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We are very happy to announce a new hire in London for the Business desk’s international team. James Paton, an experienced business journalist in London, will be our business correspondent covering a range of industrial companies with a particular focus on autos, aviation, defense and chemicals. These are industries at the front edge of European efforts to compete with China… Source

Publication date: Available online 22 August 2026Source: The Veterinary JournalAuthor(s): The Viet Hoang Nguyen, Viet Dung Nguyen, Ngoc Duong Vu, Thuy Nga Dang, Huu Thien Nguyen, Hoai Thuong Nguyen, Ha Giang Nguyen, Ki-Hyun Cho, Seong-Keun Hong, Yeon-Hee Kim, Van Phan Le

https://share.google/DwYvniOIxZNXpV1Md The Center for American Progress (CAP) is a centrist, Democratic-aligned think tank in D.C. It is known as a haven for high-Democrats when Republicans are in power and as an incubator for new policies. It is to the Democratic Party what the Heritage Foundation is to the Republican Party, except that the Heritage Foundation is allied with the extremists in the GOP, not the centrists. CAP recently published a report concluding that Trump’s decision to station troops in Los Angeles, Memphis, and the District of Columbia cost $1.7 billion but had not reduced crime. Trump didn’t like that report. He didn’t agree with its conclusion. Understand that journalists and think tanks publish articles critical of elected officials every day. Elected officials may use their bully pulpit to disagree, but they can’t stop critics from voicing their views.. That’s the way it has been, but Trump likes to break norms. Trump has retained a lawyer and threatened to sue CAP for $5 billion.

There is little to love about plastic. Most of the manufacturing processes still rely on fossil fuels, it often still takes generations to decompose, and their microscopic residue is contaminating the planet (as well as our bodies). But chemical engineers at Southern Illinois University (SIU) Carbondale are developing a NASA-backed process that turns toxic plastic into something surprisingly edible—and possibly even delicious. According to work presented this week at the fall meeting of the American Chemical Society (ACS), reprogrammed yeasts can now turn plastic and even agricultural waste into flavoring molecules and digestible proteins. “We were trying to develop technologies for plastic upcycling to make more valuable products,” explained SIU microbiologist Lahiru Jayakody. “We thought, why not focus on making food? Because plastic is carbon and food is carbon.” The team’s method focuses on polyethylene terephthalate (PET), a common variant usually seen in plastic bottles. PET is laden with carbon, and that means it hypothetically can be repurposed into protein-like molecules. This can be done in a laboratory with solvents and chemical additives, but another creative option may involve enlisting microbes like yeast in the cause. It’s far from the first time scientists have reprogrammed the tiny organisms to help humanity. For example, insulin manufacturing once relied on harvesting the hormone from animal pancreases, but the industry now predominantly harnesses altered yeasts. Jayakody wants to apply similar principles to the planet’s plastic problem. “The way to address that, I believe, is by using microbes,” he said. Researchers recently reprogrammed various yeasts, including those normally used in baking to crave the molecules inside both plastics and agricultural byproducts. They then ran PET plastics, corn stalks, and other biomass leftovers through a novel process called oxidative hydrothermal dissolution. As the name implies, water and oxygen are heated to an extremely high temperature, which breaks down the unwanted materials into microscopic debris. The reprogrammed yeasts are then introduced into the solution, where they get to work devouring the previously unappealing compounds. The yeast then produces multiple cornerstone food molecules like acids, fats, and proteins. These components are finally combined with sweetener, starch, and to make a paste that can be 3D-printed into high-protein cookies that chemists have dubbed µBites (aka “microbites”). While the futuristic treats received high ratings on overall aroma and the underlying science implies that µBites are safe to eat, researchers still must wait for institutional approval before beginning actual taste tests. In the meantime, engineers are also programming yeasts to convert other plant biomass into vanilla flavoring, as well as turn PET’s ethylene glycol into beta-carotene that serves as a reliable source of vitamin A. Jayakody’s team envisions future iterations of µBites and similar upcycled foods as a valuable menu item in resource-restricted environments like submarines and even in space—hence the funding from NASA’s Deep Space Food Challenge. However, the immediate benefits may be far more terrestrial. Jayakody cites recent reports that estimate global food demand rising as much as 56 percent by 2050, making around one-third of Earth’s population at risk for hunger. “Microbes are very clever. So, we are using their traits to solve the problems we created,” he said. The post Engineers 3D-printed edible cookies from plastic appeared first on Popular Science.

Production design can make or break a horror film, especially those that are so dependent upon evil environments that need to properly evoke terror from their audience. The Insidious franchise, which is now six films deep, has found success for many different reasons. However, the Insidious films wouldn’t be what they are without the Further, a supernatural purgatory for lost souls that triggers all sorts of sinister supernatural pandemonium. The Insidious films have always known how to do a lot with a little when it comes to production. That being said, the franchise’s newest entry, Insidious: Out of the Further, is especially impressive in this regard. Some of the franchise’s most striking and scary design elements are present in Insidious: Out of the Further. The film’s production designer, Nick Bassett, is no stranger to horror, having previously worked as the production designer on Lee Cronin’s The Mummy and Evil Dead Rise, Fear Street: Prom Queen, and Ash vs Evil Dead. With Insidious: Out of the Further now in theaters, Bassett breaks down why the Insidious franchise is so important to audiences, why practical and in-camera effects are fundamental, bringing the infamous “pillow fort” sequence to life, and so much more. DREAD CENTRAL: You have such a rich history of production design work on horror between Evil Dead Rise, Lee Cronin’s The Mummy, and Fear Street: Prom Queen. What is it about the horror genre that’s particularly appealing to you from a production design perspective? NICK BASSETT: I think a lot of production designers probably find that you do a job and then it leads to another, and then another. I’m sure there are people who do hospital dramas and police dramas and then stay on that path. I was lucky because the first TV series I got to do was Ash vs Evil Dead, which was great. I got to work with Sam Raimi on my first big production design studio show. I’d worked as an art director for years, but production design was still new for me. Sam was my first director on something like that, which was a dream come true. That sparked something for me because he’s a very unique director. Everyone who loves his movies will try and unpack why that is, but he does ignite this energy as a director, so working with him was just very cool. The humor in that show was just so good. One thing leads to another, and I was able to work with Sam and Rob [Tapert] again on Evil Dead Rise, which then opened up other opportunities. What I love about horror as a genre is its ability to develop an important backstory and to understand the importance of its characters. You’re sort of doing drama, horror, action. You’re doing all these things at once. So as a head of an art department, we’re working with stunts, special effects, makeup, and costume really closely. We don’t work in isolation. We’re always crossing over with other departments. It’s a challenge, but it’s also very addictive. In horror, every department is so critical. The lighting, the camerawork, what we’re doing in the art department, what the costumes are doing, what the creature designs are doing. You’re always being asked to collaborate. I think that is extremely addictive as a field. When you do a straight drama, it’s quite different. There are half as many meetings to figure things out. We still need to pick the colors and make a great set, but we’re maybe not as interlaced with everyone else. Working in horror is never boring. The expectations are always increasing. On something like Insidious, there’s not only a backstory of five other movies that you need to try and catch up on, but there’s this desire to keep things updated. There’s a whole new family with a backstory and history and flashbacks. There’s almost no end to the challenges. The Insidious franchise already has such a rich history with such a specific visual style. Is that helpful when doing a film like this? NB: I think so. I think, for me, it’s kind of interesting because what do you do when you to get the sixth movie in a franchise? Do you pick it up and change it a lot? What I would say to that is we go with the director’s vision. Jacob [Chase]’s been working on the script longer than I’ve known about the project. He brought me in and then really my job is just to figure out what he wants it to be and what excites him about it. Then I try to take that and bring it to life. In something like Insidious, he’ll have had a lot of conversations with executive producers, like Leigh Whannell and James Wan. I’m not necessarily privy to all these conversations, but I’m still learning through the director’s vision. So the first thing, for me, is just to make sure I’m listening. My biggest job is to listen to what story the director is trying to tell and to listen to what they really need in order for this to be a hit for the franchise. I think there are some versions of this that could have gone off in a completely different tangent and become a whole new thing, but then the fans maybe think that it doesn’t feel like an Insidious movie. We’re always juggling that. It’s quite a big responsibility to pick up a franchise. You need to make every decision really carefully and be considerate. With Evil Dead, it was a similar thing. You’re trying to pick up a movie and still do your own thing. With Evil Dead, it’s interesting because there’s a lot of people who love the comedy of it and then there’s people who see it as a serious horror movie. Those two worlds are very different and you need to figure out how you trade those extremes. I just try to do what resonates with me and figure out where I want to go with it. There’s a lot to navigate and the real tough part of franchises is that the studios hold them dear to their heart and fans are very invested, too. So you’ve got to take it seriously. You try to have fun with it because it should be fun, but each decision is made carefully and collaboratively. You absolutely feel that. You never know what you’re going to get when you’re this deep into a franchise, but what Jacob does here left me so impressed. The way that each scene is composed, like you said, could be done in a totally different way, but there’s so much thought that goes into all of it. It’s really evident. NB: He’s a really detailed director. One thing I’ll say about Jacob is that he cares so much. Every prop is slaved over. It’s the type of thing that you’d hope that your director would do, but Jacob in particular. I had a lot of respect for the focus that he brought to set every day. He wouldn’t leave anything to chance. That’s really reassuring because I can’t be there all the time, but between Jacob and Dave Garbett, the DOP, you just know they’re going to shoot great imagery. They’re going to do what they can to make what you’re doing look as great as it can. It involves a lot of trust from all of us, but I think that’s kind of a cool part of the industry. Image courtesy of Sony Pictures Releasing There are some really disturbing recurring visuals that involve teeth in this movie. The hair in the tooth bit is particularly strong. How did you go about fleshing out these scares and making them as visceral as possible? NB: We have these amazing effects people who are doing great work and the prop department does so much amazing work within our team. We have the people who specialize in hand props, so like the dentistry tools in that scene, that’s so detailed. Hand props are one department that probably doesn’t get enough credit in the industry, but there’s so much that they’re doing. You need to have all these detailed elements and you’re basically operating in this kind of clinical fashion. So our job is to make sure that we deliver on all those little details. We have actors who are dealing with sharp objects and interacting with prosthetics, and then there’s the dentist’s clinic as this backdrop. We wanted to dress it as this fresh, clean backdrop so that it doesn’t initially feel like a horror moment. It’s not a horror setting, but it’s a horror sequence. Some of those decisions were really key. Everything is sort of carefully thought through in terms of what’s going to lead to a clinical environment where this awful thing happens. Everything looks good and ordinary, and then it switches. It’s a change that’s driven by the story, but then takes the audience along with it. It’s a regular trip to the dentist that suddenly turns into a horror sequence. The pillow fort sequence is a standout moment from the film that’s also a franchise highlight. Can you talk about bringing that sequence to life and if it evolved at all during production. NB: Yeah, it did. That’s one that I was thinking about today. When you read the script, the first job is to build this house—create a house for the characters, the backstory, the flashback to the ’90s, and all these things. They’re the big ticket items for us because they’re big builds, big expenses, and big amounts of studio space. But then you read the pillow fort sequence and it’s easy to just sort of flick over it the first time around, but then you go into detail of what needs to be done. It ended up being this huge set piece. In fact, I can’t remember how many meters of fabric it was that we had to order, but we knew it was going to be complicated. We put an art director on all that and we’re like, “You’re going to be with this from beginning to end.” We needed someone really focused on it and taking it from a cardboard mock-up to completion. I’m walking through it with Jacob, going on this journey and figuring out how to do the in-camera trick. There’s a trick where we’re following Gemma through the fort and then the camera pans around and she discovers that she can’t get out anymore. That was all just done in-camera. We had a team of people moving parts and pushing the sofa away on slide rails and bringing in the rest of it. So it was this little choreographed move with the camera when we were shooting it. I remember being like ten takes in or something — I might be wrong there — and it just wasn’t working. It was a disaster… but then the next take was so seamless and it was really, really effective. It was very surreal if you actually went inside it because it had this sound baffling up, too. In fact, one of the camera operators realized that he just couldn’t be in there. He thought it was so claustrophobic and this bizarre feeling. We always knew that it was going to be creepy and have this aesthetic that’s almost like a padded cell. It was all about creating this feeling of being trapped in a really boring space that just goes on and on and on. We shot in Melbourne and we took every bit of this fabric that they had in stock. We were like gathering this fabric from around the world. It was hundreds of meters of fabric. It’s another case where something very ordinary just turns into something so complicated. The things that seem so ordinary and simple become the biggest challenges for us. I love that sequence though. It’s one of the first things that we filmed, which got everyone working together. Just getting the camera into this thing required a lot of thinking. Like how do you move the camera through something that small? So we’re working out rigs with the cinematographer to light things up. It was very experimental and, in a way, horror is a genre that involves big set pieces like this that will occupy a huge amount of your time and resources while all these other things are also going on. Image courtesy of Sony Pictures Releasing This film has so many inventive set pieces and you really get to go for broke with the production design. Was the pillow fort sequence the biggest challenge that you faced or were there bigger hurdles? NB: I think the pillow fort sequence was the biggest challenge on a technical level, but it was definitely one of the most entertaining aspects of production. I can always respect when somebody just sticks with something and sees it through. We had one art director who had this challenge, Adrian [Dalton], who was brilliant. He just stuck with it until we mastered it, as everyone was working on everything else. It was a big challenge. The other major challenge was in the tattoo parlor. We did this kind of in-camera trick with a mirror where we kind of put a hole in the wall. We have a mirror, then we take the mirror out and repeat the set in the reflection. So it’s this fake kind of switch-out. There’s an in-camera trick there, as it goes to the illusion that the reflection is not accurate. Again, it’s a simple idea, but when you get into the fine detail of reversing everything and creating a mirror image of a set, it requires a lot of brainpower and focus. Credit goes to Jacob for persisting with them because I think there’s often a visual effects solution to these things that’s explored as the first way out. We persisted with it in-camera. Audiences are savvy enough to detect that kind of thing. It really does make a difference when things are handled practically. NB: I think it does. Even on the set it becomes an instance where it makes everyone focus. Nobody wants to be the department that messes up once everyone sets a challenge for themselves. I think some of the other challenges were that this is a movie that was made to be set in America, but not shot in America. I’m one of those people who is making things offshore and trying to sell the fact that we’re in America. Often there’s a lot of Americana — like furniture and vehicles — that just aren’t available to us. A lot of our resources go into making all this feel like we’re somewhere we’re not, which of course is what filmmaking has been since Hollywood started. It’s the illusion of being somewhere. A lot of what we were doing involved finding a specific street that worked perfectly for us or a house that would be a natural fit. All that needed to look American, so you’re left with very specific things that you’re looking for. A big challenge was to first get the right location. It’s always nerve-wracking when you start a movie and you haven’t found your location yet and the clock is ticking. The first challenge is always location scouting. I think we found a great location. The street that we found had these beautiful trees — specimen trees — it was the only street in Melbourne that had those trees. We couldn’t have wished for something more graphic. They’re these veiny, cool, unique pieces of nature. Some of the best production elements just happen by chance. The big builds and sets are big challenges, but then quietly behind the scenes are the pillow forts, mirrors, dental scenes, and weird props. It’s fun. It’s great. The Insidious franchise continues to be a steady provider for Blumhouse. If another entry happens would you be interested in returning? Was there anything that you couldn’t pull off that you’d like to do in a sequel? NB: There’s so many things that you can develop in this franchise. I think The Further is something that can go even further. I think there’s more to investigate. I think you want to see more of that. For me, it ultimately comes down to the director. If the director is really a great director who is excited about a project then it’s really hard for me to not come on board and be excited about it, too. So what would get me to do another Insidious movie would be if the director has a brilliant vision. Jacob had a great idea and we clicked straight away. I love his level of attention to detail and I think that’s one of things that we all respect within each other. If the director really appreciates the work that goes into everything then you know you’re off to a really good start. So the right director and the right idea are necessary. There’s a lot more to explore and what I love about Insidious is that it’s such a simple idea at the heart of it. It’s a gate. It’s a portal. There’s no end to what you can do with that. I love that. I think people in horror sometimes talk about jump-scares like they’re bad. Insidious is a jump-scare movie, but it’s fun! I think they’re great. I look forward to them. Image courtesy of Sony Pictures Releasing

FOLLOW ALL TMZ PODCASTS: https://www.audio.tmz.com/About TMZ:TMZ has consistently been credited for breaking the biggest stories dominating the entertainment news landscape and changed the way the public gets their news. Regularly referenced by the media, TMZ is one of the most cited entertainment news sources in the world. Subscribe to TMZ on YouTube for breaking celebrity news/ gossip and insight from the newsroom staff, the best clips from TMZ on TV, Raw & Uncut TMZ video (from TMZ.com) and the latest video from TMZ Sports and TMZ Live! We love Hollywood, we just have a funny way of showing it.Need More TMZ?TMZ Website: http://tmz.me/fPrTwZtLIKE TMZ on Facebook! http://tmz.me/9sGB00aFOLLOW TMZ on Twitter! http://tmz.me/9LeeNWQFOLLOW TMZ on Instagram! http://tmz.me/ep7d8BnTMZ on TV & TMZ Sports on FS1 Tune In Info: http://tmz.me/ccuirUZTMZ is on iOS! http://tmz.me/ecOjgiHTMZ is on Android! http://tmz.me/pkwieRAGot a Tip?Contact TMZ: http://tmz.me/UsxYCvECheck out TMZ Live, TMZ Sports and toofab!TMZ Live: http://tmz.me/GxCXCflSubscribe! TMZ Live: http://tmz.me/cLxA82pTMZ Sports: http://tmz.me/jMBERbbSubscribe! TMZ Sports: http://tmz.me/jMBERbbToofab: http://tmz.me/dsXztnsSubscribe! toofab: http://tmz.me/VeVLMmihttps://www.youtube.com/c/TMZ

Publication date: November 2026Source: Psychiatry Research, Volume 365Author(s): Ilyssa H. Silverman, Dani Kaur, Laura M. Campbell, Zanjbeel Mahmood, Amber V. Keller, Elizabeth W. Twamley

As Denver Public Schools students head back to class on Monday, some students will be walking into a cooler building as part of the district’s push to get air conditioning into all of its schools.

Washington quarterback Demond Williams Jr. earns his fourth preseason honor after being named to the Manning Award watch list on Monday morning.

We’ve scoured high and low for the most practical and pleasing gardening calendars to hang proudly in your home, that will help you plan for what’s coming next in the garden

The S&P 500, Dow Jones 30, and Nasdaq 100 are mixed as US indices navigate key technical levels. With a relatively quiet economic calendar, the focus shifts toward support, moving averages, and whether buyers can keep the broader uptrend intact.The Nasdaq 100 remains around its 50-day EMA as traders assess whether the recent weakness is simply a pullback or something more substantial. The Dow Jones has bounced from its 61.8% Fibonacci retracement and the 50-day EMA, keeping potential long setups in focus. Meanwhile, the S&P 500 has pulled back to test its recent consolidation breakout, where buyers continue to offer support despite earnings-season headlines.For the full article: https://www.fxempire.com/forecasts/article/sp-500-tests-breakout-as-dow-and-nasdaq-hold-key-support-1618442/_This video is sponsored by Exness, the world's largest retail broker, offering ultra-fast execution with no overnight fees. Click the link to elevate your trading experience: https://exness.social/3YsoCp0 🔔 *SUBSCRIBE TO OUR CHANNEL AND STAY AHEAD OF THE MARKETS*📲 *JOIN OUR TRADING COMMUNITY FOR REAL-TIME & MARKET INSIGHTS*Telegram - https://t.me/WeAreFXEmpireWhatsApp - https://www.whatsapp.com/channel/0029VbBJXuf9sBI3x9I8AV2k🌐 *Explore FXEmpire (Forex, Crypto, Stocks & Commodities)*📰 Latest Market News → https://www.fxempire.com📊 Market Forecasts → https://www.fxempire.com/forecasts📅 Economic Calendar → https://www.fxempire.com/tools/economic-calendar📈 Live Market Overview → https://www.fxempire.com/markets🎓 *Learn Trading & Market Strategies (FXEmpire Academy)*👉 https://www.fxempire.com/education📱 *Stay Connected with FXEmpire Anywhere*Get market news, forecasts, and insights on the go:🍏 iOS → https://apple.co/3Ljn60d🤖 Android → https://bit.ly/3K1UE1g🏆 *Compare Brokers & Platforms*✔️ Broker Reviews → https://www.fxempire.com/brokers✔️ Crypto Exchanges → https://www.fxempire.com/exchanges✔️ Prop Firms → https://www.fxempire.com/prop-firms*Follow FXEmpire & Join the Discussion:* https://twitter.com/FXEmpirecomhttps://www.instagram.com/fxempirecom/https://www.tiktok.com/@fxempire05https://www.linkedin.com/company/fxempire/https://discord.com/invite/nkcQcceYhttps://www.reddit.com/r/Market_Forecasts/

Angie Nixon at St Pete Pride on June 27. (Photo by Azlyn Cato) Although Florida Democratic U.S. Senate candidate Angie Nixon’s ties with the Democratic Socialists of America (DSA) appear limited, the Republican Party of Florida appears determined to use that association to paint her as unelectable. Nixon is a member of the “I hate […] The post Angie Nixon shrugs off the Florida GOP attacks that are just beginning appeared first on Watermark Out News.

Publication date: Available online 22 August 2026Source: The Veterinary JournalAuthor(s): Vildan ASLAN CANATAN, Uygur CANATAN, Gizem Kıymet SANCAKTAR, Murtaza CİCİOĞLU, Ferda TURGUT, Yakup KOCAMAN, Bilal Burak BALCI

Few public health interventions have been as effective at protecting people from extreme heat as air conditioning. Yet the growing need for it is evidence of how badly the world has failed to decarbonize.

Two Phoenix police officers were fired and arrested after an unreported traffic stop in which they assaulted a man and woman and shocked them with a Taser, the police chief said.

Publication date: November 2026Source: Psychiatry Research, Volume 365Author(s): Meiheng He, Xiaobin Ding, Xiaoting Liu, Dongfang Wang

Nazari left 519 opponents in his wake as he marched on to victory.

TL;DR YouTube may be rolling out a new seek UI on Android that shows how much time you’ve skipped through a video. The change appears on the stable YouTube app, but it hasn’t reached every device. The new behavior could be part of a broader YouTube UI refresh. YouTube’s interface has become something of a moving target lately. The company was only recently testing a new button arrangement on Android that removed text labels from the controls under videos. And now, a small change to how YouTube shows skipped time appears to be rolling out to some Android users. The change involves YouTube’s familiar double-tap gesture for skipping. Currently, you can double-tap the right side of the screen to jump forward or the left side to rewind, while touching and holding the scrub bar lets you manually move through the video. In the current UI, double-tapping skips forward or backward without showing how much time you’ve moved. When manually scrubbing, however, YouTube displays the amount of time you’ve skipped in the video interface, as seen in the screenshot below.

Learn how the Deloitte and Palantir alliance enables organizations to unlock the true potential of their data.