Former President Barack Obama issued a rare statement Sunday rebuking the Trump administration for targeting the president’s political enemies, namely for launching a federal investigation into Democratic Rep. Ilhan Omar of Minnesota.
“It is a basic principle of American democracy that the government can’t selectively target individuals simply because of their political beliefs or what they say,” Obama said in a lengthy statement shared on social media. “But that’s exactly what the Trump Administration is doing to Congresswoman Ilhan Omar of Minnesota.”
The remarks come after federal agents raided Omar’s Washington D.C., home last week, confiscating her laptop, cellphone and passport, as well as other notebooks and documents related to her and her family’s immigration.
“To understand why this is so appalling, it’s important to know the facts. Congresswoman Omar came to this country with her father when she was 12 years old,” Obama said, noting that both she and her father became naturalized citizens five years after arriving from Somalia.
In diatribes against Democrats, President Donald Trump has repeatedly singled out Omar, whom Obama described as “one of the Trump Administration’s fiercest critics.”
Trump has called Omar “garbage” and broadly condemned Somalis. Vice President JD Vance has also joined in, at one point claiming in March, without evidence, that Omar “definitely committed immigration fraud against the United States of America.”
U.S. Attorney Jeanine Pirro said last week that her office is investigating potential improprieties related to Omar’s financial disclosures, but the search warrant that authorized agents to seize Omar’s belongings listed potential violations related to immigration, not finances.
Lawyers for Omar have demanded the immediate return of all of her property.
“Federal agents have raided her home, confiscated personal records, and seized her phone — all to try and uncover a nonexistent smoking gun from 20 years ago that will somehow make their case,” Obama wrote on Sunday. “Think about that. The full weight of the federal government is being brought down on a law-abiding elected official because she has dared to criticize the president.”
The search came just weeks ahead of the pivotal midterm elections. Obama weighed in as he prepared to take his star power to Michigan next weekend to campaign for Democratic Senate nominee Abdul El-Sayed and gubernatorial nominee Jocelyn Benson.
The former president added that “the fact that any president, or any administration, is willing to engage in such transparent efforts to intimidate someone should outrage all Americans, regardless of how they feel about Congresswoman Omar’s political views. Because if this becomes the new normal, there’s no reason to believe it will stop with her — or that future presidents, in either party, won’t do the same.”
The film, "You Can See Everything," grossed $15 million in the US and Canada during its opening weekend, according to A24, the film's distributor.
That's the best opening weekend for a documentary this year. "Melania" had the second-biggest opening weekend for a documentary after its release in January. It grossed $7.1 million.
The film's financial success is matched by viewer reception, too. It scored a whopping 99% among critics on Rotten Tomatoes, the movie-rating site, and a 98% among regular audiences.
Directed by Fielder and Lance Oppenheim, the picture offers a remarkably revealing portrait of Holmes, who was convicted of defrauding investors with her blood-testing company, Theranos.
Theranos was at one point valued at $9 billion. It said its product could run hundreds of medical tests using just a pinprick of blood from a finger, but investigations revealed the company was using expensive lab equipment to surreptitiously run the tests.
Holmes, as the company's CEO, was sentenced to 11 years in federal prison after journalist John Carreyrou published a withering investigative report in The Wall Street Journal, sparking what eventually became criminal charges.
Business Insider's Henry Chandonnet has seen the film twice so far. He called it "one of the most shocking, revelatory, and oddly funny films" he'd ever witnessed.
"It was twisty and worthy of seeing with fresh eyes," Henry reported.
Pope Leo XIV resumed public appearances on Sunday, leading prayers at the Vatican just five days after undergoing lung cancer surgery and one day after leaving the hospital.
“I would like to thank all those who have prayed for me in recent days. I have truly sensed your support. Thank you!,” Leo said from a balcony overlooking St. Peter’s Square in Vatican City.
The Catholic leader, 71, announced his planned surgery last week to remove a “small, localized” nodular lesion on his right lung. During the 90-minute operation, doctors confirmed he had lung cancer but said the operation to remove a lower lobe of his lung was successful, according to the Vatican.
“This experience has made me feel particularly close to all those who are living with illness or infirmity,” Leo said. “Now that I have overcome this delicate phase, as you know, I will gradually resume my activities, always with God’s help and your prayers.”
The surgery and cancer diagnosis marked Leo’s first major medical episode of his papacy. It is yet unclear whether the pope will require additional treatment.
His planned trip to Latin America next month, which includes visits to Uruguay, Peru and Argentina, remains unchanged as “there are no clinical reasons why this visit should not take place,” Professor Stefano Margaritora, the physician who operated on the pope’s lung, told Vatican News.
“The Holy Father has put his heart and soul into his recovery, as the most motivated people do after this kind of operation,” Margaritora said. “As a result, he needed very little assistance from us. His determination to recover quickly has been effective in every respect. It was truly commendable.”
Leo was elected last year following the death of his predecessor, Pope Francis. Leo, born Robert Francis Prevost in Chicago, Illinois, is the church’s first American pope.
La collection « Dans l'atelier de... » du CNRS nous a fait découvrir la méthode et la magie à l'œuvre dans les travaux littéraires de quelques-unes des grands noms des lettres mondiales. Après notamment Baudelaire, Voltaire, Virginia Woolf, la série convoque archives et manuscrits pour nous faire entrer dans l'atelier du grand poète francophone Léopold Sédar Senghor. Ce livre est une invitation à découvrir et à comprendre la genèse et l'originalité de son œuvre poétique, qui fait partie aujourd'hui des grands classiques africains. Retour à l'œuvre senghorienne à travers cinq thématiques abordées par son exégète, Claire Riffard.
PARIS (AP) — French President Emmanuel Macron on Sunday voiced the public’s “anger” and “shame” over rioting and looting during nationwide protests against rising living costs and poor conditions in schools. At least 1,800 people have been arrested.
“Those who looted will have to pay back for the damage, and those who sought to bring down the Republic will be held accountable,” Macron said in a televised address to the nation.
He blamed “unrestrained violence” on “insurrectionist elements from radical far-left groups, joined by numerous criminals.”
Macron has earlier held an emergency meeting with senior government officials, a day after masked groups set fires and attacked public buildings, including city halls, in several cities. He said he had instructed prefects to work with mayors to protect public buildings and businesses in the coming weeks, including by banning protests when necessary.
Flames engulfed the 19th-century City Hall in the city of Limoges, in central France, causing its roof to collapse and nearly destroying the building.
Hundreds of protesters gathered again on Sunday at the Place de la République in Paris amid a heavy police presence. Officers used tear gas as tensions flared sporadically in the neighborhood, with small groups of people trying to set bicycles and trash bins on fire.
“The right to protest is a fundamental right. Deliberately and collectively sowing disorder through violence is not,” Interior Minister Laurent Nuñez wrote on X, citing the looting of hundreds of businesses in cities including Paris, Marseille, Lyon and Bordeaux.
About 550,000 people took part in protests across France, according to authorities, while organizers put the figure at about 800,000. Demonstrators answered calls from a labor union, student organizations and activists hoping to revive the “yellow vest” movement, which emerged in 2018 to protest social injustice.
Mass protests in France are often marred by violence on the fringes of otherwise peaceful marches, leading to clashes with police. The arrest tally reported Sunday approached the nearly 2,000 recorded nationwide during a single day of yellow vest protests in December 2018.
One person died of a heart attack, Paris police said in a statement, without providing details. The Paris prosecutor’s office said it was investigating.
Parisians deplore shattered shops and a damaged square
Dislodged cobblestones, shattered storefronts and broken glass littered the area around Paris’ Place de la République on Sunday. Looting and damage were also reported in other tourist and shopping districts.
Paris police said 855 people were arrested in the capital region. The city’s prosecutor’s office said 557 remained in police custody.
“I am actually stunned by the level of destruction and violence that was expressed,” said government employee Marie Peyreigne, 57, wondering what had led to the mayhem.
Parisians inspecting the damage photographed the partially dismantled base of the square’s central monument, a statue of Marianne, a symbol of France.
Jean Foissy, 74, said he had wanted to join the protest but encountered “a wall of riot police and fires everywhere” and returned home.
“I was very scared,” he said. “I’ve been a Parisian since I was born, so when I got here, it almost made me want to cry because I find it so bad, it hurts me.”
Margaux Eude, 26, said she supported the protest movement but “didn’t think it would escalate like this.”
“It’s the troublemakers who came, and it breaks my heart because it delegitimizes the movement,” she said.
Political leaders trade blame ahead of presidential election
Political leaders across the spectrum sought to parlay the fallout of Saturday’s riots into political capital, looking ahead to next spring’s presidential election.
Far-right leader and presidential hopeful Marine Le Pen criticized Macron’s centrist government as “exhausted, disoriented and seemingly incapable of doing anything other than commenting on its own powerlessness,” in a video posted Sunday on social media.
Far-left leader Jean-Luc Mélenchon, for his part, accused Prime Minister Sébastien Lecornu of “playing with fire,” alleging that “by banking on degradation, you have only succeeded in uniting all youths and workers’ unions.”
Mélenchon, who joined the Paris march Saturday, insisted that “my message is clear: those who share our fight have no business in looting or destruction.”
U.S. President Donald Trump posted “France is burning!” on his Truth Social platform, apparently linking the unrest to “the immigration of people from an entirely different world.”
“Close your Borders and take control, before it is too late!” he wrote.
French authorities and police have not linked immigrants to the rioting and have repeatedly attributed some of the violence to “radical far-left groups” and other people who joined to loot.
Hundreds of businesses looted across the country
“The scale of the damage is considerable and unprecedented,” Paris Mayor Emmanuel Grégoire wrote in an open letter. “Paris is a city of freedoms, debate and demonstrations. It must remain so. But it must also be a city where everyone can work and run a business safely.”
Police said groups of hundreds of people formed unauthorized marches across central Paris on Saturday. “By late afternoon, a new phase began with the arrival of large numbers of people whose sole aim was to steal and loot, taking advantage of the unrest,” police said.
The mayors of Paris, Marseille and Lyon, the three largest cities, requested a meeting with the prime minister in the coming days “given the extent of the damage and the seriousness of the situation.”
In the southern port city of Marseille, some protesters briefly forced their way into the lobby of City Hall and a group of people wearing hoods and masks damaged a police station. In Lyon, a fire broke out inside a tourist office.
In Limoges, a group of “radical troublemakers” broke into City Hall while there were elected officials, employees, security personnel and members of the public inside, Maurice Barate, prefect of the Haute-Vienne region, said. “Despite the presence of so many people, they deliberately set the building on fire. It is an extremely serious and unspeakable act.”
In eastern France, the Mulhouse prosecutor’s office said an investigation has been opened after a 17-year-old girl was injured during the protests and lost an eye. On Saturday, another investigation was opened after a young protester lost a hand in Saint-Etienne.
The injuries come as police have drawn sharp scrutiny over their use of grenades and other riot-control weapons during recent demonstrations.
The buzzy new A24 film “You Can See Everything” is a one-of-a-kind documentary. It features a psychic clash between two masters of deception with distinct skill sets. In one corner is Nathan Fielder, a comic and creator of a number of popular shows, including “Nathan for You” and “The Rehearsal,” which bizarrely blend fiction and reality and involve manipulating strangers. In the other corner is Elizabeth Holmes, the notorious once-billionaire founder of Theranos who was convicted of defrauding investors in one of the biggest business scams of the 21st century.
The premise of the film is that Holmes invites Fielder — who directed the film alongside Lance Oppenheim — to spend enormous amounts of time with her and her family 34 days in 2023 before she begins an 11-year prison sentence for committing fraud. She says her goal is to prove her innocence through transparency. “I know I didn’t commit a crime,” she tells Fielder. And she intends to prove that, somehow, by allowing a camera crew to surveil her life in a rented home in Southern California for about a month.
The entire arrangement is hilarious and absurd on its face — why would Holmes invite Fielder of all people into her life in an effort to clear her name? Why would showing her behavior in this contrived reality TV-like setup be effective at countering the stigma of her crimes? And what could Fielder unearth about Holmes that the public might not know?
The central source of tension driving the film is captured in its ultra-viral teaser showing Fielder and Holmes sizing each other up with their faces just inches apart, prompting the viewer to ask: Who is getting played here?
“You Can See Everything” is a movie about how hard it is to ascertain the truth, the limits of perception and the unknowability of other humans. It serves as a highly entertaining and at times trippy comment on the way people cynically use narrative as power in post-truth, huckster-ruled America. It’s also at times rather shallow, closer to a cheap trick than a provocation about the elusive nature of truth.
The first part of the movie is all about Fielder spending time with Holmes and her fiancé, Billy Evans, along with their two babies. Holmes and Evans’ bid for “radical transparency” involves extended scenes of mundane daily life — eating, childcare, walking on the beach. In what appears to be a demonstration of just how open they’re willing to be, Holmes breastfeeds in front of Fielder and the camera crew; in another scene, Evans showers in front of the camera — with nothing left to the imagination. Yet at the same time, both of them are constantly evasive when answering questions, using “I don’t know” to respond to questions that they clearly know the answers to, or asking for straightforward questions to be rephrased in order to buy time for new evasions.
Holmes’ intent isn’t that complicated a question, and she isn’t merely misunderstood.
The film further embraces the paradox of the whole “transparency” setup by letting us observe and listen in on Holmes and her (unnervingly controlling) partner’s attempts to co-direct the documentary, and to put on a show of trying to woo investors for an improbable successor company to Theranos. Altogether, it’s a compelling mix of stagecraft and manufactured reality. And it only gets weirder as the movie progresses.
The part of the movie that’s unsatisfying is Fielder’s fixation on getting Holmes to admit to understanding what she did wrong. Holmes resolutely insists that she not only doesn’t think she did anything wrong, but that she has never lied in her adult life. Equally striking is that she claims to not even understand why people believe she lied about what her infamous Theranos blood testing machine — which never fulfilled the advertising that said it could conduct hundreds of diagnostic tests with just a few drops of blood — could do.
The focal point is the ambiguity of her meaning when she says she really believed the machine was capable of doing things it had not yet demonstrated the capacity to do. Fielder seems to entertain the idea that this may be a communication problem that originates in Holmes’ mind. He shows her a video of Abbott and Costello’s famous “Who’s on first” comedy routine to illustrate how people can talk past each other by perceiving the same words differently, and she claims to have no comprehension of it. Evans insists this is proof that she just “thinks differently.”
The implied meaning of Fielder’s inquiry appears to be that we cannot know what Holmes truly believes, and thus we cannot rule out a kind of psychological innocence surrounding her intent.
While Fielder is also hard to read, it does seem that he takes her denialism seriously — and in A24’s press notes he admits, “When I watch the footage back I see myself genuinely conflicted and struggling to make sense of these moments and what was happening.” But the only reason the question appears meaty for the audience is because the filmmakers have deliberately narrowed the information we can use to bear upon this question. Many people who watch this movie will not be familiar with the details of the Theranos fraud case, or may have forgotten them. But reportage and the legal proceedings against her demonstrate unequivocally that this isn’t all just a big misunderstanding about the meaning of a couple of words.
Trial evidence and investigative media reports showed that Holmes knew her machine was not producing accurate or reliable results and that she covertly used traditional machines to produce results her machine could not — and passed off many of those results as her own machine’s performance. To woo investors, she falsely claimed that the technology was used on the battlefield in Afghanistan. She admitted in court that she personally affixed the logos of big pharmaceutical companies like Pfizer to reports that would falsely indicate that those companies had endorsed Theranos’ technology. She has admitted that her company advertised her blood diagnostics machine as being able to do more than 200 tests — while it could only do 12. Not only did Holmes rob investors of huge sums of money, she also gave tens of thousands of patients incorrect diagnostic tests that had dangerous real-life consequences for them.
In other words, Holmes’ intent isn’t that complicated a question, and she isn’t merely misunderstood. She is without question a full-on scammer.
To me, her wide-eyed denials and incomprehensible tentativeness in this movie are an obvious and ludicrously ham-fisted attempt to lie once more, to win back public opinion. In addition to sapping her arc of its suspense, it also then pushes the audience in a strange direction. The narrative of Holmes as an oddball idealist who might just be misunderstood is an essential part of the movie’s engine — which mostly points to her troublingly domineering partner as the real villain of the story.
But two things can be true at once: She’s deceptive, and her partner is also a bad guy. Yet I suspect the narrative of the movie is likely to be received as quasi-exculpatory of Holmes in the eyes of some audience members.
Some might say that Fielder deliberately allowed Holmes to work her “magic” on the public. But magic doesn’t work when you can see the mechanics of the trick.
Whether wittingly or not, the way Fielder tries to make Holmes more mysterious than she is also reminds me of a broader social problem we have in American life: our struggle to tackle how flagrant lying has become a norm in politics and our information environment. Many political observers — including me, at times — are vexed by the question of politicians’ intent when they spread false information, use language that insinuates an incitement to violence or bigotry, or defend modern day genocide. This process often involves giving bad actors the benefit of the doubt as we weigh their subsequent denials. Some of that problem simply can’t be solved, because stated intent, in the abstract, is irrefutable. But a part of the solution is often watching what people do — instead of what they say.
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
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.
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
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."
Thesex appeal of the sliders seems to be an accidental collision with acurrent 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."
Warren Buffett is the former CEO and chairman of Berkshire Hathaway.
Paul Morigi/Getty Images for Fortune/Time Inc
Berkshire Hathaway is set to invest $330 million in Bending Spoons, adding to its previous $600 million.
Warren Buffett's storied conglomerate is poised to hold a 4% stake in the owner of AOL and Vimeo.
Berkshire's wager is a surprise, but there's some DNA in common with Bending Spoons.
Berkshire Hathaway's latest bet isn't a no-brainer or a head-scratcher; it's somewhere in between.
What's the deal?
Berkshire — which has seen Warren Buffett retire as CEO and chairman since the turn of the year — has agreed to invest $330 million in Bending Spoons, on top of a $600 million injection when the Italian tech conglomerate went public in July, giving the Nebraska behemoth a 4% stake.
Bending Spoons disclosed Berkshire's backing in a press release on Wednesday, catapulting its stock up nearly 50% over two days, a phenomenon known as the "Buffett effect." The stock fell on Friday, but still ended the week more than 20% above Monday's opening price.
Berkshire has agreed to buy 10 million shares for $33 each, around a 13% discount to Bending Spoons' closing price of $38 on Tuesday, the day before the deal was announced.
CEO and cofounder Luca Ferrari described Berkshire in the press release as "among the finest and most respected capital allocators in the world," and a "longstanding inspiration" for Bending Spoons.
Neither company responded to requests for comment from Business Insider.
What is Bending Spoons?
Bending Spoons acquires digital businesses, transforms and optimizes them to increase profits, then reinvests those earnings in further acquisitions.
It has been pursuing that strategy for more than a decade and has never sold a material business. Its acquisitions to date include AOL, Evernote, Vimeo, Eventbrite, and WeTransfer.
Ferrari's company said in the press release that it "strives to envision the most successful version of an acquired business," then works to close the gap between that vision and reality "as quickly and completely as possible."
Bending Spoons said that typically involves "deep" transformation such as "reorganizing teams, overhauling technology, redesigning user interfaces, accelerating product development, and enhancing marketing and monetization," often with a good dose of AI.
Ferrari gave the example of Evernote on a recent episode of the "Joys of Compounding" podcast.
He said the business had around 350 employees when Bending Spoons acquired it at the start of 2023. That shrank to roughly 60 within 12 to 18 months, and now it's being run by around 20 people.
Yet Ferrari said Evernote "launched by far the biggest update to the product in maybe a decade" this spring.
Bending Spoons CEO Luca Ferrari.
Marco Bertorello / AFP via Getty Images
Why is Berkshire's investment a surprise?
First and foremost, Bending Spoons is a tech conglomerate, and Berkshire has eschewed tech for most of its history with a few big exceptions, namely Apple and Alphabet.
That's because Buffett is a bargain hunter who likes to invest with a "margin of safety" in case something goes wrong, and tries to stay within his "circle of competence," only buying into what he deeply understands.
Tech companies have rarely been a good fit for his approach, as they typically have lofty valuations, unpredictable outlooks, and complex products and services.
Indeed, Bending Spoons generated 32 cents in earnings per share last year. Berkshire is paying more than 100 times that per share in the coming private placement.
It's true that Bending Spoons is growing fast, with revenue surging 126% year-on-year to $704 million in the second quarter and adjusted operating income jumping 150% to $381 million. Few, however, would consider the stock a bargain from a fundamental perspective.
Berkshire is also famously a hands-off acquirer, offering founders the opportunity to cash out while continuing to run their businesses as they see fit. In contrast, a core aspect of Bending Spoons' strategy is revamping its acquisitions.
How does the deal make sense?
Berkshire and Bending Spoons have similarities as well as differences.
Both are decentralized conglomerates that buy businesses not to flip them, but to own them for the long term. Berkshire is a web of largely autonomous companies, including GEICO, Duracell, Fruit of the Loom, Pilot Travel Centers, and BNSF Railway. It has long offered a permanent home to the businesses it buys.
Bending Spoons has positioned itself as a forever owner, too, emulating Berkshire's approach of taking the cash generated by a subsidiary like See's Candies and using it to acquire more businesses.
Ferrari said in his recent podcast interview that Bending Spoons has fostered a culture of caring deeply about the company, and doesn't centralize decision-making in part because that "deprives people of that precious sense of ownership."
Buffett famously wrote "An Owner's Manual" for Berkshire shareholders. He's championed that mindset by keeping more than 99% of his net worth in Berkshire stock, and encouraging the company's other executives and directors to have skin in the game too.
Ferrari also said on the podcast that he has a "pathological love of learning" across different domains. That echoes Buffett's boundless curiosity and the late Charlie Munger's insatiable appetite for knowledge. Buffett's longtime business partner studied architecture, physics, history, meteorology, psychology, law, and, of course, investing, among other subjects.
Beyond their similar philosophies, it's worth noting that investing less than $1 billion into Bending Spoons isn't a huge deal for Berkshire. It has a $1.1 trillion market capitalization, had a $365 billion cash pile at the end of June, and its biggest stock position was worth about $66 billion at that time.
What's the takeaway?
The Bending Spoons deal could mark an evolution in Berkshire's investing style following Buffett's departure as CEO and chairman.
Berkshire hasn't commented on the purchase or on whether Buffett was involved. Its relatively small size could mean his remaining investment manager, Ted Weschler, was behind it.
Or it might be new CEO Greg Abel, who piled an additional $10 billion into Alphabet in a private placement this summer after consulting with Buffett.
Whoever was responsible, and whatever their reasons for investing, this will be an intriguing wager to watch for Berkshire followers.
In Bengal, worship, carnival, and art share the same streets for a few days each autumn. Durga Puja has not erased caste or commerce, but it shows how a society can hold the sacred and the secular in one public space.
A new play revisits the story of Ireland’s 18th-century German refugees, whose experience of prejudice and exclusion resonates with today’s debates over immigration
In the early 18th century, a few thousand Germans fled religious persecution and near starvation in their homeland and ended up in remote rural Irish villages. The Irish Palatines, as they were known, were poor, conservative homesteaders who couldn’t speak the language and were the object of suspicion and violence – precursors to the displaced Syrians or Afghans of the past decade.
Their story is told in Refuge, a co-production between Staatstheater Mainz and the Irish company Fishamble. Part love story, part social commentary, it is performed by a mixed cast, mainly in English but with some German interludes.
The Union of Writers and Artists of Cuba (UNEAC) will celebrate Cuban Culture Day, (October 20) with a national event titled “Art and Homeland” (in spanish Arte y Patria), scheduled to take place from Monday, October 19, to Friday, October 30. The program includes panel discussions, concerts, exhibitions, exchange forums, and activities centered on artistic creation, history, and the defense of national identity.
The event draws inspiration from the National Anthem, composed by Pedro “Perucho” Figueredo—a piece whose notes accompanied a decisive moment in Cuban history and remain a symbol of independence and emancipation.
“What better way to celebrate our national identity—that deep-rooted sense of ‘Cubanness’—than through art and music?” stated Magda Resik Aguirre, First Vice President of UNEAC, in remarks to the organization’s communications team.
Representatives from the UNEAC presidency and leadership will participate in the *Fiesta de la Cubanía* (Festival of Cuban Identity) in Bayamo—a city intrinsically linked to the birth and establishment of the national anthem as a patriotic symbol. The gathering will also commemorate the 65th anniversary of the writers’ and artists’ organization.
“Art and Homeland” is part of the Faithful Art (Arte Fiel) campaign, which honors the centenary of Commander-in-Chief Fidel Castro Ruz and the 65th anniversary of UNEAC. It also incorporates celebrations for the 40th anniversary of the Hermanos Saíz Association (AHS), an institution dedicated to promoting Cuban culture, social engagement, and artistic excellence.
🎼🥁El espacio Detras de la Portada que mensualmente organizan la Sección de Musicología y la Asociación de Músicos de la Uneac, dedicará su próxima edición al DVD La Familia, de Los Muñequitos de Matanzas.#ArteFiel#65Uneac#MuñequitosDeMatanzaspic.twitter.com/cO5sGAiilb
The text reads, “The “Behind the Cover” (Detrás de la Portada) event, organized monthly by the Musicology Section and the Musicians’ Association of UNEAC, will dedicate its next edition to the DVD La Familia by Los Muñequitos de Matanzas.”
The program includes discussions on the fight against racism and racial discrimination. The panel “Fidel and the Cuban Color: Racism and Discrimination 140 Years After the Abolition of Slavery” will be organized by UNEAC’s José Antonio Aponte Commission. Additionally, there will be a panel dedicated to the novel Paradiso by José Lezama Lima, marking six decades since its first publication.
The program will begin on October 19 at Sala Villena with a panel dedicated to Paradiso and the presentation of the DVD La Familia—produced by BisMusic from a concert by Los Muñequitos de Matanzas at the 2023 Jazz Plaza Festival. The group will subsequently give a special performance in the gardens of UNEAC.
On October 21, the printmaking exhibition Roots (in spanish Raíces) will open, followed by a gathering of *trova* musicians celebrating Cuban culture. The following day will feature the presentation of the Domingo Ravenet Curatorial Award and the opening of the exhibition Cartographies of Destiny (in spanish Cartografías del destino) by Santiago Rodríguez Olazábal.
From October 26 to 30, juries will convene to evaluate the admission of new members to UNEAC, both through its various associations and provincial committees. This process is part of the “Fidel Castro Ruz Centenary Special Growth” initiative and will include young creators from the AHS (Hermanos Saíz Association) who have established a solid body of excellent work.
The closing event on October 30 will include a segment titled “Chamber Music in Cuba” and a performance by Ernán López-Nussa alongside the ensemble Raptus, as part of the 15th Chamber Music Festival.
Resik noted that the organization will adjust schedules and venues to maintain its connection with the public and local communities, “We are fulfilling a duty we have as creators—to dedicate ourselves to the people, to our audience, and to the Cuban public”,explaining.
#Cuba | Havana says talks with Washington remain stalled as US oil restrictions worsen fuel shortages and disrupt essential services, including healthcare. Cuba continues to call for dialogue ahead of the October 29 UN vote on the blockade.#OilBlockade#teleSUREnglishpic.twitter.com/fycySzWm5T
Chilean-American author awarded Premio Planeta for sequel to her 1982 debut novel, The House of the Spirits
The Chilean-American author Isabel Allende has won Spain’s €1m (£843,000) Premio Planeta, one of the world’s most lucrative literary prizes, under a pseudonym, with a sequel to her celebrated debut novel, The House of the Spirits.
Allende, 84, won the 75th edition of the award on Thursday with La hora antes del alba, which returns to the characters of her 1982 novel, a multigenerational family saga set against political upheaval in a country inspired by Chile.
Will Hannah Horvath’s son, Grover, who should be about 10 years old now, spend his winters in the Hudson Valley (where Hannah’s college teaching gig took her in the final season)? Is the boy, like his mom, a master of back talk and lacerating asides? Has Hannah’s best friend, Marnie (Allison Williams), resumed her fledgling music career, or has she become a real estate agent (or maybe a tradwife)? Is Shoshanna (Zosia Mamet) still married to that Byron guy, and has she honored her vow to rid herself of Hannah, Marnie and Jessa forevermore? As for Jessa (Jemima Kirke), has she found any joy in her life outside of those moments when she is actively trying to destroy it?
My biggest concern won’t be how these women will engage with each other, but how they’ll engage with the show’s male characters.
But when the “Girls” reboot actually airs, my biggest concern won’t be how these women will engage with each other, but how they’ll engage with the show’s male characters. The show ran from 2012-2017, the entirety of former President Barack Obama’s second term and the first seconds of MAGA’s interminable dominion. In that giddy period of hope and change, Dunham and her writing partner, Jenni Konner, could freely splay the messiness of female erotic desire across cable television screens. That messiness made “Girls” a wildly controversial show, as did its insistence on drawing attention to the blurriness of sexual consent.
How will that messiness and bluriness be rendered in 2027, an era of radically reconfigured sexual and gender politics?
Months after the final episode of “Girls” aired, the #MeToo movement burst onto the scene, drawing global attention to workplace harassment and sexual assault. In 2022, Roe v. Wade was overturned. In 2024, buoyed, in part, by the rise of the manosphere, President Donald Trump came back for his endless Act II. Presently, an alleged gang rape at Cornell University has reopened a national discussion about consent and systemic gender-based violence.
Many millennial, zillennial and Generation Z women are experiencing not only a shrinking pool of desirable or even eligible male partners, but a palpable erosion of their civil rights. Accompanying their feelings of heteropessimism is a heightened sense of fear. After all, a man can sexually abuse a woman, subsequently defame her, and still become our president.
All of which is to say, Ms. Dunham will be writing her characters into a very different cultural moment.
The original “Girls” charted the professional and personal escapades of four overeducated, underemployed, 20-something-year-old millennial women. As befits fictional heroines in the optimistic Obama years, they fully owned their sexual exploits. Hannah, Marnie, Jessa and Shosh rather joyfully flirted, experimented, dated and hooked up (sometimes with one another’s ex-boyfriends).
With a candor that continues to astonish,“Girls” serially portrayed women making problematic romantic and erotic decisions. In “One Man’s Trash,” Hannah spends a weekend with a total stranger. In other episodes, Jessa works through her emotional difficulties by sexing up randos in the bathroom of the local bar. Marnie meets an impossibly pretentious artist named Booth Jonathan (Jorma Taccone), who verbally demeans her and repeatedly calls her by the wrong name. None of this prevents her from accepting an invitation to his studio, where he proceeds to lock her in a box as part of an art project.
The heart wants what the heart wants and all that, but scenes such as these are going to strain credulity in 2027 (a Gen Z student of mine expressed disbelief that these women entered male lairs without sharing their location with 400 girlfriends). Then again, it’s not as if Dunham didn’t see the #MeToo movement coming. The sixth season’s “American Bitch” (you can read my analysis of it here) chronicles Hannah’s afternoon in the home of a recently canceled novelist. Writer Chuck Palmer has been accused of sleeping with fawning coeds on his campus visits. Hannah has used her blog to call him out. What makes the episode so unsettling is Hannah’s own arousal during the visit — at least prior to the moment Chuck exposes himself to her.
The straight men of “Girls” were mostly a mix of narcissists, artistic posers, finance bros, pervs, pill poppers, smack addicts and profoundly unserious fellows.
The straight men of “Girls” were mostly a mix of narcissists, artistic posers, finance bros, pervs, pill poppers, smack addicts and profoundly unserious fellows. Interestingly, the male heartthrob at the center of the series, Adam (Adam Driver), is not slated to return in 2027. Whether that is due to his fame, his reported tussles with Dunham on set or something else is not clear. Narratively, that’s too bad, because Adam is one of the few gents on “Girls” who I could imagine: 1) converting to Orthodoxy, and/or 2) joining the manosphere in a plot twist. Brooding, hot, moody and at points unusually emotionally vulnerable, Adam is also given to violent outbursts. One graphic scene led many to believe that he had likely raped his girlfriend, Natalia.
The women of “Girls” are nearing 40 now. They will inhabit a culture whose sexual norms are rapidly changing. Will they be pursued by younger men, a trend breathlessly chronicled by outlets like The New York Times? Or will they strike up romances with artificial intelligence chatbots?
Knowing Dunham, it will likely all go very wrong for her characters; in her narratives, our ideals and aspirations are always wont to be mangled (by ourselves). As Hannah once fretted about her newborn: “What if I raise him perfectly and he does everything right and then he rapes like a jazillion people?”
No, what underwhelms me is a certain subset of Americans who are not attending these protests. This cohort (according to recent polls) apparently exists but appears to lack the courage to stand up and be counted in public: right-of-center voters that are more loyal to the Constitution than to Trump.
There ought to be nonstop protests across the U.S. against an illegal war that’s crippling millions of Americans’ budgets, making the world less safe and failing at every one of its constantly-shifting stated objectives.
A Fox News poll conducted between Oct. 9-12 found that among self-identified MAGA Republicans, Trump’s approval rating is 95% — a figure that would make most dictators blush. Meanwhile, among Republicans who don’t self-identify with the cult of Trump, the president is underwater: 47% approve, while 52% disapprove. Among independents, 22% approve and 78% disapprove.
Hey, non-MAGA Republicans and independents who live in objective reality, now’s a good time to show your faces in public!
It’s one thing to be a career GOP politician, terrified of crossing Trump for fear of losing their position of power. It’s spineless and opportunistic, of course, but at least it’s a reason. What’s the excuse for the rest of you?
Surely Trump’s relentless disrespect of American values and constitutional rights — like freedom of speech and religion; due process; birthright citizenship; prohibitions on bribes from foreign governments and warrantless searches; the freedom to walk outside without proof of citizenship — ought to have you mad as hell and taking to the streets. If you call yourself a libertarian or a conservative, then obviously you should see Trump as a greater threat to the rule of law and civil liberties than annoying woke college undergrads. If you’re a right-leaning independent, then Trump and his family gorging on ill-gotten countless billions must have you willing to let bygones be bygones and ready to march in the streets side by side with your liberal neighbors.
But I’m confident few, if any, of these folks will attend No Kings rallies this weekend. Whether because of apathy or fear of catching cooties from anything associated with Democrats or the left, the result is the same: they’ll be sitting on the sidelines as Trump gobbles up more American yardage for himself.
Hey, non-MAGA Republicans and independents who live in objective reality, now’s a good time to show your faces in public!
It’s possible that the polls predicting a “blue wave” election are correct. But a midterm “wipeout” isn’t enough for America to recover. Impeachments, investigations and public shaming ought to be the order of the day if Democrats win back one or both houses of Congress, but even that won’t do. For America to achieve some semblance of a shared national identity, there must be a near-universal call for a return to decency and respect for plurality. But that can only happen when roughly half the country demands the end of an unprecedented American personality cult that they’ve voted for in three consecutive elections.
I’m glad No Kings is drawing people to the streets and encouraging people to vote. It’s just not nearly enough. Not until the non-left — composed of non-MAGA Republicans, conservatives, libertarians and anti-woke centrists — confronts its own complicity and forges its own No Kings movement.
The UK government has returned to an issue musicians have been discussing since Brexit: how to make working in Europe easier again.
Its new music strategy, Turn It Up: Our Plan for Music, refers to the first high-level meeting on culture between the UK and the European Commission, held back in March, and promises continued work to reduce the barriers faced by British artists touring the EU.
The timing is significant. The UK is preparing to rejoin Erasmus+ in 2027, while London and Brussels are pursuing a broader reset of post-Brexit relations.
Music offers an interesting test of that reset. The UK has left the European Union, but its musicians have not become any less European.
British performers still tour the continent, while European musicians continue to work in British orchestras. The musical ecosystem survived Brexit. Navigating it became considerably more difficult.
A UK government study estimates that additional barriers to EU touring between 2022 and 2024 cost Britain £208m in lost economic output and the equivalent of 2,490 full-time jobs.
A Musicians’ Union survey found that, among musicians who had previously worked in the EU, 75 percent reported fewer bookings and 72 percent lower EU income.
More than half said EU touring was no longer financially viable.
But music reveals something more interesting than another item on the list of Brexit consequences. Brexit drew a political border through a professional community that had operated internationally for centuries.
Musicians were ‘European’ before EU
European musical mobility did not begin with freedom of movement. In the early 19th century, theatre companies crossed linguistic and political borders. Imperial Russia accommodated French and German theatrical companies alongside Russian performers, while Italian opera was embedded in its musical life.
Individual musicians were equally mobile. John Field, the Irish pianist and composer at the centre of my own research, trained in London before spending most of his adult career in the Russian Empire. The German pianist Adolf Henselt settled there and became deeply involved in Russian musical education.
These were not exceptions: musical life itself was international. The EU did not invent that circulation. European integration merely made it administratively easier.
Brexit did not make British musicians unwelcome in Europe, or European musicians unwelcome in Britain. It changed the cost of maintaining those relationships.
For an international star with professional support, another permit can be an inconvenience. For a young ensemble deciding whether four European concerts are financially viable, it can determine whether the tour happens at all.
The border appears before the first tour
The consequences begin before professional life. A conservatoire is not simply somewhere a musician obtains a qualification. It is where professional relationships form. A student may meet a future ensemble partner, while an exchange can produce an opportunity years later.
The post-Brexit figures are striking. The number of new EU students entering UK higher education fell from 66,685 in 2020–21 to 28,375 in 2023–24 — a decline of around 57 percent, according to figures based on HESA data.
Britain’s Turing Scheme supported outward mobility, but did not reproduce Erasmus+’s reciprocal structure.
The UK’s return to Erasmus+ in 2027 therefore matters beyond universities. In music, today’s exchange student can become tomorrow’s professional collaborator.
Meanwhile, Brussels is actively spending money to encourage cultural mobility. Creative Europe has a €2.44bn budget for 2021–27. Its Pan-European Cultural Entities programme specifically supports orchestras working across borders to develop young musicians: around €11m was allocated to five projects in 2024, expected to involve more than 1,000 young musicians from at least 20 participating countries. The policy assumption is revealing: movement itself creates value.
Put musicians into the reset
At the 2025 UK-EU summit, London and Brussels explicitly recognised “the value of travel and cultural and artistic exchanges, including the activities of touring artists.”
The new high-level cultural dialogue provides a forum to turn that promise into policy. Cultural mobility should become a permanent part of the UK-EU reset.
London and Brussels should use the dialogue to identify touring requirements that can realistically be simplified and work with member states towards greater consistency for short-term cultural engagements.
Emerging artists should also be explicitly considered in the proposed Youth Experience Scheme. The commission’s original proposal envisaged a time-limited route for people aged 18 to 30 to live on the other side of the English Channel. Paid cultural work should be clearly accommodated in whatever agreement emerges.
A 24-year-old violinist should not discover that a programme intended to restore opportunities for young Europeans works perfectly until somebody pays her to perform.
None of this means recreating freedom of movement through the orchestra pit. Britain chose to leave the EU and cannot expect every privilege of membership.
The argument is more practical. British and European cultural industries remain intertwined, and unnecessary friction is most expensive for those least able to absorb it. Major institutions employ administrators. International stars have managers. A young quartet may have four instruments and a group chat.
Two centuries ago, Field travelled from Ireland through London and built a career in Russia. Henselt left Germany and became part of Russian musical education. They did so long before Eurostar, Erasmus+ or Creative Europe.
Two hundred years later, crossing the continent is faster. Building a European career need not become harder. The UK has left the EU. Its musicians have not left European musical life.
As London and Brussels shape their new relationship, cultural mobility should be treated as part of its infrastructure. Musicians will continue to cross the Channel. The question is how costly we choose to make it.
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.
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
A 500-year-old religious triptych by Andrea Previtali has been brought together for the first time in almost two centuries. The reunion forms the centrepiece of a new exhibition examining the painter’s place in the Venetian Renaissance.
Three panels of a Renaissance altarpiece, separated for almost 200 years, have been reunited in Italy for an exhibition opening on Saturday, 17th October, offering visitors a rare opportunity to see a work by Andrea Previtali in its original arrangement.
The painting, created around 1515 for the Church of the Annunciation in Serina, near Bergamo, has been reconstructed through cooperation between the Diocese of Bergamo and the Museo Villa Bassi Rathgeb in Abano Terme, close to Padua. One panel, depicting a bishop saint, belongs to the museum’s permanent collection, while the remaining two have been brought together for the exhibition.
The reunion was confirmed on 16 October by Italy’s Ministry of Culture heritage authority. It forms the central attraction of Andrea Previtali: Disciple of Giovanni Bellini, which runs until 7th February 2027 and examines the career of a painter who worked between two important artistic centres of Renaissance Italy.
Reconstructing a Renaissance Altarpiece
The three panels originally formed a triptych, a type of religious painting consisting of a central image flanked by two wings. Such works were commissioned for churches and private chapels, where they served as devotional objects and demonstrations of the artistic ambitions of their patrons.
Over succeeding centuries, many Renaissance altarpieces were dismantled, removed from their original settings or dispersed among private collections and museums. Their individual panels could subsequently be displayed as independent works, losing much of the relationship between the images originally intended by the artist.
The Previtali triptych provides an example of how those connections can be recovered.
The Museo Villa Bassi Rathgeb holds the panel depicting a bishop saint as part of the collection assembled by Roberto Bassi Rathgeb, an art historian and collector who contributed to renewed scholarly interest in Previtali.
His collection, donated to the municipality of Abano Terme between 1972 and 1980, contains important examples of painting from the Bergamo and Brescia schools.
The collaboration with the Diocese of Bergamo has now made it possible to display the bishop saint alongside the two surviving companion panels from the original altarpiece. Their reunion allows the work to be studied as a complete composition rather than as three separate paintings.
It also offers an opportunity to reassess Previtali’s decisions concerning the relationship between figures, religious symbolism and the architectural arrangement of devotional paintings.
A Pupil of Giovanni Bellini
Andrea Previtali was born around 1480 in Valle Imagna, in the territory of Bergamo, before moving to Venice, where he entered the workshop of Giovanni Bellini.
Bellini was among the most influential painters of the Venetian Renaissance, known for his treatment of colour, light and religious subjects. His workshop trained artists who would help establish the distinctive visual language of sixteenth-century Venetian painting.
Previtali’s connection to his master is documented in an inscription on his 1502 painting Madonna and Child with Donor, now held by the Musei Civici di Padova.
The artist described himself as a pupil of Giovanni Bellini, a declaration that has become an important piece of evidence for reconstructing his early career.
The new exhibition explores that relationship by displaying works by Previtali alongside paintings associated with the artistic environment in which he trained.
Among the loans is Bellini’s Saint Justina, from the Museo Bagatti Valsecchi in Milan. Although painted before Previtali’s mature career, it demonstrates the treatment of sacred figures, colour and composition that influenced succeeding generations.
The exhibition also includes works connected with Francesco Bissolo, Girolamo da Santacroce, Palma il Vecchio and Giovanni Busi, known as Cariani.
Together, they illustrate the movement of artistic ideas between Venice, Bergamo and Brescia during a period in which painters increasingly travelled between workshops, cities and patrons.
Venice, Bergamo and the Changing Renaissance
Previtali’s career developed at a time when the artistic traditions of northern Italy were undergoing considerable change.
The Venetian school placed particular emphasis on colour and atmosphere, while painters working in Lombardy drew on different approaches to portraiture, religious narrative and landscape.
Previtali’s paintings reflect both traditions. His subjects included Madonnas, religious gatherings, portraits and landscapes, often combining carefully observed human figures with detailed natural backgrounds.
After returning to Bergamo, he encountered the work of Lorenzo Lotto, whose approach to portraiture and religious painting introduced further stylistic developments.
The exhibition therefore examines Previtali not simply as a follower of Bellini, but as an artist whose work developed through exchanges between different regional schools.
It also includes Renaissance portraits, among them a painting on loan from the Accademia dei Concordi in Rovigo.
A separate section examines the practical techniques employed in Renaissance workshops, using physical and digital displays to explain how artists prepared, constructed and completed their paintings.
Such research has become increasingly important in the study and preservation of Europe’s Old Master paintings, allowing historians to reconstruct relationships between works that have survived in different institutions.
The restoration and presentation of historic collections also forms part of the wider debate about protecting Europe’s cultural heritage.
The Previtali exhibition has been organised by the municipality of Abano Terme in cooperation with the University of Padua and the Italian heritage authorities. It is curated by Raffaele Campion and Barbara Maria Savy.
Visitors will be able to see the reunited triptych at the Museo Villa Bassi Rathgeb from 17th October until 7th February 2027. The exhibition provides a rare chance to examine the three panels together and to understand how a religious commission created more than five centuries ago fitted into the artistic culture of Renaissance northern Italy.
A new exhibition in Belgium brings together a 1956 painting by Paul Delvaux and its original preparatory drawing, revealing how the artist transformed his composition and concealed elements beneath the finished work.
Scientific examination of a painting by Belgian surrealist Paul Delvaux has revealed significant changes to its original composition, including figures and other details concealed beneath layers of paint. The findings are being presented in a new exhibition opening on 16 October at Musée L in Louvain-la-Neuve.
The exhibition, La Ville lunaire II: The Hidden Side of Paul Delvaux’s Painting, examines a work completed in 1956 and held in the museum’s permanent collection. Through X-ray imaging, infrared reflectography and ultraviolet examination, researchers have been able to investigate the artist’s working methods and compare the finished painting with an original preparatory drawing.
The exhibition, which runs until 7 February 2027, follows the acquisition of the drawing by the King Baudouin Foundation in 2024. Its subsequent deposit at Musée L has made it possible to examine the two works together and reconstruct the development of a composition that underwent substantial alterations.
A Painting Concealing Its Own History
Completed in June 1956, La Ville lunaire II depicts a mysterious nocturnal landscape, with a long avenue, buildings, streetlamps and figures arranged within an unsettling architectural setting.
The painting measures approximately 89 by 139 centimetres and was executed in oil on a fibreboard panel. It entered the museum’s collection in 1990 through a bequest from Dr Charles Delsemme.
Its carefully constructed perspective and unusual treatment of space reflect Delvaux’s interest in creating scenes that appear familiar while remaining detached from ordinary reality.
The museum’s collection records describe the work as a strange nocturnal landscape, with wooden barriers and a sequence of streetlamps establishing its distinctive spatial arrangement.
Yet the painting visible today differs considerably from the composition Delvaux originally envisaged.
Earlier technical examinations had already established that important details were covered during the painting process. The new exhibition brings those findings into direct comparison with the preparatory drawing, enabling visitors to see how the artist’s intentions changed.
An auction catalogue published in 2024 identified several elements present in the drawing and concealed in the painting, including a moon in the right-hand sky, a seated figure on the right and two figures wearing robes near the centre.
These changes are significant because they suggest that Delvaux did more than adjust minor details. He altered the population and lighting of the scene, potentially changing how the composition would be experienced by the viewer.
The reasons for those decisions remain uncertain.
How Scientific Technology Reveals Hidden Paintings
Modern conservation techniques allow researchers to examine works of art without removing the paint that covers earlier stages of their creation.
Infrared reflectography can reveal underdrawings and certain changes concealed beneath surface paint, depending on the materials used by the artist. X-ray imaging can detect differences in the composition of pigments and structures below the visible surface.
Ultraviolet examination provides further information about surface materials and alterations, including some later interventions.
When combined with documentary evidence, these methods help researchers distinguish between an artist’s initial design, revisions made during painting and changes introduced after completion.
The Musée L exhibition uses these techniques to investigate what art historians call pentimenti — visible or detectable alterations that record an artist changing their mind during the creative process.
The preparatory drawing, measuring approximately 28 by 45 centimetres, provides an additional reference point. Executed in ink and pencil, it contains elements that were subsequently revised or painted over in the final composition.
Displayed alongside the finished work, it allows visitors to follow the artist’s decisions from the preliminary design to the version that eventually entered the museum’s collection.
The technical findings also demonstrate the importance of preserving preparatory studies, which can contain information absent from completed paintings.
Paul Delvaux and the Belgian Surrealist Tradition
Born in Antheit in 1897, Paul Delvaux became one of Belgium’s best-known twentieth-century painters, developing a distinctive artistic language associated with surrealism.
His paintings frequently depict classical buildings, railway stations, deserted streets and solitary figures, often arranged in environments where architectural precision contrasts with an atmosphere of uncertainty.
He was influenced by the Italian painter Giorgio de Chirico, whose deserted urban spaces and dramatic perspectives helped establish the visual language of metaphysical painting.
Delvaux’s relationship with de Chirico has been examined extensively by art historians, including Joël Roucloux, whose study of La Ville lunaire II analysed its architectural perspective, shadows and the psychological effect of its composition.
The painting’s apparently moonlit setting is particularly interesting in light of the concealed moon identified by technical examination.
The absence of that celestial body from the final visible composition changes the relationship between the painting’s title and its visual content, leaving the viewer to interpret the source of its unusual illumination.
This approach distinguishes Delvaux from other Belgian surrealists, including René Magritte, whose work frequently relied on recognisable objects placed in logically contradictory situations.
For Delvaux, architecture, perspective and the arrangement of human figures were equally important in constructing a world that appears coherent but resists conventional interpretation.
A New Examination of a Familiar Work
The exhibition forms part of Musée L’s programme devoted to research into its permanent collections, rather than a conventional retrospective of the artist’s career.
Its central purpose is to explain how a single painting developed, from its first drawn composition through successive revisions to its completed form.
The research has been supported by the Jacqueline Delcourt-Nonkels Fund, managed by the King Baudouin Foundation.
For visitors, the opportunity is to examine not only a painting by one of Belgium’s leading surrealists, but also the evidence of the artistic decisions that shaped it.
The exhibition is open at Musée L in Louvain-la-Neuve from 16 October 2026 to 7 February 2027. By presenting the original drawing, technical images and finished painting together, the museum offers a detailed examination of Delvaux’s methods and the changes he made to one of his most carefully constructed nocturnal scenes.
Excavations at the ancient Roman city of Altinum have revealed the probable remains of an early Christian cathedral and bishop’s palace, offering new evidence about the origins of Venice and the transformation of its lagoon settlements.
Archaeologists working near Venice have identified what they believe to be the remains of a 1,600-year-old cathedral and an adjoining episcopal palace, resolving a longstanding question about the location of one of the region’s earliest Christian centres.
The discovery was announced on 15 October by Ca’ Foscari University of Venice, following excavations at Altinum, an important Roman settlement on the mainland near the Venetian lagoon. The foundations of a substantial religious complex have emerged from an area where ancient written accounts had long indicated the existence of a cathedral, although its precise location had remained unknown.
The findings suggest that the church was constructed between the late fourth and early fifth centuries AD, making it the earliest Christian church so far identified archaeologically in the Venetian territory. The researchers believe the complex provides physical evidence of the period when Christianity was becoming an important political and administrative force in the declining Roman Empire.
A Cathedral Hidden Beneath a Roman City
The newly identified church was a rectangular structure approximately 30 metres long and 20 metres wide, without an apse and orientated towards the east. Its layout differs from the surrounding Roman street grid, reflecting the religious requirements of the early Christian community.
The architectural arrangement resembles early churches in the northern Adriatic region, particularly those associated with Aquileia, which was an important centre of Christianity during late antiquity.
An adjoining building, distinguished by its substantial foundations and a complex arrangement of internal rooms, has been provisionally identified as the bishop’s palace. Archaeologists believe it may have stood two storeys high, with residential accommodation for senior clergy above rooms potentially associated with privileged burials.
Among the most revealing discoveries is the extensive reuse of stone paving blocks taken from the Roman streets. These materials were incorporated into the foundations of the ecclesiastical buildings, providing evidence of how the city was being physically reorganised during the transition from Roman to Christian administration.
The university’s researchers suggest that the removal of public paving materials may also indicate the authority exercised by the bishop over urban infrastructure. This interpretation would place the emerging Church at the centre of the city’s political transformation.
Ancient Written Accounts Supported by Archaeology
The existence of an early Christian cathedral at Altinum had been documented in letters written by Saint Jerome, one of the most influential Christian scholars of the late Roman period.
Writing in AD 396, Jerome referred to the religious activities of Nepotian, a priest associated with Heliodorus, the first bishop of Altinum. His descriptions included the maintenance of church furnishings, walls, floors and sacred vessels, suggesting an established and relatively prosperous Christian institution.
Until now, however, archaeologists had struggled to connect those accounts to a particular building.
The latest excavations, combining evidence collected during the 2025 and 2026 campaigns, have provided what researchers consider a convincing identification of the ecclesiastical complex.
The excavation is directed by Diego Calaon of Ca’ Foscari University and co-directed by Elisa Possenti of the University of Trento. Their work has brought together earlier archaeological records and newly examined foundations, including sections exposed during investigations in previous decades.
Researchers have also identified a burial area dating from the sixth and seventh centuries. Many graves were disturbed when construction materials were removed from the abandoned complex, but surviving human remains offer opportunities for further scientific investigation.
Radiocarbon dating, anthropological examinations and additional geophysical surveys are planned to establish a more detailed chronology and search for other elements of the religious complex, including its baptistery.
What the Discovery Reveals About Venice’s Origins
The historical importance of Altinum extends beyond the cathedral itself.
The ancient settlement was an important Roman commercial centre with connections to the waterways of the northern Adriatic. As political, environmental and demographic conditions changed during late antiquity, its population and institutions gradually shifted towards settlements within the lagoon.
One of the most important destinations was Torcello, which later became an early centre of Venetian civilisation.
Traditional accounts have often portrayed the creation of lagoon settlements as a response to barbarian invasions, with mainland inhabitants fleeing to isolated islands for protection.
The latest archaeological findings support a more complicated process.
Research at Altinum and Torcello indicates that the movement of people, religious institutions and construction materials was gradual and organised rather than the consequence of a single catastrophic event.
The cathedral appears to have been systematically dismantled during the first half of the seventh century, with substantial quantities of its stone and brick transferred to developing lagoon communities.
A surviving inscription records the establishment of Torcello’s cathedral in AD 639, providing an important chronological reference for the movement of ecclesiastical authority.
They also demonstrate how archaeological evidence can challenge historical narratives constructed centuries after the events they describe.
Much of the late-antique landscape at Altinum disappeared because of centuries of agricultural activity and the systematic removal of reusable building materials. In many cases, the excavators are studying trenches left by the extraction of foundations rather than surviving walls.
Further investigations may determine the complete extent of the episcopal complex and clarify the chronology of its abandonment.
For the first time, however, researchers can locate the religious buildings associated with Altinum’s earliest Christian bishops and trace their connection to the communities from which medieval Venice eventually emerged.
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