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Liz Truss is long gone – but her fiscal meltdown still dictates every step Labour makes | Max Mosley

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On 6 September 2022, Liz Truss entered No 10 with a clear vision for the country; the country asked her to leave less than 50 days later. But nearly three years on, even though all that remains of her premiership at Downing Street is a portrait she didn’t stick around long enough to see hung, it is she who really runs Britain.

Not through her influence – which has since been reduced to poorly attended speeches at far-right conferences in the US – but through the fear she left behind. Truss may be gone, but what remains is the shadow her failure cast, and the rigid fiscal caution that grew out of it.

Last week’s benefits bill fiasco is a case in point. While all the talk from this government was about getting disabled people into work, they presented no real evidence that siphoning money away from this group will achieve this. The benefit cuts were driven by a rush to find government savings after GDP growth forecasts were lower than expected, threatening the chancellor’s ability to meet her own fiscal rules. If this strikes you as an odd way to make major policy decisions, then you’re not alone.

We’ve ended up in a world where a one percentage point difference in a GDP forecast cascades down into a series of reforms that would have pushed hundreds of thousands into poverty. Why? Because the possibility of not meeting the fiscal rules was apparently spooking the markets.

The chancellor has been consistent with these fiscal rules. She told the Global Borrowers and Bond Investment Forum (ie bond investors, the same people who turned on Liz Truss) that they were essential for underpinning financial stability.

But fiscal rules have become a religion. In this self-imposed straitjacket, governments believe they can only spend if the economy is growing and borrow if the bond markets nod approvingly. These rules weren’t created by Truss, but their new totemic status in British politics was forged in the fire she left behind.

The result? We’ve boxed ourselves into a corner. Our public sector needs money. Growth is flat and threatened by global instability. Interest rates are high. But under these arbitrary rules, we’re left with just two levers: raise taxes or cut spending.

MPs and the public have shown that they are unwilling to tolerate further cuts, seemingly more alive than the government to the fact that they will create further costs in the long run. Who can blame them? The public isn’t irrational. They have seen the state decay after 14 years of cuts; they don’t believe it will be able to stand another round. They have also lived through years of stagnant wages and will be wary of tax rises on the back of already squeezed household budgets.

Plans to means-test the winter fuel payment led to this government being accused of attacking elderly people. Last week, £5bn of rushed and flawed benefit cuts were rightly destroyed through a rebellion from the government’s own MPs.

And while there is a growing consensus about the need to tax wealth fairly, this government so far appears unwilling to make these trade-offs. The closest we have come to anything resembling a bold wealth tax is a fairly meagre change to capital gains tax rates.

And so here we are, being informed that there is a “black hole” in the public finances that must be filled at all costs, yet with no politically acceptable route to make this happen. But there is a third lever that they should consider: rethink the fiscal rules themselves, and with them, our assumptions about debt and growth. Instead, Westminster treats these constraints as sacred.

That’s the legacy of Truss. Her mini-budget may have collapsed in days, but the fear it left behind governs us still. The bond market is now our unofficial second chamber. Every policy is measured against its hypothetical response. It doesn’t matter that the markets themselves aren’t demanding cuts, only that politicians think they might.

We are approaching a fundamental choice: do we continue trying to appease the markets by clinging to a set of self-imposed constraints that block the kind of spending needed to improve living standards and revive growth? Or do we remove those constraints and make the decisions necessary to fix our economy? I know which I’d prefer, not least because public investment can boost growth, raise tax revenues and ease pressure on the national debt over time. The alternative of more austerity risks doing the opposite: choking off growth, weakening the economy and actually making our debt burden harder to manage as a result.

The fear is that markets will punish us for daring to spend. But that fear has become self-defeating. In reality, the financial returns from well-targeted public spending – on infrastructure, childcare, health, skills – are often far higher than our anaemic assumptions allow. The economic returns are bigger, the benefits broader and the risks lower than we have conditioned ourselves to believe. A politics that always talks down the impact of spending ends up justifying stagnation.

That fear is how you end up with a government paralysed by its own Truss trauma, an exhausted politics where every problem is diagnosed but none are treated, because every solution breaks a taboo. And the longer we stay in this holding pattern, the more brittle the state becomes – and the more we’re left asking why nothing ever seems to change.

Until someone finds the courage to govern without flinching, we will remain stuck in this loop, where fear dictates policy, and decline is dressed up as stability. Until then, this is Liz Truss’s UK – we’re all just living in it.



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Company Turns To AI For Cost Cutting, Ends Up Paying US Woman Rs 1.7 Lakh To Fix Errors

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“Maybe I’m being naive, but I think if you are very good, you won’t have trouble,” she expressed her views about concerns around AI. According to Skidd, AI can be an excellent tool when used correctly. Like her, there are many writers who are earning by fixing AI-generated content.

A digital marketing agency co-owner, Sophie Warner, shared a similar experience, noting how her clients were using ChatGPT for their issues first.

“Earlier, clients would message us if they were having issues with their site or wanted to introduce new functionality,” Warner said. “Now they are going to ChatGPT first.”

She said clients using ChatGPT for website code had reported issues. These include sites crashing down or leaving them vulnerable to hackers. She revealed that such a move cost one of her clients £360 (Rs 42,000) and three days of service disruption, the BBC report added.  

Similar instances have occurred in the past where businesses trying to cut costs with AI have ended up paying more. In June, a Swedish fintech company, Klarna, made headlines for a similar incident. The company announced that it was organising a large-scale recruitment drive to hire staff again, two years after firing more than 700 employees to replace them with AI. 



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AI video becomes more convincing, rattling creative industry

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[NEW YORK] Gone are the days of six-fingered hands or distorted faces – artificial intelligence (AI)-generated video is becoming increasingly convincing, attracting Hollywood, artists, and advertisers, while shaking the foundations of the creative industry.

To measure the progress of AI video, you need only look at Will Smith eating spaghetti.

Since 2023, this unlikely sequence – entirely fabricated – has become a technological benchmark for the industry.

Two years ago, the actor appeared blurry, his eyes too far apart, his forehead exaggeratedly protruding, his movements jerky, and the spaghetti did not even reach his mouth.

The version published a few weeks ago by a user of Google’s Veo 3 platform showed no apparent flaws whatsoever.

“Every week, sometimes every day, a different one comes out that’s even more stunning than the next,” said Elizabeth Strickler, a professor at Georgia State University.

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Between Luma Labs’ Dream Machine, launched in June 2024, OpenAI’s Sora in December, Runway AI’s Gen-4 in March 2025, and Veo 3 in May, the sector has crossed several milestones in just a few months.

Runway has signed deals with Lionsgate studio and AMC Networks television group.

Lionsgate vice-president Michael Burns told New York Magazine about the possibility of using AI to generate animated, family-friendly versions from films such as the John Wick or Hunger Games franchises, rather than creating entirely new projects.

“Some use it for storyboarding or previsualization” – steps that come before filming – “others for visual effects or inserts”, said Jamie Umpherson, Runway’s creative director.

Burns gave the example of a script for which Lionsgate has to decide whether to shoot a scene or not.

To help make that decision, they can now create a 10-second clip “with 10,000 soldiers in a snowstorm”.

That kind of pre-visualisation would have cost millions before.

In October, the first AI feature film was released, Where the Robots Grow, an animated film without anything resembling live action footage.

For Alejandro Matamala Ortiz, Runway’s co-founder, an AI-generated feature film is not the end goal, but a way of demonstrating to a production team that “this is possible”.

Resistance everywhere

Still, some see an opportunity.

In March, startup Staircase Studio made waves by announcing plans to produce seven to eight films per year using AI for less than US$500,000 each, while ensuring it would rely on unionised professionals wherever possible.

“The market is there,” said Andrew White, co-founder of small production house Indie Studios.

People “don’t want to talk about how it’s made”, White pointed out. “That’s inside baseball. People want to enjoy the movie because of the movie.”

But White himself refuses to adopt the technology, considering that using AI would compromise his creative process.

Jamie Umpherson argues that AI allows creators to stick closer to their artistic vision than ever before, since it enables unlimited revisions, unlike the traditional system constrained by costs.

“I see resistance everywhere” to this movement, observed Georgia State’s Strickler.

This is particularly true among her students, who are concerned about AI’s massive energy and water consumption as well as the use of original works to train models, not to mention the social impact.

But refusing to accept the shift is “kind of like having a business without having the internet”, she said. “You can try for a little while.”

In 2023, the American actors’ union SAG-AFTRA secured concessions on the use of their image through AI.

Strickler sees AI diminishing Hollywood’s role as the arbiter of creation and taste, instead allowing more artists and creators to reach a significant audience.

Runway’s founders, who are as much trained artists as they are computer scientists, have gained an edge over their AI video rivals in film, television, and advertising.

But they are already looking further ahead, considering expansion into augmented reality and virtual reality, for example, creating a metaverse where films could be shot.

“The most exciting applications aren’t necessarily the ones that we have in mind,” said Umpherson. “The ultimate goal is to see what artists do with technology.” AFP



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Samsung warns of big profit miss from US restrictions on advanced AI chip exports

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Semiconductor and smartphone giant Samsung Electronic Co. Ltd. said on Tuesday morning in South Korea that it’s anticipating its second-quarter profit to plunge 56% from a year earlier, blaming it on sluggish sales in its chip business and the impacts of U.S. trade restrictions.

The forecast comes in much lower than what analysts had expected. Samsung said in a preliminary earnings statement that it’s expecting a second-quarter operating profit of 4.59 trillion won ($3.4 billion), down sharply from the 10.44 trillion won profit it posted in the year-ago period. Analysts had been targeting a profit of 6.2 trillion won, Reuters reported.

On a sequential basis, Samsung’s profit is expected to drop by around 31%, from 6.69 trillion won. Revenue for the period is expected to come to 74 trillion won, more or less flat from a year earlier.

In a separate press release issued to South Korean media, Samsung blamed the unexpected decline in profit on inventory replacements and the negative impact of the United States’ expanded sanctions on the export of advanced artificial intelligence processors to China.

“The memory business saw a decline in performance due to one-off costs, such as provisions for inventory asset valuation,” the company said. “However, improved HBM products are currently being evaluated and shipped to customers.”

Samsung was referring to its High-Bandwidth Memory chips, which are a critical component of AI processors. The company has struggled to match the progress of its rival memory chipmaker SK Hynix Inc., which currently provides the vast majority of HBM chips to Nvidia Corp. for use in that company’s graphics processing units.

However, Samsung said it expects to see a sharp increase in HBM chip sales to Nvidia in the upcoming quarter, despite recent reports that its products have not yet passed the AI chip leader’s quality tests. It also said its non-memory chipmaking foundry is expected to reduce its losses in the third quarter due to improved utilization rates and a recovery in global chip demand.

Analysts said Samsung’s profits were also hit by a decline in NAND flash prices and a stronger Korean won, and its stock was down 1% in early morning trading in Korea.

Holger Mueller of Constellation Research Inc. told SiliconANGLE it’s notable that Samsung is still growing its chip business, despite not being able to grow its profit. “The most critical challenge is for Samsung to be able to deliver its HBM chips, and if it can do this it will likely show stellar results like its competitors, given the insane hunger for AI chips,” the analyst said.

According to Mueller, investors will be happy to hear that Samsung believes it will soon be able to deliver a significant number of HBM chips to Nvidia, which is the most important customer. If it does do this, it could well see growth of the kind that it hasn’t enjoyed in years.

“But another challenge for Samsung is its smartphone business, which is also struggling right now,” Mueller added. “The flywheel will only come back and deliver as it used to once both of these businesses have strong offerings. Samsung will also need to demonstrate strong execution in production and on the go-to-market side.”

Samsung has not yet disclosed detailed earnings regarding the performance of its individual business units, but analysts estimate that its semiconductor business will deliver an operating profit of around 1 trillion won, based on the company’s preliminary forecast.

The company is also unlikely to see much benefit from the launch of its new flagship smartphone, the AI-powered Galaxy S25, in January. Meanwhile, its television and home appliance businesses are also expected to see a drop in profitability, due partly to the impact of U.S. tariffs on imports.

Although the report was disappointing for investors, Hyundai Motor Securities Co. analyst Roh Geun-chang said the company’s profit is likely to rebound in the third quarter, driven by an expected increase in memory chip prices. “Samsung’s operating profit appears to have bottomed out in the second quarter and is expected to show gradual improvement,” the analyst told Yonhap.

Image: SiliconANGLE/Dreamina

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