2013.The asteroid's size and speed meant an impact could release energy comparable to hundreds of times the power of the Hiroshima bomb, potentially wiping out a city or region. The asteroid reached level three on the Torino Impact Hazard Scale, indicating a threat to human civilization.Holla-Maini's team worked with the International Asteroid Warning Network and other experts to track the asteroid. Although its impact probability peaked at more than 3% in February 2025, it has since dropped to a negligible level. The asteroid scare served as a useful test for Unoosa's role in planetary defence.Unoosa plays a critical role in registering satellites launched into Earth's orbit and acts as an informal 'hotline' for potential satellite collisions. Holla-Maini's small team of 35 employees punches well above its weight, managing a massive remit as governments and businesses increasingly operate in space.

For British runner Josh Kerr, the moment that makes the hairs on his neck tingle every time he watches it is Roger Bannister's historic achievement in 1954 – becoming the first person to break the four-minute mile barrier. Now, Kerr intends to stand on the shoulders of track and field's giants by attempting to break the world mile record himself at the London Diamond League in July."This record needs to be brought home," Kerr declares. "This is a British record. This is a British distance. And so it would be doing a disservice to the UK to not be doing it at home. It's why I can't do it anywhere else."The 28-year-old faces a significant challenge. The world record of 3:43.13 was set by Hicham El-Guerrouj in July 1999, while Kerr's best is a shade over two seconds slower. However, with focused training, a new shoe from sponsor Brooks, the support of his 16-strong entourage and 60,000 fans at the London Stadium, Kerr believes he can break the long-standing record."People [say:] 'The sport needs more rivalries,'" Kerr explains. "I don't agree. I think the sport needs more moments. We need a reason to watch. And so that's where this comes from. This is the time to go after these big moments. I have a big target of what time I want to hit. I think it's going to be pretty special."Kerr's credentials are impeccable. He is a world 1500m champion and an Olympic silver and bronze medalist over the same distance. Last weekend, he further demonstrated his form by winning the world indoor title over 3,000m for a second time."I've been in shape to run the record multiple times over the last couple of years," Kerr states. "And so there's specific key sessions, we will have KPIs [key performance indicators] going into it."To achieve his goal, Kerr plans to focus on running between 55 and 56 seconds pace for each of the four laps. "There's a lot of muscle memory with stuff, and so we'll do a lot of training at pace," he explains. "We're three or four months in deep into the mental training of it. There's a lot going on behind the scenes already. The whole season is towards this."While Kerr has his pacemakers "signed, sealed and delivered," he insists this will be a proper Diamond League race rather than a time trial. "There will be some restrictions," he says coyly when asked about potential rivals. "I'm not scared to race people. I think certain athletes will have obligations elsewhere. But it's not going to be a closed-off race."A crucial factor in Kerr's favor is the quality of his support team. "Danny's the mastermind behind everything," Kerr says of his coach Danny Mackey. "He's my head coach and team leader. Then you've got Julian, who's an assistant coach, and my wife, who helps with everything."The team also includes Kerr's mother as head physio, a "super-manager and assistant" called Nicole, a chiropractor, massage therapist, two strength and conditioning coaches, a performance and mental coach, a nutritionist, a full-time chef, and a videographer and social media assistant. Race agent Ray Flynn and management company Forte complete the 16-strong squad."I have a lot of respect for this record," Kerr concludes. "But I believe that I have the ability and the people around me that will help me get there. This record is one of the most important we have in track and field. The time is now. It's time for that record to be renewed."

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."