Breaking AI & Tech News Analyzed

A federal judge has dismissed 10 out of 13 claims made by Blake Lively against director Justin Baldoni, including allegations of sexual harassment, conspiracy, and defamation. The lawsuit, which centers around the filming of 'It Ends With Us,' a domestic abuse drama where Lively and Baldoni starred as characters with intimate scenes, will proceed to trial next month on claims of a retaliatory campaign against Lively.Baldoni's lawyer, Bryan Freedman, described the defendants as 'very good people who have not engaged in this sexual harassment as alleged.' He expressed satisfaction with the court's ruling, stating it confirms what his legal team believed from the start.The judge's 152-page opinion emphasized that Lively's claims must be viewed in the context of the film's production, noting that creative artists need space to experiment within scripted scenes without fear of liability for sexual harassment. The court also determined Lively was working as an independent contractor, not an employee, which impacted her ability to bring sexual harassment claims.Lively's attorney, Mike Gottlieb, responded that the ruling was based on 'legal technicalities' and not an endorsement of the defendants' conduct. A trial is scheduled for May 18.

Channel 4 is poised to shake up the traditional Boat Races with its debut coverage of the event, bringing a fresh perspective and new talent to the table. The network has acquired the broadcasting rights from the BBC, signaling a significant change in the event's media landscape. The Boat Races, a storied competition between Oxford and Cambridge universities, has been a staple of British sport since 1829. This year's event promises to be exciting, with Oxford's Heidi Long, a bronze medalist in the women's eight at Paris 2024, leading the charge against Cambridge's dominant women's team. Clare Balding, previously the face of the BBC's coverage, will continue as presenter, joined by newcomers Jamie Laing, a reality TV star and Radio 1 DJ, and Ade Adepitan, a TV presenter and Londoner. The on-screen team aims to bring a new dynamic to the event, appealing to a younger demographic. The production company, FilmNova, brings four years of experience from BBC broadcasts and has planned several innovations, including relatable comparisons and humanizing the rowers. One highlight is a 'fantasy boat' featuring well-known sportspeople, such as Serena Williams and Frankie Dettori. The Boat Races also shed light on pressing issues like Thames Water's mismanagement and sewage pollution in Britain's waterways, adding a layer of depth to the event. As Channel 4 takes the reins, the athletes can focus on their goals, with Long and her Oxford teammates striving to end Cambridge's eight consecutive wins. Heidi Long's remarkable story, balancing rowing with medical studies and personal loss, exemplifies the dedication and resilience of the athletes. Her leadership and experience are seen as key factors in Oxford's bid for victory.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

The latest Supergirl trailer has generated significant buzz, hinting at a fresh take on the iconic DC character. Director Craig Gillespie has revealed that the film will feature a nine-world structure and a considerable amount of planet-hopping, setting it apart from previous superhero films.Building on the success of James Gunn's Superman, which offered a unique twist on the Man of Steel, Milly Alcock's Kara Zor-El is poised to bring a new level of excitement to the DC Universe. The trailer showcases Alcock's character navigating alien landscapes and battling foes with a swagger reminiscent of a cosmic gunslinger.What sets this film apart is its exploration of Kara's vulnerabilities when she's away from Earth's yellow sun. In the comic book series Supergirl: Woman of Tomorrow, Kara encounters a world under a green sun that drains her powers, making her physically ill. This element could add a layer of complexity to the story, as Kara searches for an antidote across multiple planets.The film's setup has a video-game-like quality, with Kara's power levels potentially fluctuating as she navigates different environments. This mechanic could sharpen the drama and create a sense of tension, as Kara faces challenges that test her abilities.While there are risks involved in this bold new direction, the prospect of seeing a more vulnerable and dynamic Supergirl on the big screen is an intriguing one. As the DC Universe continues to evolve, fans are eager to see how this new take on a classic character will unfold.

The highly anticipated fifth season of the Cork-set comedy The Young Offenders premieres on BBC One at 9:30pm. The new season kicks off with Jock, played by Chris Walley, breaking out of a Colombian prison and reuniting with Conor, played by Alex Murphy, back in Ireland. Their adventures quickly take a turn as they find themselves in a hostage situation with an elderly couple while wearing floral dresses.Elsewhere on television, Rob Beckett brings his unique brand of humor to Sky One with his show Giraffe at 9pm. The comedian takes viewers on a stream-of-consciousness journey through topics like poshness, parenting, and pubes, often pushing the envelope with his audience.On Channel 4, The Last Leg continues its 34th series at 10pm, featuring presenters Adam Hills, Josh Widdicombe, and Alex Brooker. This week's guests include Josh Pugh, Lorraine Kelly, and Steve Bracknall.In addition to these shows, BBC One also airs Extraordinary Portraits With Bill Bailey at 7:30pm, highlighting the story of Eddie, the 'Iron Gran', who became the oldest British woman to complete an Ironman triathlon at 72. Meanwhile, Beyond Paradise airs at 8pm, with Humphrey solving a series of burglaries in Shipton Abbott.For film enthusiasts, The Wolf of Wall Street, directed by Martin Scorsese and starring Leonardo DiCaprio, is broadcast on BBC Two at 10pm. This financial crime caper is based on the memoir of stockbroker Jordan Belfort and features memorable performances from Matthew McConaughey and Margot Robbie.

The unexpected return of two William Hartnell episodes to the BBC archive has sent shockwaves of excitement through the Whovian community. For the first time since 1965, fans can now enjoy the first quarter of the 12-part adventure 'The Daleks' Master Plan.'The surviving five episodes are now on iPlayer, and the first three make for a stirring introduction to the adventure, with large impressive sets for the Earth control centre and the Dalek ship, contrasting with the dense forbidding foliage of the planet Kembel. Frequent tight closeup shots from director Douglas Camfield on the faces of the cast add to a claustrophobic feel in the jungle sequences.At the time, Hartnell was not to know that within a year he would be 'renewed' as the lead of the show by Patrick Troughton. Hartnell's health problems, reputation for being difficult on set and frequent flubbing of lines during a production schedule that allowed little leeway for second takes has tainted his tenure in the role.Here, especially in the opener, we get to see him in some of his strongest moments as the Doctor. With Stephen (Peter Purves) incapacitated by the poison he picked up in Troy, and Katarina (Adrienne Hill) little more than a hollow vessel of a character, Hartnell has much more to do than usual. The actor gets to show the gleeful side of his nature as he delights at his own invention of the magnetic chair and his ingenuity at repelling – at least initially – boarders to the spaceship.Rediscovering episode one also means we can enjoy beloved children's television presenter Brian Cant flexing his acting chops in something other than Playschool, and all three episodes prominently feature Nicholas Courtney, who would go on to play Brigadier Lethbridge-Stewart for 40 years, as Bret Vyon. A highlight is the Addams family-esque kookiness of the aliens making up the Dalek council, which is certainly preferable to the somewhat cliched prison planet savages set-up of part three.The biggest mystery, of course, is how these episodes have ended up surviving. Film is Fabulous, the people who secured them, have said they are respecting the wishes of the estate of the person who was holding and keeping them anonymous. Perhaps the most intriguing thing is that, given it was never sold overseas, the missing episodes of the Daleks' Master Plan were among the least likely to ever be found, but two episodes were sitting in those film cans all along. Who knows what else might still be out there?

Two long-lost episodes of Doctor Who from the William Hartnell era, which had not been seen since 1965, have been released after being discovered in a private film collection. The episodes, 'The Nightmare Begins' and 'Devil’s Planet', are parts one and three of a mostly lost 12-part adventure called The Daleks’ Master Plan, written by Terry Nation, the creator of the Daleks, and broadcast as part of the third series of Doctor Who in November 1965.The episodes feature Peter Purves as the Doctor’s companion, Stephen. They were recovered by Film is Fabulous, a charitable trust dedicated to securing and preserving private film collections. The original 16mm telerecordings of the two Dalek episodes have been restored and made available on iPlayer in the UK.This discovery marks a significant milestone for fans, as it includes the first appearance of Nicholas Courtney in the show, playing Bret Vyon. Courtney later became a regular character, playing Alistair Gordon Lethbridge-Stewart, known as the Brigadier of Unit. 95 episodes of Doctor Who from the 1960s remain missing from the archives, having been wiped or junked by the BBC during the 1970s.

The Easter bunny has been a staple in many films, often depicted as cute and harmless, but sometimes also menacing and deadly. The Guardian has ranked Easter bunny movies, providing a list of 20 films that showcase the versatility of the Easter bunny character. The list includes Who Framed Roger Rabbit (1988) at number one, a film that combines live-action and animation, featuring a character with characteristics of many cartoon critters. Other notable mentions include Wallace & Gromit: The Curse of the Were-Rabbit (2005) at number three, a stop-motion animated film by Aardman, and Watership Down (1978) at number two, an animated adaptation of Richard Adams's novel. The list also features films like Monty Python and the Holy Grail (1975), which includes a scene with the holy hand grenade of Antioch, and Donnie Darko (2001), which features a sinister figure in a metal-faced bunny suit. Other films, such as No Surrender (1985), Fatal Attraction (1987), and The Favourite (2018), also make the list. The ranking showcases a wide range of Easter bunny depictions, from cute and harmless to menacing and deadly, demonstrating the versatility of the character in cinema.

TikTok announced the removal of a high‑profile Israeli far‑right influencer’s account after The Guardian identified videos in which he assaulted left‑wing activists in the occupied West Bank. The platform said the content breached its community guidelines on hate speech and bullying. The influencer, identified as Roi Star, posted footage in January showing himself entering a house used by activists in Ras Ein al‑Auja and using pepper spray on a protester who tried to stop him. In the same clip, he shouted, “This is Judea, not Palestine,” and later threatened to disclose personal details of the activists and their families. When contacted, Star claimed he was “talking about peace” and argued that the area was an open Israeli public space, insisting that his use of pepper spray was the “most minimal” defensive measure. He later described the incident as “acting” and said his intentions were not “extreme.” TikTok’s statement emphasized that its policies prohibit “violent and hateful individuals, including extremist praise or glorification,” and that the account was taken down for breaching these rules. The company also said it had removed additional videos linked to other Israeli far‑right agitators, though it did not disclose further details. The incident occurs against a backdrop of rising far‑right activity on social platforms since the Gaza war began in October 2023. Israeli forces and settlers have been responsible for the deaths of over 1,000 Palestinians in the West Bank, and recent weeks have seen an escalation of attacks on homes and activists. Human‑rights groups warn that the online amplification of such content fuels real‑world violence. Yuli Novak, executive director of B’Tselem, said dehumanising Palestinians has become “mainstream in Israel,” while digital‑media scholar Prof. Anat Ben‑David highlighted the “troubling convergence between platform dynamics and on‑the‑ground violence.” Activists on the ground report a profound psychological impact, with one resident of Masafer Yatta noting that the videos heighten fear among Palestinians living under daily settler attacks. The phenomenon mirrors the rhetoric of Israel’s far‑right politicians. In August 2025, National Security Minister Itamar Ben‑Gvir faced criticism for posting a video taunting Palestinian leader Marwan Barghouti, while Knesset member Zvi Sukkot was filmed denying settler violence in the West Bank, framing the settlement enterprise as a biblical right. Meta’s Instagram continues to host numerous accounts linked to similar agitators, though the company has not responded to requests for comment. Experts argue that while platform policies technically forbid hate‑speech, their vague language allows harmful content to spread unchecked, underscoring the need for stronger enforcement to curb the digital propagation of extremist narratives.