It’s such frightfully bad news for property prices whenever zombies move into the area: there goes the neighbourhood, and all that. Not that the gore-guzzling monsters in the ironically titled horror drama Sweet Home (Netflix, series one now streaming) are your average undead. The demons-made-flesh who terrorise Green Home – a health hazard of a Korean apartment building into which depressive student Cha Hyun-soo ( Song Kang ) has just completed an ill-timed move – make short work of many occupants, lacerating, bloodsucking and pulverising as they go. The monsters are certain to be even less well mannered in season two, soon to be released. “Maybe the world is finally coming to an end,” suggests one resident, in a nod to the current challenges facing the planet. Blood-splattering action lights up the first season, to the extent of recreating an Alien -style chase through a claustrophobic ventilation system wherein a modern-day Ripley – Seo Yi-kyung, played by former boxer Lee Si-young – seems sure to be the next meal for a rabid mouth on tentacles. Dangerous though it is, potential victims of this plague of unknown dimensions must isolate themselves in their shoddy homes much of the time, because it’s even more apocalyptic outside. Pandemic comparisons are therefore unavoidable , particularly when a lockdown in the form of martial law is introduced. Inside the K-drama streaming wars: can anyone match Netflix? In yet another handy parallel, it’s impossible to tell who is infected-possessed and who isn’t – although the eventual sight of eyes turning black is a chilling clincher. Humour survives even here, however: societal hierarchies are satirised as different generations in Green Home start playing by different cultural rules, and a possible reason for the monsters’ sudden evolution emerges. “Can someone explain why this is happening? Is it because of a virus?” asks a resident. “It’s because of human desire,” comes the answer. “Right,” the exchange continues. “It must be because the owner of the supermarket is so greedy.” If only. Mark Ronson on the marriage of music and technology Music geeks of the world unite: this one’s for you. British-American producer, songwriter and DJ Mark Ronson is the man behind the mixing desk (and everywhere else) in an alternative look at how music has developed in recent decades and how it continues to transform itself under technology’s auspices. Watch the Sound with Mark Ronson (now streaming on Apple TV+) features the Grammy Award winner noodling with recording studio toys and effects, from Auto-Tune (which fixes duff vocals) to synthesisers to drum machines, via distortion, sampling and reverb. The backstories of some techniques are intriguing: Ronson shows how hip hop began in deprived areas of 1970s New York. There was no money for instruments, so the musically inclined youth “took the technology available to them”, which meant LPs and turntables, “and came up with an entirely new way to create music”. Sampling, dismissed in some quarters as “not real music”, has been with us ever since. The inquiring, thoughtful Ronson, the go-to collaborator for the late Amy Winehouse and today the producer of choice for many other A-list artists, enjoys a stock so high that the likes of Paul McCartney, Lady Gaga , Dave Grohl and Sean Ono Lennon were recruited for this labour of aural love. Joseph Gordon-Levitt faces his worst fears in Apple’s Mr. Corman It was a project in the stars from the beginning for Ronson, the stepson of Foreigner guitarist Mick Jones and who, for all his knob-twiddling wizardry, is wary of the “digitally enhanced lives” reflected in the music we make. “We seem to be on this inevitable march towards removing the human feel for music altogether,” says Ronson, picking up the rhythm of his food blender. Not that he’s going to be pulling the plug any time soon.