Breaking AI & Tech News Analyzed

US President Donald Trump has taken to social media to mock UK Prime Minister Keir Starmer, sharing a Saturday Night Live (SNL) skit that depicts Starmer panicking at the prospect of a call with Trump. The skit, which aired on the premiere of the new British version of SNL, shows Starmer, played by George Fouracres, trying to avoid a call with Trump.The video was shared on the same evening that Trump and Starmer spoke about the escalating tensions in the Middle East and the US-Israel war on Iran. During their call, the two leaders focused on the need to reopen the Strait of Hormuz, which has been effectively blocked by Iran since the US and Israel launched strikes on February 28.The closure of the strait has sent oil prices soaring, creating the biggest energy crisis since the 1970s. Trump has repeatedly criticized Starmer for not doing enough to support the US efforts to break the blockade, accusing him of being a 'coward' and saying he is 'disappointed' in him.Starmer has asserted that any attempt to reopen the Strait of Hormuz needs careful consideration and a viable plan, and that his number one priority is to protect British interests and de-escalate tensions. The UK government has given authorization for the US to use its military bases to carry out strikes on Iranian missile sites that were attacking ships in the Strait of Hormuz.

In the end, a comedy show leaves you with a feeling that tells you whether it worked or not. The general consensus about the inaugural episode of Saturday Night Live UK is that it did work, though some may feel the cast of 11 actors and 20-strong writing team only just got away with it.The show began with an impression of Keir Starmer by George Fouracres, followed by the guest host monologue by Tina Fey, former head writer at the original SNL. Like many sketches to come, it started stiltly but warmed up to end in relative triumph.One of the stronger sketches featured a skincare range called Undérage by Pedolay, with the tagline "everyone will think your husband is a nonce!" While some sketches went on too long—a tradition almost as longstanding as the cold open—others hit their mark better.A sketch about David Attenborough's Last Supper with reanimated icons offered a disturbingly good Diana impression by Jack Shep, followed by two successful bits featuring Hammed Animashaun as an honest film critic and as part of a team dedicated to making the internet "as bad as it can possibly be."The team recovered with a solid Weekend Update presented by Ania Magliano and Paddy Young, which contained proper jokes for grownups, including references to "Boris Pistorius/Saddam Walliams" and a joke about "It's a Sin becoming a musical as if a TV show about the Aids crisis could get any gayer."While a Shakespeare sketch and a bra-fitting sketch had mixed results, and performances by Wet Leg were described as "god-awful," the reviewer concluded that the show did not fail and could become more successful as the team and audience settle in over coming weeks.The review acknowledges that while the show could have been a lot worse, it also could have been better. However, the attempt to retool a legacy American brand for British audiences was refreshing and ambitious, with potential for growth and improvement.

Palantir, one of the world's biggest tech companies, has been accused of launching an intimidation campaign against a small Swiss magazine, Republik, after it published an investigative report on the company's activities in Switzerland.The report, which was a collaboration between Republik and the independent Swiss research collective WAV, alleged that Palantir had persistently courted Switzerland but had been rejected. The investigation found that Palantir had pitched itself to Switzerland's chancellor during the Covid-19 pandemic to help with data tracking, approached the Swiss army, and met Switzerland's then finance minister, Ueli Maurer.Palantir was not happy with the report and filed a lawsuit in a Swiss commercial court demanding that Republik print a detailed rebuttal. The company claims that the report paints a false and misleading narrative about Palantir and sets back important discourse on European software modernisation.The journalists behind the report say they had interviewed company executives and sent a full list of questions before publication, but that Palantir demanded they print a detailed rebuttal that went beyond the scope of their investigation. The lawsuit has sparked concerns about Palantir's tactics and the impact on journalism, with the European Federation of Journalists claiming that the legal action is an attempt at intimidation aimed at discouraging critical analysis of Palantir's activities."It does feel like an intimidation campaign," says Marguerite Meyer, a journalist who works with WAV. "However, we adhered to all journalistic standards, and had a thorough factcheck done. They are suing for an absurd list of changes."The investigation, which was published in December, gave an account of Palantir's years-long efforts to try to sell itself to the Swiss government. The journalists found that despite Palantir's efforts, no government contracts had been reported."We tried to find out, is there any kind of government agency that uses this software? I mean, they are in Switzerland, eventually some government official maybe thought they could use this Palantir," says Balz Oertli, who is also with WAV.The lawsuit has raised questions about Palantir's influence and the limits of journalistic scrutiny. Swiss law allows the subjects of a story to request a right of reply, but this has caveats: the right of reply has to be concise and stick to the facts of the story."This lawsuit for a right of reply is not about whether Republik was technically inaccurate or not. It is only about whether Palantir is allowed to place its view of the facts alongside that of Republik and whether Republik must publish it," says Dominique Strebel, an expert in media law and the editor-in-chief of Beobachter, another Swiss magazine.

The recent pronouncement by a judge in Afghanistan, stating 'a few beatings won't kill you,' when rejecting a woman's divorce request from her abusive husband, highlights the dire situation for women under Taliban rule. This barbaric stance is not isolated but part of a broader global pushback against women's rights.The Heritage Foundation, architect of Project 2025, has published a report advocating for a deeply patriarchal model that encourages women to have more babies earlier in life and discourages further education and careers. This vision aligns with Donald Trump's second term agenda and has sparked concern among women's rights advocates.The proposed UN merger of UN Women and UNFPA has caused alarm among feminist groups. They warn that this consolidation will lead to reduced funding for gender equality programs and give countries like the US, which are hostile to women's rights, more influence over global structures supporting gender equality.UN Secretary General António Guterres noted that the world remains male-dominated, and there are well-funded efforts to maintain this status quo. The UN's next moves will be closely watched, as they have significant implications for women's rights globally.

Madeleine Dring, born in 1923, was a composer with an unconventional career that spanned theatre, pantomime, and cabaret. Despite her untimely death at 53, her music has been rediscovered, and her seriousness as a composer is now evident.The album Through the Centuries: Songs of Madeleine Dring, performed by Kitty Whately and Julius Drake, features a wide-ranging survey of Dring's work, drawing on poets from Shakespeare to her contemporaries. Dring's ability to find distinctive new melodies for old classics, such as It Was a Lover and His Lass, is showcased, along with her knack for word-setting.Whately's warm, supple mezzo-soprano brings these fervent outpourings to life, while Drake's piano accompaniment provides the perfect balance of support and independence. The album offers a variety of moods, from the passionate Love Is a Sickness and Echoes to the tongue-in-cheek Encouragements to a Lover and The Cuckoo.The encore, Dring's arrangement of Cole Porter's In the Still of the Night, is a delightful addition, showcasing her skill in reinterpreting popular songs. This album puts paid to any idea that Dring was not a serious composer, instead highlighting her unique voice and contribution to classical music.

Rapid‑Action Spyware: The Darksword Campaign UnveiledResearchers at Google, iVerify and Lookout traced a fresh wave of iPhone attacks against Ukrainian users to a toolkit they named Darksword. The tool, linked to the threat actor UNC6353, infiltrates devices via compromised Ukrainian websites, siphons passwords, photos, messaging app data and wallet credentials, then vanishes within minutes.Technical Footprint and Quick‑Turnover MetricsInfection vector: malicious scripts on Ukrainian‑hosted sites, active only for visitors inside Ukraine.Data exfiltration window: minutes of dwell time, depending on volume of harvested information.Capabilities: extraction of WhatsApp, Telegram, SMS, browser history, and cryptocurrency wallet keys.Design: modular architecture allowing rapid addition of new functions, mirroring the earlier Coruna toolkit.Geopolitical and Security ImplicationsThe Darksword operation underscores a growing trend of state‑aligned actors deploying highly specialized mobile spyware for short‑term, high‑value “smash‑and‑grab” missions. While the campaign was geographically limited to Ukraine, its sophistication suggests that similar tools could be repurposed for broader espionage or financial theft, raising concerns for iPhone users worldwide and prompting a reassessment of mobile threat models.Future Outlook: Modular Spyware on the RiseAnalysts predict that the success of Darksword will encourage further development of modular iPhone exploits that prioritize rapid data theft over persistent surveillance. Defensive measures will likely focus on hardening web‑delivery chains, improving app‑store vetting, and enhancing on‑device anomaly detection to counter fleeting, high‑impact attacks.

CrossSense, an innovative AI software, has been awarded a £1m prize for its groundbreaking technology designed to assist individuals with dementia. This cutting-edge system is integrated into smart glasses and features a user-friendly assistant named Wispy. The smart glasses, equipped with a camera, microphone, and speakers, provide wearers with real-time guidance and support through everyday tasks.Wispy offers verbal cues and text prompts that float in front of the wearer's eyes, enhancing their ability to navigate daily life. The AI assistant can also engage in light conversation, ask questions, and aid reminiscences, significantly improving the wearer's independence and quality of life.The Longitude Prize on Dementia, funded by Alzheimer's Society and Innovate UK, aims to encourage the development of technology that helps people with dementia stay independent for longer. About 150 million people are expected to be living with dementia by 2050, making such innovations crucial.The CrossSense technology is expected to cost around £50 a month per subscription, with the smart glasses potentially costing up to £1,000. However, the developers plan to make the technology more affordable over time. The team behind CrossSense plans to conduct a pilot study with smart glasses in people's homes later this year.Prof Julia Simner, who led the study, noted that participants with dementia could correctly identify 46% of household items without the glasses, increasing to 82% with the glasses. An hour after removing the glasses, the identification rate remained high at 78%.While experts praise the innovation, they also highlight the need for larger, more controlled studies to test the device's effectiveness and address ethical considerations regarding data collection and user consent.

The world of ballet has long been associated with a specific physical ideal, particularly when it comes to foot shape. However, dancers with flat feet are proving that this condition is not a barrier to success. For Claudia Efemini, picking up her ballet shoes again after six years was a bittersweet experience. While she was excited to revisit a childhood hobby, she was also disheartened by the memory of being discouraged from pursuing ballet due to her flat feet.The industry's obsession with 'perfect' feet, characterized by high arches, has led some dancers to use fake arches, or farches, to create the illusion of more flexible feet. However, flat-footed dancers like Alex Maureen and Ruth Essel are thriving in the ballet world. Maureen, a performer and dance instructor at New York University, and Essel, founder of Pointe Black, a London-based ballet school, reject the notion that flat feet are an obstacle to success.Research shows that Black people are more prone to having flat feet, but Essel and Maureen's experiences demonstrate that this condition does not predetermine one's potential in ballet. Through education and self-advocacy, they have overcome discouraging beliefs about their feet and developed strategies to work with their body types. Essel, with a background in psychology, learned about anatomy and exercises to strengthen her ankles and improve foot mobility.Injury prevention is crucial for flat-footed dancers, who tend to land on their heels. Maureen and Essel stress the importance of educators adapting to different body types and seeking specialist advice when needed. They also highlight the need for greater diversity in ballet, including more Black pointe shoe fitters and physiotherapists.Maureen and Essel have developed checklists for their students before they start using pointe shoes, ensuring a comfortable and supportive fit. As Maureen advises, 'You just need your shoe to work for you, not against you.' For aspiring ballerinas with flat feet, Maureen's words of encouragement are 'Give yourself grace. Be kind to yourself.'