Breaking AI & Tech News Analyzed

Goldman Sachs's chief executive, David Solomon, has expressed heightened awareness of the capabilities of Anthropic's Mythos AI model and is collaborating closely with the tech firm following warnings about the cybersecurity risk it poses.The US bank has been closely monitoring the rapid advancements in artificial intelligence, including large language models (LLMs), as part of broader efforts to protect itself from hackers.“Obviously the LLMs are making rapid progress and we’re hyper-aware of the enhanced capabilities of these new models with the help of the US government and the model publishers,” Solomon told analysts on an earnings call on Monday.Anthropic, the company behind the Claude family of AI tools, claimed last week that its latest model, Mythos, posed an unprecedented risk due to its ability to expose flaws in IT systems. The company warned that AI models have reached a level of coding capability where they can surpass all but the most skilled humans at finding and exploiting software vulnerabilities.Solomon emphasized that Goldman Sachs is working closely with Anthropic and all of its security vendors to harness frontier capabilities. “We are very focused on supplementing our cyber and infrastructure resilience. And this is part of our ongoing capabilities that we have been investing in, and are accelerating our investment in.”The news comes after the US Treasury secretary, Scott Bessent, summoned Solomon and other big American bankers to Washington to discuss the Mythos model last week. The meeting focused on heads of so-called systemically important banks, where regulators believe that a major disruption to their operations, or their potential collapse, would put financial stability at risk.On Monday, the UK government’s AI Security Institute (AISI) warned that Mythos was a “step up” over previous models in terms of the cyber threat it posed. AISI said Mythos could carry out attacks that required multiple actions and discover weaknesses in IT systems without human intervention.

The Department for Culture, Media and Sport, acting on Historic England’s advice, has awarded Grade II* listed status to a limestone rubble barn on a grassy knoll in the Lake District, joining an elite roster that includes Battersea Power Station and the London Coliseum.Dubbed “Henry’s Castle,” the structure was most recently used as a shelter for livestock, but research suggests it may date back to the 14th century and originally served a high‑status function that remains unknown.Only 5.8% of England’s listed buildings achieve the Grade II* level, indicating they possess “more than special interest.” The barn’s unusual features – a corbelled chimney stack, a stepped garderobe, and a plastered interior showing signs of fire – set it apart from ordinary field barns.Historic England’s listing team leader, Sarah Charlesworth, described the building as “one of those rare structures that raises more questions than it answers,” underscoring its intrigue for scholars and visitors alike.Lake District National Park’s built‑environment adviser, Rose Lord, recalled her 2022 visit, noting that despite layers of animal manure the barn’s architecture hinted at something “very special” – a construction far beyond typical agricultural outbuildings.Four years of meticulous work by archaeologists, architects, and conservation engineers have restored the barn’s most striking element: an oak roof featuring a hand‑finished, chamfered and pegged central truss, a technique associated with high‑quality carpentry of the 14th or 15th centuries.Experts speculate on the barn’s original purpose, ranging from a defensive lookout or hunting lodge to a luxurious summer house. Historic England notes similarities to bastles – fortified farmhouses common along the Anglo‑Scottish border – though the building’s location south of the border makes a strict classification unlikely.Originally converted to domestic use in the 16th or 17th century and later repurposed as a field barn by the 19th century, the structure takes its name from former owner farmer Henry Willison.Lord called the new listing the “cherry on the cake” for the restoration project, highlighting that most buildings of comparable significance have already been recorded in earlier surveys. Interpretation panels and an owl‑nesting box are slated for installation in the coming weeks, adding educational and ecological value to the site.

Meta, the company behind Facebook and Instagram, is reportedly working on an AI version of its CEO, Mark Zuckerberg. This AI clone is being trained on Zuckerberg's mannerisms, tone, and public statements to allow employees to interact with a digital version of their boss.The rationale behind this project is to make Meta's 79,000 employees feel more connected to one of the most influential figures in Silicon Valley. The AI character will be developed using images and the voice of Zuckerberg, with the CEO reportedly taking part in the training process.This move is part of Meta's broader effort to integrate AI into its business operations. The company aims to use AI to lower costs and accelerate work pace. Zuckerberg has emphasized the importance of efficiency, stating that the goal is to 'get more done' by elevating individual contributors and flattening teams.The development of this AI character follows Meta's previous experiments with digital avatars. In 2022, Zuckerberg shared his own avatar in the metaverse, which received public criticism for its graphic quality. The company has since scaled back its metaverse vision, focusing on AI-generated 3D characters for everyday conversations.Meta's investment in AI is part of a larger strategy to remain competitive with tech rivals. The company is pouring billions of dollars into AI research to create 'superintelligence,' a system capable of performing any cognitive task far better than a human.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.

Rolls-Royce has secured a significant investment of up to £599m from the UK's national wealth fund to develop the country's first small modular nuclear reactors (SMRs). The funding will support Rolls-Royce's design of SMRs at Wylfa on the island of Anglesey, Wales. The investment is expected to create around 1,000 jobs at Rolls-Royce and contribute to the UK's goal of generating electricity without carbon dioxide emissions. The project also offers the potential for a large new export industry in SMRs. The UK government has embraced nuclear energy as a key component of its clean energy strategy, and this investment marks a significant milestone in the development of SMR technology. SMRs aim to produce nuclear power stations in factories, driving down costs and speeding up installation. The Wylfa site has a history of nuclear power generation, having operated from 1971 until 2015. Hitachi had previously attempted to build a new nuclear power station at the site but abandoned its plans in 2020 due to funding issues. The site was later acquired by the state-owned Great British Energy – Nuclear (GBE-N) in 2024. The chancellor, Rachel Reeves, highlighted the importance of the investment, stating that it will strengthen energy security, create skilled jobs, and help build a new generation of homegrown nuclear technology that will power the UK's economy for decades to come. Tufan Erginbilgiç, chief executive of Rolls-Royce, described the investment as a critical milestone for the business and for the UK, marking the beginning of a golden age of new nuclear. The company owns the majority of Rolls-Royce SMR, alongside Qatar's sovereign wealth fund, France's BNF Resources, and the Czech utility CEZ.

In the quiet town of Iseyin, about 200 km north‑west of Lagos, shaded courtyards and narrow lanes have become the beating heart of Nigeria’s iconic aso‑oke textile industry. Under makeshift sheds, weavers operate wooden looms that have remained largely unchanged for generations. Recent years have seen a surge in demand for the thick, multicoloured fabric, driven by the Nigerian diaspora and an expanding international appetite for African fashion. Yet the craftsmen and women of Iseyin staunchly oppose the introduction of machines, arguing that the hand‑woven process is essential to the cloth’s distinctive texture and cultural value. The craft now serves as an economic lifeline. Young Nigerians—including university graduates—are flocking to Iseyin to learn the trade, attracted by the promise of a steady income. One such convert, Waliu Fransisco, abandoned a career as a Lagos nightclub singer a decade ago to master the loom. At 34, he says, “I now earn a decent living from weaving aso‑oke and I’m satisfied.” Aso‑oke, literally meaning “cloth from the up‑country,” has become a staple in Nigeria’s fashion scene, appearing in ceremonial attire, contemporary streetwear, and even high‑profile outfits such as the wrapper and shawl worn by Meghan Markle during her 2024 visit to Nigeria with Prince Harry. Traditionally, the fabric was produced from locally sourced cotton or silk, with threads hand‑spun, dyed, and woven in limited colour palettes. Today, most weavers use loom‑ready yarns imported primarily from China, allowing for a broader spectrum of hues while preserving the labor‑intensive hand‑weaving technique. Each loom requires meticulous arrangement of narrow, tightly patterned strips that are later sewn together to form the wider cloth used for garments and accessories. “This is what Iseyin is known for,” says 35‑year‑old weaver Kareem Adeola, echoing the sentiment of a community that views the craft as a direct inheritance from its forebears. As global fashion houses and consumers continue to seek authentic African textiles, the artisans of Iseyin stand at the crossroads of tradition and market opportunity, proving that cultural heritage can thrive alongside modern demand.

Three Very Large Crude Carriers (VLCCs) successfully navigated the Strait of Hormuz on Saturday, marking a rare movement of oil cargoes amid the fragile truce between the United States and Iran.The vessels – the Liberia‑flagged Serifos, and the China‑flagged Cospearl Lake and He Rong Hai – each can transport about 2 million barrels of crude, collectively representing a significant volume for a waterway that channels roughly 20% of the world’s oil and LNG shipments.According to data from the London Stock Exchange Group (LSEG) and analytics firm Kpler, the Serifos is chartered by Thailand’s state‑owned energy firm PTT. Loaded with Saudi and UAE crude in early March, it is slated to dock at Malaysia’s Malacca Port on April 21.The other two carriers, Cospearl Lake and He Rong Hai, are chartered by Unipec, the trading arm of Chinese energy giant Sinopec. Cospearl Lake, carrying Iraqi oil, is expected to reach China’s Zhoushan port on May 1, while the destination for He Rong Hai remains undisclosed.Earlier, a tanker named Ocean Thunder, chartered by a Petronas subsidiary, also transited the strait, underscoring a gradual, albeit limited, resumption of traffic.Despite these movements, hundreds of tankers remain stranded in the Gulf, awaiting clearance during the two‑week ceasefire. Their prolonged idling continues to pressure global energy prices, which have surged since Iran’s blockade began in late February.In addition to the loaded vessels, three empty tankers – Mombasa B, Agios Fanourios I, and Shalamar – were observed heading into the strait on Sunday to load fresh cargoes. Notably, Agios Fanourios I signaled a route to Iraq’s Basrah fields to pick up crude destined for Vietnam.Management firms such as Eastern Mediterranean Maritime, Cmb.Tech NV, and Pakistan National Shipping have not provided comments on the recent transits.While the passage of these three supertankers offers a modest relief to the global oil supply chain, the overall situation remains precarious. The continuation of the ceasefire and the resolution of Iran’s blockade will be critical determinants of oil market stability in the weeks ahead.

PCK Dance’s latest double‑bill, “Into the Light,” opens with a palpable tension: dancers inhale as if grasping something costly, their gazes unfixed, brows furrowed, signalling an emotional gravitas that the production amplifies with dark lighting and portentous music.Choreographers James Pett and Travis Clausen‑Knight, both alumni of Company Wayne McGregor, demonstrate why their pedigree matters. Their movement language is slick, finessed and relentlessly precise, with legs whipping to extreme angles and sequences that cascade like the “chatter of a motoring brain.” The duo’s fluency in form lets them forgo the heavy‑handed theatrical cues that often drown subtler expression.The centerpiece, the duet “In the Absence,” features Pett and Clausen‑Knight alongside third dancer Isabelle Evans. Their interplay oscillates between closeness and disconnection, tension and tenderness, hinting at loss. Evans’s decisive gestures—flexed wrists, expressive hands—act as declarations, while a striking passage sees the choreographers literally throwing her body between them, creating a kinetic flash that feels both chaotic and meticulously crafted.Music, composed by Pett with co‑composer Greg Haines, emerges live from a bank of stage‑side technology. The piano interludes give way to pitch‑less textures that evoke a “joyless, end‑of‑days” ambience. This soundscape reinforces the programme’s suggestion that the work grapples with survival in an AI‑driven future, casting the performance as a low‑key apocalypse rather than a conventional dystopia.By marrying razor‑sharp choreography with a minimalist, tech‑infused score, PCK Dance asks a vital question: in a world increasingly mediated by algorithms, what does it mean to remain truly human? The answer, if any, lies in the fleeting connections forged on stage—moments where bodies speak louder than the surrounding machinery.

The play 'My Uncle Is Not Pablo Escobar' showcases creative ambition in its exploration of the experiences of Latinx women in modern London. The production features striking visuals, blending elements of a pop concert with techno beats and census data, highlighting the absence of Latinx representation in official categories.The narrative takes a fictional turn, loosely inspired by the 2012 HSBC scandal, centering on Ale, a young woman juggling her A-levels with shifts as a bank cleaner, and her investigative journalist sister Cata. Together, they recruit Lucia to go undercover and investigate the bank's exploitative practices.Despite inventive uses of props and moments of tension, the play feels like a mesh of ideas rather than a fluid narrative. The involvement of five writers and occasional voiceovers may contribute to this disjointedness. The play touches on themes of sibling tension, identity crisis, and immigration, but these elements seem somewhat disconnected.The production at Brixton House in London until May 3rd, serves as a reminder of the importance of Latinx stories on stage, particularly given the growing Latinx population in the UK. However, 'My Uncle Is Not Pablo Escobar' ultimately lacks a unifying focus, causing its message to get lost in the narrative.