Software development is associated with the idea of not reinventing the wheel, which means developers often select components or software libraries with pre-built functionality, rather than write code to achieve the same result.
There are many benefits of this approach. For example, a software component that is widely deployed is likely to have undergone extensive testing and debugging. It is considered tried and trusted, mature technology, unlike brand-new code, which has not been thoroughly debugged and may inadvertently introduce unknown cyber security issues into the business.
The Lego analogy is often used to describe how these components can be put together to build enterprise applications. Developers can draw on functionality made available through application programming interfaces (APIs), which provide programmatic access to software libraries and components.
Increasingly, in the age of data-driven applications and greater use of artificial intelligence (AI), API access to data sources is another Lego brick that developers can use to create new software applications. And just as is the case with a set of old-school Lego bricks, constructing the application from the numerous software components available is left to the creativity of the software developer.
A Lego template for application development
To take the Lego analogy a bit further, there are instructions, templates and pathways developers can be encouraged to follow to build enterprise software that complies with corporate policies.
A developer self-service platform provides a way for organisations to offer their developers almost pre-authorised assets, artefacts and tools that they can use to develop code Roy Illsley, Omdia
Roy Illsley, chief analyst, IT operations, at Omdia, defines an internal developer platform (IDP) as a developer self-service portal to access the tools and environments that the IT strategy has defined the organisation should standardise on. “A developer self-service platform provides a way for organisations to offer their developers almost pre-authorised assets, artefacts and tools that they can use to develop code,” he says.
The basic idea is to provide a governance framework with a suite of compliant tools. Bola Rotibi, chief of enterprise research at CCS Insight, says: “A developer self-service platform is really about trying to get a governance path.”
Rotibi regards the platform as “a golden path”, which provides developers who are not as skilled as more experienced colleagues a way to fast-track their work within a governance structure that allows them a certain degree of flexibility and creativity.
As to why offering flexibility to developers is an important consideration falls under the umbrella of developer experience and productivity. SnapLogic effectively provides modern middleware. It is used in digital transformation projects to connect disparate systems, and is now being repositioned for the age of agentic AI.
SnapLogic’s chief technology officer, Jeremiah Stone, says quite a few of the companies it has spoken to that identify as leaders in business transformation regard a developer portal offering self-service as something that goes hand-in-hand with digital infrastructure and AI-powered initiatives.
SnapLogic’s platform offers API management and service management, which manages the lifecycle of services, version control and documentation through a developer portal called the Dev Hub.
Stone says the capabilities of this platform extend from software developers to business technologists, and now AI users, who, he says, may be looking for a Model Context Protocol (MCP) endpoint.
Such know-how captured in a self-service developer portal enables users – whether they are software developers, or business users using low-code or no-code tooling – to connect AI with existing enterprise IT systems.
Enter Backstage
One platform that seems to have captured the minds of the developer community when it comes to developer self-service is Backstage. Having begun life internally at audio streaming site Spotify, Backstage is now an open source project managed by the Cloud Native Computing Foundation (CNCF).
While many teams that implemented Backstage assumed that it would be an easy, free addition to their DevOps practices, that isn’t always the case. Backstage can be complex and requires engineering expertise to assemble, build and deploy Christopher Condo and Lauren Alexander, Forrester
Pia Nilsson, senior director of engineering at the streaming service, says: “At Spotify, we’ve learned that enabling developer self-service begins with standardisation. Traditional centralised processes create bottlenecks, but complete decentralisation can lead to chaos. The key is finding the middle ground – standardisation through design, where automation and clear workflows replace manual oversight.”
Used by two million developers, Backstage is an open source framework for building internal developer portals. Nilsson says Backstage provides a single, consistent entry point for all development activities – tools, services, documentation and data. She says this means “developers can move quickly while staying aligned with organisational standards”.
Nilsson points out that standardising the fleet of components that comprise an enterprise technology stack is sometimes regarded as a large migration effort, moving everyone onto a single version or consolidating products into one. However, she says: “While that’s a critical part of standardising the fleet, it’s even more important to figure out the intrinsic motivator for the organisation to keep it streamlined and learn to ‘self-heal’ tech fragmentation.”
According to Nilsson, this is why it is important to integrate all in-house-built tools, as well as all the developer tools the business has purchased, in the same IDP. Doing so, she notes, makes it very easy to spot duplication. “Engineers will only use what they enjoy using, and we usually enjoy using the stuff we built ourselves because it’s exactly what we need,” she says.
The fact that Backstage is a framework is something IT leaders need to consider. In a recent blog post, Forrester analysts Christopher Condo and Lauren Alexander warned that most IDPs are frameworks that require assembly: “While many teams that implemented Backstage assumed that it would be an easy, free addition to their DevOps practices, that isn’t always the case. Backstage can be complex and requires engineering expertise to assemble, build and deploy.”
However, Forrester also notes that commercial IDP options are now available that include an orchestration layer on top of Backstage. These offer another option that may be a better fit for some organisations.
AI in an IDP
As well as the assembly organisations will need to carry out if they do not buy a commercial IDP, AI is revolutionising software development, and its impact needs to be taken into account in any decisions made around developer self-service and IDP.
Spotify’s Nilsson believes it is important for IT leaders to figure out how to support AI tooling usage in the most impactful way for their company.
“Today, there is both a risk to not leveraging enough AI tools or having it very unevenly spread across the company, as well as the risk that some teams give in to the vibes and release low-quality code to production,” she says.
According to Nilsson, this is why the IT team responsible for the IDP needs to drive up the adoption of these tools and evaluate the impact over time. “At Spotify, we drive broad AI adoption through education and hack weeks, which we promote through our product Skill Exchange. We also help engineers use context-aware agentic tools,” she adds.
Looking ahead
In terms of AI tooling, an example of how developer self-service could evolve is the direction of travel SAP looks to be taking with its Joule AI copilot tool.
When structure, automation and visibility are built into the developer experience, you replace bottlenecks with flow and create an environment where teams can innovate quickly, confidently and responsibly Pia Nilsson, Spotify
CCS Insights’ Rotibi believes the trend to integrate AI into developer tools and platforms is an area of opportunity for developer self-service platforms. Among the interesting topics Rotibi saw at the recent SAP TechEd conference in Berlin was the use of AI in SAP Joule.
SAP announced new AI assistants in Joule, which it said are able to coordinate multiple agents across workflows, departments and applications. According to SAP, these assistants plan, initiate and complete complex tasks spanning finance, supply chain, HR and beyond.
“SAP Joule is an AI interface. It’s a bit more than just a chatbot. It is also a workbench,” says Rotibi. Given that Joule has access to the SAP product suite, she notes that, as well as providing access, Joule understands the products. “It knows all the features and functions SAP has worked on, and, behind the scenes, uses the best data model to get the data points the user wants,” she says.
Recognising that enterprise software developers will want to build their own applications and create their own integration between different pieces of software, she says SAP Joule effectively plays the role of a developer self-service portal for the SAP product suite.
Besides what comes next with AI-powered functionality, there are numerous benefits in offering developer self-service to improve the overall developer experience, but there needs to be structure and standards.
Nilsson says: “When structure, automation and visibility are built into the developer experience, you replace bottlenecks with flow and create an environment where teams can innovate quickly, confidently and responsibly.”
No matter how my style may change, I always consider Adidas the ultimate shoes for effortlessly cool people. With celebrity endorsements from pro athletes like David Beckham to music icons like Pharrell and Bad Bunny, Adidas has cemented itself firmly in the current zeitgeist. Although most known for classic sneaker styles like Sambas (beloved by skaters and boys I had crushes on in high school), Adidas also has always-stylish apparel, slides, running shoes, and more. WIRED has Adidas promo codes so you too can be cool—but on a budget.
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Tencia Benavidez, a Supernatural user who lives in New Mexico, started her VR workouts during the Covid pandemic. She has been a regular user in the five years since, calling the ability to workout in VR ideal, given that she lives in a rural area where it’s hard to get to a gym or workout outside during a brutal winter. She stuck with Supernatural because of the community and the eagerness of Supernatural’s coaches.
“They seem like really authentic individuals that were not talking down to you,” Benavidez says. “There’s just something really special about those coaches.”
Meta bought Supernatural in 2022, folding it into its then-heavily invested in metaverse efforts. The purchase was not a smooth process, as it triggered a lengthy legal battle in which the US Federal Trade Commission tried to block Meta from purchasing the service due to antitrust concerns about Meta “trying to buy its way to the top” of the VR market. Meta ultimately prevailed. At the time, some Supernatural users were cautiously optimistic, hoping that big bag of Zuckerbucks could keep its workout juggernaut afloat.
“Meta fought the government to buy this thing,” Benavidez says. “All that just for them to shut it down? What was the point?”
I reached out to Meta and Supernatural, and neither responded to my requests for comment.
Waking Up to Ash and Dust
On Tuesday, Bloomberg reported that Meta has laid off more than 1,000 people across its VR and metaverse efforts. The move comes after years of the company hemorrhaging billions of dollars on its metaverse products. In addition to laying off most of the staff at Supernatural, Meta has shut down three internal VR studios that made games like Resident Evil 4 and Deadpool VR.
“If it was a bottom line thing, I think they could have charged more money,” Goff Johnson says about Supernatural. “I think people would have paid for it. This just seems unnecessarily heartless.”
There is a split in the community about who will stay and continue to pay the subscription fee, and who will leave. Supernatural still has more than 3,000 lessons available in the service, so while new content won’t be added, some feel there is plenty of content left in the library. Other users worry about how Supernatural will continue to license music from big-name bands.
“Supernatural is amazing, but I am canceling it because of this,” Chip told me. “The library is large, so there’s enough to keep you busy, but not for the same price.”
There are other VR workout experiences like FitXR or even the VR staple Beat Saber, which Supernatural cribs a lot of design concepts from. Still, they don’t hit the same bar for many of the Supernatural faithful.
“I’m going to stick it out until they turn the lights out on us,” says Stefanie Wong, a Bay Area accountant who has used Supernatural since shortly after the pandemic and has organized and attended meetup events. “It’s not the app. It’s the community and it’s the coaches that we really, really care about.”
Welcome to the New Age
I tried out Supernatural’s Together feature on Wednesday, the day after the layoffs. It’s where I met Chip and Alisa. When we could stop to catch our breath, we talked about the changes coming to the service. They had played through previous sessions hosted by Jane Fonda or playlists with a mix of music that would change regularly. It seems the final collaboration in Supernatural’s multiplayer mode will be what we played now, an artist series featuring entirely Imagine Dragons songs.
In the session, as we punched blocks while being serenaded by this shirtless dude crooning, recorded narrations from Supernatural coach Dwana Olsen chimed in to hype us up.
“Take advantage of these moments,” Olsen said as we punched away. “Use these movements to remind you of how much awesome life you have yet to live.”
Frankly, it was downright invigorating. And bittersweet. We ended another round, sweaty, huffing and puffing. Chip, Alisa, and I high-fived like crazy and readied for another round.
“Beautiful,” Alisa said. “It’s just beautiful, isn’t it?”
The force has not reported the incidents to the Northern Ireland Policing Board, which oversees the PSNI, and has not mentioned any incidents with ControlWorks in its annual reports.
While there is no legal duty to report failures with ControlWorks to the Northern Ireland Policing Board, the Policing Board has told Computer Weekly it would expect any serious incidents with ControlWorks to be reported to it.
The PSNI uses ControlWorks as part of its command and control system, for managing, logging and categorising calls received by the emergency services from the public and for dispatching police officers to incidents.
Computer Weekly has learned that the PNSI’s ControlWorks system had technical issues after it first went live in May 2019.
These included slow-downs of the system that required computer systems to be restarted or software to be patched.
On some occasions, police were forced to return to using paper forms to record incidents reported by the public after ControlWorks became unavailable. Information on the forms had to be typed back into the system when the service resumed.
ControlWorks aimed to improve response times
The PSNI announced it was using Capita Communications and Control Solutions’ ControlWorks software in 2018, replacing its 20-year-old Capita Atlas Command and Control System, which had reached the end of its life.
From February 2018, ControlWorks was installed across the PSNI’s three regional contact management centres, before going live in May 2019, but is understood to have had a series of issues during its first few months of operation.
Critical incidents, which affect force-wide availability of ControlWorks, are categorised as P1 or P2. Less serious incidents that do not require urgent remediation are categorised as P3 and P4, Computer Weekly has previously reported.
Computer Weekly understands that the PSNI runs a 24-hour help desk to deal with IT issues, and that it has the ability to escalate incidents with ControlWorks to its IT supplier.
Missing persons search
Computer Weekly understands that a “major issue” with ControlWorks may have delayed information being passed to police officers searching for missing teenager Noah Donohoe, who disappeared from his home in Belfast on 21 June 2020.
Donohoe’s disappearance sparked a massive search operation, as police reviewed hours of CCTV, and hundreds of volunteers joined the search for the vulnerable 14-year-old.
Computer Weekly has learned that on the evening of 23 June 2020, police recorded a “major issue” with ControlWorks that could have led to delays in information being passed to investigators.
This potentially critical information was delayed in being brought to the attention of police officers investigating Donohoe’s disappearance because of a problem with ControlWorks, Computer Weekly has been told.
It is unclear exactly how long the information was delayed by and what its impact on the search for the missing teenager was. But it is understood that detectives on the case reported and noted the delay during the investigation.
The issue with ControlWorks was understood to have been reported during the live investigation at a critical time when Donohoe was missing – two days after he had gone missing, and four days before he was found dead in a Belfast storm drain.
Manchester had serious IT issues
Greater Manchester Police experienced problems when it went live with its Integrated Operational Policing System (iOPS), which included ControlWorks, in July 2019. iOps attempted to integrate Capita’s ControlWorks software with Capita’s PoliceWorks record management software used by police officers for managing day-to-day investigations and intelligence records.
An independent review found serious issues with the project. At one point, police were forced to revert to pen and paper for 72 hours while records were migrated to the new system.
“This consumed considerable time and capacity, causing a duplication of work,” the report found. “In addition, some legacy demand, which included ongoing investigations, did not successfully transfer from the old systems, so could no longer be worked on.”
Greater Manchester Police subsequently announced plans to replace PoliceWorks after concluding it could not be adapted or fixed, but it has continued to use ControlWorks.
The PSNI uses a different record management system to Manchester’s troubled PoliceWorks system. The PSNI signed a £9m contract with the Canadian company NicheRMS to deploy its Records Management System, which records information about people, locations, vehicles, incidents and evidence, in 2006.
NicheRMS keeps duplicate records of reports from the public that are recorded on ControlWorks when they are escalated as an “incident”. This means that should data be lost because of problems with ControlWorks, the PSNI would still have access to duplicate records reported by the public on NicheRMS if they have been escalated as an “incident”.
Policing Board seeks clarification from PSNI
The Northern Ireland Policing Board has confirmed that if a major system disruption or significant information or data loss occurred, the board would expect to be informed.
A spokesperson told Computer Weekly that the board’s Resources Committee, which has oversight responsibility for matters including the PSNI’s technology systems, has asked the PSNI for clarification about the issues raised by Computer Weekly.
A coroner’s inquest into the circumstances of Noah Donohoe’s death is due to begin on 19 January.
The PSNI said it would “not comment on investigative matters while legal proceedings are ongoing”.
“With regards to questions relating to ControlWorks, police can confirm that, to date, there has been no instance of major disruption which has led to data loss,” a spokesperson said.
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