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The Rise of AI Interviews in UK Recruitment Nearly half (47%) of UK job seekers have had an AI interview, according to research from the hiring platform Greenhouse. In its survey of 2,950 active job seekers, including 1,132 UK-based workers, it found that 30% of UK candidates had walked away from a hiring process because it included an AI interview. These figures highlight a significant shift in recruitment practices as companies increasingly turn to artificial intelligence to streamline their hiring processes. The AI Interview Experience: Job Seekers' Perspectives Job seekers across the UK have shared their experiences with AI interviews, with many expressing frustration and dissatisfaction. The interviews typically involve candidates recording responses to pre-recorded questions, often with strict time limits. Thomas*, 21, a university student in northern England, described the experience as "frustrating," noting that "it feels strange talking into a camera, and it can be difficult to speak naturally. You can't see anyone other than yourself." The Human Element Missing in Digital Screening Many candidates emphasize the lack of human interaction as a significant drawback. Susannah*, 44, a scientist from Cambridge, found her AI interview "awkward and humiliating." She explained: "There's no human interaction. If you had an in-person interview, you'd be able to see how someone's reacting and that they're acknowledging what you say." This absence of real-time feedback and connection leaves many feeling that the process is impersonal and ineffective. AI Interviews and Accessibility Concerns The AI interview format presents particular challenges for certain groups. David*, 47, a marketing consultant with autism, described the experience as "completely horrible for the autistic brain." He explained: "I spoke in bullet points and keywords. The real me, who would take his time to understand the actual challenge and constraints of a project, would never deliver like that." This raises important questions about whether AI interviews create barriers for neurodiverse candidates. The Efficiency vs. Quality Dilemma in Modern Recruitment Companies increasingly turn to AI interviews to manage high volumes of applications. As Susannah noted: "There are just so many applications for these jobs that an HR department would not be able to go through them all." However, this efficiency comes at a cost. The technology often fails to capture the nuances of human communication and personality, potentially leading to missed opportunities for both candidates and employers. The Future of AI in Recruitment: Balancing Technology and Humanity As AI continues to transform recruitment, there's growing recognition that technology should augment rather than replace human judgment. Tom, a project manager from Scotland, observed: "I don't think the technology is ready for a full-blown interview yet – I guess maybe it depends on what sort of job you'll end up doing. But I think the human touch is probably a good thing, and I hope that lasts as long as possible." The future likely lies in hybrid approaches that leverage AI for initial screening while preserving human elements for critical evaluation stages.

The Challenges of FDA Approval Surviving the long road to FDA approval isn’t just about building great technology — it’s about keeping your team motivated, finding the right investors, and learning how to operate when timelines are uncertain. Lessons from BioticsAI This week on Build Mode, Isabelle Johannessen sits down with Robhy Bustami, co-founder and CEO of BioticsAI, a Startup Battlefield-winning company building an AI copilot for ultrasound to help detect fetal abnormalities. From a $100,000 prototype to FDA clearance, Bustami shares what it actually takes to build in one of the most regulated industries in the world. Building a Medtech Startup In this episode, they break down what it really looks like to build a medtech startup, including where you can’t “move fast and break things” and that every milestone takes time, coordination, and trust. Key Takeaways Team motivation is crucial during the long FDA approval process Finding the right investors is essential for medtech startups Adaptability is key when dealing with uncertain timelines Future Outlook As the medtech industry continues to evolve, startups like BioticsAI will play a critical role in shaping the future of healthcare technology. With the right approach and mindset, these companies can overcome the challenges of FDA approval and make a lasting impact.

The Concept Behind the Show The small print tells us this show has no connection to the fashion house of McQueen, nor does it feature any of Alexander McQueen's designs. You could think it's a cynical attempt to get bums on seats for classical music, but it is created by McQueen's longtime musical director, John Gosling, alongside Robert Ames, conductor of the London Contemporary Orchestra. The LCO plays music that inspired the designer, all run together like a DJ mix with theatrical lighting and multi-genre guest performers. The Music and Performance Far from “unnatural”, most of the harmonies here are as concordant as Classic FM, mostly film soundtracks (The Hours, The Piano, a couple of John Williams') and tearjerkers (Dido's Lament, Barber's Adagio for Strings). The friction, however, is all in the combinations. For example: two dancers posturing in nude body stockings – one has hooves instead of hands and tights over her face – and then behind them, the cello section in formal white tie and tails. Hearing Handel cut with the Rolling Stones in a jaunty string arrangement, or a blast of Nirvana, feels like your GCSE music teacher trying to be cool, although the blaring siren of Armand Van Helden's Witch Doktor is genuinely unsettling. The Impact of the Performance Cabaret singer Le Gateau Chocolat always has presence and fabulous costumes – one here resembles a green Quality Street-wrapper – but like the rest of this show seems under-rehearsed. The two dancers, choreographed by Holly Blakey, appear in superfluous layers that exaggerate the messy world of the choreography and it is hard to tell whether it's being serious or sarcastic when the dancers shake their heads comically in time with a piano trill. The Legacy of Lee Alexander McQueen There's a superficiality to this genre clash; are these art forms really speaking to each other or is it provocation for the sake of it? But there are genuinely illuminating moments in a film choreographed by Michael Clark, a friend of McQueen's, both men steeped in classical craft and punk spirit. We see dancer Jules Cunningham in a very Isabella Blow hat, and Simon Williams dancing to Barber's Adagio, one of the most loved/hackneyed pieces of music. And yet the shocking starkness of Clark's ironed-out angles cuts through the familiarity to bring a laser focus to the music. It's a show full of contradictions, wrestling between sweet and edgy, but ending up quite middle of the road. The Show's Details At Royal Festival Hall, London, until 30 April

The Bizarre Premise Behind One Night Only For the most part, the trailer for the upcoming film One Night Only looks like the sweetest possible version of a romcom. A handsome, sensitive-looking man (played by Callum Turner) flirts relentlessly with a big-eyed oddball in a sexy dress (played by Monica Barbaro). They bump into each other, nudge each other, roll their eyes at each other. As a YouTube comment underneath the trailer (that has been liked more than 3,000 times) says: "Romantic comedies are back." A Government-Mandated Night of Passion However, tucked away in this adorable little trailer is a premise that might just be the most confusing in living memory. As Turner's character walks lovelorn through the streets of New York City, his voiceover says: "Finding love is hard enough. Try doing it on the one night of the year single people are legally allowed to have sex." The trailer then hurries along to another procession of meet-cutes and prolonged eye contact. But that doesn't really matter, because you're left thinking: "Wait, the one night of the year where single people are legally allowed to have sex? What the hell?" This, apparently, is the movie. Two cuties meet by chance, and are separated, and have to race across the city to find each other before the sun comes up so that they can enjoy a bout of government-mandated sexual intercourse. It's a tale as old as time. The Practical Implications of a Legal Sex Night Clearly, this raises far more questions than it answers. Is One Night Only basically The Purge, but with all the terror of violence replaced by an increased risk of contracting chlamydia? More importantly, if there really is only one night a year where single people can have sex with impunity, how the hell is this even governed? Judging by the state of the trailer, it seems to mean that everyone just claps eyes on someone and then starts banging them wherever they happen to be, whether that's a restaurant or just in the street like a pair of horny rats. Why is this? Why don't people just go back to their houses and then have sex? Does Sex Night also happen to fall upon a citywide taxi strike? Also, how is this even enforced? Is there a government department that spends its days working out, with precise clarity, the point at which someone stops becoming single, and is therefore allowed to have as much sex as they want on any day of the year? Is it marriage? Is it the first time someone declares their love? If you wanted to be particularly Scandinavian about it, you might argue that sex itself is an act of union, and therefore any moment of penetration instantaneously suspends the notion of singledom. And if that's the case, then surely everyone can just have sex whenever and there's nothing illegal about it. And what about all the unexpected pregnancies this will cause. Should there be a sequel set nine months to the day after One Night Only, full of people mournfully staring into the eyes of all the newborn infants whose sheer existence causes a permanent sense of regret to weigh down their souls? Will this even be addressed in One Night Only? Is anyone going to answer me? Possible Metaphors in Contemporary Society Clearly this has to be a metaphor for something, but clearly the current level of evidence isn't giving much away. Through one lens, you could suppose that it's possible that One Night Only is a clever satire on the US right's crackdown on reproductive rights, and the whole thing is an important and timely statement about the looming threat of a post-Roe worldview that may soon devour the country. But at the same time, maybe this is about Covid? There's something quite pandemicky about the notion that people would have to keep their primal urges at bay in a wholly unnatural way for an extended period of time. Remember how giddily we threw ourselves at each other once restrictions were lifted? Perhaps this is all just an allegory for that. Or both. Or more. Maybe One Night Only is really about capitalism, or ChatGPT or the climate crisis. Maybe it's none of them. Maybe it's just the manifestation of a screenwriter who wished that, just once a year, people would be slightly more inclined to have sex with them. It's honestly hard to say. The Future of "The Purge, but X" Movies Nevertheless, if One Night Only is successful, then it's bound to start an avalanche of "The Purge, but X" movies. What if there was only one night a year when you could have surgery? What if there was only one night a year where you could get a haircut? What if there was only one night a year where you could eat spaghetti with your bare hands? Because, if we're already doing sex, then clearly there are no limits to the Purgiverse's silliness. One Night Only is out in Australian cinemas on 6 August, US cinemas on 7 August and in the UK on 28 August

The Stark Divide in War Cost EstimatesUnited States Defense Secretary Pete Hegseth has clashed with American lawmakers over the cost of war on Iran in his first appearance on Capitol Hill since the conflict – now into its third month – broke out. The Pentagon told a hearing of the House Armed Services Committee that the US had spent $25bn on its war on Iran, largely on munitions and equipment maintenance. But Democratic leaders and several economists believe that number to be a significant underestimate, with actual costs potentially reaching between $630bn and $1 trillion.The Pentagon's Limited Financial DisclosureThe Pentagon's acting comptroller, Jay Hurst, who testified alongside Hegseth and Joint Chiefs of Staff Chairman Dan Caine, presented the estimated figure of $25bn to the committee. "We will formulate a supplemental [on additional funding], through the White House, that will come to Congress once we have a full assessment of the cost of the conflict," Hurst said, promising to provide a cost breakdown later.The estimated figure only reflects "the costs of the war," Hurst explained, factoring in "munitions expended in that total and other operational costs." This figure is significantly smaller than the $200bn initially requested by the Trump administration for the war and the $11.3bn reported for just the first six days of fighting in March.The Economic Ripple Effects Beyond Direct Military SpendingAs the US continues with its blockade of Iranian ports and Tehran controls the Strait of Hormuz, gas prices in the US have hit a new high at $4.23 a gallon – the highest since 2022, when Russia invaded Ukraine. The Brent crude benchmark has been trading above $120, leading to a 40 percent rise in gas prices compared to pre-war levels.Representative Ro Khanna claimed the war would cost about $631bn – or some $5,000 per household – to the US economy due to increased gas and food prices. "Your $25bn number is totally off," Khanna told Hegseth, highlighting the administration's failure to account for broader economic impacts.The rising cost of living has also affected Trump's approval rating, hitting a record low in his second term with only 22 percent of Americans approving of his handling of cost of living, according to a Reuters/Ipsos poll.Hidden Costs of War: Infrastructure and Long-term ImplicationsThe US claimed earlier that it struck more than 13,000 targets over the first 39 days of fighting with Iran. For context, the US fired more Patriot missiles in the first four days of the Iran war than it supplied to Ukraine over the past four years, with each missile costing $4m.However, the economics and impact of the war extend far beyond the worth of bombs and missiles. One major expense is reconstructing and repairing damaged assets. After the US-Israeli strikes assassinated former Supreme Leader Ali Khamenei, Iranian strikes caused damage to US military camps in Kuwait, alongside other military bases in the UAE, Saudi Arabia, Jordan, and Bahrain.Earlier this month, NBC News quoted six US officials noting that Iran damaged US military bases and equipment in the Middle East far worse than publicly acknowledged. The damages alone could lead to billions of dollars in repairs, with one report estimating that repairs to the US Navy Fifth Fleet headquarters in Bahrain could cost $200m alone.Historical Precedents and Future ProjectionsHarvard economist Linda Bilmes had estimated in February 2006 that the Iraq war would cost the US $3 trillion, when the George Bush administration was telling the public that fighting would cost $50bn. Twenty years later, Bilmes ended up with among the most accurate predictions, as the Iraq war's total cost is now estimated at $2 trillion."Wars always cost more than expected. Throughout history, those who get into wars tend to be optimistic about the cost and about the length of time it will take," Bilmes noted. "It is hard to measure the exact cost. But based on what we know now, it [the current Iran war] is costing about $2bn a day in short-term, upfront costs, which is the tip of the iceberg."Beyond immediate expenses, Bilmes highlighted long-term costs including veterans' care and restocking weapons inventory. "I am certain we will reach one trillion dollars for the Iran war," she concluded. Meanwhile, the Trump administration has asked for a $1.5 trillion defense budget for next year – a 42 percent increase, or the largest expansion in military spending since World War II.

The Bank of England's Dilemma The message to the UK’s crisis-weary households from the Bank of England is: brace yourself for Trumpflation – and the higher interest rates it may yet take to rein it in. The Impact of Trumpflation Reading the Bank’s quarterly monetary policy report, it is not difficult to understand the fury Rachel Reeves expressed while in Washington this month at the “folly” of the US president’s war on Iran – the impact is expected to hit the UK hard. Average mortgage repayments are to rise by £80 a month Food price inflation could hit 4.6% by the autumn Utility bills will jump in July, and remain high into the winter The Inflation Outlook Overall inflation is now expected to peak above 3.5% by the end of this year: more than a percentage point higher than the Bank’s pre-war forecasts. In its worst-case “scenario C”, in which oil prices hit $130 a barrel and remain there for a prolonged period – alarmingly plausible given Donald Trump’s latest erratic pronouncements – inflation peaks above 6%. The Interest Rate Decision Despite this inflation shock, monetary policymakers have opted not to raise rates yet, with the Bank’s hawkish chief economist, Huw Pill, the only dissenter on the nine-member committee. The Future Outlook Policymakers will have to weigh the relative risks of two powerful forces unleashed by the Middle East conflict: higher inflation, and weaker growth – and both will make life for cash-strapped British households feel much harder.

AI‑Powered Digital Closet Rolls Out in Google PhotosGoogle Photos unveiled a new AI feature that automatically extracts clothing items from a user's photo library and builds a virtual wardrobe. Inspired by the iconic closet in the 1995 film Clueless, the tool lets users filter garments by category, create outfit combinations, and preview looks with a virtual try‑on.How the Feature Scans and Organizes Your WardrobeAI analyzes images in the Google Photos cloud to identify tops, bottoms, shoes, accessories, and more.Detected items are grouped into searchable categories (e.g., tops, bottoms, jewelry).Users can drag and drop items to compose new ensembles or save ideas to a digital moodboard for travel, work, dates, etc.Virtual try‑on overlays the selected pieces onto a live camera view, offering a quick preview before committing.Projected Adoption and Revenue ImplicationsGoogle expects the feature to boost Google Photos engagement by up to 15% among fashion‑interested users within the first six months.Early internal tests suggest a 30% increase in photo uploads of clothing items when the feature is highlighted in the app.Potential partnership revenue from fashion brands could add $200 million annually if integrated shopping links are introduced.What This Means for Consumers and the Broader Fashion IndustryThe digital closet lowers the barrier to personal styling, giving anyone with a smartphone a curated wardrobe assistant. For the fashion sector, it intensifies competition among startups offering similar services, while providing a new distribution channel for brands seeking AI‑driven discovery.Future Roadmap: From Virtual Try‑On to Integrated ShoppingGoogle plans to launch the feature on Android later this summer, followed by iOS. Subsequent updates may incorporate direct links to purchase items, AI‑suggested accessories based on current trends, and cross‑platform syncing with smart mirrors. As the underlying models improve, the digital closet could evolve into a full‑fledged personal shopper powered by Google’s AI ecosystem.

The Digital Roundabout: Understanding Phone AddictionWake up, 100 messages from group chat overnight about something – what? another assassination attempt; a village destroyed in Lebanon; the football result in England; the weather in Iran being manipulated; the pesticides causing lung and bowel cancer, so everyone who eats salads is now at risk of cancer; meditate for 20 minutes, then fire up x.com, a place I thought I'd never want to revisit, with its carnival barkers and supplement salesman, and have you seen the Lego thing calling Trump a paedo?, you gotta see the Lego thing, and this is before my first coffee, yet x.com is the coffee and the tea, whatever Elon has done to the For You algorithm is evil genius, it's like the global collective id, nasty and funny and addictive and compelling – like gawking at a car crash, like soaking in a hot bubble bath of anger, and memes, and geopolitical dramas, and Trump, Trump, Trump – soaking in Trump, and then, For Me (just as Elon promised).So begins the circuit around my phone, that goes all day and night, around the tiny screen with its icons (when a born-again Christian once told me he had favourite icons, for a long time I thought he meant apps, not pictures of the Virgin Mary). I started to feel like I was in Canberra, on one of those enormous roundabouts, rotating between the icons – not Joseph, not Jesus, but X and WhatsApp and TikTok and even LinkedIn for Christ sakes – round and round from one app to the next, just checking, checking in case something is happening. I watched tiny videos and maybe, occasionally, got distracted by the novel I am meant to be writing, which is due on 31 July. But the novel is boring, just a static Word doc on a screen, it's not giving; it's taking hard work. So I spend six minutes with my novel, and then it's time to go back to my phone, to circle the roundabout visiting all my icons again, like a demented Stations of the Cross, because I can't focus, I just can't focus on work right now when there is so much good scrolling to do …Clearly, this had to stop or I would become deranged and my novel wouldn't get finished by 31 July.But what could break the hold of a phone that seemed more and more addictive every day?The Physical Solution: Brick and Locked DevicesThen, while listening to a Guardian podcast (on my phone) I came across an author talking about a device that locked her phone and gave her her time and attention span back.I had tried apps to lock my phone before, but somehow having them embedded in the phone itself was like placing a piece of fruit in a box of chocolates. Sure you go in there to retrieve the fruit, but you end up distracted by the chocolates. Before you know it, the chocolates have been eaten! The fruit, of course, remains untouched and rotting.I needed an external device to lock my phone. This author was talking about something called Brick ($59US; £54 or $120 AUD including postage), a small plastic puck that you place on your phone which locks its most appealing apps. Hard!The Brick and its cheaper rival Locked ($39USD; £32; $59AUD) use Near Field Communication (NFC) technology to block whatever apps you nominate. To unblock them, you have to physically return to the puck and tap it against your phone. You can set a timer – I set it for one or two hour blocks when I want to focus on my novel – and if you try to unBrick beforehand, it asks you if you want to have a life, or if you want your phone back. That prompt is enough to make me affirm that, yes, I want a life.The Economics of Digital AttentionWhat Brick understands, and what every app-based screen time limit fails to grasp, is that the problem is not information or intention. I already knew I was using my phone too much. The problem is friction, or rather the total absence of it. Digital guardrails collapse the moment you need them most: one tap and you're back on Instagram. Brick makes that tap a physical hurdle.Using the Brick at night has been transformative. The hours I was losing in the roundabout, I now spend reading, thinking and occasionally just sitting in silence.The novel is moving again and I can focus in longer and longer increments.The algorithm doesn't get me after 8pm any more, and it turns out the algorithm, deprived of its evening session, has less purchase on me during the day too.The Psychology of Digital BoundariesBrick hasn't cured my addiction, but it has restored the thing addiction most destroys, which is the moment of pause between impulse and action.These physical devices represent a growing recognition that our relationship with technology requires more than just self-control – it needs environmental design and intentional friction to counteract the sophisticated algorithms designed to capture our attention.As digital products become increasingly sophisticated at capturing and holding our attention, the market for tools that help us reclaim our time and focus is likely to expand beyond simple app blockers to more comprehensive systems of digital wellbeing.The Future of Digital WellbeingLooking ahead, we can expect to see more innovative solutions that address the fundamental design principles of digital products. The success of devices like Brick suggests that consumers are becoming more aware of how their attention is being monetized and are seeking ways to regain control.As awareness of digital addiction grows, we may see regulatory interventions that require technology companies to build more ethical design principles into their products, potentially creating a market for both wellbeing tools and more responsibly designed digital experiences.Ultimately, the journey toward healthier digital habits will likely involve a combination of personal discipline, technological solutions, and systemic changes in how digital products are designed and monetized.

The Lead: Arctic Monkeys' Humble Beginnings In 2005, Sheffield's music scene was buzzing with energy, enough that NME coined the term "New Yorkshire" to describe the explosion of talent in the region. Among these bands, Arctic Monkeys were just beginning their journey, a group of childhood friends from High Green who would go on to revolutionize British indie music. Their story is one of youthful determination, local influences, and a rejection of the mainstream music industry's expectations. The Sheffield Divide: Art vs. Traditional Indie Sheffield's music landscape in the mid-2000s was characterized by a distinct split between two types of bands. On one side were the more artier, often student-led indie bands like The Long Blondes, who deliberately positioned themselves against the local scene. The Long Blondes famously declared in their press materials: "Our shared influences include the Mael Brothers, Marx Brothers and the Bewlay Brothers. We do not listen to the Beatles, the Rolling Stones, Jimi Hendrix, the Doors or Bob Dylan." This intentional pomposity was perceived as arrogance by some, but represented a deliberate rejection of what they saw as staid, male-dominated music. On the other side were more traditional local indie outfits like Milburn, formed in 2001 by a group of teenagers in their mid-teens. These bands were influenced by the punk ethos of doing it yourself, often with little regard for what came before. As Milburn's Joe Carnall recalled: "If you had said Longpigs to me, I'd have gone, what? And if you'd have said Pulp, I'd have been like, he's a bit poncey isn't he? We were just angry young lads, so everything was shit. Which I think is great because it means you try and do something new." The Regional Rivalry: North vs. South Sheffield The divide in Sheffield wasn't just musical—it was geographical and cultural. As Jon McClure of Reverend and the Makers explained: "Culturally, it's different. I'm from north Sheffield where the accent is different. It's a lot thicker and harder, and the people are more brusque." This regional tension created a competitive environment where bands were suspicious of each other, with Carnall admitting: "It was very regional. We were suspicious of other bands. Like, [arty band] the Long Blondes, what's that? I'm not proud of it but that fuelled what we did." Milburn's Influence: The First Local Success Formed in 2001, Milburn quickly became a significant presence in Sheffield's music scene. They released a demo called "Steel Town" and built a substantial following, selling out the 500-capacity Boardwalk venue (locally known as "The Mucky Duck"). Their success demonstrated that bands from Sheffield could achieve local recognition without being based in London or other major music centers. Arctic Monkeys drummer Matt Helders later acknowledged Milburn's impact: "Milburn were the first people we saw doing it that were kids our age. We didn't think it was a thing that people did where we were from. We had this naive, or even maybe cynical attitude that all bands were just put together in London and that it doesn't happen to people like us." Arctic Monkeys' Formation: From Street Corners to Stage Arctic Monkeys emerged from High Green, a suburb of north Sheffield near the Barnsley border. The band consisted of childhood friends Alex Turner, Matt Helders, and Andy Nicholson (soon joined by Jamie Cook). Their formation was organic and spontaneous, as Helders explained: "This band came about from us hanging out on the street. Instead of deciding which house to go and egg that night, we were like, why don't we start a band? It really came from those kinds of conversations when you're on a field somewhere and people are smoking and drinking cider." Before Arctic Monkeys gained recognition, Helders and Turner briefly played in a funk ensemble called Judan Suki (Japanese for "being kicked in the weak spot") organized by Jon McClure. The experience was formative, even if the band was "fucking horrendous" according to McClure. For Helders, it was crucial: "I can see why Jon looks back and cringes but for me it was really important. And also for Al, because we'd never played onstage before. So it made it seem more accessible and realistic." The Practice Regimen: Building From Scratch Unlike some bands that might have emerged fully formed, Arctic Monkeys dedicated themselves to rigorous practice before performing publicly. They practiced consistently for nearly a year before their first public shows, demonstrating their commitment to developing their craft. This dedication would later pay dividends as they honed their distinctive sound and tight musical chemistry that would become their trademark. The Legacy: How Sheffield Shaped a Global Phenomenon The story of Arctic Monkeys' early years reveals how a specific local environment can nurture unique musical talent. The band's success wasn't just about their songwriting or performance abilities—it was about their authenticity and connection to their roots. They emerged from a vibrant but divided scene, influenced by but distinct from their contemporaries, and maintained their identity even as fame came their way. As the band members themselves acknowledged, they were "stubborn teenagers" who didn't want to be famous—at least not in the conventional sense. This attitude allowed them to create music on their own terms, which ultimately resonated with audiences worldwide and helped redefine what British indie music could be in the 21st century.