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London's bid for the 2029 World Athletics Championships is facing a significant challenge due to West Ham's refusal to allow their stadium to be used in September. Sebastian Coe, the head of World Athletics, has expressed concerns that this stance could scupper the bid, despite strong backing from the UK government and the mayor's office.World Athletics has specified that the championships should be held as the grand finale to the athletics season, typically in September. However, West Ham United has a 'contractual right' ensuring their games take priority during the football season and has shown no indication of changing their stance.“It's really difficult for me because I have a view, but I have to be scrupulously neutral, because London is clearly not the only bid out there,” said Lord Coe. “All I would say is that I would hope that there is a recognition that outside the Olympic Games and the World Cup, this is the third-largest sporting gathering in a four-year cycle.”Coe also mentioned that staging the championships earlier in the summer to avoid clashing with the football season is not a viable option, as it would contradict the organization's goal of concluding the athletics season with the championships.The initial deadline for bids for both the 2029 and 2031 world championships is 3 April, with final submissions due on 5 August. The winning cities will be announced in September.

US President Donald Trump has requested a delay in his highly anticipated trip to China, initially scheduled for March 31-April 2, by about a month. The decision comes amid the ongoing US-Israeli war on Iran, which has resulted in significant escalation of tensions in the Middle East. “We've requested that we delay it a month or so,” Trump told reporters at the White House on Monday. “There's no tricks to it either. It's very simple. We've got a war going on. I think it's important that I be here.” The delay underscores how the Iran war has upended Trump's foreign policy agenda and risks magnifying tensions between Washington and Beijing. The war has joined trade and Taiwan as among the spectrum of issues separating the world's two biggest economies. Trump's request has been largely rebuffed so far, with China not directly responding to his request to help unblock the Strait of Hormuz, which Iran says is closed to US and Israeli-linked vessels. The Strait of Hormuz is a critical waterway through which one-fifth of the world's oil usually transits. US Secretary of the Treasury Scott Bessent said earlier on Monday that Trump may need to delay the trip due to coordinating the war effort, not because of China's unresponsiveness to Trump's request or because of any trade disagreements. “The president wants to remain in DC to coordinate the war effort. Traveling abroad at a time like this may not be optimal,” Bessent said. In related trade negotiations, the Chinese showed openness to potential additional purchases of US agricultural goods, including poultry, beef, and non-soya bean row crops, during talks with Chinese Vice Premier He Lifeng in Paris.

The Trump administration has formally opposed Anthropic's legal challenge, arguing that the Pentagon's decision to blacklist the AI firm was both lawful and necessary for national security. In a court filing submitted on Tuesday, the Justice Department contended that Anthropic’s refusal to remove guardrails preventing its technology from being used in autonomous weapons and domestic surveillance constituted conduct rather than protected speech.Defense Secretary Pete Hegseth designated Anthropic, the creator of the Claude AI assistant, a "national security supply chain risk" on March 3. This move effectively excludes the company from a limited set of military contracts. The administration’s legal team asserts that the dispute is rooted in contract negotiations and national security imperatives, not retaliation. They argue that no constitutional rights were violated because the government did not restrict the company's expressive activities.However, legal experts suggest Anthropic may have a strong case regarding potential overreach. The company is currently challenging the Pentagon's decision in California federal court. The implications of this conflict extend beyond the courtroom; Anthropic executives have warned that the blacklisting could cause billions of dollars in losses this year and severely damage the company's reputation.In a statement, Anthropic emphasized its commitment to national security while acknowledging the necessity of the lawsuit to protect its business interests and partners. The company is also pursuing a separate legal challenge in a Washington, DC, appeals court regarding a broader supply chain risk designation.

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 USAID agency was a primary financial backer of Liberia's eco-guards, who help protect species from poaching and trafficking. The eco-guards, all of whom live in forest communities, patrol for signs of illegal activity and share their findings with rangers from nearby parks and forests.In late January 2025, the SCNL learned that USAID, the eco-guards' primary financial backer, was being dismantled by the Trump administration and that funding had been abruptly suspended. The SCNL programme manager, Michael E Taire, a Liberian who lives in the capital, Monrovia, spent several days travelling over rough forest roads to break the news to the eco-guards, who were shocked and distraught.Conservation organisations large and small lost tens of millions of dollars, forcing some to function with a fraction of the resources they had expected and others to shut down programmes entirely. Efforts to address the root causes of wildlife trafficking across the globe were axed, as was USAID's forest-protection programme in the Congo basin of central Africa, one of the agency's largest and most enduring endeavours.David Kaimowitz, a longtime advocate of community-led conservation in the Amazon basin and Central America, puts it bluntly: 'We’re talking about an end to a whole era of conservation.'Diane Russell, an American anthropologist who has worked for USAID in the Congo basin since the 1980s, says the agency helped draw international attention and funding to the region’s remarkably rich remaining forests, which are home to mountain gorillas and forest elephants. It also enabled conservation to continue through extraordinarily difficult conditions.'The callous glee with which [the Trump] administration choked off aid is something I will never forgive or forget,' Kevin Starr writes.'We cannot replace USAID, but we can do big things, because we, the locals, were the engine behind what USAID was doing in this region,' Dida Fayo says.