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Computational Models as Liminal Models in Neuroscience, a Cognitive Science Speaker Series Presentation | Events
Speaker: Danielle Williams, Ph.D. Title: Computational Models as Liminal Models in Neuroscience Short Bio: Danielle is a philosopher of mind and science whose research examines the role of computation in our theories and explanations of the mind and brain. Her work brings together philosophy of mind, cognitive science, neuroscience, and artificial intelligence, with particular interests in computational theories of mind, computational modeling, and the relationship between different explanatory and modeling strategies in the mind sciences. She also investigates philosophical questions raised by contemporary AI, including the nature of opacity in computational models and its implications for explanation in cognitive science. Alongside this work, she is a historian of cognitive science and AI, examining how the development of computer technology has shaped our conceptions and models of the mind and brain. Abstract: Scientists rely on various types of models to make sense of their phenomena of interest. This has led philosophers to take up a range of semantic, ontological, and epistemological questions about how models represent, what kinds of things models are, what we learn from models, and how they explain. One type of model that has been of particular interest to philosophers is the computational model. Computational models are commonplace in the mind sciences in general and neuroscience in particular, with many asking how computational modeling can help us understand the nervous system and its contribution to cognition and behavior. These questions are particularly pressing in neuroscience, as computational models have become a dominant framework for making sense of cognition. Thus, old questions about model-based science have re-emerged within the context of neuroscience, with many philosophers looking to established frameworks to understand how computational models represent, explain, and contribute to theory development in neuroscience. These established frameworks, however, characterize computational models as a homogeneous type which cannot capture actual modeling practices in neuroscience. In this talk, I argue that computational models in neuroscience are best typed as a kind of liminal model, a type I introduce to capture how the status of a computational model is determined by the epistemic context in which it is deployed. Indeed, the category to which a computational model belongs shifts according to the role it plays within a given context. ASL-English interpreters have been requested. Light refreshments will be provided.
What Is a Person, and How Do We Know?
The characteristics invoked in the abortion debate — consciousness, rationality, and intrinsic human dignity — function as recalcitrant facts for naturalism.
Disneyland Moving Our Favorite Holiday Season Entertainment as New Ride Construction Moves Forward
As construction proceeds for a new ride, Disneyland is moving a favorite live entertainment offering this holiday season.
Ubisoft plans cuts at German studios, adding to wave of workforce reductions
Ubisoft is planning to reduce its workforce in Germany, where it operates a trio of studios, by about 100 workers, Game File has learned. The company wants to offer employees buyouts to, should enough people accept, avoid having to lay anyone off. “In Germany, we initiated discussions with the Works Council last week regarding a proposed voluntary departure plan across Ubisoft Dusseldorf, Ubisoft Berlin & Ubisoft Mainz,” a company rep told Game File. A “works council” is a union-like group representing employees. “The voluntary plan is the primary measure being proposed to support the intended organizational changes,” the Ubisoft rep added. The company declined to confirm the scale of the potential headcount cut. Of the impacted studios, Mainz might be the best known to the public. It leads development of the Anno series and shipped the well-reviewed strategy game Anno 117: Pax Romana in November 2025. Berlin and Dusseldorf operate as support studios within Ubisoft’s creative network. Berlin recently supported the development of Rainbow Six Siege and the Rayman Legends Retold remake. Dusseldorf also contributed to those projects, as well as The Settlers and Ubisoft-branded escape rooms. Dusseldorf is the biggest of the three studios, with some 400+ workers, compared to just over 100 at the other two, a source familiar with the reductions and the teams told Game File. More than half of these new reductions of about 100 people are expected to happen at Dusseldorf. The planned cuts were announced at a town hall for the German studios on Tuesday of last week. In an email follow-up, the studio group’s managing director, Benedikt Grindel, said the cuts were intended to “best position our German studios for the future... with a clearer focus on their role, capabilities and organizational setup needed for the work ahead.” The email was an echo of the past. In January 2025, Grindel had emailed the Ubisoft developers in his region (or studio “zone”) to explain that a round of 185 cuts at the time, including about 65 at Dusseldorf, were “essential to improve our operational efficiency and ensure the long-term sustainability of our studios, the zone and the company.” A half-decade of continued job cuts Ubisoft has been aggressively cutting its headcount for years. At the end of September 2022, it had 20,729 workers. By the end of March 2026, that total was down to 16,590. Studio management is trying to trim costs as it grapples with a changing industry and a drought of releases, let alone hits. The company announced earlier this year that it had reduced its costs since 2022 by “nearly €325 million” ($362m) and planned to lower them through 2028 by another €180 million ($200m). In June the company said it was closing down its Winnipeg and Belgrade studios and cutting roles in its Barcelona team. Even commercial and creative success hasn’t spared studios from this ongoing company-wide contraction. As Game File was nailing down details around the proposed cuts in Germany, Ubisoft management was informing workers of cuts in its Singapore studio, which shipped a hit remake of Assassin’s Creed IV: Black Flag this past July. Some 70 positions in Singapore are being eliminated “to align the studio with upcoming production needs,” per a company rep’s statement to Game File. In early 2024, a large team in the Singapore studio launched the multiplayer pirate game Skull & Bones. It performed poorly but has been supported with regular content updates since. Many of Ubisoft’s studios around the world are heavily subsidized via regional grants and tax breaks. Singapore had been among them for years, but received no such local assistance in the 12 months ending this past March. News of the Singapore cuts broke today alongside word that Ubisoft is also proposing the closure of RedLynx, pending negotiations with officials. The Finnish studio behind the motorbike series Trials was founded in 2000 and sold to Ubisoft in 2011. As reported by VGC (and corroborated by Game File), Ubisoft management told employees it could not come up with a new, sustainable assignment for RedLynx. The 2025 workforce at Ubisoft Dusseldorf were straight-up cuts. This time, Ubisoft is hoping the reductions at its trio of German studios will largely come from workers taking a payout to leave. The company offered such voluntary dismissals at its Massive Entertainment studio (The Division) a year ago. For the German studios’ buyouts this time around, Ubisoft and the Works Council had discussed a formula that’d pay a worker’s monthly salary multiplied by 1.5 and by the number of years they’ve worked at the company, according to Game File sources. The formula is still subject to negotiations with the Works Council and has not yet been part of an official offer to workers. It could be adjusted up or down, and it could be supplemented with additional bonuses. Asked about the floated payout formula, a Ubisoft rep told Game File, “The terms of a potential voluntary departure program remain subject to negotiation with employee representatives. No final agreement has been reached, and we won’t comment on specific proposals while discussions are ongoing.” Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: Epic’s AI adventures Epic Games (Fortnite, the Unreal engine) is all-in on using AI to try to transform the way it makes video games and game-making tools. It’s leaders appear to be undeterred by any resistance among gamers and some game developers around generative AI—and instead emboldened by advances, particularly in AI-assisted programming. A recap of the last three days: On Monday, Bloomberg reported that Epic management told workers last week that development of an upcoming game combining Star Wars and Marvel characters would be “AI first.” Employees would be expected to use AI models such as Claude to code the game. A manager told Epic’s developers there would be “[n]o more hand-written code” and that art for the game would be “generated with full AI workflows,” per the outlet. Just ahead of that story running, Epic founder Tim Sweeney tweeted: “We have a huge pivot underway here at Epic, moving developers around to retool for maximum AI acceleration. The aim isn’t to do the same stuff with fewer people, but to enable everyone here to build MORE and BETTER stuff, and to bring the benefits to all teams using Unreal.” In a follow-up, Sweeney predicted that most game development processes would be at least three times faster a year from now than they were in January 2026, thanks to AI. To a person on X who told him he was failing to read the room, Sweeney said: “Much of the room wants it to be 2016 again, but it’s not. Our job, as the provider of tools and technology to much of the industry, is to design for the present that is and the future that will soon be.” On Wednesday, Epic announced it was releasing a faster launcher for its Epic Games Store marketplace. It did so by stating in a blog post as clear as could be that the launcher is an AI-enabled, vibe-coded project: Programming is hard. So, instead of doing that, we vibe coded a new Epic Games Launcher that’s way faster and more responsive than the current one, and has a new look. Programming is hard? That was unexpected phrasing from a company founded by a legendarily great programmer. Back in 2011, Sweeney told me that he’d picked up programming quickly as a kid and rejoiced at the power it gave him. “I could look at any program that anybody else had written and, with enough effort, build something cooler.” Item 3: The Xbox Labs experiment (and one of the people behind it) Microsoft’s Xbox division, which is flooding the zone with announcements lately, yesterday revealed a new internal tech-tinkering team called Xbox Labs. In the words of Xbox boss Asha Sharma Labs is “a small group of game makers, engineers and scientists whose job is to turn emerging ideas into things our players and developers can experience.” Conventional wisdom coming out of the announcement is that Labs is a team that’ll focus on ideas driven by generative AI. In her announcement, Sharma cited some of the dizzying achievements in tech and gaming over the past month as AI agents and other AI tools have been deployed to swiftly figure out how popular games work, then rebuild them and mix them up. She mentioned seeing ”games rapidly decompiled and rebuilt to run on hardware they were never originally designed to support” and said “[p]erhaps more surprisingly, we’ve seen many of the biggest games in the world have been remixed into the source code of another.” (Minecraft plus Elden Ring, for example, or Fortnite + Super Monkey Ball + Overwatch + Diablo + others.) Sharma also cited the work of Windows PC games being ported to run in browsers, a seeming reference to a recent AI-assisted fan port of Halo. Or perhaps Call of Duty or GTA. Sharma didn’t use the specific term “AI” in her memo, but she came close, citing AI “agents” and their potential for game-making tools that Labs could help craft: I think XBOX has an important role to play here. Coding became the first major workload for agents because they can write, run, and test software. Games share many of those same properties, and people spend more than 72 billion hours a year playing XBOX games, roughly five times the estimated time spent writing code worldwide. We’ve spent 25 years learning how to make great games, and I want our game makers to help shape what these new technologies make possible. As we learn, we’ll share the tools we build with developers across the industry, just as we always have. When I asked an Xbox rep if Labs was an AI-centric team, they said genAI was not the focus, describing it as having a broader mandate for using new tech in new ways in gaming. As an example, they pointed to Xbox’s recently launched disc-to-digital gaming usage rights program. Microsoft didn’t specifically name anyone involved full-time in Xbox Labs yesterday, but on social media and LinkedIn, I spotted Adrian Mato IDing himself as leading the creatio of tools at Labs and talking up the launch. Mato first caught my attention in late September, when he said on X that he was “starting to build a new team at Xbox focused on products and tools for how games get built and distributed as agentic tools become more capable.” At the time, he framed AI-based tools as a supplement to traditional game dev tools. “I don’t think we need to replace them,” he said. Since then, he’s publicly shown interest in AI and in games. He’s recently spent some of his X feed marveling at the power of AI agents and praising the lighting in the latest Gears of War. Following the Labs announcement yesterday, he enthused about the Xbox Labs’ stylish landing page. He wrote: “We built some fun tools to art-direct shaders in real time, experimented with interactive ASCII art, and sprinkled in lots of tiny details. “Move your mouse to leave a colorful trail that reveals the original footage, or interact with the video to trigger bursts of particles. “A lot of love went into making it all feel just right. “More to come”
Characteristics of Leadership: Micromanaging
Knowledgeable Alaskans share methods of effective leadership. This month: when micromanagers carry too much of the load.
How the Zelda Ocarina of Time remake changes the classic game’s script
At the start of the iconic 1998 Nintendo 64 game The Legend of Zelda: The Ocarina of Time, our playable hero Link wakes up in his tree cabin, heads outside and is greeted by his friend Saria. “Yahoo! Hi, Stotil!" she says. In other people’s copies of the games, she might say “Hi, Link!” or “Hi, Brick!” or use whatever other name the player was allowed to input when first launching the game. The more important point is that she starts with a “Yahoo!” In Nintendo’s 2011 remake of Ocarina of Time for the 3DS handheld, Saria greets Link with that same word. But for the 2026 Switch 2 re-remake of Ocarina of Time, out November 5, Saria’s salutation has changed: “Hello, Link!” she exclaims. There’s no “Yahoo” to be heard. Last month, in an official Nintendo video preview, Zelda series producer Eiji Aonuma described the remake as a “faithful interpretation using modern technologies.” Faithful means the gameplay hasn’t changed much. Dungeons, quests, and just generally what you do in the game doesn’t seem to have changed, not based on what Nintendo has shown nor the hour of the game I played in New York City a couple of weeks ago. The graphics have been overhauled. The controls have been tweaked. Players can now manually control the camera and make Link jump with the press of a button, both notable differences from the original 1998 design. But Link’s journey appears to take the same path, with the same obstacles in its way. The remake’s biggest alteration to Ocarina of Time that I’ve spotted so far just might be the script. About the game’s story, Aonuma said in September, “We’ve added quite a lot of new dialogue for the characters, so that their personalities shine even more.” Earlier this month, I played a chunk of the Ocarina of Time remake at a Nintendo showcase. In the game’s earliest moments, I made a point of talking to characters and recording what they said. I found the script to be more colorful, more natural in its phrasing, more careful to establish its characters, and certainly more wordy even with the removal of that one “Yahoo!”. I’ve got some very early-game examples, so you can judge the new writing for yourself.
Lena Dunham's 'Girls' is making a comeback — but 1 key character is missing from the announcement
The Emmy-winning show is returning for a limited run at HBO.
Beau Bridges shares promising “Matlock” season 3 update (exclusive)
“I think I’m getting out, and I think there’s probably gonna be a court case,” Bridges teased of his character’s fate.
Metal Detectorists Were Clearing a Deadly Minefield—and Found a 600-Year-Old Lost Weapon Instead
A 28-character inscription names the man who forged Korea's oldest known gunpowder weapon.
Backlash grows as 'World of Warcraft: Midnight' continues to represent the most painfully, miserably weak writing in all of Blizzard (12.1.5 SPOILERS)
I'm convinced Blizzard wants me to hate WoW: Retail, as backlash grows to one of its weakest character deaths in recent memory. Maybe ... ever?
'VisionQuest': Your guide to every AI character in the MCU's newest show
From J.A.R.V.I.S. to E.D.I.T.H., here's every "VisionQuest" AI you need to know, and where you've seen them before
Millard South’s Gustafson earns McAuliffe Prize
Christine Gustafson, a chemistry teacher at Millard South High School, was selected as the recipient of the 2026 Christa McAuliffe Prize for Courage and Excellence in Education. The College of Education and Human Sciences presents the award annually to a Nebraska teacher who exemplifies the character of McAuliffe.
Christine Baranski and Cynthia Nixon tease ‘The Gilded Age’ season 4: ‘Serious complications in the household’
‘The Gilded Age’ season 4 sees the characters dealing with some big changes. Christine Baranski and Cynthia Nixon exclusively share what’s to come for the HBO series: ‘She’ll do what she needs to do to save her and her family members.’
Angela Bassett and the “Wildwood” team discuss that high-flying chase sequence (exclusive)
“We hadn’t built much more than chickens, in terms of feathered animals, so an eagle was a huge feat,” Ollie Jones, Laika’s head of character and practical effects, tells EW.
“Baywatch” reboot trailer introduces Stephen Amell’s nepo-baby lifeguard and his own nepo-baby lifeguard
The “Arrow” alum stars as the son of David Hasselhoff’s OG character.
‘Baywatch’ reboot trailer introduces Stephen Amell’s nepo-baby lifeguard
Stephen Amell stars as the son of David Hasselhoff’s character in the first trailer for the ‘Baywatch’ reboot series.
Character.ai files for bankruptcy, citing legal and operational woes
Character.AI files for bankruptcy, citing legal headwinds
Character.AI filed for Chapter 11 to pursue a sale, while Disney offered $20 million for a licence to certain assets.
8 Must-Read Literary Science Fiction Books
These literary science fiction books with stunning prose and complex characters will give you a new perspective on what it means to be human.
'IvyBears' YouTube Breakout Hits Cannes, Spawns Animated Feature
From consumer products to character-driven series, IvyBears goes brand-to-content in a 'reverse flywheel' approach powered by AI and artists alike.
Trillions Of Particles Pass Through You Every Second. What They Are
Neutrinos have always fascinated scientists as they pass through everything that's there on the plant, like Marvel's fictional character Juggernaut (though not like a wrecking ball).
Don’t wait: Why I’m participating in LEAD Class 45
Gen Z Aggie: The Nebraska National Guard taught me that leadership isn’t about having all the right answers. It’s about having strong character.
‘Boy Meets World’ star Matthew Lawrence has spinoff idea for Jack and Eric
‘Boy Meets World’ star Matthew Lawrence has a spinoff idea for his character, Jack, and Will Friedle’s Eric.
Epic Games delays Disney game and tells developers to go "AI first"
Epic Games has delayed its upcoming Disney collaboration - a shooter featuring characters from the Marvel and Star Wars…
Hailee Steinfeld, Rashida Jones star in new 'Hexed' trailer
The character Billie appears in 'Hexed.' (Disney)
‘Play On!’ hits all the right notes
The English Renaissance meets the Harlem Renaissance in “Play On!,” a sparkling show that marries a loose adaptation of Shakespeare's “Twelfth Night” with the music of Duke Ellington. Conceived by Sheldon Epps, who also directed the original 1996-97 production (first in San Diego, then on Broadway), the show is getting a marvelous revival under his direction to open Chicago Shakespeare Theater's 40th anniversary season.While the title “Play On!” refers to the famous quote about music being the food of love and thus to the dozens of Ellington songs—among them “It Don’t Mean a Thing,” “Don’t Get Around Much Anymore,” “I Got It Bad (And That Ain't Good),” “Solitude” and “I’m Beginning to See the Light”—incorporated into the plot, one of the highlights for me is the clever way Cheryl L. West's book reworks the story. Apparently, it's also been updated for this outing, among other things to give the women more agency. In the big opening number (there's a six-piece, horn-heavy onstage band), aspiring songwriter Vy (Hailee Kaleem Wright) is the one to “Take the 'A' Train” to “Drop Me Off in Harlem.” She wants to meet the famous Duke (Edred Utomi) — Ellington, not Orsino, that is — and she seeks the help of Jester (an engaging James Harkness) to find out how. When Jester tells her in no uncertain terms that the music industry is a man's world, she disguises herself as Vy-Man and persuades the Duke to listen to one of her songs. He's suffering from a creative block because he's pining for Lady Liv (Krystal Joy Brown), queen of the Cotton Club, and convinces Vy-Man to bring the Lady the song as if the Duke had written it, promising to reward her with employment. Vy reluctantly complies, and the predictable complications ensue. Lady Liv is attracted to Vy-Man, while Vy is attracted to the Duke and he to Vy, though it disturbs him because he thinks she's a man. The fallout when the deception comes to light bodes ill—at least for a while.Here's where West's book cannily diverges from Shakespeare. Vy's twin brother Sebastian really is dead, so West devises another love interest for Lady Liv basically by rehabilitating the Malvolio character, here named Rev (Alan H. Green), the Lady's uptight, self-important manager. His unrequited love for her is magically transformed after he gets his comeuppance (minus the torture) from Miss Mary (Alanna Lovely), her honey Sweets (James Earl Jones II) and Jester, the stand-in for Sir Toby, who has romantic problems of his own with a woman named CC (Kaylah Janssen). In other words, Rev gets the girl — and also a show-stopping yellow zoot suit from costume designer An-Lin Dauber. All the costumes are dandy, though those for the men have more pizzazz than the women's day dresses. The bilevel, slanted scenic design by Beowulf Boritt brings 1930s Harlem to life in a slightly expressionistic way with the help of Adam Honoré's lighting and Ray Nardelli's sound design. Edgar Godineaux's choreography adds to the period feel, though there could be even more of it.Most of all, the leads have splendid voices, and the performances are terrific. Green's Rev and Harkness's Jester get my vote for comedy chops, and Brown's Lady Liv probably will stay with me the longest for her complexity and big blues number, “I Ain't Got Nothin' But the Blues.”
Brooklyn store responds to Kelly Clarkson once again, claims she was in their store for ‘5 minutes’
Clarkson slammed the shop on social media over the weekend, claiming they treated her “like Julia Roberts’ character in ‘Pretty Woman.’”
Characterizing the patient experience: The role of patient‑reported outcomes
Biological endpoints are essential, but on their own, they cannot tell the full story. To truly understand the value of a treatment and care surrounding it, we must also seek to understand how patients and carers experience it. This is where patient-reported outcomes (PROs) and observer‑reported outcomes (reflecting the perspectives of non-clinical caregivers) are becoming more prominent in clinical research.
Kelly Clarkson said she received 'Pretty Woman' treatment at NYC shop
Kelly Clarkson said she was treated like Julia Roberts' character in the '90s rom-com "Pretty Woman" when she visited a Brooklyn toy shop.
Why Samantha From Cobra Kai Looks Familiar
Cobra Kai has captured the nostalgia of a multi-generational franchise. But the characters are the only things viewers find familiar.
Republicans want Abdul El-Sayed to be the main character of the midterms. He's happy to oblige
Michigan’s Senate race has become a battle over Democratic nominee Abdul El-Sayed. Republicans portray him as a dangerous radical; El-Sayed responds by traveling across Michigan and meeting voters.
Republicans want Abdul El-Sayed to be the main character of the midterms. He's happy to oblige
Abdul El-Sayed, holding a handheld mic, slowly shook his head as a woman at his town hall described how she burned through her savings after undergoing emergency brain surgery.
Republicans want Abdul El-Sayed to be the main character of the midterms. He's happy to oblige
Michigan’s Senate race has become a battle over Democratic nominee Abdul El-Sayed.
Republicans want Abdul El-Sayed to be the main character of the midterms. He's happy to oblige
Michigan’s Senate race has become a battle over Democratic nominee Abdul El-Sayed.
Preschool boys favor bigger groups while adults' choices hint at political attitudes
Two cartoon characters appear on a screen. One belongs to a group of three, and the other to a group of two. Which character would you rather play with?
Mattel's latest play to counter slowing Barbie sales: Water parks
With Barbie sales slipping, Mattel is looking to its characters and games to build a new revenue stream: water parks. The El Segundo, California, company has been trying to find
Ohio political blogger found guilty in explicit Shrek meme trial
An Ohio political blogger let out a surprised laugh as he was found guilty of harassment after he sent an explicit digitally altered image of the cartoon character Shrek to a powerful lawmaker.
Fatal Fury: City of the Wolves DLC character Reina from Tekken announced
SNK has announced Fatal Fury: City of the Wolves downloadable content characters Reina from the Tekken series. She will launch in December.
Deep-sea scientists discover creature eerily similar to SpongeBob's friend plus dozens of new species: Photos
Deep-sea scientists discovers 57 new species, including one they compare to "SpongeBob" character Patrick Star.
A political blogger sent an explicit meme of Shrek to Ohio lawmaker. Now he’s on trial.
An Ohio political blogger had his first day in court Thursday, facing charges of harassment after sending a powerful state lawmaker an explicit picture of the cartoon character Shrek.
Ali Larter explains why she feels ‘so distant’ from her “Landman” character
Angela and Ainsley need to reunite STAT!
Political Blogger Accused of Sending State Senator Lewd Photo of Shrek is Headed to Trial Over the Incident
A political blogger in Ohio is headed to trial after allegedly sending a state senator a lewd picture of the animated children’s character, Shrek. According to a report from People, D.J. Byrnes is the...
Tekken 8’s Reina Teased as the Next Guest Character for Fatal Fury: City of the Wolves
Reina, who made her debut in Tekken 8, is coming to Fatal Fury: City of the Wolves. The announcement comes from a short teaser trailer from SNK Official.
‘The Social Reckoning’ review: A pale shadow of ‘The Social Network’
There’s a moment in “The Social Reckoning” when a character cites Antigone, John Proctor, “A Tale of Two Cities,” Gandalf and Chicken Little, all in the same sentence; in other
Inside 'GaryVee' Vaynerchuk's VeeFriends Empire: Comics, Characters, TV
From Resy to Empathy Wines, VaynerX chairman Gary “GaryVee” Vaynerchuk knows how to build a profitable business.
Fatal Fury: City of the Wolves DLC characters Manjiro Sano and Ken Ryuguji trailers, screenshots
SNK has released a new set of trailers and screenshots for Fatal Fury: City of the Wolves downloadable content characters Manjiro “Mikey” Sano and Ken “Draken” Ryuguji 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.
Pre Order Minecraft for Nintendo Switch 2
Minecraft for Nintendo Switch™ 2 launches October 27, and pre-orders are available now for the Standard Edition, Deluxe Collection, Ultimate Collection, and physical retail version. All editions include the Super Mario™ Mash-Up Pack with Vibrant Visuals, while the Deluxe and Ultimate Collections pile on even more goodies, including popular add-ons, exclusive Character Creator items, and Minecoins. Already own Minecraft digitally on Nintendo Switch™? A limited-time digital upgrade path lets eligible players pre-order the digital Standard Edition for free in most territories, or upgrade to Deluxe or Ultimate at a discount. So sound the trumpets, gather the puppies, blocks, and treats, and get ready for Minecraft on Nintendo Switch™ 2!
Science on Target: Q3 Research We Conduct
The Target ALS Global Natural History Study (GNHS) is entering a new phase of discovery. As the only international, longitudinal study generating deeply characterized clinical, genomic, and biofluid data to accelerate ALS biomarker discovery and therapeutic development, the GNHS is now beginning to deliver large scale datasets and resources needed to support new insights into […]
Abundantia Entertainment To Turn AI Arm AiOn Into Standalone Studio
cription (150 character max) India's Abundantia Entertainment is moving to turn its AI creative arm Abundantia AiOn into a standalone production studio.
Disney Believe Entertainment Guide: Shows, Characters & More.
What entertainment will be on the Disney Believe? We’re tracking all of the stage shows, character appearances, deck parties, kids clubs, and other entertainment coming to Disney Cruise Line’s newest ship. Disney Cruise Line’s newest ship, the Disney Believe, is preparing to set sail in late 2027. And while there’s still quite a bit Disney ...
Pixar exhibit brings movie magic to Frost Science
Buzz Lightyear may have doubts about humans and space travel, but when it comes to bringing Pixar characters to life, filmmakers take technology to infinity and beyond.
EB Games announces first ever Nintendo store-within-a-store in North America
Today, EB Games announced the first-ever Nintendo store-within-a-store experience in North America. The space will be located in the heart of Toronto. EB Games will open the Nintendo space at its flagship location at 267 Yonge Street. This is a permanent, 1,500-square-foot space that “will bring Nintendo games, characters and worlds together in a dedicated retail environment.” The new Nintendo...
Someone's modded Diablo 2 for VR, and seeing the world through your character's eyes brings a whole new dimension to the series
First-person Diablo 2, in virtual reality, is a radical new way to experience the classic old game.
‘Crystal Lake’ star Linda Cardellini on tackling horror icon in her post-Emmy era (exclusive)
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Mama Mia Magic Celebrates 20+ Years of Bringing Magic and Entertainment to South Florida
Miami magician Mama Mia Magic celebrates more than 20 years of bringing magic shows, characters and party entertainment to South Florida.
Gears of War: E-Day Is Nostalgic With Rich Visuals
In Gears of War: E-Day, it’s fun to see the origins of beloved characters in grand scale, even if its play feels conservative.
Scientists Discover 57 New Species in Atlantic Ocean, Including One That Shares a Name with a Marvel Character
The newly identified species include sea cucumbers, corals, and crustaceans
Will Dawkins on AJ Dybantsa, Ending Wizards' Deconstruction Phase
From scouting character to ending the teardown, Washington Wizards GM Will Dawkins details the vision behind drafting AJ Dybantsa and how the franchise is finally shifting toward competitive growth.
Oct. 8 talk to discuss building a new era of materials characterization
Pinshane Y. Huang, Racheff Faculty Scholar in the Department of Materials Science and Engineering at the University of Illinois, Urbana-Champaign, will give the talk “Building a new era of atom-by-atom materials characterization with electron ptychography” at 3:05 p.m. on Thursday, Oct. 8, in 10 Sparks Building on the University Park campus.
Bladen Community College to host “So You Want to Start a Small Business” class and preview Pitch It Bladen 2027
The Small Business Center at Bladen Community College invites aspiring entrepreneurs to attend “So You Want to Start a Small Business” on Tuesday, Oct. 13, 2026, from 6:00 p.m. to 8:00 p.m. in Building 14, Room 104. This class will help participants explore what it takes to become an entrepreneur and take the first steps toward turning a business idea into reality.Participants will explore the entrepreneurial mindset and consider whether they have the interests, characteristics, motivation and willingness to take on the challenges of business ownership. The class will encourage attendees to examine their personal goals, expectations, strengths and readiness to pursue entrepreneurship.Attendees will also gain insight into the realities of starting and operating a small business, including the commitment, planning, decision-making and perseverance required to build a successful venture. Whether participants are just beginning to consider business ownership or already have an idea they want to pursue, this class will provide a foundation for determining their next steps.In addition to the class instruction, attendees will receive advance information about the upcoming Pitch It Bladen 2027 Business Competition, including the application form and details about the program. Individuals who are ready to move forward may submit their applications early and have the opportunity to receive advance acceptance into the program.Pitch It Bladen helps aspiring and emerging entrepreneurs develop their business ideas through structured instruction in business planning, financial management, cash-flow projections, marketing and operations. Participants work toward completing a business plan and preparing a business pitch, with the opportunity to compete for cash prizes.Last year's Pitch It Bladen program demonstrated the value of investing in local entrepreneurs by helping participants strengthen their business knowledge, develop their business plans and prepare to present their ideas. The competition showcased the creativity and potential of Bladen County's small-business community and provided participants with practical tools to move their business goals forward.Building on that success, Pitch It Bladen 2027 will provide another opportunity for local entrepreneurs to gain knowledge, build confidence and take meaningful steps toward launching or growing a business.“The Small Business Center wants to help individuals make informed decisions about entrepreneurship before they take the leap into business ownership,” said Theresa Dennison, Small Business Center director, in a press release. “This class gives participants an opportunity to evaluate whether entrepreneurship is right for them while also introducing them to Pitch It Bladen 2027 and the resources available to help them succeed.”Registration: Visit www.ncsbc.net and search for the class by name, or contact the Small Business Center at 910-879-5572 for additional information.
Report: Assassin’s Creed Hexe Exclusive Character, Story Details Surface
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Rising costs, construction prompt pet store’s exit from Grand Rapids
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Studying Science in an Anti-Scientific Time
This Chronicle Review Deep Cut was first published in 2025. By Julianne Werlin Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe The last two decades have not been kind to science studies. Already bruised and battered by the “science wars” of the 1990s, by the 2000s sociologists of science — who had long argued that science had to be understood in its human context — were encountering the funhouse-mirror version of their own views in right-wing critiques of climate scientists. It was enough to give some prominent scholars pause. “Was I wrong to participate in the invention of this field known as science studies?” asked Bruno Latour, the most famous sociologist of science in the world, in 2003. “Should we apologize for having been wrong all along? Or should we rather bring the sword of criticism to criticism itself and do a bit of soul-searching here: What were we really after when we were so intent on showing the social construction of scientific facts?” In response, Latour proposed a change of method and attitude. Science studies, now chastened and contrite, would no longer seek to strip facts of their authority, but to enrich and enhance them. What this meant in practice was never fully clear. But his diagnosis of problems resonated, even if his solutions did not. Latour’s exercise in public hand-wringing signaled a shift in mood. By 2016, with the first election of Donald Trump, the idea that skepticism of science was a right-wing position, not a left-wing one, had become a commonplace, discussed eagerly in The New York Times. For liberals, vaccine denial during the Covid era and Trump’s second-term attacks on the funding of scientific research, covered extensively in these pages, added a new urgency to the defense of science on both practical and principled grounds. There was little appetite for a sociology or philosophy of science that emphasized the messiness and missteps of the scientific process rather than its integrity and triumphs. The distinguished historian of science Peter Dear’s new book, The World as We Know It: From Natural Philosophy to Modern Science (Princeton University Press, 2025), which seeks to tell the story of 18th- and 19th-century science for a general public, may seem comfortably remote from these bitter contests. In its 16 short chapters, Dear draws swift, sure sketches of major discoveries from Newton to Einstein, ably guiding the reader through debates on stellar nebulae, animal taxonomy, atomic chemistry, evolution, and other flashpoints in the history of science. But though a work of history, Dear’s book must still negotiate our polarized present. In a blurb on its back cover, the historian of biology Lynn K. Nyhart alludes to the “present moment, when scientific knowledge is being swamped by misinformation and its institutions are under siege.” Dear himself, in his conclusion, refers to the “yard signs” and “bumper stickers” that proclaim “Science Is Real.” One antidote to both anti-science propaganda and to reductive slogans in science’s defense is a robust history and philosophy of science: exactly what Dear’s scholarship has long offered. But his new book illustrates how difficult such work has become. Dear, an emeritus professor of history at Cornell University, is best known as a creative and philosophically minded historian of the Scientific Revolution. His edited volume The Literary Structure of Scientific Argument (1991) analyzed the rhetoric of Galileo’s thought experiments to brilliant effect. Discipline and Experience: The Mathematical Way in the Scientific Revolution (1995) was a major contribution to the analysis of scientific experiments in early modern Europe and beyond, while Revolutionizing the Sciences: European Knowledge in Transition, 1500-1700 (2001), now in its third edition, remains one of the best overviews of the profound epistemological upheavals of 16th- and 17th-century science. But Dear has also ventured into later periods. Nearly two decades ago, in The Intelligibility of Nature: How Science Makes Sense of the World (2006), he turned to the 18th and 19th centuries to sketch a history and theory of scientific knowledge. Aimed at a generalist audience, Dear’s simple prose belied serious philosophical ambitions. Science, Dear argued, has two aspects: “natural philosophy,” the quest to understand the true nature of the universe, and “instrumentality,” the applied skills and technologies that allow us to manipulate the world for human advantage. Both strands are ancient, but the innovation of the phenomenon we call “science” was to yoke them together. As Francis Bacon wrote, “Human knowledge and human power meet in one; for where the cause is not known, the effect cannot be produced,” an insight typically abridged to “knowledge is power.” Or, in Bertrand Russell’s characteristically blunt phrase, science has two functions, “1. to enable us to know things, and 2., to enable us to do things.” So far, so conventional. But Dear took issue with this familiar story in one respect. Bacon’s formula implied that theory and practice could be fused in a single method. In fact, Dear argued, the quest to understand nature and the desire to manipulate it were coupled only loosely. They could come together, but they could also pull apart. Focusing on natural philosophy, the “knowing” half of the scientific circle, he used a series of case studies from cosmology, taxonomy, chemistry, electromagnetism, and quantum theory to show how theories changed over time, in dialogue with practice, but never reducible to it. Take the case of matter, the basic substrate of the physical world. In the 18th and 19th centuries, scientists not only disagreed about what it was, but also about how well it could be known. In 1789, the chemist Antoine Lavoisier dismissed speculation about the atomic composition of chemicals as “discussions entirely of a metaphysical nature,” as he sought to orient chemistry away from philosophical abstraction and toward laboratory results. But in the 19th century, atoms returned with a vengeance in the atomic chemistry of John Dalton, who wanted to explain the underlying structure of nature. It was not just that Dalton and Lavoisier had a different set of experimental results, or even a different theory, Dear showed. What counted as an explanation had changed. In arguing that scientific theories depended on their intelligibility to human beings with complex arrays of beliefs and commitments, Dear was in sympathy with science studies. Key figures such as the sociologist Steven Shapin emphasized the importance of psychological mechanisms like trust in the formation and acceptance of scientific ideas. But in focusing on the scientific pursuit of knowledge, not its politics or economics, Dear resisted the more cynical perspective of some of his colleagues. The Intelligibility of Nature strikes a very different note than Shapin’s collection of a few years later, Never Pure: Historical Studies of Science as If It Was Produced by People With Bodies, Situated in Time, Space, Culture, and Society, and Struggling for Credibility and Authority (2010), to name just one example. Walking a very fine line, Dear depicted science as driven at once by complex social dynamics and by the intellectual power of real discoveries. It was a testament not only to his own acumen but also to the vitality of the field that he was able to do so. Nearly two decades later, The World as We Know It returns to the questions broached in The Intelligibility of Nature. Like Dear’s earlier study, it begins with the Newtonian cosmos and ends with debates between Einstein and Bohr on quantum physics. Beyond its terminal figures, many of the same characters appear in both studies, including the naturalists John Ray and the Comte de Buffon; the chemists Étienne François Geoffroy, Antoine Lavoisier, and John Dalton; as well as Charles Darwin and Michael Faraday, among others. Its subject is nearly identical: As in The Intelligibility of Nature, The World as We Know It considers natural philosophy as opposed to instrumentality, here defined as the “desire to create a picture of what the world is really like — the world as God knows it — rather than simply having instrumental or operational control over it.” The two books also overlap in insights — and sometimes even in language. The reader who has learned in The Intelligibility of Nature that Buffon’s method of classifying animals “reflected his belief in the importance of the senses and empiricism in learning about nature (a doctrine associated with Newton and the philosopher John Locke)” will experience a sense of déjà vu on reading, in The World as We Know It, that the classification “reflects Buffon’s commitment to the epistemological stance of Newton and his philosophical underlaborer John Locke, who stressed the role of the senses in creating natural knowledge.” Later in the passage, we read that, “because of its stress on understanding the ways of life of animals in their environments, Buffon’s approach could almost be labeled (anachronistically) as ‘ecological.’” And again, “an anachronistic way of putting it would be to say that Buffon recommends an ecological mode of understanding.” Likewise, in The Intelligibility of Nature we read of Dalton that he was initially drawn to meteorology, and that: He did a bit of experimental work on these things, especially having to do with the water-holding capacity of gases, but his real interest lay in understanding what, at an underlying natural-philosophical level, was really going on physically.” Whereas, in The World as We Know It: He did experimental work on these things, especially concerning the water-holding capacity of gases — although not at a very refined level quantitatively — but he was continually trying to develop a theoretical conception of what was happening physically. The final full chapter of each book closes on the same resigned note. Intelligibility: These days, most serious work on the natural philosophical underpinnings and implications of quantum mechanics is performed not by physicists but by philosophers of science. Among scientific practitioners themselves, Bohr’s attempt to use instrumentality as sufficient grounds for a respectable science has met with a high degree of success. And again, in The World as We Know It: Bohr’s and Einstein’s concerns are now questions that are mostly discussed by philosophers of science rather than by physicists themselves. The marginalization of these sorts of questions amounts to the demise of natural philosophy, at least in physics, in the 20th century. Quantum mechanics “works,” and that’s good enough for most scientists who encounter it. Examples could be multiplied. When handling the same subject matter, some echoes are inevitable. Scholars should not feel that because they have written “Isaac Newton died in 1727” in one book, in the next they must describe him as perishing, expiring, or meeting his maker. But the repetitions of language and arguments (not to mention six reproduced images) threaded throughout The World as We Know It are more extensive than that. They should have been caught by Princeton University Press or its reviewers, and revised. Because the two books have so much in common, it is easy to see where they diverge. The World as We Know It is a less theoretical work than its predecessor. The sociology of knowledge that organized The Intelligibility of Nature has been reduced in scale and folded into readings and examples. The taut interplay between history and theory, which gave the earlier study so much interest, is there, but it is subtle. In the earlier book, the case studies demonstrated theoretical claims about the character and development of science. In the later work, each narrative of discovery is an end in itself. Insights emerge from the history, but they do not control the organization of the study. With the theory muted, it can be hard to understand the logic uniting Dear’s sprawling history of more than two centuries of scientific knowledge. The 16 brisk chapters cover an enormous amount of material. But the closer the volume edges to comprehensiveness, the more obvious the missing elements become. A chapter on “Institutions and Pedagogy,” describing the birth of the research university, illustrates the problem. Inserted roughly halfway through the book, the unnumbered chapter is designed as an “entr’acte,” in acknowledgement that it does not fit the study’s organization around scientific discoveries. Yet as Dear is well aware, no general history of the development of modern science can bracket its 19th-century institutionalization and professionalization. It was the 19th-century university, after all, that gave us the “scientist,” a term coined by the Cambridge philosopher William Whewell. Dear’s history of scientific discoveries implies a wider social and institutional history, but it remains largely subterranean, only occasionally extruded under the pressure of the narrative. It must be said that the balance is not all on the side of the earlier study. There are some advantages to the more historical, less theoretical organization of The World as We Know It. Dear’s accounts of paradigm shifts are remarkably lucid, no small accomplishment given that they span fields and centuries. He makes excellent use of the wealth of new scholarship on Darwin and his influences, to which he has himself contributed. It is satisfying to see puzzle pieces from Buffon’s natural history, Georges Cuvier’s animal taxonomy, Thomas Robert Malthus’s demography, and Charles Lyell’s geology recombined seamlessly in the Darwinian jigsaw. Likewise, Dear’s discussion of stellar nebulae, divided between chapters two and 15, shows vividly how Newton, Kant, Herschel, and Hubble reimagined insights and observations as they sought to discover whether the diffuse light that filtered through early telescopes was a glowing, gaseous substance or discrete but distant stars. Yet despite such pleasures, the book remains a more modest work than The Intelligibility of Nature. Dear has clearly not changed his views about the history of science. But in the two decades that have elapsed, the discipline and the world around it have changed, making it harder to write a sociologically and philosophically ambitious history of science for the general reader. That is a shame, because in the age of Silicon Valley and biotechnology, both the reciprocity and the tensions Dear identified between the epistemological and instrumental ambitions of science are more evident than ever. In recent years, some of the most exciting new books on the history of science in early modernity have focused precisely on this pressure point. Important studies such as Pamela H. Smith’s From Lived Experience to the Written Word (2022), James Poskett’s Horizons: The Global Origins of Modern Science (2022), and Vera Keller’s The Interlopers: Early Stuart Projects and the Undisciplining of Knowledge (2023) all shed new light on how early modern science negotiated the relationship between its instrumental and epistemological ambitions, or in Russell’s phrase, knowing and doing. There is every opportunity for a philosophically informed approach to draw new insights from this wealth of material. Dear, unfortunately, has not done so in The World as We Know It. But for future scholars of the history of science, his body of work over nearly four decades may provide just the model. Julianne Werlin is an associate professor of English at Duke University. Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe
Penn State vs. Northwestern: Four Keys to Victory
Penn State vs. Northwestern faces off in a rare primetime matchup on Friday night. The Nittany Lions will look to bounce back after last week's 24-20 defeat to Wisconsin. The loss was ugly. The offense struggled to move the ball, and the defense collapsed in the fourth quarter. It was uncharacteristic of a Penn State …
30 Hours With Fire Emblem: Fortune's Weave And My Patience Is Wearing Thin
Part one is an unrewarding slog, saved only by incredible characters
In brief: 'Reacher' spinoff gets a second season and more
We’ve got an official trailer for NBC’s Newlyweds, the new sitcom starring real-life married couple Tim Daly and Téa Leoni. The show, co-created by Jamie Lee Curtis, follows a later-in-life love story between a free-spirited woman and a professor who marry after a quick courtship. It premieres on Oct. 23 …The Reacher spinoff Neagley is getting a second season, just two weeks after the first season debuted on Prime Video. Maria Sten stars as the fan-favorite character Frances Neagley, a private investigator from Chicago and the former protégé of Jack Reacher, in the action series. The original Reacher series, starring Alan Ritchson, was picked up for a sixth season earlier this week … TNCMS.AdManager.render({region: 'fixed-big-ad-top-asset', slot: 1, fold: "above"}); Bradley Cooper is gearing up to star in Paramount’s new G.I. Joe film. He’ll be playing Duke, the leader of the Joes. Danny McBride is on board to direct. Further details on the project have not yet been revealed …Copyright © 2026, ABC Audio. All rights reserved. Thank you for reading kmaland.comAt KMA, we attempt to be accurate in our reporting. If you see a typo or mistake in a story, please contact us by emailing kmaradio@kmaland.com.
Invincible VS DLC character Angstrom Levy launches October 13
Publisher Skybound Games and developer Quarter Up will release three-versus-three tag fighting game Invincible VS downloadable content character Angstrom Levy on October 13 as part of the game̵…
Audible Adds AI Character Conversations to Audiobooks Starting This Fall
Audible's new Interactive Stories feature lets listeners speak with audiobook characters in real time, starting with Dracula's Renfield…
Audible's new features let you explore book worlds — and use AI to talk to characters
Audible is rolling out new features that help listeners keep track of characters, explore places and imagery mentioned in books, and even interact with characters using generative AI.
‘Gears of War: E-Day’ review: Prequel leans into horror, successfully
It’s as if the “Gears” characters were dropped into a “Resident Evil” game — and it works far more often than it doesn’t, writes our reviewer.
Gears of War: E-Day’s hardest Xbox achievement unlocks a legendary character skin
Unlocking Gears of War: E-Day's toughest Xbox achievement will award players with a legendary character skin, The Coalition has revealed.
In Becerra and Hilton’s only scheduled debate, Trump was the main character
Democrat Xavier Becerra and Republican Steve Hilton clashed over taxes, immigration and housing — and how Trump has addressed them
Commentary: Peltola's words create a teachable moment, but an apology is required.
We can show Alaska and the nation that apologies are a sign of wisdom and strength, that choosing words of compassion matters, and that people of good character can win elections.
Selma Blair Set for Coming of Age Film 'Schmoolie the Deathwatcher'
In the Theresa Burkhart Gallagher-penned project, Isaac Krasner is set to play the title character Schmoolie alongside a cast that also includes Luenell, Ariel Martin, David Mazouz and Sania Halifa.
Comic Fans Flock to Ninth Annual IV Entertainment Convention
Heroes and villains came to life at the ninth annual Imperial Valley Entertainment Convention, as attendees got the chance to meet artists and voice actors and have fun dressing up like their favorite fictional characters.
Pocket Entertainment: Interview With Co-Founder And CEO Rohan Nayak About AI-Powered Storytelling And The Single-Person Studio
Pocket Entertainment is building an entertainment ecosystem that connects storytelling, creation, production, distribution, localization, and audience engagement. The company operates Pocket FM, its flagship serialized audio drama platform, and has expanded into short-form visual entertainment through Pocket Saga while developing AI tools such as Sherpa that helps creators develop ideas and build characters, worlds, story arcs and episodes. Pulse 2.0 interviewed Pocket Entertainment Co-Founder and CEO Rohan Nayak to learn more about the company’s origins, its evolution beyond audio entertainment, and how AI could enable individual creators to build global entertainment franchises.
The Family Business Advantage: Third Quarterly Power Breakfast of 2026 explores how family businesses balance legacy and innovation
Photo by GFBJAnother successful Power Breakfast is in the books. The Greater Fayetteville Business Journal hosted its third quarterly Power Breakfast of 2026 on Tuesday, Sept. 29. Local leaders and decision-makers gathered to network and learn from the panel about how established principles drive long-term stability while allowing for operational evolution. The panel featured Managing Partner of Luigi’s Italian Chophouse & Bar, Nate Ernst; Inside Sales at Hubbard Supplyhouse, Mary Grace Hurley; Chief Operations Officer for Copiers Plus, Drew Smith; and CEO of Holmes Security Systems, Stephen Wheeler. The panel was moderated by Lauren Willets, director of the Family Enterprise Center at UNC’s Kenan-Flagler Business School. Throughout the discussion, the panelists returned to a common idea: family businesses thrive when they preserve the relationships and values at their core while remaining open to change.Each panelist shared personal stories that carried practical lessons. Stephen Wheeler emphasized the role of relationships with customers and employees, saying, “What makes a family business successful today is relationships.” Mary Grace Hurley echoed Wheeler’s sentiment, describing relationships as a lasting inheritance, including a customer connection that began when she was young and continued into her working life. “If something’s given to you, that’s going to cost you too,” added Nate Ernst. He explained this philosophy by sharing that, in his view, earning responsibility builds credibility and confidence.Another hot topic was the idea of tradition versus change. For these businesses that have been around for a century or even more, it can be difficult to escape the “we’ve always done it this way” caveat, but these speakers emphasized how change has been an integral part of their growth and longevity. A family business can honor its history without being bound by it.“Innovation and tradition–they don’t have to be competing with one another,” shared Hurley. She pointed to changes in how businesses operate, including the adoption of computers and new management practices. Ernst stressed that adaptation is essential, while Wheeler described how his family’s electrical contracting business had evolved into a security-focused company. The details of the work may change, but identifying and upholding core values is key to embracing change while maintaining the character of a business. “I think it’s just important to remember why you started in the first place. What was your mission? What are your core values? And to reevaluate those,” shared Drew Smith.In addition to the first-hand accounts and wisdom shared by panelists, Moderator Lauren Willets recommended two novels during the panel for those seeking additional educational resources. Those two novels are “Hug of War: How to Lead a Family Business with both Love and Logic”by Cathy Carroll and “In the Company of Family: How to Thrive When Business Is Personal” by Melissa Mitchell-Blitch. Preparing the next generation requires more than handing over a title or company. Wheeler argued that future leaders need genuine passion and a vested interest in the business. The panelists were in agreement that succession is a process, and there is not one clear answer for how to perfectly prepare for it. Leaders must cultivate readiness, keep communication open and make room for the next generation to earn responsibility while being sure not to neglect the business in the here and now. “Today’s Power Breakfast was one of our best events yet! Between the passion and in-depth knowledge of the panelists, the great audience questions and the guidance and expertise of Mrs. Willets, the conversation was both engaging and informative,” shared GFBJ Publisher Faith Hatton. “A lot of small businesses in Fayetteville are family-owned and grown, and it’s great to be able to spotlight some of the businesses that have stood the test of time by strengthening the next generation of leadership and preparing them for ownership. I hope everyone received some inspiration and ideas that they can bring back to their own businesses and organizations!”We thank everyone who attended this Power Breakfast and hope you’ll all join us for the next Power Breakfast on Dec. 8. Details about the event will be shared on our social media and in future email updates. To learn about becoming a Power Breakfast sponsor, contact the Greater Fayetteville Business Journal at 910.240.9697 or marketing@bizfayetteville.com.
Josh Hartnett and Dakota Johnson react to ‘insane’ conspiracy theory about ‘Verity’
Josh Hartnett and Dakota Johnson spoke with EW about the conspiracy theory surrounding the opening scene of ‘Verity,’ which sees their characters meet for the first time.
Christy Carlson Romano says relationship with “Even Stevens” costar Shia LaBeouf was ‘like oil and water’
It wasn’t just their characters who had personality clashes.
Dungeons II Co-op
Minecraft Dungeons II is out! Learn all there is to know about the game's different multiplayer, co-op modes, and how the team worked to deliver a new type of shared experience!
Controversy erupts around Ace Combat 8 on PC as bundled Belkan War re-release remains problematically attached to the new game, whereas it's standalone on console
Early adopters of Ace Combat 8: Wings of Theve were not happy to find one of the game's most exciting pre-order bonuses isn't quite what was advertised.
Primetime Review: That’s Entertainment?
If you decide to see Lance Oppenheim’s Primetime, it’s important to remember the title as you watch. Yes, this is a biopic of sorts about Chris Hansen and his work on To Catch a Predator, but it is more accurately about the quest for fame and using people’s trauma to attract ratings. True crime entertainment continues to have a prominent place in many people’s television habits, and this film asks us to examine what that means both for those whose stories have become our viewing pleasure and those of us watching. Primetime starts as Chris Hansen (Robert Pattinson) is told that his show, To Catch a Predator, is moving to a 9 PM spot opposite LOST. Chris and his producer, Andie (Merritt Wever), see this as an opportunity to make the program even more sensational, looking for bigger, more horrific predators. As part of their plan, they hire a young actor, Dan Plum (Skyler Gisondo), to play “Decoy Dan,” the person who greets the would-be predators who were catfished by Xavier Von Erck (Matthew Maher). Oppenheim, along with writers Ajon Singh and Luke Dittrich, is less concerned with an accurate retelling of the show as much as they are interested in interrogating the why of it all. That decision sometimes leaves Primetime feeling less like a biopic and more like a satirical look at the nature of programming like this. Visually, the movie is impressive. Oppenheim uses light and color effectively to cast Hansen as both villain and savior. Pattinson plays Hansen in an almost comical manner, as we see him wake his two young sons to watch a clip of the show, just to brag that he was moving into a prime spot on television. Even Andie struggles to accept a “nice” job when there is so much more fame to be found producing salacious true-crime content. Wever does an excellent job showing how the hunger for fame is not just in front of the camera, but in every aspect of the production. The heart of the movie, and the standout performance, belongs to Gisondo as Dan Plum. He is someone who just wants to get enough hours to be admitted into the Screen Actors Guild, and stumbles into this job without really knowing what it is. Throughout the film, we watch him suffer one trauma after another, ending with him witnessing the suicide of a District Attorney who is about to become the next unwitting star of Hansen’s show. If there is a sympathetic character in Primetime, it is Decoy Dan, and Gisondo plays him brilliantly. If you’re a fan of programming like To Catch a Predator, then Primetime will probably make you feel uncomfortable, and I think it’s worth sitting with that feeling and examining why we turn on shows that display the worst of humanity while we judge from our couches. Yes, it is correct to want to see people who would hurt children brought to justice, but perhaps it shouldn’t be something that we watch as entertainment. Rating: 3.5/5 This review originally appeared in The Dominion Post on September 25, 2026. MacGuffin or Meaning: Film & TV Reviews and Reflections is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe
OCT NIBJ: Women in business: Building success together in Sandpoint
Women have always been an important part of Sandpoint’s business community. From entrepreneurs and business owners to managers, professionals, employees, nonprofit leaders, and community volunteers, women contribute every day to the strength and character of our local economy.
Beyond 'normal' and 'abnormal': Health checkup values show nonlinear links to future health care costs
As populations age and health care expenditures continue to rise worldwide, there is growing interest in understanding how routinely collected health data may help characterize future health care needs ...
New 'Pokémon Winds and Waves' Leaks Fill Major Gap Left by Game Freak's Silence
Including gameplay, maps, and Elite Four character models
Hamilton College administrator co-authors book on women in comics
Hamilton College’s Nhora Lucía Serrano co-authored “Women in Comics,” exploring female characters and creators from the 1890s to today.
Manchin says ‘if character means anything, you can’t vote for Ken Paxton’
“I don’t know that young man and things he’s said I’m discouraged about, but I can tell you, if character means anything, you can’t vote for Ken Paxton, if character means a…
TX maternal health report delay is political, puts pregnant women at risk, lawmakers say
Editor's note: Headlined shorted for character length requirements
TX maternal health report delay is political, puts pregnant women at risk, lawmakers say
Editor's note: Headlined shorted for character length requirements
Witcher Dev Reveals Why CD Projekt Red Doesn't Do Crossovers In Its Own Games
A Geralt-inspired skin is coming to Diablo 4, but don't expect Diablo characters in The Witcher 3 Remastered
Orbitals Game Review
Despite the gorgeous veneer, the characterization and writing in Orbitals don't have anywhere near the same amount of gas that everything else in it does.
Review: 'Resident Evil' cuts decades of narrative into a lean, mean horror machine
Movie reviewer Joshua Hill says 'Resident Evil" director Zach Cregger doesn't just follow the game the film is based on, but he references it in noticeable ways and instead focuses on the main character's journey, which is full of mayhem and scares.
Tuchel rues 'big mistakes' - did Man City charges have impact?
England's loss to Spain was decided by uncharacteristic mistakes, with two Man City players making errors - so did club news affect performances for country?
“Resident Evil” (2026) Review and Film Franchise Retrospective
After years of poorly made adaptations, “Resident Evil” (2026), directed by Zach Cregger, attempts a new approach to a story that fans have witnessed many times. From 2002 to 2017, Sony released six action-horror movies based on the game series. Mostly directed by Paul W. S. Anderson, the films would create new characters and seemed...
Is Tenet Healthcare Corporation (THC) A Solid Play on Expanding Ambulatory Business?
Tenet Healthcare Corporation (NYSE:THC) is increasingly relying on its ambulatory business as an important driver of growth, combining favorable long-term outpatient trends with attractive margins. According to BMO Capital Markets, Tenet’s ambulatory operations give the company exposure to an end market with favorable long-term growth characteristics. The firm expects continued investment in Tenet’s hospital operations […]
House Democrats plan vast oversight of Trump administration. Impeachment is an option
Rep. Jamie Raskin (D., Md.), who is in line to become the chairperson of the Judiciary Committee, characterized the issues involved as “gargantuan.”
Author Sarah Longwell says political character counts in ‘How to Eat an Elephant’
Is the idea of political virtue outdated? What do voters say when asked if character counts? That’s just one of the complicated topics Sarah Longwell, publisher of The Bulwark and host of The Focus Group Podcast, tackles in her new book, “How to Eat an Elephant: One Voter at a Time.”
Sean Gunn retires from 'Guardians of the Galaxy' Rocket raccoon role
LOS ANGELES — Sean Gunn has no plans to continue his motion capture role for "Guardians of the Galaxy" character Rocket raccoon. The physical demands involved in creating Marvel Cinematic