Triomics, a startup building an AI-powered platform to help oncologists and administrative staff automate data-heavy tasks like clinical trial matching and appointment prep, has raised $22 million in Series B funding.

The round was led by Battery Ventures, with participation from returning backers Nexus Venture Partners, Lightspeed, Y Combinator, and others.

The good news is that oncology breakthroughs are keeping patients alive longer.  That welcome trend, however, is creating dense, multi-year medical records that take healthcare staff a long time to review and decipher.

A typical medical chart includes physician progress notes, imaging and pathology reports, and even scans of faxes. “We have seen medical records [with] thousands of pages of information,” Triomics co-founder Sarim Khan (pictured left) told TechCrunch.

Founded in 2021, the startup raised a $15 million in Series A in mid-2024. Initially focused on helping doctors identify the most suitable clinical trials for their patients, Triomics expanded its platform as LLM capabilities grew. Over the last couple of years, Triomics added verifiable patient summaries to its platform, surfacing key information directly inside the tools clinicians already use, without requiring them to switch applications.

By reducing appointment prep time, these summaries give oncologists more time with their patients. The efficiency gain matters beyond individual appointments: in oncology, where patient histories are unusually complex and staff burnout is a persistent problem, tools that reduce administrative load have an outsized impact.

Triomics is also used to automate the tedious task of submitting tumor reports to government registries, a legal mandate for cancer centers.

While generic AI agents excel at basic summaries, prominent institutions like Memorial Sloan Kettering (MSK) and Yale Cancer Center use Triomics because its models are trained specifically on oncology data, Khan explained.

Triomics most direct competition comes from AI medical scribes like Abridge and Microsoft’s Nuance — tools that use AI to listen to and document patient-doctor conversations — when it comes to summarizing patient charts.

Despite the fierce competition, Triomics is growing fast. According to Khan, the startup expanded its enterprise customer base fourfold over the past year, driving a 10-fold increase in annualized recurring revenue.

Many gamers searching for one controller that handles multiple systems without compromise continue to land on the same option. The DualSense in Midnight Black, priced at $54 (was $75), delivers that balance through everyday use on PlayStation 5 consoles, Windows computers, Macs, and compatible phones. Triggers stand out through real changes in resistance.

In supported games, you push the left or right trigger to tighten or loosen it, and the action corresponds to what’s happening on screen. As you’re drawing a bowstring and the tension begins to develop, it takes a little more work to pull back. When you press down on a vehicle’s accelerator, you get a steady pushback as you drive, which feels quite similar to pushing on the gas. You end up with a basic press that appears to correspond to what the game is showing you.

Haptic feedback is comparable in that it produces vibrations with a high level of detail rather than a simple vibrating impression. When you walk on different surfaces, each one registers as a unique pattern. If there is bad weather in the game or you absorb an impact, the strength of the vibration adjusts to the scenario. Many PlayStation 5 games create moments that play off of these experiences. Thanks to platforms such as Steam, an increasing number of computer games are now doing the same thing.

Getting connected is simple; simply pair the controller with a PS5 or Windows / Mac computer via Bluetooth, and you’re done. If you prefer a direct connection, use a USB-C cable instead. The same controller will connect to a variety of Android or iOS phones as long as the game supports gamepads. If wireless isn’t your style, the companion software on your PC allows you to send out firmware updates for free, keeping everything up to date.

The voice tools are built right in, and the microphone can handle chat in supported titles without issue. A dedicated mute button is conveniently located near your thumb, allowing you to swiftly turn it off if necessary. The standard headphone connection allows you to just plug in a pair of headphones and be ready to go, eliminating the need for a separate headset in many circumstances.

Battery life is generally good, with a few hours of mixed use on a single charge, and recharging via USB-C is speedy, allowing you to easily top up between sessions. Results will vary depending on how frequently you use the controller and how long your sessions go, but most gamers should be able to complete their tasks without needing to recharge.

When Marathon’s second season kicks off on June 2, Bungie will give new players a chance to try the game for free for a full week. In blog post published today, the studio said the preview, which is slated to run through June 9, will be available on Steam, PlayStation 5 and Xbox Series X/S, with any progress players make carrying over to the full game if they decide to purchase it afterward. 

As previously announced, existing players will see their item vault and armory reset at the end of the current season, making this a great time to try the game since everyone will be on equal footing when it comes to weapons and upgrades. In Wednesday’s blog post, Bungie also shared new information about season two’s biggest additions: the new Sentinel class, nighttime Dire Marsh map and Cradle customization system. The reimagined zone will see Marathon lean into more of its cosmic horror inspirations. 

“This new zone introduces new mechanics, new combatants, and locations to explore on Dire Marsh,” Bungie explains. “It’s built to be slower-paced than Day Marsh and plays more like a survival horror experience, with slightly fewer players and extra environmental challenges with navigating the darkness and threats within.”

As for the Sentinel shell, Bungie describes it as defensive specialist, with a kit built around controlling space. Its prime ability, Defender System, allows it to deploy a point-defense drone that can briefly protect you and your crew against grenades and missiles. If I had to guess, the new shell will be popular at high levels of play where grenades of all types fly thick and fast. In a call back to the Halo series, one of the Sentinel’s other abilities allows it to activate a short-range, motion-tracking system. “Use this to gather a bit of extra intel on who or what’s moving around you, and set up your defenses accordingly,” Bungie suggests.     

Lastly, there’s the Cradle, which will allow players to convert extra weapons and other equipment into experience they can put towards stat upgrades and perks. Bungie says this system is designed to give players a way to progress their character separate from the game’s faction system, which can get tedious when you need to find (and exfil) specific high-level salvage to buy a single upgrade. The studio also notes players can tweak their Cradle builds at any time to encourage experimentation. 

Earlier this month, Bungie outlined its plan for Marathon’s future, saying it would make the game’s onboarding experience better for new players, and that new PvE modes would arrive during season two. Less than a week later, the studio announced it was ending development on Destiny 2. Then a day later Bloomberg’s Jason Schreier published a report claiming Sony was planning “significant” layoffs at the developer. It’s probably fair to say a successful preview week would do a lot to boost morale at Bungie.

Soundbars are popular because they’re easy to set up and provide a sonic upgrade over TV speakers, sometimes a huge upgrade. But as TVs have gotten larger – and wider – every year, soundbars have basically stayed the same size. This means the little bar may not be able to match the audio to the on-screen action in terms of its soundstage width and immersion.

Most soundbars measure in at anywhere from 2 feet wide for the compact ones to around 4.5 feet wide for the larger ones. Sony’s flagship BRAVIA Theater Bar 9 is around 52 inches wide and SONOS’ flagship ARC Ultra is around 46 inches wide. Even the average 65-inch TV is wider than both at 57 inches. And if you’re opting for a 100-inch TV, those are around 88 inches wide – that’s over seven feet wide. This means the edges of your TV may each be up to two feet or more beyond the soundbar’s outermost speakers. And this can lead to the sound seeming much smaller than the picture.

Sony just addressed this problem with their new BRAVIA Theater Trio. Also known by model number HT-A8, the Trio is a powered three-speaker system with dedicated left, center and right speakers that allows you to place your main speakers on either side of your TV or projection screen for a wider, more immersive soundstage even with the largest TV or projection screens.

You may say, “But wait! Doesn’t Sony already offer the BRAVIA Theater Quad for just this reason?” And the answer is “YES!” But the new Trio has something the Quad doesn’t have: a dedicated center channel speaker. And this heps to improve dialog intelligibility compared to the phantom center created by the Quad system. The Trio also supports up to two powered subwoofers, while the Quad currently only supports one.

Based on our listening tests in events in Japan and New York, we’d say the BRAVIA Theater Trio works well on its own to improve the dynamics and immersiveness of TV sound, thanks to its high quality front and up-firing drivers. But it can also be upgraded with rear speakers and one or two powered subwoofers for much more immersive surround sound with deep extended bass.

The BRAVIA Theater Trio is compatible with all of Sony’s current rear speakers and subwoofers including the Bravia Theater Rear 8 and Rear 9 surround speakers and the BRAVIA Theater Sub 7, Sub 8 and Sub 9 powered subwoofers. For best effect, we recommend adding the Rear 9 speakers as they include both front firing and top-firing drivers as well as an integrated swivel stand that allows you to point the front drivers toward your listening position.

Which subwoofer you pick will depend on room size and how much you love that low bass. The entry-level Sub 7 would be fine in a small apartment or listening space to fill in that bottom end without shaking the walls. But in a larger room, you may want to consider the larger Sub 8, with one 8” driver or the flagship Sub 9 which features two force-balanced 8-inch bass drivers in a larger cabinet for deeper bass extension. To even out the bass response in all parts of your room, and provide the most substantial bottom end, the BRAVIA Theater Trio supports the addition of a second subwoofer.

Like a soundbar, the Trio needs no separate amplifier or receiver as it’s got the power built in. Just connect one HDMI cable from the TV or projector’s HDMI ARC/eARC port to the center channel speaker and plug it into wall power and that center speaker unit communicates wirelessly with the rest of the speakers in the system. The front speakers, and any optional rear speakers and subwoofers do need their own power connections, however, as they need electricity for both the built-in amplifiers and wireless connectivity.

All Hype? Or Is There Some Merit Here?

We got to hear a demo of the full BRAVIA Theater Trio system at Sony’s headquarters in Tokyo earlier this year. It was matched with two of the company’s flagship BRAVIA Theater Sub 9 subwoofers and a pair of the BRAVIA Theater Rear 9s in the rear. The system provided excellent, dynamic sound overall, which was more than a match for the 115-inch BRAVIA 9 II True RGB TV it was paired with. Bass was deep and extended, thanks to the dual subs, and dialog was clear and crisp. Music and effects extended nearly the full width, height and depth of the room, giving the whole experience a dynamic cinematic feel.

The Trio isn’t replacing the Quad. It’s just providing another option for those who like the idea of variable width front left and right speakers and a dedicated center channel, without the wiring complexity of an A/V receiver and passive speakers.

Keep it in the Family (BRAVIA Family)

If you match the Trio up with a Sony TV, then you’ll be able to make all your audio adjustments right in the TV’s quick settings menu, and you’ll be able to take advantage of Sony’s AI-enhanced Voice Zoom 3 feature which elevates dialog without impacting the rest of the soundtrack.

The Sony BRAVIA Theater Trio system can decode Dolby Atmos and DTS:X immersive surround sound, in both lossless and lossy versions. However, unlike the BRAVIA Theater Bar 8 and Bar 9 as well as the QUAD system, the Theater Trio does not support 360 Reality Audio, an immersive format for music which competes with Dolby Atmos. To be fair, the catalog of music titles available in 360RA format is pretty limited, so this omission is not likely to be a deal breaker for most buyers.

The BRAVIA Theater Trio is certified IMAX Enhanced, which means it can decode the IMAX Enhanced DTS-X soundtracks on Blu-ray Disc, UHD Blu-ray and in streaming services including Disney+ and Sony Pictures Core, applying the necessary EQ to the soundtrack for maximum impact.

For wireless connectivity, the Theater Trio supports WiFi 6e network for high reliability as well as Bluetooth and Apple AirPlay 2.

New Improved Calibration Microphone

While previous Sony home theater products have used the microphone built into your phone for calibration, the BRAVIA Theater Trio comes with a dedicated high quality mic that plugs into your phone’s USB-C port for greater accuracy. This helps the system to better identify speaker positions and compensate for less-than-perfect speaker placement and room anomalies.

Speaking of speaker placement, the BRAVIA Theater Trio also has Sony’s 360 Spatial Sound Mapping (360 SSM) on board. This system compensates for imperfect speaker placement by creating phantom speaker channels all over the room in order to reproduce a more cohesive and expansive dome of sound.

What’s The Catch?

At $2,199, Sony’s BRAVIA Theater Trio is significantly more expensive than Sony’s flagship soundbar, the BRAVIA Theater 9 ($1,198 at Amazon). And if you opt for the fully loaded system, with a pair of BRAVIA Theater Sub 9 subwoofers ($899 each) and BRAVIA Theater Rear 9 speakers ($748/pair), the list price of the full TRIO system gets pretty close to $5,000 (MSRP). At that price point, you might consider putting together a full home theater system with receiver and external speakers. You’ll be able to get better bang for your buck this way, though the set-up and wiring will be more complicated.

The Bottom Line

Apparently Sony likes to give its customers options. While soundbar-based systems offer simple set-up, the soundstage can be a bit narrow, simply due to the size of the bar. By offering an option to widen that stereo separation and keep a dedicated center channel for dialog reproduction, Sony is now giving buyers of extra large TVs and projection-based systems another potential solution. And it’s one we haven’t seen other companies match.

The Sony BRAVIA Theater Trio offers the wireless simplicity of a soundbar system with a hint at the performance of home theater separates. Its option to add not only rear speakers with up-firing height drivers but also up to two powered subwoofers gives buyers a clear upgrade path toward an audio system that can keep up with the visuals on a plus-sized TV screen. If you already own or are planning to purchase an extra large TV or home theater projection system, and the price point is within your budget, then the Sony BRAVIA Theater Trio is definitely worth a look and a listen.

Pricing & Availability

The Sony BRAVIA Theater Trio is available June 1, 2026 for $2,199.99 at authorized Sony dealers, with pre-orders being accepted now.

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When a trailer popped up at last year’s Summer Game Fest for 007: First Light, fans breathed a sigh of relief when they saw that studio IO Interactive was behind it. Gamers thought that IOI’s beloved Hitman infiltration and assassination games would provide good groundwork for a game about the world’s most famous spy. And you know what? They were right — at least for the three hours of 007: First Light I got to play.

At an Art Deco-themed Los Angeles restaurant space, I tried out three chapters of the game, giving me a sense of what’s in store for prospective players curious about the first James Bond game to come out in 14 years. While the 1995 game GoldenEye was wildly popular, subsequent Bond games were far less successful in adapting the spy’s adventures to the medium. From the preview, 007: First Light looks like it could be a confident and inspired take on the James Bond franchise. We’ll know for sure when it launches on May 27.

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A lot of that comes from how heavily 007: First Light draws on the Hitman gameplay it’s built on, to the point that it feels like a spy narrative wrapped around the games IO Interactive has already made. That’s not inherently a bad thing, but there were several moments where I felt like Bond was just another disguise that Hitman protagonist Agent 47 wore. Much of 007: First Light’s individuality will depend on the strength of its overarching narrative — not just to distinguish it from the story-light Hitman games, but also to live up to the globetrotting, high-society and high-octane adventures of the James Bond films and books.

And as a wholly new version of Bond, complete with a unique origin story, 007: First Light has a lot to prove. I’m not surprised, then, that the first of the three chapters I played began at the start of the game, with Bond as a Navy airman. That was followed by a peek at his training as an MI6 agent and finally a slice of the game after plot intrigue (and tragedy) kicks him into high gear, infiltrating a fancy gala.

What I played probably wasn’t representative of the whole game, and there are plot twists and turns I’ve been forbidden to write about. But I can say that it seems like it’ll be a unique 007 adventure that doesn’t retread the territory of any of the films. It offers something they don’t: In this game, Bond has close friends, and their impact on him changes the story. Perhaps he’ll grow into the womanizing lone wolf agent fans know so well, but at least in the early parts of 007: First Light, he’s more social — and human — than we’ve come to expect of the superspy. 

How 007: First Light retells the James Bond story

As the game kicks off, we’re shown a young James Bond, portrayed by actor Patrick Gibson, as a Navy crewman on a routine mission who’s about to have a very bad day. En route to a training exercise near Iceland, his helicopter is shot down over open water. He barely manages to make it to shore. Bedraggled and cold, Bond — just a humble serviceman in a flight suit, for now — evades patrols of unknown gunmen and snags a radio to call for help. 

An MI6 agent responds, relaying instructions and pressganging the unarmed Bond into reconnaissance of what turns out to be one of the British intelligence agency’s secret research bases that’s been hijacked by a mystery mercenary outfit. Part tutorial and part introduction, the first mission shows the seeds of potential the young aircrewman has for skulduggery. He clocks key details to identify mercenaries, bluffs his way past gunmen and sneaks around to free imprisoned MI6 researchers, guiding them to safety during a hectic gunfight before finally blowing up the base.

Like any good Bond prologue, it’s followed by the story’s signature theme song, First Light, sung by Lana Del Rey.

The second segment I played was more freeform. After such a promising debut, Bond is inducted into MI6 agent training on the sun-dappled Mediterranean island of Malta, culminating in a mock infiltration obstacle course to test each prospective spy’s mettle. As Bond, I snuck in under the guise of instructors tracking my performance and fellow agent trainees cheering me on or taunting me with light banter as I made my way through. 

Here’s where I learned the basics of 007: First Light’s infiltration system, which is very much like Hitman’s. I crept through tall grass and shadows, performing stealthy takedowns of guards as I worked toward the exit. I also got my first taste of the game’s simple but essential gadget system, using a watch to disable cameras and other electronics, then recharging it by snagging batteries from the occasional phone or car battery I came across. (Later, you can pick up chemicals to disorient and drug targets from a distance.) When I accidentally alerted a guard, Bond’s trusty fists — along with a decently deep fighting system featuring parries, dodges and throws — helped handle enemies. Guns will do the trick, too.

The third section was where things went sideways — and Bond starts to become 007.

007: First Light gives Bond relationships he doesn’t run from — for once

Sometime after presumably graduating training, Bond heads into a mission that goes awry and his whole team is suspended. Recuperating, he returns to the apartment in Kensington, London, that he shares with fellow 00 agents he’s grown close to. Going room to room, Bond muses over the silly little things that crop up when you share a home and a life with close friends: restaurant menus and little notes that speak to human connections. It felt like the boldest departure 007: First Light makes. The young, orphaned Bond has his own little family.

And as he realizes after finding a fake suicide note in his room, he has enemies. Bond fights off several assassins and dashes across rooftops while trying to evade a sniper, using his gadget watch to distract them and buy time. He tracks the last one to a gala thrown by a tech mogul — which, naturally, he must infiltrate.

Hitman fans know what comes next, and the mission plays out much like it would in those games. Bond pickpockets a ticket, then must finagle a way upstairs to track the last assassin. How you do it is up to you: Do you pretend to be a photojournalist showing up for an interview? Bluff your way past security guards? Steal a security pass? This part of the preview — finding a way through glitzy gala attendees and fooling or fighting my way past layers of security — felt like the perfect blend of Hitman and James Bond.

Less so the subsequent boss fight with the final assassin, since Bond’s gadget vision outlines enemies through walls, draining tension as I snuck around to ambush my foe again and again until a climactic finish. I then ran through some tedious back rooms before emerging back into the gala to find Agent Roth, a beautiful and mysterious woman who had apparently appeared earlier in the game, setting her up as a classic Bond girl-style femme fatale. Before long, both she and Bond are locked up by the game’s antagonists (whom, again, I can’t reveal).

After narrowly escaping death and sneaking around for a while, Bond runs a climactic gauntlet through a video art gallery — a long hall where screens glow a moody red as dozens of armed and armored gunmen file in. Here we go: peak Bond moment. While the previous encounters felt like quizzes on how to use your full array of guns, grappling tools and gadgets, this was the final exam. I hacked an electronic art installation to make a smokescreen, tackled guards, stunned foes and shot them dead. Exiting under gunfire from yet more enemies, I stole a garbage truck and careened through the streets as the 007 theme played. Fin.

007: First Light is promising, though not perfect, with issues such as misaligned footstep and voice audio pointing me in the wrong direction as enemies snuck up on me — something crucial in a stealth game that I hope gets fixed before release. Hitman fans may be split on how much of their favorite gameplay is repackaged for Bond’s adventure — a great tonal match that could still feel too familiar. Those new to IO Interactive’s games will likely enjoy it.

But despite how polished the stealth gameplay was, a lot hinges on the plot IO Interactive is building out, one that marks a novel departure from other Bond narratives by telling the story before the spy became super, yet one that’ll be tricky to get right. We’ll know soon enough when 007: First Light comes out May 27.

Poppulo’s AI platform aims to help organisations deliver relevant and measurable employee communication.

Cork- and Colorado-based software company Poppulo has acquired French employee engagement platform Sociabble for an undisclosed value.

Poppulo’s AI platform aims to help organisations deliver relevant, measurable and governed employee communication.

The addition of Sociabble into its portfolio, the company said, would add an innovative social intranet, enhanced mobile and front-line support, and solutions for employee advocacy and recognition.

The combined platform will strengthen Poppulo’s AI capabilities by helping communicators improve targeting and optimise content performance, the company said.

“Organisations need clearer ways to connect communication to action,” said Ruth Fornell, the CEO of Poppulo.

“With Sociabble, we’re delivering a unified platform that works with the rest of their work tech, so leaders can reach every employee, understand what resonates and drive meaningful outcomes across the business.”

Founded as Newsweaver in 1996, Poppulo merged with US outfit Four Winds Interactive in 2021. Its clientele comprises more than 10,000 organisations, including more than 40 of the Fortune 100 companies.

The company said that internal communications and human resources departments are struggling to keep up with the pace of change, with the result that “AI is often layered onto disconnected processes without the insight or accountability needed to drive real impact”, and cited research suggests that only 20pc of employees are actively engaged.

The acquisition would help Poppulo improve communication and engagement across the complete digital employee experience and simplify work, insights and automation of internal communication workflows, it said.

“Together with Poppulo, we bring a unique value proposition to the employee experience market, with the ability to reach and engage more than 50m employees worldwide,” said Jean-Louis Bénard, the CEO of Sociabble.

“This scale gives us the strength to continue investing ambitiously in AI and innovation, two areas deeply rooted in the DNA of both companies.”

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SiliconRepublic.com spoke with experts from Yahoo Mail about standing out in a competitive field and the opportunities open to jobseekers.

“Yahoo Mail is in the midst of our most significant engineering transformation in over a decade,” said Nikhil Gandhi, the senior vice-president of engineering at Yahoo Mail. 

“We’re building a ground-up mobile redesign and a modernised desktop experience and embedding unique AI experiences across the product,” he said. “The team in Ireland plays a critical role in continuing to scale our work globally and the engineers we’re hiring have an opportunity to work on products with real reach and impact.”

Kiran Krishna Hegde, a senior manager and systems engineer at Yahoo Mail, explained that for now at the company, the focus is on the intelligence engineering hub in Ireland and moving from team build-out to delivery, making the right key hires and getting new team members onboarded and contributing.

To meet those needs, he said: “We are looking for engineers with strong fundamentals, sound judgement and real ownership. Coding and system design are the table stakes, but we are not just looking for people who can ship features. We want people who understand scale, reliability, trade-offs and the difference between getting something working and building it properly.”

He is of the opinion that the most suitable candidates for roles in this area are typically the ones with real production experience, who have seen how systems can fail and who have learned how to build more resilient systems as a result. 

“A back-end engineer should understand platform and data concerns,” he said. “A data engineer should think like a software engineer, not just a workflow builder. Above all, we want people who care about engineering craft, can work through complexity and are comfortable being accountable for outcomes.”

He noted that collaboration and a one-team mindset also wouldn’t go amiss, as the Ireland-based team works closely with a larger US-based team, as well as colleagues across the globe, making engineers “who are low-ego, generous with context and motivated as much by collective progress as they are by individual success” valuable to the organisation.

Standing out

Of the potential challenges or pitfalls Hegde finds too many candidates list responsibilities, rather than explaining the outcomes. Those looking to stand out in a positive way should identify the problems they have solved, what changed and why it mattered in the broader scheme of things. 

“Specific examples always carry more weight than broad claims,” he said. “We also pay attention to how candidates work with others. In a distributed environment, strong engineers do not just produce good individual work, they create clarity, collaborate across teams, share context early and help move the wider group forward. That combination of technical strength and a genuine one-team mindset stands out.”

Often, he explained, the biggest challenge for organisations when considering applicants is not the volume of candidates but rather the quality and whether or not their technical depth, practical experience and engineering judgement match the level required. 

Hegde said: “Titles also do not always translate cleanly. In a market like Dublin, role scope in non-tech-first companies can be quite different, so a senior title on paper does not always mean the person has operated at that level in practice. We see this particularly in data and machine learning engineering, where there is often strong exposure to tools or theory, but less experience building production-grade systems under real scale, latency and reliability constraints.

“AI has made this harder as well, across the industry. Applications are more polished, but it now takes more effort to separate presentation from substance. That said, getting hired right is never a solo effort, and strong partnership with our recruitment team has been a big part of helping us navigate the local market, calibrate roles properly and keep momentum.”

Take a chance

“For early-career engineers, strong fundamentals matter most,” agreed Karim Al Srag, a director of engineering at Yahoo Mail. “Data structures, algorithms, problem-solving and, depending on the role, systems, data or machine learning basics. A degree helps, but it is only one part of the picture.”

For Al Srag, what matters is evidence of a body of work showing your interest and skill, via side projects, internships, open-source contributions, research and other practical work. “So yes, there are alternatives to traditional education, but whatever route someone takes, they still need to show strong fundamentals and real hands-on ability.”

Once situated, he noted the best support an organisation like Yahoo Mail can offer to new hires is in helping them become productive early on, while also giving professionals the context needed to grow into the role properly.

“In the Yahoo Mail intelligence hub in Ireland, we use structured onboarding plans for back-end, data and machine learning engineers. These combine targeted reading with practical, evidence-based tasks, so people can get set up properly and start contributing quickly.”

For Hegde, as the Yahoo Mail intelligence hub in Ireland is still being built, he explained it is not an environment where people can disappear into narrow roles or hide behind processes. Instead, he said: “It is a nimble, high-accountability team, which means every hire matters and every meaningful contribution has visible impact.

“If someone wants a very comfortable role with narrow ownership, this is probably not the right fit. But if they want to work with strong engineers, solve meaningful problems and help shape both the systems and the team while it is still taking form, it is a rare opportunity.”

For anyone interested in applying, there are currently openings for two professionals, a principal, senior data engineer and a principal, senior back-end engineer. 

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