Breaking AI & Tech News Analyzed

The growing influence of political deepfakes is a pressing concern, as AI-generated content becomes increasingly sophisticated and accessible. Online content creators are not only building fake images and videos of prominent public figures but also fabricating people and using them in military contexts, which can make them money and serve as effective propaganda.According to experts, some of these online avatars are sexualized images of women wearing camouflage garb that have generated a significant audience and helped create an idealized image of political figures like Donald Trump, even if the viewer knows the content is not real. Daniel Schiff, an assistant professor of technology policy at Purdue University, notes that "we are blending the lines between political cartoons and reality," and that "a lot of people feel like these images or videos or the stories they convey, feel true."The amount of political deepfakes has increased dramatically in recent years, with over 1,000 English language social media posts featuring fake images or videos of prominent political figures and politically important social issues and events cataloged by the Governance and Responsible AI Lab (Grail) since the start of 2025. In contrast, the organization recorded 1,344 such incidents in the previous eight years combined.The uptick is largely due to improvements in generative AI technology, which has made it "trivially easy to generate a scene that looks pretty realistic and to place real individuals into scenes," according to Sam Gregory, executive director of Witness. The fake avatars, which mimic real ordinary people rather than known figures, are a different matter again.Researchers worry that things will only get worse, with the technology used to build AI-generated content like Jessica Foster potentially being used to produce "AI swarms" capable of "coordinating autonomously, infiltrating communities, and fabricating consensus efficiently." However, humans can still stop malicious actors from using AI to destabilize society by implementing technical standards for content provenance and authenticity and ensuring that technology companies label AI-generated content.

A recent investigation has revealed a sophisticated scam operation where individuals are paid to write fake Google reviews in exchange for cryptocurrency. The scam, which was discovered on Telegram, involved recruiters posing as representatives of legitimate companies, offering individuals up to $800 per day to write fake reviews for various businesses, including hotels and restaurants. The scammers used a division of labor approach, with different individuals handling recruitment, coaching, and payment processing. The investigation found that the scammers were using Telegram channels to advertise their services and recruit new victims. These channels had thousands of subscribers and posted a steady stream of job offers, with payments starting at $5 per review. The scammers' main target was not just to create fake reviews but also to launder money and extract cash from their victims. They used cryptocurrencies to make payments, which were then laundered through a process called 'tumbling' to obscure their origin. The investigation also found that the scammers were using AI-generated images and stolen profiles to create fake identities. The UK's Competition and Markets Authority (CMA) has estimated that fake reviews cause annual harm of between £50m to £312m to UK consumers. Google has taken steps to combat fake reviews, removing over 240m fake reviews since 2024 and restricting 900,000 accounts for violating policies.

The Royal Opera's new production of Britten's 'The Turn of the Screw' begins with an eerie effect: the tenor's voice emerges from absolute blackout, setting the tone for an evasive ghost story that will keep audiences on edge. Director Natalie Abrahami and designer Michael Levine have crafted a staging that masterfully builds tension, using water as a recurring motif to underscore the themes of innocence and corruption.The set design features a traditional country house with doors, beds, and the Governess's haunted desk, while Duncan McLean's videos project images onto an invisible screen, adding to the sense of unease. The ghosts and their silent doppelgangers move through the space, creating skilful misdirections and emphasizing the Governess's desperation.The cast delivers richly woven performances, with Isabelle Peters shining as the intense Governess, Claire Barnett-Jones warm as Mrs Grose, and Elgan Llŷr Thomas persuasive as the volatile Peter Quint. The children, played by Phoenix Matthews and Emilia Blossom Ostroumoff, bring extraordinary detail and presence to their roles.Conductor Bassem Akiki draws a compelling performance from the 13 players in the pit, and the tension only loosens its grip when the cast and production team take their bows. This production of 'The Turn of the Screw' runs at the Linbury theatre, London, until 6 April.

The Wu-Tang Clan, a legendary hip-hop group, is being showcased in a stunning photo series by The Guardian. This rare visual collection offers fans a glimpse into the group's history like never before.Briana Ellis-Gibbs curates this photographic tribute, providing an intimate look at the artists who have shaped the hip-hop landscape. The images capture the essence of the Wu-Tang Clan's impact on music and culture.

Israel has been accused of using white phosphorus in southern Lebanon, a move that has reignited concerns over the country's adherence to international laws of war. Human Rights Watch (HRW) researchers have verified and geolocated images showing airburst white phosphorus munitions exploding over residential areas in the southern Lebanese town of Yohmor.The use of white phosphorus, a chemical substance that ignites when exposed to oxygen and burns at up to 800C, is controversial when used over civilian areas due to its potential to ignite fires, cause serious burns, and emit toxic fumes. Military forces often use it as a smokescreen, but its use in populated areas raises significant ethical and legal questions.Over 800,000 Lebanese people have been displaced from the region following Israeli forces' orders to leave, and many more uses of white phosphorus may have gone undocumented. Researchers have documented nearly 250 uses of white phosphorus by Israeli forces between October 2023 and November 2024, with 39% of these uses occurring in residential areas.The environmental impact is also significant, with over 2,000 hectares of southern Lebanese countryside burned, including dense forests and agricultural lands. The use of white phosphorus can lead to long-term soil contamination, reducing microbial diversity and agricultural productivity.An Israeli military spokesperson has cautioned against making factual determinations based on visuals alone, while Israel's ambassador to the UN has stated that the country takes steps to minimize civilian casualties. However, allegations of war crimes and the use of prohibited weapons continue to mount, highlighting the need for further investigation and accountability.

When future generations examine television trends, they might be surprised by the glut of dramatisations about famous men caught in sex scandals. Jimmy Savile and Prince Andrew have both received multiple treatments, and now, with almost crushing inevitability, comes Channel 5's Power: The Downfall of Huw Edwards.Edwards, the high-profile BBC newsreader who resigned in 2024 before being charged with three counts of making indecent images of children, remains defensive. Prior to the broadcast, he released a statement claiming the drama is unlikely to convey reality while asserting: I am repelled by the idea that some people enjoy viewing indecent images of children.The drama earns its title by portraying a powerful man utilizing a queasy power dynamic to manipulate a teenage boy into fulfilling his sexual desires. While not the pinnacle of drama, the film succeeds in capturing a sickening feeling in the pit of your stomach.The main draw comes from its casting. Martin Clunes, known for roles that rely on his innate likability, creates an impressively accurate Edwards. He captures the fascinating mix of swagger and vulnerability, along with Edwards' distinctive accent and diction. Even during disturbing scenes, his performance never wavers.For much of the film, Edwards remains a figure of distant menace. Instead, this is really the story of Ryan (Osian Morgan), a teenage boy who finds himself being groomed by Edwards. The drama is constructed around first-hand interviews with Ryan (using a pseudonym to protect his identity), showing how Edwards validated his desire for connection before making the relationship transactional.Most powerfully, the film depicts the effect on Ryan's parents, as their dismay at his increasing waywardness first becomes anger directed at Edwards and then fear that they had become the bad guys.Still, the producers face challenges with a story that isn't visually interesting. Much of the relationship happened over text, meaning excessive time is spent watching people type or narrate messages. The film makes odd stylistic choices, including framing everything around the Queen's death and ending with Edwards reporting on his own charges.Edwards has promised to tell his side of the story, but as the reviewer notes, few will have the stomach to hear it when that day arrives.

The amount of AI-generated child sexual abuse material found online surged by 14% in 2025, according to the Internet Watch Foundation (IWF). The watchdog identified 8,029 AI-made images and videos of realistic child sexual abuse material (CSAM) last year.The IWF reported a 260-fold increase in videos, with 65% of the 3,443 videos classified as category A, the most severe type under UK law. This is compared to 43% of non-AI videos. Kerry Smith, IWF chief executive, emphasized that advances in technology should not come at the expense of a child's safety and wellbeing.The IWF also found that offenders are discussing the potential of AI systems to create more realistic and violent content, including adding audio to videos or manipulating imagery of real children. The UK government has announced plans to test AI tools to prevent CSAM and introduced legislation to ban AI models designed to generate child sexual abuse material.Eight out of 10 UK adults want the government to introduce legislation ensuring AI systems are developed with safety as a priority. The IWF operates a hotline and has a global remit to monitor child sexual abuse content.

Huw Edwards, the former iconic BBC newsreader, has publicly denounced Channel 5's forthcoming dramatization of his downfall. In a lengthy statement, Edwards expressed his disapproval of the drama, stating that mental illness is often misunderstood and should not be used as an excuse for criminal behavior. Edwards has been open about his struggles with persistent mental illness over the past 25 years. However, his decision to use this as an explanation for his actions has been met with criticism, particularly given the severity of his condition and the conviction for possessing multiple indecent images of children, including category A images. The drama, titled 'Power: The Downfall of Huw Edwards,' stars Martin Clunes as Edwards and has sparked controversy over its portrayal of Edwards' actions. Edwards has questioned the production values of the drama and suggested that it will not accurately convey the reality of his situation. He also expressed concerns about the allegations made against him and whether those involved were paid for their contributions. Edwards' statement has been seen as an attempt to shift the focus away from his own actions and onto his mental health struggles. Critics argue that this approach downplays the severity of his crimes and the impact on his victims. The drama is part of a larger trend of 'true story' dramas that have become increasingly popular in recent years. Marina Hyde, the author of the article, criticizes Edwards for not taking responsibility for his actions and instead using his mental illness as an excuse. Hyde also questions Edwards' motives, suggesting that he is trying to rehabilitate his image and portray himself as a victim.

The Iranian women's football team was given a hero's welcome in Tehran on Thursday after returning from the Asian Cup in Australia, where some players had sought asylum. The team, including captain Zahra Ghanbari, was greeted by several thousand people in Valiasr Square, waving Iranian flags and cheering.Earlier this month, six players and one backroom staff member sought asylum in Australia, prompting criticism from hardliners in Iran for not singing the national anthem before their first match. However, five of them later changed their minds and returned home with the rest of the team.Activists accused Iranian authorities of pressuring the players' families, including summoning their parents for interrogation, while Tehran alleged that Australia sought to force the athletes to defect. Iranian football federation President Mehdi Taj said on stage, “These athletes are loyal to the homeland, flag, leader and revolution.”The welcome ceremony featured a giant billboard with the slogan “My Choice. My Homeland” and a screen projecting AI-generated images of the players pledging loyalty to the Iranian flag. The team also sang the national anthem, a central feature of the ceremony.Two squad members remain in Australia, but the rest of the team, including the five who initially applied for asylum, arrived in Iran on Wednesday after a long journey home via Malaysia, Oman, and Turkiye. Iranian government spokeswoman Fatemeh Mohajerani told the team, “All Iranians were waiting for you; welcome to Iran.”