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Serviço da Disney+ piorou, mas preço manteve-se

By: ZAP
18 October 2026 at 15:45
Limitações também afetaram Portugal e originaram uma notificação formal de incumprimento. Empresa tem 14 dias para agir. A Disney retirou o Dolby Vision e suspendeu temporariamente as funcionalidades 4K UHD e HDR do Disney+. Entre os mercados afetados estão Portugal. Foi uma consequência das medidas judiciais relativas a patentes obtidas pela InterDigital, aplicáveis em 11 países europeus. Os dispositivos abrangidos ficaram limitados à reprodução de conteúdos em Full HD. Mesmo assim, a mensalidade não baixou durante esse período. A Disney continuou a cobrar o preço integral do plano Premium: 15,99 euros por mês. A Euroconsumers apresentou uma notificação formal. A

They're spooky, sexy, slidey — and driving ticket sales at Hershey's amusement park

18 October 2026 at 11:25
seven costumed people in black with face paint
The Decayed Brigade, a team of haunt sliders that appears at Hersheypark.

Hersheypark

  • Hersheypark's "haunt sliders" — scare actors who slide on knee pads — have gained a fanbase on TikTok.
  • "The makeup stays ON" commented one thirsty fan.
  • The attention has translated to good business for the park, who has seen growing ticket sales for its Dark Nights event.

Imagine you're walking around an amusement park in October while it's Halloween themed. The air is crisp, you've got a giant pretzel, you're strolling with friends to get in line for the roller coaster. Out of the corner of your eye, you see tall man dressed in all black with skeletal face paint walking towards you.

Suddenly, he leaps to the ground on all fours, and against everything you've known in your life about how human beings ambulate, he slides across the pavement on his hands and knees, coasting right up beside you at an incredible speed.

Depending on who you are and your level of awareness of the "haunt sliders" of Hersheypark, this fast encounter leaves you either terrified or terrifyingly horny.

Since 2021, Hershey's amusement park has employed a group of haunt sliders from a crew that calls itself the "Decayed Brigade" for its Dark Nights Halloween event that runs in September and October.

Videos of Fryboy and his lookalike Archer, and others have racked up millions of views and created a dedicated fan base who travel from around the world just to see the creepy, sexy, slidey guys they saw on TikTok.

And their online popularity is good for Hershey's bottom line.

"The comment section [on TikTok] is a treasure trove of insight into their popularity. I mean, we have seen people saying, 'I am coming from Europe. I'm coming from Australia. I had no idea Hersheypark existed, but now, because this was served to me on TikTok, I'm aware,'" said Quinn Bryner, a spokesperson for Hersheypark.

Archer, a haunt slider at Hersheypark
Archer, a haunt slider at Hersheypark

Hersheypark

"We have people who have bought our season passes because of it," she added. "So anecdotally, for sure, it has had a significant social commentary, which we think has also led to tickets."

Bryner cautioned they can't say that the haunt sliders popularity is the sole driver of the growth of the Halloween event, but that the Dark Nights has become a success and grown year over year in attendance and ticket sales. "We can confirm that the event's popularity in the past few years has allowed us to expand operating days throughout the fall, resulting in total Halloween attendance doubling the numbers achieved prior to 2021," she said.

For the last three years, Fryboy and some of the sliders do a meet-and-greet for the diehard fans after the performance on weekend nights. Fans wait up to an hour in line to meet them and take photos with the sliders (or purchase keychains or other photo prints from the professional photography service the park provides, which has taken over 4,000 photos for fans this fall so far).

The three sliders I interviewed — who asked not to publicize their full legal names because they are concerned about overzealous fans — have breached containment from something that happens inside the park gates to a full-blown social media phenomenon.

The sliders have anecdotally noticed the effects of TikTok on the crowds in the park. "This year especially, it feels like every other person's coming up saying they drove eight-plus hours to come see us or they just came for us," Fryboy said.

"We see them sit in our zone the whole night and it's pretty obvious that they just want to watch us," Valkyrie noticed.

Hersheypark is well aware of the Decayed Brigade's social media success, which is clear even on its own social channels. The most viewed videos on park's official TikTok channel were all of the sliders — even during the off-season.

Haunt sliding dates back decades

Haunt sliding has been a part of Knott's Scary Farm, the Halloween event at amusement park in southern California, for decades. A few of the performers working there figured out they could modify knee pads and gloves with metal pieces to allow them to slide up on guests as a novel way to scare them.

Sliding became a staple of Knott's Scary Farm, and the trend spread out around the country to various haunted theme parks and cornfields. It evolved into something more than just a scare tactic, with increasingly athletic stunts, choreography, and showcases during the off-season.

Although haunt sliding has become a haunted house mainstay, there is no group of performers who have attracted as much attention from people who never set foot in Hersheypark as the Decayed Brigade crew. This year, there are eight sliders, but Fryboy and Archer — both well over six feet tall, lanky, and with poufy dark hair — seem to have garnered the biggest online fandom.

@fryboydb

We didn’t check. @itzarcher @Jet

♬ original sound - chicolantern

When I spoke over a video call with Fryboy, Archer, and Valkerie, the current sole female performer in this year's crew, it was the hour before the park opened on a Friday night at 6 p.m., and they were in their full faces of makeup (they have a makeup artist on staff who does it for them), but not their performance clothes.

Fryboy, whose real first name is Carter, is not technically the leader or founder of Decayed Brigade, although he has become the most visible online and has been working at Hersheypark since Dark Nights started in 2021. He first saw sliders at Knott's Scary Farm when he was 13, and was inspired to start trying it out on his own at home. By 16, he got hired at a local haunted house in Florida, and eventually landed a job at Knott's in 2018.

"When sliding first started, it was mainly just a scare tactic and it wasn't really anything crazy, but once people started doing it more and more, a lot of the guys that started sliding at Knott's were stunt performers, so they would do little pre-shows before their stunt show was sliding," Fryboy explained. "They'd go out there and they'd do little rolls, and then they'd start jumping bodies, and then now they're jumping two, three, four bodies. So then tricks started getting added into it, and over time, a group was formed."

"I really think in this case, Carter took it upon himself to create his own iconic character in the social space and then share it amongst an audience that loves scare, but didn't have a way to maybe communicate and build on that," said Brewer Lister, managing director of immersive experiences at Hersheypark.

"He's built a following, and then he and his team have added to it by becoming more of a team in a group, especially Archer, the two of them," he added. "I think they tapped into a growth factor of what's taken place over the many years in social media in a particular realm, and it's worked."

Their fans are…thirsty

Fryboy, a haunt slider at Hersheypark
Fryboy, a haunt slider at Hersheypark

Hersheypark

It is crucial to explain here that the internet viral around the Hersheypark haunt sliders is not just an appreciation of a good scare. It is extremely horny. The TikToks from fans are often set to suggestive music clips, and the comment sections are bawdy.

In one video from last fall of Fryboy and Archer standing together, set to the chorus of "Same Damn Time" by Future, comments say things like "Fryboy looks like he talks you thru it. Archer looks like he know how to do that thing your ex couldn't do." (18.3k likes) and "the makeup stays ON" (160.8k likes). In another video from this month of the two men, one commenter says, "Ok maybe my ex was right and i'm actually ill."

The allure of scare actors in face paint might not seem obvious. But hear these women out: They're tall, athletic, and mysterious. That's enough.

The thirst isn't limited just to the male sliders. On one video of Valkyrie walking through the park in slow motion, comments from women pour in: "Me and my husband aren't that serious." "I DIDN'T KNOW THIS WAS AN OPTION," and "i was already hooked but when she smiled i lost all control."

I asked Fryboy about getting that kind of attention.

"I think at the end of the day, we're just trying to perform and have a good time, and it's Halloween, we're dressing up as characters, so there's always going to be something along those lines, I think," he said. "But it's definitely not the end goal in any sort of way."

The sex appeal of the sliders seems to be an accidental collision with a current trend of "dark romance" and romantasy that's popular on Booktok. However, threading the needle of adding sex appeal into a haunted house seems fraught. SeaWorld Orlando's attempted a dark romance themed scare zone, but videos of bare-chested scare actors in masks (including at least one slider) awkwardly gesturing at guests went viral for being high on cringe and low on actual eroticism.

The difference with the Decayed Brigade is they claim they're not intending to be sexy.

"Halloween has always been the holiday for the weirdos, and we're the weirdos," said Fryboy. "We embrace it just as much as I'm sure everyone else wants to embrace it."

Read the original article on Business Insider

Turkey’s Approach to Yemen: Pragmatism or Offensive?

18 October 2026 at 05:59
In 2026, Turkey’s policy in Yemen shifted from exclusive neutrality and mediation efforts to “the brink” of military intervention against the government in Sanaa and the Ansar Allah movement, yet a range of geopolitical, legal and domestic political factors makes this scenario being fully put into practice unlikely. A Brief Retrospective of Turkish-Yemeni Relations Relations […]

Peter Thiel, el tecnoligarca que cree en el anticristo

18 October 2026 at 04:30
.

Cuando Hulk Hogan demandó al medio sensacionalista Gawker en 2016 por la publicación sin su consentimiento de un vídeo de contenido sexual, nadie daba un duro por él. Pero Hogan ganó el juicio y consiguió una indemnización de 140 millones de dólares que acabó con la publicación online. Peter Thiel, uno de los personajes más siniestros de Silicon Valley, decantó la batalla judicial: financió en secreto a los abogados de Hogan. Quería vengarse de Gawker porque lo había ridiculizado durante años y desvelado su homosexualidad.

Seguir leyendo

Pro-Palestine Action post by wife of aide to British PM doesn’t warrant probe — cops

17 October 2026 at 21:33
UK police say tweet by Sarah Helm, whose husband is Burnham's national security adviser, expressing support for Sally Rooney doesn't meet 'criminal threshold' of backing for proscribed group

José Sarney recebe alta hospitalar após nove dias de internação

Logo Agência Brasil

Após nove dias de internação, o ex-presidente da República, José Sarney, de 96 anos, recebeu alta hospitalar na manhã deste sábado (17).

Ele estava internado na UDI Hospital, da Rede D’Or, em São Luís (MA) desde o dia 09 de outubro, onde passou por uma cirurgia abdominal.

Notícias relacionadas:

Segundo o boletim médico divulgado de hoje, Sarney recebeu alta após apresentar uma evolução clínica satisfatória. Ele continuará sob acompanhamento médico ambulatorial.

Desde setembro, Sarney foi internado outras duas vezes. No dia 13 de setembro, foi internado neste mesmo hospital devido ao quadro de pneumonia.

Já no dia 24 de setembro, foi internado no Hospital Sírio Libanês, em São Paulo, para dar continuidade ao tratamento de pneumonia.

Escritor e político, José Sarney foi o primeiro presidente da República da era da redemocratização, entre 1985 e 1990. Foi também senador da República e governador do Maranhão. Em 2014 ele anunciou sua aposentadoria da carreira política.

 

Corsés, encajes y satén: todos los ‘looks’ de Daisy Edgar-Jones para llevar el estilo Regencia de ‘Sentido y sensibilidad’ a la actualidad

By: S Moda
17 October 2026 at 15:06

© Don Arnold (Getty Images)

“Nos decían que la serie era un éxito increíble, pero yo seguía encerrada en mi dormitorio. Leía algunos artículos y miraba los memes, pero todo era un poco demasiado para procesar, así que me protegía a mí misma. Si quería, podía desconectar. Y eso me hizo pensar en lo inverosímil que era todo lo que me estaba pasando", contaba Daisy Edgar-Jones (Londres, 28 años) a 'S Moda' en 2022, cuando protagonizó una portada. Se había hecho famosa de la noche a la mañana y eso aún la sorprendía. “De repente, ya no eres Daisy, eres Daisy Edgar-Jones”, comentaba sobre cómo la hizo sentir y la transformó el éxito de la serie 'Normal People', basada en la novela de la escritora irlandesa Sally Rooney, que en 2020 catapultó su carrera y la de su coprotagonista, Paul Mescal (que tras 'Gladiator 2' ahora será Paul McCartney en las películas sobre The Beatles que prepara el director Sam Mendes). Ahora, la actriz vuelve a meterse en la piel de un personaje literario, en esta ocasión de época: encarna a Elinor Dashwood, la hermana mayor de 'Sentido y sensibilidad', novela de Jane Austen publicada en 1811 y que ahora ha vuelto a ser llevada a la gran pantalla por la directora Georgia Oakley. En el filme, que llega a los cines españoles el 23 de octubre, Edgar-Jones es Elinor y Esmé Creed-Miles es su hermana Marianne. Durante el mes que llevan de gira, Edgar-Jones se ha volcado en reinterpretar los estilismos de la época de la Regencia, en la que se desarrolla la novela: en la imagen, luciendo un vestido transparente, creado a medida por Miu Miu, con corsé en tul bordado durante la presentación en Sídney, Australia, a principios de octubre.

© Michael Buckner (Variety via Getty Images)

En la presentación de la cinta en Los Ángeles, el 7 de octubre, las tres protagonistas posaron juntas: Esmé Creed-Miles (Marianne Dashwood), Caitriona Balfe (la inolvidable Claire Randall de 'Outlander', que en la película interpreta a la madre de las hermanas, Mrs. Dashwood) y Daisy Edgar-Jones (Elinor Dashwood). Bodhi Rae Breathnach encarna a la tercera hermana, la joven Margaret Dashwood. Durante la presentación, Edgar-Jones eligió un conjunto de falda satinada y corsé con pequeños bordados, una pieza 'vintage' de Chloé, parte de la colección primavera-verano 1999 de la firma, cuando su directora creativa era Stella McCartney. Esmé Creed-Miles llevó un vestido de la recién presentada colección primavera-verano 2027 de Simone Rocha y Caitriona Balfe un conjunto a medida de Prada.

© Chloe Kern (WireImage)

Nada ha sido casual en los estilismos elegidos para la gira de presentación de la película, según confesó Dani Michelle, estilista de Edgar-Jones (y de otras famosas, como Hailey Bieber o Kendall Jenner), en la edición estadounidense de 'Vogue': "Mi equipo y yo pasamos meses investigando, solicitando prendas y explorando todos los diseñadores y piezas de archivo que pudieran reflejar el mensaje que queríamos transmitir, para crear una gira coherente y simbólica para Daisy".

© Karwai Tang (WireImage)

Esas prendas seleccionadas por Dani Michelle y su equipo tenían una intención clara: mostrar cómo vestiría Elinor Dashwood en la actualidad. La gira de presentación ha sido una lección de 'method dressing' (vestir durante la promoción con estilismos inspirados en el personaje de ficción al que se interpreta), en la línea de las que suelen realizar actrices como Zendaya (con sus posados en 'Spider-Man: un nuevo día' o 'Challengers'), Margot Robbie (en 'Cumbres borrascosas') o Anya Taylor-Joy (en 'Dune' o 'Furiosa'). 'Sentido y sensibilidad' se desarrolla durante la época de la Regencia (situada normalmente entre 1795 y 1837) en el Reino Unido. Corsés, acabados satinados, encajes y colgantes con cintas de raso han sido una constante durante toda la gira de presentación. La 'premiere' mundial, celebrada en Londres el 15 de septiembre, sentó las bases de lo que vendría después con este vestido de satén con lazos en los hombros, cola y cintura marcada, un diseño a medida de Andreas Kronthaler para Vivienne Westwood (firma de la que es director creativo desde el fallecimiento de su esposa en 2022) que completó con un colgante con cinta negra, una pieza de archivo de Boucheron datada en 1877.

© Kate Green (Getty Images for Universal Pictu)

Los detalles, del peinado con ondas románticas y el característico flequillo abierto de Edgar-Jones, y los acabados de las prendas, como los lazos, los botones o las cintas de los corsés, han marcado los estilismos elegidos por la actriz. “Creo que Elinor, por encima de todos los personajes que he interpretado, me ha marcado por el proceso hasta llegar a ella. De algún modo tiene una buena cantidad de cualidades con las que me puedo sentir identificada. Como las luchas que tiene con los sentimientos que empieza a experimentar; la incapacidad para expresar sus deseos o la necesidad de mantenerlos dominados. Es algo que me parece muy interesante porque disfruto enormemente al trabajar en personajes que están pasando por mucho, pero no lo pueden exteriorizar”, explicaba la actriz en una entrevista concedida en septiembre a la edición española de 'Vogue'.

© Charles McQuillan (Getty Images for Universal Pictu)

Stella McCartney firmó el vestido blanco con detalle de flores en los hombros y la espalda que eligió para la presentación en Dublín de la película. 'Sentido y sensibilidad' narra la vida de las hermanas Dashwood, que al morir su padre pierden su estatus porque hereda el hijo mayor, fruto de otro matrimonio, y se mudan a Devonshire, donde se enfrentan a la incertidumbre de su futuro, a sus sentimientos y a lo que la sociedad dicta que se debe esperar de ellas.

© Eric Charbonneau (Focus Features via Getty Images)

Esmé Creed-Miles y Daisy Edgar-Jones, ambas con conjuntos de falda cuerpo de Prada, juntas en Los Ángeles. Marianne representa la sensibilidad y Elinor el sentido que dan título a la novela, que ya había sido llevada a la gran pantalla en 1995, en una versión dirigida por Ang Lee (con guion de Emma Thompson, que mereció el Oscar al mejor guion adaptado) y en la que Emma Thompson interpretó a Elinor mientras que Kate Winslet fue Marianne. La nueva versión cinematográfica cuenta con la dirección de la británica Georgia Oakley, de 38 años, que en 2022 mereció el reconocimiento de la crítica con su filme 'Blue Jean', la historia de una profesora lesbiana que lleva una doble vida por miedo a perder su trabajo, ambientada en los años ochenta, durante el gobierno de Margaret Thatcher. Oakley explicó en una entrevista a 'The New York Times' que su versión de 'Sentido y sensibilidad' pretende ser "más relajada, contenida, terrenal y cruda".

© Michael Buckner (Variety via Getty Images)

Los corsés han sido la gran apuesta de Daisy Edgar-Jones para reinterpretar el estilo de la Regencia. Durante uno de los eventos alrededor de la película celebrados en Los Ángeles, la actriz lució esta creación de la diseñadora turcobritánica Dilara Findikoglu, cuyas prendas se caracterizan siempre por el aire lencero, las cinturas marcadas y el empleo de los corsés. Lo combinó con unas medias de cristal negras.

© TheStewartofNY (GC Images)

El despliegue de corsés, en distintos acabados, ha sido clave en la gira promocional de la película. En Nueva York, el 13 de octubre, Daisy Edgar-Jones combinó este de encaje y totalmente estructurado, casi escultórico, con unos vaqueros desgastados, demostrando que las piezas con inspiración de época funcionan a la perfección con prendas totalmente contemporáneas.

© TheStewartofNY (GC Images)

La estilista Dani Michelle ha contado que partió de un 'moodboard' de inspiración para construir los 'looks' de la gira promocional de Daisy Edgar-Jones: "Había desde campañas y desfiles de Galliano, Chloé, McQueen y Westwood hasta pinturas y simbolismos que nos conectaban con el mundo de Jane Austen. Volantes, motivos florales, encajes, corsetería, cintas, bordados, sedas abullonadas, borlas y tonos pastel". Este conjunto de Chloé sintetiza esas búsquedas: la vaporosa falda de gasa, con sus transparencias, contrasta con el cuerpo de brocado con encaje en el cuello y el cinturón de grandes hebillas.

© Aeon (GC Images)

De nuevo con vaqueros, en esta ocasión con un cuerpo 'vintage' de John Galliano y otra gargantilla de época, un diseño de 1873 de Boucheron. En la película, el diseño del vestuario ha recaído sobre Grace Snell ('Pillion', 'La hija eterna'), que ha sido meticulosa con la investigación de la época y ha empleado técnicas manuales para conseguir colores como los utilizados durante la Regencia, según ha explicado en su Instagram: "Para obtener el color lavanda de uno de los vestidos —un tono aceptable para el luto entonces— se utilizó un tinte extraído del palo de campeche. Esta planta es originaria de Centroamérica y las Antillas; a partir del siglo XVI, los españoles comenzaron a exportarla a Europa, donde se convirtió en una materia prima clave para la próspera industria de los tintes. El tejido 'jacquard' se contrajo durante el proceso de tintado, lo que le otorgó una textura maravillosa; me gustó tanto el resultado que pedí que esta prenda solo se planchara de forma muy ligera".

© XNY/Star Max (GC Images)

No todo han sido cuerpos historicistas en los estilismos de Daisy Edgar-Jones. También ha habido hueco para camisetas, como esta con un dibujo de un águila, combinada con un 'short' lencero rematado en puntilla. Ambas prendas son de Chloé: la camiseta de 1999 y el pantaloncito de este mismo año.

© Gerome Defrance (Getty Images)

En Berlín, la actriz apostó por los detalles de pedrería con un vestido de corte sirena de Armani Privé que llamaba su atención por las borlas que remataban sus hombros. La prenda es de archivo y pertenece a la colección primavera-verano 2005 de la línea de alta costura de la casa italiana.

© Brendon Thorne (Getty Images for Universal Pictu)

En Sídney, una de las primeras paradas de la gira promocional, la actriz apostó por una pulida silueta vanguardista de Alaïa con cuerpo ajustado y volantes en la falda que aun así remitía al vestuario de época.

© TheStewartofNY (GC Images)

En su última aparición pública de la gira, el 14 de octubre, Daisy Edgar-Jones caminó por las calles de Nueva York con este diseño de encaje con bordados, ribetes de puntilla y escote de corazón de Rodarte. Se trata de una pieza de archivo de la firma angelina que, según ha explicado en su Instagram Dani Michelle, resume todo lo que ha perseguido con sus estilismos para la presentación de 'Sentido y sensibilidad': "Esta película explora con enorme calidez la experiencia emocional del amor, desde el amor propio hasta el amor verdadero, pasando por la compañía y los desafíos que surgen dentro de las relaciones, que en aquella época a menudo estaban condicionadas por la tradición y la cercanía más que por los sentimientos o la razón. Ese anhelo que recorre la historia es una exploración tan atemporal del corazón humano que sentimos que era muy significativo que este fuera su último 'look'. Laura Mulleavy [una de las diseñadoras de Rodarte] y yo pasamos meses planificando este vestido de Rodarte, perteneciente a su colección primavera-verano 2017, que ella ha recuperado de la colección de su museo personal".

Bank of England governor walks out of IMF summit in protest against Russia

17 October 2026 at 13:15

Andrew Bailey among finance leaders to leave session in Bangkok when Russian finance minister addressed group

The Bank of England governor, Andrew Bailey, has taken part in a walkout of finance leaders who left an International Monetary Fund meeting in protest against Russian involvement.

Bailey joined counterparts from France, Germany and a number of Scandinavian and Baltic countries who left the session in Bangkok when the Russian finance minister, Anton Siluanov, addressed the group in Russian.

Continue reading...

© Photograph: Rungroj Yongrit/EPA

© Photograph: Rungroj Yongrit/EPA

© Photograph: Rungroj Yongrit/EPA

My partner and I don't share a bank account, and we still won't after our wedding

17 October 2026 at 13:09
the author and her fiancee
The couple has been together for four years without merging bank accounts.

Courtesy of Catherine Work

  • My fiancé and I have been together for four years and have never had a joint bank account.
  • We're transparent about our incomes, savings, and spending, and we've never had a fight about money.
  • We plan to pay for our wedding together, but we won't combine our finances after we get married.

My parents have a shared bank account and kept all their large purchases in both their names, so I thought sharing an account would be my financial destiny, too, if I ever got married. I didn't question it until recently. Now, my partner and I are getting married in just a few months, and we don't plan to combine our finances.

After four years together, we've never had any accounts or cards in both of our names. The closest we ever got to that was me using his credit card on a payment app when we were in Vietnam because mine didn't work. We both contribute to rent and household expenses. We pay back the other person our half of large purchases like flights and hotels, but we don't keep a tab of who owes who what (a nice change from my previous romantic relationships).

We've always been open about money

We were upfront about our income, debt (or lack thereof), and our mutual desire to live below our means from day one. After about three years of dating, we told each other how much we have in savings. We continue to be transparent about money and agree on the vast majority of each other's purchases — it helps that we're both very frugal.

We've built up trust over the years, and we'll continue to offer up personal financial information when we want to, knowing we have privacy. Neither of us has the login information for the other's bank, but we know we can always ask how much the other is earning or spending.

I thought the next step was a shared bank account with two credit cards — I assumed that's what love and commitment meant in an economic way. We kept asking ourselves how having both our names on one account would improve our lives, and we kept coming up blank. I also didn't want to waste time filling out paperwork or calling my bank for something I wasn't even interested in.

the author and her partner eating ice cream pops
Keeping finances separate works for them.

Courtesy of Catherine Work

Our system works for us

We've lived together for almost four years and never had a fight about money. I have some financial anxiety, and I think having a shared account might actually make that worse. Since my fiancée makes more and pays for more, I regularly check in to see if he's still OK with that.

We approached our wedding, our first big purchase together, the same way we plan travel — with Excel, conversations, and making sure we stay under budget to cover unexpected costs. My fiancée bought our rings, and I bought our flights (we're getting married in Denmark). We both agreed to contribute the same amount of money to the wedding. Every payment we make for the big day goes into a spreadsheet, and at the end of all our purchases, if one of us has spent significantly more, the other will make the next large purchase.

Keeping our financial stressors low is also made easier by the fact that we won't plan to have kids or pets, or make any large purchases like a house or a car. Taking care of our parents is the only thing that might one day impact how we view our financial setup.

Another thing we agreed on from the start was that we wanted a pre-nup. Not sharing a bank account and having a pre-nup might not sound romantic (or like we can't share) to some, but if anyone were to look at our purchases, they'd immediately see we do spend our money on each other—just with separate accounts intact.

We haven't fought about money, and I'd like to keep it that way

I know I'm going into a marriage with dignity and respect. My future husband won't get a notification if I spend over $100, he won't be able to review a bank statement at the end of the month to see how many ice creams I've treated myself to, and we won't know how much the other person spent on a Christmas present. We'll never have to ask the other person if we can spend money or fear that our separate emergency funds will be depleted by the other.

My parents shared a bank account, and they often fought over money — one thing I promised myself I'd never do with my future spouse. Keeping our finances separate has worked so far, and I believe it'll continue to after we're married. We're both open to changing our minds one day, but until we have a good reason, we're very happy having separate accounts, together.

Read the original article on Business Insider

I model my day off pro athletes. Here's what that means for my schedule, my team's, and my approach to 996 culture.

17 October 2026 at 09:37
Hardik Jagda is wearing a light blue suit and standing inside a stadium.
Jagda told Business Insider '996 culture' misses the point.

Courtesy of Proximity Works

  • Hardik Jagda wants to function like an Olympian, and waking up at 3 a.m. helps him do that.
  • He commits long hours to his AI-based company, but says he doesn't enforce 996 hours on his team.
  • For Jagda, 996 misses the point. Here's how he structures his day instead.

This as-told-to essay is based on a conversation with Hardik Jagda, 35, the CEO of Proximity Works, who lives in San Francisco. The following has been edited for length and clarity.

In 2017, I wanted to build my own company, but I couldn't jump into it full-time because of my financial obligations at home.

Instead, I'd spend the mornings and evenings outside my full-time job working on my side projects. That time was foundational for building my company, Proxmity Works, which I launched in 2019. My aim was to help broadcasters scale their live sports streaming platforms worldwide. In 2020, we started building AI infrastructure for live sports.

Those years made me aware of how my body clock works. I read a lot of autobiographies from entrepreneurs and athletes to understand what allowed them to build what they achieved. I noticed athletes would talk about starting their day early to train and work, in time for rest and recovery throughout the day. I started modeling my days after this, waking up early so I could have four to five hours to build my company before work started. I still stick to this lifestyle now that I'm a full-time founder and CEO.

I want to structure my day to function like an Olympian

In the early stages of Proximity, I performed pretty much every role in the company. Today, I have a team of roughly 45 people, five in the US and the rest spread out globally. My cofounder is based in India.

After 7 a.m., my time isn't mine anymore because I have requests coming in from employees in different time zones.

I like to start the day early, so I'm protecting the first three hours as time for myself. I usually wake up between 3 a.m. and 5 a.m. Between 3 and 6 a.m., I don't touch my emails or look at messages.

I use these early hours to focus on strategic decisions. There was one point, roughly two years ago, when we had to interview a lot of engineers quickly for a new project. I sat down with my talent acquisition team and found a way to redesign our recruitment workflow to take place within 72 hours. That wouldn't have been possible if I didn't give myself the three-hour morning block.

Hardik Jagda is standing inside a sports stadium wearing a dark navy suit.
Jagda tries to protect the first 3 hours of his day.

Courtesy of Hardik Jagda.

In the mornings, I work out and write my goals down. These are usually measurable and trackable goals for my company, as well as goals for myself and my fitness.

Most of my team calls don't start before 7:30 or 8 a.m. I usually take my first couple of meetings at home before driving to the office. During the day, I try to minimize Zoom calls and take meetings as audio calls so I can move around during them. I try to wrap up my meetings by 2:30 p.m., work out at 3 p.m., and then focus on more creative tasks, like speech-writing, after that. I spend my evenings with loved ones before going to bed around 9 p.m. and trying to get seven hours of sleep.

It's not like I start my day at 4 a.m. and just work through the next 12 hours. I build in slots for "recovery" throughout the day. On my calendar, I put in 15-minute slots before important meetings, where I remind myself of my goal for the call.

For the most part, I work six days a week, spending my Saturdays focusing on a key skill I want to develop, like public speaking.

'996' misses the point. I don't run my team with this schedule in mind.

For the most part, I work six days a week.

I work more than 40 hours a week, but I don't keep track of the time. I listen to my body.

We don't keep track of how many hours the team works. It's more about a culture of ownership, where people really care about the problem they're working on.

Even though I've become a morning person, we're fine with engineers who are more productive at night, as long as they maintain a five-to-six-hour overlap with the other engineers.

"996 culture," working six days a week from 9 a.m. to 9 p.m., has gained traction in Silicon Valley. I think it misses the point. It's more about volume than it is about structure. You want to structure your day towards putting in your best work by thinking about when you'll spend time training, recovering, and learning new skills. I'd rather focus on the right structures than on volume.

Do you have a story to share about working in a 996 culture? Contact this reporter at ccheong@businessinsider.com

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Azerbaijan’s Hijab Ban Sparks Protests and Deepens Rift with Turkey

17 October 2026 at 08:22

Restrictions on Islamic headscarves in Azerbaijan’s schools have triggered demonstrations, arrests and an unusually public confrontation between Baku and Ankara.

The dispute has exposed differences over secularism, religious freedom and Azerbaijan’s relationship with Israel, raising questions about the durability of one of the region’s closest strategic alliances.

Azerbaijan is facing an unusual wave of protests after new school dress regulations led to girls wearing Islamic headscarves being excluded from classrooms and teachers reportedly being ordered to remove their hijabs. The controversy has escalated into a diplomatic dispute with Turkey, whose governing party has been accused by President Ilham Aliyev’s administration of interfering in Azerbaijan’s internal affairs.

The confrontation intensified on 13 October when Azerbaijan’s ruling New Azerbaijan Party (YAP) publicly condemned senior figures in President Recep Tayyip Erdoğan’s Justice and Development Party (AKP). The dispute has since widened to encompass Azerbaijan’s relations with Israel, exposing political differences between two countries accustomed to describing themselves as “one nation, two states”.

School regulations provoke protests and arrests

The controversy began on 21 September, when Azerbaijan’s government adopted Resolution No. 309, amending the regulations governing uniforms in state schools. The changes prohibit clothing that conflicts with prescribed uniforms or the secular character of public education.

Although the new regulations do not explicitly mention Islamic headscarves, some schools have interpreted them as prohibiting the hijab. A further decision on 6 October introduced similar requirements for teachers. Women in Baku and Sumgayit subsequently reported being instructed to remove their headscarves or risk losing their positions.

The enforcement of these regulations prompted demonstrations outside schools, with girls carrying placards demanding access to education. Male pupils also joined protests in support of their classmates. Such demonstrations are unusual in Azerbaijan, where public assemblies face extensive restrictions.

On 12 October, the Interior Ministry reported that 37 people had been detained in Baku, alleging disruption of public order, damage to property and obstruction of school activities. Activists claimed that more than 200 people had been detained, although that higher figure has not been independently confirmed.

In a statement issued on 16 October, Amnesty International criticised the exclusion of pupils and called for the release of peaceful demonstrators. The organisation also raised concerns over the reported detention of a mother protesting her daughter’s exclusion and the disappearance of an activist who had organised educational assistance for affected children.

Access to TikTok and Instagram was disrupted as the protests spread online. Internet monitoring organisations documented restrictions, although Azerbaijani authorities have not publicly explained their cause.

Turkey challenges Azerbaijan’s secular policy

The dispute acquired an international dimension when Oktay Saral, a senior adviser to Erdoğan, condemned the exclusion of girls wearing headscarves.

In a public statement on 12 October, Saral questioned how preventing a girl from attending school because of her religious clothing could be reconciled with justice. He demanded that Azerbaijan reverse the restrictions. Several AKP parliamentarians subsequently joined the criticism.

The response from Baku was unusually confrontational. In its official statement, the New Azerbaijan Party accused Turkish political figures and media organisations of conducting a systematic campaign against Azerbaijan.

The party argued that religious solidarity did not entitle one Muslim-majority country to dictate another’s domestic policies. It described the Turkish politicians’ interventions as irresponsible and warned against attempts to interfere with Azerbaijan’s sovereignty.

The disagreement reflects contrasting approaches to secularism. Azerbaijan, a predominantly Shia Muslim country, has maintained strict state control over religious institutions since independence from the Soviet Union. Turkey, by contrast, has progressively removed restrictions on Islamic headscarves under Erdoğan’s government, reversing policies previously associated with its secular establishment.

Israel adds another source of tension

The dispute has also reopened disagreements concerning Azerbaijan’s relationship with Israel.

Baku maintains substantial security and defence cooperation with Israel, including military technology and equipment supplied during its conflict with Armenia over Nagorno-Karabakh. Turkey supported Azerbaijan during that conflict but has adopted an increasingly confrontational position towards Israel.

As EU Today has previously examined, the relationships between Turkey, Azerbaijan and Israel reveal competing strategic interests beneath Ankara and Baku’s declared solidarity.

In its October statement, the New Azerbaijan Party specifically rejected criticism of Azerbaijani-Israeli relations, insisting that its dealings with Israel were legitimate bilateral arrangements. The inclusion of Israel in a response ostensibly concerning school uniforms indicates that the disagreement extends beyond religious clothing.

A further escalation emerged on 16 October when Azerbaijani prosecutors announced charges against Turkish journalist Celal Çiftçi, accusing him of advocating the violent overthrow of the Azerbaijani government in social media posts connected to the controversy. An arrest warrant was reportedly issued in his absence. Prosecutors did not publish the posts, and Çiftçi’s response was not available.

Could the dispute break the Turkish-Azerbaijani alliance?

Despite the increasingly hostile exchanges, there is little evidence of an imminent diplomatic rupture.

Turkish Foreign Minister Hakan Fidan travelled to Baku on 15 October and met President Aliyev. The meeting addressed recent developments in bilateral relations, while Fidan publicly emphasised the enduring strategic partnership between the countries.

He acknowledged that differences could arise but argued that they should be resolved through direct dialogue rather than political confrontations on social media. Senior AKP figures have also sought to reduce tensions, stressing respect for Azerbaijan’s sovereign decisions.

The relationship extends far beyond shared language and cultural identity. Turkish military cooperation has been central to Azerbaijan’s regional security policy, while energy infrastructure and transport corridors connect the countries economically. Ankara also remains an important actor in the changing strategic balance of the South Caucasus.

For the European Union, the confrontation is relevant because Azerbaijan remains an important energy supplier and trading partner, while Turkey occupies a central position in regional transport and security arrangements.

The immediate question is whether Baku will reconsider the application of its school regulations. The wider political dispute concerns the extent to which Turkey can criticise Azerbaijan’s domestic policies without jeopardising a partnership that both governments have consistently presented as a cornerstone of their foreign policy.

The public confrontation has exposed differences that had previously been managed within the bilateral relationship. However, Fidan’s intervention and the continued diplomatic engagement suggest that both governments are seeking to contain the dispute rather than dismantle their alliance.

Archaeologists Discover 130-Metre Mining Tunnel Beneath German Forest

17 October 2026 at 04:52

Excavations in Germany’s Ruhr region have uncovered evidence of a substantial underground mining operation that predates the area’s industrial expansion. The discovery is providing new clues to the origins of European coal mining.

Archaeologists have identified a previously unknown coal-mining tunnel stretching at least 130 metres beneath woodland near Sprockhövel in western Germany. The remains provide evidence of coordinated underground construction at a time when the Ruhr’s mining industry was still developing, long before the region became synonymous with heavy industry.

The discovery was announced on 15 October by the Westphalia-Lippe Regional Association (LWL), whose archaeologists are working alongside the German Mining Museum in Bochum and GeoPark Ruhrgebiet. The team says its findings shed light on tunnelling techniques used before the eighteenth century, although the newly identified passage has not yet been given a precise scientific date.

At Haßlinghausen, a forest floor conceals old shafts, spoil heaps and depressions left by abandoned mining operations. Researchers did not enter an intact underground gallery. Instead, they identified the location of a collapsed passage by excavating at two former shaft sites and drilling into the surrounding spoil. Subsidence created by the collapse left a recognisable trace above ground.

How Early Miners Organised Underground Work

The evidence suggests a more complex operation than miners simply following exposed seams into the earth. Construction shafts were sunk at intervals along the proposed tunnel. Workers descended through them and excavated separate stretches underground, later joining those sections into a continuous passage.

This method allowed several groups to work simultaneously rather than advancing from a single entrance. It also demanded planning and considerable labour. The filled-in shafts and disturbed soil are still visible in the excavated sections, enabling specialists to reconstruct the miners’ methods even though much of the original tunnel has collapsed.

Till Kasielke of GeoPark Ruhrgebiet explained that the construction shafts were located beside the underground route and then filled after the gallery was completed. Jennifer Garner, an archaeologist at the German Mining Museum, said the excavations would provide material for scientific dating and a better understanding of the effort required to build the structures.

The latest work follows a 2025 investigation of a separate, approximately 70-metre tunnel nearby. That earlier feature reached a coal seam some ten metres below ground. Researchers suspected it might predate the seventeenth century because it appeared to have been overlooked during later mining activity. The newly identified 130-metre passage is a distinct discovery.

The chronology matters because horizontal tunnels changed the possibilities of coal extraction. Early miners could reach seams by digging pits or inclined shafts, but groundwater increasingly obstructed work at depth. Drainage galleries allowed water to escape, making deeper workings more practical and potentially extending the life of individual mining sites.

An Industrial Region’s Earlier History

The Ruhr is usually associated with the vast collieries, factories and transport infrastructure that drove Germany’s expansion in the nineteenth and twentieth centuries. Yet coal was extracted locally during the Middle Ages. The transition from small workings to organised subterranean networks remains poorly documented, partly because written records from the earliest periods are scarce.

The archaeological research programme, which began with related investigations in 2024, is intended to address that gap. The team has excavated soil layers associated with old shafts, and the recovered material may help establish when specific construction techniques were introduced. For now, it would be premature to assign the new passage a medieval date.

At Essen, the UNESCO-listed Zollverein Coal Mine Industrial Complex preserves the architecture and machinery of the Ruhr’s later industrial era. The remains at Sprockhövel represent a different historical record: temporary shafts, collapsed passages and waste deposits left by miners whose operations preceded industrial-scale coal production.

Across Europe, such landscapes have become an important part of cultural heritage. EU Today has previously reported on the preservation of Belgium’s Bois du Cazier colliery, where 262 people died in the 1956 mining disaster. In Sprockhövel, the focus is on a much earlier workforce, whose organisation and technical knowledge must be reconstructed from the ground itself.

Further dating and analysis will determine whether the newly identified tunnel pushes back the known chronology of organised drainage and gallery construction in the Ruhr. The excavations have already established that a substantial underground project once operated beneath a forest whose surface retains remarkably little indication of the work carried out there.

Image credit: LWL-Archäologie für Westfalen / Manuel Zeiler

What makes the Oregon school shooting different – and what can be learned

There are many more questions to be answered about the deadly elementary school shooting in Bend, Oregon. To explore some of them, Amna Nawaz spoke with James Densley, professor and chair of criminology and criminal justice at Metro State University. He is best known for co-creating the Violence Prevention Project, a database of mass shooters in the United States.

UK cops looking into post supporting Palestine Action by wife of Burnham’s top security aide

16 October 2026 at 23:50
Metropolitan Police 'assessing whether any further investigation required,' after Sarah Helm fumes on X about withdrawal of Sally Rooney books due to novelist's plan to give royalties to the proscribed terror group

Anthropic polled 1,334 of its employees. They're more sure than most of us that AI will take over jobs.

16 October 2026 at 23:48
Attendees chat at Anthropic's developer conference in May.
Attendees chat at Anthropic's developer conference in May.

Don Feria/AP Content Services for Anthropic

  • Anthropic published new surveys comparing its staffers' sentiments to those of US workers.
  • The AI startup's employees expect the tech to change work and the economy far more dramatically.
  • Most Anthropic employees guessed that unemployment would top 12% in 2030.

Anthropic employees believe that AI will make their labor obsolete. Most US workers don't see their jobs that way at all.

The AI company published research on Friday that compares surveys with US adults against an internal poll of 1,334 Anthropic employees. Most of the Anthropic staffers said AI will handle at least 80% of their jobs by 2030, while only about 5% of the US workers felt the same.

The research, titled "The AI expectations gap," shows the chasm between how the employees at the AI startup feel and how other American adults feel. Anthropic workers are far more optimistic about the progress of AI capabilities, how much it's already saving time, and how fast the economy will grow.

The median Anthropic employee said that by the end of 2030, they expect AI to handle 95% of the work of building a new AI model.

Peter McCrory, Anthropic's chief economist, wrote on X that the views might help outsiders prepare for more capable AI systems.

"We're publishing this research because Anthropic runs roughly a year and a half ahead of the economy on AI adoption, so what happens at Anthropic could be a leading indicator for the broader world," he said.

Anthropic workers expect higher unemployment and extreme GDP growth

Anthropic's surveys examined how workers already use AI and how they think it will change.

"US adults and Anthropic staff largely agree about what AI can do today," the researchers wrote. "However, they disagree about how quickly it will improve, how widely it will be used, and how large the productivity gains measured by time saved will be."

There are a few possible explanations for the discrepancies. Anthropic employees have larger budgets for the tools and often get access to unreleased models. US workers, on average, are more likely to work with their hands or in a service industry.

The researchers found that workers in manual trades, production, and transport thought AI would handle the least of their work by 2030, compared with Anthropic staffers, tech workers, and respondents in business and finance.

Most Anthropic employees surveyed said that they expect the unemployment rate to top 12% in 2030. The majority of the US workers thought it would hover around or under 8%. It's currently 4.2%.

So far, researchers have found mixed evidence on AI disrupting the job market — a Yale team recently found it had mainly changed jobs, and had "no connection" to changes in unemployment.

The Anthropic researchers also compiled survey responses to estimate predictions on economic growth. Based on their answers, the median US adult's guess for GDP growth in 2030 was 5.4%, compared with 17.1% among Anthropic employees. The country's GDP grew by 2.2% last year.

Anthropic's staffers are following their leader

Anthropic's CEO, Dario Amodei, has become one of the industry's most closely watched voices on labor upheaval. In March of 2025, he said he expected AI to write 90% of code within 6 months, and "essentially all of the code" within the year. He made more headlines that May, telling Axios that AI could wipe out half of entry-level white-collar jobs within five years and lift unemployment to 10% or 20%.

Amodei expanded on that claim in a later essay, writing that he expects AI to be different from prior technological changes. He wrote that he expects an "unprecedented" short-term shock to labor, and that the economy will grow dramatically.

"AI isn't a substitute for specific human jobs but rather a general labor substitute for humans," he wrote.

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Nik Storonsky, the visionary who came from Russia to revolutionize the financial industry with Revolut: ‘At legacy banks, it’s almost impossible to get something new off the ground’

16 October 2026 at 20:55

Number 116 on Rue Réaumur in Paris sits at the crossroads of the two worlds that define Revolut. On one side lies the historic financial district centered around the stock exchange; on the other, the Sentier neighborhood, home to much of the French capital’s technology ecosystem. It is at this intersection of finance and technology that the bank is preparing its new headquarters for Western Europe.

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© Benjamin Girette (EL PAÍS)

Nik Storonsky, during the interview with EL PAÍS at Revolut’s new Paris headquarters, provided by the company.
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