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Pfizer makes ‘business decision’ to end phase 2 trial of autoimmune drug as program’s future uncertain
Pfizer has called time on a phase 2 trial of its CXCR5 antibody in an autoimmune blood disorder, with the company tight-lipped on whether this marks the end of the road for the asset. The Big Pharma had been evaluating the therapy, dubbed PF-06835375, in a phase 2 study of 61 patients with primary immune thrombocytopenia (ITP) that kicked off in 2022, according to the federal trials register. However, Pfizer confirmed to Fierce on Monday that this study had been terminated “due to a business decision.” “The decision to terminate the trial was not based on any safety concerns,” a spokesperson pointed out. At time of publication, PF-06835375 remained listed on Pfizer’s website for both ITP and lupus. A phase 1 study in lupus wrapped up in 2022, according to the trials database. ITP is an autoimmune disorder characterized by a low platelet count. Novartis was at one point evaluating its B-cell-depleting antibody ianalumab—recently approved as Fabhalta to treat immunoglobulin A nephropathy—as a potential treatment ITP. But the therapy struggled to demonstrate a benefit in the clinic for this indication. When contacted by Fierce, Pfizer wouldn’t confirm whether all work on PF-06835375 has been halted, and whether the company has any other plans to explore C-X-C chemokine receptor type 5 (CXCR5) as a mechanism. CXCR5 is found in blood cancers such as diffuse large B-cell lymphoma and mantle cell lymphoma chemokine receptor. However, there is little expression in normal tissue, which has led some drug developers to explore its potential. Vincerx Pharma had at one point been planning to take an anti-CXCR5 ADC into the clinic to treat B-cell malignancies, but that ambition was scrapped due to cash constraints. Where Big Pharma is placing its bets is one of the hot topics being discussed at Fierce Biotech's high-impact event in London next month. Find out more information and register by clicking on the banner below: [ ](https://qtxasset.com/quartz/qcloud5/media/image/where_big_pharma_is_placing_its_bets.png?VersionId=B8JrRbJ.pFUSK1pJgjeWHLGm_18RdLAy)
Ohio's ACA enrollment starts next month. Here's what to expect
Premiums are expected to increase again this year on Ohio's Affordable Care Act marketplace, following significant price hikes last year coupled with the expiration of federal subsidies.
Putin proposes summit with Trump and Xi to discuss Ukraine deal, WSJ says
Oct 18 (Reuters) - Russian President Vladimir Putin has proposed a summit next month with US President Donald Trump and Chinese leader Xi Jinping to negotiate an end to the four-year-old Ukraine
DC golf course at center of fight over tree clearing to start renovations next month, Trump says
President Donald Trump said restoration work on the East Potomac Park golf course will begin Nov. 15, despite a federal judge’s order to pause tree clearing.
expERIEnce to host adult-only ‘Science of Sips’
(WJET/WFXP) — A local kids museum will open its doors for an adult-only event next month. The expERIEnce Children’s Museum will host Science of Sips on Thursday, November 5 from 5:30 to 8:30 p.m. Part...
Health insurance is the sleeper midterms issue: Why premiums are spiking
Americans are bracing to pay significantly more for health insurance next month, whether they have Affordable Care Act plans or get insurance through work. Premiums for some people could be t…
Health insurance is the sleeper midterms issue: Why premiums are spiking
Americans are bracing to pay significantly more for health insurance next month, whether they have Affordable Care Act plans or get insurance through work. Premiums for some people could be t…
DOJ says California officials who process ballots from suspected noncitizens risk prosecution
The Trump administration is escalating its fight with California ahead of next month's midterm election, warning that local officials who process and tabulate ballots submitted by suspected noncitizen voters are putting themselves at risk of criminal investigation and potential prosecution.
Greensboro Science Center announces 7th annual Winter Wonderlights
GREENSBORO, N.C. (WGHP) — The Greensboro Science Center is set to light up next month. Winter Wonderlights transforms the GSC into a festive nighttime experience with more than a million twin…
Francis Bacon’s 'Sylva Sylvarum' Stars in New Art and Science Exhibit
Opening next month at the Bodleian Libraries in Oxford, Plain Things Wonders marks 400 years since the publication of Francis Bacon’s influential experimental science text Sylva Sylvarum.
Melton given clean bill of health, ready to lead Tigers' rotation in '27
DETROIT -- Hot Stove season doesn’t begin until next month, but the Tigers already got a big addition to their rotation entering next year. Right-hander Troy Melton, given a clean bill of health, looms large again as a potential frontline starter in a group of talented young arms. Melton, whose
Trump administration sues California to block counting of alleged noncitizen mail ballots
The Trump administration sued California election officials Thursday, asking a judge to bar the state from counting mail-in ballots for next month's midterm elections from people the federal government has identified as “likely” noncitizens until their status can be confirmed.
Gemini AI Plus subscribers will lose access to Pro models next month
Google has begun emailing Gemini AI Plus members to inform them when their Gemini subscription will no longer include access...
Justice Department threatens California with legal action over claim of noncitizens on voter rolls
The U.S. Department of Justice has threatened California with possible legal action over what it says are noncitizens believed to have received mail ballots for next month’s midterm elections.
Low-Income Countries’ Push For Climate Money For Health Meets German Pushback Ahead Of COP31
BERLIN – Germany's top climate civil servant pushed back on Monday against a call from the world's poorest countries for more climate finance for health. The money fight of COP31 opens officially in Antalya, Türkiye, next month. In the halls of the World Health Summit in Berlin, it's already started.
Artists and business owners grapple with potential First Friday pause
On Tuesday, Las Vegas Mayor Shelley Berkley provided the first real glimpse of what the future holds for First Friday in the Arts District, indicating it could come to a pause next month.
TreVeyon Henderson Injury Update: Patriots RB’s Return Timeline Revealed
TreVeyon Henderson has been a key part of New England's offense this year, but the 3-2 Patriots may be without their change-of-pace back for the next month or so. A second-round pick in the 2025 NFL Draft, the Ohio State product had an up-and-down rookie season but had a knack of churning out big plays. …
JUST IN: Alexandria Health Department director to step down in November for state role
The Alexandria Health Department will see a leadership change next month after director Dr. David Rose departs his role. After Nov. 9, Rose will be leaving the AHD to take a role as regional director of the north/northwest region at the Virginia Department of Health. The AHD is part of the state-run Virginia Department of
Uber executive overseeing robotaxi push to leave amid leadership departures
An Uber Technologies Inc. executive overseeing the company’s global autonomous efforts across ride-hailing and delivery will depart next month, the latest in a string of leadership departures in the division this year.
DLSS 5 gets toned down for its Hogwarts Legacy debut next month
DLSS 5 debuts in Hogwarts Legacy and Where Winds Meet next month.
Trump revives debunked Haitian pet claim at Ohio rally, hits Omar after search
Trump visited Youngstown to campaign for the state’s Republicans on the ballot next month
Visa gets Beijing's green light for bank card business after 40 years of working with China
The incremental approval comes as the U.S. and Chinese presidents are due to meet for a third time this year next month.
When AI goes rogue, who should get sued?
The AI industry has been buzzing with concern about potentially catastrophic risks to humanity — a hum of anxiety that’s grown louder as Anthropic prepares to make its stock market debut next month.
A Spanish-language radio show overflows with voters' frustration in Pennsylvania battleground
Victor Martinez, who runs a Spanish-language radio station in Pennsylvania’s Lehigh Valley, talks about voters’ frustration with everyday realities like higher fuel prices and inflation ahead of next month’s closely contested midterm election
A Spanish-language radio show overflows with voters' frustration in Pennsylvania battleground
Victor Martinez, who runs a Spanish-language radio station in Pennsylvania’s Lehigh Valley, talks about voters' frustration with everyday realities like higher fuel prices and inflation ahead of next month’s closely contested midterm election.
A Spanish-language radio show overflows with voters' frustration in Pennsylvania battleground
Victor Martinez, who runs a Spanish-language radio station in Pennsylvania’s Lehigh Valley, talks about voters' frustration with everyday realities like higher fuel prices and inflation ahead of next month’s closely contested midterm election.
A Spanish-language radio show overflows with voters' frustration in Pennsylvania battleground
Victor Martinez, who runs a Spanish-language radio station in Pennsylvania’s Lehigh Valley, talks about voters' frustration with everyday realities like higher fuel prices and inflation ahead of next month’s closely contested midterm election.
A Spanish-language radio show overflows with voters' frustration in Pennsylvania battleground
Victor Martinez, who runs a Spanish-language radio station in Pennsylvania’s Lehigh Valley, talks about voters' frustration with everyday realities like higher fuel prices and inflation ahead of next month’s closely contested midterm election
The midterms stakes are high for these 2028 presidential prospects
The shadow primary for the 2028 presidential contest is quietly playing out as most of the political world is focused on next month's midterms. Democratic and Republican presidential prospects have
The midterms stakes are high for these 2028 presidential prospects
As most of the political world focuses on next month's midterm elections, the shadow primary for the 2028 presidential contest is quietly playing out in public view.
Trump escalates effort to fire Federal Reserve governor Lisa Cook
A commission that will report to the president will assess the mortgage fraud allegations against her and consider evidence from a hearing next month.
The midterms stakes are high for these 2028 presidential prospects
The shadow primary for the 2028 presidential contest is quietly playing out as most of the political world is focused on next month's midterms. Democratic and Republican presidential prospects have
The midterms stakes are high for these 2028 presidential prospects
The shadow primary for the 2028 presidential contest is quietly playing out as most of the political world is focused on next month's midterms.
The midterms stakes are high for these 2028 presidential prospects
The shadow primary for the 2028 presidential contest is quietly playing out as most of the political world is focused on next month's midterms.
The midterms stakes are high for these 2028 presidential prospects
The shadow primary for the 2028 presidential contest is quietly playing out as most of the political world is focused on next month's midterms.
The midterms stakes are high for these 2028 presidential prospects
The shadow primary for the 2028 presidential contest is quietly playing out as most of the political world is focused on next month's midterms. Democratic and Republican presidential prospects have
Why Trump and Iran may now be waiting out the midterms
President Donald Trump’s declaration Thursday that he would not attack Iran again before next month’s midterm elections was an implicit admission of the damage being inflicted on Republican hopes by a war that has defied his promise of a quick victory.
Your guide to the Utah House District 5 race: Kendra Penry and Casey Snider
Next month, residents of southern Cache Valley will vote in their next Utah House representative. Candidates Casey Snider and Kendra Penry describe their platforms.
Speaker Johnson Floats Leaving Politics to Start ‘Lawn Business’ If GOP Loses House
House Speaker Mike Johnson (R-LA) floated an unexpected career change if Republicans lose their House majority in next month’s midterm elections, saying he would be willing to leave politics behind and start a lawn business in his hometown of Shreveport, Louisiana.
Speaker Johnson Floats Leaving Politics to Start ‘Lawn Business’ If GOP Loses House
House Speaker Mike Johnson (R-LA) floated an unexpected career change if Republicans lose their House majority in next month’s midterm elections, saying he would be willing to leave politics behind and start a lawn business in his hometown of Shreveport, Louisiana.
CT couple starts bakery business out of their apartment’s kitchen. It sells out nearly every week
The popular Stamford micro-bakery was recently selected to participate the 2026 BagelUp Growth Lab in New York City next month.
Beloved Belleville gardening business to close after 21 years
After more than two decades helping customers make their yards more beautiful, Sandy’s Back Porch Gardens in Belleville is set to close its doors early next month. “I keep telling people that there are mountains to climb, hills to roam and rivers to raft, and I want to do all those things,” owner Sandy Richter said.
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.
Date for Ligue 1 broadcasting rights auction revealed
A call for offers for the broadcasting rights for Ligue 1 will be launched next month, as per a report from L’Équipe. Unlike in more recent bidding processes, there is more optimism this time aroun...
What questions face Pocognoli after Scotland defeat?
Sebastien Pocognoli has much to ponder before next month's Nations League group-stage finale after a bruising home defeat by Slovenia.
macOS 27.2 Further Hints at MacBook With Touch-Enabled OLED Display
The latest macOS 27.2 beta released this week further hints at the long-rumored MacBook with a touchscreen, which is expected to be unveiled by next month. Specifically, when you click and hold on an app icon in the Dock on the third developer beta of macOS 27.2, the icon gets a little bit larger. A similar animation occurs when you long press on an iOS or iPadOS app, so the fact that the animation now extends to macOS could be another subtle clue that a touch-enabled MacBook is coming.
US Supreme Court orders another look at how Washington state political maps are drawn
Monday’s action will not affect next month’s election. But it could lead to the state’s legislative district boundaries changing before they’re next scheduled to be redrawn in 2031.
Chelsea handed unexpected midfielder boost ahead of squad announcement
Chelsea midfielder’s imminent suspension will impact his minutes during next month’s international break
Voters to decide on funding West Baton Rouge Parish Health Center
West Baton Rouge Parish voters will decide next month on a 10-year renewal of the property tax that funds the West Baton Rouge Health Center.
Karoline Leavitt joining Fox News as on-air contributor
Former White House press secretary Karoline Leavitt will become an on-air Fox News contributor next month, weeks after stepping down from her prior role to spend more time focusing on her family.
Pope Francis' diaries to be published next month, revealing reflections on Vatican years
Pope Francis' journal entries from his time in the Vatican and years before will be published this fall | WBBM Newsradio 780 AM & 105.9 FM
Pope Francis' diaries to be published next month, revealing reflections on Vatican years
Pope Francis' journal entries from his time in the Vatican and years before will be published this fall | Talk 1370
Pope Francis' diaries to be published next month, revealing reflections on Vatican years
Pope Francis' journal entries from his time in the Vatican and years before will be published this fall.
WHO joins Pre-COP31 to advance climate action that delivers for people’s health
The World Health Organization (WHO) is joining Pacific leaders, governments and partners at Pre-COP31 in Fiji from 5 to 8 October to advance health priorities in climate action and strengthen the Pacific voice ahead of the 31st Conference of the Parties (COP31) to the United Nations Framework Convention on Climate Change (UNFCCC).COP31, to be held next month in Antalya, Türkiye, marks an important step for global climate and health action. Health is one of the 10 priority themes of the COP31 Action Agenda, “Dynamic and Resilient Health Systems”, and a dedicated Health Day will take place on 9 November, the first day of COP31. The inclusion of health reflects growing global recognition that climate action and health are closely connected. The climate crisis is affecting population health globally. Across the WHO Western Pacific Region, which includes Pacific island countries and areas, the consequences of climate change include extreme heat, cyclones, floods, rising sea levels, food and water insecurity, infectious diseases and disruptions to essential health services. The Pacific in particular faces additional challenges. A recent review of 76 hospitals in 14 Pacific island countries found that 62% of health facilities are located within 500 metres of the sea or a river, leaving them particularly exposed to flooding, storm surges and sea-level rise.Bringing Pacific priorities to the global climate agendaThe Pacific Pre-COP31 provides an important opportunity for Pacific countries and partners to consolidate regional priorities and bring the experiences and leadership of Pacific communities into global climate discussions.Pacific countries have been advancing practical approaches to protect health in a changing climate, including strengthening climate-resilient health systems, improving preparedness for extreme weather events, building resilient health infrastructure and mobilizing climate finance for health. “This Pre-COP is an important moment for the Pacific, bringing global climate discussions to a region that has long been at the forefront of the climate crisis. It provides an opportunity for Pacific countries and areas to set their priorities, experiences and leadership on the global stage, and to ensure that the realities of Pacific communities are genuinely reflected in the decisions made on climate action,” said Dr Saia Ma’u Piukala, WHO Regional Director for the Western Pacific.Throughout this week, WHO will co-convene and participate in high-level discussions and events focused on climate and health, climate resilience, adaptation, financing and implementation. “Climate finance is essential for resilient and healthy Pacific communities,” emphasized Dr Mark Jacobs, WHO Representative to the South Pacific and Director of Pacific Technical Support. “We must ensure that financing reaches the people, communities and essential services most exposed to climate risks, supporting locally defined priorities and investments.”WHO will work with partners to strengthen the integration of health considerations across climate policies and investments, including national climate plans and resilience initiatives.Health as a driver of climate actionAmid the risks to health and pressures on health systems, well-strategized and implemented climate action can deliver significant health benefits. Investments in clean energy, sustainable transport, resilient infrastructure, food systems and nature-based solutions have proven to reduce health risks while contributing to climate mitigation and adaptation.“Climate action is truly an investment in health. Cleaner energy, healthier food systems and climate-resilient health services can protect lives while building stronger communities. We now need to turn these opportunities into action and make health a core part of climate investments,” said Dr Sandro Demaio, Director and Head of Office, WHO Asia-Pacific Centre for Environment and Health in the Western Pacific Region. “These benefits demonstrate that climate action is not only about reducing future risks. It is also an opportunity to improve lives today while building healthier, safer and more resilient societies.”At COP31 next month, WHO will also support the Health Pavilion, which will bring together the global health community and partners to advance health and equity within climate negotiations. With COP31 poised to move health higher on the global climate agenda, WHO will continue working with countries and partners across the Western Pacific Region and globally to strengthen climate-resilient and low-carbon health systems, and ensure that climate action protects and improves people’s health.____________________Media contactsElizabeth Bennett, WHO Asia-Pacific Centre for Environment and Health in the Western Pacific Region, elizabeth.bennett@who.intJulia Dongwhan Shin, WHO Asia-Pacific Centre for Environment and Health in the Western Pacific Region, dong.shin@who.intWHO Western Pacific Communications, wprocom@who.int
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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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