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Clean bills of health: Which Central Florida restaurants had perfect inspections in September?
After 2,287 restaurant inspections across Central Florida in September, only 284 had no issues for the entire month, according to data from the Florida Department of Business and Professional Regulation.
Men are hiding potentially deadly disorder amid pressure to build the 'perfect' body
Sylvester Stallone's bulimia revelation spotlights a crisis experts say is surging among men and boys driven by looksmaxxing and musculature ideals.
Evan McPherson Earns Recognition for Red-Hot Start to 2026
Perfect accuracy from distance and a historic 20-kick streak have secured September honors for Cincinnati’s specialist, placing him one swing away from etching his name into franchise history.
Ten bucks says you’ll love this community science project
Today marks the first day of Rut Watch 2026 With another season of Deer Spy in the books thanks to community scientists like you, biologists are now on a mission to pinpoint the peak of the white-tailed deer breeding season in Maine. Every observation of deer breeding behavior and sign helps define the timing of the rut, and this project uses the power of community science to collect deer data all fall long. Hunters, hikers, and wildlife watchers - Rut Watch pairs well with any outdoor adventure you have planned this season. It’s a perfect excuse to slow down and connect with nature as you look for clues. So get outside, rack up that deer data and submit rut reports from now through December 1. The online form is science made simple: Location Date and time Breeding behavior observed Submit a Rut Report What to watch for Active Breeding The most obvious breeding behavior to observe is a buck mounting a doe, but that is a rare sight as it only lasts a moment. You are more likely to witness a buck “tending” a doe, following closely, chasing, nuzzling, or pawing at her rump until she is receptive. Sparring After bucks shed their velvet, sparring helps sort out who is who in the dominance hierarchy. Early season matches are often less intense than later season matches between similar sized bucks. Most sparring is complete by the time breeding begins. Rubs Don’t just look for deer, pay attention to the trees. Rubs are marks made by bucks when they rub their antlers on trees, removing bark and leaving their scent calling card in the process. Scrapes Look to the forest floor for this sign of breeding season behavior. Scrapes consist of two parts - a licking branch, and a patch of cleared earth. Bucks break a low branch around head height, then paw at the leaves below to expose the dirt. Covered in scent, a scrape tells does and other bucks, “I’m here!” Learn More More information What’s next for deer community science: Northern Maine Wintering Deer Survey Other active community science projects: Fish Tag Reporting Maine Golden Eagle Study Maine Amphibian & Reptile Atlas Project Maine Deer Management: Maine’s Big Game Management Plan Game Species Conservation & Management Report The Benefits of Hunting: Supporting Wildlife, Conservation, and Community Subscribe Share Leave a comment
Political debates matter if we treat them as more than theater
Despite being imperfect, debates provide an opportunity that candidates should embrace as a chance to engage honestly with voters.
Physicists unveil the most accurate atomic clock ever — and it could literally redefine the second
Physicists have used radioactive lutetium to create what they say is the most accurate atomic clock ever, keeping time perfectly up to 19 decimal places.
Start TODAY’s October Challenge: Routine Revamp, Healthy Meals
October is the perfect time to revamp your routines, so fitness contributor Stephanie Mansour stops by Studio 1A to break down some easy Start TODAY workouts, which can be accessed for free on the app this month. TODAY nutrition and health expert Joy Bauer also shares some simple meals, including a French toast grilled cheese, cottage cheese fettuccine alfredo, pumpkin peanut butter, and more!
UAlbany Experts Explain the Science of a Perfect Pass
What makes a football fly in a tight spiral?
Wesley to return to Gasperini’s disposal next week
Roma has started the season almost perfectly: four wins and a draw against Inter in the first five matchdays. Where can the team improve? Some individuals haven’t yet shown their best form, includin...
Portugal XI vs Denmark – Predicted lineup and team news
Portugal will aim to maintain their perfect start to the UEFA Nations League when they travel to face Denmark at Parken Stadium on Thursday. The defending champions have won both of their opening Grou...
Volleyball Stays Perfect at Home after Dominant Weekend
If you aren’t already, you should be paying more attention to Jackets Volleyball, because unlike the other ball-centric sport on the Flats right now, they are, well, good. The squad opened ACC play with a bang, cruising to straight-set victories over both Virginia and Virginia Tech. The performance continues the trend of home dominance on […]
Jaylen Brown Has Perfect Response to 76ers' 'Alpha' Question
Jaylen Brown is going to be a real leader for the 76ers. He explains how his mindset is all about winning.
Looking at the Ugly Side of the Paramount-Skydance Merger...And How I’d Fix It
A Message from Our Sponsor Certified Fresh with 100% on Rotten Tomatoes, FX’s Adults is an ensemble comedy series about a group of twenty-somethings in New York leaning on each other to navigate love, work, friendship and family. Don’t sleep on “The Sitcom of the Moment” - Awards Buzz All Episodes now streaming on Hulu on Disney+. Watch The Teaser Trailer... (Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industr(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Before we dive in, I wanted to congratulate Broadcast Now for being the first to report that Netflix’s How to Get to Heaven from Belfast has been cancelled. (I saw this in a write-up by Kasey Moore of Whats-On-Netflix.) More importantly, I wanted to note that, as of yesterday, none of the other trades had reported the news yet. I have half a guess that eventually one of them will report this. Anyways, it’s time to take a break from my deluge of streaming ratings reports to continue my analysis of the Paramount Skydance Warner Bros. Discovery (PSWbD) saga. As I noted last week, a lot of times when folks use the (sometimes cliched) “the good, the bad and the ugly” framing for an article, “the ugly” section is just more bad. Or very, very bad. In this case, yeah, I do think it’s ugly. In more than one way. Unfortunately, we’re only going to have time to tackle one of those ways today: the ugly pile of debt to finance this deal. (In a future article, I may cover the entire process for how it went down, which was very, very ugly.) Last issue, I explained why I liked this deal in a vacuum. Unfortunately, “vacuums” don’t exist outside of space. Let’s dive in. Subscribe Most Important Story of the Week - The Ugliness of the Paramount/Warner Bros. Merger More than one person sent me a note speculating that the big problem with Paramount Skydance buying Warner Bros. Discovery is the “Warner Bros.” portion of the deal. In fact, that’s a take I read a lot about Warner Bros., ever since they caught Netflix’s, and then Paramount-Skydance’s, eye. In short, multiple companies (Time, AOL, AT&T, Discovery) have bought and then regretted buying Warner Bros. Since it’s nearing Halloween, you could almost say it’s like the folks think WB is cursed! It’s a haunted studio—like the town of Derry in movie studio form—and whoever takes possession of it will fall into misery! Yet...I just don’t like that story, because it doesn’t explain the “why” behind why those deals fell through. Especially when Warner Bros. has continued to succeed as a TV and film studio in the intervening two decades. Lord of the Rings? Harry Potter? Game of Thrones? Everything HBO? Considering it never fully owned a broadcast TV channel, this media company has done pretty well. So what went wrong? Well, in recent years, companies bought Warner Bros. instead of the other, smarter option. Explaining POCD (And Applying It to Mergers & Acquisitions) As I explained last issue, one of my favorite frameworks is the POCD tool for evaluating venture capital investments: People Opportunity Context Deal The bar to invest as a VC is high. (Or I might say “was” since cheap interest rates made life easier last decade.) You review a thousand prospectuses, get pitched by a hundred, and invest in the ten best, with the hopes that one of those ten would pay for the rest. That means every element of a deal needed to pay off: you needed the right people running the companies, who could capitalize on the right opportunity, in the context of an industry that was ripe for disruption. If you could then not overpay, you could make some money in a smart deal. The analogy isn’t perfect here, but close enough. For a merger or acquisition to work, you need the combined company (which is the opportunity) to make more than the price you need to pay (which is the deal). Note: the people and context still matter, but with M&A, it’s a little more straightforward: does the opportunity exceed the cost? And usually with Warner Bros., it hasn’t. If you want to find out the single biggest mistake made by the Warner Bros. suitors over the last few years (and my simple fix) become a paid subscriber. I’ll also touch on who I think Paramount-Skydance could (shockingly) consider buying next, TBD, and more. Sign up here.
Here’s our locks for week five of college football
With Ole Miss on a bye, its time for a perfect week of picks
The Family Business Advantage: Third Quarterly Power Breakfast of 2026 explores how family businesses balance legacy and innovation
Photo by GFBJAnother successful Power Breakfast is in the books. The Greater Fayetteville Business Journal hosted its third quarterly Power Breakfast of 2026 on Tuesday, Sept. 29. Local leaders and decision-makers gathered to network and learn from the panel about how established principles drive long-term stability while allowing for operational evolution. The panel featured Managing Partner of Luigi’s Italian Chophouse & Bar, Nate Ernst; Inside Sales at Hubbard Supplyhouse, Mary Grace Hurley; Chief Operations Officer for Copiers Plus, Drew Smith; and CEO of Holmes Security Systems, Stephen Wheeler. The panel was moderated by Lauren Willets, director of the Family Enterprise Center at UNC’s Kenan-Flagler Business School. Throughout the discussion, the panelists returned to a common idea: family businesses thrive when they preserve the relationships and values at their core while remaining open to change.Each panelist shared personal stories that carried practical lessons. Stephen Wheeler emphasized the role of relationships with customers and employees, saying, “What makes a family business successful today is relationships.” Mary Grace Hurley echoed Wheeler’s sentiment, describing relationships as a lasting inheritance, including a customer connection that began when she was young and continued into her working life. “If something’s given to you, that’s going to cost you too,” added Nate Ernst. He explained this philosophy by sharing that, in his view, earning responsibility builds credibility and confidence.Another hot topic was the idea of tradition versus change. For these businesses that have been around for a century or even more, it can be difficult to escape the “we’ve always done it this way” caveat, but these speakers emphasized how change has been an integral part of their growth and longevity. A family business can honor its history without being bound by it.“Innovation and tradition–they don’t have to be competing with one another,” shared Hurley. She pointed to changes in how businesses operate, including the adoption of computers and new management practices. Ernst stressed that adaptation is essential, while Wheeler described how his family’s electrical contracting business had evolved into a security-focused company. The details of the work may change, but identifying and upholding core values is key to embracing change while maintaining the character of a business. “I think it’s just important to remember why you started in the first place. What was your mission? What are your core values? And to reevaluate those,” shared Drew Smith.In addition to the first-hand accounts and wisdom shared by panelists, Moderator Lauren Willets recommended two novels during the panel for those seeking additional educational resources. Those two novels are “Hug of War: How to Lead a Family Business with both Love and Logic”by Cathy Carroll and “In the Company of Family: How to Thrive When Business Is Personal” by Melissa Mitchell-Blitch. Preparing the next generation requires more than handing over a title or company. Wheeler argued that future leaders need genuine passion and a vested interest in the business. The panelists were in agreement that succession is a process, and there is not one clear answer for how to perfectly prepare for it. Leaders must cultivate readiness, keep communication open and make room for the next generation to earn responsibility while being sure not to neglect the business in the here and now. “Today’s Power Breakfast was one of our best events yet! Between the passion and in-depth knowledge of the panelists, the great audience questions and the guidance and expertise of Mrs. Willets, the conversation was both engaging and informative,” shared GFBJ Publisher Faith Hatton. “A lot of small businesses in Fayetteville are family-owned and grown, and it’s great to be able to spotlight some of the businesses that have stood the test of time by strengthening the next generation of leadership and preparing them for ownership. I hope everyone received some inspiration and ideas that they can bring back to their own businesses and organizations!”We thank everyone who attended this Power Breakfast and hope you’ll all join us for the next Power Breakfast on Dec. 8. Details about the event will be shared on our social media and in future email updates. To learn about becoming a Power Breakfast sponsor, contact the Greater Fayetteville Business Journal at 910.240.9697 or marketing@bizfayetteville.com.
7 Budget Laptops That Are Perfect For Work And Entertainment
Key laptops ideal for basic multitasking and entertainment include the Dell XPS 13, the Acer Aspire 16 AI, the MacBook Neo, and even some Chromebooks.
Lesbian Bar Project Co-Founder: Purity Politics Could Destroy Our Remaining Spaces
Subscribe As a professional lesbian and Massachusetts native, I’ve recently been asked by a lot of folks what I think about the saga unfolding at Last Ditch. The now-viral story, first reported by The Boston Globe, centers on a Western Massachusetts lesbian bar that lifted its mask requirement for one night a week to help drum up business. The decision ignited an intra-queer controversy that has been feasted on by media outlets across the political spectrum—from the New York Post to LGBTQ Nation—and is even reportedly being eyed for a Hollywood adaptation. Apparently nothing is more entertaining than a bunch of lesbians and queers fighting with each other over KN-95s. What has been lost in all of the chatter and media coverage is the very real possibility that Last Ditch, which just opened in April 2025, will have to close its doors. The venue’s one remaining founder, Jackie Matellian, revealed in a community Zoom meeting that she’s working four jobs, is now solely responsible for the bar’s $50,000 business loan and is struggling to keep up with the bills. So as we laugh about the controversy’s similarity to a “Portlandia” skit and how one of the bar’s founders left to enroll in clown school, we forget that yet another lesbian bar is facing an existential crisis—and this time the call is coming from inside the house. In 2020, my friend Elina Street and I created The Lesbian Bar Project, an Emmy-, Webby- and GLAAD Media Award-winning docuseries and initiative that tells the stories of lesbian queer bars around the world. We were moved to act because at the time there were only an estimated 16 lesbian bars in the United States, and the pandemic threatened to bring that number down even further. There are now more sapphic bars than there were just before the pandemic—about 36 of them in total—but this is down from approximately 200 in 1980. Maybe that doesn’t mean much to you, but for the millions of sapphics living in the U.S., this number is calamitous. As the world laughs at lesbians and sapphics, I want to take a second and tell you what I feel when I walk into one of these bars, which are all unique and irreplaceable in their own way: I feel seen. Sometimes I think Cubbyhole in New York City’s West Village neighborhood knew I was gay before I did. When I walked in there for the first time, before I was even out, I was transfixed by the colorful array of tchotchkes hanging from the ceiling and how the women standing next to me were completely unafraid to express their desire for one another. I knew the minute I was ready to come out, I had a home. I also felt the joy of a new couple falling in love at Seattle’s Wildrose, the quiet confidence of a short king lining up her shot at the pool table at Ginger’s in Brooklyn and the kick of cayenne pepper in Julie Mabry’s crawfish at Houston’s Pearl Bar. Subscribe Lesbian bars don’t just serve lesbians; they serve queer folks across the spectrum, including bisexual, pansexual and trans people. As Elina and I traveled across the U.S. and Europe and to parts of Latin America to document the bar owners, staff and patrons that make up the ecosystems of these spaces, we also became uniquely acquainted with the factors that threaten their existence: gentrification, wage gaps, sexism, environmental disasters, gun violence, rising insurance premiums and political administrations working to annihilate queer people and their families. Lesbian bar owners, like all leaders and entrepreneurs, are imperfect. There have been significant issues over the years at lesbian bars: employee harassment, racism, lack of accessibility, sexual assault and transphobia. All bar owners should be held accountable and should listen to their communities to evolve into safer and more equitable spaces. I also acknowledge my privilege: I am able-bodied, white, cis and from a family system that loves me for who I am. Not everyone has that. Queer people, especially trans and bisexual people, are suffering from disproportionately high levels of depression, and our mental health system isn’t equipped to support them. Immunocompromised people and long COVID are real, and many of my friends are suffering to this day. The people with the least safety net are often the ones for whom a bar closing costs the most. And yet, as we’re seeing with Last Ditch, the queer community often lashes out at each other. It’s also the mainstream media taking the internal conflict and making a mockery out of it, distracting from the real possibility that this bar could close due to financial pressures. A bar that many people loved and needed is facing extinction. Perhaps it’s safer to dissent with one another than with the larger forces trying to eradicate us, but in doing so, we risk destroying the few spaces we have left. Due to the constraints of purity politics—some in good faith, some not so much—lesbian bar owners, almost all of whom are queer women themselves, are forced to be everything for everyone, similarly to how women are forced to be everything for everyone. By asking these bars to uphold impossible standards—standards very few other third spaces are asked to consider—we all end up losing. I want to move as a community toward dialogue, compassionate dissent and collaboration to make our spaces better with the goal of keeping them OPEN and thriving, rather than destroying them from the inside with expectations that are arguably unattainable. Subscribe While I have your attention—for this fleeting second of the news cycle—may I urge us to spearhead a way to keep these small businesses afloat without attacking our own community along the way? Bar owners are left with an impasse: They want to be community-centered, but they also have to make money to keep their doors open. Sometimes they might make business decisions that don’t work for everyone—and that’s partly because different patrons have different priorities and want different things—but these owners deserve the opportunity for productive dialogue**.** We have to work with them and with each other to keep our spaces open, to keep them growing. Lesbian bars raised me into the queer woman I am today. One thing I think about as I reflect on the six years of work we’ve done to document these spaces is that shared, unspoken language I have with a stranger the moment we both walk into one of these bars: the nod, the ease, the not having to explain ourselves. I don’t want to lose that, and neither should you. If objective, nonpartisan, rigorous, LGBTQ-focused journalism is important to you, please consider making a tax-deductible donation through our 501(c)(3) fiscal sponsor, Resource Impact, by clicking this button: Donate
Nathaniel Brown: 'Keep going!'
A left-back wearing the number of a forward? It’s unusual, but it’s the perfect fit for our new No.11 Nathaniel Brown. The summer signing – known to his teammates as Nene – has spoke to member...
The Entrepreneurial Community Editorial: The Science of Lollygagging
Lollygagging was once a humble pastime practiced by children avoiding chores and adults who suddenly developed hearing problems when someone mentioned yardwork. We have since professionalized it—and government may have perfected it.
Bobby Kotick’s lawyers sent me a bad email (and later apologized)
The message I had received was unsettling—for a moment. Then it was just really confusing. Back on January 20 of this year, at 5:15pm ET, I received an email with the subject line “Legal Correspondence re Bobby Kotick.” It was from the law firm Clare Locke, a firm I’d heard had been emailing reporters in recent years about their coverage of Kotick, the former, longtime CEO of Activision Blizzard. The letter was threatening. A lawyer from the firm introduced themselves as “defamation counsel to Bobby Kotick.” They issued a “demand” that I “correct” a Game File article I’d published a week prior. The article that had irked them had been a scoop of sorts. I’d written about a a 2022 lawsuit brought by a Swedish pension fund, AP7, over Microsoft’s purchase of Activision Blizzard. The suit wasn’t news, but I was first to review and report about Kotick’s extensive pushback to the fund’s claims. The pension fund’s core contention was that the sale had been rushed by Kotick to avoid the consequences of sexual misconduct scandals swirling around the company in 2021. (He’d not been accused of misconduct himself in those suits, to be clear.) As I wrote at the time, Kotick had denied the allegations of the rushed sale. Beyond that, Kotick used a December 2025 reply to the Swedish fund’s lawsuit to assign blame for those workplace scandals, the bad press and even for the AP7 lawsuit. I’d found Kotick’s arguments novel and newsworthy. Across nearly 3,000 words, I explained Kotick’s take: that a Swedish gaming company was behind the Swedish fund’s lawsuit (the Embracer group; they denied it); that the Microsoft-Activision deal was not rushed and was secured at what Kotick felt history had proven to be an optimal price for shareholders; that he believed a conspiracy of people at unions government agencies, PR firms and the media had spun up claims of widespread workplace misconduct at Activision Blizzard in 2021. The article gave context for all of this, letting readers assess the claims and weigh their credibility. As I’d later write to Kotick’s lawyers: I would be surprised if you could point to any news article about Bobby Kotick in the last five years that has spent more of its wordcount articulating his point of view. He is welcome to do an interview with Game File any time. Nonetheless, there they were in my inbox that Tuesday evening: Clare Locke, the law firm that secured a $787.5 million settlement from Fox News over false statements about voting machines. They were emailing me, threatening that failure to comply with their demand could support a claim of “actual malice,” a legal standard for libel. Unless… Unless, they said, I added a key paragraph to my article. This was a paragraph that I already knew Kotick’s lawyers had been emailing reporters about for at least a year, and it was a paragraph that was already in my article. The paragraph they wanted is from a 2023 settlement that California’s Civil Rights Department struck with Activision Blizzard. The settlement had closed a two-year-old lawsuit over alleged sexual discrimination at the game maker. The paragraph basically said that claims of systemic or widespread sexual harassment—or of execs like Kotick tolerating such behavior—had never been proven. I’d already seen proof that Kotick’s lawyers had pushed for the settlement’s language to be added to reports about 2021 sexual discrimination and misconduct lawsuits brought against Activision Blizzard by California and, separately, by the U.S. federal government (both suits were since settled). I knew that Kotick and his lawyers felt that the California settlement language should be mentioned in the same breath as references to an article he hated and denied, a November 2021 Wall Street Journal article claiming Kotick knew “for years” of sexual misconduct at Activision Blizzard. So, in the Game File article that Clare Locke emailed me about, in the interest of ensuring I was being fair and balanced regarding the person I was covering, I had already included the following excerpt from the California settlement [emphasis added in bold]: (Kotick has repeatedly pushed back against that November article in the Wall Street Journal, citing among other things, language from a court-approved consent decree as part of Activision’s 2023 $54 million settlement over the California suit. It states: “no court or any independent investigation has substantiated any allegations that: there has been systemic or widespread sexual harassment at Activision Blizzard [or] that Activision Blizzard senior executives ignored, condoned, or tolerated a culture of systemic harassment, retaliation, or discrimination.”) On the evening of January 20, I was incredulous. How do you write a four page legal threat about a week-old article and miss this? While scrambling to also make my kids dinner, I wrote a lengthy reply to Clare Locke’s lawyers, basically asking them to cool it with the threats and to start making sense. In part, I wrote: I hope you can understand why I am having trouble understanding what you’re asking for, when the statement you’re demanding to see in Game File’s article already appears in Game File’s article. Actual malice, as you know, refers to a reckless disregard for the truth. I’m not sure what your argument is when my article already states your client’s position. Here is where I should remind you, the reader, that I am an independent journalist. I publish on Substack, and have availed myself of the Substack Defender program that provides writers on the platform with legal support. But I’m no Wall Street Journal or New York Times, nor even IGN or GameSpot when it comes to such things as, well, having a legal department. There are more fun things for me to do as an independent journalist than writing back to a powerful law firm representing a very rich person. On the evening of January 20th, I was just trying to cook some pasta, broccoli and chicken nuggets for hungry twins. Nevertheless, I wrote back to them. Two hours later, I got a reply. Summarizing: A lawyer for Clare Locke said they’d “reviewed an incomplete version” of my article and they “apologize for the confusion.” (My guess: Someone didn’t read past the piece’s paywall, even though they’d had a full week to scrounge up the funds to do so. What I’d published above the paywall was balanced, as was what came after.)1 That was almost that, but something about the situation bothered me. The letter had been marked “confidential.” I hadn’t agreed to that, and I disliked the idea that powerful people on the beat that I cover would act like they could unilaterally control what I might tell my readers about. On the morning of the 21st, having already gotten the powerful law firm to back off, I oh-so-wisely re-approached them with just one more thing. I thanked them for clearing things up the night before but noted that I’d never agreed to keep their letter confidential. I’m all for agreeing with a source to keep things off the record, but that’s the thing. We have to agree. You can’t just declare it. I’m not bound by that. I wrote to Clare Locke’s lawyer and said, in part: I trust the matter is resolved. It was disappointing to have to spend less time with my kids last night in order to address your legal letter. Family time’s precious. I will add, for clarity’s sake, that, while your letter stipulated that it was confidential, I did not agree to those terms. In the future, should you wish to communicate with me confidentially, I am happy to agree to classifying our communication as “off the record” prior to the actual communication—as is standard with any professional journalist. The firm’s lawyer replied, not directly addressing the confidentiality issue but asserting that the matter was resolved. Why I didn’t write about this until now In May, I told this story on an episode of Simon Parkin’s podcast My Perfect Console, but I held off on sharing it directly with Game File readers. I held off to avoid stepping on the toes of another reporter, the journalist Mikhail Klimentov. He’d interviewed me in the spring of 2025 about an investigation he was working on regarding Bobby Kotick lawyers pressing the media to add the California settlement language to stories referencing the 2021 lawsuits. And about how some outlets had changed their stories and how some simply deleted them. Initially, I was a third-party source for Klimentov’s reporting, providing on-the-record context about the state of the games media. I’d heard about the letters but hadn’t put the time into pursuing the story. I thought it was interesting, and I was glad he was covering it. When the outlet that Klimentov was going to run his reporting in dropped the story, I began talking to him about potentially publishing his reporting on Game File. This was tentative. Then, in January, when I got my own Clare Locke letter, I told Klimentov that I didn’t think it would make sense for me to publish him, not with me now being part of the story. I had my own version of this situation to tell. But I wished him well and said I’d refrain from telling my tale until he could get his reporting out there. Last Friday, Klimentov finally ran his investigation, in a nearly 48-minute video report for People Make Games. It covers various Clare Locke letters, how media outlets reacted to them and what to make of all this. His video weighs the merits of Kotick’s request and looks at some of the articles that were changed (one of which had a glaring error). I highly recommend watching it: (Note, I did some editorial consulting for a People Make Games video last year but nothing to do with this report.) While many outlets haven’t left any public evidence that they updated their Kotick coverage at Kotick’s counsel’s request, at least one has. Back in October 2025, the mainstream outlet Reuters applied the most transparent article update I’ve seen. On the 3rd of the month, they published an article about the state of the Swedish pension fund’s lawsuit. Days later, they added this: In an October 7 letter sent after publication of this article, Kotick’s defamation counsel disputed claims of widespread harassment at Activision. “Not a single investigation, court finding, verdict, or ruling ever concluded that there was any merit” to the allegations of widespread harassment at Activision, Tom Clare and Nick Brechbill of Clare Locke wrote. I’ve never added a statement to my article on Game File, because none was needed. Not for fairness’ sake, nor to meet any demands of Kotick’s lawyers. I’ve nevertheless wanted to be transparent with Game File readers. If someone powerful is questioning my reporting, is threatening a lawsuit over it… if that threat is part of a pattern involving other games media outlets and if, in my case, the whole thing ran into a ridiculous ditch, I want you to know about it. I also share this as a real example of how I handle threats to Game File. I stand up for my own reporting, even when it’s not comfortable to do so. (In that same category of standing up for the work I do, I’ll point to an incident in late August. Asocial media post I published to X/Twitter regarding reporting I did about Take Two and GTA VI was hit by bogus copyright claim by a firm working for the publisher. I pushed back and got it reversed; even while a bigger games media outlet let themselves be censored. This is the other reason I’m sharing this story: To emphasize that dealing with threats from powerful people is one of the costs of covering the video game industry independently and as fearlessly as possible. This is where you come in. Your support, through free and paid subscriptions (sign up here!), can help me keep doing that. It can ensure that I’ve got the back-up I need. And it can help make fiascoes like this even less of a worry, so I can spend my evenings dealing with more important things, such as making sure I steam the kids’ broccoli just right. 1 That pension fund lawsuit I wrote about in January has all but gone away. In May, the fund and Activision Blizzard owner Microsoft agreed to settle. Lawyers for the fund brokered a $250 million settlement for former Activision Blizzard shareholders. In the settlement, the fund’s lawyers changed their rhetoric. Where once they’d questioned the meaning of the California settlement language, they adopted a version of it for themselves. Several weeks ago, while seeking to get a court to sign off on the terms of the settlement, they proposed their fee for their work in the case: $60 million.
Stanley Parable Co-Designer Perfectly Explains Why People Play 1,600 Hours Of Dota 2 And Still Hate It
This is exactly how I've felt
WoW Forever Beta Player Dies to a Near Perfect Griefing Tactic That I'm Sure Blizzard Will Patch Out
World of Warcraft Forever’s beta marches on, and all evidence points to it being a massive success. But it’s worth remembering this is a beta, and a beta is for reporting issues. Enter one of the best WoW griefing tactics I’ve ever seen.
Eco-friendly Highland Park shop finds perfect match in Ingersoll move
The Collective is the latest small business to leave Highland Park, announcing plans to move to a carbon-neutral Ingersoll development.
In defense of the mid-cute: Why forgettable rom-coms are perfect for our exhausted brains
Room temperature romantic comedies are dominating the genre. Is that such a bad thing?
Roma second only to Barcelona in goals from open play
Roma is increasingly ‘Gasperini-esque’. The Giallorossi have made a near-perfect start to the Serie A season: four wins and a draw against Inter (2-2), all enhanced by 14 goals scored and only thr...
See the brilliance: Dunn artist creates and sells glass artwork that shines brightly
Cindy Akers-Gilford creates stained glass, fused glass, mosaics, handmade glass jewelry, pendants, suncatchers and other original glass artwork in her studio in Dunn, N.C. Photos provided by Cimply Broken.Self-made Artist and Founder of Cimply Broken, Cindy Akers-Gilford is helping people “see the brilliance” in all things with her glass artwork. Akers-Gilford started her business right after she retired from 20+ years as a civilian contractor at Fort Bragg. The official opening date for Cimply Broken was Nov. 8, 2021.“It’s been quite the adventure ever since. Not only did I have to learn how to manage a small business, but I’ve never taken a class in stained glass or anything I currently do,” shared Akers-Gilford. Her work includes stained glass, fused glass, mosaics, handmade glass jewelry, pendants, suncatchers and other original glass artwork.“I chose glass art just by happenstance. I saw a video on YouTube with a gentleman using plates and resin to make beautiful windows. I used that idea and created a simple picture frame-sized piece for myself. It was beautiful. I put it up in my window and pretty much forgot about it for a few days. Well, one beautiful sunny morning I went up to my studio, and the sun was rising and the light was shining beautifully through that piece. It was absolutely stunning. I thought that it was the perfect reflection of how God’s light shines through each of us. It was broken glass, so it changed ever so slightly as the sun continued to rise in the sky. I thought it poignant – like each of us – we all shine bright and differently in God’s glorious light, and we are all simply broken as well. We are all made beautiful in his light,” explained Akers-Gilford.The name of the business was inspired by the artist’s name and her faith-driven mission. “Simply became ‘Cimply’ as a play on my name and ‘simply’… and ‘Broken’ because we are all Cimply Broken – but each of us is beautiful,” added Akers-Gilford.Akers-Gilford sells her glass art at the Dunn Farmers Market when the weather is bearable, but mostly from her website at www.cimplybroken.com. “I enjoy getting lost in the creative process. I work out of my home, and I often compare my studio to Walmart returns after Christmas time. It’s hectic, busy and there are always at least 10 things being created simultaneously- it is fun!” shared Akers-Gilford. Her goal for the business is to continue to watch customers as they spot a piece of work from a distance and walk up to it in awe. “That is my biggest joy! I don’t speak to them until they speak – that is their moment to ‘See The Brilliance,’ which is my moniker,” shared Akers-Gilford. She also shared she would love to someday become part of an artist collective in Dunn.
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How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
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Whether you like it or not, celebrities have an impact on politics
The global groundswell of support for Macklemore’s pro-Palestinian advocacy serves to remind us that maybe celebrity activism really is that deep after all, writes Cheek’s Varsha Yajman. Subscribe In the last week, publications, podcasts, and influencers that have either rarely or never spoken about Israel’s genocide in Palestine have flooded my social feed. And it was all because singer Ed Sheeran and his team dropped Macklemore as his opener for saying “Free Palestine” on stage. Millions raised, millions speaking up in support of Palestine - all of this confirming my view that, whether I like it or not, celebrities do have an impact on political outcomes. And this is interesting when much of the time celebrity activism can induce an eye roll - I love to see Charli XCX pointing out a Palestinian flag in the crowd, but it’s hardly the bold symbol of allyship that some fans would make it out to be. But there’s a line between healthy scepticism and outright dismissal - and I’d argue that the latter lets the rich and powerful off far too easily. For instance, actress Jennifer Lawrence, once outspoken about her political views, last year told The Times she no longer believes celebrities have a role to play: “Celebrities do not make a difference whatsoever on who people vote for. So then what am I doing? I’m just sharing my opinion on something that’s going to add fuel to a fire that’s ripping the country apart.” While it’s a narrative she might find comfort in, it simply is not true. Grassroots movements often garner worldwide attention when celebrities and other high-profile spokespeople bring a mainstream platform to their causes. And this frustrates me. We have had three years of a live-streamed genocide. Macklemore himself has been calling for a Free Palestine long before he booked the Sheeran concert. Yet it’s the high-profile fallout of the last week that finally seems to have made saying “Free Palestine” socially acceptable in the mainstream. It feels like the collective mood has shifted, where calling out censorship is now the obvious response - not just the business of ‘radical’ activists. To recap, Sheeran’s decision followed an ultimatum from billionaire Robert Kraft, owner of Gillette Stadium, one of the venues Sheeran was scheduled to perform at: either drop Macklemore as your opener after only two of the eight scheduled shows, or you do not play at any stadiums. Sheeran’s disappointing decision to stand on the side of billionaire-led censorship has ultimately seen a surge in support for Free Palestine. It began when all his openers and his backing band pulled out of Sheeran’s tour, in solidarity with Macklemore and with the Palestinian cause. It was met with an uproar of support from those who had never or barely touched politics before: influencers lip-syncing to Macklemore’s music, singers like Jack Antonoff singing “Free Palestine,” and publications and podcasts standing with Macklemore. And finally, we saw material support: Macklemore donated $1 million in profits from his two nights opening for Sheeran’s tour to several Palestinian aid groups and called for Sheeran and Kraft to match it, which they have since promised to do. We’ve also seen children’s entertainer Ms Rachel follow suit with a $1 million donation to Palestinian aid, and publication PopBase has donated $10,000. Anera, a humanitarian aid group working in Palestine, Lebanon, and Jordan, said donations since Macklemore’s announcement were more than triple this month’s daily average. The group’s Instagram page has also gained 8,000 followers. Macklemore far from the first celebrity to speak and participate in politics in the Western World. In 1924, singer Al Jolson supported Republican candidate Warren G. Harding for president, and decades later, celebrities such as Harry Belafonte, Lena Horne, and Aretha Franklin voiced their public support for the Civil Rights movement. More recently, in the lead-up to the 2024 US election, ‘The Daily Show with Trevor Noah partnered with the organisation Power the Polls to recruit poll workers to address shortages- a problem disproportionately affecting voters of colour. The campaign saw 170,000 new sign-ups - 35,000 of which came directly through the TV show’s link - resulting in the recruitment of 713,000 total poll workers that year, an almost three-fold increase on the organisation’s goal. Alongside recruiting workers, celebrities in the US (where voting in elections is not compulsory) have made a huge difference by calling for people to register to vote. Taylor Swift’s endorsement of Kamala Harris in 2024 saw over 400,000 visitors on the voter registration site within 24 hours of her Instagram post. In 2023, Swift had urged her fans to register, resulting in 35,000 new voter registrations. Similarly, Ariana Grande promoted voter registration in 2019 by setting up booths at concerts on the American leg of her tour, resulting in over 33,000 voters registering. And the same thing is happening closer to home. This year, musician Jack River successfully called for government action to ensure creatives in Australia do not have their work scraped by generative AI companies. Celebrity as the mediator between the punter and the politician Celebrity activism isn’t just a feel-good news story - research tells us it actually makes a difference. By directing attention to issues affecting the average person, like voting inaccessibility or a lack of action on a genocide, researchers Alfred Archer and Amanda Cawston state that “celebrities can play a useful bridging role between political elites and the people they represent”. Alternatively, in a world where talking about politics is “not cool,” or where people lack exposure or knowledge to engage with politics, celebrities can act as an educational resource or an entry point into the political world - when they speak up about an issue, their audience gets exposed to it. Olivia Rodrigo’s Daisy Chain Fields festival is a perfect example. Rodrigo partnered with twelve organisations focused on women’s issues, such as reproductive rights. These organisations had stalls at the festival for people to meet them and were also featured heavily on social media, giving their issues global attention and raising $20 million for the organisations. We have also seen celebrities at award shows such as the Emmys wearing F*CK ICE pins, referring to the U.S. Immigration and Customs Enforcement’s treatment and detainment of people - generally people of colour. When celebrities speak up about political issues in public forums, they put the issue at the forefront of mainstream media, rally their supporters, and make it clear that, however much they disagree, the government cannot simply ignore it. Our over-reliance on celebrities versus our politicians As much as I love seeing my favourite celebrity use their platform for a good cause, there is an important question to ask: not whether celebrity activism is good or bad, but whether we should have to rely on celebrities. And the answer would, in an ideal world, be no. In an ideal world, or merely a just world, action on Palestine would’ve happened decades ago, climate change would be taken seriously, and most importantly, people would understand their democratic rights. However, that is not our reality. Only around 28 per cent of Australian Year 10 students reach proficiency in civics and citizenship. In the US, almost two-thirds of people under 30 say high school civics education didn’t prepare them to understand voting deadlines, how to research candidates, or how to vote by mail. When civics education is weak, our trust in these institutions and our understanding of change-making processes also decline. This is where celebrity steps in and becomes our main source of reliance. As Mary R. Connelly notes in _The Tartan, “_Celebrities will always be involved in campaigns in one form or another, but their presence is not what causes people to vote blindly. The lack of political engagement and literacy is what allows celebrities to wield their influence on the political sphere so impactfully.” About the author Varsha Yajman is the Digital Content Producer at Cheek Media. She is a youth advocate and lawyer with a background in climate litigation and is passionate about looking at the intersection between race, climate justice, and mental health. Thanks for reading Cheek Media Co. ! This post is public so feel free to share it. Share
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The Big Holes in Wearable Heart Rate Variability And Readiness Scores
On September 9th, Apple announced it was revamping its Apple Watch Health Sensing System, rolling out a Readiness score (0 to 10), and increasing the frequency of heart rate variability (HRV) outputs 24-fold. This can be viewed as upping its competition with various other consumer wearable sensors. These “readiness scores” as a composite of multiple metrics, with heart rate variability (HRV) being front and center for most. The majority of Americans are now using wearable sensors, which equates to well over 100 million adults. HRV and Readiness scores are increasingly being marketed as a measurement of autonomic nervous system health, a digital marker for future disease, a clock for biological age, and a holistic metric to promote healthspan and even longevity. (Apple also introduced a new longevity tab and “Health Age”.) None of this has been proven. In this edition of Ground Truths I am going to review what we know about heart rate variability and readiness scores. Heart Rate Variability HRV is the variation in normal heart cycle timing. The variability of the heart rate, the barely perceptible millisecond changes in time between consecutive heart beats (see R-R intervals in the Figure below, left panel), is due to interplay between the sympathetic and parasympathetic (vagal nerve) inputs. Distinct from heart rate, individuals with the same heart rate can have very different HRVs. It is a rough reflection of the autonomic nervous system (ANS) activity, inadequate to say whether a person’s ANS function is abnormal. For more than three decades, heart rate variability (HRV) has been measured and several studies have found an association of low HRV and clinical outcomes, particularly a link with higher all-cause and cardiovascular mortality. There have also been less well established links of low HRV to risk of early cognitive impairment, dementia, mental illness, Type 2 diabetes and substance abuse. An important reminder is that HRV is a surrogate marker without any established cause-and-effect relationship. If you increase your HRV, that doesn’t mean it will improve health outcomes. In fact, there is no hard evidence for that. All that work linking to health outcomes was done with electrocardiogram (ECG) derived HRV. Now, in the era of consumer wearables, this is getting assessed differently, by optical pulse (yes, the lights you see) plethysmography (PPG) or what is called pulse rate variability (PRV). They are not the same, as shown below (right panel) and only concordant when the delay between the ECG and pulse is kept constant, which basically means at rest. I should mention there’s also what I will call MPV, a mattress mechanical movement sensor, a derived heart rate variability, that companies like Eight Sleep use, even further away from directly measuring HRV. HRV has not one uniform measurement but many different types of quantification, such as RMSSD, the magnitude of difference between successive R-R intervals of normal sinus beats (N-N) or SDNN, the standard deviation of NN intervals, both in milliseconds. SDNN is one of the so-called frequency domain HRVs (others are LF, HF, LF/HF). Different wearable sensors use different metics; Apple has relied on SDNN and nearly all of the others use RMSSD, which is generally considered the more accurate metric. There’s also the different length of time measured, such as for a matter of minutes, all day, or an overnight’s sleep. Short measurements are especially problematic since they don’t capture enough of respiratory modulation and other factors that influence HRV. Share Ground Truths How well does HRV correlate with PRV? There are very limited studies, especially independently done. One that is commonly cited was conducted by Air Force researchers in only 13 healthy adults assessing Oura ring 3 and 4, Whoop 4.0, and Garmin Fenix 6 and showed a correlation coefficient of 0.88 to 0.97 and a mean absolute percentage error from 6 to 10%. The correlation is not a perfect 1.0, but there’s at least a fairly high level of correlation. HRV is supposed to increase during the night due to takeover of the parasympathetic nervous system, and higher during deep sleep. A recent example of my 1 week, all day “HRV,” and one during sleep is shown below. As you can see, the N of 1 data are inconsistent for the same days from different sensors (Oura, AppleWatch, Fitbit Air, and Eight Sleep) by patterns, absolute numbers, and comparison with prior days and weeks. The largest study in over 8 million Fitbit users (the old version, not Google Fitbit Air, introduced in May 2026) gives you a sense of the effect of age, sex, and the 2 different main HRV (here PRV) metrics, with RMSSD on the left and SDRR (=SDNN) on the right below. That study, from data collected in 2018, is a major outlier, since all the more recent ones are tiny with respect to sample size. Many of the companies have not had independent evaluation of their HRV, such as Eight Sleep, but have published a low standard error on their website. There are some other published studies on the correlation between HRV and PRV, but they are all small and only in healthy adults. A scoping review emphasized the lack of study in underrepresented individuals, including the aged, people of color (which affects the PPG signal), and individuals who are underweight or obese. Add the typical adult age 60 plus with one or more chronic diseases. For example, one study in over 900 adults found poor correlation of HRV and PRV, non-uniformly underestimated across many chronic diseases (cardiovascular, endocrine, neurological, respiratory, and others), concluding PRV is “an invalid surrogate for HRV.” A recent systematic review of 43 studies comparing HRV and PRV found reasonable pooled absolute standardized error (HRV as gold standard) but only 10 of the studies provided quantitative synthesis in ideal conditions. Their main conclusion was similarly cautious: “PPG-derived HRV [PRV] should not be regarded as universally interchangeable with ECG-derived HRV across all devices, populations, and recording contexts.” Factors Affecting HRV and PRV That gets me to the long list of factors that affect HRV (and PRV) besides the device, the type of measurement (RMSSD, SDNN or others), the person’s signal, the sensor site, the duration of data capture, if weighting by sleep stage is used, how artifact is processed and corrected. And this list is not complete!: Oura puts out data from their community of users (who input data) on what affects their overnight HRV. The factors currently provided are: no alcohol (increase 8%), melatonin (increase 2%, float tank (increase 2%), wine (decrease 4%), and party (decrease 14%) in overnight HRV. Must be some big parties! Subscribe What is a PRV measurement good for? It has been falsely characterized as an index of “autonomic balance” and a specific indicator of stress. A 2018 review of the studies available for HRV and its relationship to stress, not using any of the current wearables, found that stress can lower HRV. But so can many other factors. The non-specificity of the signal, indexed to the table above, is striking. Evidence from a UK Biobank study of over 46,000 participants with actual HRV looked at genetically predicted HRV, a genetic risk score, that failed to show the expected HRV-mortality link, indicating that _HRV is likely not causa_l, but rather a reflection of person’s physiologic state. A review of consumer wearable HRV data from 5 longitudinal studies showed that nighttime PRV was not associated with perceived stress, and surprisingly higher HRV, in the largest cohort (N=717 participants), was correlated with higher stress. An Oura ring cohort of 525 first-year college students found a link between overnight PRV and perceived stress, but that was also seen with resting heart rate, sleep, and respiratory rate. Several very small studies have examined the relationship of HRV and athletic injuries or guiding training with mixed, and predominantly negative results. HRV biofeedback training with paced breathing had no significant effect on reducing stress or raising HRV, as demonstrated with sham controlled trials. When HRV for multiple days showed a decline in conjunction with body temperature, the Oura ring published data for prediction of Covid. The WHOOP company sponsored an observational study, published in 2026, of 30,000 users for 72 weeks, without a control group, that reported reduced alcohol intake (5.8 % points) by self-report. That doesn’t tell us much, and particularly about the merits of HRV for behavioral change. If you use the same device and conditions as longitudinal trends for multiple (at least 2-3) weeks that may be the one way to get something useful from the measurements. Data for overnight sleep with minimal motion and using RMSSD is the best proxy for real HRV. The reason to look at trends rather than any given night is that it more likely represents something, even though you won’t know with certainty what the “it” is. Keep in mind there are no data, no peer-reviewed evidence, to show that HRV fluctuation in-person has any correlation with health outcomes. Share Readiness Scores These are proprietary scores that integrate different metrics for each of the wearables: no algorithms have been disclosed. They are unvalidated against health outcomes. In a review of 14 composite health scores of readiness and recovery, HRV contributed 86% to the scores, followed by reading heart rate (79%), physical activity and sleep duration (both at 71%). That review noted the substantial variability in measurement protools and lack of standardization. Sleep staging is notoriously inconsistent and inaccurate by these sensors, which adds further to the HRV uncertainties for what the scores, which use sleep stage data, mean. Only resting heart rate has been shown consistently across devices to be extremely accurate. I’ve made a Table to summarize what we know about which metrics are included, the scores, any peer-reviewed studies that compared the readiness score with health outcomes, and the corresponding (if any, NA-not available) citation. You will note that some companies do not use the term “readiness," such as WHOOP for recovery, and Garmin, which has 2 different scores, one of which is Body Battery. Eight Sleep uses the term “Fitness Score.” They all include HRV; Apple includes a new metric they call “Recovery HRV” which among other components uses 7-days of sleep, but it is unclear what this means or how it is differentiated from other scores (there are clearly no data for outcomes). We have no knowledge of how the different components are weighted or whether any of these scores are better than resting heart rate, HRV alone, physical activity, or any other single metric. Since none of these are standardized, they are not interchangeable, so if you get a 90 for Oura that has no relationship to a 90 on a Google Fitbit Air. Notably, the company can update its algorithm for readiness score at any point without notification to device users. Without any useful evidence of actionability for these scores or established relationship with health outcomes, it is hard to make a case for their value. At the Apple recent announcement they showed their Readiness score (0-10) on the watch (Figure below) but there are no published data on this score, not even on their website. It’s available only on their new Watch Series 12 or Ultra 4 [of course, ;-)]. That exemplifies the problems with these scores, lack of data and evidence for being meaningful to promote health. Perhaps the best study (which isn’t saying much) is the WHOOP Recovery for golfer performance, because it did correlate with an objective outcome, even though there was no control group and the authors were all from the company. Among the 389 pro golfers, an absolute 10-per cent point increase in Recovery score was associated with about 0.5 fewer strokes per round. But that’s hardly a health outcome! WHOOP is also conducting a study in over 2,700 runners to see if their recovery score will be linked to less injuries and improved performance, but that is not yet published and has no control group or randomization. Putting This in Context For two decades I’ve been enthusiastic about the potential for digital health and particularly wearable biosensors. Over the years, we’ve seen some great progress for their ability to promote physical activity and accurately detect atrial fibrillation (the first FDA cleared deep learning AI for consumers). That work was the subject of rigorous research. But there are holes in the data and evidence for other metrics. One notable one is the “VO2 max” story that I wrote about earlier this year. At that time many subscribers asked me to cover heart rate variability, which I finally got to here. When I dived into the research and publication for HRV and readiness scores, I expected to find at least some that were of high quality and demonstrated their utility by linkage to health outcomes. To my surprise, I found none. The wearable sensor measurements for HRV (PRV) are, for the most part, accurate, but that validation work has only been done in small studies of healthy adults and does not take into account the long list of factors, from the device, software side, and the user side, that affect HRV measurements. Moreover, this metric chiefly relies on optical sensing and, as we have learned for heart rate PPG sensing, may be less accurate in people of color. Keep in mind that all of the health outcome association evidence comes from ECG-derived HRV; none are from wearable sensor data. I will repeat the key point: there's no peer-reviewed evidence to show that in-person HRV fluctuation—or efforts to raise your HRV— has any correlation with health outcomes. For those of you who look at your HRV on awakening, or even 2+ week trends of it being low, I hope this context helps to relieve any anxiety. Yes, low HRV (not PRV) has been shown to increase risk of some diseases as summarized above. But efforts to raise your HRV—a surrogate metric— has not been established for improving any health outcomes. HRV does not have any evidence of causality (the genetic evidence actually goes against this possibility). In this summary, I have not included data for other wearable sensors such as Polar, Samsung, Withings, Suunto, Amazfit, Coros, Ultrahuman, or additional mattress sensors. These are beyond my first-hand experience, and as far as I know from my in-depth review none have any peer-reviewed published data that differ from the 6 sensors I’ve reviewed here. From the points I’ve gone over above, we’re not ready for readiness scores. Besides being proprietary, they are predominantly based on metrics that have their own issues. It’s compounding the problem, like building a house without a solid foundation that has never undergone a rigorous inspection, and then selling it. Like I mentioned for PRV, you can look at trends over weeks rather than any single day, to get a handle, but even that may not be helpful. There’s simply no evidence that these scores meaningfully relate to health outcomes. I’d emphasize they might, but that requires doing prospective or randomized studies to prove it. None exist. There’s great promise for HRV/PRV utility_. For example**,**_ Prof Maiken Nedergaard, who discovered the brain glymphatics that are essential in eliminating metabolic waste products from the brain during sleep, has posited that HRV could be a non-invasive marker for neuromodulator oscillations, brain-body regulatory circuits, and brain clearance. That would be extremely useful, but like everything else on HRV and readiness scores it requires solid research and validation. The lay media isn’t helping much to get the story straight. Earlier this year The Economist published a piece entitled “The most useful indicator of your overall health” which ordained HRV as an “accumulated stress score.” That’s akin to the false assertion about VO2max: “V02 max is the singular most powerful marker for longevity.” As I’ve summarized here, that is not established. The fact is that so many things can lower HRV, including physical exercise (especially an intense workout), reduced sleep quality, stress, the list above, no less the device, signal, and software. Whatever fluctuations observed have not been correlated with any health outcome. Sadly, “datamaxxers” are widely using HRV and readiness scores that have never been validated to mean anything. We already know that for some people using the sensors for sleep metrics, it can induce “orthosomnia,” an obsession to get high sleep quality, with associated high levels of anxiety. In an experiment done by a company to promote sleep quality for its employees, “For those employees who did use the trackers, many reported feeling perfectly rested until their tracker told them they had had a terrible night. Others were told that they had slept like a baby when they had actually been lying awake worrying about the quality of their sleep. “ The same problem can result from preoccupation with HRV or readiness scores, with anxiety that would lead to further reduction in both. It you are using a wearable like >100 million American adults, it’s OK to look at these data, but contextualized with the major caveats reviewed here. If you are one to require evidence that HRV or readiness scores are linked to health outcomes, you may not even want to look. The companies make it hard to turn them off! Let me end with the companies that make and sell wearables. Apple’s doubling down on HRV (24-fold more reporting and heart rate very 5 seconds) and introduction of a Readiness score tells us that consumers have bought into these metrics and they are joining the club. However, all of this is occurring with a backdrop of tens millions of users, claims about the data that are not backed up by adequate evidence, marketing way out in front of whatever limited data exists, and not being transparent about their readiness score algorithms. The companies can well afford to do the research that is needed to connect these metrics with health outcomes show, once and for all, that increasing HRV or using readiness scores promotes our health. If they believed and invested in the products they are selling, we’d not be in this position of not knowing. That’s essentially where we are with HRV and readiness scores. Perhaps someday this will change and we’ll have good reason to embrace them. NB: I wrote this post. No AI. I have no conflicts of interest with any of its content. Loading... Ground Truths has 215,000 subscribers from every US state and 214 countries. There are over 300,000 followers of Ground Truths so more than 90,000 folks who can easily convert to be free subscribers. Your subscription to these free essays and podcasts makes my work in putting them together worthwhile. If you’re not a subscriber, please join! If you found this interesting PLEASE share it! Share Ground Truths The proceeds from all voluntary paid subscriptions go to support our summer internship program. It enabled us to accept and support a record number of 62 summer interns that joined us in 2026! These are high school, college and medical students selected from thousands of applicants. We couldn’t do this expanded program without the funds coming in through Ground Truths. Thank you!
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