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  • ‘With Love, Meghan’ Misses Netflix Top 10

    ‘With Love, Meghan’ Misses Netflix Top 10

    Topline

    The second season of Meghan Markle’s critically panned lifestyle show “With Love, Meghan” had at least 500,000 fewer viewers in its first week on Netflix than its first season earned in the same time, and didn’t make it into the streamer’s most-watched shows in its debut week.

    Key Facts

    Eight new episodes of “With Love, Meghan” dropped on Netflix on Aug. 26 and had six days to rack up viewers before the streamer released its most-popular list for the week.

    But the show didn’t make the Top 10 list for Aug. 25 to Aug. 31, according to viewing data which became available Tuesday, despite the No. 10-ranked show (“Untamed”) earning just 2.1 million views.

    Netflix doesn’t release weekly viewing data for shows outside of its Top 10, but for “With Love, Meghan” to have missed the list it had to have been watched by a half-million fewer viewers than its first season in its first week (2.6 million back in March of 2024).

    The drop in popularity came amid a barrage of negative reviews around its release—the Times of London’s critic said it “occupies the sweet spot where irrelevant meets intolerable”—and after Netflix made significant changes to its production deal with Markle and her husband, Prince Harry.

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    What We Don’t Know

    If “With Love, Meghan” will get a third season. But the relatively low viewership numbers may not be a death knell for the show considering it’s used, in part, to promote products from Markle’s lifestyle brand As Ever, which Netflix is heavily invested in. Markle launched As Ever with the streamer last year and uses the brand to sell products like tea, wine and baking mixes, some of which are made through Netflix’s consumer product group. Netflix also shares in the brand’s revenue. As Ever restocked many of its previously sold-out items ahead of the season two premiere and dropped a new product, an orange marmalade, on the day the episodes dropped. Netflix said “Meghan suggests using” the marmalade as a spread, in yogurt, in ice cream or as a glaze for chicken or salmon.

    Key Background

    “With Love, Meghan” is one of five shows or films to come out of a $100 million, five-year deal between Netflix and Archewell Productions, Harry and Meghan’s company, that expired earlier this summer. The show’s log line describes the series as Markle inviting “friends and famous guests to a beautiful California estate, where she shares cooking, gardening and hosting tips.” As she cooks with her famous guests—which included Chrissy Teigen, Tan France and David Chang in the second season—Markle occasionally offers revelations about her life as a royal and her relationship with Harry. The show has a 27% critics rating on Rotten Tomatoes and, ahead of season two, reviews for the series ranged from “baffling” to “intolerable.” Times critic Hilary Rose said it was, “like an advert for somewhere we’ll never go and aren’t invited, an ego trip in a sun hat” and The Telegraph’s Anita Singh branded Markle a “Montecito Marie Antoinette.”

    Tangent

    After rumors Meghan and Harry’s Netflix deal wouldn’t be renewed, the streamer did sign a new, but much different, deal with Archewell Productions. The new arrangement is a multi-year, first-look deal that will give the streamer the right of first refusal for all Archewell film and television projects. The first massive deal saw Netflix pay Harry and Meghan for the exclusive rights to all Archewell content. No dollar amount was attached to the new deal, but the New York Times reported it is worth less than the first. The new agreement includes a film adaptation of bestselling novel “Meet Me at the Lake” and a documentary short about an orphanage in Uganda, famous for its viral videos, called “Masaka Kids, A Rhythm Within.”

    Further Reading

    ForbesMeghan Markle’s ‘With Love, Meghan’ Drops Second Season And Gets Torched By Critics—AgainForbesHarry And Meghan Sign New Netflix Deal After All—But For Less Than Previous Mega-DealForbesMeghan Markle Renames Lifestyle Brand—Here’s What We Know About ‘As Ever’

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  • Samsung Galaxy S25 FE, Tab S11 and Tab S11 Ultra images leak ahead of Thursday’s reveal

    Samsung Galaxy S25 FE, Tab S11 and Tab S11 Ultra images leak ahead of Thursday’s reveal

    Are you excited for Thursday’s Galaxy Event? There (probably) won’t be any surprises due to extensive leaks – case in point, here is a look at the Galaxy S25 FE, Galaxy Tab S11 and Tab S11 Ultra, courtesy of Evan Blass.

    First, the Samsung Galaxy S25 FE is coming in four colors. The Navy version was listed in Portugal complete with full specs (and again here). The other colors will be called Jetblack, White and Icyblue, but Navy will be the hero color.



    Samsung Galaxy S25 FE in Jetblack
    Samsung Galaxy S25 FE in White
    Samsung Galaxy S25 FE in Icyblue

    Samsung Galaxy S25 FE in Navy, Jetblack, White and Icyblue

    In short, the phone is getting the full Exynos 2400 chipset (not the 2400e) and faster 45W wired charging for a slightly larger 4,900mAh battery (up from 25W for a 4,700mAh battery on the S24 FE). It should also get upgraded to an ultrasonic fingerprint reader (the old model has an optical reader).

    We’ve seen US prices for the Galaxy S25 FE – $650 for the 128GB model and $710 for the 256GB one. Samsung will offer a 512GB variant in other regions. These are the same launch prices as the S24 FE, by the way. And we expect to see some pre-order perks, of course.

    The new tablets are also getting new chipsets – we’ve already seen benchmarks from the Dimensity 9400+ inside the Samsung Galaxy Tab S11 Ultra. The vanilla Tab S11 should use the same chip.


    Samsung Galaxy Tab S11
    Samsung Galaxy Tab S11
    Samsung Galaxy Tab S11 Ultra
    Samsung Galaxy Tab S11 Ultra

    Samsung Galaxy Tab S11 and Galaxy Tab S11 Ultra

    Like the phone, the two tablets leaked through a retailer. The vanilla model will cost around €960 for a 256GB Wi-Fi slate. A 128GB 5G model will be around €1,030. We expect to see 512GB variants as well. The Ultra model will go for €1,475 or so (512GB Wi-Fi).

    We also saw US pricing for the two slates – $860 for a 256GB Wi-Fi Tab S11 and $1,200 for a Tab S11 Ultra with the same specs. Higher storage tiers for Ultra will be $1,400 and $1,700 for 512GB and 1TB, respectively. Note that only the 1TB variant will have 16GB of RAM, the lower versions will have to make do with 12GB.

    On Thursday we will have detailed reports on the Galaxy S25 FE, Tab S11 and Tab S11 Ultra – plus anything else that Samsung might showcase (tri-foldable? XR headset? We will find out in a couple of days).

    Source

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  • Dying cancer patient left in ‘unnecessary pain’ at Borders hospital

    Dying cancer patient left in ‘unnecessary pain’ at Borders hospital

    David KnoxBBC Scotland News

    BBC A grey-haired man with glasses, wearing a grey shirt and striped tie, looks beyond the camera. In the background is a bookcaseBBC

    Roy Owen was admitted to Borders General Hospital for palliative pain management in 2023

    Nursing staff at a Scottish hospital have been criticised for leaving a dying man in “unnecessary pain” during his three months on their ward.

    Roy Owen from Selkirk was admitted to Borders General Hospital (BGH) in Melrose for 24-hour palliative care in May 2023.

    But the 79-year-old, who had prostate cancer which spread to his bone and spine, was repeatedly denied pain relief, while further pleas from his wife, Ann, were also ignored.

    A lengthy investigation by the Scottish Public Services Ombudsman (SPSO) has identified “serious clinical failings… which led to a significant personal injustice to a vulnerable person”.

    NHS Borders has been ordered to make a full apology to Mr Owen’s widow, as well as ensuring all staff are fully trained in pain management.

    A man in a dark jacket, white shirt and bow tie standing in front of a wall

    Mr Owen, seen here on his wedding day, lived in the Borders for 20 years

    The SPSO probe found that Mr Owen was in pain for most of the 16 weeks he spent on a medical ward at the BGH.

    On only two occasions during his entire time at the hospital did ward staff assess him as requiring additional pain relief to ease his distress.

    It also discovered advice from consultants was ignored, there were lengthy gaps in pain assessments, and complaints from Mr Owen’s family were brushed under the carpet.

    The SPSO’s damning report reveals that the ward had run out of pain relief medication, keys could not be accessed for opening the drug cabinet, and there were instances when Mr Owen took the wrong medication.

    His widow said: “The reason my husband was at the hospital was for palliative pain management, so I find it odd that the attitude was so casual and certainly not adequate.

    “When I went to visit him, he would be desperate for help – even after I went to tell the nurses, they would often do nothing, other times they would offer him paracetamol.

    “A lot of our friends and family – many who were ex-NHS employees – came to visit Roy and they were appalled by what was going on. I knew things were bad, but the investigation report shows it was much worse at the hospital than any of us thought.”

    Jim Barton A busy car park with a hospital building in the backgroundJim Barton

    The ombudsman found that Mr Owen was left in unnecessary pain at Borders General Hospital

    Mr Owen had moved to Selkirk more than 20 years earlier from Saffron Walden, where he ran his own timber and conservatory companies.

    He quickly became an active member of the community, particularly with the town’s cricket club, the Roxburgh Singers and St John’s Church.

    But in 2018 he was diagnosed with stage 4 prostate cancer, which had spread to his spine and lower limbs.

    Despite more than four years of outpatient treatment at the Western General Hospital in Edinburgh and the local Macmillan centre in the Borders, Mr Owen’s cancer had continued to spread.

    Consultants eventually referred the grandfather for palliative care, firstly at home – where he was prescribed heavy dosages of morphine by the local health centre – and then at Borders General Hospital from 15 May 2023.

    He died at the hospital on 4 September that year.

    The SPSO investigation into Mr Owen’s care and treatment at the region’s main hospital concluded: “(Mr Owen) was cognitively impaired and (his) pain was not adequately assessed or managed even though (he was) admitted for pain management arising from metastatic prostate cancer and had complex pain needs.

    “This meant (Mr Owen) was left in unnecessary pain. Nursing staff did not follow specialist advice and instruction in managing (Mr Owen) and (his) pain.

    “Documentation and record keeping was poor and fell below an acceptable standard.”

    PA Archive/PA Images Hospital equipment with a blurred patient in the backgroundPA Archive/PA Images

    Roy spent the final 16 weeks of his life on a medical ward at Borders General Hospital

    Mrs Owen made attempts to complain about her husband’s treatment after his first week on the medical ward.

    Despite putting her concerns in writing after meeting with nursing managers, she did not receive a response for more than six weeks.

    And the response through more formal channels was similarly dismissive.

    Mrs Owen said: “I had issues about Roy’s pain management from the start, and also his bed placement in the ward, which was next to the door, and he was regularly able to get out of bed and try to come home.

    “I also had serious issues about the attitudes of two nurses in particular – but the responses I received were awful.

    “It’s terrible seeing your husband in such pain, but it’s almost as bad having to deal with hospital management.”

    The SPSO probe found that there were further failures by NHS Borders to “ensure the complaint response was accurate and substantiated by clinical records”.

    The health authority has now been ordered to make an apology for the failings in its nursing care, treatment and complaint handling.

    It will also have to provide evidence that all staff are competent in the use of pain assessment tools, that all patients will now receive person-centred care, and that advice from family members and specialists will be considered.

    A spokesperson for NHS Borders said: “The quality of care that (Mr Owen) received was not of the standard we expect for our patients.

    “We have accepted the recommendations identified in full and are making the changes required so that similar experiences are avoided in the future.

    “We are sincerely sorry for the effect that this had on (Mr and Mrs Owen) and their family. We have offered a full apology to (Mrs Owen) and their family.”

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  • Samuel L. Jackson Joins Sylvester Stallone

    Samuel L. Jackson Joins Sylvester Stallone

    Another season of Tulsa King is near.

    On Tuesday, Paramount+ released the official trailer for the upcoming third season of the Sylvester Stallone-led crime series. And in this season, Samuel L. Jackson is introduced to the cast, playing a character named Russell Lee Washington Jr.

    The trailer begins with Kevin Pollak’s Special Agent Musso, saying to Dwight Manfredi (Stallone): “What do you want from me?” to which Musso responds: “I own you, General.” Also introduced is the new castmember, Jeremiah Dunmire (Robert Patrick), a powerful person in the liquor business.

    Here is the logline: “As Dwight’s (Stallone) empire expands, so do his enemies and the risks to his crew. Now, he faces his most dangerous adversaries in Tulsa yet: the Dunmires, a powerful old-money family that doesn’t play by old-world rules, forcing Dwight to fight for everything he’s built and protect his family.”

    The third season comes off the success of season two, which drew in 21.1 million global viewers. Tulsa King was the No. 1 global Paramount+ original series in 2024. The show follows mafia capo, Dwight, 25 years after he’s released from prison, building a new crew after realizing his mob family doesn’t have his best interests.

    Toward the end of the trailer, Dwight says to Russell as he approaches him in a bar: “Is that a ghost?,” to which Russell responds: “I bet ain’t nobody seen that coming.” Jackson’s Russell is also set to lead his own spinoff series, NOLA King.  

    Martin Starr, Jay Will, Annabella Sciorra, Neal McDonough, Robert Patrick, Beau Knapp, Bella Heathcote, Chris Caldovino, McKenna Quigley Harrington, Mike “Cash Flo” Walden, Kevin Pollak, Vincent Piazza, Frank Grillo, Michael Beach, James Russo, Garrett Hedlund and Dana Delany round out the cast.

    Dave Erickson is the showrunner. MTV Entertainment Studios and 101 Studios produce the series. Taylor Sheridan, Stallone, David C. Glasser, Ron Burkle, David Hutkin, Bob Yari, Jim McKay, Sheri Elwood, Ildy Modrovich and Keith Co serve as executive producers.

    Season three will premiere on Sept. 21.

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  • Cautious Dollar Position Still Paying Dividends for NSW T-Corp

    Cautious Dollar Position Still Paying Dividends for NSW T-Corp

    New South Wales Treasury Corp.’s move to slash dollar exposure has delivered gains, and the state-owned issuer is positioning for further greenback weakness.

    The Australian state’s investment-management unit shifted into defensive currencies such as the yen, franc and euro several years ago, cutting dollar weighting in its portfolio’s currency basket from almost three-quarters to 14%, Chief Investment Officer Stewart Brentnall said. The move lifted returns and the fund is now forecasting a further 10% slide in the dollar.

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  • New microbes found that do something life should not be able to do

    New microbes found that do something life should not be able to do

    Life doesn’t always play by the tidy rules in textbooks. Most organisms use oxygen to produce ATP, which is energy used by cells. Some life forms, especially microbes, tap other chemicals when oxygen is scarce. The usual explanation says it’s one mode or the other.

    A team studying a microbe from a Yellowstone hot spring found something different. This bacterium can use oxygen and sulfur at the same time to produce energy. That mixed strategy gives it an edge when oxygen levels fluctuate.


    Lisa Keller of Montana State University is the lead author of this research that describes her work with bacterial samples from a group called Aquificales.

    Along with her adviser and mentor Eric Boyd, professor in the College of Agriculture’s Department of Microbiology and Cell Biology, they published their fascinating work in the journal Nature Communications.

    Microbes that breathe oxygen and sulfur

    Respiration is how a cell converts food into usable energy (ATP). In oxygen-based respiration, cells move electrons through a chain of reactions and pass them to oxygen at the end.

    Anaerobic respiration does a similar job but transfers electrons to other acceptors, such as sulfur, nitrate, or iron. Both strategies work; they are just different.

    The hot-spring bacterium, Aquificales, challenged the usual either-or assumption. Under the right conditions, it kept both systems running.

    That meant that while the bacteria were producing sulfide – an anaerobic process – they were using oxygen, meaning that both metabolisms were occurring.

    “There’s no explanation other than that these cells are breathing oxygen at the same time that they are breathing elemental sulfur,” Keller said.

    Keller explained that the bacterium’s ability to conduct both processes at once challenges our understanding of how microbes survive, especially in dynamic, low-oxygen environments such as hot springs. 

    Oxygen and sulfur in hot springs

    Hot springs are tough places to live. Temperatures run high. Minerals dissolve into the water. Gases bubble in and out.

    Oxygen dissolves less in hot water than in cool water and escapes more easily, so levels change from moment to moment. In that kind of environment, a flexible energy strategy goes a long way.

    The bacterium in this study thrives at high temperatures and feeds on simple molecules, including hydrogen gas. It can use oxygen when it’s available and elemental sulfur when oxygen dips.

    How the study was done

    Keller and her team isolated the microbe, then grew it in the lab at high temperatures with three ingredients: hydrogen gas as the energy source, elemental sulfur, and oxygen. They then tracked the cells’ chemical reactions and which genes were switched on.

    Next, the team measured oxygen levels directly using gas chromatography. They also watched for the conversion of sulfur to sulfide, a clear sign of anaerobic sulfur respiration.

    Gene expression data aligned with the chemistry: enzymes for both oxygen use and sulfur processing were active simultaneously.

    Microbe’s oxygen-sulfur strategy

    Cultures given hydrogen, sulfur, and oxygen grew faster and reached higher cell counts than cultures that had to use only oxygen or only sulfur.

    That growth boost points to a simple payoff: more net energy when both pathways run together under low or unstable oxygen.

    One detail matters for interpreting the results. The sulfide produced doesn’t persist in a mixed setup. Oxygen and certain metal ions in the broth can quickly consume it.

    Without careful controls, that can hide the microbe’s dual strategy. This study accounted for that factor, which helps explain why this behavior may have been missed in past experiments.

    Widespread pattern in nature

    Genes and enzymes similar to those involved here are found in many microbes.

    That suggests this hybrid mode could be more common than we realized, especially in places where conditions shift minute to minute. Hot springs and deep-sea vents contain fuels and oxidants that rise and fall.

    Microbes that can keep multiple electron acceptors available may outgrow neighbors that wait for a single, ideal condition.

    Flexibility like this also fits the story of early Earth. Oxygen didn’t flood the oceans all at once. It rose in patchy, inconsistent ways.

    Microbes that could sense tiny amounts of oxygen while still relying on older, oxygen-free reactions likely had an advantage.

    The results of this study may explain how ancient lifeforms adapted to the progressive oxygenation of Earth that began around 2.8 billion years ago – the Great Oxidation Event.

    “This is really interesting, and it creates so many more questions,” Keller said. “We don’t know how widespread this is, but it opens the door for a lot of exploring.”

    The Yellowstone bacterium isn’t ancient, but it shows a strategy that would have made sense when oxygen first began to matter.

    How oxygen-sulfur combo works

    Oxygen sits at the top of the energy ladder because it accepts electrons strongly, which usually means more energy per unit of fuel.

    Sulfur compounds accept electrons too, though the energy yield is lower. When oxygen is scarce or fluctuating, using sulfur in parallel keeps the energy flowing rather than stalling.

    Temperature and chemistry help set the stage. High heat speeds reactions and lowers oxygen solubility. Hydrogen gas, common around hydrothermal systems, supplies a steady stream of electrons.

    Elemental sulfur is abundant in many volcanic and geothermal settings. Together, these conditions make simultaneous oxygen and sulfur respiration advantageous.

    Real-world implications

    Mixed respiration hints at new ways to run bioreactors and environmental cleanup efforts.

    If microbes can be encouraged to keep more than one pathway active, engineers may squeeze extra efficiency from waste-to-energy systems, or keep pollutant breakdown steady when oxygen supply is uneven.

    The same thinking applies to managing the sulfur and carbon cycles in complex settings where oxygen isn’t easy to control.

    The work also urges careful experimental design. Testing a microbe in a strict “oxygen-only” or “no-oxygen” setup can miss behaviors that only appear when both are present.

    Real environments rarely offer neat categories. Lab protocols that match those complex realities reveal strategies that would otherwise stay hidden.

    To sum it all up, this heat-loving bacterium, Aquificales, broadens how we think about life’s energy playbook. It’s messy, adaptive, and full of clever workarounds that let microbes, and maybe eventually us, survive in a changing world.

    The full study was published in the journal Nature Communications.

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  • Youth obesity reaches alarming levels, warns expert

    Youth obesity reaches alarming levels, warns expert


    ISLAMABAD:

    A medical expert sounded the alarm on the rapidly increasing obesity crisis, which is especially prevalent among the youth due to poor eating patterns, inactivity and excessive screen use.

    About 81 per cent of women and 74 per cent of men are now facing obesity and further related health consequences. Dr Zubala Yasir Lutfi highlighted the urgent need for immediate public action to combat the obesity crisis. She stressed the importance of parental counselling, urging parents to guide their children towards healthier habits early on to prevent obesity and its serious health consequences.

    Without strong awareness campaigns and community involvement, the nation risks facing a severe healthcare burden in the near future. “Obesity is not just a personal issue it is a public emergency that threatens the well-being of our entire society. We must prioritise education, promote active lifestyles and regulate unhealthy food marketing to protect our younger generation,” she urged.

    She warned that obesity is no longer a cosmetic issue but a medical emergency. “We are seeing diseases in teenagers that were once limited to adults. This must be addressed immediately”. Experts are urging parents, schools and communities to raise awareness, promote physical activity and reduce junk food consumption to prevent long-term health damage.

    There exists a direct connection between obesity and a range of serious health problems. Dr Lutfi explained that conditions such as weak bones, high blood pressure, heart disease and fatty liver are increasingly being seen in patients struggling with obesity.

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  • Nina Katchadourian: Origin Stories – The Brooklyn Rail

    Nina Katchadourian: Origin Stories – The Brooklyn Rail

    Origin Stories
    National Nordic Museum
    June 21–October 26, 2025
    Seattle, WA

    Nina Katchadourian’s Origin Stories threads through Seattle’s National Nordic Museum with five projects that explore family and memory, play and reenactment.

    If you’re a good museum visitor and do things in order (which is an extended joke and conflict in much of Katchadourian’s work), you first visit her 2021 epic To Feel Something That Was Not of Our World—epic on many levels. To enter it, you jump into the deep end of a deep blue and dense installation, as well as scan a QR code linking you to over two hours of audio that form the backbone of the project (well worth every second). The artist created the work during the pandemic in response to Survive the Savage Sea, a book written by Dougal Robertson, a farmer-cum-sailor who, along with his family, survived a 1972 killer whale attack that left them adrift in the Pacific for thirty-eight days. 

    The installation goes day-by-day with scale renderings of fish, turtles, and whales, small toys or fruit or candy, a cup of coffee, drawings, wire sculptures, and remakes of significant tools in the story. These are paired with wall texts listing relevant audio clips. The objects range from metaphorical (Lindt chocolates as fish eyeballs), to indexical (a scale map of Robertson’s salvational dinghy on the floor) to recreations of artifacts. The recreations are the funniest and would satisfy even the most photorealistic props master: during the journey, sea turtle oil turned out to be a cure-all, and Katchadourian remakes the sailors’ stash with sunflower oil in an exact replica of the original bottle.

    The room is strongly reminiscent of an exhibit in a children’s museum, and creates a similar inquisitive distance from a harrowing topic (any parent who’s seen a four-year-old learn about climate change in a cheery exhibition will recognize this strangeness). In contrast, listening to the seventy-one-track conversation is like bingeing perfect television. The artist’s conversation with Douglas Robertson is immersive and emotional; where the life-sized dorado drawing asks for curiosity, Robertson’s retelling of the tense minutes spent spearing it and watching it die asks for your soul.

    On her decades-long obsession with the story Katchadourian muses:

    There’s this kind of ceaseless invention—the problem solving with a lot at stake requires these creative solutions to things… I’ve thought about this with certain artistic projects of my own, that it takes a kind of optimism, I think, to look around the world and say, “You know what, there is something here, it’s not all a lost cause.”

    The Nordic Museum’s home in Ballard, a formerly working class, historically Scandinavian maritime neighborhood (now gentrified) connects neatly with both Nordic and sea-faring topics in the artist’s work. The artist’s Finland-Swedish maternal heritage is mentioned in the curatorial statement. And there is a melancholy and enduring homesickness in this part of Seattle that I feel Origin Stories honors. Behind the museum runs the Ship Canal, and a block away you can sail through the Ballard Locks to the cold waters of the Puget Sound. They’re scenic, but full of human trouble: there are sailboats and ferries of course, but also massive Chinese tankers, nuclear submarines, and the memories of all sailors and shipwrights who never made it back ashore. The curators point out that only a few blocks away, one can contemplate the monument to fishermen lost at sea.

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  • Chandra Peers Into A Supernova’s Troubled Heart

    Chandra Peers Into A Supernova’s Troubled Heart

    Around 11,300 years ago, a massive star teetered on the precipice of annihilation. It pulsed with energy as it expelled its outer layers, shedding the material into space. Eventually it exploded as a supernova, and its remnant is one of the most studied supernova remnants (SNR). It’s called Cassiopeia A (Cas A) and new observations with the Chandra X-ray telescope are revealing more details about its demise.

    Cas A’s progenitor star had between about 15 to 20 solar masses, though some estimates range as high as 30 solar masses. It was likely a red supergiant, though there’s debate about its nature and the path it followed to exploding as a supernova. Some astrophysicists think it may have been a Wolf-Rayet star.

    In any case, it eventually exploded as a core-collapse supernova. Once it built up an iron core, the star could no longer support itself and exploded. The light from Cas A’s demise reached Earth around the 1660s.

    There are no definitive records of observers seeing the supernova explosion in the sky, but astronomers have studied the Cas A SNR in great detail in modern times and across multiple wavelengths.

    This is a composite false colour image of Cassiopeia A. It contains data from the Hubble Space Telescope, the Spitzer Space Telescope, and the Chandra X-ray telescope. Image Credit: NASA/JPL-Caltech

    New research in The Astrophysical Journal explains Chandra’s new findings. It’s titled “Inhomogeneous Stellar Mixing in the Final Hours before the Cassiopeia A Supernova.” The lead author is Toshiki Sato of Meiji University in Japan.

    “It seems like each time we closely look at Chandra data of Cas A, we learn something new and exciting,” said lead author Sato in a press release. “Now we’ve taken that invaluable X-ray data, combined it with powerful computer models, and found something extraordinary.”

    One of the problems with studying supernovae is that their eventual explosions are what trigger our observations. A detailed understanding of the final moments before a supernova explodes is difficult to obtain. “In recent years, theorists have paid much attention to the final interior processes within massive stars, as they can be essential for revealing neutrino-driven supernova mechanisms and other potential transients of massive star collapse,” the authors write in their paper. “However, it is challenging to observe directly the last hours of a massive star before explosion, since it is the supernova event that triggers the start of intense observational study.”

    The lead up to the SN explosion of a massive star involves the nucleosynthesis of increasingly heavy elements deeper into its interior. The surface layer is hydrogen, then helium is next, then carbon and even heavier elements under the outer layers. Eventually, the star creates iron. But iron is a barrier to this process, because while lighter elements release energy when they fuse, iron requires more energy to undergo further fusion. The iron builds up in the core, and once the core reaches about 1.4 solar masses, there’s not enough outward pressure to prevent collapse. Gravity wins, the core collapses, and the star explodes.

    This high-definition image from NASA’s James Webb Space Telescope’s NIRCam (Near-Infrared Camera) unveils intricate details of supernova remnant Cassiopeia A (Cas A), and shows the expanding shell of material slamming into the gas shed by the star before it exploded. Image Credit: NASA, ESA, CSA, STScI, Danny Milisavljevic (Purdue University), Ilse De Looze (UGhent), Tea Temim (Princeton University) This high-definition image from NASA’s James Webb Space Telescope’s NIRCam (Near-Infrared Camera) unveils intricate details of supernova remnant Cassiopeia A (Cas A), and shows the expanding shell of material slamming into the gas shed by the star before it exploded. Image Credit: NASA, ESA, CSA, STScI, Danny Milisavljevic (Purdue University), Ilse De Looze (UGhent), Tea Temim (Princeton University)

    Chandra’s observations, combined with modelling, are giving astrophysicists a look inside the star during its final moments before collapse.

    “Our research shows that just before the star in Cas A collapsed, part of an inner layer with large amounts of silicon traveled outwards and broke into a neighboring layer with lots of neon,” said co-author Kai Matsunaga of Kyoto University in Japan. “This is a violent event where the barrier between these two layers disappears.”

    The results were two-fold. Silicon-rich material travelled outward, while neon-rich material travelled inward. This created inhomogeneous mixing of the elements, and small regions rich in silicon were found near small regions rich in neon.

    Inhomogeneous elemental distribution in Cas A observed by Chandra. The difference in the mixing ratio of blue and green colors clearly shows the different composition in the O-rich ejecta. The red, green, and blue include emission within energy bands of 6.54–6.92 keV (Fe Heα), 1.76–1.94 keV (Si Heα), and 0.60–0.85 keV (O lines), respectively. The ejecta highlighted in red and green are products of explosive nucleosynthesis, while the ejecta in blue and emerald green reflect stellar nucleosynthesis. The circles in the small panels are O-rich regions used for spectral analysis. The regions of high and low X-ray intensity in the Si band are indicated by the magenta and cyan circles, respectively. Image Credit: Toshiki Sato et al 2025 ApJ 990 103 Inhomogeneous elemental distribution in Cas A observed by Chandra. The difference in the mixing ratio of blue and green colors clearly shows the different composition in the O-rich ejecta. The red, green, and blue include emission within energy bands of 6.54–6.92 keV (Fe Heα), 1.76–1.94 keV (Si Heα), and 0.60–0.85 keV (O lines), respectively. The ejecta highlighted in red and green are products of explosive nucleosynthesis, while the ejecta in blue and emerald green reflect stellar nucleosynthesis. The circles in the small panels are O-rich regions used for spectral analysis. The regions of high and low X-ray intensity in the Si band are indicated by the magenta and cyan circles, respectively. Image Credit: Toshiki Sato et al 2025 ApJ 990 103

    This is part of what the researchers call a ‘shell merger’. They say it’s the final phase of stellar activity. It’s an intense burning where the oxygen burning shell swallows the outer Carbon and Neon burning shell deep inside the star’s interior. This happens only moments before the star explodes as a supernova. “In the violent convective layer created by the shell merger, Ne, which is abundant in the stellar O-rich layer, is burned as it is pulled inward, and Si, which is synthesized inside, is transported outward,” the authors explain in their research.

    This schematic shows the interior of a massive star in the process of a 'shell merger.' It shows both the downward plumes of Neon-rich material and the upward plumes of silicon-rich material. Image Credit: Toshiki Sato et al 2025 ApJ 990 103 This schematic shows the interior of a massive star in the process of a ‘shell merger.’ It shows both the downward plumes of Neon-rich material and the upward plumes of silicon-rich material. Image Credit: Toshiki Sato et al 2025 ApJ 990 103

    The intermingled silicon-rich and neon-rich regions are evidence of this process. The authors explain that the the silicon and neon did not mix with the other elements either immediately before or immediately after the explosion. Though astrophysical models have predicted this, it’s never been observed before. “Our results provide the first observational evidence that the final stellar burning process rapidly alters the internal structure, leaving a pre-supernova asymmetry,” the researchers explain in their paper.

    For decades, astrophysicists thought that SN explosions were symmetrical. Early observations supported the idea, and the basic idea behind core-collapse supernovae also supported symmetry. But this research changes the fundamental understanding of supernova explosions as asymmetrical. “The coexistence of compact ejecta regions in both the “O-/Ne-rich” and “O-/Si-rich” regimes implies that the merger did not fully homogenize the O-rich layer prior to collapse, leaving behind multiscale compositional inhomogeneities and asymmetric velocity fields,” the researchers write in their conclusion.

    This asymmetry can also explain how the neutron stars left behind get their acceleration kick and lead to high-velocity neutron stars.

    These final moments in a supernova’s life may also trigger the explosion itself, according to the authors. The turbulence created by the inner turmoil may have aided the star’s explosion.

    “Perhaps the most important effect of this change in the star’s structure is that it may have helped trigger the explosion itself,” said co-author Hiroyuki Uchida also of Kyoto University. “Such final internal activity of a star may change its fate—whether it will shine as a supernova or not.”

    “For a long time in the history of astronomy, it has been a dream to study the internal structure of stars,” the researchers write in their paper’s conclusion. This research has given astrophysicists a critical glimpse into a progenitor star’s final moments before explosion. “This moment not only has a significant impact on the fate of a star, but also creates a more asymmetric supernova explosion,” they conclude.

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  • Klara Lidén: Over out und above

    Klara Lidén: Over out und above

    Over out und above
    Kunsthalle Zürich
    June 14–September 7, 2025
    Zürich

    How can the artist, as a figure of solitude, be formulated collectively? What is the abstract form of a city archive, its metropolitan screen? How is lived experience subtracted to image? These questions arise as we enter, exit, and re-enter the most recent exhibition of Swedish artist Klara Lidén. Over out und above, curated by Fanny Hauser, is Lidén’s first institutional solo show in Switzerland, and a notable return to the Kunsthalle Zürich. In 2009, the artist took part in Non-Solo Show, Non-Group Show—a group show that staged her presence “Klara” as a solo figure in contrast to the other artists responding to her work.

    Over out und above sprawls across the large gallery rooms of the Kunsthalle, separating installations and projections into two chapters: a bright ground floor and dim upper floor. Gang Gang Gang (2025), three temporary passageways, appropriated as readymades, staggered one behind the other, dominate the first room in a gesture of blocking. Repetition emphasizes the symbolic barricade. This passive yet frontal gesture transforms the passageways (usually protecting pedestrians) into a field of vision, both in distance and into close contact with the beholder. From afar, silver-white screens on the outside of the passageways appear as the only intervention. They are reminiscent of posters, but the blankness of the screen—metonymy of placeholders and potentiality—is fixed with paint on wood. Lidén refuses to convey concrete messages, but manifests precisely that in the form of blankness. The interiors of the passageways, on the other hand, are marked by graffiti and stickers. Less blank than the screens on the outside, but nevertheless in correlation to them, the graffiti tags and stickers are opaque, illegible, torn off, neutralized, and thus provoke—not least in a sterile art complex such as the Löwenbräukunst, where Kunsthalle Zürich is located—an uneasiness in our forensically “studying” the outside city. The lack of information enforces an uncanny feeling in front of the appropriated city archive and its dubious formalization of a metropolitan language as such.

    With this in mind, Untitled (Thuk) (2024), a lightbox that again peels off stickers or covers them with a silver-grey spray paint into illegibility, almost resembles the Freudian Wunderblock, the “mystical writing pad”—a model for the impossible erasure of traces in the psyche. So too is Lidén’s Post-Minimalist practice of appropriation in terms of art historical remembering and forgetting. Lamp Post (Square Moon) (2025), a monumental lamp post, subtly alludes to Isa Genzken’s public sculpture Vollmond [Full moon] (1997). A distant memory in the Zürich show, soft as the fluorescent tube that only hardly lights its spacing.

    In contrast, on the upper floor, Lidén immerses sculptures and screens in a subdued atmosphere of the city at dawn. In the dim perception of massive block sculptures, Ring (Zomb) and Ring (Nuts) (both 2025), five-slide projections show pixelated images, in which we see the artist alone acting in different urban scenarios—similar to her video projections in Non-Solo Show, Non-Group Show.

    For the “Slideshow” series, the artist initially photographed her older video footage, then greatly enlarged the stills, printed them onto clear acetate, cut by hand, and finally mounted into slides. The effect is an ambivalent aesthetics, less reminiscent of, or rather in ironic detachment from, the photoengraving techniques of Roy Lichtenstein and Andy Warhol, and much closer to the texture of the caressing pointillist drawings of Georges Seurat. Both Seurat and Lidén isolate the subject in public and show their absorbed action in profile. This draws the beholder into latent, introversive daydreaming about their actions, motivations, and thoughts. Lidén’s pedestrian body, however, also resists the repetition of the flaneur figure and rather works on a portrait of the early-twenty-first-century artist in its political antagonisms. It is this performative activation that, finally, gives a legibility to the work. The artist-performer acts as the figure of an anarchic protest outside or against goal-oriented economies. As such, the artist is acting often in a slightly slapstick, comical posture.

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