Breaking AI & Tech News Analyzed

Iran has formally responded to the US's proposal to end the nearly month-long war, asserting its 'natural and legal right' over the Strait of Hormuz. The Islamic Revolutionary Guard Corps-affiliated Tasnim news agency reported that Iran had sent its official response on Wednesday night and was awaiting a response.The Iranian response appears to contradict US President Donald Trump's claim that Tehran was 'begging to make a deal'. Instead, Iran has laid out conditions that signal a continued hardening of its position, including an end to 'aggressive acts of assassination', compensation and war reparations, measures to ensure 'war does not recur', and an end to hostilities from 'all resistance groups that took part in this battle throughout the region'.US special envoy Steve Witkoff claimed on Thursday that Tehran was seeking an 'off-ramp', with signs that Iran had realised there was no alternative to negotiation. However, the source cited in Tasnim's report slammed the US proposal, claiming that Washington sought to 'deceive the world' by presenting a peaceful image while preparing for 'ground invasion'.Trump posted on Truth Social that he would pause attacks on Iran's energy infrastructure for 10 days until April 6, claiming Tehran requested the move amid 'ongoing' talks that were 'going very well'. He also claimed that Iran was 'begging to make a deal', saying 'We are absolutely obliterating Iran' and that Iranians were 'lousy fighters, but great negotiators'. The economic and humanitarian toll of the conflict continues to mount, with Iran effectively blocking the Strait of Hormuz, leading to fuel shortages worldwide.

US men's national team manager Mauricio Pochettino is suffering two months in advance as he navigates a midfield selection headache with 11 weeks to go until the World Cup. The player pool he inherited had a first-choice midfield trio – Tyler Adams, Weston McKennie, and Yunus Musah – with few adequately tested alternatives.With several players emerging as contenders for the final roster, Pochettino cited the midfields of Barcelona and Real Madrid to illustrate the importance of his decision. He emphasized that every time a team works, it's because the midfield is good.Weston McKennie has forged one of the clearest paths on to the World Cup roster, with Pochettino praising his adaptability and focus. Tyler Adams was left off the squad for recent friendlies due to an issue with his quadriceps, but Pochettino has experience with readying alternatives.Other players, such as Cristian Roldan, Sebastian Berhalter, Aidan Morris, and Tanner Tessmann, have also made strong cases for inclusion with their club form. Johnny Cardoso has benefited from his recent performances with Atlético Madrid, and Pochettino sees him as a player with a great opportunity to make an impact.The US names their final World Cup roster on May 26, and the next two games could help determine how much suffering Pochettino will undergo in the interim as he makes his final call.

Kimberly Belflower's revisionist take on Arthur Miller's classic The Crucible re-spins the witch-hunts for the #MeToo generation. Set in 2018, the play follows a classroom of teenagers—mostly girls—as they attempt to establish a feminist club, an effort seemingly sparked by contemporary news headlines. This original approach addresses adolescent girlhood in the direct aftermath of the Harvey Weinstein scandal, though the production takes time to build momentum.The narrative centers on Beth (Holly Howden Gilchrist), the class academic; Ivy (Clare Hughes), whose father faces workplace misconduct allegations; Nell (Lauryn Ajufo), the new student; and Raelynn (Miya James), a pastor's daughter dealing with relationship betrayal. Shelby (Sadie Soverall), though absent for much of the play, plays a crucial role in the unfolding drama.Set in a small-town Georgia high school, the feminist club concept initially proves controversial until a charismatic teacher, Carter Smith (Dónal Finn), suggests expanding it to include boys. Directed by Danya Taymor and performed continuously in under two hours, the script pivots around the students' study of Miller's play alongside their developing understanding of intersectional feminism.The production captures the girls' internalization of societal micro-aggressions with humor and pathos, incorporating pop music tributes to artists like Lorde, Taylor Swift, and Beyoncé. While the dialogue authentically portrays adolescent female relationships, the review notes these connections are sometimes flattened by their cuteness rather than reflecting the sharp edges typical of this transitional life stage.A significant parallel emerges between Miller's John Proctor—a morally complex character who ultimately maintains his principles—and the predatory male figure in the contemporary narrative. The review suggests a false equivalence between these characters, as the modern figure is portrayed as a serial abuser rather than a morally conflicted individual.The play concludes with an emotional climax as students reinterpret scenes from The Crucible through interpretive dance, symbolizing their liberation while acknowledging that the predator remains in their midst. This ending, while thematically resonant, is described as feeling neat and easy despite its powerful emotional impact.Despite these criticisms, the production effectively captures the zeitgeist of 2018 for a generation of girls coming of age in the shadow of the Weinstein scandal and the #MeToo movement, raising questions about the movement's lasting impact and current relevance.

Rachel Zegler and Ben Platt have brought their talents together for a 25th-anniversary concert of Jason Robert Brown's two-hander musical, 'The Last Five Years', at the London Palladium. This poignant production explores the complexities of a disintegrating relationship through alternating solos, with one character recounting their story in reverse while the other tells it chronologically. The musical mastermind behind the production, Jason Robert Brown, directs and conducts from the piano, accompanied by a band of eight musicians. The set design by Bretta Gerecke effectively captures the urban spaces where the story unfolds, complete with central staircases and positioned windows. Rachel Zegler shines as Cathy, delivering a powerful performance that conveys the frustration and pain of a partner struggling to cope with the end of the relationship. Meanwhile, Ben Platt brings his signature energy to the role of Jamie, capturing the whirlwind of his character's rising success and its impact on their relationship. The concert format creates a jumble of joy and pain over an interval-free 90 minutes, with the band adding a sparkle to the performance. The chemistry between Zegler and Platt is undeniable, even when they're not sharing the stage, making their characters' bond convincing despite their limited time together. The production runs at the London Palladium until March 29, followed by performances at the Hollywood Bowl on April 3 and Radio City Music Hall on April 6-7.

Roy Hodgson has made a sensational return to management at the age of 78 with Bristol City, following the sacking of Gerhard Struber by the Championship club. Hodgson, who has been out of work since leaving Crystal Palace in February 2024, will take charge of City for the remaining seven games of the season. They are currently 16th in the Championship.Hodgson's storied managerial career in England began at Ashton Gate in 1982, after a period at Swedish club Halmstad. In total, he has managed 17 different clubs and four different international sides, including England, from 2012-16. “I have had great conversations with the board and I am really excited by the opportunity to help until the end of the season,” he said. “We will get straight to work and look for a positive performance [against Charlton] on Good Friday.”The appointment comes after Struber, who succeeded Liam Manning last summer, had grown frustrated at the club and voiced his disappointment at the January window, when City sold key players Anis Mehmeti and Zak Vyner to division rivals Ipswich and Wrexham respectively. Struber’s assistant Bernd Eibler has also departed. Results under the Austrian tailed off, with Struber winning only one of his final nine matches in all competitions.“Roy’s appointment is about more than the results of the next seven games,” said the Bristol City chief executive Charlie Boss. “Over the remainder of the season, he will help us set the standards and values at the club that we will need to be successful going forwards. Roy is a vastly experienced coach who has achieved and won at the highest level.” City are in the process of recruiting an incoming sporting director who will help appoint a permanent head coach expected to replace Hodgson at the end of the season.

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.

Tamerlano, a 1724 opera by Handel, has been reimagined in a modern production at the London Handel Festival. The story revolves around the despotic emperor Tamerlano, who has brought the stubborn Bajazet to his court in chains. Tamerlano's infatuation with Bajazet's daughter Asteria leads him to offer his betrothed, Irene, to the Greek prince Andronico. However, both Bajazet and Andronico threaten to end it all, while Asteria plots to assassinate Tamerlano.In an attempt to make the opera more accessible, director Orpha Phelan has aligned each character with a recognizable famous figure. Tamerlano is reimagined as Donald Trump, Andronico as Alexander the Great, and Irene as Elizabeth Bennet or a Bridgerton escapee. The production is billed as 'Social Experiment 2', manipulated by Andronico's friend Leone, played as Sigmund Freud.Despite the modern twist, the opera's musical standards are high, led by Laurence Cummings and the excellent Academy of Ancient Music. The cast, including Benjamin Hulett as Bajazet, Nardus Williams as Asteria, and Kitty Whately as Irene, copes admirably with Phelan's concept. However, James Laing's portrayal of Tamerlano is somewhat overwhelmed by excessive fidgety business, including eating Big Macs and doing the Trump dance.The production runs at Shoreditch Town Hall, London, until 28 March. Despite some reservations, the opera's vital element of danger is somewhat lost in the buffoonery. Nevertheless, it remains a fine cast and a resourceful set by Madeleine Boyd.

Two prominent US lawmakers, Senator Bernie Sanders and House Representative Alexandria Ocasio-Cortez, have introduced legislation to impose a moratorium on the construction of new AI data centres. The proposed pause aims to ensure that the rapidly advancing technology does not pose a threat to the 'future of humanity'. The lawmakers argue that current regulations are insufficient to address the potential risks associated with AI, including mass government surveillance and the proliferation of sexually explicit deepfakes.The legislation seeks to address concerns about the environmental impact of data centres, which consume huge amounts of water and electricity. It also aims to protect workers' livelihoods and civil liberties. Sanders emphasized that lawmakers are 'way behind' in understanding AI and that a moratorium is necessary to prevent a handful of billionaire Big Tech oligarchs from making decisions that could reshape the economy, democracy, and the future of humanity.Ocasio-Cortez stated that Congress has a moral obligation to stand with the American people and stop the expansion of data centres until a framework is in place to adequately address the existential harm AI poses to society. The proposed legislation comes amid a growing grassroots backlash against the rollout of data centres in communities across the US, with at least 36 data centres blocked or delayed between May 2024 and June 2025, disrupting $162bn in investment.However, the bill faces an uphill battle in the US Congress, where Republicans control both the House of Representatives and the Senate. Democratic Senator John Fetterman dismissed the proposed moratorium, calling it 'China First' and arguing that the US should build the emerging AI infrastructure while implementing appropriate guardrails.

Oil prices have climbed higher amid fading hopes of deescalation in the Iran war following Tehran’s denial that talks with the United States are under way.Futures for Brent crude, the international benchmark, rose nearly 2 percent on Thursday to top $104 per barrel after Tehran dismissed reports of direct negotiations with US President Donald Trump’s administration.The rise comes after oil prices eased on Wednesday following reports that Trump had shared a 15-point plan for ending the war with Iran.Iranian Foreign Minister Abbas Araghchi said in an interview with state media aired on Wednesday that Tehran was not engaged in direct talks with Washington and has “no intention of negotiating for now”.White House Press Secretary Karoline Leavitt warned on Wednesday that Iran would be “hit harder” than ever before if Tehran did not accept military defeat.Iran’s effective closure of the Strait of Hormuz, a conduit for one-fifth of global oil supplies, and its attacks on energy facilities across the Middle East have prompted a surge in energy prices worldwide.Oil prices are up more than 40 percent compared with before the US and Israel launched strikes on Iran on February 28, prompting numerous countries to implement fuel rationing and other energy conservation measures.Market-watchers say prices are likely to rise further until shipping is free to traverse the strait, despite efforts by countries to bolster supply by tapping emergency stockpiles in coordination with the International Energy Agency.While Tehran has repeatedly claimed that the strait is open to ships that are not aligned with its enemies, daily transits have all but collapsed since the start of the conflict.Four vessels were tracked transiting the waterway via their automatic identification systems on Tuesday, down from an average of 120 daily transits before the conflict, according to maritime intelligence firm Windward.