Breaking AI & Tech News Analyzed

Anthropic, a leading artificial intelligence company, has taken the US Department of Defense to court in a bid to overturn a ban on its AI model being used by the military and government contractors. The ban was imposed after Anthropic refused to allow its Claude AI chatbot to be used for domestic mass surveillance and fully autonomous lethal weapons.The dispute centers on the company's concerns about the use of its technology for purposes that could potentially infringe on civil liberties and international humanitarian law. Anthropic's CEO, Dario Amodei, has expressed concerns about AI being used in authoritarian ways, which has led to tensions with the US government and former President Donald Trump, who has labeled the company a "RADICAL LEFT, WOKE COMPANY".In a federal court in northern California, Judge Rita Lin presided over a hearing for a temporary injunction sought by Anthropic. The company's lawsuit claims that the government's actions are unprecedented and unlawful, and that they violate Anthropic's First Amendment rights. The government, on the other hand, argues that its decision to bar the use of Anthropic's technology is a legitimate exercise of its authority.The case has significant implications for the use of AI in military and government operations, and could set a precedent for the regulation of AI technology in the US. Anthropic's technology is deeply intertwined with government operations, including in the military, where it is reportedly being used to select and analyze targets of missile strikes in Iran. The company's AI model has been used by various government agencies over the past year, making it a challenging task to disentangle federal agencies from its use.

The estate of late British tech tycoon Mike Lynch has been ordered to pay £920m to the technology company Hewlett-Packard (HP) two years after he died in a superyacht disaster.The ruling by London’s high court said the estate was liable to pay the sum as compensation, costs, and interest for HP’s acquisition of Lynch’s firm Autonomy, after a UK legal ruling in 2022 that he duped the US firm into paying £8.2bn for his software firm Autonomy.The deceased entrepreneur’s estate has been estimated to be worth about £500m, so the damages could leave it bankrupt.Lynch and six others, including his 18-year-old daughter Hannah, died in August 2024 on a trip with friends and family celebrating his acquittal on US fraud charges relating to HP’s $11bn takeover of Autonomy in 2011.HP accused Lynch and Autonomy’s former chief financial officer, Sushovan Hussain, of inflating the firm’s value before the takeover. HP wrote down Autonomy’s worth by $8.8bn (£6.5bn) within a year of the purchase.The US tech company has sought damages in UK civil proceedings of up to $4.55bn from the estate of the late tycoon, who was once hailed as Britain’s answer to Microsoft founder Bill Gates.However, the level of the claim was ruled last year by the high court to be “always exaggerated”, as it concluded that Lynch’s estate owed £700m in compensation. The £920m figure includes costs and interest.Lawyers for Lynch’s estate sought permission to appeal against Tuesday’s ruling, which was refused. However, the estate can apply directly to the court of appeal.HP welcomed Tuesday’s decision, which it said in a statement “brings us another step closer to resolution of the dispute”.A spokesperson for the Lynch family said: “We are disappointed by the court’s refusal and believe an application to the court of appeal should follow in the interests of justice. HP’s $5bn damages claim has already been shown to be vastly exaggerated.“Today’s judgment describes the exaggeration as ‘without foundation’ and the purposes for which it was ‘calibrated, publicised and pursued’ as objectionable, misleading shareholders and extending the litigation unnecessarily.“Dr Lynch’s acquittal in the US, where witnesses were properly cross-examined, exposed the truth. The damage to Autonomy was the result of HP’s own actions and failures, not wrongdoing at Autonomy.”

More than 60 Labour MPs have called on Ofcom to take action against 'manosphere' influencers who target men and boys with harmful content, including gambling, sextortion, and violent pornography.The MPs argue that men and boys need protection from these influencers, who exploit young men by 'peddling lies, falsehoods and hate'. According to the Gambling Commission, 53% of 11- to 17-year-old boys see gambling adverts online each week, compared with 31% of their female peers.The Online Safety Act has forced Ofcom to give tech platforms guidance on tackling 'harmful content and activity that disproportionately affects women and girls', but MPs argue that men and boys are also targeted in specific ways. 91% of sextortion victims are male, according to the Internet Watch Foundation.Alistair Strathern, the MP for Hitchin and a co-chair of the Labour group for men and boys, said the Louis Theroux documentary Inside the Manosphere was 'another reminder of a particular way some of the worst of the internet can prey on young men and boys'. He emphasized that protecting men and boys is crucial to tackling violence against women and girls.An Ofcom spokesperson said protections in place under the Online Safety Act were designed to benefit anyone experiencing online abuse, and that their guidance encourages tech companies to use educational and preventive approaches to reduce online abuse.

The Museum of Youth Culture in Camden has unveiled an exhibition that delves into the rich history of teenage subcultures through a stunning collection of photographs. Capturing the essence of youthful rebellion and self-expression, the exhibition provides a visual journey through the decades, highlighting the diverse and often provocative styles that have defined generations of young people. From punk to hip-hop, and from mod to goth, the photographs on display offer a poignant look at the ways in which young people have used fashion, music, and art to express themselves and challenge societal norms. The exhibition at Camden's Museum of Youth Culture serves as a celebration of the creativity and resilience of young people, and is a must-visit for anyone interested in the history of youth culture and the power of photography to tell compelling stories.

The world is currently experiencing a severe energy crisis, surpassing the combined impact of the 1970s oil shocks and the Ukraine war, according to Fatih Birol, Executive Director of the International Energy Agency (IEA). Speaking at a media event in Australia, Birol warned that the energy crunch prompted by the US-Israel war on Iran has exceeded the 1973 and 1979 oil shocks and gas shortages stemming from Russia's 2022 invasion of Ukraine.Birol stated that the crisis is equivalent to two oil crises and one gas crash combined. He noted that the effective closure of the Strait of Hormuz and attacks on energy facilities have reduced global oil supplies by about 11 million barrels per day (bpd), more than double the combined shortfalls of the 1970s crises. Additionally, liquefied natural gas (LNG) supplies have been reduced by about 140 billion cubic meters, compared to a shortfall of 75bcm in the aftermath of Ukraine's invasion by Russia.At least 40 energy facilities across nine countries have been severely damaged in the conflict, according to the IEA chief. Birol emphasized that the global economy is facing a major threat and expressed hope that the issue will be resolved soon.Birol also expressed concern that the scale of the crisis had not been fully understood, which prompted him to speak publicly about the situation. The IEA has proposed measures to reduce energy consumption, including facilitating remote working and carpooling, and lowering speed limits on motorways.The IEA chief is in consultation with different countries about releasing more strategic oil reserves if needed. However, he emphasized that the single most important solution to the crisis is to unblock the Strait of Hormuz, which usually carries about one-fifth of global oil and LNG supplies.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.

Transitioning from the bright lights of the Stade de France to the familiar surroundings of the Crumbie Stand presents a unique mental challenge for international rugby players. For England's Ollie Chessum, however, the return to domestic competition proved fruitful as he delivered another tireless performance in Leicester's 33-19 victory over Bristol.The result not only elevates the Tigers to third place in the Premiership standings but also secured what could prove to be a crucial bonus point when playoff calculations are finalized. Bristol, who had been seeking bonus points of their own, ultimately left empty-handed and remain in fifth place following a match that maintained intensity from start to finish.The significance of this fixture was evident as Chessum and Joe Heyes were asked to immediately return to action following their Six Nations commitments, with Jack van Poortvliet also coming off the bench. This selection strategy proved effective, bolstered by another influential display from fly-half Billy Searle. The final try exemplified the Tigers' growing confidence under pressure.Even head coach Geoff Parling was urging his players to take calculated risks, shouting at Freddie Steward to kick the ball from deep rather than risk turnovers. When his players backed themselves from their own half, the decision paid dividends."I've been trying for a long time to get them to play what they see and that's what they did," Parling stated afterward, while also praising Chessum's contribution. "The Six Nations is physical but there's also an emotional toll. It's always a challenge for those guys when they come back after being away for eight weeks. Ollie was outstanding. He's a big emotional leader for us."Two decisive tries within a three-minute spell midway through the first half proved pivotal. When Leicester enters the "killing zone," they appear increasingly dangerous, as demonstrated by the close-range power of Joaquín Moro and Hanro Liebenberg, which left the Bears, missing rested Ellis Genge and dealing with injuries, with no answer.Bristol, however, proved difficult to contain for extended periods. Their industrious captain Fitz Harding, the league's top tackler this season, rewarded sustained pressure with a try, while Kalaveti Ravouvou continued his habit of scoring against the Tigers, escaping past Steward and Chessum to touch down down the right wing.The Bears' other first-half highlight came from hooker Gabriel Oghre, whose cultured left boot produced a magnificent 45-metre touchfinder from a defensive lineout. Oghre's versatility raises questions about why he isn't discussed more frequently among England's hooker options.While romantic backstories don't typically secure tight victories, the return of Scotland international flanker Hamish Watson on loan from Edinburgh added emotional significance. After 14 years north of the border, the 34-year-old relished the opportunity to run out to the traditional strains of Smoke on the Water at his boyhood club.Bristol continued to press, with Harding burrowing over for his second try, bringing Jimmy Williams' conversion to make it 20-19. Leicester needed to respond, and almost did when Searle launched an attack that might have yielded a spectacular try had Moro held the final pass.Though Izaia Perese soon crossed for Leicester's third try, the Tigers couldn't fully relax until the final moments. Steward's cross-kick initiated a daring raid up the right touchline, culminating in Hamer-Webb's exuberant dive over the line to seal the victory."We wanted to take Leicester out of their comfort zone and we did that at times," lamented Bristol's director of rugby Pat Lam. "We just need to finish more of our opportunities. You have to be at your best to win here and we weren't at our best."With seven regular-season rounds remaining, the stakes continue to rise. Bristol will host Harlequins at the Principality Stadium in Cardiff, while Leicester faces Gloucester at Villa Park in the latest edition of the Slater Cup.

When Resident Evil emerged in the mid-1990s, it stood in stark contrast to the prevailing gaming landscape. The PlayStation and Saturn consoles were dominated by bright, arcade-style games like Daytona and Tekken, while Japanese publisher Capcom was primarily known for Street Fighter and Mega Man sequels. Scary games were rare at the time and mostly confined to the PC, making Capcom's horror title Biohazard (the Japanese name for the series) a radical departure that caught the attention of games journalists.Three decades later, the series has not only survived but flourished, becoming one of gaming's most successful franchises. Resident Evil has sold more than 180 million copies worldwide, with 11 core titles, numerous spinoffs and remakes, plus extensive film, television, and anime tie-ins. Its characters and monsters have become cultural icons, with its design tropes now embedded in gaming practice.The origins of Resident Evil can be traced back to 1989's Sweet Home, a Capcom role-playing game for the Famicom (Japanese NES). The game featured a group of filmmakers searching a haunted mansion for valuable artifacts, and while it was a modest domestic success, it never received an international release. However, senior producer Tokuro Fujiwara couldn't let go of his vision for horror as a distinct game genre."We have Tokuro Fujiwara to thank for the existence of Resident Evil," says Alex Aniel, author of acclaimed Resident Evil history book Itchy, Tasty. "He directed Sweet Home having believed that horror could become its own game genre, but wasn't satisfied with its rudimentary portrayal. He wanted to give horror another try once the technology was there to allow it – that opportunity finally arrived with the release of the original PlayStation."In 1993, young producer Shinji Mikami was brought in to oversee a horror game project inspired by Sweet Home. He expanded the haunted mansion concept, drawing influence from George A Romero's Dead trilogy and Alone in the Dark, creating a world haunted not by ghouls but by zombies, mutants, and monsters. The heroes were an experienced SWAT team investigating disappearances at a rural mansion owned by the sinister scientific organization: Umbrella Corp.The original vision for full real-time 3D visuals proved too ambitious for PlayStation hardware, leading Mikami and programmer Yasuhiro Anpo to develop a compromise: 3D characters combined with prerendered 2D backgrounds viewed from fixed camera angles. This restricted, expressionistic style emphasized the intense claustrophobia of the environment, with information always kept from the player by blind corners and shadowy doorways.This combination of tension, omission, and restriction is fundamental to Resident Evil's success as a horror franchise. Even as the camera evolved to over-the-shoulder views and first-person perspectives, characters remained vulnerable. Ammo, save points, and health items are jealously rationed, with extremely restricted inventories. This approach makes Resident Evil operate more like classic horror literature than a typical power fantasy video game.The series has also expertly referenced horror conventions while paying homage to its inspirations. "Kamiya's biggest source of inspiration came from Alien and especially its sequel, Aliens," says Aniel of Hideki Kamiya, who directed Resident Evil 2 and Resident Evil Zero. "For example, in Resident Evil 2, humans infected with the G-virus grow a parasite that eventually ruptures their host and emerges from within, growing into deadly creatures."Resident Evil has also demonstrated remarkable versatility in exploring different horror genres – gothic horror in its mansions and monstrous enemies, sci-fi horror in its biological experiments, and folk horror in its sinister villages and religious cults. This comprehensive approach allows it to mirror societal fears, a point underscored by the COVID-19 pandemic."The Covid pandemic reminded us just how real our fear of viruses should be," says Bernard Perron, professor of cinema and video games at the University of Montreal. "In that sense, the fear of a corrupt corporation like Umbrella, along with mad scientists who do not necessarily have humanity's best interests at heart, continues to resonate. These anxieties remain deeply embedded in our posthumanist societies."Throughout its evolution, Resident Evil has maintained a balance between familiarity and innovation. Characters like Jill Valentine, Claire Redfield, and Leon Kennedy provide continuity – relatable but cool figures who spout wry jokes like Hollywood heroes. Meanwhile, charismatic antagonists such as Albert Wesker, Lord Osmund Saddler, and Lady Dimitrescu ensure consistent engagement.The series also excels in pacing and structure, carefully delineating between exploration, puzzle-solving, and combat sections. Locations are filled with beautiful details – lavish furniture, eerie oil paintings, ornate gardens – making exploration pleasurable. After intense battles, players can retreat to safe spaces like Save Rooms, creating a rhythm that prevents fatigue."The series offers deep and entertaining gameplay experiences, but with a very low barrier to entry, even for newcomers," says Aniel. "The Resident Evil games are more accessible than ever: since they are often on sale, they are affordable even for customers in emerging global markets, available on every major game platform."Ultimately, Resident Evil's longevity stems from its ability to create uncertainty while maintaining familiarity. "You know what you will get, but you also don't know," the article concludes. "Around every corner there could be a shock or there could be nothing – it's the uncertainty that gets you. It allows us to write in our own fears and anxieties, or to discover new ones we hadn't considered or acknowledged. Like all great horror fiction, Resident Evil has survived because it looks us right in the eye and says, I know what scares you. Come and see."