Ralph Fiennes in “28 Years Later: The Bone Temple”
Credit: Sony Pictures
After decades of anticipation, the sequel to Danny Boyle’s iconic virus-based horror film, 28 Days Later, has arrived. Titled 28 Years Later: Temple of Bones, this gripping narrative picks up almost immediately from the chilling conclusion of the previous installment. It introduces a perilous gang led by Sir Lord Jimmy Crystal (Jack O’Connell).
This time, the real menace emerges from the human characters, prominently featuring the “infected” portrayed by Samson (Chee Lewis-Parry). Ian Kelson, played by Ralph Fiennes (as shown above), finds himself forming an unexpected camaraderie with him.
As they gaze at the stars and enjoy music from Duran Duran, Kelson delves deeper into the virus’s mysteries and embarks on a quest to develop a cure. The story builds to a thrilling and intense finale.
Despite the dark themes, the film balances its grim narrative with moments of humor and humanity, enriching the horror landscape. Should this third installment, 28 Years Later, resonate with audiences, it has the potential to become a celebrated trilogy in cinematic history.
Horror fans have been painted with the same broad, bloody brush for decades: labeled as cold, emotionless thrill-seekers who delight in the suffering of others. Movie critics describe the movie’s fans and creators as follows: Friday the 13th and Saw as “very sick people.” Flat among scholars, a common explanation for why some people love horror is that they lack empathy or are simply adrenaline junkies. In my new book, I argue that all of these assumptions are wrong.
One of the most persistent misconceptions about horror fans is that they must lack empathy to enjoy a movie this painful. This claim is intuitive and, until recently, was ostensibly supported by evidence presented in a meta-analysis. But a meta-analysis is only as powerful as the studies it summarizes. In this case, the variables were poorly defined. For example, the two studies that showed the strongest associations with low empathy examined whether participants enjoyed short clips that ended in torture or brutal murder and had no satisfying resolution. These measures probably don’t tell us much about horror fans, but they may tell us something about sadists. Deep in the discussion section, the authors of the meta-analysis acknowledged that if these studies were removed, the link between empathy and the enjoyment of fear disappeared. Unfortunately, that warning wasn’t mentioned in the summary.
In 2024, a series of research studies directly addressed issues of horror fandom and empathy. The results were amazing. Using standardized ratings measuring empathy and compassion, we found no evidence that horror fans were lower on either scale. In fact, they scored higher on empathy and compassion on several measures.
Even if they don’t consider empathy, conventional wisdom suggests that horror fans are just looking for an adrenaline rush. Some old research will even show you the proof. However, the truth is more complex.
My colleagues and I looked into it. When we investigated the motivations of horror fans who visit haunted attractions, we found that “adrenaline junkies” are only a subset of horror enthusiasts. We also discovered a group we call “white knucklers.” They find horror really scary and hate feeling scared. Our research shows that horror offers these fans an opportunity to overcome their fears and learn something about themselves. We also found a group called “Dark Copers” who use horror as a way to process difficult emotions and experiences. They find a sense of catharsis in imaginary horror. These three types of models make it clear that many horror fans are not motivated solely by adrenaline. However, they have one thing in common.
My research has identified the following personality traits: morbid curiosity as the most powerful predictor of horror fandom. The tendency to seek information about dangerous, threatening, or death-related phenomena leads to a fascination with horror media. And that may be good for you. Research shows that people with high levels of morbid curiosity are better prepared for real crises and demonstrate increased resilience during stressful life events. Horror fans may practice emotional regulation—a time to toy with fear through terrifying entertainment.
This evidence paints a picture of horror fans as empathetic, curious, and psychologically sophisticated. Horror is a testament to human adaptability and our uncanny ability to find meaning, connection, and even growth in the face of our deepest fears. Recognizing this not only helps us understand horror fans more accurately but also reveals something deep about human nature itself.
Coltan Scribner is the author of Morbidly Curious: Scientists Explain Why You Shouldn’t Look Away.
Feedback is New Scientist A well-known individual who keeps an eye on the latest developments in science and technology. To share insights on topics that may interest our readers, please reach out via email at feedback@newscientist.com.
Dig Into
Very few individuals value feedback as much as a true enthusiast. Such a person may spend months or even years exploring and engaging with something that seems utterly purposeless.
For example, let’s look into the world of Minecraft. For those who might be unfamiliar, Minecraft is an open-world game constructed entirely of cubic blocks. Players delve underground to gather useful mineral cubes to create various structures, like building a house to protect themselves from nocturnal monsters.
Or it could be even more expansive. The community is vast. There’s a feedback group known as Minecraft Middle Earth, which encompasses locations like Minas Tirith and the Mines of Moria. According to this group, the map of Middle-earth stretches across 29,000 x 30,000 blocks.
In terms of sheer size, Minecraft showcases a distinct project by YouTuber Samyuri. Relative to the expansive map, their project, measuring only 1020 x 260 x 1656 blocks, is smaller yet impressive in its own right. It’s known as Craft GPT, where large language models (LLMs) like ChatGPT are utilized.
This innovative CraftGPT was constructed using redstone, a mineral in the game that functions like an electrical circuit. While most players utilize redstone for basic mechanisms like monster traps, Samyuri crafted something extraordinary. In a meta twist, they even produced a rough version of Minecraft within Minecraft.
The new structure features a keyboard and screen, permitting players to input prompts and view the model’s responses. Behind this setup, redstone blocks rise prominently, mimicking components of LLMs such as the tokenizer, KV cache, and modified linear unit (ReLU).
This design allows CraftGPT to engage in simple conversations like, “Hello, how are you today?” with responses such as, “I’m feeling quite cheerful today, thank you for asking.” It can accurately inform you that the sky is blue and that consuming fruit is beneficial for your health. When Samyuri inquires, “Did you know you’re a machine?”, CraftGPT responds, “Yes, I find it intriguing, particularly in relation to emerging technologies.” This led Samyuri to humorously deduce that CraftGPT “probably” doesn’t grasp that it’s an AI.
No one, however, can accuse Samyuri of lacking humility here. Their CraftGPT video opens with a text disclaimer warning: “Some viewers may experience mind-blowing effects.” Nevertheless, they clarify that CraftGPT is “technically a ‘small language model’ with only 5 million parameters, about as many as my outdated laptop can handle.”
Feedback found itself fixated on a vast array of necessarily repetitive redstone mechanisms. Unbelievably repetitive. It’s hard to envision the tedium involved in constructing them.
That’s Me!
Shifting gears to video games, Feedback recently noticed a significant development in the gaming industry. The president of Nintendo of America is stepping down at the year’s end after nearly ten years in the position. That’s a decade spent overseeing new Mario games, where a frantic plumber battles the grand villain Bowser and his army to safeguard Princess Peach and the ever-vulnerable Mushroom Kingdom.
But given that the president’s name is Doug Bowser, perhaps that was always the underlying plan.
Reinventing Paper
Feedback is quite bemused by the technology hype at present. Before you cast a skeptical eye, it’s unusual to witness a claim of a “disruptive” startup that is “revolutionizing” a particular economic sector.
One truly groundbreaking new product is the Minimalist Paper-Based To-Do Manager, gaining acclaim from both The New York Times and Wired last year. Known as Analog, created by Ugmonk, it’s meant to help you manage tasks offline without the distractions of social media. It consists of a wooden block on your desk, accompanied by several white cards for jotting down your tasks.
In essence, it’s a few index cards and a piece of wood. One reviewer from The New York Times labeled it “old-fashioned,” anticipating the inevitable question: “Why not just use a notebook?” However, she noted that such a method has “never worked” for her, while “the analog system resonates with my Gemini spirit and provides a sense of professional seriousness and unexpected freedom.”
The Analog starter kit retails for £75, but subsequent card purchases are necessary. An annual refill typically costs £141. Yet, Ugmonk also offers a monthly subscription for consistent supply. Yes, yet another example of a company seeking to monetize a service you might forget to cancel.
By the way, I acknowledge the irony in making this point while Feedback is part of a subscription-based magazine. No need to send us an email about it.
Have a story for Feedback?
You can send your submissions to Feedback at feedback@newscientist.com. Please include your home address. This week’s and previous feedback can be accessed on our website.
TThis past month, independent musicians in San Francisco convened for a series of discussions titled “Death to Spotify,” where attendees delved into “the implications of decentralizing music discovery, production, and listening from a capitalist framework.”
Hosted at Bathers Library, the event featured speakers from indie radio station KEXP, record labels Cherub Dream Records and Dandy Boy Records, along with DJ collectives No Bias and Amor Digital. What began as a modest gathering quickly sold out, gaining international interest. Organizers were approached by individuals as far away as Barcelona and Bengaluru eager to replicate the event.
“Death to Spotify” event held on September 23rd at Buzzards Library in San Francisco, California. Photo: Dennis Heredia
These discussions occur as the global backlash against Spotify gains traction. In January, music journalist Liz Perry released *Mood Machine*, a critical examination arguing that streaming services have decimated the industry, turning listeners into “passive, unstimulated consumers.” Perry asserts that Spotify’s business model pays artists meagerly, particularly if they consent to be “playlisted” in discovery mode, which delivers a bland, ambient soundtrack that blends into the background.
While artists have long voiced concerns over inadequate compensation, this past summer, criticism turned personal, specifically targeting Spotify’s billionaire co-founder Daniel Ek’s backing of Hellsing, a German company developing military technology AI. Prominent acts like Massive Attack, King Gizzard & the Lizard Wizard, Deerhoof, and Hotline TNT have pulled their songs from the platform in protest, though Spotify stresses that “Spotify and Hellsing are entirely separate entities.”
“Mood Machine: The Rise of Spotify and the Cost of the Perfect Playlist” by Liz Perry. Photo: Hodder
In Oakland, Stefani Dukic read *Mood Machine*, learned about the boycott, and felt inspired.
While not a musician, Dukic, who investigates city police complaints, describes her fascination with sound alongside her friend Manasa Karthikeyan, who works in an art gallery. They decided to foster a similar dialogue. “Spotify plays a vital role in our music interaction,” Dukic explains. “We thought it would be enriching to investigate our relationship with streaming, the significance of deleting a file, and the process involved.” Thus, Death to Spotify was conceived.
In essence, the aim was to “end algorithmic listening, cease royalty exploitation, and discontinue AI-generated music.”
Karthikeyan believes the onus of quitting Spotify falls on both listeners and musicians. “One must acknowledge that not everything is instantly available,” she states. “It prompts deeper consideration of what you support.”
Yet, will musicians and fans truly commit to a long-term boycott of the app?
Numerous prominent artists have previously pulled their catalogs from Spotify amid much fanfare, only to quietly return. Taylor Swift, one of the platform’s biggest stars, returned in 2017 after a three-year boycott over unfair payment practices. Thom Yorke, the frontman of Radiohead, removed some solo projects in 2013 for similar reasons, labeling Spotify as “the last desperate fart of a dying corpse,” yet he later reinstated them.
In 2022, Neil Young and Joni Mitchell left the platform due to an exclusive deal with anti-vaccine podcast host Joe Rogan. Having both contracted polio in their childhood during the 1950s, they have also reinstated their catalogs on Spotify.
Eric Drott, a music professor at the University of Texas at Austin, suggests this latest wave of boycotts feels distinct. “These artists are not mainstream. Many have realized for years that streaming isn’t lucrative, but they still sought recognition. With the sheer volume of available music, people are questioning its overall value.”
Will Anderson of Hotline TNT asserted there is “0%” chance his band will return. “There’s no rationale for genuine music enthusiasts to be there,” he claims. “Spotify’s primary objective is to encourage you to stop pondering what’s being played.” When the band sold their new album, “Raspberry Moon,” directly via Bandcamp and a 24-hour Twitch stream, it sold hundreds of copies and generated substantial revenue.
Manasa Karthikeyan (left) and Stephanie Dukic. Photo: Eva Tuff
Pop-rock artist Caroline Rose and others are also experimenting with alternative distribution methods. Her album *Year of the Slug*, influenced by Cindy Lee’s “Diamond Jubilee,” was exclusively released on vinyl and Bandcamp, initially available only on YouTube and the file-sharing platform Mega. “It’s disheartening to pour your heart and soul into something only to give it away online for free,” Rose articulates.
Rose is a member of the Union of Musicians and Allied Workers (UMAW), an advocacy organization established to protect music professionals since the onset of the COVID-19 pandemic. Joey DeFrancesco, a member of the punk band Downtown Boys and a UMAW co-founder, stated the group “clearly advocates for artists as agents, holding corporations accountable and facilitating necessary dialogue,” including efforts to remove music from Spotify. He also noted the “limitations” inherent in individual boycotts.
“Our goal in the labor movement and within UMAW is to act collectively,” he emphasized. Notable examples include UMAW’s successful campaign—in partnership with the Palestine for Palestine coalition—to persuade the South by Southwest music festival to cut ties with U.S. military and arms manufacturers as sponsors for its 2025 event, as well as the introduction of the Living Wage for Musicians Act (a bill aimed at regulating payments to artists on Spotify) championed by Congresswoman Rashida Tlaib.
The organizers of Death to Spotify assert that their intent isn’t to dismantle the app but rather to prompt users to critically reflect on their music consumption habits. “We want to encourage a more thoughtful engagement with how we listen to music,” Karthikeyan explains. “Sticking to algorithmically generated comfort zones only serves to diminish the richness of our culture.”
the player started to let go of his aspiration to replicate the success of an older competitive football rival. Sometimes, the developer’s vision doesn’t align with expectations. During the creation of FC 26, EA engaged with a group of influencers and community members to inform critical design choices. Consequently, the soccer experience is now segmented into two distinct modes. Offline, it feels more like an evaluation phase, highlighting aspects like player fatigue. In contrast, online gameplay is fast-paced esports-focused, prioritizing quick shots and goals over defensive strategies like those of William Saliba.
Offline, the mode feels rejuvenating. For instance, the career mode showcases a thoughtful pace comparable to recent matches in FC and FIFA. Tactical approaches matter significantly, with noticeable differences in skills like ball control and vision. Weather effects, including wind and pitch conditions, can influence how the ball interacts with the ground. Patient build-up play is encouraged, and skills can be effectively defended without relying on skill sticks, giving the experience a cerebral aspect.
About the target…EA Sports FC 26. Photo: Electronic Arts
After a lackluster year, Manager Mode offers a more authentic playing experience. The new career carousel introduces consequences that impact job security, leading to managers being hired or poached by rival clubs. For the first time, CPU-controlled teams will implement the tactics of incoming coaches, adding much-needed variety. There are also random events, such as training injuries and unexpected issues. For instance, in my West Ham career, Kyle Walker-Peters and Eldo Zimalic Diuff missed the away game against Arsenal due to “dangerous food.” Yet, some legacy concerns, like uninspired cutscenes, persist, although they serve as a reasonable alternative to the often-controversial Ultimate Team.
Meanwhile, Ultimate Team (FUT) continues to dominate, especially among those willing to spend for random player packs, similar to collecting Panini stickers. This time, there are appealing updates, such as the introduction of Evolution mechanics for leveling up goalkeepers and the return of the All-Silver Tournament, which restricts players to silver-rated ones. It’s possible to build a strong team without significant expenditures. Just a week in, my team already includes Toni Kroos, Lionel Messi, and Ruben Dias. However, the allure to spend on random packs remains a divisive feature in the series.
The gameplay within Ultimate Team embraces “competitive” online settings and reflects years of community input. Prepare for a basketball-style goal-fest filled with impressive tricks and shots. The new AI and animations for goalkeepers will help to keep some scores lower, but defending remains a significant challenge. The absence of player fatigue complicates matters, as previously, containing a speedy attacker for 70 minutes would demand skill, but now they can push deeper into injury time, undermining solid defensive efforts. While this change caters to player feedback, it detracts from the overall sense of realism.
This high-octane gameplay is engaging and reminiscent of the enjoyable rush from mode 5. Numerous quality-of-life enhancements make it as addictive as its distant predecessor, FIFA Street. It addresses annoying elements, such as players getting stuck to the controller, and ensures goalkeepers make intelligent saves while the default view smartly tracks players, providing a comprehensive view of the pitch. Defensive issues are less detrimental in this context, making it the most enjoyable way to experience FUT.
FC 26 remains a robust offering despite its conscious decision to forego some realism in the online arena. Even in competitive settings, there are still many players yearning for authenticity. While it may represent a regression in terms of real football simulation, it certainly advances in areas of fan service. This may not be what simulation purists of Pro Evo are looking for, but as an esports collaboration between developers and the gaming community, this third installment of FIFA achieves many of its goals.
“It’s 19 feet ahead,” announced the robotic voice from an iPhone held by Moshfik Ahmed, as he navigated through London’s Road Cricket Field in search of a seat.
“Up the stairs,” directed Ahmed, an English cricketer with visual impairment, as he tapped a white cane on his way to the Edrich Stand without any external assistance. “There’s one landing. We’re positioned at 9 o’clock at the base of the stairs. We’ve reached the fifth row.”
Ahmed was among the first to test the newly installed Wayfinding technology at Lord’s, designed for blind and partially sighted individuals, enabling disabled fans to enjoy live sports.
Waymap, the company behind this app-based navigation tool, asserts that the 31,000-seat cricket stadium is the first sports venue worldwide to offer personal GPS, specifically tailored to manage traffic in stadiums, shopping centers, and transportation systems.
Utilizing a £50,000 camera, Waymap meticulously mapped stairs, corridors, inclines, entrances, and concourses to develop a digital twin of this historic cricket ground, allowing the app to navigate users by meter precision.
This technology was implemented ahead of next month’s Test match between England and India. The Marylebone Cricket Club, which manages the venue, believes it can assist other cricket enthusiasts in discovering the most accessible routes throughout the premises.
“The concept is fantastic for the visually impaired,” said Ahmed, who tried the app upon the Guardian’s invitation after participating in a showcase match on Wednesday. “If it functions flawlessly, I can navigate to the station independently, cross the street by myself, arrive at the stadium, and find my way using the app. I know many sports enthusiasts who are visually impaired. This will make it completely accessible for them.”
Moshfik Ahmed at the cricket grounds on the road. Photo: Sean Smith/Guardian
It was Ahmed’s first experience with the app, which had some initial hiccups. At times, it mistakenly suggested he head in the wrong direction, pointing him to temporarily closed stairs, and even guided him to row 20 of the Edrich Stand instead of column 5.
However, it seemed that both the app and the user were still in the adaptation phase. For instance, the app should be customized to reflect the individual user’s walking pattern, which could clarify the misdirection he experienced.
“It must be precise and dependable,” stated Ahmed, who lost most of his vision in 2017.
“We’re dedicated to delivering an exceptional experience,” said Celso Zuccollo, CEO of WayMap. “WayMap represents a novel navigation approach. It usually requires multiple visits to fully grasp how to use the app effectively.”
“The objective is likely to extend this technology to venues like Wembley, various football stadiums, and we are in discussions with horse racing tracks,” he added.
Existing apps available for users of the Washington, DC public transport system do not adequately alert users to the movements of people around them, particularly those whom Ahmed noted can pose significant challenges in maneuvering safely and comfortably.
This social media platform positions itself as a leader in youth culture, setting trends for others to follow. However, observations of music, television, and daily life in the UK suggest that TikTok is embracing a new wave of nostalgia.
The music and television of the 2000s have been rediscovered by Gen X and older Millennials, with Gen Z being the first to engage with this content.
“Sex and The City,” which aired from 1999 to 2004, now boasts 108,000 videos on the platform, doubling its count over the past year. “Gossip Girl,” running from 2007 to 2012, has 120,000 videos, while “Gilmore Girls,” from 2000 to 2007, has amassed 1 million related videos. “The Vampire Diaries,” which aired for eight years until 2017, has generated over 2 million discussions in video form.
Additionally, the revival of the British show “Skins,” a drama about Bristol teenagers that first aired in 2007, has gained significant attention.
Lily Hall, Programs and Insights Manager for TikTok UK, Ireland, and Nordics, remarked: “Fashion and beauty continue to be dominant themes, and we see a rise in interest for older music, television shows, and films as users seek comfort and authenticity from the past.”
“Currently, classic series are thriving on the platform. We’ve reintroduced this new generation to beloved old TV shows, while older users are sharing their favorites again.”
TikTok’s focus on “Britcore” content reflects the increasing demand for 2000s nostalgia, with creators sharing videos related to fashion and lifestyle, childhood toys, and discontinued snacks like pink and white mouse sweets and Cadbury animal crackers.
Crime dramas have also seen a significant impact, with a 70% increase in related videos over the past year.
The viral success of puberty content, which was collectively created in one take, has resulted in 76,000 associated videos. Other creators have revived themes from series like “Code of Silence” and “Kin.”
Interestingly, a song recorded 64 years ago, initially seen as merely a B-side, found new life on the platform. “Who’s Sorry Now” by Connie Francis has captured the attention of a younger audience, especially after the 87-year-old artist joined TikTok herself.
The track has gone viral on the platform, racking up video productions totaling over 20 million views. This resurgence occurs 65 years after Francis became the first woman to reach the top of the Billboard Hot 100 Chart. TikTok notes that the song has been used as a soundtrack for positive content featuring family and pets.
“This demonstrates that the TikTok community transcends genres and ages,” says Sheemashidiki, Artist Partnership Manager at TikTok. “Whether a song was released last month or decades ago, what matters is that the community can engage creatively with it.”
I stumbled upon my homeless billionaire husband for Christmas, the quarterback by my side, XXL’s wife’s revenge, and my secret agent husband.
These may seem like whimsical fantasies, but they are actually part of a genre known as “vertical drama.” This innovative format for episodic television has captured the attention of millions of people worldwide.
Originating from China, the genre, often referred to as “Tiktok generation television,” consists of short episodes designed for viewing on smartphones. By 2027, the market for vertical drama is expected to reach a value of $14 billion (£11 billion).
“The growth of this genre signifies a demand among audiences that is not being met by the current media landscape,” explains Zhou Yuan, the founder of content Republic, a Beijing-based vertical film production company, as reported in a recent interview with a Hong Kong cinema.
Micro-dramas, known as Duanjus in Chinese, have made a significant impact on the Chinese audiovisual market before expanding globally, transforming the industry. Chinese companies are collaborating with foreign production firms to export this format, supported by a range of new streaming apps such as Reelshort, ShorttV, Dramapops, and FlextV.
In November of last year, California-based Reel Short, backed by Chinese investors, surpassed Tiktok as the most popular entertainment product in the Apple App Store in the US.
“Some skeptics questioned the willingness of audiences to pay for this content,” remarked Joey Jia, the CEO of Crazy Maple Studio, the company behind Reelshort, in an interview with the Washington Post.
Romantic soap opera posters feature titles like “Love is Sin” and “I’m Going to Hell.” Photo: Reel Short
Viewers are captivated by the familiar tropes found in Booktok readings, such as secret billionaires, forbidden love, and supernatural enemies. They are hooked by catchy titles, suspenseful cliffhangers, and dramatic moments. Typically, these apps offer a few free episodes before requiring a paid subscription. Similar to video games, Reelshort allows users to purchase “Coins” to access additional episodes.
Jen Cooper, the UK-based founder of Vertical Drama Love, has a passion for romantic films and comedies, which drew her to this format.
“Last April, during a challenging personal time, I found it difficult to focus on full-length dramas,” Cooper shared. “One day, I stumbled upon a vertical drama ad on Tiktok that piqued my interest.”
She delved into her first vertical drama, a captivating tale of a woman torn between her ex and uncle, titled “You Belong With Me.” “It embodies classic themes but at its core, it’s a beautiful love story with genuinely entertaining moments,” she remarked.
Cooper fell down the rabbit hole, creating an Instagram account to share reviews, connecting with industry insiders, and fostering a community of enthusiasts. The response was overwhelming, with over 16,000 votes from around the globe within a week of launching a fan award.
She discovered that many individuals turned to vertical dramas during challenging periods in their lives. “I’ve heard stories from family members, fans battling serious health issues or caring for loved ones. The audience ranges from women in their early 20s to their 60s. I’ve spoken to a Pakistani student, an elderly Italian woman bedridden, and a mother who lost her husband while doing household chores,” she shared.
The universal appeal lies in escapism, offering a quick dose of dopamine when life becomes overwhelming. “People yearn for satisfying outcomes, and let’s be honest, who doesn’t enjoy seeing incredibly attractive individuals fall in love?
Defne Turan, a production manager at London’s Seastar Productions, believes that vertical drama is the way forward.
She noted a surge in interest from filmmakers and actors eager to be part of this burgeoning genre. “It’s a new frontier, and we must approach it with the same level of care as traditional productions. Just because it’s different and fast-paced doesn’t mean we compromise on quality,” she emphasized. “We utilize industry-standard equipment, and many experienced production crews and makeup artists from major productions are involved.”
For many actors like Teig Sadana, vertical dramas offer a lifeline in a competitive industry. They provide consistent work amidst strikes and cutbacks. Verticals are typically shot in just 7-10 days, with two cameras capturing scenes in a single take.
Australian and British actor Teig Sadana credits the format for providing him with steady work opportunities. Photo: Jennifer Cooper
Teig Sadana, a 29-year-old Australian British actor based in New York, transitioned to vertical dramas after completing his studies at Stella Adler Studios.
“I responded to a rather standard acting job ad on a website, not fully comprehending what ‘vertical’ entailed. I needed the paycheck,” he admitted. After a brief conversation with the supervisor, he found himself on set a few days later filming “Glory of Pennsylvania’s Revenge.”
“Since then, I’ve worked on 10 films across various major vertical platforms, collaborating with talented professionals and experiencing the joy and stability of consistent work,” Sadana shared.
Initially challenged by the format’s constraints on character development, Sadana learned to embrace its unique style, preventing him from “overindulging.”
Nick Westway, a former star of the Australian soap opera “Home and Away,” currently stars in “The Double Life of Hitmaster President.”
According to Zhou, Content Republic plans to produce 400 vertical dramas annually, with 200 intended for the domestic Chinese market and 200 for international audiences.
While it remains to be seen if the novelty of the genre will fade (some platforms have ceased operations within six months), even established media companies are taking note of the trend and striving to engage younger audiences. In 2023, Paramount Pictures released a series of 23 snippets from “Mean Girls” on Tiktok.
“This is a space that resonates with audiences and offers valuable insights into how creators and viewers embrace it,” remarked Sacha Kari, Channel 4’s digital commissioning manager.
Liverpool fans crowd to watch the on-field VAR screen at Anfield Stadium
Alex Dodd – CameraSport via Getty Images
If you’ve watched any football, or even soccer, in the past few years, you know that the game has been embroiled in controversy surrounding new officiating technology. The Video Assistant Referee (VAR) system was introduced in the English Premier League in 2019 to reduce referee errors and get more correct calls. Instead, it created a new kind of uncertainty and undermined our understanding of basic rules such as offside and handball. It has also infuriated fans, who can often be heard shouting “this isn’t football anymore” after lengthy VAR checks.
It’s safe to say that soccer fans love to get furious, especially when a referee’s decision goes against their team. But as I argue in my new book, I can’t stop thinking about VAR, there’s more to this than meets the eye. As someone involved in developing new ways to measure educational attainment, I’ve thought long and hard about why VAR is so frustrating. I think the problem has to do with the challenge of pinpointing objective reality, the difficulty of accurate measurement, and human nature’s aversion to uncertainty.
But what I realized is that VAR exemplifies the limits of rationality in many fields far beyond the field of football. So let’s briefly explore the broader history of measurement, from attempts to determine the boiling point of water in the 18th century to the struggle to accurately assess boiling point.
It backfired Audible, weekly episodes Slow Burn, Think Twice, Fiasco – Leon Neyfakh has produced several high-quality podcasts in the past. Currently, he is focusing on e-cigarettes and his struggles to quit smoking. These podcasts narrate the journey of finding a cigarette that is less harmful. It’s interesting to note the difference in approach between the UK, where e-cigarettes are promoted as a tool to quit smoking, and the US, where there are efforts to ban flavored e-cigarettes. Hannah Verdier
A better paradise Widely available, with weekly episodes An atmospheric near-future podcast from the creators of Grand Theft Auto. Featuring a talented cast, Andrew Lincoln plays Dr. Mark Tyburn who tries to create an addictive video game but abandons the project halfway. Years later, when he is rediscovered, will the game finally see the light of day? HV
Leon Neyfakh’s “Backfired” explores the rise of e-cigarettes. Photo: Nicholas T Ansell/PA
Because the boss is ours Widely available, with weekly episodes Bruce Springsteen may not be the first person you think of when it comes to queer pop idols, but hosts Jesse Lawson and Holly Cascio, “two queer nerds” who are fans of the Boss, delve into this fun and insightful podcast to explore Springsteen’s status as a queer icon. Holly Richardson
Pulling the Thread: Wild Life Widely available, with weekly episodes This captivating series from Drake’s production company follows investigative journalist Lunako Serena and the spy known as “Wolf” as they uncover the truth about Africa’s largest wildlife trafficking ring. The journey takes them from an environmental conference in The Shard in London to infiltrating criminal networks involved in the ivory trade in Uganda. Alexi Duggins
Festival Hall Widely available, with weekly episodes A new series from the creators of the confessional-based X Account, featuring a range of content from ranking secrets of the week to insightful interviews with Philippa Perry about the psychology behind anonymous sharing of secrets. advertisement
There is a podcast
Afua Hirsch, host of “We Need to Talk About the British Empire.” Photo: Suki Dhanda/Observer
this week, Rachel Aroesti Pick the top 5 PodcastsUnited KingdomFrom Armando Iannucci’s irreverent take on Westminster to Afua Hirsch’s reflections on the complex legacy of the British Empire London Grad London is clearly a cosmopolitan city, but there are moments in this darkly fascinating podcast from Tortoise Media’s Paul Caruana Galizia that make you wonder which country has the most influence over our capital. The first series of the show focused on Russian money flowing into London through real estate and, in the case of the Lebedev family, the purchasing power of its ultra-rich investors in multiple newspapers, while in series two the focus shifted to Iran and the government-mandated “death squads” that have repeatedly attempted to assassinate London-based critics of the regime on British soil.
We need to talk about the British Empire Afua Hirsch’s 2018 book, Brit(ish), is both a deeply personal memoir and an insightful analysis of British history, making it essential reading for anyone wanting to gain a deeper understanding of black history and politics in the country. In this podcast series, the author broadens the perspective even further, using her guests’ personal stories to illuminate the legacy of colonialism from different angles. Anita Rani offers insight into Partition, the late Benjamin Zephaniah talks about the Windrush, Diana Rigg talks about growing up at the end of the British colonial era, and musician Emma Lee Moss (formerly Emmy the Great) reminisces about her childhood in Hong Kong under British rule.
Rethinking Westminster Armando Iannucci is one of Britain’s leading satirists, and he’s spent his career lampooning the country’s follies and weaknesses, from the chaos of government with The Thick of It to the banality of mid-level broadcasting via Alan Partridge. In this podcast series for the New Statesman, he and the magazine’s UK editor Anoush Chakerian (who also hosts the magazine’s flagship podcast) take a slightly less-than-modest look at Britain’s most pressing political issues. Topics range from Britain’s “ramshackle” constitution and the old, machismo energy of party politics to the shortcomings of lobby journalism and the deterioration of our supposedly special relationship with the US.
Northern News Edinburgh Award-nominated stand-up comedians Ian Smith and Amy Gledhill are northerners who moved to London but are still keen to hear news from their home town – Gledhill is originally from Hull, Smith from nearby Goole. For Northern News, the pair combine easy-going chatter with local newspaper readings, focusing on the weirdest, most ridiculous and sentimental news they can find. They also host a host of guest comedians who share their own quirky local anecdotes.
The rise and fall of Britpop The story of Britpop is much more than the tabloid-shattering rivalry between Oasis and Blur. It’s a story that has much to say about the traditions and history of British pop culture from the 1960s to the present day. Steve Lamacq and Joe Whiley, co-hosts of Radio 1’s hip show The Evening Sessions when the scene first took off 30 years ago, are perfectly suited to tell the tale. With help from guests including Stuart McOnie and Alex James, the pair take a trip down memory lane to trace Britpop’s journey from an unpopular alternative to trendy US grunge to a cultural force that redefined our national identity.
Please try…
Alexander Skarsgård’s new pod explores startups taking innovative approaches to environmental and social issues How to solve this.
From remote work to immigration, The Atlantic Good on Paper It raises the big questions behind the inevitable topics.
If you’d like to read the full newsletter, sign up to receive Hear Here in your inbox every Thursday.
medallion is a platform for artists to have a dedicated digital hub to promote album releases, tour dates and merch drops, as well as sell digital collectibles and share exclusive content to connect deeper with fans. You can also foster connections. The company announced today that it has closed $13.7 million in Series A funding, co-led by Dragonfly and Lightspeed Faction.
Musicians are increasingly seeking direct ownership in their communities and avoiding third-party platforms that can complicate managing interactions with fans. From a fan perspective, there are many ways to follow and connect with artists, but with minimal online interaction.
Matt Jones, co-founder and CEO of Medallion, said: “Streaming has opened up access to music and social media, creating new channels for direct distribution, but artists and fans “The full potential of direct connections has not been exploited.” “Medallion’s artist-centric approach and focus on digitally native fan experiences are helping usher in a new era of transformation for artists.”
Medallion hopes to use this significant funding to address what many artists consider to be a major gap in the music industry: the lack of control and lack of direct connection when it comes to online relationships with fans. I am. The company plans to use this new capital to introduce new early access opportunities such as listening to previously released music and offering advance tickets, among other member benefits such as “video premieres and new updates.” He explained. Artists will soon be able to sell new exclusive and limited edition digital collectibles/NFTs such as poster bundles and trading cards.
Medallion recently introduced a new earning opportunity for artists in the UK, Australia and Germany: ‘Digital Deluxe’. This allows artists to sell digital versions of their music albums with built-in music players and downloadable audio, images, and videos. Artists can also sell physical items through an integration with Shopify.
Medallions are free for artists to use, but will account for a portion of all sales on the platform, an amount that was not disclosed. It is built on blockchain and allows users to sign in using email or their wallet provider (Rainbow, Coinbase, WalletConnect).
Additionally, Medallion is a white-label platform, meaning artists can customize their digital spaces with their own color themes, backgrounds, and more. When fans set up an account, they claim something like a unique digital collectible or membership card called a “medallion” that grants free access to the community. For example, Greta Van Fleet’s symbol is her spinning 3D gold ring.
Artists communicate with fans through social media posts, and fans can respond with comments. Some artists may also request that the community submit concert footage, photos, etc. to share with the community and further encourage fan engagement.
“We have partnered very closely with a small number of select artists over the past year to help us test and refine core product features. This platform is not yet open to all artists. However, we continue to invest in technology and platforms that will ultimately allow us to expand across the industry. At the moment, we are primarily focused on being among the top 10,000 artists on streaming platforms and being highly engaged. I work with independent-minded artists who have huge fan bases,” Jones said.
The company plans to expand the platform’s availability to hundreds more artists in 2024, but it won’t be widely available until 2025 or later.
The medallions are presented by Jones, Mark McIntyre (CTO), Josephine Yu (CPO), Jesse Belin (VP of Operations), Adam Ray (CFO and General Counsel), Ash Pampati (VP of GTM), Co-founded by Tom Milway (Vice President). Design) are all technology, e-commerce, and music industry veterans with experience at Songkick, Instagram, YouTube, Spotify, Grailed, Warner Music Group, and Live Nation.
Other investors in the round include Coinbase Ventures, Infinite Capital, J17, The Chernin Group, Third Prime, and Zeal Capital, as well as music industry investors Bill Silva Entertainment, Black Squirrel, Foundations Artist Management, Method; Includes TAG Music. Medallion also has support from top artists such as Jungle, Mount Joy, Guy Lawrence (Disclosure), and Tiga.
The company has raised $22 million to date.
“Artists are beginning to understand that they are brands, not just content creators, and as a result, they are building multimodal businesses that go beyond just music and content,” said Dragonfly General Manager Partner Rob Haddick said in a statement.
Football is a great model of social belonging, promoting inclusivity, teamwork, community spirit, social change, and individual achievement. Still, collective factors may be the reason behind acts of violence and vandalism. In a new study, neuroscientists at the University of San Sebastian investigate the brain mechanisms underlying positive and negative social stimuli in soccer fans in positive and negative social scenarios.
Mendieta other. fMRI was used to measure the brain activity of fans of rival soccer teams during a match. This image shows the contrast between winning and losing in the “good fanatic’s brain.” Activities related to important victories are shown in warm colors. The blue scale represents activations associated with significant losses. This pattern is consistent with a mentalization network suggesting a pain rationalization process triggered by a losing scenario. Image credit: Mendieta other.
“Our study aims to uncover the behaviors and dynamics associated with extreme competitiveness, aggression, and social belonging within and between fans’ groups,” said the first author. Dr. Francisco Zamorano Mendietaa researcher at the University of San Sebastian.
Rivalries are deeply rooted in the history of sports, and fans can be very protective of their “home” team and favorite players.
These same fans run through a range of emotions as they watch their team succeed or fail during a game, cheering when they score or being furious at a bad call.
Soccer fans are known for their loyalty and enthusiasm for their team, especially in Europe and South America.
To gain insight into the brain mechanisms behind fan behavior, Dr. Zamorano and his colleagues recruited 43 healthy male volunteers for a functional MRI (fMRI) study.
Participants are fans of Chile’s two most popular soccer teams, which are considered arch-rivals.
They were divided into two groups: 22 supporters of one team and 21 supporters of the rival team.
They completed a survey to determine their Soccer Enthusiasm Score and underwent a psychological evaluation.
All participants received an edited version of the match containing 63 goals.
While participants watched a compilation of matches, their brain activity was measured using fMRI, a non-invasive imaging technique that detects changes in blood flow in the brain.
The fMRI results showed that fans’ brain activity changed depending on whether their team was successful or unsuccessful.
“When your team wins, the reward system in your brain is activated,” Dr. Zamorano says.
“Losing activates the mentalization network, putting fans into a reflective state, which may alleviate some of the pain of the loss.”
“We also observed that the brain hub connecting the limbic system and frontal cortex was disrupted, disrupting mechanisms that regulate cognitive control and increasing the likelihood of destructive or violent behavior. .”
The research team’s findings could shed light on social dynamics at all levels.
“People inherently crave social connection, whether it’s membership in a running club, participation in a book discussion group, or participation in a virtual forum,” Dr. Zamorano said.
“These social bonds are often formed around shared beliefs, values and interests, but there can also be elements of persuasive proselytism, or ‘groupthink’; That can lead to irrational beliefs and social discord.”
“The enthusiasm we see among some sports fans can serve as a convincing example of intense emotional investment, occasional aggressive behavior, and a decline in rationality.”
“Understanding the psychology of group identification and competition sheds light on decision-making processes and social dynamics, allowing us to more fully understand how societies operate.”
Francisco Zamorano Mendieta other. Brain mechanisms underlying emotional responses in social pain. Football as a surrogate for studying fanaticism: an fMRI study. RSNA 2023
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
