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Canadian business leader warns trade uncertainty risks 'capital chill' as USMCA talks drag on
Goldy Hyder, the CEO of the Business Council of Canada warns that ongoing uncertainty over the USMCA trade agreement risks creating a "capital chill" for investments.
Is metascience being co-opted?
In July, the White House released a report that argued academia is deeply dysfunctional and in need of radical reform.Science: A New Golden Age sets out a litany of problems many academics will recognise: interminable waits for grants; short-term funding rather than support for longer, more ambitious projects; ballooning administrative requirements; pressure to publish, and many more. “The scientific machine is getting bogged down,” it says. At least on the face of it, Science: A New Golden Age is a triumph for the metascience movement, a loose-knit, global group of academics, philanthropists and think tankers that want far more testing and experimentation in how we fund public research and innovation. The report tells US research funders to set up internal metascience units to do just this. But it has also set alarm bells ringing that metascience is being conveniently deployed to help justify the defunding of US universities, which US vice president JD Vance has openly labelled “the enemy.” “Just because you have an issue with your plumbing in your house doesn't mean you light the entire house on fire and burn it to the ground,” said Colette Delawalla, chief executive of Stand Up for Science, a group campaigning against what it says are attacks on scientists by the Trump administration. No one is arguing that academia doesn’t need reform, but there’s debate over how far and how fast the system should be shaken up. Does public R&D need slow and steady evidence-based adjustment, or radical new experiments?One of the key arguments in Science: A New Golden Age is that there’s not enough funding for what it calls “mid-level” science: engineering-heavy projects that require tens of millions of dollars, involve ten to a hundred people, and last around five years. Such a project might develop a brain-computer interface for people with Alzheimer's disease, for example. As such, the US National Science Foundation (NSF) has already announced $1.5 billion to set up so-called X-Labs, effectively new research organisations to pursue breakthroughs in areas such as quantum sensing and new scientific instruments. Funding divertedBut there’s a catch: this money has squeezed NSF budgets for more traditional, fundamental research grants, Science reported in June, likely meaning less cash for university-based scientists. Science: A New Golden Age also makes various swipes at universities, accusing them of extracting overheads from scientists to fund administrative bloat. “We have become dependent on a narrow set of legacy institutions,” it says. The report doesn’t mention it, but the US government is simultaneously seeking greater powers over federal funding, which would allow political appointees at funding agencies to screen or cancel research grants mid-project. The White House is also seeking to slash the NSF’s budget by more than half in 2027, although similar cuts proposed for 2026 were blocked by Congress. Convenient hookThis has worried some that the metascience agenda could be misused as a kind of smokescreen to further weaken universities. James Wilsdon, executive director of the Research on Research Institute at University College London, said that the report contains lots of “interesting ideas” and agrees that in places, academia is a “pretty broken system.” But the risk is that metascience is being deployed as a “convenient hook” to support cuts and a “political land grab” to transfer grant power from scientists to political appointees in US funding agencies.So far, the metascience agenda hasn’t been seized on by radical right parties in Europe. But Wilsdon worries it will cross the Atlantic, politicising research reform efforts and making them more difficult to carry out. The report is already making some in Europe sceptical of the entire idea. “The system is not without flaws, but the metascience discussion is not likely to improve the system but rather to generate munition to undermine it,” said Claes de Vreese, a professor of AI and society at the University of Amsterdam. Peter Thiel protégéOfficially, Science: A New Golden Age has just one named author: Michael Kratsios, the director of the Office of Science and Technology Policy and a former chief of staff to Silicon Valley mogul Peter Thiel. He also served as chief financial officer of Thiel’s Clarium Capital Management. Since the 1990s, Thiel has criticised US universities for moving away from teaching what he views as the classic works of western civilisation, and drifting towards “anti-Western zealotry.” And since 2011, he has offered two-year fellowships of $250,000 to young people to skip or drop out of university, and instead start companies or pursue scientific research. “College can be good for learning about what’s been done before, but it can also discourage you from doing something new,” according to the Thiel Fellowships website. In other areas, the Trump administration has promoted academics with a longstanding interest in metascience. For example, the head of the National Institutes of Health, Jay Bhattacharya, in 2020 co-authored a study arguing the funder backs overly conservative proposals, although he achieved wider prominence as a critic of pandemic lockdowns. Careless talk costs fundingEven before the Trump administration embraced the metascience agenda, some metascientists privately wondered whether they should be careful not to overstate dysfunctions in academia, in case this gets used as ammunition against universities. But others think being cautious with criticism is pointless. After all, last year, the Trump administration sought to cut funding from US universities on an entirely different premise: supposed antisemitism on campus. “I don't think these governments need a technical metascientific excuse to attack the universities, they will want to do so anyway,” said Will Stone, a researcher at Science Works, a new think tank advocating for a “metascience revolution” in the UK. “I think researchers should report what they find, even when the findings may be used to advance policies they disagree with,” echoed Russell Funk, a researcher at the University of Minnesota, who in 2023 co-authored a highly influential paper that argued scientific papers were becoming less disruptive over time. No justificationThat said, Funk thinks that metascientific research certainly doesn’t justify a weakening of universities. Instead, scientists need “time, resources and stability to pursue unfamiliar ideas,” he said. “Taking away those conditions works against the very goal the reforms are supposed to achieve.”The Institute for Progress, a Washington DC-based innovation policy think tank that has championed X-Labs and metascience units, also says that reforms should complement, not supplant, universities. “Unpredictable, unreliable, and reduced federal funding to researchers is destabilising to the very foundations of research and development and is bad,” said Jenn Gustetic, the institute’s director of metascience and R&D policy.Evolution or revolution?This points to a much bigger divide in the metascience community: how far and how fast should public R&D be shaken up? Does it need evolution or revolution? For example, Science: A New Golden Age says the science system relies too heavily on traditional “workhorse” project grants, the type that pay out around $250,000 a year to fund “hypothesis-driven science by small teams on tractable questions.” However, in criticising project grants, the report “decisively picks one side of a debate that is far from settled,” David Hilmer Rex, a metascientist based in Denmark, has written. In June, Pierre Azoulay, a metascientist at the Massachusetts Institute of Technology, defended project grants, saying that the alternative of X-Labs “merits scepticism.”A-B testingOne challenge in metascience is that it’s easier to generate evidence for some types of change than others. Most straightforwardly, research funders can run A-B tests on different ways of awarding money. For example, Germany’s Volkswagen Foundation recently trialled distributed peer review, where applicants rate each other’s proposals, and measured its results against traditional review panels. Distributed peer review made quicker decisions, although awarded money to largely different ideas. However, much of the focus of the metascience movement has been on founding fast-moving and free-acting new research organisations and funders, in contrast to the alleged stodginess of mainstream academia or public innovation grants. A culture of speed and freedom are the animating principles behind Germany’s Sprind or the UK’s Advanced Research and Invention Agency (Aria).Related articlesViewpoint: it's time to experiment with how Europe funds science European researchers sound the alarm that Trump rule changes will hit cooperationHowever, while it’s possible to closely study previously successful bodies, such as the US Defense Advanced Research Projects Agency (Darpa), for historical clues to their secret sauce, it’s impossible to guarantee in advance that the likes of Sprind or Aria will actually work as hoped. But advocates of new organisations say this inherent uncertainly shouldn’t stop us trying. “If we wait for definitive proof that something will work before we try it, I don't know where your proof is coming from,” said Stone. Trade-offsUp until now, experiments in metascience haven’t generally come with hard trade-offs over money. In the US, new ideas such as focused research organisations have often been funded by billionaire philanthropists. In Europe, new innovation agencies such as Sprind and Aria, or the Netherland’s new National Agency for Disruptive Innovation, haven’t needed explicit cuts elsewhere in the research system. But with the $1.5 billion establishment of X-Labs by the NSF, the trade-offs are becoming clearer. Some metascientists privately wonder whether a smaller pilot would have been more appropriate, given that the idea is untested. The Institute for Progress counters that the $1.5 billion X-Labs budget is spread out over a decade, so will account for less than 2% of the NSF’s annual budget. “It’s important to remember that [Darpa] was once an institutional experiment as well. Now it’s one of the most cited innovative funding models in the world,” said Gustetic.As for Europe?The US isn’t the only country placing metascience at the heart of its research strategy. Science: A New Golden Age looks admiringly at the UK, which in 2024 set up a Metascience Unit to scrutinise how it funds research. In Brussels, it’s more of a mixed picture. In 2018, the EU set up the European Innovation Council to funnel grants and equity to start-ups, although it’s sometimes criticised for awarding money too slowly. Recently, the council has started experimenting with challenges, where teams of inventors compete to overcome a technological challenge. The European Commission also wants to experiment with partially randomising grant winners, to cut down on bureaucracy. However, the Commission’s own advisers have said the EU’s own research schemes are too conventional. They want the Commission to establish a new dedicated unit to scrutinise and experiment with funding. But there’s no sign of a such unit emerging in Brussels’ plans for the next Horizon Europe programme, which from 2028 is set to distribute more than €160 billion over seven years. Sam Bogerd, director of breakthrough innovation at the Brussels-based Arq Foundation, an AI-focused think tank that also looks at metascience, says that Europe might have the opposite problem to the US: universities and basic research funding are still reasonably well supported, but there’s not enough experimentation. “We're not taking a close enough look at where this money can achieve the most, and I am worried that the good ideas around metascience will be tainted politically by their association with the Trump administration,” he said. He’s still lobbying for the Commission to set up an experimental unit. But in the meantime, the Arq Foundation plans to do its own research, and is currently hiring two metascience researchers to run the rule over how Brussels spends research funding.
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In rural Pa., doctors confront the hidden health impacts of environmental disasters
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Entertainment in the AI Era: Music, Games and Film: 2nd LA CorpGov Forum
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Exceptional Earnings and AI Immunity Fuel Hinge Health’s (HNGE) Performance
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Eldin Radoncic
Alcott HR is pleased to welcome Eldin Radoncic as Director of Sales. Eldin brings over a decade of human capital management experience, with a strong
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.
Jiang Feng: The Unravelling of German & European Politics
A state election in eastern Germany has become a revealing test of the changing political landscapes of Germany and Europe, writes Jiang Feng, Professor and Chairman of the Council of the Shanghai Academy of Global Governance and Area Studies (SAGGAS) at Shanghai International Studies University. His analysis follows the decisive victory of the Alternative for Germany (AfD) (which has been classified as right-wing extremist by German authorities)in the state of Saxony-Anhalt on 6 September, in which it finished far ahead of its mainstream rivals. Jiang previously served as Minister-Counsellor at the Chinese Embassy in Berlin. The following article was published on 8 September 2026 on huanqiu.com, the online platform of the Global Times. On 6 September, the results of the state election in Saxony-Anhalt, Germany, were announced. The Alternative for Germany (AfD), classified as far-right by German authorities, made history by becoming the largest party in the state parliament, winning 43.8 per cent of the vote — twice its share in the previous election. The Christian Democratic Union (CDU), which had governed the state continuously for 24 years, won just 17.2 per cent, its worst result ever in Saxony-Anhalt. On the night the results were announced, the atmosphere at the CDU gathering was unusually calm. There was neither shock nor argument, as if the defeat had long been expected. Several veteran party members who had spent years working in the state government said: “Defeat is not a bad thing. It is time to make changes.” This state election has not only upended Saxony-Anhalt’s political landscape, but also laid bare the deep tensions between Germany’s traditional party structure and model of governance, on the one hand, and an increasingly polarised society on the other. Its repercussions are already being felt at the federal level, making Saxony-Anhalt a useful case study of the broader trend towards political polarisation and realignment in Europe. Governing Difficulties after Electoral Victory The most immediate consequence of the election is a historic setback for the mainstream party order that took shape in post-war Germany. In Saxony-Anhalt, the AfD has leapt from a peripheral party to the largest political force in the state. Its electoral base has expanded beyond the traditional category of “marginal protest voters” to take on the characteristics of a cross-class coalition. The party has not only consolidated its support in rural areas, but also attracted many middle-class voters and even members of the social elite with stable jobs, their own homes, and substantial incomes. It has thus evolved from a “protest party” into one with the potential to govern. Despite its commanding lead in the vote, however, the AfD faces an institutional obstacle to governing the state: the mainstream parties’ long-standing “firewall” against it. Neither of the two potential routes to forming a government appears likely to break the current political deadlock. The first would be a coalition of establishment parties, led by the CDU and bringing together the Social Democratic Party (SPD), the Greens, the Left Party (Die Linke) and the Sahra Wagenknecht Alliance (BSW) in a cross-camp government. In terms of parliamentary arithmetic, such a coalition could prevent the AfD from forming a government and preserve the outward stability of the traditional political order. Yet these parties are fundamentally divided over key issues including immigration, the energy transition, economic management, and cultural and education policy. Coalition negotiations would therefore be extremely difficult, and even if a government could be formed, it would most likely prove short-lived. More importantly, an alliance of establishment parties aimed at keeping the largest party out of government would play directly into the AfD’s narrative that “political elites are suppressing public opinion”. It could deepen perceptions of political unfairness, further strengthening the AfD’s political capital, and creating a dynamic in which “the more it is suppressed, the more people vote for it”. Ulrich Siegmund, the AfD’s candidate for state premier, has said that if efforts to form a government fail because other parties refuse to cooperate, the AfD will push for a fresh election, which he believes could deliver the party an absolute majority of seats. This points to more intense political battles ahead. The second option would be a coalition between the AfD and the BSW. Together, the two parties would command a simple majority in parliament, making this, on paper, the quickest route to forming a government. The BSW is the only elected party that has not ruled out cooperation with the AfD, and the two parties share some common ground, including on policy towards Russia. There is therefore a degree of political basis for cooperation. Were such a coalition to materialise, Germany would see its first state government jointly formed by a party defined as far-right and one with a far-left background, creating what might be called a “bipolar anti-establishment alliance”. Such an outcome would fundamentally break with the ideological boundaries of post-war German party politics. It is worth noting that even if the AfD ultimately fails to enter the state government, its roughly 47 per cent share of parliamentary seats would give it a powerful blocking minority. Without its consent, major decisions requiring a two-thirds majority — including constitutional amendments, significant budgetary adjustments, and state-level institutional reforms — would be extremely difficult to pass. Therefore, whoever ultimately forms the government, the AfD will be an unavoidable force in Saxony-Anhalt politics, with a direct influence on the state’s legislative process. Systemic Failures in Germany’s Governance Model The Saxony-Anhalt election result reflects a systemic failure of Germany’s post-war mainstream-party model of governance to adapt to rapidly changing socioeconomic conditions. It stems from multiple, mutually reinforcing structural tensions and highlights the existing political system’s difficulty in adapting to “an increasingly polarised society First, collective anxiety has replaced individual material hardship as a central driver of political mobilisation. The rise of the AfD can no longer be explained simply by poverty or social marginalisation. Its increasingly cross-class electoral base suggests that what is driving voters towards the party is, above all, concern about the broader direction of society. This anxiety about the future of the political community goes beyond individual gains and losses. In political discourse, economic anxiety has become closely intertwined with immigration, while immigration and refugee issues are, in essence, questions of social fairness. This perception turns conflicts over the distribution of social resources into negative assessments of governing parties, providing a broad social basis for far-right political narratives. Second, regional disparities and East German identity have undermined the strategy of addressing eastern Germany’s structural challenges at the regional level. More than three decades after German reunification, eastern states such as Saxony-Anhalt have experienced periods of economic growth, but their underlying economic structures remain weak, and household incomes and wealth remain significantly below those in western Germany. At the same time, they continue to face population outflow, an ageing population, labour shortages, and other structural challenges. At a deeper level, historical experiences — including the collapse of the former East German economic system, mass unemployment during the transition, and the westward shift of decision-making power over major issues — have left some residents with a sense of being “second-class citizens” and of being excluded. For years, the German government treated the “syndrome” of reunification as a regional problem to be gradually addressed at the local level. That approach is becoming increasingly unsustainable, as regional development disparities emerge as a core structural factor shaping national politics. Third, the erosion of institutional trust is perhaps the most decisive factor. AfD supporters tend to distrust establishment institutions, including parliament, government, and the mainstream media. Their concerns about economic security, pensions, and social fairness are significantly greater than the social average. Increasingly, their support for the AfD reflects not an expectation that the existing system can be improved, but a search for an alternative to the current political order. Such a systemic deficit of trust will be extremely difficult for the traditional parties to repair in the short term. Fourth, a generational shift in political mobilisation has amplified political polarisation. Unlike traditional parties, which rely heavily on offline rallies and mainstream media coverage, the AfD has developed a social-media mobilisation strategy built around “raising an issue — identifying who is responsible — offering a simplified solution — building a shared identity”. It turns complex social tensions into concise political narratives, rapidly channelling public sentiment into political support. The contrast on the eve of the election was particularly telling. The establishment parties, together with trade unions and churches, organised an offline march attended by more than 10,000 people, but its reach was largely confined to those present and to traditional media coverage. The AfD held a much smaller indoor event, yet livestreaming on TikTok, YouTube, and other platforms, combined with the involvement of online influencers, gave it a reach and mobilising capacity far beyond that of the march. The contrast illustrates how the traditional parties’ methods of political mobilisation are increasingly struggling to keep pace with a political environment transformed by changes in media technology. A Microcosm of Structural Political Change in Europe The shockwaves from the Saxony-Anhalt election quickly travelled beyond the state to the federal level. Calls for political accountability followed immediately after the results were announced. The governing CDU and SPD are now under enormous pressure, while Chancellor Friedrich Merz and Vice Chancellor Lars Klingbeil face an unprecedented test. Political polarisation in Germany is no longer simply a regional phenomenon. The post-war model of multiparty government by establishment parties is breaking down and being reshaped. Viewed in a broader European context, the Saxony-Anhalt election is part of a continent-wide wave of party polarisation, mainstream-party decline, and rising right-wing forces. Far from an isolated phenomenon, it is a microcosm of the structural political changes unfolding across Europe. Weak economic growth, cultural tensions over immigration, and declining trust in institutions are fuelling the rise of right-wing forces in several countries, challenging the liberal internationalist order established in post-war Europe. As a core member state of the European Union, Germany’s ability to adapt its political system and the direction of its politics will have profound implications for both European integration and the evolution of the international order. Subscribe [ Pekingnology China’s Germany watchers take stock of Berlin’s uneasy turn On 7 December 2025, nearly 50 Chinese scholars and policy researchers gathered in Beijing for the 2025年德国形势年终研讨会 “2025 Year-End Seminar on the Situation in Germany… Read more 9 months ago · 31 likes · 1 comment · YIRUI LI and Yuxuan JIA ](https://www.pekingnology.com/p/chinas-germany-watchers-take-stock?utm_source=substack&utm_campaign=post_embed&utm_medium=web&embedding_publication_id=1151841) [ Jiang Feng on Germany's 2025 and beyond: no easy exit ](https://www.eastisread.com/p/jiang-feng-on-germanys-2025-and-beyond) Yirui LI and Yuxuan JIA · Jan 24 The following is an op-ed by Jiang Feng, published on 29 December 2025 at Shanghai Observer 上观新闻, the digital platform of Jiefang Daily, the official newspaper of the Shanghai Municipal Committee of the Communist Party of China (CPC). [ Read full story ](https://www.eastisread.com/p/jiang-feng-on-germanys-2025-and-beyond)
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BAR HARBOR—MDI Health celebrated the people and partnerships strengthening local healthcare during its 2026 Annual Meeting and Community Celebration, held September 15 at the Bar Harbor Club. The gathering brought together patients, medical staff, employees, trustees, volunteers, supporters, and community partners to recognize the year’s accomplishments and honor those whose contributions make a meaningful difference across the organization and the communities it serves. “This celebration is an opportunity to recognize the extraordinary people who make our work possible,” said Chrissi Maguire, president and CEO of MDI Health. “Their compassion, dedication, and belief in strong local healthcare can be felt throughout our hospital, health centers, Birch Bay Village, and the communities we serve.” During the celebration, MDI Health presented its 2026 Impact Award to Mount Desert Nursing Association (MDNA), recognizing the organization as Community Partner of the Year for providing compassionate, skilled in-home nursing care across Mount Desert Island, Trenton, and Lamoine. “MDNA extends care beyond our walls, helping people remain safely at home, surrounded by the people and places they know and love,” Maguire said. “Its work lies at the intersection of healthcare and community and strengthens our entire healthcare system.” “For 77 years, MDNA has helped our neighbors recover and remain safely at home,” said Amy McVety, MDNA Executive Director. “Our longstanding partnership with MDI Health helps ensure a seamless transition from hospital to home and the continued care patients need. We are grateful for this recognition and especially proud of our talented, hardworking team.” The evening marked a transition in Board leadership. Martha Wagner, PhD, was recognized as she concluded her term as chair of the MDI Health Board of Trustees. Madeleine Braun, PhD, MBA, was introduced as incoming chair. “It is an honor to build on Martha’s leadership and serve an organization so deeply connected to this community,” Braun said. Individual honorees recognized during the evening’s program included Nancy D’Agostino, MDI Health Volunteer of the Year; George Rossi, Birch Bay Village Volunteer of the Year; Marc Woolfolk, Birch Bay Village Employee of the Year; and Beth Applebee, MDI Hospital Employee of the Year. “These honorees represent the very best of who we are,” Maguire said. The program also highlighted new initiatives and honors from the past year. MDI Health launched a free Screening Mammogram Scholarship Program to remove financial barriers to early detection, supported by a generous grant from the Maine Cancer Foundation. An in-hospital food pantry has been opened to meet rising community need and address the link between nutrition and health. MDI Health earned CMS five-star ratings for Patient Experience and Nurse Communication, top marks in the 2026–2027 Lown Institute Hospitals Index, recognition from the American Hospital Association and American Heart Association, and a third consecutive Best Places to Work in Maine designation. The hospital will open its new Main Entrance this fall, as work advances on the expanded Emergency Department and other patient-care spaces. The Building Our Future Campaign has raised more than $56 million in capital and programmatic support to date. “Everything we have accomplished reflects the strength of this community,” Maguire said. “We are grateful to everyone who has contributed their time, talent, leadership, and support to help MDI Health continue meeting the evolving needs of the region.” Subscribe Share Leave a comment
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