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Sun Belt Week 7 Biggest Matchups
Another fun week of Sun Belt football is approaching, and there are certain matchups that can have big implications down the road. Georgia State has been the biggest surprise in the Sun Belt, and a victory over James Madison could do wonders for its confidence. Troy and Louisiana is a marquee matchup for the West …
After a rash of burglaries at South Side establishments, Black business owners are wondering: ‘Why us?”
Business owners are coming together and demanding tighter security after a rash of burglaries targeting Black-owned businesses on Chicago’s South Side.
John Goodman explains why Robin Williams had to ‘remain to himself’ when they worked together
“He was just a wonderful man, and so much fun,” Goodman said.
What can AI do for me? The Wilson Science & Technology Forum has some ideas
AI IN THE GARDEN…AND OTHER PLACES On Sept. 11, Walter Hubbard, president , PCQuickhelp, spoke at the Jenks Center in a hybrid meeting of The Wilson Forum. He asked “Have you ever wondered: What can AI do for me?” Or maybe “I sure would like some ideas for my garden?
007 First Light gets Nintendo Switch 2 release date, first trailer, GoldenEye suit
After months of wondering about 007 First Light on Nintendo Switch 2, IO Interactive just announced a March 18, 2027 release date and dropped a specific trailer for the console. Additionally, a new GoldenEye has been revealed, which is a callback to GoldenEye 007 on the N64. This will be made available as a pre-order bonus. Today’s trailer also offers...
Rétromobile NYC Will Bring The Wonderful Emotions Of The World's Best Car Show To America
We spoke to Gérard Neveu, CEO of Rétromobile New York, to find out how the inaugural U.S. event will capture the magic of the Paris show.
When 1 + 1 = 1: The Miserable Math Behind Many Media Mergers
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) The last few issues of this newsletter have circled two topics: September’s streaming viewership and all the Paramount/Skydance/Warner Bros./Discovery merger news. I’m happy to say on the Streaming Ratings Report front, we’ll be all caught up by early next week, then the SRR will come out on a tight weekly schedule. Then, after today, I’ll have slayed my PSWbD dragon. It’s such a big story, it demanded multiple issues. With the announcement of a name (just Skydance) and executive team, though, I think we can almost close the book on this story. In terms of topics, it becomes just another studio to cover. So today, I have one last set of takes on that merger. As I’ve sat with it, reading about who was staying and who was going, a big worry crystallized in my brain, and I gotta get that take out. Plus, I still owe you a host of “ugliness” that didn’t fit in my previous “The Good, The Bad and The Ugly” takes. Let’s dive in! Subscribe Most Important Story of the Week - As Paramount Shuffles Deck Chairs, Will They Build or Consolidate? On social media—I try to avoid most social media platforms, but sometimes I end up checking in—the best joke I saw about the announcement of the new name of Skydance was from fellow reporter Claire Atkinson who pointed out… Yeah, I laughed out loud at that one. Later, though, I saw another Twitter response (that later got deleted, so I can’t shout the person out) that did give me pause. The person noted that the Titanic film made the better analogy: a super expensive project everyone in the town doubted that went on to conquer the globe. So yeah: on one hand, the image of the Titanic recalls the actual ship and its infamous end, but that clip is from a movie which proved the doubters wrong. So for all the skepticism of the latest massive media merger, one could wonder which way this one goes. Does it crash like the Titanic or rise to glory like Titanic, the movie? Either way, this deal is “Titanic”, looking at the massive debt required to close the deal, which is not going well when it comes to borrowing costs for Paramount… …or borrowing costs for Oracle. But I’ve started to get worried about another outcome: the sum of this merger will be smaller and weaker and less profitable than its former parts. In other words, one plus one won’t equal three or two, but an even smaller number. Skydance paid to take a traditional studio off the board, but they won’t really capture the upside. Let me explain what I mean, but first, let’s look at the series of news that inspired this thought. Skydance Sets Its Leadership Team As soon as the Paramount-Skydance-Warner Bros.-Discovery merger closed, the new leadership team announced a new name—Skydance, which I’ll use going forward—and a new executive leadership team. You’ve probably read through all the executive shuffling, but if you haven’t, here’s a quick, incomplete summary, in rough order of importance: Mattel’s CEO Ynon Kreiz—who previously ran Maker Studios—joined as co-CEO with David Ellison. HBO/HBO Max’s Casey Bloys will stay and run streaming. Former head of streaming for Paramount-Skydance Cindy Holland—who was also at Netflix—will depart. The former heads of Warner Bros.—Pam Abdy and Mike De Luca—are out. The film studios will be run by Dana Goldstein and Josh Greenstein. George Cheeks of Paramount will run Skydance TV, controlling all the TV production units. In comic book news, the DC films will still be run by Peter Gunn and Peter Safran. Lastly, the head of CNN, Mark Thompson, will stay in place. Let’s quickly opine on the particulars before diving into the broad ramifications. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Who I like and dislike in their next gigs… Why I think this consolidation will likely leave Skydance worse off… The math behind which mergers succeed and which don’t… A lot more ugliness in this merger… And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
SMUD Museum of Science and Curiosity breaks ground on 'Wonder Works' expansion
The SMUD Museum of Science and Curiosity in Sacramento is breaking ground on a new space called "Wonder Works."
Chicago Cubs news— Cabrera, Shaw, King, Detmers, Gray
The Chicago Cubs are wondering what to do with Cabrera — mainly to stop his blister problem. And that might fix him.
With measles spreading in Lancaster County, could mumps and rubella be next?
With the number of measles cases escalating by the day in Pennsylvania, people may wonder will the other two diseases covered by the MMR vaccine – mumps and rubella –
The sharpest minds of world university sports meet in Liaocheng
Competition is underway as the best student chess and bridge players work to make their way to the podiums. The Liaocheng 2026 FISU World University Championship Mind Sports opened on the weekend with a captivating opening ceremony. The ceremony featured a wonderful performance that fully incorporated elements of the “Two Rivers” culture, displaying the vitality […]
Meta launches Muse Wonder series to rival Anthropic, OpenAI models
Meta unveils new AI models, Muse Wonder and Wonder Full, designed for complex tasks. It says it has caught up to rivals like OpenAI and Anthropic.
The SEC in a Sentence
It’s that time again, time to cram all that happened this weekend and will happen next weekend in the nation’a premier college football conference into a single sentence that will make our English teachers wonder what the point even was. It’s the SEC in a Sentence. It’s prettier than an Arch Manning interception, except when […]
Here's What Happened When Mike Love Rejoined the Beach Boys Onstage
Before the show, longtime bandmate John Stamos wondered if this would be the last time he performed with Love.
What will Skydance do with the industry’s most complex sports rights portfolio?
With the Paramount and Warner Bros. Discovery merger now complete, forming Skydance, many in the sports media world are watching and wondering what happens to the combined entity’s sports rights. Certainly, this seems like a good time to examine what the folks at Skydance Global Sports Group (now to be called SGSG forevermore) are, and…
GIA Hong Kong: Inviting the public to discover the science and wonder of natural diamonds
Behind the brilliant sparkle of every natural diamond lies a geological miracle formed deep within the earth over billions of years. To deepen public appreciation for these natural treasures, the Gemological Institute of America (GIA), the world’s leading authority on gemmology and creator of the 4Cs, is highlighting the scientific magic behind diamonds. GIA is helping enthusiasts, consumers, and industry professionals see natural diamonds in a whole new light while empowering the next generation of talent through its comprehensive educational programmes in Hong Kong.
COMMENTARY: Share turkey not politics this Thanksgiving
Thanksgiving is a wonderful time of year to reflect on life in general and to appreciate all the good things in it.
Why 'East of Eden' Star Christopher Abbott Looks So Familiar
Christopher Abbott’s latest 'East of Eden' role may have you wondering where you’ve seen him before. Here are some of his most recognizable roles.
24 Pop Stars Who Proved They're Just As Successful In Business
I'm already wondering what they'll do next.
KJ Apa talks finding Jimmy Stewart’s voice, recreating classic ‘It’s a Wonderful Life’ scene
KJ Apa talked to Entertainment Weekly about the new biopic ‘Jimmy,’ in which he plays Oscar-winning actor James Stewart, known for his distinctive voice and the all-time Christmas classic ‘It’s a Wonderful Life.’
According to Science, People Who Use Emojis in Texts Have Higher Emotional Intelligence
You probably do it without thinking. A thumbs-up after confirming dinner plans, a laughing face to soften a sarcastic remark, a heart slipped into a goodnight message. Emojis have become so woven into the way we text that most of us never stop to wonder what those tiny icons actually say about us. But researchers...
Ben Affleck shares rare insight into coparenting dynamic with Jennifer Garner: ‘I’m really, really grateful’
Ben Affleck reveals that he and ex Jennifer Garner have a ‘really wonderful’ coparenting dynamic, and devote their energies toward their three children.
Another Critical Role Actor Joins The Final Fantasy VII Revelation Cast As Shiva (But Not The Shiva You Think)
Hmm, wonder where all this chemistry with Vincent is coming from?
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.
NJ Health Commissioner Dr. Raynard Washington Leads Cooking Class at Harvest
New Jersey Health Commissioner Dr. Raynard E. Washington joined RWJBarnabas Health at Harvest: A Farm to Community Center where we joined a wonderful group of seniors for an interactive cooking class. Commissioner Washington and registered dietitian Alyssa chopped and mixed Rainbow Grain Bowls using colorful, nutritious, local Jersey-grown ingredients.
Apple Watch Series 12, Ultra 4 Owners Report Skin Irritation
Some Apple Watch Series 12 and Ultra 4 owners have experienced unexpected skin irritation with the new models, according to reports on the MacRumors forums and Reddit. Affected users complain of a burning sensation and redness under the sensor area. The Apple Watch Series 12 and Ultra 4 measure heart rate every five seconds, and some people have wondered if that's the cause of the skin irritation.
The Wonders Center & Science Museum's 3rd Anniversary Celebration
Nashville News, Weather, and Sports
Greensboro Science Center Winter Wonderlights
The magic of the holiday season is back! Winter Wonderlights, presented by Cone Health, returns to the Greensboro Science Center for Year 7, November 18 through January 3.Experience the wonder of the holidays surrounded by more than one million twinkling lights, handcrafted lanterns and the iconic g...
Greensboro Science Center Winter Wonderlights
The magic of the holiday season is back! Winter Wonderlights, presented by Cone Health, returns to the Greensboro Science Center for Year 7, November 18 through January 3.Experience the wonder of the holidays surrounded by more than one million twinkling lights, handcrafted lanterns and the iconic g...
Exclusive: Chelsea wonderkid attracting transfer interest as January decision made
Olutayo Subuloye is rising through the Blues’ youth ranks, and was recently named Under-21s captain
Why I Don’t Think Ride Or Die Should Have Been Cancelled (And What Company Should Save It...)
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) So…I recently came across a Reddit thread, talking about films on streaming, wondering why there are no reliable sources out there for streaming ratings data. Sigh. Honestly, as annoyed as I am that so many still don’t realize that we have streaming ratings, I somewhat get it. Until now, there was such a long delay between when a show or film came to streaming and when we got its viewership data; I understand why people were confused. (But, as you know, this just changed.) Also, even back in the day, how many people knew how well films did on television? Luckily, as a reader, you’re in the know. Okay, on to this week’s issue. I want to take a look at Prime Video cancelling Ride or Die and whether I agree with that decision. Overall, we didn’t have any breakout hits (no TV shows landed over 20 million hours according to Nielsen) but we have a lot of steady performers on the streaming charts. Plus, we’ll look at where $50 million in missing box office dollars went. (Spoiler: straight-to-streaming.) All that, plus new episodes of The Secret Lives of Mormon Wives, Supergirl heads to streaming, a new YA show does well on Netflix, the viewership for the Daily Wire’s $50 million fantasy show, what TV show hit-maker can’t make streaming hits, CD sales, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 7th to September 13th, 2026. You can find a link to my terminology here.) Subscribe Television - Ride or Die Is a Hit…But It Got Cancelled? What The Data “Says” I hate the phrase “here’s what the data says”, even though sometimes I find myself using it. If data just told us everything, we data folks would be out of a job! Data is often messy, complicated and nuanced. When it comes to strategy, many of the best decisions can’t actually use “data”, since it’s vastly too complicated to model. Anyways, I’ve been singing the praises of Prime Video’s Ride Or Die this summer, a show that did very well for them. And yet…it got cancelled. Now, usually when a show gets cancelled, a bunch of websites say “a hit show got cancelled”... Here’s the thing, though: in this case, they’re right! The data “says” that this show was a hit. Specifically, out of 522 first seasons to make a week on the Nielsen charts since 2020, it’s the 75th biggest. On Amazon, Ride or Die is eighth out of 41 first seasons: That’s top 15th percentile all time, almost exactly, which is my definition of a “hit”! I mean, outside of Reacher, Amazon needed a hit this summer! (Admittedly, Off Campus did well for Amazon in the spring, but Ride or Die performed even better.) So what happened? Why did Amazon cancel one of their rare 2026 bright spots? Well, Deadline reported a reason—which I’ll get to—but I’d break it down into three relevant questions: What is a given streamer’s reasoning? Is that reasoning sound? Could the stated reason not be the real reason? According to Deadline, Amazon felt the show “over-indexed” in middle-aged women. (This was based on leaks from within Amazon.) The logic is this: Amazon already reaches this demographic because of unlimited two-day shipping bundled with Prime, so they don’t really need more shows like this. Now, it’s my job to ask if that’s a good reason, and I’ll be honest, in this case, I don’t think it is. Sure, this show may “over-index” in middle-aged women—I’ll just assume that’s the case here—but I think folks often oversell how important over-indexing actually is. When a show is a “hit”, it isn’t a bit bigger than its rivals; it’s usually multiples bigger. For example, Elle only made the charts for two weeks at 8.3 million hours each. So Ride or Die was 80% bigger in its first two weeks, and likely had a much stronger hold, with its terrific 13 million hours in week three. Ride or Die was nearly three times bigger than Sterling Point through three weeks too. And that means that _Elle, Sterling Point a_nd other Amazon YA shows need to not just over-index a little with younger women (assuming that’s who Amazon prefers over middle-aged women), but massively over-index. Otherwise, more people in that demo (and a bunch more besides) likely watched Ride or Die. (I’ll try to explore this concept more in a future article.) And don’t get me started on how Ride or Die did compared to a certain (very, very popular, possibly the world’s most popular) YouTuber’s reality show…which didn’t make the charts after its first week and likely cost much, much more than Ride or Die. All to say, Amazon-MGM Studios/Prime Video can tell reporters that this show didn’t reach the right audience, but that excuse feels weak to me. So this leads to the third question: could other reasons have come into play? Yes! Renewal or cancellation decisions rarely (I’m tempted to say “never”) boil down to one variable. At its simplest, it’s two things: budget versus viewership. But often factors like critical acclaim, ownership and, yes, personal opinion come into play. In this case, Amazon has a new executive running things, and this show isn’t owned by Amazon-MGM Studios (unlike Elle). And yes, it may not have indexed with the right target viewers, too. Likely all of those factors came into play.1 My guess is ownership ended up mattering most. Amazon doesn’t own Ride or Die. It’s actually produced by another major studio. Fortunately/allegedly, this show is being shopped around. I can think of one brand new CEO who should consider it for one of his two major streamers…especially if he wants to rebuild goodwill in Hollywood. His name is on this list of exec producers of Ride or Die… If David Ellison needs some goodwill—and he does—rescue this female-led show tomorrow and grab some good headlines for a day. The data justifies it. Quick Notes on TV We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How The Secret Lives of Mormon Wives latest season did on Hulu, post-controversy... Whether Supergirl soared on HBO Max... Why the box office is losing money due to the streamers... The viewership for the Daily Wire’s $50 million fantasy show... Updates on The Gentlemen, Lanterns, Outer Banks, King of the Hill and more... What former hit-maker has three streaming flops in a row... Whether The Mandalorian and Grogu popped in week two... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Oh man, we’re almost caught up! We just have two more issues, then the streaming Ratings Report will be coming out just two weeks after a TV show premieres! Next issue, I’ll be looking at the first two weeks of the NFL Thursday night games on streaming, a huge new spinoff, Reacher’s Neagly on Prime Video, and the latest edition of Monster: The Lizzie Borden Story on Netflix, the return of Slow Horses on Apple and MobLand (quietly one of their biggest shows) on Paramount+, and Dancing with the Stars on both ABC and Disney+. Plus I’ll take a look at animation for adults in 2026. The week after, a ton of movies are coming to streaming: Toy Story 5 on Disney+, Backrooms on HBO Max, Jackass: Best and Last on Paramount+ and The Breadwinner on Netflix, plus a Unabomber film on Netflix and a romcom on Prime Video. Woody Harrelson and Matthew McConaughey have a show on Apple, along with a game show inspired by Willy Wonka that everyone seems to hate. Long term, some crazy (but hopefully crazy like a fox) IP news. FX ordered a new Sons of Anarchy show from Charlie Hunnam, but it’s not about the biker gang. No, it features the show’s cast playing themselves in a new “meta-thriller”. Huh. And a lot of the cast is coming back. Next, Ryan Gosling is producing a Flintstones movie about a “grown-up Bamm-Bamm Rubble”. Also, huh. This one is in “early development” so we’ll see what happens. Both projects are based on IP, but also seem to have crazy takes on the IP, which I like.
James Gunn dispels Wonder Woman casting rumors while roasting Frank Grillo
James Gunn addressed the Adria Arjona-Wonder Woman casting rumors by roasting DC star Frank Grillo. ‘You don’t believe he doesn’t know anything? Exhibit A.’
Politics on Stage. Wonderful Life on Broadway. Jeremy O Harris to Mamdani: Call me. Stageworthy News of the Week.
On stage during the first week of October: Plays about the Epstein Files. Gun violence. Black women silenced. Complicity. Sexism. Homophobia. This seems an unusual burst of political theater even f…
What Holding Eye Contact While Someone Speaks Really Reveals About Your Psychology, According to Science
You are mid-conversation with a friend, nodding along, and suddenly you wonder: am I looking at them too much? Or not enough? Most of us treat eye contact like an automatic reflex – something we either do or don’t, without thinking twice. But researchers say the way you hold someone’s gaze while they speak is...
Where’s Blade? Fans wonder why Marvel Studios cutbacks seem to be landing on Black heroes
Mahershala Ali has said he’s moved on from the “Blade” reboot, making it another MCU project that’s fallen by the wayside. Black fans are asking whether Black characters are being purposely neglected and sidelined.
Demi Moore reflects on controversial ‘Striptease’ pay: ‘Why should I not get equal to what I deserve?’
Demi Moore is looking back on the controversy that flared up after she became the highest-paid woman in Hollywood for ‘Striptease,’ which left her wondering, ‘Why should I not get equal to what I deserve?’
Liverpool given price, blockbuster £40m deal can move forward
Liverpool have been told the price. Now a blockbuster deal can move forward for one of the biggest talents in world football.Liverpool want to sign wonderkids. That's unbelievably clear to everyone wa...
Whatever the motivation, Republican’s endorsement of Democrat deserves points for facts and reason
Since South Dakota’s Republican lame-duck Secretary of State Monae Johnson oddly endorsed the Democrat campaigning to replace her, voters reasonably might wonder: Is she for real? Even though she has ...
‘Brave from the beginning’: 20 years of Friday Night Lights – the sports drama that dared to be different
It launched the careers of Jesse Plemons and Michael B Drama, and let its stars improvise in a way that was fresh and new. This show about smalltown US football was confident, trailblazing – and wonderful
Jackie tribute video celebrates bald eagle's wonderous life
'Deeply loved and forever missed.'
Self-Care in the Chaos: Men’s Mental Health Meet-Up
The topic this month was “Self-care in the chaos,” and it couldn’t have been more appropriate given the days leading up to the meeting. Successful events downtown, a multi-school reunion…all bringing out the best in people. But overnight, violence had erupted for a group of teenagers, leaving the community wondering what happened. It’s the fourth […]
Afternoon Explorations at Roper Mountain Science Center: Your Thursday & Friday Ticket to Dinosaurs, Stingrays, and the Rainforest (2026–2027)
Have you always wondered how you can visit Roper Mountain Science Center? Afternoon Explorations! From September to May, explore on select Thursdays and Fridays.
There’s a Secret to Safeguarding Moms’ Mental Health. Or Is There?
Life's a breeze for new and expectant mothers, right? Their bodies "just know exactly what to do" to snap back after pregnancy. Having "a really consistent morning routine" works wonders. So does "remembering to slow down and breathe" and engaging in "open communication" with family and friends. Of course, none of these things can safeguard
Good science requires much more than evidence
Empiricists believe that scientific theories are true only if they make correct empirical predictions: if we can't verify these predictions, then there is no reason to expect that they tell us anything about reality. However, Professor of Philosophy at King's College David Kyle Johnson argues that this is mistaken. In response to Bas van Fraassen, who has written on this subject for the IAI, he argues that we have many reasons for believing a theory to be true, such as it being parsimonious and having large scope — qualities which have been used throughout the history of science as criteria for judging theories. In 2024, Princeton philosopher Bas van Fraassen wrote a short article for IAI News entitled “Science Does not Describe Reality: The Limits and Benefits of Explanation.” At the time, I was working on two projects (a science book and a Great Course) that, when completed, would (among other things) defend science’s ability to describe reality. I wanted to write a response to van Fraassen, but the projects demanded too much of my attention. But now that those projects are complete, I am in a position to explain the objections to van Fraassen’s thesis. Summarizing van Fraassen’s argumentIn a nutshell, his argument is this: What scientists do is make predictions based on theories and then invite others to test to see whether those predictions are borne out. “If theory T is right, result R should happen in experimental condition C.” Many think that running an experiment that shows that R happens in condition C is proof that theory T is true (and should be believed). But, van Fraassen argues, that R happened in condition C is only a reason to think that R happens in condition C. That’s the only observable, or empirical, result we can actually see, so that is all that we are really justified in believing. (The underlying theory that made that prediction still may or may not be true.) That is why he calls those who accept his position “empiricists.”Before I explain what is wrong with this position, let me explain what it gets right. What van Fraassen Gets RightFirst, a theory correctly predicting the results of an experiment is not, strictly speaking, “proof” that the theory is correct. The basic line of reasoning is this:If the theory T is true, result R should happen. Result R did happen. Thus, theory T is true.In other words:“If T then R. R. Thus, T.”This is a deductively invalid, fallacious mode of reasoning, called “affirming the consequent.” Those premises do not guarantee that the conclusion follows. “If I am in Pennsylvania, then I am in the USA. I am in the USA. Thus, I am in Pennsylvania.” Clearly that argument doesn’t guarantee its conclusion; neither does the above argument.However, science is not a deductive method of reasoning; it is an inductive one. And inductive arguments merely try to raise the probability of their conclusion, not “prove” them for certain. Thus, the fact that an experimental result doesn’t prove a theory is true is irrelevant; it’s not supposed to. That is not what scientific reasoning is about.___If the hypothesis that something exists clearly provides the best explanation for what we can observe, then the belief that it exists is what is rational.___Second, it’s also true that a single experimental result doesn’t provide enough justification to believe that a theory is true. Scientists do not come to a consensus about whether a theory is true by looking at a single experiment; they look at all the evidence to determine where the preponderance of evidence points. The mere fact that I am in the USA raises the probability that I am in Pennsylvania, but not nearly enough to conclude that I am in Pennsylvania. However, if I am also regularly encountering people wearing Eagles and Phillies hats and seeing advertisements for Founding Father tours, I probably am. In the same way, a theory successfully predicting the outcome of one experiment is not enough to conclude that it is true; but if a theory makes a wide variety of predictions that are all vindicated by multiple experiments, performed by many different groups and people, all actively trying to prove the theory false (which is what good scientific experiments are designed to do)—that is a good reason to conclude that the theory is true. In other words, if you repeatedly try to prove something false but can’t, that is a very good indication that it isn’t. The problem of underdeterminationIn reply, those whom van Fraassen calls “empiricists” often point to the “problem of underdetermination.” For any given theory that makes successful predictions about what happens in experimental conditions, there are countless other possible theories that make exactly the same predictions—and since they do, the experimental evidence in question is just as much reason to accept any of those theories as it is to accept our original one. Thus, the argument goes, we have no way of knowing whether our original theory is true, or one of the other “predictively equivalent” theories is true. SUGGESTED VIEWING How Occam's Razor changed the world With Johnjoe McFadden As an example of underdetermination, philosophers often offer this example. The evidence of fossils seems to provide reason to conclude that the universe is quite old; ancient fossils are what the “ancient universe” hypothesis predicts. But it’s also possible that God created an ancient-looking universe 200 years ago, complete with a “fake” fossil record for us to find, to make it look old. The existence of fossils is what that theory predicts too. So, the argument goes, the fossil record can’t be used as evidence that the universe is ancient; the fossil record supports the “200-year-old ancient-looking universe” theory just as much. The problem of underdetermination points out that, for any theory with supporting evidence, we could invent another completely different theory that predicts exactly the same evidence, and thus undermine that evidence’s ability to support the original theory.But this “argument from underdetermination” betrays a fundamental misunderstanding of what scientific reasoning is and how it works. To explain, let me use another rather strange (but very real and commonly discussed) philosophical thought experiment called “The Grue Problem.” The “Grue” ProblemSuppose I want to know what color emeralds are, so I observe a few, see that they all appear green, and form the theory that “all emeralds are green.” I thus predict that the next 100 emeralds I find will also appear to be green. And let’s say that happens, and so I thus conclude that my theory that all emeralds are green is true. Now, one might rightly point out that I don’t know for sure that all emeralds are green—I have not seen them all. Maybe some I haven’t found yet are blue. Fair enough. After all, we used to think that all swans were white, until we found some black ones. But let’s say that I go on a quest and collect every emerald in the universe—and, for the sake of the argument, let’s say I can do this, and can even know that I have every one of them. So, I collect them all, look at them all, and verify that they all appear green. Can’t I now rightly conclude that all emeralds are green?Inspired by the problem of underdetermination, a friend might argue that I cannot.Sure, they all appear green now—but there could be another kind of color called “grue.” Something is grue if it is green up to a certain point in time, but then spontaneously turns blue. And there could be an infinite number of “shades” of grue. Something that is one shade of grue will turn blue at noon today, but something that is another shade of grue will turn blue at noon tomorrow, etc. So yes, the emeralds appear green now; and since they haven’t turned blue yet, they are not some “past” shade of grue. But they might be some “future” shade of grue (e.g., they may turn blue at noon tomorrow). And since all future shades of grue are consistent with “being green up to this point in time,” the evidence you have is completely consistent with the notion that all emeralds are some future shade of grue, rather than green. Indeed, that they would appear green until now is what the “some future shade of grue” hypothesis predicts. So, we have just as much reason to conclude that all emeralds are some shade of grue as we do to conclude that they are green.You’re probably thinking “It’s not equally possible that the emeralds are grue; they are obviously green.” You are right! But explaining why your instinctive reaction to my friend’s argument is correct will help inform why van Fraassen’s “empiricist” is wrong and science actually does describe reality.The main mistake my friend makes is in thinking that the “empirical evidence” (of all the emeralds appearing green) is (or even should be) all I am using to draw the conclusion that all emeralds are green. It is not. I am also considering known facts about how colors typically work; things don’t usually change color, and when they do, they don’t do so suddenly, without cause, and all at once. So, even though the simple evidence of the emeralds all appearing green up to this point is consistent with them being some future shade of grue—that is even what the grue hypothesis “predicts”—it is still exceedingly unlikely that they are. The hypothesis that they are green is much more likely. Understanding science refutes the problem of underdetermination The misunderstanding about science that the “empiricist” pointing to “the problem of underdetermination” makes is similar to the one that my friend made. Science is not just about considering experimental evidence; in fact, it’s not even just about considering empirical evidence. As Ernan McMullin and many other philosophers of science have pointed out, the inference that makes science is “inference to the best explanation” (sometimes called “abduction” or “retroduction” by McMullin). While, depending on the circumstances, scientists use many different kinds of reasoning, science as a whole is, simply put, the process of considering multiple competing explanations and comparing them to certain criteria—explanatory criteria (the kinds of things explanations must be and do, by definition, to be a good explanation)—to see which explanation is the best.And these criteria do not deal only with empirical results. Yes, successful predictions raise the probability of a hypothesis, but it’s also the case that the more new assumptions a theory makes, the less likely it is to be true; every new assumption presents an opportunity for the theory to be false. (The fewer assumptions a theory makes, the simpler or “more parsimonious” it is said to be.) Likewise, the more existing evidence a theory contradicts, the less likely it is, because in order for a theory to be true, every piece of evidence it contradicts has to be somehow faulty. (The fewer established theories a new theory contradicts, the more “conservative” it is said to be.) And, obviously, the more something explains, the better explanation it is. (This is called having “scope.”) If a theory raises unanswerable questions, it’s not expanding our understanding, and thus is not wide-scoping. Scientists consider all these things when deciding which theory to accept, because the theory that adheres best to these explanatory criteria is most likely to be true.___the mere fact that a theory’s predictive success is why it “sticks around” or “becomes accepted” in the scientific community is not a reason to be skeptical about its truth.___The reason the grue hypothesis is no good is because it invents an entirely new kind of color—not just a new shade, but an entirely different category of color (a different way colors work)—and thus is not parsimonious. It raises unanswerable questions about how and why emeralds would just spontaneously change from green to blue (and thus does not have wide scope). And it contradicts what is already well established about how color works (and thus is unconservative).The theories that the problem of underdetermination points to do the same thing. Yes, the theory that God created an “ancient-looking universe” (complete with an ancient-looking fossil record) two hundred years ago is also consistent with the empirical evidence (of a fossil record) that presently exists; but that theory is monumentally unparsimonious (it requires many extra assumptions about infinite entities) and not wide-scoping (it raises unanswerable questions about why God would do such a thing). So, I can rationally conclude that it is false.Indeed, the history of science includes many examples of theories that were rejected because they lacked parsimony and/or scope, even before their falsity (and the truth of their competing theory) was confirmed by observation. As I point out in my book, geocentrism was rejected by the scientific community because it lacked parsimony, almost 200 years before the observation of parallax confirmed that the Earth moves around the sun. And the continuum theory of matter was completely rejected by 1860, because it couldn’t explain chemical reactions or organize matter into a periodic table, even though the experiments that eventually confirmed atomic theory weren’t even proposed until the 1870s. Solving the best of a bad lot problemIn response, the “empiricists” are likely to object, this time pointing to the “best of a bad lot” problem. “We have no reason to conclude that an explanation that has been shown to be better than others is true because we have no guarantee that the true theory was among those that we were considering.” If you have a “lot” (a collection) of poor explanations, even the best one is not true.The responses to this problem, however, are numerous. Peter Lipton argues that the set of hypotheses that scientists consider are not just randomly selected and thus unlikely to contain a theory that is true; they use existing knowledge to home in on what is most likely to be true. A doctor trying to explain abdominal pain is not going to bother wondering whether demons are causing it; they are going to stick with things like appendicitis and kidney stones, because they are most likely. Further, despite its name, inference to the best explanation is not just the process of comparing hypotheses and accepting the best one; we also want one that is a good explanation in its own right. If it’s not, we are going to keep looking until we find an explanation that is. And while that process does not guarantee that we will come across the exact truth, it’s very likely that the theory that emerges as the best will be at least approximately true, and thus we will be justified in believing it. And lastly, as I point out in my book, although many theories not based in scientific evidence (like geocentrism and continuum theory) have been completely overturned, science almost always progresses by the refinement of scientifically established theories—not their replacement. (Although our sun is not the center of the universe, heliocentrism was our first step in understanding the Earth’s true place in the universe.) So even if a theory we accept today may not be completely right, accepting it is a step on the journey toward the complete truth. The example of atomic theoryNow, it’s worth pointing out that most empiricists are not skeptical of all scientific theories; they are only skeptical of the ones that hypothesize the existence of “unobservables.” It’s not like they think that round Earth, heliocentrism, and germ theory are just useful (but untrue) “instruments” for making predictions about how to most efficiently navigate the seas, predict planetary motion, and treat diseases. They admit that the Earth actually is round, that the planets revolve around the sun, and that germs exist and cause disease. These facts and entities can be observed; the theories that suggest they exist are true. It’s only when theories start hypothesizing the existence of unobservables—like electrons, or quantum fields—that can’t be observed directly, that we should start doubting the theories’ truth. And to be fair to van Fraassen, in this published work, he doesn’t really say that we should doubt the truth of such theories. Only that scientific reasoning does not rationally force us to accept them as true. Skepticism, or agnosticism, he argues, is warranted. SUGGESTED READING Science is based in metaphor By Andrew Reynolds But the history of atomic theory throws a monkey wrench into that argument. Atoms used to be unobservable; again, scientists first accepted the theory that they exist because it had such grandiose explanatory power. But then atoms were seen with electron microscopes. They thus moved into the category of the observable. But this didn’t substantially change anything about what scientists were justified in believing; it certainly didn’t change any “atomic skeptics’” minds. It just confirmed what everyone already knew! If the hypothesis that something exists clearly provides the best explanation for what we can observe, then the belief that it exists is what is rational. The fact that the thing itself is not technically observable does not make doubting its existence rational.What’s more, the atoms were seen with an electron microscope. But electrons are themselves unobservable. How can an electron microscope reveal an atom if electrons are not real? This leads us to what is famously known as Hilary Putnam’s “miracle argument.” It’s (not) a miraclePhilosopher Hilary Putnam’s miracle argument is somewhat famous. Basically, he argued that a scientific theory being able to repeatedly make successful predictions—even about unobservables—without being at least approximately true would require a “miracle.” In other words, it would be such an improbable occurrence that it could not rationally be believed—the better explanation for why scientific theories about unobservables make the right predictions is because the unobservable entities and structures they hypothesize exist.Van Fraassen has addressed this argument. Indeed, in his original article, where he references Alison Gopnik’s point about orgasms not being “necessary for procreation” even though the desire for orgasm “drives the creation of progeny,” he is pointing to his own argument about how organisms are not naturally selected by evolution to get true beliefs; to the extent that belief-forming processes are selected for, the ones that are selected are the ones that are useful for survival—not the ones that produce true beliefs. In the same way, van Fraassen argues, scientific theories are accepted, not because they are true, but because they aren’t falsified; they make successful predictions; that’s what makes them “stick around.” So, the fact that they make successful predictions (and thus became accepted) is not a reason to think they are true.This argument is similar to C. S. Lewis’s “argument from reason,” which he used to argue against evolution: “The truth of evolution undercuts our ability to know that it is true.” Lewis’ argument famously failed; Elizabeth Anscombe, by Lewis’s own admission, demolished Lewis in a debate on the topic, and I have explained elsewhere why modified versions of the argument fail as well. In short, it’s because it fails to recognize that a belief-forming process can make an organism more likely to survive because it reliably produces true beliefs. It is therefore not the case that beliefs generated by naturally selected belief-forming processes are automatically false or unjustified.In the same way, the reason a theory “sticks around” could be because it’s not falsified, because it “makes correct predictions.” But the reason it makes correct predictions is most likely because it is true. (In pointing this out, I am echoing the arguments of Musgrave, Lipton, Psillos, and Kitcher, who refuted van Fraassen’s argument and analogy long before his 2024 article.) It would be a huge coincidence that it could do so without being true. And that is the point of Putnam’s miracle argument. Thus, contrary to van Fraassen’s suggestion, the mere fact that a theory’s predictive success is why it “sticks around” or “becomes accepted” in the scientific community is not a reason to be skeptical about its truth. ConclusionLet me close by saying something about the fact that empiricists don’t doubt the truth of all scientific theories, just the ones that hypothesize unobservables. In today’s society, this theory is dangerous to espouse publicly. The nuance between being skeptical about all of science, and just the highly technical theories about unobservables, is guaranteed to be lost to the average reader. And there is so much unjustified skepticism and doubt about the findings of science and experts that a headline like “Science Does Not Describe Reality” could easily fuel the anti-science movement, worsen climate change denial and cause the next pandemic.This is why I believe it was important to still respond to van Fraassen’s article, a full two years after he wrote it. Not only, as I have argued, does it represent a philosophically inaccurate view of how scientific reasoning works and what scientific reasoning can do, but it is a dangerous view to boot. It should thus be rejected.
Community Bridges built ECM to prevent health crises. Now the state funding is shifting and we have to close the program
California created enhanced care management to help Medi-Cal patients with complex health and social needs before they reach the emergency room. Community Bridges spent three years building a community-based program that now serves more than 200 people. But, Community Bridges CEO Ray Cancino writes, a shift toward encounter-based reimbursement is making the relationship-building, outreach and coordination that prevention requires increasingly difficult to sustain and Community Bridges will now be forced to close the program. Cancino wonders here the new payment model will actually save money — or simply move the costs downstream.
Selma business owner makes donation to Selma University
From the West Alabama Newsroom– A Selma business owner makes a sizable donation to Selma University — to support and promote business. Selma-U President Dr. Stanford Angion was all smiles — at a check presentation on the campus Wednesday morning. “It is really wonderful when you find hometown people who is giving back to help others who are coming along...
Meet the Wonder Gardens’ new CEO brings fresh plans
Sally Mulvena, new CEO of Wonder Gardens, aims to blend modernization with historical preservation while enhancing visitor experiences at this 90-year-old Bonita Springs attraction.
A modernized health plan: Supporting cost management and the employee experience.
By Tim Archer, Chief Executive Officer, UnitedHealthcare New England, October 1, 2026 The Surest health plan came from a group of innovators wondering: What if health care was easier to shop […]
Up and Atom: The science behind fall foliage
It’s that time of year when our trees go from bright green colors to a mix of yellow, orange and red. But have you ever wondered why leaves suddenly change
Debt service and the Pentagon. Private equity and the politics of the US housing market. The return of black lung disease & the Franco-Prussian War in color.
Thank you for opening your Chartbook email. RALPH BALSON. 1890—1964. Oil and enamel, signed. Source: Gavekal This going to hurt - the two 7s in the US: diesel and mortgage rates Source: Gavekal In the US housing market, costs are soaring and the role of corporate, private equity-backed buyers is high on the mid-term election agenda. HEY READERS, THANK YOU for opening the Chartbook email. I hope it brightens your day. I enjoy putting out the newsletter, but tbh, what keeps this flow going is the generosity of those readers who clicked the subscription button. If you are persuaded to click, please consider the annual subscription of $60. It is both better value for you and a much better deal for me, as it involves only one credit card charge. Why feed the payments companies if we don’t have to. Subscribe It is striking how, since 2020, big banks have dropped out of the political spotlight in the US. For contributing subscribers only. Subscribe Rates of the lung disease pneumoconiosis among working US coal miners have risen to levels not seen in nearly 40 years Source: Bloomberg Chinese Clean Technology Exports For contributing subscribers only. Subscribe Ralph Balson (1939) Portrait of Grace Crowley Cole, G. O. & Haseman, S. M., (2023) “‘The Substance of Paint’: Class and Materiality in the Work of Ralph Balson”, Open Library of Humanities 9(2). Ralph Balson (1890–1964) was an English plumber and house painter who emigrated to Australia in 1913 and subsequently became a key member of Sydney’s artistic avant-garde. He is credited with having the first solo exhibition of purely abstract painting in Australia in 1941. Despite his role in developing Australian non-objective painting, Balson remained principally a house painter, working on his art practice at weekends. In 1955 he retired on a state pension and became a full-time artist. Balson’s artistic education and methods were critically shaped by his working-class background. He did not travel abroad until 1960 and was an avid auto-didact. His materials, palette, techniques and compositional strategies were likewise informed by his trade. Balson’s profession as a painter-decorator made him conspicuous within the predominantly middle-class Sydney art scene, though his painting partner Grace Crowley considered it an advantage in their pursuit of constructive painting. This paper explores the impact of Balson’s trade on his trajectory towards pure abstraction. While his art was at odds with the predominantly figurative mode of class-conscious art in Australian Modernism, we argue that it is embedded in the experience of class through its creative adaptation of labour into aesthetics. Source: OLH Svetlana Alexievich, The Art of Oral History No. 1 Paris Review Issue 257, Fall 2026 Interviewed by Elena Kostyuchenko INTERVIEWER How were you able to go to Chernobyl? Did you need special papers? ALEXIEVICH It was a time of chaos. They let me right into the zone. … More than anything, there was confusion. Adamovich [Ales Adamovich, the Soviet Belarusian writer], I remember, persuaded Gorbachev to send in the scientists, who showed up without even bringing their shaving kits. They were told that there had been an explosion at a nuclear power plant, but for some reason they thought that they’d be there for only a day or two. The first time I went was several months later, and people kept telling me about things they didn’t understand—how the fishermen couldn’t find worms, because they’d burrowed deep into the earth, how the milk wouldn’t curdle at the cheese factories. The honeybees wouldn’t come out of their hives. The evacuations started, I think, in the first month. The old women hid, they wouldn’t leave. I mentioned radiation to one of them and she said, “I’ve seen that radiation, all right! It’s yellow with green in it. I saw puddles of it in my garden, and I told the other women, and we ran and looked, and she had it in her garden, and the other one, too!” God, it was wild, the way the mind made sense of it. There was a story going around about Gorbachev telling the scientists to show him the radiation. “We can’t, it’s invisible.” “But I want to see it!” I also ran into the soldiers who’d been flown in on helicopters from Afghanistan. I asked them, “What are you doing here with your machine guns?” They said, “We’re collecting the radiation, that’s what.” So you had some of them running around with their guns, others out in the village washing off firewood or burying soil in the soil. These were the kinds of things that exploded our worldview. They made you realize that culture was just a chest filled with old manuscripts. There were no books in there that could help me. Our philosophers turned out to be useless when faced with the unprecedented. Derrida, Baudrillard—philosophy fell silent. What was happening? How would we live with it? That’s when I decided it simply needed to be witnessed. Which is what I did. INTERVIEWER I wanted to ask about how you talk to people. … ALEXIEVICH Yes, we sit and we talk—about what interests me and about life in general. About love, about everything in the world. That way, what comes out is three-dimensional. If you cut straight to the part you need, which is what journalists do, it won’t be interesting, and it won’t be the truth, either. Not the whole truth. INTERVIEWER Do people always open up when you ask questions, or can questions get in the way? ALEXIEVICH You have to ask questions, of course. Your job is to scour away the banality and return people to their true selves, to make them face what they rarely tap into. With every new person, you have to find a new way to do it. When you ask an interesting question or you share what happened to you, you help people really think about what they’re saying and not just repeat whatever they’ve picked up from the newspaper. But not everybody is capable of it, not everyone wants to put themselves through that. Either the chemistry starts to kick in or it doesn’t. A person might be wonderful, but you can tell that the conversation just isn’t going to happen. You can try to push it, but it will be a product of your own intellect, rather than of that mysterious connection. Life doesn’t come from the mind. Some people I can call two years after our last conversation, and they’ll say, “Oh, Svetochka! I think of you all the time,” and we’ll start talking again. With others, that won’t happen. That doesn’t mean they’re not extraordinary people, just that you can’t connect with them. They might have some insight, but you don’t have the right antenna to pick up their signal. Source: The Paris Review Colorized Franco-Prussian war … the ruins of Strasbourg with a French photographer and his mobile dark room. Ralph Balson (1961) Matter Painting If you’ve scrolled this far, you know you want to click: Subscribe
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Newsom vetoes insurance-claim bills: Is it ‘petty’ politics?
This story was originally published by CalMatters. Sign up for their newsletters. Gov. Gavin Newsom vetoed two bills that would have helped improve the insurance-claims process for consumers but signed one that also addresses claims-related issues, leaving Los Angeles County fire survivors and others wondering whether the vetoes were retaliatory. One bill, Senate Bill 877, […]
Newsom vetoes insurance-claim bills: Is it ‘petty’ politics?
This story was originally published by CalMatters. Sign up for their newsletters. Gov. Gavin Newsom vetoed two bills that would have helped improve the insurance-claims process for consumers but signed one that also addresses claims-related issues, leaving Los Angeles County fire survivors and others wondering whether the vetoes were retaliatory. One bill, Senate Bill 877, […]
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Is metascience being co-opted?
In July, the White House released a report that argued academia is deeply dysfunctional and in need of radical reform.Science: A New Golden Age sets out a litany of problems many academics will recognise: interminable waits for grants; short-term funding rather than support for longer, more ambitious projects; ballooning administrative requirements; pressure to publish, and many more. “The scientific machine is getting bogged down,” it says. At least on the face of it, Science: A New Golden Age is a triumph for the metascience movement, a loose-knit, global group of academics, philanthropists and think tankers that want far more testing and experimentation in how we fund public research and innovation. The report tells US research funders to set up internal metascience units to do just this. But it has also set alarm bells ringing that metascience is being conveniently deployed to help justify the defunding of US universities, which US vice president JD Vance has openly labelled “the enemy.” “Just because you have an issue with your plumbing in your house doesn't mean you light the entire house on fire and burn it to the ground,” said Colette Delawalla, chief executive of Stand Up for Science, a group campaigning against what it says are attacks on scientists by the Trump administration. No one is arguing that academia doesn’t need reform, but there’s debate over how far and how fast the system should be shaken up. Does public R&D need slow and steady evidence-based adjustment, or radical new experiments?One of the key arguments in Science: A New Golden Age is that there’s not enough funding for what it calls “mid-level” science: engineering-heavy projects that require tens of millions of dollars, involve ten to a hundred people, and last around five years. Such a project might develop a brain-computer interface for people with Alzheimer's disease, for example. As such, the US National Science Foundation (NSF) has already announced $1.5 billion to set up so-called X-Labs, effectively new research organisations to pursue breakthroughs in areas such as quantum sensing and new scientific instruments. Funding divertedBut there’s a catch: this money has squeezed NSF budgets for more traditional, fundamental research grants, Science reported in June, likely meaning less cash for university-based scientists. Science: A New Golden Age also makes various swipes at universities, accusing them of extracting overheads from scientists to fund administrative bloat. “We have become dependent on a narrow set of legacy institutions,” it says. The report doesn’t mention it, but the US government is simultaneously seeking greater powers over federal funding, which would allow political appointees at funding agencies to screen or cancel research grants mid-project. The White House is also seeking to slash the NSF’s budget by more than half in 2027, although similar cuts proposed for 2026 were blocked by Congress. Convenient hookThis has worried some that the metascience agenda could be misused as a kind of smokescreen to further weaken universities. James Wilsdon, executive director of the Research on Research Institute at University College London, said that the report contains lots of “interesting ideas” and agrees that in places, academia is a “pretty broken system.” But the risk is that metascience is being deployed as a “convenient hook” to support cuts and a “political land grab” to transfer grant power from scientists to political appointees in US funding agencies.So far, the metascience agenda hasn’t been seized on by radical right parties in Europe. But Wilsdon worries it will cross the Atlantic, politicising research reform efforts and making them more difficult to carry out. The report is already making some in Europe sceptical of the entire idea. “The system is not without flaws, but the metascience discussion is not likely to improve the system but rather to generate munition to undermine it,” said Claes de Vreese, a professor of AI and society at the University of Amsterdam. Peter Thiel protégéOfficially, Science: A New Golden Age has just one named author: Michael Kratsios, the director of the Office of Science and Technology Policy and a former chief of staff to Silicon Valley mogul Peter Thiel. He also served as chief financial officer of Thiel’s Clarium Capital Management. Since the 1990s, Thiel has criticised US universities for moving away from teaching what he views as the classic works of western civilisation, and drifting towards “anti-Western zealotry.” And since 2011, he has offered two-year fellowships of $250,000 to young people to skip or drop out of university, and instead start companies or pursue scientific research. “College can be good for learning about what’s been done before, but it can also discourage you from doing something new,” according to the Thiel Fellowships website. In other areas, the Trump administration has promoted academics with a longstanding interest in metascience. For example, the head of the National Institutes of Health, Jay Bhattacharya, in 2020 co-authored a study arguing the funder backs overly conservative proposals, although he achieved wider prominence as a critic of pandemic lockdowns. Careless talk costs fundingEven before the Trump administration embraced the metascience agenda, some metascientists privately wondered whether they should be careful not to overstate dysfunctions in academia, in case this gets used as ammunition against universities. But others think being cautious with criticism is pointless. After all, last year, the Trump administration sought to cut funding from US universities on an entirely different premise: supposed antisemitism on campus. “I don't think these governments need a technical metascientific excuse to attack the universities, they will want to do so anyway,” said Will Stone, a researcher at Science Works, a new think tank advocating for a “metascience revolution” in the UK. “I think researchers should report what they find, even when the findings may be used to advance policies they disagree with,” echoed Russell Funk, a researcher at the University of Minnesota, who in 2023 co-authored a highly influential paper that argued scientific papers were becoming less disruptive over time. No justificationThat said, Funk thinks that metascientific research certainly doesn’t justify a weakening of universities. Instead, scientists need “time, resources and stability to pursue unfamiliar ideas,” he said. “Taking away those conditions works against the very goal the reforms are supposed to achieve.”The Institute for Progress, a Washington DC-based innovation policy think tank that has championed X-Labs and metascience units, also says that reforms should complement, not supplant, universities. “Unpredictable, unreliable, and reduced federal funding to researchers is destabilising to the very foundations of research and development and is bad,” said Jenn Gustetic, the institute’s director of metascience and R&D policy.Evolution or revolution?This points to a much bigger divide in the metascience community: how far and how fast should public R&D be shaken up? Does it need evolution or revolution? For example, Science: A New Golden Age says the science system relies too heavily on traditional “workhorse” project grants, the type that pay out around $250,000 a year to fund “hypothesis-driven science by small teams on tractable questions.” However, in criticising project grants, the report “decisively picks one side of a debate that is far from settled,” David Hilmer Rex, a metascientist based in Denmark, has written. In June, Pierre Azoulay, a metascientist at the Massachusetts Institute of Technology, defended project grants, saying that the alternative of X-Labs “merits scepticism.”A-B testingOne challenge in metascience is that it’s easier to generate evidence for some types of change than others. Most straightforwardly, research funders can run A-B tests on different ways of awarding money. For example, Germany’s Volkswagen Foundation recently trialled distributed peer review, where applicants rate each other’s proposals, and measured its results against traditional review panels. Distributed peer review made quicker decisions, although awarded money to largely different ideas. However, much of the focus of the metascience movement has been on founding fast-moving and free-acting new research organisations and funders, in contrast to the alleged stodginess of mainstream academia or public innovation grants. A culture of speed and freedom are the animating principles behind Germany’s Sprind or the UK’s Advanced Research and Invention Agency (Aria).Related articlesViewpoint: it's time to experiment with how Europe funds science European researchers sound the alarm that Trump rule changes will hit cooperationHowever, while it’s possible to closely study previously successful bodies, such as the US Defense Advanced Research Projects Agency (Darpa), for historical clues to their secret sauce, it’s impossible to guarantee in advance that the likes of Sprind or Aria will actually work as hoped. But advocates of new organisations say this inherent uncertainly shouldn’t stop us trying. “If we wait for definitive proof that something will work before we try it, I don't know where your proof is coming from,” said Stone. Trade-offsUp until now, experiments in metascience haven’t generally come with hard trade-offs over money. In the US, new ideas such as focused research organisations have often been funded by billionaire philanthropists. In Europe, new innovation agencies such as Sprind and Aria, or the Netherland’s new National Agency for Disruptive Innovation, haven’t needed explicit cuts elsewhere in the research system. But with the $1.5 billion establishment of X-Labs by the NSF, the trade-offs are becoming clearer. Some metascientists privately wonder whether a smaller pilot would have been more appropriate, given that the idea is untested. The Institute for Progress counters that the $1.5 billion X-Labs budget is spread out over a decade, so will account for less than 2% of the NSF’s annual budget. “It’s important to remember that [Darpa] was once an institutional experiment as well. Now it’s one of the most cited innovative funding models in the world,” said Gustetic.As for Europe?The US isn’t the only country placing metascience at the heart of its research strategy. Science: A New Golden Age looks admiringly at the UK, which in 2024 set up a Metascience Unit to scrutinise how it funds research. In Brussels, it’s more of a mixed picture. In 2018, the EU set up the European Innovation Council to funnel grants and equity to start-ups, although it’s sometimes criticised for awarding money too slowly. Recently, the council has started experimenting with challenges, where teams of inventors compete to overcome a technological challenge. The European Commission also wants to experiment with partially randomising grant winners, to cut down on bureaucracy. However, the Commission’s own advisers have said the EU’s own research schemes are too conventional. They want the Commission to establish a new dedicated unit to scrutinise and experiment with funding. But there’s no sign of a such unit emerging in Brussels’ plans for the next Horizon Europe programme, which from 2028 is set to distribute more than €160 billion over seven years. Sam Bogerd, director of breakthrough innovation at the Brussels-based Arq Foundation, an AI-focused think tank that also looks at metascience, says that Europe might have the opposite problem to the US: universities and basic research funding are still reasonably well supported, but there’s not enough experimentation. “We're not taking a close enough look at where this money can achieve the most, and I am worried that the good ideas around metascience will be tainted politically by their association with the Trump administration,” he said. He’s still lobbying for the Commission to set up an experimental unit. But in the meantime, the Arq Foundation plans to do its own research, and is currently hiring two metascience researchers to run the rule over how Brussels spends research funding.
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The Pulse Newsletter 📣 | This is The Athletic’s daily sports newsletter. Sign up here to receive The Pulse directly in your inbox. Good morning! Talk to your friends about EPA today. Coming up: 🔀 Vibe shift in L.A. 🤓 The WNBA’s spectacle 📕 We’re all football nerds Football season can be so fickle. Vibes can turn on a dime. Last week, we marveled at how the new-look Giants dominated the Cowboys in primetime. We wondered if New York’s ceiling could be higher than previously thought under coaching legend John Harbaugh. And we wondered if the Rams’ dream season...
How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
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