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As AI music startups like Suno and Udio focus on generating music from scratch, a new player in the space, GRAI, is taking a different approach. The company believes most people don't want to create music with AI—they'd rather remix, share, and experiment with existing tracks. With $9 million in seed funding, GRAI is positioning itself to transform music consumption into a more social experience while respecting artists' rights. Key Developments GRAI has raised $9 million in seed funding co-led by Khosla Ventures and Inovo vc The company is developing apps like 'Music with Friends' for iOS and an AI music playground for Android GRAI is building its own taste and participation graph along with real-time audio systems The startup is focusing on creating a 'derivatives pipeline' that preserves original track identity while allowing transformations Founders Ilya Liasun, Dima Kamarouski, and Andrei Avsievich previously sold their video creation app VOCHI to Pinterest Data & Market Impact The $9 million seed round represents significant investor confidence in GRAI's alternative approach to AI music. This funding comes amid a surge in AI music startups, with Suno and Udio gaining attention for their generative capabilities. However, GRAI's focus on social interaction rather than creation positions it in a different market segment targeting Gen Z and Gen Alpha users who discover music through cultural touchpoints like TikTok and social sharing. Why This Matters GRAI's approach addresses several critical issues in the modern music landscape. First, it tackles the broken discovery system that makes it difficult for new artists to gain traction. Second, it transforms passive listening into active participation, potentially increasing engagement with music. Third, it introduces social context to music consumption, which has been largely absent in streaming platforms. For artists and labels, GRAI offers a potential new revenue stream through royalties on remixes and transformations. This could be particularly valuable as traditional music sales continue to decline and streaming payouts remain notoriously low. The company's commitment to getting artist permission before implementation also addresses one of the most contentious issues in AI music—copyright and consent. For users, especially younger generations, GRAI represents a way to engage with music beyond passive consumption. This social approach could redefine how music experiences are shared and discovered, potentially shifting power away from large platforms like TikTok and YouTube. Expert Insight GRAI's founders identify a crucial gap in the current music landscape: music has become one of the last major consumer categories that hasn't gone 'creator-first.' While platforms like Instagram, TikTok, and YouTube have transformed photo and video consumption into participatory experiences, music listening remains largely passive. The company's focus on derivatives rather than generation reflects a nuanced understanding of both technology and human behavior. While generative AI has captured headlines, most people aren't looking to become music creators—they want to participate in music culture in ways that require less technical skill. GRAI's approach acknowledges this reality while still leveraging AI's capabilities. The startup's emphasis on working with artists and labels first represents a more sustainable approach than many AI companies that have faced legal challenges for using copyrighted material without permission. By establishing relationships and permission structures upfront, GRAI is building a foundation that could avoid the regulatory pitfalls that have plagued other AI music ventures. What Happens Next As GRAI rolls out its initial apps, the company will be closely watching user feedback to refine its approach. The success of these early products will likely determine the company's direction and potentially influence how other AI music startups approach the market. If GRAI's model proves successful, we may see a shift in how AI companies approach creative industries—focusing on augmentation and participation rather than replacement. This could lead to new licensing frameworks that acknowledge the value of derivative works while protecting original creators. The company's focus on Gen Z and Gen Alpha suggests they're thinking long-term about the future of music consumption. As these generations become the primary music consumers, their preferences for social, interactive experiences could reshape the entire industry. Ultimately, GRAI's success will depend on whether they can deliver on their promise of making music more social while fairly compensating artists. If they achieve this balance, they could create a new paradigm for AI in creative industries—one that prioritizes human connection and artistic integrity over pure technological capability.

The Real Estate Agent Who Broke the TribunalThe AFL Appeals Board has delivered a stunning rebuke to its own judicial system, overturning the conviction of Zak Butters for umpire abuse. The decision hinged not on the merits of the on-field incident, but on a procedural catastrophe involving a tribunal member driving to a real estate inspection. The case, which began with a missing audio recording and ended with a barking dog interrupting legal counsel, has exposed the AFL's judicial process as fundamentally flawed.The Incident: Umpire Nick Foot reported Butters for asking, 'How much are they paying you?' after awarding a free kick to St Kilda.The Verdict: The initial tribunal found Butters guilty and fined him $1,500, a penalty the AFL described as a 'slap on the wrist.'The Appeal: Port Adelaide argued that panel member Jason Johnson committed an 'error of law' by driving to an open house inspection during the hearing.The Gambling Integrity CrisisBeyond the procedural errors, the Butters case has reignited the debate over the AFL's intimate relationship with gambling. The revelation that the umpire involved, Nick Foot, works as a broadcast host and racing analyst for Sportsbet—the AFL's exclusive gambling partner—has sparked outrage.The conflict of interest is stark. With Sportsbet's branding pervasive in stadiums and on broadcasts, allowing an on-field umpire to work for the betting partner creates an environment ripe for integrity issues. While there is no evidence of corruption, the optics of an umpire adjudicating on a player while simultaneously working for the league's betting sponsor are difficult to defend.Reform on the HorizonThe AFL is now forced to confront two existential problems. First, the tribunal system requires an immediate overhaul to ensure panel members are not distracted by personal errands during high-stakes hearings. Second, the league must decide if the financial benefits of its gambling partnership outweigh the reputational damage caused by perceived conflicts of interest.As the league apologizes to all parties involved, the message is clear: the current structure of the AFL's judicial and commercial operations is no longer sustainable in an era of heightened scrutiny.

The Lead: Roma's European Dream in Jeopardy Once positioned as Champions League contenders, Roma now finds itself fighting to secure even Europa League qualification under manager Gian Piero Gasperini. The experienced Italian coach, who achieved remarkable success with Atalanta, is facing growing uncertainty as his team's form has dramatically declined, raising questions about his future at the club. The Managerial Turmoil at Roma From the outset of Gasperini's tenure at Roma, there has been resistance. Despite his impressive track record, including leading Atalanta to consistent top-four finishes and Europa League glory in 2024, a section of Roma's supporters opposed his appointment. "Respect our history," read one banner outside the Stadio Olimpico last May. "Don't bring that shit Gasperini to [Roma's training ground at] Trigoria." The tension between Gasperini and the club was acknowledged at his presentation last June, where he sat alongside predecessor Claudio Ranieri, who had moved upstairs to serve as a "senior adviser." Ranieri made headlines this month by suggesting Gasperini was the club's fourth choice for the managerial role, stating he had proposed "five or six" names and that "three of those didn't come." The Performance Decline Roma made an encouraging start under Gasperini and were third in the table as recently as February 27, maintaining a four-point advantage over Juventus after a 3-3 draw. However, since then, everything has unraveled. The team went five games without a win across all competitions, resulting in elimination from the Europa League by Bologna. While they secured a 1-0 victory over Lecce, they were subsequently crushed 5-2 by Inter. By the time Roma faced Gasperini's former club, Atalanta, they had fallen to sixth place in the Serie A table, with Juventus, Napoli, and Como all overtaking them. This dramatic decline has placed European qualification in jeopardy and intensified scrutiny on the manager. The Statistical Reality Despite the managerial changes—Roma has had eight different managers in eight years—the club's results have remained remarkably consistent. This season's team has 58 points after 33 games, nearly identical to the 57 points they had at the same stage last season. Looking back further, Roma accumulated 58 points in each of the three preceding years, 56 in 2020-21, 57 in 2019-20, and 55 in 2018-19. This statistical stagnation stands in stark contrast to the 2017-18 season under Eusebio Di Francesco, when Roma finished third and reached the Champions League semi-finals. The current trajectory suggests that despite Gasperini's reputation for developing teams, Roma is struggling to break through to the next level. Impact on Italian Football Roma's struggles reflect broader challenges in Italian football, where even historically significant clubs find it difficult to maintain consistent competitiveness in European competitions. The club's inability to progress despite frequent managerial changes raises questions about the structural and strategic issues at the club. Gasperini's situation also highlights the complex nature of football management, where external factors like ownership changes and internal politics can impact performance. His emotional press conference, where he became emotional discussing his time at Atalanta, revealed the personal investment he has made in this role. The Road Ahead for Gasperini and Roma With the season approaching its conclusion, Gasperini faces a critical period. If Roma fails to secure Champions League qualification, his position will become increasingly untenable. The club's ownership must decide whether to continue with a manager who has brought stability but not the breakthrough they hoped for, or to make another change in pursuit of different results. For Gasperini, this season represents a significant test of his ability to adapt his successful Atalanta formula to a bigger club with different expectations and pressures. Regardless of the outcome, his experience has provided valuable insights into the challenges of managing one of Italy's most prestigious football clubs.

The Phenomenal Rise of the 'Popcorn Fiction' QueenDr. Sara Cohen has achieved a publishing milestone that few authors ever reach. Under her pseudonym, Freida McFadden, she has not only secured the title of the UK's bestselling novelist of 2025 but has also redefined the modern thriller genre. The success of her dark, twisty narratives—bolstered by a massive film adaptation—has turned her into a cultural juggernaut, proving that accessible, high-volume storytelling can outpace traditional literary giants.From Doctor to Bestseller: The Sara Cohen RevealThe revelation of McFadden's real identity as Sara Cohen, a specialist in brain disorders in Boston, adds a layer of intrigue to her success story. Cohen self-published her first book in 2013, using the pseudonym to maintain a boundary between her demanding medical career and her writing life. The name 'Freida' was inspired by the medical database she used during her residency. After a decade of self-publishing, she signed with Bookouture, a move that catapulted her into the mainstream spotlight.Identity Unveiled: McFadden finally revealed her real name, Sara Cohen, in April 2026.Debut Success: Her first book, *The Devil Wears Scrubs*, was drawn from her experiences as a medical intern.Visual Reveal: She shared the first image of herself without her signature wig, marking a personal milestone for her fans.The Data Analysis: The Economics of a Thriller EmpireThe financial impact of McFadden's strategy is undeniable, driven by a combination of high output and cross-platform engagement. Her ability to churn out multiple novels annually creates a 'consistent momentum' that keeps readers engaged.Record Sales: She sold 2.6m print copies in 12 months, outstripping heavyweights like Richard Osman and Sarah J. Maas.Global Reach: Global sales, including audio and ebook formats, are estimated at 36m.Market Dominance: At one point, she had six novels in the UK's Top 10 paperback fiction chart.Demographics: Her fanbase is predominantly female (82%) and skews young, with the majority of readers aged 24 to 34.Why 'Deliciously Dark' Thrillers Are Taking OverThe publishing industry is witnessing a shift toward what critics call 'popcorn fiction'—books designed for immediate consumption and entertainment rather than deep literary analysis. McFadden's style, characterized by short chapters, plot twists in almost every section, and low cognitive load, fits perfectly into the modern reader's lifestyle.Her success is heavily reliant on BookTok, the TikTok book community, where young readers share reviews and recommendations. This digital buzz has crossed borders, influencing bestseller lists in France and beyond. Furthermore, the recent $400m global box office success of the *The Housemaid* film adaptation has attracted a new wave of readers who might not have discovered the books otherwise.The Future of McFadden's Literary EmpireWith multiple film adaptations in the pipeline and a backlog of books ready for release, McFadden's trajectory shows no signs of slowing down. Her ability to adapt to reader feedback—such as revising the ending of *The Ex* after fan criticism—demonstrates a keen business acumen that complements her storytelling skills. As she continues to write under the McFadden pen name, the industry can expect this 'deliciously dark' wave to dominate the charts for the foreseeable future.

Chris Evans’ attempt to resurrect the 1990s chatshow juggernaut TFI Friday began quietly on Virgin Radio’s YouTube channel earlier this year. The lo‑fi series, titled TFI: Unplugged, featured a handful of high‑profile guests – Danny Dyer, Chris Hemsworth, Bono and Noah Wyle – and quickly attracted enough viewers for Channel 4 to commission six late‑night episodes. While the media spotlight has been on Claudia Winkleman’s foray into celebrity interviewing, Evans’ revival arrives with far less fanfare and pressure. The new format is deliberately stripped back: a cramped studio, casually dressed staff, and a budget that Evans himself jokes is “only 1% of the original”. Channel 4 commissioning editor Cimran Shah pitched the show as “personality‑led, stripped‑back chat”, positioning it as a precursor to today’s visual podcasts. In practice, the production feels more like a video‑recorded audio interview than a full‑blown TV spectacle. The episode lineup mixes legacy and fresh talent. Vintage performances from Sleeper, The Cure and Garbage provide a nostalgic soundtrack, while contemporary guests such as Jack Savoretti – who Evans repeatedly hails for a recent chart‑topping album – and Indian star Shreya Ghoshal, who covers Coldplay’s “Fix You”, aim to broaden appeal. A promised appearance by Gemma Arterton and Peter Capaldi never materialised; instead, singer‑songwriter Sam Ryder appeared despite having lost his voice. One of the few moments that truly harkens back to the original is a splice of Evans’ 1999 interview with David Bowie, in which the legendary musician bizarrely claims to have contracted gastroenteritis from eating monkey meat. The clip underscores Evans’ desire to remind viewers of the show’s storied past, even if the anecdote feels more odd than iconic. Critics note that the new Unplugged version lacks the “laddish, often cruel humour” that defined the 1990s TFI Friday, including infamous segments like the “Fat Lookalikes”. The original’s chaotic energy and Britpop‑fuelled vibe have been replaced by a more restrained, if still frenetic, studio atmosphere. In terms of relevance, the series appears out of step with current trends. Unlike interview podcasts that create an intimate, off‑camera feel, Evans’ format retains the sweaty, over‑the‑top live‑TV aesthetic without delivering the depth or novelty that modern audiences expect. Overall, TFI Friday Unplugged may not reshape the UK chatshow landscape or outshine Winkleman’s high‑profile debut, but it does carve out a modest niche for nostalgia‑driven viewers. Its inexpensive production model proves sustainable, even if the show remains a modest footnote in the broader revival of British talk‑show culture.

The 2026 Bafta games awards, held in London, recognized several standout games in the industry. Clair Obscur: Expedition 33, with 12 nominations, was a favorite to win big, and it did, taking home awards for Best Game and Debut Game, as well as Performer in a Leading Role for Jennifer English.Another major winner was Dispatch, a superhero comedy that won Animation, Audio Achievement, and Performer in a Supporting Role for Jeffrey Wright. Ghost of Yōtei, a historical samurai slasher, also had a strong showing, winning Music and Technical Achievement.Other notable winners included Atomfall for British Game, No Man’s Sky for Evolving Game, and Blue Prince for Game Design. The Bafta Fellowship was presented to Ilkka Paananen, chief executive and co-founder of Supercell.

Jason Allen-Paisant, an award-winning poet, has written an audiobook titled 'The Possibility of Tenderness', which is a meditation on nature, history, race, and the notion of belonging. The book is narrated by the author himself and is available via Penguin Audio, with a duration of 8 hours and 32 minutes.Allen-Paisant's early childhood in Coffee Grove, Jamaica, played a significant role in shaping his relationship with nature. He spent his early years climbing trees, picking fruit, and helping his grandmother harvest yams on their small plot of land. This close connection with the natural world had a profound impact on his life.As Allen-Paisant grew older and moved to Britain to study at Oxford, he noticed a significant change in his interactions with nature. He realized that his socio-economic status and class limited his access to the natural world in Britain, leading him to feel disconnected from the land and soil.The audiobook is a personal account of Allen-Paisant's journey to reconnect with nature and find a sense of belonging. He explains how surrounding himself with nature allows him to feel hopeful and find ways to cope with the constraints of racism. Allen-Paisant emphasizes the importance of non-anger and finding ways to live through difficult experiences.Further listening recommendations are also provided, including 'Don’t Let It Break You, Honey' by Jenny Evans and 'Slags' by Emma Jane Unsworth.

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

Tens of thousands of people have been hired by Scale AI – a firm 49% owned by Meta – to train artificial‑intelligence models by scraping Instagram accounts, harvesting copyrighted artwork and transcribing pornographic soundtracks, according to the Guardian.Scale AI promotes its Outlier platform as a flexible, expert‑driven marketplace, recruiting professionals from medicine, physics and economics to "become the expert that AI learns from."Workers, however, say the reality diverges sharply from high‑level model refinement. They describe tasks that involve massive personal‑data scraping and content that many find morally uncomfortable.Outlier is managed by Scale AI, which holds contracts with the U.S. Pentagon and other defense companies. Its chief executive, Alexandr Wang, is hailed by Forbes as the world’s youngest self‑made billionaire, while former managing director Michael Kratsios served as science adviser to former President Donald Trump.One contractor noted that users of Meta platforms would be shocked to learn their photos and friends’ images are being harvested for AI training, with workers manually reviewing profiles to extract data.The Guardian interviewed ten Outlier contributors – many also journalists, graduate students, teachers or librarians – who took the gig work out of economic desperation. One said, "A lot of us were really desperate" and felt compelled to accept the unstable, low‑pay assignments.These gig workers, dubbed “taskers,” often feel they are training their own replacements, expressing “internalised shame and guilt” over contributing to the automation of creative professions.Law firm Clarkson, representing AI gig workers, estimates that hundreds of thousands of people worldwide now labor on platforms like Outlier. Taskers report bait‑and‑switch recruitment tactics, where advertised high salaries are replaced by lower‑paid projects after onboarding.All contributors are monitored through a tool called Hubstaff, which can screenshot browsers to verify work. While Scale AI claims the software is only for accurate payment, workers describe it as constant surveillance.Assignments have ranged from transcribing pornographic audio and labeling photos of dead animals or dog faeces, to annotating diagrams of infant genitalia and violent police scenarios. One doctoral student recounted being promised “no nudity” only to receive explicit porn clips.Scale AI says it shuts down any task flagged as inappropriate and does not accept projects involving child sexual‑abuse material or pornography, though workers note that publicly available images of minors have been used for training.Social‑media scraping tasks required workers to tag individuals by name, location and age, sometimes pulling data from accounts of users under 18. One task asked contributors to order Facebook photos by the subject’s age, prompting ethical unease.In addition to personal data, taskers were asked to harvest copyrighted artwork, with strict instructions to avoid AI‑generated images and select only hand‑drawn pieces. Scale AI maintains it does not ask workers to violate copyright standards.Scale AI’s client list includes major tech firms such as Google, Meta and OpenAI, as well as the U.S. Department of Defense and the government of Qatar, highlighting the growing demand for labelled data as AI models scale.Some workers reported interacting with ChatGPT and Claude, and speculated they might be training Meta’s upcoming model, code‑named “Avocado.”OpenAI announced it ended its partnership with Scale AI in June 2025, citing its supplier code of conduct that mandates ethical treatment of all workers.Despite irregular pay, occasional mass layoffs and the unsettling nature of many tasks, many taskers remain on the Outlier platform, hoping the AI future will eventually improve conditions. One said, "I have to be positive about AI because the alternative is not great."In response, a Scale AI spokesperson stated, "Outlier provides flexible, project‑based work with transparent pay. Contributors choose when and how they participate, and we regularly hear from highly skilled contributors who value the flexibility and opportunity to apply their expertise on the platform."