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Trump presents Elon Musk with National Medal of Science, calls him “modern-day Thomas Edison”
Trump gave Elon Musk the National Medal of Science and compared him to Thomas Edison.
Eagles Get Discouraging Saquon Barkley Update Despite ‘Not Major’ Injury
Philadelphia Eagles running back Saquon Barkley is dealing with a hamstring injury he suffered in Sunday’s 24-20 loss to the Los Angeles Rams. ESPN lists his status as questionable ahead of Week 5. Head coach Nick Sirianni gave no update on Monday and said more answers would come Wednesday. Despite the lack of official details, […] The post Eagles Get Discouraging Saquon Barkley Update Despite ‘Not Major’ Injury appeared first on Gridiron Heroics.
Walker Kessler Embracing Lofty Laker Expectations
Walker Kessler understands. He knows what the standard is as a Los Angeles Laker. He knows what the team gave up—then committed on the books—to pair him with Luka Dončić. “It’s just depending on how you look at it,” Walker said after Tuesday’s practice. “You can look at it from two perspectives and I think […] The post Walker Kessler Embracing Lofty Laker Expectations appeared first on LA Sports Report.
Q&A: Special Forces vet talks politics and family
Courtesy | Nick Freitas Nick Freitas is an author, political commentator, and social media influencer with more than 2 million Instagram followers. He served in the Virginia House of Delegates as a Republican from 2016–2026 and, before then, was a sergeant and Green Beret in the U.S. Army Special Forces. Freitas gave a lecture on...
Buccaneers' Extensions For Baker Mayfield, Vita Vea Were a Mistake
The huge contract extensions the Bucs gave Baker Mayfield and Vita Vea have not paid off so far. Were they mistakes?
Horror, electronic music and Russian politics: Brittany Roberts connects them all
Brittany Roberts, an assistant professor with the App State English department, gave a talk on how Russian electronic music duo IC3PEAK uses horror imagery to critique its government. The talk was part of the Music Humanities Community Conversation Series, a series of presentations and workshops coordinated by Jacob Kopcienski, an assistant professor of musicology with...
'There's No One Person That Has This Whole Thing in Their Head' — GTA 6 Devs Had Freedom to Add Cool Features Just Like RDR2's Horse Balls
Rockstar Games gave the GTA 6 developers so much freedom to add cool details that not even the studio's top executives are aware of everything in the game.
Blake Butera’s Year One Gave the Nationals Reason for Optimism
Blake Butera's first season as a manager in the big leagues was not perfect, but did provide a positive outlook for the Washington Nationals going forward.
Razorback Report Card: Victory over Vanderbilt
The Razorbacks ended their SEC losing streak in Nashville. Their postgame report card reveals why this breakthrough was more than a favorable final score. Arkansas finally turned the assignment in with a win attached. Razorback Report Card: Victory over Vanderbilt The Razorbacks beat Vanderbilt 31-21, snapped their 14-game SEC losing streak, and gave Ryan Silverfield …
On Leadership: Before AI goes wrong: What leaders should be asking
This is the fourth in a series on AI and leadership. Recently, I was using an AI chatbot on a travel site to help with some planning. It gave me an answer that sounded specific, polished and completely plausible. There was only one problem: It was wrong. I caught the mistake because something about the…
Chicago Bulls Flash Promise Before Momentum Shifts Vs. Nuggets
A hot-shooting first half and a breakout bench performance gave Chicago a spark Sunday, but a pivotal third-quarter swing changed the story against Denver.
Evan Williams praises Jonathan Gannon after Packers’ dramatic win
The Green Bay Packers leaned on their defense to preserve a 17-14 victory over the Tampa Bay Buccaneers on Sunday, with Evan Williams delivering a pair of crucial plays during the closing moments. The safety’s performance on Tampa Bay’s last drive also gave him another reason to admire the work of defensive coordinator Jonathan Gannon. [...]
Green’s funding lags in CD9 race, even with $1.8M loan to himself
President Donald Trump’s fundraising committee gave nearly a third of a million dollars to the Republican candidate ahead of the 2026 midterms.
Two years after the storm, Hurricane Helene shapes NC survivors' politics and beliefs
A concert in Yancey County gave Hurricane Helene survivors an opportunity to share their experiences with the storm.
Ethan Hawke names surprising thriller co-starring ex Uma Thurman as his breakout: ‘Changed my life’
If you ask Ethan Hawke, it wasn’t ‘Dead Poets Society’ or ‘Reality Bites’ that gave him his big break — it was this under-seen, experimental thriller from a master of indie cinema that made him a star.
Studying Science in an Anti-Scientific Time
This Chronicle Review Deep Cut was first published in 2025. By Julianne Werlin Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe The last two decades have not been kind to science studies. Already bruised and battered by the “science wars” of the 1990s, by the 2000s sociologists of science — who had long argued that science had to be understood in its human context — were encountering the funhouse-mirror version of their own views in right-wing critiques of climate scientists. It was enough to give some prominent scholars pause. “Was I wrong to participate in the invention of this field known as science studies?” asked Bruno Latour, the most famous sociologist of science in the world, in 2003. “Should we apologize for having been wrong all along? Or should we rather bring the sword of criticism to criticism itself and do a bit of soul-searching here: What were we really after when we were so intent on showing the social construction of scientific facts?” In response, Latour proposed a change of method and attitude. Science studies, now chastened and contrite, would no longer seek to strip facts of their authority, but to enrich and enhance them. What this meant in practice was never fully clear. But his diagnosis of problems resonated, even if his solutions did not. Latour’s exercise in public hand-wringing signaled a shift in mood. By 2016, with the first election of Donald Trump, the idea that skepticism of science was a right-wing position, not a left-wing one, had become a commonplace, discussed eagerly in The New York Times. For liberals, vaccine denial during the Covid era and Trump’s second-term attacks on the funding of scientific research, covered extensively in these pages, added a new urgency to the defense of science on both practical and principled grounds. There was little appetite for a sociology or philosophy of science that emphasized the messiness and missteps of the scientific process rather than its integrity and triumphs. The distinguished historian of science Peter Dear’s new book, The World as We Know It: From Natural Philosophy to Modern Science (Princeton University Press, 2025), which seeks to tell the story of 18th- and 19th-century science for a general public, may seem comfortably remote from these bitter contests. In its 16 short chapters, Dear draws swift, sure sketches of major discoveries from Newton to Einstein, ably guiding the reader through debates on stellar nebulae, animal taxonomy, atomic chemistry, evolution, and other flashpoints in the history of science. But though a work of history, Dear’s book must still negotiate our polarized present. In a blurb on its back cover, the historian of biology Lynn K. Nyhart alludes to the “present moment, when scientific knowledge is being swamped by misinformation and its institutions are under siege.” Dear himself, in his conclusion, refers to the “yard signs” and “bumper stickers” that proclaim “Science Is Real.” One antidote to both anti-science propaganda and to reductive slogans in science’s defense is a robust history and philosophy of science: exactly what Dear’s scholarship has long offered. But his new book illustrates how difficult such work has become. Dear, an emeritus professor of history at Cornell University, is best known as a creative and philosophically minded historian of the Scientific Revolution. His edited volume The Literary Structure of Scientific Argument (1991) analyzed the rhetoric of Galileo’s thought experiments to brilliant effect. Discipline and Experience: The Mathematical Way in the Scientific Revolution (1995) was a major contribution to the analysis of scientific experiments in early modern Europe and beyond, while Revolutionizing the Sciences: European Knowledge in Transition, 1500-1700 (2001), now in its third edition, remains one of the best overviews of the profound epistemological upheavals of 16th- and 17th-century science. But Dear has also ventured into later periods. Nearly two decades ago, in The Intelligibility of Nature: How Science Makes Sense of the World (2006), he turned to the 18th and 19th centuries to sketch a history and theory of scientific knowledge. Aimed at a generalist audience, Dear’s simple prose belied serious philosophical ambitions. Science, Dear argued, has two aspects: “natural philosophy,” the quest to understand the true nature of the universe, and “instrumentality,” the applied skills and technologies that allow us to manipulate the world for human advantage. Both strands are ancient, but the innovation of the phenomenon we call “science” was to yoke them together. As Francis Bacon wrote, “Human knowledge and human power meet in one; for where the cause is not known, the effect cannot be produced,” an insight typically abridged to “knowledge is power.” Or, in Bertrand Russell’s characteristically blunt phrase, science has two functions, “1. to enable us to know things, and 2., to enable us to do things.” So far, so conventional. But Dear took issue with this familiar story in one respect. Bacon’s formula implied that theory and practice could be fused in a single method. In fact, Dear argued, the quest to understand nature and the desire to manipulate it were coupled only loosely. They could come together, but they could also pull apart. Focusing on natural philosophy, the “knowing” half of the scientific circle, he used a series of case studies from cosmology, taxonomy, chemistry, electromagnetism, and quantum theory to show how theories changed over time, in dialogue with practice, but never reducible to it. Take the case of matter, the basic substrate of the physical world. In the 18th and 19th centuries, scientists not only disagreed about what it was, but also about how well it could be known. In 1789, the chemist Antoine Lavoisier dismissed speculation about the atomic composition of chemicals as “discussions entirely of a metaphysical nature,” as he sought to orient chemistry away from philosophical abstraction and toward laboratory results. But in the 19th century, atoms returned with a vengeance in the atomic chemistry of John Dalton, who wanted to explain the underlying structure of nature. It was not just that Dalton and Lavoisier had a different set of experimental results, or even a different theory, Dear showed. What counted as an explanation had changed. In arguing that scientific theories depended on their intelligibility to human beings with complex arrays of beliefs and commitments, Dear was in sympathy with science studies. Key figures such as the sociologist Steven Shapin emphasized the importance of psychological mechanisms like trust in the formation and acceptance of scientific ideas. But in focusing on the scientific pursuit of knowledge, not its politics or economics, Dear resisted the more cynical perspective of some of his colleagues. The Intelligibility of Nature strikes a very different note than Shapin’s collection of a few years later, Never Pure: Historical Studies of Science as If It Was Produced by People With Bodies, Situated in Time, Space, Culture, and Society, and Struggling for Credibility and Authority (2010), to name just one example. Walking a very fine line, Dear depicted science as driven at once by complex social dynamics and by the intellectual power of real discoveries. It was a testament not only to his own acumen but also to the vitality of the field that he was able to do so. Nearly two decades later, The World as We Know It returns to the questions broached in The Intelligibility of Nature. Like Dear’s earlier study, it begins with the Newtonian cosmos and ends with debates between Einstein and Bohr on quantum physics. Beyond its terminal figures, many of the same characters appear in both studies, including the naturalists John Ray and the Comte de Buffon; the chemists Étienne François Geoffroy, Antoine Lavoisier, and John Dalton; as well as Charles Darwin and Michael Faraday, among others. Its subject is nearly identical: As in The Intelligibility of Nature, The World as We Know It considers natural philosophy as opposed to instrumentality, here defined as the “desire to create a picture of what the world is really like — the world as God knows it — rather than simply having instrumental or operational control over it.” The two books also overlap in insights — and sometimes even in language. The reader who has learned in The Intelligibility of Nature that Buffon’s method of classifying animals “reflected his belief in the importance of the senses and empiricism in learning about nature (a doctrine associated with Newton and the philosopher John Locke)” will experience a sense of déjà vu on reading, in The World as We Know It, that the classification “reflects Buffon’s commitment to the epistemological stance of Newton and his philosophical underlaborer John Locke, who stressed the role of the senses in creating natural knowledge.” Later in the passage, we read that, “because of its stress on understanding the ways of life of animals in their environments, Buffon’s approach could almost be labeled (anachronistically) as ‘ecological.’” And again, “an anachronistic way of putting it would be to say that Buffon recommends an ecological mode of understanding.” Likewise, in The Intelligibility of Nature we read of Dalton that he was initially drawn to meteorology, and that: He did a bit of experimental work on these things, especially having to do with the water-holding capacity of gases, but his real interest lay in understanding what, at an underlying natural-philosophical level, was really going on physically.” Whereas, in The World as We Know It: He did experimental work on these things, especially concerning the water-holding capacity of gases — although not at a very refined level quantitatively — but he was continually trying to develop a theoretical conception of what was happening physically. The final full chapter of each book closes on the same resigned note. Intelligibility: These days, most serious work on the natural philosophical underpinnings and implications of quantum mechanics is performed not by physicists but by philosophers of science. Among scientific practitioners themselves, Bohr’s attempt to use instrumentality as sufficient grounds for a respectable science has met with a high degree of success. And again, in The World as We Know It: Bohr’s and Einstein’s concerns are now questions that are mostly discussed by philosophers of science rather than by physicists themselves. The marginalization of these sorts of questions amounts to the demise of natural philosophy, at least in physics, in the 20th century. Quantum mechanics “works,” and that’s good enough for most scientists who encounter it. Examples could be multiplied. When handling the same subject matter, some echoes are inevitable. Scholars should not feel that because they have written “Isaac Newton died in 1727” in one book, in the next they must describe him as perishing, expiring, or meeting his maker. But the repetitions of language and arguments (not to mention six reproduced images) threaded throughout The World as We Know It are more extensive than that. They should have been caught by Princeton University Press or its reviewers, and revised. Because the two books have so much in common, it is easy to see where they diverge. The World as We Know It is a less theoretical work than its predecessor. The sociology of knowledge that organized The Intelligibility of Nature has been reduced in scale and folded into readings and examples. The taut interplay between history and theory, which gave the earlier study so much interest, is there, but it is subtle. In the earlier book, the case studies demonstrated theoretical claims about the character and development of science. In the later work, each narrative of discovery is an end in itself. Insights emerge from the history, but they do not control the organization of the study. With the theory muted, it can be hard to understand the logic uniting Dear’s sprawling history of more than two centuries of scientific knowledge. The 16 brisk chapters cover an enormous amount of material. But the closer the volume edges to comprehensiveness, the more obvious the missing elements become. A chapter on “Institutions and Pedagogy,” describing the birth of the research university, illustrates the problem. Inserted roughly halfway through the book, the unnumbered chapter is designed as an “entr’acte,” in acknowledgement that it does not fit the study’s organization around scientific discoveries. Yet as Dear is well aware, no general history of the development of modern science can bracket its 19th-century institutionalization and professionalization. It was the 19th-century university, after all, that gave us the “scientist,” a term coined by the Cambridge philosopher William Whewell. Dear’s history of scientific discoveries implies a wider social and institutional history, but it remains largely subterranean, only occasionally extruded under the pressure of the narrative. It must be said that the balance is not all on the side of the earlier study. There are some advantages to the more historical, less theoretical organization of The World as We Know It. Dear’s accounts of paradigm shifts are remarkably lucid, no small accomplishment given that they span fields and centuries. He makes excellent use of the wealth of new scholarship on Darwin and his influences, to which he has himself contributed. It is satisfying to see puzzle pieces from Buffon’s natural history, Georges Cuvier’s animal taxonomy, Thomas Robert Malthus’s demography, and Charles Lyell’s geology recombined seamlessly in the Darwinian jigsaw. Likewise, Dear’s discussion of stellar nebulae, divided between chapters two and 15, shows vividly how Newton, Kant, Herschel, and Hubble reimagined insights and observations as they sought to discover whether the diffuse light that filtered through early telescopes was a glowing, gaseous substance or discrete but distant stars. Yet despite such pleasures, the book remains a more modest work than The Intelligibility of Nature. Dear has clearly not changed his views about the history of science. But in the two decades that have elapsed, the discipline and the world around it have changed, making it harder to write a sociologically and philosophically ambitious history of science for the general reader. That is a shame, because in the age of Silicon Valley and biotechnology, both the reciprocity and the tensions Dear identified between the epistemological and instrumental ambitions of science are more evident than ever. In recent years, some of the most exciting new books on the history of science in early modernity have focused precisely on this pressure point. Important studies such as Pamela H. Smith’s From Lived Experience to the Written Word (2022), James Poskett’s Horizons: The Global Origins of Modern Science (2022), and Vera Keller’s The Interlopers: Early Stuart Projects and the Undisciplining of Knowledge (2023) all shed new light on how early modern science negotiated the relationship between its instrumental and epistemological ambitions, or in Russell’s phrase, knowing and doing. There is every opportunity for a philosophically informed approach to draw new insights from this wealth of material. Dear, unfortunately, has not done so in The World as We Know It. But for future scholars of the history of science, his body of work over nearly four decades may provide just the model. Julianne Werlin is an associate professor of English at Duke University. Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe
A Billionaire Wanted a Trump Pardon. His Family Gave Alina Habba a $50 Million Deal.
Julio Herrera Velutini, a prominent Venezuelan, was seeking clemency. He got it not long after his daughter gave Ms. Habba, a lawyer close to President Trump, an extraordinarily lucrative job.
Costco’s ‘100% agave’ tequila lawsuit thrown out
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Barbara Bush's latest political move backs James Talarico's U.S. Senate bid
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Public health nurse talks about the moment she learned to ask for help
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Former Vernon business owner pleads guilty in $1.3M healthcare fraud case
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The EU heads into a perfect political storm
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Someone just rebuilt Adobe Creative Cloud with AI – then gave it away for free
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Two years after the storm, Hurricane Helene shapes NC survivors' politics and beliefs
A concert in Yancey County gave Hurricane Helene survivors an opportunity to share their experiences with the storm.
7 US multimillionaire donors gave $189 million to universities in 2026, far more than Africa’s 23 billionaires publicly gave to science and research
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‘Hot economics, cold politics’: why China gave nod for expanded Japanese trade trip
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Mikel Arteta admits to selection dilemma
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Student-produced film captures Ireland sports experience | UNC Hussman School of Journalism and Media
The documentary created by a UNC Hussman School of Journalism and Media team premieres on campus Oct. 22 and Oct. 23. — This story, written by UNC Hussman alumnus Michael Lananna ’14, was originally published at unc.edu. — Carolina senior Anna Laible came up with the idea about a year ago. At the annual UNC Sports and Entertainment Summit, the journalism student walked up to then-athletic director Bubba Cunningham and took a chance. “Hi, Bubba, I’m not sure if you remember me, but I’m part of the student broadcast team from the Olympics,” Laible told him. “I have this idea to do an Ireland documentary on the football team.” Encouraged by the enthusiastic response to the proposal, Laible and a team of students from the UNC Hussman School of Journalism and Media worked diligently to turn that vision into reality. In August, Laible and seven peers traveled to Dublin, Ireland, with the Carolina football team and women’s soccer team. Equipped with video cameras, the student journalists covered both teams during their international games — both wins — and filmed scenes throughout Dublin, interviewing Irish locals, Tar Heel fans and key Carolina figures who helped make the trip possible. Back home, Laible’s team put the finishing touches on the documentary, with its first screening at 6:30 p.m. Oct. 22-23 in Carroll Hall room 111. The project is the latest in a long line of sports documentaries produced under the guidance of C.A. Tuggle, John H. Stembler Jr. Distinguished Professor. Since the 2008 Beijing Olympics, Tuggle and the Hussman school have sent journalism students to cover each of the Summer Games, and Tuggle’s students have also produced documentaries on Carolina teams that win national championships. But this Ireland excursion presented a new kind of opportunity. “This trip is really unique,” Tuggle said. “Bubba liked the idea, so we started working on it, and it’s all because Anna was forward-thinking and assertive.” Laible’s team worked to create a holistic depiction of the Dublin trip, billed as “Much More Than a Game.” The documentary’s 12 chapters cover Irish culture, music, trips to the Guiness Storehouse and the myriad connections between Tar Heels and Ireland. “Our main focus was to make sure we gave a whole encompassing idea of what this experience was like,” Laible said. “We wanted to show not just the student-athletes, but other students, other Carolina fans, Carolina alumni, the music and really incorporate that all in the documentary.” Joining Laible in Dublin were juniors Emily Brietz, Cooper Hall, Eliza Jennings and Katherine McCullough and seniors Molly Malek, May Proctor and Merrily Tew. Those students also traveled to Milan for the 2026 Olympic Winter Games in February. Those kinds of opportunities wouldn’t be possible without the support of UNC Hussman and, in the case of the Ireland trip, the Carolina athletic department. UNC Hussman students create Ireland trip documentary. (Submitted photo) “Never in a million years did I think I would have the opportunity to go to the Olympics or to the Aer Lingus College Football Classic, and now I’m even being presented with potential opportunities go to the Super Bowl,” said Malek, who served in a leadership role with Laible in Dublin. “I think that Carolina does a terrific job of connecting us to these opportunities that almost no other university does. This is a university where you have the opportunity to have an interdisciplinary education and to learn and experience a lot of things all at once.” With the support of UNC Hussman, Tuggle and fellow students like Malek, Laible turned a spur-of-the-moment idea into a documentary. When the film screens, Laible said she’s not quite sure what emotions to expect. “I’m a little worried that I might cry — not that crying is a bad thing,” Laible said, laughing. “But I’m really grateful for so many people helping, and I’m excited for everyone to see it.”
UnitedHealthcare launches webpage to address questions surrounding Lee Health coverage dispute
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Former business owner could face up to 50-years for alleged unpaid employee taxes
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Penguins’ Nick Robertson Decision Confounds After Maple Leafs Trade
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Calvert's Science Scores Climb, but Eighth Grade Won't Budge
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Terry Bradshaw gives health update, announces he's nearing retirement from broadcasting
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Michigan Rallies Past Penn State 21-18 Behind Tommy Carr
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CA immigration business seized over allegations of practicing law without a license
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Yankees 2026 Roster Report Cards: David Bednar
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Gears of War: E-Day sells 230K copies
Gears of War: E-Day has sold 230K copies since its advance-access launch on October 1 and full release on October 6. Steam accounts for 168K of those, with Xbox (console and PC) selling 62K. But there’s more to this story, as Xbox makes up the bulk of revenue. E-Day is the best-reviewed Gears game in nearly two decades (and the best one ever made, in my opinion). The Coalition has made a banger here (it’s currently in my top 10 of the year). Despite E-Day’s undeniable quality, this is a soft result. And it’s down to the business model, really. E-Day has made $37M so far, thanks to the Premium upgrade On Xbox, Game Pass is cannibalising much of the premium revenue. Our estimates show that 1.7M folks accessed E-Day via their subscription rather than a copy. But Xbox is having it both ways – or having it halfway, at least – via its Premium Edition Game Pass upgrade. Game Pass subscribers could pay $30 (or their local equivalent) for up to five days of early access starting October 1. Our estimates show that of the 1.7M who accessed E-Day through Game Pass, 722K paid for the upgrade. Between the review embargo lifting on October 1 and the full release, E-Day managed to shift another 250K early-access upgrades – no doubt helped by the campaign’s rave reviews. So despite selling far fewer copies on Steam, Xbox accounts for almost three-quarters of the revenue (roughly $26M of the $37M, versus about $11M on Steam). So “230K copies” undersells the paying audience. Including the 722K upgrades, nearly 950K people actually paid something for E-Day. The $30 upgrade is a halfstep from cannibalisation, but will Xbox go all the way? While E-Day is a sublime game, these are soft numbers for a flagship when Xbox badly needs revenue wins. E-Day sold 62K copies on Xbox against 722K Premium upgrades, so for every one copy sold on Xbox, nearly 12 Game Pass upgrades were sold. The $70 premium SKU is – functionally – dead on Xbox. Normally you can’t see what a Game Pass player would have paid, because the game’s just there in the subscription. But the $30 early-access upgrade estimate shows that 722K people demonstrated they’ll spend real money on this game. In a world without day-one Game Pass, many of these folks would have bought E-Day at $70. They paid $30 for five days early access to something they don’t own. Xbox is, in effect, charging its most valuable customers the least, based on a hangover from a tried-and-exhausted strategy from a previous administration. Those 722K willing-to-pay players generated about $21.7M via the upgrade. If three quarters of this group – mostly US and European audiences – bought E-Day outright, that’s nearly $40M. Of course, Game Pass does bring in meaningful recurring revenue, and E-Day is adding value for hundreds of thousands of subscribers. However, Game Pass is no longer growing, so Xbox is at a crossroads. Xbox is reportedly looking to do a Netflix and bolt on an ad-supported tier to pad it further. But that will just set a new floor, and leadership keeps telling us the priority now is revenue growth, which is subscriber-speak for ARPU. Xbox has already pulled Call of Duty from day-one Game Pass after day-one inclusion hammered its sales, with new CoD titles now arriving on the service around a year late. We know that some Microsoft executives believe the service devalues games outright, and rumours (which Microsoft has dismissed so far, to be fair) suggest that day-one releases could be taken off Game Pass. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe When a game this well-reviewed does this softly on its home platform, the model – not the game – gets brought into question. What else E-Day’s early adopters have played (including this month so far) Looking at E-Day‘s players on Xbox, most have played the franchise before (86% have played Gears 5, 76% Gears 4), and every game on the crossover list is either a shooter or a title from an Xbox-owned studio (though Game Pass is inflating those numbers, of course, more on that later): As for what else Xbox’s E-Day players have played this month, the top three are Fortnite (16%), Roblox (7%), and Call of Duty (6%). Another 5% played Minecraft Dungeons II, which is also on Game Pass and launched a couple of days before Gears‘ advance-access date. Many Game Pass players are happy to check out most big new additions. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Over on Steam, the top crossover games are also mostly shooters (slightly more PC-coded ones), including Space Marine 2, which was itself heavily inspired by Gears: Looking at what E-Day‘s Steam players are into this month shows who they are – as subscriptions don’t skew the data. The top three are Wardogs (13%), Deadlock (12%), and CS2 (10%), so you’ve got the restless shooter crowd checking out the new hotness. A little further down are Helldivers 2 and Space Marine 2, your co-op PVE shooter players who’ll feel right at home in Horde mode. Game Pass is skewing the playtime distribution on Xbox Looking at the playtime distribution in our platform, E-Day players on Steam are – relatively speaking – playing for longer: 54% of E-Day players on Xbox have played for five hours or less (versus 32% on Steam) 19% of Xbox players played for over 15 hours (versus 33% on Steam) 14% of Xbox players played for over 20 hours (22% on Steam) The absolute number of people playing for over 15, 20, and 50 hours is, of course, bigger on Xbox, thanks to the sheer volume of folks who came in through Game Pass (upgraders included). None of that is cause for alarm. Game Pass is the reason Xbox playtime skews lower, as when a game is free to try, people try it and bounce without putting in even an hour (17% under an hour on Xbox versus 6% on Steam). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe The subscription brings in tourists alongside the committed, dragging down the average even when the game is excellent (but also perhaps winning over the uninitiated). It’s standard across every subscription-included title, on PS Plus too. Forza Horizon 6, for instance, had 11% of its Xbox players bounce under an hour, versus just 2% on Steam. So, Xbox’s crossroads So there we have it. Gears of War: E-Day is an incredible game whose revenues have been stifled by subscription inclusion and exclusivity. It’s the best-reviewed entry in the series in fifteen-odd years, but it still turned into one of the year’s softer flagship launches, not because players didn’t want it, but because Xbox’s own storefront gave its most willing buyers a reason not to pay. Which leaves Xbox at a crossroads. Will it keep making Gears games when the financial returns are this thin and the margins this low? And if it does, does the next one arrive off Game Pass at day one – the way CoD now does, or even on PlayStation? I think it should. Alright, back to E-Day for me! The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
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More Than a Charcuterie Board: A Mother and Daughter Build a Business Around Gathering.
The Bar Harbor Story is generously sponsored by Birch Bay Retirement Village. NORTHEAST HARBOR—Food’s ability to be a social cornerstone is one of the founding premises of one of Mount Desert Island’s newest, and perhaps most unique, endeavors in cuisine based catering. From intimate gatherings to large functions, Olive & Pearl creates charcuterie boards that can not only astound the tongue but also the eye. Many would agree that food can bring people together. In fact, culinary delights, and sometimes adventures, have been utilized as the centerpiece for social and business occasions of all kinds for centuries. Often times it even has the ability to start conversation, temper differences, and build new relationships. Settings can vary, from a multi-course sit down meal, a backyard barbecue, or a couple of bowls of chips and dip in front of a television, but the result can be the same. Humans come together, they share food, and the whole process is a catalyst for thought, communication, and a shared experience. Imagined and created by the mother and daughter team of Dr. Susan Scanlan (formerly MacCready) and Kayla Musetti, Olive & Pearl was started in June of this year and has been creating, delighting, and growing since. We gave the two an opportunity to answer some questions about themselves and their new venture. The love, passion, and pride for what they are doing and the fact that they are doing it as a mother and daughter team came through so strongly in their answers that we decided to present the question and answer session in its entirety. The Interview What did you do prior to Olive & Pearl? We’re a mother-daughter team, and food, family, and hospitality have always been a big part of our lives. Susan grew up in a large family in Pennsylvania, where the table was always at the center of everything. There were multiple dishes, little bites, stories, and plenty of conversation. Food was never simply about eating. It was about gathering, celebrating, and spending time together. After living in several Southern states, Susan relocated to Maine more than 20 years ago, and Maine has truly become home. She loves its sense of community, natural beauty, and connection to local food and makers. Professionally, Susan is a registered nurse and holds a doctorate in health administration. She has worked in a variety of clinical, nonclinical, and leadership roles and currently works as a faculty academic director. Building Olive & Pearl has been an exciting creative venture alongside her career. Kayla is also a registered nurse and works in the ambulatory surgery unit at Mount Desert Island Hospital. While healthcare is an important part of both of our professional lives, Olive & Pearl has given us an entirely different way to connect, collaborate, and create something together. Tell us about the business. Olive & Pearl is a mother-daughter charcuterie business centered around beautiful food, thoughtful presentation, and bringing people together. We create curated charcuterie boards designed for everything from intimate gatherings and dinner parties to weddings, showers, corporate events, boat days, and celebrations of all kinds. We think of our boards as more than food. They’re an experience and an invitation to gather, slow down, and enjoy time with the people around you. We’re intentional about quality ingredients, artful presentation, and personalization. Whenever possible, we also incorporate Maine-made and locally sourced products, including cheeses, jams, honey, seasonal produce, and baked goods. What inspired you to start Olive & Pearl? In many ways, Olive & Pearl grew out of something we had been doing our entire lives —bringing people together around food. We’ve always loved creating beautiful spreads for family and friends. There was something special about watching people gather around a table, graze, talk, laugh, and simply enjoy being together. Friends and family began telling us, “You should do this as a business,” and one day, we stopped laughing it off and started mapping it out. We realized we had an opportunity to combine our different strengths and create something that reflected what we both value: hospitality, creativity, quality, and connection. Charcuterie felt like the perfect expression of that. It’s beautiful and creative, but it’s also communal and approachable. At its heart, it brings us right back to where the idea began, a table filled with food and people gathered around it. Do you have a business partner(s)? Our business partner is each other! Olive & Pearl is truly a mother-daughter partnership, and building it together has been incredibly meaningful and sometimes hilarious! We know each other extremely well, which can be both a strength and, occasionally, a challenge. We have different personalities and strengths, but we’ve learned to lean into those differences and use them to our advantage. There’s a lot of trust between us, and we’ve learned how to communicate, collaborate, and occasionally laugh at ourselves along the way. We’re also building Olive & Pearl while continuing our careers in healthcare and education, so we’re taking things thoughtfully and growing the business one step at a time. We all have to start somewhere. One of the most rewarding parts has been having something that belongs to both of us. We get to learn from one another, celebrate the small wins together, and create something that we hope will become part of our family’s story for years to come. When exactly did you launch the business? Recently, in June 2026, we launched Olive & Pearl, turning an idea we had talked about for years into real business. It has been incredibly rewarding to watch something that started around our own family table and begin to find a place within the community. How is it going so far? How do you feel it has been received? It has been going very well, and we’ve been incredibly encouraged by how warmly Olive & Pearl has been received. As more people hear about us, our orders have continued to increase, and we’re seeing growing interest in boards for events and celebrations. It’s exciting to watch something that began as an idea between the two of us start to grow within the community. One of the most rewarding parts is hearing from customers after their events or seeing photos of our boards being enjoyed. Knowing that something we created became part of someone’s celebration is incredibly meaningful to us. Is there a brick-and-mortar location or is it all online? Olive & Pearl is currently an online business. We’re intentionally starting this way so we can build relationships with our customers, learn what they love, and grow thoughtfully. Our long-term dream, if the business continues to grow, is to eventually have a sit-down space where people can experience Olive & Pearl in person. Do you have any future plans if things go well/keep going well? Absolutely. For now, our focus is on continuing to grow Olive & Pearl, getting to know our customers, and becoming part of more celebrations and gatherings throughout the area. Long term, we would love to have our own physical space where people can come together and experience Olive & Pearl beyond the boards themselves. We can imagine a place that combines food, hospitality, creativity, and community. Ultimately, we want to build something that continues to grow while still feeling personal and connected to the people and community around us. Is there an aspect of the business that you really love? There are so many things we love about it, but the people and the connection are probably at the top of the list. We love creating something beautiful, but what really matters to us is what happens after we hand it over to the customer. We picture our boards on kitchen islands, at backyard gatherings, on boats, at weddings, or around a long dinner table—with people laughing, talking, and lingering a little longer. We also love the creative side. Every board is an opportunity to play with color, texture, shape, seasonality, and flavor. We don’t just want to fill a board, we want to curate an experience. And supporting local makers is especially meaningful to us. Whenever possible, we love incorporating Maine-made cheeses, local jams and honey, seasonal produce, and products from nearby bakeries and businesses. It allows us to showcase some of what makes Maine so special. Perhaps most importantly, we love doing this together. Building something as a mother and daughter has given us another way to spend time together, learn from one another, celebrate small wins, and create memories. Is there anything regarding any aspect of Olive & Pearl that you may think is important that is not reflected on the website? One thing that may not always come through online is just how personal this business is to us. Olive & Pearl isn’t something we created simply because charcuterie was popular. It grew very naturally from our family, our traditions, and the way we’ve always enjoyed gathering with people we love. There is a lot of heart behind every board. We think about the people who will be enjoying it, the occasion they’re celebrating, and how we can make the experience feel special. We also want people to know that we care deeply about supporting locals whenever possible. Using Maine products isn’t just about sourcing ingredients, it’s about telling a little story about where we live and the talented people who make and grow wonderful things here. Is there anything that we have not asked that you think is important/relevant that would like readers to know? We hope people see Olive & Pearl as more than just a charcuterie business. At its heart, it’s about gathering. Our goal is to make it easier for people to create those moments when everyone gathers around the table, conversations last a little longer, and people simply enjoy being together. We also hope people see the mother-daughter story behind the business. We’re building Olive & Pearl alongside our careers, one step at a time, and there is something incredibly special about creating a shared family legacy in the process. For us, success isn’t just about how many boards we make. It’s about becoming part of people’s special moments - birthdays, weddings, weekends with friends, quiet evenings at home, or a beautiful day on the Maine coast. If one of our boards helps people put down their phones, linger a little longer, laugh a little more, and enjoy the people around them, then we feel like we’ve done exactly what we set out to do. All photos courtesy of Olive & Pearl. LINKS TO LEARN MORE Olive & Pearl website Olive & Pearl Facebook Olive & Pearl Instagram RECENT PRESS RELEASES AND BRIEFS To see all the press releases, click here. To see our news, click here. For the full archive, click here. All of these are on our dedicated website. 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We’ve kept everything free because news should never be out of reach, but every one of our stories takes time to write, and your support keeps The Bar Harbor Story going. If you value our work, please consider a paid subscription, a founding membership, or a sponsorship. It truly helps us cover one more meeting, tell one more story, shine one more light. Even $5 a month makes a difference. Click here to become a one-time supporter now. Thank you so much for being here. Founding member information can be found here. Have questions about sponsorships? Just send Shaun an email at sfarrar86@gmail.com, he’d love to hear from you. Subscribe Share Bar Harbor Story Share Leave a comment
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Ubisoft plans cuts at German studios, adding to wave of workforce reductions
Ubisoft is planning to reduce its workforce in Germany, where it operates a trio of studios, by about 100 workers, Game File has learned. The company wants to offer employees buyouts to, should enough people accept, avoid having to lay anyone off. “In Germany, we initiated discussions with the Works Council last week regarding a proposed voluntary departure plan across Ubisoft Dusseldorf, Ubisoft Berlin & Ubisoft Mainz,” a company rep told Game File. A “works council” is a union-like group representing employees. “The voluntary plan is the primary measure being proposed to support the intended organizational changes,” the Ubisoft rep added. The company declined to confirm the scale of the potential headcount cut. Of the impacted studios, Mainz might be the best known to the public. It leads development of the Anno series and shipped the well-reviewed strategy game Anno 117: Pax Romana in November 2025. Berlin and Dusseldorf operate as support studios within Ubisoft’s creative network. Berlin recently supported the development of Rainbow Six Siege and the Rayman Legends Retold remake. Dusseldorf also contributed to those projects, as well as The Settlers and Ubisoft-branded escape rooms. Dusseldorf is the biggest of the three studios, with some 400+ workers, compared to just over 100 at the other two, a source familiar with the reductions and the teams told Game File. More than half of these new reductions of about 100 people are expected to happen at Dusseldorf. The planned cuts were announced at a town hall for the German studios on Tuesday of last week. In an email follow-up, the studio group’s managing director, Benedikt Grindel, said the cuts were intended to “best position our German studios for the future... with a clearer focus on their role, capabilities and organizational setup needed for the work ahead.” The email was an echo of the past. In January 2025, Grindel had emailed the Ubisoft developers in his region (or studio “zone”) to explain that a round of 185 cuts at the time, including about 65 at Dusseldorf, were “essential to improve our operational efficiency and ensure the long-term sustainability of our studios, the zone and the company.” A half-decade of continued job cuts Ubisoft has been aggressively cutting its headcount for years. At the end of September 2022, it had 20,729 workers. By the end of March 2026, that total was down to 16,590. Studio management is trying to trim costs as it grapples with a changing industry and a drought of releases, let alone hits. The company announced earlier this year that it had reduced its costs since 2022 by “nearly €325 million” ($362m) and planned to lower them through 2028 by another €180 million ($200m). In June the company said it was closing down its Winnipeg and Belgrade studios and cutting roles in its Barcelona team. Even commercial and creative success hasn’t spared studios from this ongoing company-wide contraction. As Game File was nailing down details around the proposed cuts in Germany, Ubisoft management was informing workers of cuts in its Singapore studio, which shipped a hit remake of Assassin’s Creed IV: Black Flag this past July. Some 70 positions in Singapore are being eliminated “to align the studio with upcoming production needs,” per a company rep’s statement to Game File. In early 2024, a large team in the Singapore studio launched the multiplayer pirate game Skull & Bones. It performed poorly but has been supported with regular content updates since. Many of Ubisoft’s studios around the world are heavily subsidized via regional grants and tax breaks. Singapore had been among them for years, but received no such local assistance in the 12 months ending this past March. News of the Singapore cuts broke today alongside word that Ubisoft is also proposing the closure of RedLynx, pending negotiations with officials. The Finnish studio behind the motorbike series Trials was founded in 2000 and sold to Ubisoft in 2011. As reported by VGC (and corroborated by Game File), Ubisoft management told employees it could not come up with a new, sustainable assignment for RedLynx. The 2025 workforce at Ubisoft Dusseldorf were straight-up cuts. This time, Ubisoft is hoping the reductions at its trio of German studios will largely come from workers taking a payout to leave. The company offered such voluntary dismissals at its Massive Entertainment studio (The Division) a year ago. For the German studios’ buyouts this time around, Ubisoft and the Works Council had discussed a formula that’d pay a worker’s monthly salary multiplied by 1.5 and by the number of years they’ve worked at the company, according to Game File sources. The formula is still subject to negotiations with the Works Council and has not yet been part of an official offer to workers. It could be adjusted up or down, and it could be supplemented with additional bonuses. Asked about the floated payout formula, a Ubisoft rep told Game File, “The terms of a potential voluntary departure program remain subject to negotiation with employee representatives. No final agreement has been reached, and we won’t comment on specific proposals while discussions are ongoing.” Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: Epic’s AI adventures Epic Games (Fortnite, the Unreal engine) is all-in on using AI to try to transform the way it makes video games and game-making tools. It’s leaders appear to be undeterred by any resistance among gamers and some game developers around generative AI—and instead emboldened by advances, particularly in AI-assisted programming. A recap of the last three days: On Monday, Bloomberg reported that Epic management told workers last week that development of an upcoming game combining Star Wars and Marvel characters would be “AI first.” Employees would be expected to use AI models such as Claude to code the game. A manager told Epic’s developers there would be “[n]o more hand-written code” and that art for the game would be “generated with full AI workflows,” per the outlet. Just ahead of that story running, Epic founder Tim Sweeney tweeted: “We have a huge pivot underway here at Epic, moving developers around to retool for maximum AI acceleration. The aim isn’t to do the same stuff with fewer people, but to enable everyone here to build MORE and BETTER stuff, and to bring the benefits to all teams using Unreal.” In a follow-up, Sweeney predicted that most game development processes would be at least three times faster a year from now than they were in January 2026, thanks to AI. To a person on X who told him he was failing to read the room, Sweeney said: “Much of the room wants it to be 2016 again, but it’s not. Our job, as the provider of tools and technology to much of the industry, is to design for the present that is and the future that will soon be.” On Wednesday, Epic announced it was releasing a faster launcher for its Epic Games Store marketplace. It did so by stating in a blog post as clear as could be that the launcher is an AI-enabled, vibe-coded project: Programming is hard. So, instead of doing that, we vibe coded a new Epic Games Launcher that’s way faster and more responsive than the current one, and has a new look. Programming is hard? That was unexpected phrasing from a company founded by a legendarily great programmer. Back in 2011, Sweeney told me that he’d picked up programming quickly as a kid and rejoiced at the power it gave him. “I could look at any program that anybody else had written and, with enough effort, build something cooler.” Item 3: The Xbox Labs experiment (and one of the people behind it) Microsoft’s Xbox division, which is flooding the zone with announcements lately, yesterday revealed a new internal tech-tinkering team called Xbox Labs. In the words of Xbox boss Asha Sharma Labs is “a small group of game makers, engineers and scientists whose job is to turn emerging ideas into things our players and developers can experience.” Conventional wisdom coming out of the announcement is that Labs is a team that’ll focus on ideas driven by generative AI. In her announcement, Sharma cited some of the dizzying achievements in tech and gaming over the past month as AI agents and other AI tools have been deployed to swiftly figure out how popular games work, then rebuild them and mix them up. She mentioned seeing ”games rapidly decompiled and rebuilt to run on hardware they were never originally designed to support” and said “[p]erhaps more surprisingly, we’ve seen many of the biggest games in the world have been remixed into the source code of another.” (Minecraft plus Elden Ring, for example, or Fortnite + Super Monkey Ball + Overwatch + Diablo + others.) Sharma also cited the work of Windows PC games being ported to run in browsers, a seeming reference to a recent AI-assisted fan port of Halo. Or perhaps Call of Duty or GTA. Sharma didn’t use the specific term “AI” in her memo, but she came close, citing AI “agents” and their potential for game-making tools that Labs could help craft: I think XBOX has an important role to play here. Coding became the first major workload for agents because they can write, run, and test software. Games share many of those same properties, and people spend more than 72 billion hours a year playing XBOX games, roughly five times the estimated time spent writing code worldwide. We’ve spent 25 years learning how to make great games, and I want our game makers to help shape what these new technologies make possible. As we learn, we’ll share the tools we build with developers across the industry, just as we always have. When I asked an Xbox rep if Labs was an AI-centric team, they said genAI was not the focus, describing it as having a broader mandate for using new tech in new ways in gaming. As an example, they pointed to Xbox’s recently launched disc-to-digital gaming usage rights program. Microsoft didn’t specifically name anyone involved full-time in Xbox Labs yesterday, but on social media and LinkedIn, I spotted Adrian Mato IDing himself as leading the creatio of tools at Labs and talking up the launch. Mato first caught my attention in late September, when he said on X that he was “starting to build a new team at Xbox focused on products and tools for how games get built and distributed as agentic tools become more capable.” At the time, he framed AI-based tools as a supplement to traditional game dev tools. “I don’t think we need to replace them,” he said. Since then, he’s publicly shown interest in AI and in games. He’s recently spent some of his X feed marveling at the power of AI agents and praising the lighting in the latest Gears of War. Following the Labs announcement yesterday, he enthused about the Xbox Labs’ stylish landing page. He wrote: “We built some fun tools to art-direct shaders in real time, experimented with interactive ASCII art, and sprinkled in lots of tiny details. “Move your mouse to leave a colorful trail that reveals the original footage, or interact with the video to trigger bursts of particles. “A lot of love went into making it all feel just right. “More to come”
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Allen rushes Bills to thrilling 37-34 win over Rams
Quarterback Josh Allen put on a rushing masterclass to power the Buffalo Bills to a thrilling 37-34 overtime victory against Los Angeles after the Rams had a game-winning field goal blocked Monday. Cook appeared to have lost the game with a fumble in the first possession of overtime, before Mevis's blocked field goal gave Buffalo a final chance which they did not squander. amz/pst
Brazil: Lessons from a Disaster
By Antonio Martins (Outras Palavras) Defeats become deeper and more prolonged when we misunderstand what caused them, avoid correcting course, and embrace “solutions” that only compound our mistakes. Lula’s government and the Brazilian left suffered a disaster in Sunday’s election. Contrary to every poll, the president finished the first round 2.2 million votes behind Flávio Bolsonaro—and, more significantly, 3.4 million votes below his total four years ago, when the machinery of the state was working against him and in favor of his opponent. His vote share declined in 98 percent of Brazil’s municipalities. The PL, the main party of the far right, elected 121 deputies and 28 senators, becoming the largest caucus in both houses of Congress. The parties aligned with the Centrão—Brazil’s bloc of transactional center-right parties—were somewhat diminished, but will still hold roughly 250 seats in the Chamber of Deputies and 35 in the Senate. That will make it easier to assemble the majorities needed to amend the Constitution or impeach Supreme Federal Court justices. If elected, Flávio Bolsonaro could appoint four members of the Court, substantially altering its internal balance of power. What produced these results? How can the far right be prevented from consolidating them into a prolonged political hegemony? And what is the essential change of direction the left now needs? Explaining the Disaster Across the commercial media and the exuberant chaos of digital platforms, interpretations are multiplying. Some focus on specific episodes: Lula’s absence from the Globo debate, his very close relationship with Alexandre de Moraes, or his emphasis on issues supposedly remote from most people’s everyday concerns, such as rare earth minerals. Among the more systemic interpretations, three seem especially questionable. One argues that the principal defeat was not the left’s, since its congressional representation declined only slightly. The decisive movement captured at the ballot box, according to this view, was a shift within the right itself—from the more moderate and transactional forces of the Centrão toward the more ideological and radicalized forces of the PL and Novo. A second interpretation holds that the nature of electoral and political processes has changed. The material interests and aspirations of society, it argues, no longer play the central role they once did; they have given way to forms of subjective self-identification that the left has yet to understand. And a third concludes that, because of these two developments, we should expect a political winter: a prolonged period in which the far right and the broader right dominate Brazilian political life. There are important elements in all three interpretations. The problem lies in what they deny or leave out: Lula’s third government was a small-bore government. It offered the majorities that elected it neither a clearly better life nor reasons to believe again in politics and its power to transform society. These failures flowed from two fatal accommodations, which I will examine below. As a result, the government suffered a slow but steady erosion of support. And, as has happened in so many Western countries, it gave the far right the opportunity to present itself as anti-system and to benefit from popular frustration and distress. The interpretation that emphasizes the migration of votes from the center-right and traditional right toward the far right has been advanced, among others, by the courageous journalist Leonardo Sakamoto. In his UOL column on Monday, October 5, he highlights the miserable behavior of the traditional conservative parties. Over the past four years, they repeatedly joined forces with the “neo”-fascists, helping to “normalize” them—a criticism that could equally be directed at almost the entire corporate media. Believing they could use the far right as a stepping stone, they instead ended up partly devoured by it. This was especially true in the Senate, where the PL’s gain of 13 senators and Novo’s gain of two came at the expense of the PSD, which lost nine; the MDB, which lost two; the PSDB, which lost two; and the PP, which lost one. Sakamoto’s observation is accurate and necessary, but it leaves uncomfortable questions unanswered. Why did the erosion of the Centrão benefit the far right rather than, for example, producing growth for the left—as has happened so many times before, both in Brazil and elsewhere? The answer is not difficult. Throughout its four years in office, Lula’s third government was almost invariably associated with the Centrão. Here lies its first accommodation: accepting the limits imposed by conservative institutions; avoiding, as much as possible, any attempt to strain those limits through popular pressure; and believing only in the modest changes that could be squeezed through openings in Congress. The failure of the campaign to end the six-day workweek is emblematic. Lula could have electrified the presidential race by pairing it with a popular campaign for passage of the measure. Instead, he chose to place his hopes in the hands of Senate president Rodrigo Alcolumbre. He generated no mass mobilization, did not force his opponents onto an uncomfortable defensive, and won no victory. In September 2025, the government squandered the greatest of its many opportunities to shake up conservative power in Congress. Popular opposition to the so-called Shielding Amendment—which, if approved, would have restricted criminal proceedings against members of Congress—brought crowds into the streets, mobilized primarily by artists and social movements. This opened the possibility for a broader political education: a campaign that could begin exposing the limits and dysfunctions of Brazil’s political system while putting Bolsonaro’s movement on the defensive for its predictable support of political privilege. The amendment was defeated. But the executive branch then backed away from the fight. It remained associated with an institutional world widely seen as corrupt, elitist, and indifferent to ordinary people’s struggles. In doing so, it forfeited its credibility as a vehicle for the protest vote. On Sunday, it reaped the bitter fruits. Are We Doomed? Taking a different approach from Sakamoto, the philosopher Moysés Pinto Neto and other writers have drawn attention, in their first analyses of October 4, to the fragmentation of the public sphere produced by Big Tech platforms. Through their algorithms, these platforms present each person with a different view of social reality. As a consequence, it becomes much harder to identify common material problems and demands—for example, the fight for labor rights or for a properly funded public health system. Voters no longer embrace such demands, these authors argue, because they no longer see themselves as part of a collective. Instead, they tend to value the identities assigned to them by neoliberal subjectivity—the role of the entrepreneur, for example. On this interpretation, the left’s possible error lies in clinging to outdated illusions. Moysés’s warning is highly relevant and resonates with arguments such as Naomi Klein and Astra Taylor’s “Apocalyptic Fascism and the Billionaires’ Bet.” Unlike a century ago, the far right no longer promises a radiant future. It concentrates instead on resentment—especially that of young men. “They belong to a generation that fears it may never own a home, but compensates with the pleasure it gets from constantly provoking progressives online. Convinced their future has been stolen, they share memes romanticizing historical authoritarian regimes,” the authors write. But Moysés seems to confuse this danger with inevitability. He fails to see that the left’s answer cannot be adaptation. On the contrary, it must strengthen the possibility of politics as collective action. Nor does he recognize that precisely such a reversal is already becoming possible in some of the most promising mobilizations of the twenty-first century: the election, at the end of 2025, of the young Muslim Zohran Mamdani as mayor of New York, on a platform centered on the intensely material fight for an affordable city; the Left Party’s victory in Berlin two weeks ago, built around the demand to expropriate private real-estate corporations; and the very recent wave of demonstrations in Spain—including an occupation of Madrid’s Puerta del Sol—in which tens of thousands of young people mobilized by the Tenants’ Union have demanded limits on rents. By putting itself in the straitjacket of the “fiscal framework” in the first months of 2022, Lula’s third government adopted the second fatal accommodation of its term. Faced with conservative institutions and a country devastated by four years of Bolsonaro, increased public investment was the government’s remaining weapon for offering a more dignified life to the majority and forging an anti-conservative pact with them. The same state that disburses 1 trillion reais a year to enrich a small class of rentiers could instead spend money to extend the Family Health Strategy to every Brazilian, at a cost of 30 billion reais; provide full-day public schooling and childcare to all adolescents and children—and, especially, relief to their mothers; achieve universal sanitation while cleaning up polluted urban rivers; multiply metro systems; begin transforming the urban peripheries; and undertake many other urgently needed projects. In April 2023, an article in Outras Palavras warned that the fiscal framework could “shrink the Lula government and preserve the forces that condemn the country to inequality and regression.” A year later, another article showed that restraints on public spending were strangling policies vital to ordinary people and undermining the president’s popularity. In November 2024 came a reality check, in the form of the government’s humiliating defeat in the municipal elections. Even then, the fiscal lock was neither removed nor loosened. On the contrary: throughout the government’s four years, fiscal restraint remained central to its political narrative. The administration proudly proclaimed that it had “put the state’s accounts in order,” without grasping either how misleading that phrase was—given the payment of 1 trillion reais in interest—or how badly the message was hurting it politically. Lula finally woke up in September 2026. The increase in Bolsa Família benefits, after four years of being frozen; the announcement that anti-obesity drugs would be offered through Brazil’s public health system; and the ban on online betting showed that the state has the power to act decisively on behalf of the majority when those in government are willing to confront obstacles. The huge marches that closed the campaign in Fortaleza, Salvador, Rio de Janeiro, and São Paulo on the eve of October 4 showed how such initiatives can mobilize activists and the broader public. But it was too late—and too little to change the outcome of the first round. History has not ended The possibility of a turnaround in the three weeks leading up to November 25 cannot be ruled out. It will not be simple or easy. Lula must not only make up a deficit of 2.2 million votes; he must also offset the movement of voters who backed other right-wing candidates in the first round, most of whom are likely to move toward Flávio Bolsonaro. Pulling that off will require a broad, grassroots effort to win over voters, potentially reinforced by new initiatives from Lula. The coming hours and days will be decisive. If Bolsonaro’s movement also wins the presidency, the result will create a high-risk situation for Brazilian sovereignty and democracy. The enormous challenges posed by such an outcome would require the left to reexamine, in depth and with a genuine willingness to engage in self-criticism, its political projects—or its lack of them—and its practices. But would that mean we are condemned to the long winter of far-right hegemony that some analyses are beginning to forecast? It is far too early to say, suggests a recent text by Álvaro García Linera, the thinker who served as vice president of Bolivia under Evo Morales. His central hypothesis is that this political current will prove short-lived. At a moment when the entire world is once again talking about sovereignty and protecting national economies, the far right offers a stale, recolonizing neoliberalism. Its submission to the United States is as blatant and pathetic as Flávio and Eduardo Bolsonaro’s overtures to Donald Trump. Its project amounts to something like every man for himself: greater inequality, capitalism without limits, devastation, and supremacism. Will it work? In the United States, just two years into his second term, Trump himself is reaching record levels of unpopularity and may be on the verge of losing Republican control of both the House and Senate in November. Every new beginning is difficult. Whatever the outcome of the second round, the defeats of October 4 show how profoundly the Brazilian left will have to rethink and rebuild. But just as it would be foolish to underestimate the seriousness of its mistakes, it would be equally foolish to conclude that rebuilding a political project is no longer possible. History has not ended. The times are moving faster than ever. Originally published in Portuguese by Outras Palavras. English translation by Eric Blanc; I’ve added the subtitles. More We can’t stop the far right at home or abroad without a revitalized labor movement, which is yet another reason why you should become a sustaining supporter of the Emergency Workplace Organizing Committee (EWOC) — one of US labor’s pivotal bright spots. Relatedly, Jacobin published a short piece of mine reflecting on a decade of Bernie Sanders inspiring a whole new generation of young worker organizers.
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Who Won August and September: Original Films or Franchises?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) I just heard someone say that if you’re reading a pundit or data analyst, and they don’t tell you that they got anything wrong, they’re not a pundit but an “influencer”. I agree with that. You have to tell your audience when you get things wrong, or they won’t (or shouldn’t) trust you as much. Today, we’ve got another edition of “What I Got Right, What I Got Wrong”. In general, I’m patting myself on the back (and patting very hard) about a few things like IP at the box office, LIV golf, horror films, crowdfunding movies, superheroes, and old people going to the theaters. That said, I also made a couple of data mistakes on the streaming bubble popping and HBO’s datecdotes, so I’m not perfect. But first, I need your feedback... Subscribe Follow-Ups: What Should We Call Mid-Budget Movies Which Aren’t Cinematic Enough for Theaters But Are Too Expensive to Make Money on Streaming? After I asked for feedback on what we should call straight-to-streaming films that are too big to pencil out on streaming but not really big enough to resonate in theaters, I got some great suggestions from you all, including... “Moldilocks” from John Aboud “Little Big Indie” from Travis Frick1 “Midflicks” from Jonathan Funke. “Extra-Medium” from Jona Nwuke. (Read the explanation in the footnote.) Between these and Brandon Katz—who suggested “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”—we’ve got some excellent suggestions. And they’re better than my suggestion, the “Streaming Budget Dead Zone”, so let’s take a poll! The winning entry becomes the new term. Loading... RIGHT: LIV Golf is Fully Bankrupt…Is Anyone Else Next? A few years ago, I was always a bit perplexed at all the articles I’d read praising LIV Golf and their strategy to disrupt the PGA. LIV Golf, a brand new professional golf league, offered PGA stars ten times what they made on the PGA Tour to join their new league. And folks praised this strategy for its initial “success” in that a lot of big names did indeed leave the PGA. Yeah, of course the players came over. LIV Golf paid them so, so, so much more! But LIV Golf hadn’t discovered a way to increase potential revenue. So think about this in basic business terms… They paid much more in costs… …but had no real way to increase revenue. That’s not a strategy! That’s deficit financing. It won’t work unless you bankrupt the competition (and then turn around and pay those same golfers much, much less). It’s not a sustainable strategy and only lasts as long as the company/person/nation backing it decides they’re cool with losing money. For LIV Golf, that meant Middle East oil wealth, in particular Saudi Arabian money. Clearly, the current Iran War has hurt Middle East finances, so they need to trim their more exorbitant spending. And LIV Golf was part of that trimming. This should be a major warning for others. TGL’s parent company, TMRW Sports, just got a $1 billion valuation, despite TGL’s (the indoor golf league) horrible TV viewership of less than half a million viewers per match. Unrivaled, the women’s basketball league, just secured a $650 valuation, despite its horrible TV viewership and a new rival (Project B) entering the scene next year. To relate this to streaming, Hollywood should ask which streamers may have wealthy patrons funding their losses. (Let’s be clear: Google, Amazon and Apple.) Could those patrons lose their appetite? For Amazon, probably not. But Apple has a new boss, so maybe! WRONG: My Analysis of the Streaming Bubble Was Missing a Week I’m going to be congratulating myself a lot today, but I make mistakes too, like this data goof. When I last compiled the data on the decline in TV shows, I was missing one week at the end of June. If you look at the first image, you can see that one week was mislabelled as “July”. Mainly, this image got updated to show a 27% decline, not 29%: This change doesn’t really impact the overall analysis, but it is two percent better. By the way, through the third quarter, the decline increased and it’s now a 30% decrease since 2022. (I’ll write/visualize this in an upcoming article.) But I want you to trust me and my data. Especially these days, when many people are using LLMs that I know are inserting faulty data into their charts, I want to keep earning my audience’s faith. So that’s the accurate data. RIGHT: IP Remains Very, Very Popular In July, I wrote a giant (and I mean giant) article on Backrooms, Obsession, and the box office, going over what we know, what we don’t know about what works in theaters, looking at YouTubers, IP, the horror genre, comic book movies, and a whole lot more. The month of August really tested a lot of my theses and, being honest, mostly supported my arguments. Let’s start with IP. Looking at 8-Aug (the weekend after Spider-Man: Brand New Day came out) to 18-Sep (the weekend that Resident Evil came out, which I think provides a nice bookend to this time period), there were seven films based on pre-existing IP: Resident Evil (2026) ($126 million) Practical Magic 2 ($65 million) _Insidious: Out of the Furthe_r ($65 million) Coyote Vs. Acme ($59 million) Paw Patrol: The Dino Movie ($53 million) Tony ($15 million) Super Troopers 3 ($7 million) Compare those to the notable original films from the past month—I actually could have included more movies, but here are just thirteen, bringing us to an even twenty films—including.... The End of Oak Street ($54 million) Buddy ($26 million) Mutiny ($15 million) By Any Means ($15 million) The Dog Stars ($14 million) Runner ($14 million) One Night Only ($11 million) Hope ($8 million) Spa Weekend ($7 million) The Uprising ($6 million) Teenage Sex and Death at Camp Miasma ($6 million) Onslaught ($3 million) Eli Roth’s Ice Cream Man ($2.8 million) Here’s that in chart form: Five of the top six films in this time period were all based on IP. I made a big chart of films that grossed over $200 million at the box office before Spider-Man: Brand New Day and The Odyssey hit theaters. Let’s update that chart! By the way, if you want to see how I categorized each film—so another bar chart—here it is: I know that many of my fellow critics/pundits/analysts dislike films based on IP and how Hollywood is making so many of them. And I’m sympathetic to this point of view. As I’ve written many, many times before, you need a balance between existing franchises, new IP, and original films. And Hollywood clearly needs to make more films like Resident Evil (a well-made film from a visionary director) and fewer Practical Magic 2’s (which didn’t get critical or customer buzz). But at some point, critics and pundits need to contend with what audiences are telling them: Movie-goers aren’t showing up to original films. Audiences are speaking with their dollars, telling you they want more IP and franchises. You can try to convince studio heads to make fewer IP-based films and franchises, but the data and numbers aren’t there. Instead, critics need to work harder to convince audiences to show up for original films. Aim your ire/concern at the average person, not studio heads.2 Because they’re just making the films that audiences are telling them to make. WRONG: Original Horror Films Didn’t Break Out I’ll be honest, even though I wrote an article casting some skepticism on the horror genre in July, if you asked me to make a prediction, I would have predicted that, in August, a new, original horror film would have blown up. No, seriously, I just assumed that Obsession and Backrooms presaged a change in audience behavior. But none of the buzzy new original horror films from August—Teenage Sex and Death at Camp Miasma, Onslaught (not an action film in spite of the ads), The End of Oak Street, Eli Roth’s Ice Cream Man, or _Buddy—_broke out. To be clear, exactly one of those films (Buddy) had good “ROI”, but again—I try to be specific in my language—none were “popular” in any broad sense of the word. None of them will be “saving” movies theaters like Backrooms or _Obsession_helped save the summer. The new Insidious film and Resident Evil, both based on IP, were far and away the biggest horror films since July. (We’ll see if this changes in October/Halloween season.) RIGHT: Stay Skeptical about Crowdfunding... I’ve long been skeptical about crowd-investing platforms as one of Hollywood’s saviors, mainly because there’s so much hype/buzz. People need to stay more skeptical about more things, explaining both the potential upside but also the downsides. In particular, the media often hypes crowdfunding at the start and never checks in on the actual results after they’ve come in later. And August gave us our first update! _Ice Cream Man—_directed by Eli Roth—grossed $6 million off of a $5.5 million budget. This is a production of The Horror Section, which was one of the first “crowd investing” studios with 2,400 investors, which means that 2,400 investors probably lost money. They certainly aren’t getting as great of returns as if they had just invested their dollars in the stock market. Hopefully Stiletto (Tagline: “Someone’s Going to Make it Rain Blood!”) does better next month. WRONG: Another Data Goof Here’s another data error. When the first episode of House of the Dragon came out, HBO put out that it had 21.5 million viewers in the first three days, and I read that to mean in the US…but no, it was global. So my US-only datecdotes charts shouldn’t have included it. We never got US-only numbers for the first episode, but for the final episode, HBO put out that it had 11 million US viewers. (And that global dropped to 21 million viewers.) Here’s the updated chart (which I’ve since used in the Streaming Ratings Report): Still, this show is absolutely huge. RIGHT: Superhero Films Remain Very, Very Popular After Supergirl flopped, I read a few takes that “comic book movies are going the way of the Western”. Post-Spider-Man: Brand New Day, that take didn’t age well. To be fair, I have a very nuanced take on the superhero genre right now; it’s down right now, for a lot of reasons. But it’s not “dead”. Maybe _Spider-_Man is just a really popular character? I saw that take, and it’s a fair counter-argument. (But pundits arguing that superhero movies were dead should have mentioned this $1.5 billion counter-argument…) But is it just Spider-Man? The next Avengers film already has $50 million in pre-sales (and I was skeptical that that film would do well) and the Avengers: End Game re-release topped the box office two weekends ago (over three original films). And I wouldn’t bet against Batman or Superman. So maybe it’s just Spider-Man, Batman, Superman and the Avengers. Oh, and Deadpool, of course. And Black Panther. And Wolverine. And probably the X-Men. Plus a well-made Wonder Woman or the Hulk film could break out. But that’s it! It’s just those ten characters/teams. Oh, what’s that? Lanterns is also doing well on HBO? (See previous section…) To be fair, I’m actually pretty sympathetic to the argument that more popular characters—like Spider-Man and Batman—anchor more popular films. In fact, I made that exact argument three years ago when I first wrote about the “Marvel-cession”. In many ways, you can blame The Guardians of the Galaxy for fooling Marvel Studios (and the rest of us) into believing that any character could pop. It turns out, the list of iconic characters is probably smaller than most people think. But it’s probably too early to say that superhero films and comic book movies are dead unless “death” means a slight decline over a longtime. RIGHT: Who Killed Theaters? Old People I get frustrated whenever I see headlines or analysis about how young people are “returning” to theaters. As I’ve detailed(for years), young people have always powered the US box office, despite narratives about “kids these days” and their “phones”. Really, what’s changed post-2020/pandemic is that old people aren’t going to the movies nearly as much. This summer, I saw a movie (from an older director) in a theater near a retirement community, and multiple older people at the theater were talking about how this was their first time seeing a movie in years. I dislike personal anecdotes, so YouGov can fill in the data, best summarized by this headline: “Who killed movie theaters? Not the youths”. According to them, 64% of people aged 18-29 have seen a movie in the last year, but only 30% of 65-and-older. 20% of 18-29 have seen a movie in theaters in the last week and 42% in the last month. Here’s the polling data: Most concerning? Many Americans (17%) think theaters are a worse or much worse experience than watching films at home. Slight WRONG: Hadestown Opens Big A live theater capture of the Broadway musical, Hadestown, made $20 million at the US box office, which begs the question: was I wrong to be skeptical about musicals a few years ago? Yes and no. On the one hand, $20 million is a far cry from being “popular”, so yeah, the genre isn’t that popular overall and Hadestown is one of the more popular musicals from recent years (i.e. the “Taylor Swift Data Fallacy” in action). On the other, I doubt filming this cost all that much, and I don’t think that they spent much on marketing, so this is a good source of ancillary revenue. Smaller Updates WRONG: As I mentioned in a Streaming Ratings Report, I underestimated the budget for Enola Holmes 3. It probably cost more like $50 million, if not more. But... I’m not sure that it really matters? At sub-10 million hours, prices have to come down to make this work. WRONG: Netflix is giving Ink a 27-day in theaters! To quote the kids/YouTubers these days, let’s go! Now I might actually have a chance to see Danny Boyle’s latest in theaters. I’d complained about this in a “Coming Soon” section, but I was heartened to read that Netflix is giving multiple films longer theatrical windows this year. RIGHT: Netflix is sending 4-5 films per year to theaters. Netflix is slowly but surely sending more and more films to theaters, as I cautiously predicted earlier this year. For now, it’s just three big films and a number of awards contenders, but still, this is great news. And they’ll be releasing box office grosses! Just this week, Ted Sarandos confirmed that KPop Demon Hunters 2 will come to theaters (and my guess is it performs in the box office top ten at a minimum). WRONG: Angel has 3 million subscribers! How do I know this? Well, they told Deadline, who reported it. I marked this as “wrong”, since they’ve doubled their subscribers in one year but, you know, they don’t really have a hit film to speak of and they’re still losing money. WRONG: Furious was only renewed for one more season. I accidentally wrote “two more seasons” in my latest “Renewals, Cancellations, Un-Orders and Removals Update”. RIGHT: House of David is ending with its third season. In July, Prime Video renewed House of David for a third season, as I just wrote in my latest “Renewals and Cancellations” report. Well, now it’s ending after that third season. Why? As I’ve been writing, its viewership wasn’t great. I got feedback that this show didn’t cost very much, but it cost enough that its limited viewership didn’t save it. WRONG: Adults was a Hulu original! So I missed Adults when it first came out last year; I saw that it aired on FX and just assumed that it was a linear-first program. Turns out, it aired three episodes on FX, but binge-released the rest of its episodes the next day on Hulu. Huh. So I should have covered it last year! But I just wrote about it. 1 “When I was a kid in the 90s, if you wore a t-shirt to school that wasn’t too big and also wasn’t too small, but somehow didn’t quite fit, we’d say you were wearing an “extra-medium” shirt.” 2 As always, a huge exception is Disney, which barely makes anything original anymore.
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