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Atlassian announced a suite of new AI capabilities for its collaboration hub Confluence, aiming to turn a single page into a launchpad for visual storytelling, prototyping, and presentations.Remix Visual AI Enters Open Beta to Auto‑Generate Charts and GraphicsThe flagship feature, Remix, analyzes data stored in Confluence and recommends the most appropriate visual format—charts, graphs, or infographics—creating the asset without leaving the platform. Users can simply select a data block, and Remix produces a ready‑to‑use visual, streamlining the transition from raw information to polished output.Third‑Party Agents Bring Prototyping, App Building, and Slide Creation Inside ConfluenceLovable agent: Converts product ideas and data into working prototypes directly from Confluence pages.Replit agent: Transforms technical documentation into starter applications, accelerating development cycles.Gamma agent: Generates presentation slides and related materials, turning notes into polished decks.All three agents operate via Model Context Protocols (MCPs), allowing seamless interaction with external AI services while keeping data within the trusted Confluence environment.Embedding AI: A Strategic Shift Toward Integrated Workflow EnhancementsThis rollout follows Atlassian’s February addition of AI agents to Jira and mirrors a broader industry movement. Companies like Salesforce and OpenAI are embedding AI into existing tools—Salesforce’s Agentforce now lives within its core suite, and OpenAI’s Frontier Alliances push consultants to integrate its models into client workflows.Implications for Enterprise Collaboration and Competitive LandscapeBy keeping AI functionality inside the platforms teams already use, Atlassian reduces friction, potentially increasing adoption rates and driving higher engagement metrics. Competitors will need to match this depth of integration or risk losing market share in the fast‑growing AI‑augmented collaboration space.Looking Ahead: AI‑First Collaboration Platforms as the New StandardAnalysts expect the next wave of enterprise software to be “AI‑first,” with native agents and visual tools becoming default features rather than add‑ons. Atlassian’s strategy positions it to lead this transition, and future updates may expand Remix’s capabilities to real‑time data streams and broaden the ecosystem of third‑party agents.

The United States and Iran have agreed to a two-week ceasefire, with Iran reopening the strategic Strait of Hormuz and talks set to begin in Islamabad, Pakistan. The agreement was reached after a request from Pakistan's Prime Minister Shehbaz Sharif and pressure from China.Iran's Minister of Foreign Affairs, Abbas Araghchi, confirmed that safe passage through the Strait of Hormuz will be ensured for two weeks through coordination with the country's armed forces. Under the agreement, Iran and Oman will be allowed to charge transit fees on passing ships, with Tehran planning to use the revenue for post-war reconstruction.The ceasefire was agreed upon just an hour before US President Donald Trump's deadline to escalate the conflict expired. Trump's move followed a request from Pakistan's Prime Minister, who urged Washington to extend its deadline for a deal and called on Iran to reopen the strait. The breakthrough came after talks with Pakistan's leadership, which had pushed for a ceasefire.Iran has proposed a 10-point peace plan, which includes lifting sanctions, creating a war-loss fund, a potential US troop withdrawal from the Gulf, and recognition of Iran's right to enrich uranium in exchange for a pledge not to build nuclear weapons. However, it is unclear whether the US has agreed to any of these proposals.The ceasefire has triggered street celebrations in Tehran and Baghdad, with Iranian leaders declaring the conflict is ending 'on Iran's terms'. However, some citizens remain skeptical, warning the US and Israel may be using the pause to 'buy time' and regroup.The agreement has also had an impact on the global economy, with crude prices falling below $100 after Trump's announcement. However, analysts remain cautious, with markets in 'wait-and-see mode' as a 'big gap' remains in negotiations.

Celebrations erupted in Tehran after officials announced a two‑week ceasefire with the United States, creating a window for diplomatic talks aimed at de‑escalating the regional conflict.Iran consented to suspend hostilities, with negotiations slated to begin on Friday in Pakistan. President Donald Trump pledged to halt military operations provided Tehran fully reopens the Strait of Hormuz, a vital maritime corridor. Iran’s foreign minister added that safe passage through the strait will be coordinated with Iranian armed forces throughout the truce.The breakthrough followed a direct appeal by Pakistan’s Prime Minister Shehbaz Sharif, who urged Trump to extend his negotiation deadline and called on Iran to restore strait access.Iranian officials framed the ceasefire as a “victory”, asserting that their preconditions for talks were accepted and that Trump’s acknowledgment of progress on key disputes validates Tehran’s stance. They emphasized that national unity, patience, and military resilience were decisive factors.In their assessment, the earlier U.S.–Israeli strategy of targeting Iranian leadership failed, while the ensuing conflict demonstrated Iran’s capacity to sustain prolonged military operations.Trump, speaking to AFP, described the agreement as a “total and complete victory”, insisting that Iran’s uranium stockpiles would be “perfectly taken care of” under the deal and crediting China for facilitating the negotiations.Despite the truce, Democratic lawmakers announced they will continue impeachment efforts against Trump, condemning his rhetoric toward Iran as “genocidal” and “unhinged.”

Stephen Fry opened his appearance on ITV’s The Assembly with a startling question: “You tried to kill yourself a couple of times. Are you happy to be alive now?” The boldness set the tone for a conversation that veered far from the usual celebrity‑friendly script.The programme distinguishes itself by placing a well‑known guest in front of a panel of young adults with neurodivergence or learning disabilities. Free from the conventional safeguards of mainstream talk shows, the panel asks questions that are simultaneously unconventional and deeply human, prompting guests to respond without the usual rehearsed veneer.For Fry, the format proved liberating. Known for translating complex ideas into accessible language, he used the platform to discuss suicidal ideation, likening the experience to the lingering memory of a broken limb—painful yet now distant. This candidness allowed him to reaffirm why he remains a cultural touchstone.One of the most memorable moments came when a participant asked, “I read that you are bipolar. One of my family has that. How can I help them?” Fry responded with a vivid analogy, describing bipolar disorder as a “rainstorm raging inside you—eventually the sun returns, and it’s the weather, not the person, that changes.” This explanation resonated as both compassionate and educational.The interview oscillated between gravitas and levity. Fry fielded whimsical queries such as “Can you help me meet Céline Dion?” and “How much have you spent on cocaine?” alongside the probing “Are you a top or a bottom?” The juxtaposition amplified the emotional weight of the serious topics.At one point, a young panelist named Luca chose not to ask a question, instead performing William Wordsworth’s poem “The World Is Too Much With Us” with theatrical flair—a rare blend of poetry and performance that underscored the show’s experimental spirit.Another highlight involved Jacob, a panel member who brandished a list of Fry’s past advertising gigs—Heineken, Twinings, Honda, and more—before delivering the punchline, “Is there anything you wouldn’t do for money?” The extended joke built a collective laugh that softened the subsequent, more probing inquiries.Critics have likened the show’s tone to a hybrid of Radio 4’s In the Psychiatrist’s Chair and the cheeky, irreverent style of classic British comedy interviews such as those with Dame Edna Everage or Mrs Merton, creating a unique space where vulnerability and humor coexist.The episode concluded with Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” playing as Fry reflected on his experiences with antisemitism and bipolar disorder. Moved by the music, he rose and danced, offering a visual testament to the therapeutic power of the format.The Assembly aired on ITV1 and is now available for streaming on ITVX.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.

The UK hospitality sector is reeling from a triple whammy of rising costs, including increased minimum wage, business rates, and energy prices. This has put immense pressure on businesses, particularly pubs and hotels, to maintain profitability.Nick Evans, co-owner of the Old Crown Coaching Inn in Oxfordshire, exemplifies the struggles faced by many in the industry. Despite a rich history dating back to 1645, Evans is finding it challenging to make ends meet. The pub's annual revenue stands at £1.4m, but rising costs, including a £350,000 wage bill and £80,000 energy bill, are eating into profits.The latest blow to the industry came on April 1, with increases in the minimum wage and business rates. Evans notes that the wage bill will rise to nearly £370,000, and the business rates increase will add another £24,000 to the bill. This comes on top of surging energy prices due to the Iran crisis, which will further exacerbate the cost burden.Evans argues that the national insurance change is misogynistic, as it disincentivizes employers from hiring part-time workers, often mothers seeking extra income. He also believes that the minimum wage increase will price young people out of the market, as employers may opt to hire adults for a pound more.Kate Nicholls, chair of UK Hospitality, warns that one in five businesses fear they may not survive the next 12 months. She emphasizes that the sector cannot absorb any more cost increases, and hikes will simply be passed through to consumers, driving inflation and hitting jobs.For now, Evans and his co-owner, Mike Webb, are seeking a more lenient payment plan for their VAT bill from HMRC. As Evans says, 'It’s tough, tough, tough.' The future of many hospitality businesses hangs in the balance as they struggle to navigate these unprecedented challenges.

Paris Saint-Germain dominated Liverpool in the Champions League quarter-final first leg, securing a 2-0 victory at the Parc des Princes. The gulf in quality between the two teams was evident throughout the match, with PSG creating numerous scoring opportunities.The hosts took the lead through a fortunate deflected strike from Désiré Doué, which looped over Liverpool goalkeeper Giorgi Mamardashvili. The Georgian goalkeeper made a vital contribution to prevent further damage at halftime, producing a fine save to tip away a Khvicha Kvaratskhelia shot that was heading towards the bottom corner.PSG extended their advantage in superb style through Kvaratskhelia, who held off Liverpool midfielder Ryan Gravenberch, rounded Mamardashvili, and converted into an unguarded net. The win leaves Liverpool facing a tough task to overturn the deficit in the second leg.

Oil markets experienced a dramatic correction on Wednesday, with Brent crude falling 13.9% to $94.10 per barrel and U.S. WTI futures sliding almost 16% to $95, marking the steepest daily percentage drop since the COVID‑19 crash of April 2020. Despite the plunge, prices remain well above pre‑conflict levels, when Brent traded below $73.The price shock followed President Donald Trump's announcement of a two‑week, conditional ceasefire with Iran, contingent on Tehran reopening the strategic Strait of Hormuz for oil tankers. Iran’s foreign minister, Abbas Araghchi, confirmed the strait would be managed by the Iranian military during the grace period, while Iran’s national security council accepted the ceasefire on the condition that U.S. attacks be halted.Equity markets reacted positively. The pan‑European Stoxx 600 surged 4%, its biggest one‑day gain in over four years. In the UK, the FTSE 100 climbed nearly 3% to 10,646 points, its highest level since the early days of the Iran war. Travel and leisure stocks led the rally, with Air France up 14.5%, Lufthansa +11%, IAG +9.5% and TUI +12%.Oil majors were the notable laggards; BP and Shell each lost more than 5% as investors priced in continued supply uncertainty. Asian markets also posted strong gains: Japan’s Nikkei 225 rose over 5%, Australia’s S&P;/ASX 200 jumped 2.55%, South Korea’s Kospi surged 7.5%, Hong Kong’s Hang Seng added 3.1% and China’s CSI300 climbed 3.2%.Bond yields eased on the ceasefire news. The U.S. 10‑year Treasury yield fell to 4.24% from 4.30%, while the UK 10‑year gilt slipped to 4.7% from 4.9%.Safe‑haven assets rallied as well: gold rose more than 2% to $4,812 per ounce, and cryptocurrencies recovered, with Bitcoin up 2.9% to $71,327 and Ether gaining 5.6% to $2,234.Market strategists emphasized the provisional nature of the relief. Jim Reid, Deutsche Bank markets strategist, warned that “investors will be breathing a big sigh of relief, but the durability of the ceasefire remains the key risk.” He noted ongoing Israeli‑Iran strikes and unclear extensions to Lebanon could reignite volatility.Energy analyst Saul Kavonic (MST Financial) described the pause as “an off‑ramp for Trump’s bombastic ultimatum, but not yet an off‑ramp for oil markets or the war.” He expects a limited release of tankers from Hormuz in May, which would ease storage pressure without boosting production.Capital Economics chief economist Neil Shearing highlighted potential transit fees for Hormuz passage, estimating a $1‑2 million charge per tanker—equivalent to roughly $1 per barrel—would have a modest effect on global oil prices but could signal a de‑facto partial nationalisation of the route.TD Securities senior strategist Prashant Newnaha cautioned that “renewed escalation cannot be ruled out, but markets are treating this ceasefire as the real deal, and all parties will sell it as a major win.” He added that oil prices are unlikely to revert to pre‑war levels, keeping inflationary pressures alive.Earlier in the week, U.S. equities swung sharply, with the S&P; 500 dipping 1.2% before rebounding after Pakistan’s prime minister urged Trump to extend the deadline and keep the strait open.The conflict, which began after the U.S. and Israel struck Iranian targets in late February, has choked the Strait of Hormuz—through which about 20% of global oil and LNG supplies flow—fueling a worldwide energy crunch.

Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.