Breaking AI & Tech News Analyzed

The US conflict in Iran, with its wide-reaching consequences for the Middle East and global economy, is being portrayed by the Trump administration in a strikingly detached and simplistic manner. The war is being likened to a video game, a spectator sport, and a social media event, complete with memes and AI-generated content.A week into the conflict, the White House uploaded a series of social media clips featuring montages of popular movies like Top Gun, Braveheart, and Breaking Bad, with captions like 'Justice the American way.' Another clip, titled Touchdown, showed NFL players tackling each other, culminating in an explosion labeled 'unclassified.' Even SpongeBob SquarePants made an appearance, asking, 'Wanna see me do it again?' followed by an explosion.A senior White House official described their approach as 'grinding away on banger memes, dude,' highlighting an 'entertainment factor' in their strategy. This approach reflects Donald Trump's and his MAGA base's tendency to view politics as a competition, where scoring, winning, and humiliating the opponent are paramount. The conflict is thus framed not in terms of death, destruction, or economic fallout but as a game of scoring points.The use of AI in the conflict has been unprecedented, with Adm Brad Cooper, Centcom commander for Operation Epic Fury, noting that AI played a crucial role in the over 5,500 strikes on Iran. AI tools can accelerate processes that used to take hours or days into mere seconds, streamlining the 'kill chain' and reducing human involvement in target selection.This detachment is further exacerbated by the remote nature of the conflict and the current information ecosystem, where events are flattened into social media feeds, making it difficult to discern reality from fiction. The glut of information, including fake footage and AI-generated content, has dulled our sensitivity to the true stakes of the conflict.The article concludes with a call to retain empathy and humanity in the face of political leaders who benefit from dehumanizing conflict and platform owners who profit from it. The challenge is to understand the human cost of the war and exercise pressure on those responsible for the suffering.

The horror film The Mortuary Assistant, based on Brian Clarke's popular indie video game of the same name, stands out for its convincing practical effects. The movie recreates embalming techniques with remarkable accuracy, much like the game, which allows players to learn about these processes in detail.The film's strength lies in its simulation element, effectively placing viewers in the shoes of someone preparing a body for cremation. However, this aspect may appeal to a more niche audience compared to mainstream horror movies.Unfortunately, the film lacks balance in its narrative, with the characters of Rebecca and Raymond being portrayed as dark and tormented, leaving little room for contrast or character development. The introduction of demonic possession adds a familiar horror element, but it feels somewhat disconnected from the rest of the story.Despite its well-crafted direction and impressive practical effects, The Mortuary Assistant falls short in delivering a well-rounded horror experience. A potential sequel could explore more complex characterisation or a schlockier, more formulaic approach to create a more engaging narrative.The Mortuary Assistant is available on Shudder and AMC+ from 27 March.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.