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Business Beat : Branch Area Rescue Coalition annual Spay-ghetti Dinner set for November 14th
COLDWATER, MI (WTVB) - The Branch Area Rescue Coalition (BARC) has announced its 11th Annual Spay-ghetti Dinne...
Saturday Night Open Thread: Can’t Stand *Pats
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Sonoma County issues masking order for some health facilities ahead of flu and cold season
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Business Beat : Annual fall harvest event to benefit “Deputy Sarah Irene Haylett-Jones Memorial Fund”
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Netflix’s Summer of Bummer
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) Today, I’ve got a guest post from longtime friend of the newsletter, Brandon Katz. I’ve been trying to find time all summer to look at Netflix’s straight-to-streaming film slate, but between a pre-planned trip and Nielsen moving up their streaming data timeline, I’ve been swamped. So I reached out to Brandon, one of my favorite fellow analysts, to write about it. And I feel like he captured the tone and data focus of the newsletter perfectly. You can connect with Brandon on LinkedIn and Twitter. Enjoy! Don’t worry, folks. You’re in safe hands with me. To ease any anxieties about an interloper in ESG’s domain, I’ll start by stealing one of his best framing devices: headlines. Box office flops are covered in the same way the Teenage Mutant Ninja Turtles eye pizza: with cartoonish insatiability. I would know. I’m a former reporter who wrote nearly identical headlines: Yet, intentionally or not, streaming misses get treated with kids gloves, filtered through a rosy lens: In the last six years, U.S. streaming viewership has become nearly as transparent as the box office, but the data often arrives weeks later, in a number of less intuitive metrics, and with nary an official budget to be found. This plays into the Wall Street-whispering narratives major streamers have been cultivating for years. They get a pass in a way that theatrical studios simply don’t. Subscribe Netflix’s Summer Slate Not a single Netflix original film released between May and August this year opened above 20 million U.S. TV hours, per Nielsen. That benchmark usually serves as the EntStrategyGuy’s floor for a streaming hit on Netflix. None of these films enjoyed a hit-cementing single week of 20-plus million hours during their runs. Netflix’s two best films were true crime docs, Maternal Instinct (16.5 million hours) and The Crash (19.7 million), the best overall week for a film this summer. Great for most other streamers, but not necessarily what we’re used to seeing from Netflix. For an overly-dramatic comparison, Happy Gilmore 2 opened last summer to around 47 million hours (celebrity cameos, baby!). Zooming out, the picture looks even worse. In 2026, Netflix’s five biggest scripted summer films posted the lowest average (28.6 million hours) and median (28.8 million hours) eight-week viewership totals of the past four years. Now, it’s unrealistic and unfair to expect Netflix to deliver a _KPop Demon Hunters-_sized hit every year. But it’s also not ideal to see the size of their hits shrinking over the last few summers. Let’s quickly run through some of the notable summer misses. Jennifer Lopez and Brett Goldstein’s perfectly fine romcom, Office Romance, fell off the charts after 20 million hours in its first two weeks. Top films usually last for four-plus weeks. Starry titles ideally don’t decay that fast either. Homegrown star Millie Bobby Brown couldn’t prevent the snappy Enola Holmes franchise from diminishing returns. At 14.3 million U.S. hours, the third film posted roughly half of what the first two films did in their first two weeks. What’s on Netflix calculated that per-day global views were down nearly 60% from the second movie. The Whisper Man did okay with more than 36 million hours over its first four weeks. But I expected a little more juice from a film featuring Robert De Niro, Michelle Monaghan, and Adam Scott. Kevin Hart’s Ladies First collected just 11.2 million hours total across two weeks. That’s a big miss for one of Netflix’s go-to stars. Plopping into the same bucket are Sunny Sandler’s Don’t Say Good Luck (10.3 million in two weeks) and John Cena’s Little Brother (17.5 million). Meanwhile, English-language originals Color Book (June 19), In the Hand of Dante (June 24) and Heartstopper Forever (July 17) never sniffed Nielsen’s Top 10 at all, despite needing only 2 to 5 million hours to land in the top ten most weeks. (By my count, eleven English-language scripted original films released between May and August did chart). It’s only fair to mention that Swapped (1-May) posted nearly 42 million U.S. hours over five weeks (the longest Netflix original run this summer) and is currently their eighth most-watched English-language film ever worldwide. Remarkably Bright Creatures (37 million, 4 weeks) and Voicemails for Isabelle (27 million, 4 weeks) weren’t bombs either. Still, overall, I think it’s fair to say this was a quieter summer season than we’re used to seeing from the market-leader. You might not realize that given the language commonly used in public analysis. The Twist Despite the starkly black-and-white tone of the coverage, here’s the twist: when many box office bombs arrive on streaming, their viewership looks a whole lot like many of Netflix’s supposedly successful summer releases. Hmm, where have we heard that one before? Masters of the Universe topped out at $65 million stateside against a $170 million budget_._ I’ll admit, Skeletor ripping sleeveless curls as a gym bro and bodyslamming Adam’s co-workers was funny. But, much to the chagrin of my bank account, my laughter doesn’t launch franchises. Yet the He-Man reboot opened to 19.6 million hours (from a Wednesday five-day opening instead of just one weekend), on par with Hoppers on Disney+ (19.4 million). It put up nearly 47 million hours over its first six weeks, bigger than all of Netflix’s summer releases. Pretty darn healthy and likely to land among the 25 most-watched movies on streaming this year. Sticking with Amazon, The Sheep Detectives just barely broke even at the box office with $133 million worldwide (and only $66 million domestic). I never expected cloven-hooved, cud-chewing mammals to be able to bring me to tears. Yet that’s exactly how I found myself at the end of this surprisingly affecting movie (#NoShame). It was likely the unexpected quality in a family-friendly film that powered its streaming over-performance. Sheep Detectives delivered a solid run for Prime video netting 26.2 million hours! How about franchise IP? Star Wars: The Mandalorian & Grogu had the lowest opening ($81 million) and lowest-grossing Disney-era live-action Star Wars film ($178 million domestic). One day before release, its Heat score (19.8%)—audiences who list their interest as a 7/7—fell behind blockbusters Wicked (21%), Superman (23%), Fantastic Four: First Steps (23%), Michael (23%), Toy Story 5 (26%) and Avatar: Fire and Ash (27%), according to Greenlight Analytics. The urgent enthusiasm just wasn’t there. On streaming, Mando opened to weeks of 12.1 million, 6.1 million and 2.7 million hours (21 million total) over its first three frames. Not the numbers Lucasfilm was hoping for nor the numbers of a streaming hit. But they’re in the same vicinity as some Netflix summer releases with $345 million at the global box office to offset a smidgen of the pain. Final Thoughts So why oh why does this nuance gap exist? Four key reasons: Data Literacy: A “$100 million opening” just makes sense. After decades of box office reporting, even casual movie fans are well-versed in the benchmarks of hits and home runs. There’s an immediate shorthand. But “16.5 million” hours doesn’t land nearly as cleanly. Despite leaps of progress, the streaming ratings era is still in its infancy compared to theatrical. The EntStrategyGuy and I met thanks to a late 2010s group chat of data nerds hungry to find a shred of certainty in nebulous streaming performance. I’m not surprised to see “No. 1 on Netflix” still getting misconstrued out in the wild. Timing: By Friday morning, we have the box office’s Thursday night previews totaled, allowing us to better project the weekend’s expectations. From there, ticket sales are reported daily. By Sunday, the film’s fate is usually finalized, at least in terms of public perception. In streaming, Nielsen recently improved its delay to…two weeks. The medium isn’t forced to contend with instant gratification as harshly. Financials: Theatrical film budgets are a mere Google away. Profit and loss is calculated in the cold and unforgiving naked light of day for all to see. But finding the vast majority of streaming exclusive movie budgets requires the forensic investigation skills of a Criminal Minds detective. Also, it’s very difficult to calculate how much revenue/value a straight-to-streaming films provides a streamer. This is why there are so few stories about streaming original movies “losing X amount of money”. On top of that, marketing budgets are far greater for theatrical movies than streaming exclusive movies, which leads to earlier and better awareness. This then translates to a wider pool of potential interest. Narrative Control: Netflix is the only major streaming service to publish weekly first-hand viewership data and annual engagement reports. Naturally, some headlines borrow their first-hand framing**.** Other streamers benefit from their comparative lack of transparency. They may occasionally announce vague performance platitudes such as Apple TV’s Mayday becoming its “biggest film debut on the platform to date over its first 18 days,” and that it ranked No. 1 with left-handed viewers in its first weekend. (Fine, I made up that second one). But, for the most part, they keep first-hand viewership shrouded in mystery to avoid bad press. Especially for outlets that demand multiple articles per day from their writers, it’s an easy (and understandable) way for some reporters to hit their daily article quota by just repeating what the streamers have told them. TL:DR version: Streaming-exclusive movies are asked to do different things than theatrical movies, but that doesn’t mean they should escape judgment. Both still need to draw enough eyeballs to justify their cost within the proper performance contexts. The more cleanly we can inject a little nuance into streaming analysis, the better we’ll understand the audience and content trends that drive this industry. And that’s what all of this is really about: knowing what audiences actually want! Brandon Katz is the Director of Insights & Content Strategy at Greenlight Analytics where he focuses on evaluating the ever-fluid media landscape to unearth understanding, opportunity and value. Greenlight Analytics is the entertainment intelligence consulting company redefining how Hollywood finds, understands, and activates audiences. Prior to joining Greenlight Analytics, he served as the senior entertainment industry strategist at Parrot Analytics, and as a full-time entertainment industry reporter covering the Xs and Os of Hollywood, most notably with TheWrap and the Observer.
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“SNL”’s Ashley Padilla debuts ‘totally normal’ take on Trump aide Natalie Harp in cold open
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Health-related product delivery on the horizon for Ohio State’s Grubhub Rovers
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Scientists stunned: the red-footed tortoise may actually have an optimistic mindset - Futura-Sciences
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Toy Story 5, Backrooms and The Breadwinner Vie to Become the Second Biggest Film This Year...
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Often, people blame “data” for ruining Hollywood, when I’d argue that hype (which can often be debunked by data) is often worse, as you can see in these two headlines. To use a common meme, here’s how it started: and how it’s going: Earlier this year, I read countless (and I mean countless) articles (in almost every mainstream media outlet) about how Heated Rivalry was a huge hit and that it “heated” interest in hockey. But Heated Rivalry wasn’t a huge viewership hit compared to the hype: [ ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) [ You Can’t Eat Buzz…Did Heated Rivalry’s Buzz Translate into Actual Viewership? ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) Entertainment Strategy Guy · Jan 22 [ Read full story ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) In this case, the hype (Heated Rivalry is really popular) belied the data (It didn’t make the top ten charts, meaning it wasn’t a huge hit.1) Even worse, every time I write about this, I get a lot of negative feedback, hence why I only sparingly mention the show these days or add lots of caveats when I write about it, but this just further cements the hype. But companies, and the executives leading them, have to determine strategy based on reality, not media coverage. The NHL committed real marketing dollars to a campaign that didn’t work. Sure enough, the latest NHL season opened to under a million viewers. At some point, you have to focus on what the data says, because real dollars are at stake. And that’s why we have the Streaming Ratings Report! To provide and analyze cold, hard data. Luckily, this week, I can be positive and take a look at a huge opening on streaming, along with a very buzzy horror film that customers kind of like, but don’t really love. And a comedy that tried to rebound on streaming. Today, I’m covering two weeks—21-Sep and 28-Sep—so we have a lot to discuss (nearly 5,000 words worth), including a series of film misses for Netflix, another argument for weekly-released TV shows on streaming, another sitcom tries to avoid the comedy curse, Netflix has two new game shows (one powered by AI), Reacher falling off the charts after a huge run, Prime Video tries its hands at the romcom game**,** a look at the WNBA’s big season, a big night for the VMAs on CBS and MTV, all the flops, bombs and misses, and a whole lot more. (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 14th to October 4th, 2026. You can find a link to my terminology here.) Subscribe Film - Two Hits and a Miss Come to Streaming… Three very interesting films came to streaming in one week, and I like comparing them since they show the range of theatrical films. One was a huge blockbuster, one was popular, and one was neither. One is a horror film, a buzzy genre; one is a comedy, a struggling genre; and one is an animated family film, the king of the box office. One went to a tiny streamer (HBO Max), one went to a second-tier streamer (Disney+), and one went to the biggest (Netflix). So… If you just went by box office, you’d expect Backrooms—the $197 million grosser, and partner of Obsession for “YouTube Horror Summer”—to dominate on streaming. If you read this report, though, you know that horror films don’t do great on streaming, and that’s the case again. Backrooms opened at 3.8 million hours according to Nielsen, and had 3.9 million hours in its second week. Here’s how that stacks up to other HBO Max films: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… ...why I don’t buy Backrooms budget… …two new games shows arrive on streaming… …another sitcom struggles… ...another argument for putting out shows weekly on Netflix... ...and a whole lot more, nearly 5,000 words more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Next week, I’ll be taking a look at the eighth season of Hulu’s The Kardashians, answering the question: will this show ever make the charts? If Mormon wives can make it, surely one of social media’s most popular families can as well. Also, Prime Video has a new horror show based on popular IP, Carrie, Netflix has a horror show starring Josh Hartnett, Below, and Apple TV has a UK import, Small Prophets. Plus a bunch of movies like Disclosure Day heading to Peacock, The Housemaid coming to HBO Max, Ben Affleck’s latest on Apple TV, Animals, and Matchbox the Movie on Apple TV, a John Cena action comedy inspired by Hasbro’s toy cars. The week after is even busier! I’ll look at another IP-based horror show, Crystal Lake, a new MCU show on Disney+, VisionQuest, season two of The Lowdown on FX/Hulu, the fourth seasons of The Diplomat on Netflix and Tulsa King on Paramount+, another season of Love is Blind, and four straight-to-streaming films: Netflix’s Sacrifice (starring Chris Evens, Anya-Taylor-Joy, Vincent Cassel, John Malkovich, Salma Hayek. Charlie XCX), Apple TV’s Tenzing (starring Tom Hiddleston and Willem Defoe), Prime Video’s Love of Your Life (Margaret Qualley) and Masterplan (Stanley Tucci) and a whole lot more, somehow. Long term, here’s some huge IP news: a Game of Thrones movie is coming to theaters, Game of Thrones: Aegon’s Conquest in 2029, while Jon Watts (who helmed three of the most recent Spider-Man movies) is directing the next Star Wars trilogy, to be written by Simon Kinberg. I’m cautiously optimistic for both. It feels obvious to say that making good movies matters, but for bets this big (Star Wars is on a swoon, Game of Thrones hasn’t been to theaters yet), the quality has to be there.
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Woman allegedly hit business owner with a closed fist when he tried to stop robbery
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Engrams Embedding Entendre: Codesign for Efficient DRAM/SSD Offloading
Engram extends standard token embeddings with learned multi-token lookups. Recurring local patterns retrieve vectors directly, reducing the need to reconstruct them through attention and feed-forward layers. With Engram model architecture optimization, it allows for lower HBM capacity to be needed for models at the same quality. This does not mean there won’t be an insane demand for HBM but it just means that model architecture will continue to innovate around constraints. This model architecture design is naturally codesigned for parameter offloading: each token accesses a few embedding rows whose addresses depend on token IDs, not hidden states. The runtime can prefetch those rows from host DRAM while earlier layers compute, keeping the table outside HBM without transferring entire weight matrices. Our Memory model contains our latest estimates of quarter by quarter HBM, DRAM, & NAND supply and demand. Offloading frees HBM for model weights and KV cache, potentially supporting larger batches or more concurrent sessions. When DRAM becomes the next constraint, NVMe offers another tier. Recommendation systems already cache frequently or recently accessed embedding rows in faster memory while backing colder rows with SSDs. After NVIDIA roadmap had to change due to massively despec’ing Rubin Ultra from 1024GB to now ~200GB of HBM per chip, model architecture optimizations like emgram maybe helpful. Our DeepSeek-V4.1-Flash configuration uses roughly 189 GiB of memory for Engram. We replace it with a memory-mapped (mmap) file and measure serving performance with offload to SSD. Later on in our report, we will show our Engram offloading experiments along with the official InferenceX agentic inference serving results on Engram models like DeepSeekv4.1 Flash across all 6 NVIDIA GPU SKUs along with MI355X. Unsurprisingly, the CUDA Moat is still mogging MI355X on the ultra popular DeepSeekV4.1 Flash model. We also show how even on high capacity HBM SKUs, offloading emgrams to DRAM could result in even better performance for most of the pareto than keeping the emgram in HBM. Our benchmark has been widely reproduced, validated and/or supported by almost every major buyer of compute from Google Cloud to Microsoft Azure to Oracle, to Meta and many more. Furthermore, it has the support of the ML community including from vLLM, LMCache, SGLang, PyTorch, Huggingface and the support of major labs like OpenAI, MiniMax, ZAI, Qwen, Moonshot Kimi, etc. Star the InferenceX GitHub repository if you find the open-source benchmark and data useful!. InferenceX is the only inference benchmark in the world to have TPUv7, Jalapeño, Nvidia Rubin NVL72, AMD, and soon, SambaNova and Trainium. Due to how realistic AgentX scenario is to real world agentic inference workloads, AMD has committed to collaborating on MI455X UALoE72 too. DeepSeek did not release the original paper’s two trained Engram models. We replicated its setup on fineweb-edu using the released code and training hyperparameters, at an estimated 6E18 FLOPs per run. We observed the same U-shape scaling: Engram improved performance over pure MoE baselines. We also reproduced DeepSeek’s results, where earlier-layer representations with Engram resembled those of later layers. Like the original Engram paper, it is possible to probe Engram’s gate scores to see what n-grams DeepSeek-V4.1-Flash makes the most use of. Our gate scan finds names, code fragments, relational phrasing, and boilerplate. These examples prioritize interesting-ness over gate strength. One unexpected result was Wright : Ace Attorney. These examples suggest learned memory optimizes the training objective, not a judgment of which facts deserve storage. Licenses, bibliography fragments, API scaffolding, and website furniture can provide prediction shortcuts, so the value of additional Engram capacity may depend on what survives data preparation. This does not show that table capacity is “wasted”: the evaluation-corpus scan establishes neither training exposure nor the capacity occupied by each category. For offloading, strong gates do not identify cache-hot rows. Low gates do not automatically save reads either: computing the gate requires the retrieved key and undoes the performance gain of a fused kernel. Skipping reads would require a separate usefulness predictor before retrieval. In the original paper’s inference-time ablation, factual-knowledge benchmarks retained just 29–44% of their original performance, while reading comprehension retained 81–93%. This is due to the training–inference mismatch. The resulting degradation therefore measures this trained model’s dependence on Engram, not the performance difference between models trained with and without it. In our ablations, suppressing Engram worsens token likelihood across all evaluated domains, especially encyclopedia text and several code corpora. Surprisingly, GSM8K accuracy stays within measured run-to-run variation and removing Engram has no effect. Engram is not a detachable dictionary beside an unchanged MoE. Removing it changes downstream features and expert selection. We tested whether rerouting hurts or compensates by holding tokens fixed in a teacher-forced experiment on CRUXEval, a code-reasoning benchmark of small Python functions where the model predicts a function’s output from its code and an input, and scoring the reference answer. Removing Engram raised answer loss from 0.2848 to 0.3093 bits/token. Forcing the ablated model to use the original Engram-on expert choices made it worse still, at 0.3375 bits/token. Rerouting partially compensates for the missing memory. Memory features and expert selection work together, rather than following a clean “memory stores facts; experts reason” division. On the same CRUXeval, removing Engram during either phase reduced accuracy and increased generated tokens; removing it throughout produced the largest changes. Keeping Engram for prefill leads to more correct answers than keeping for decode likely due to semantically richer KV cache transferred to decode workers, allowing it to mitigate some of the performance loss. Engram’s table is large, but each lookup is small. DeepSeek-V4.1-Flash requests 24 rows at each of two Engram layers, about 12.4 KiB per processed token position across the model, or 3.1 KiB per GPU when split across four GPUs. Currently as of Day 7 since Model Release, MI355X is still 2-4x worse performance per dollar compared to B200 even when normalized by Mi355X’s lower TCO. Our full total cost of ownership breakdown comes from our AI Cloud TCO Model along with monthly market surveys of over 100+ gpu clouds & gpu cloud customers. On the Day 0 release of DeepSeekv4.1 Flash, NVIDIA vLLM works out of the box with zero issues across all 6 SKUs: H100, H200, B200, B300, GB200, GB300! This was thanks to the amazing work by the NVIDIA & Interact teams! In comparison, AMD vLLM did not work on day 0 for DeepSeekv4.1 Flash.Source: SemiAnalysis InferenceX AMD’s vLLM documentation points to using vllm/vllm-openai-rocm:deepseekv41-flash-0909, but from hour 0 of the model release to hour 23, AMD has not publicly released the image. AMD claims, “SPEED IS THE MOAT,” yet it has still not released it by the 23rd hour. We wish that, going forward, the AMD team has a better process for hour 0 model releases. Eventually when they did publicly release for “day 0” image support, performance-wise, it is currently up to 14.8x worse perf per dollar than H200 and up to 42x worse perf per dollar than B200/B300. The power of the CUDA MOAT is NVIDIA’s collaboration with its massive 6 million-developer community ecosystem including most of the vLLM & SGLang & Tokenspeed maintainers which means that CUDA is optimized on day 0. Overall, AMD did make significant improvements but the performance per dollar is still currently 2-4x worse than B200. AgentX Engram DRAM Offloading Improving Performance The HBM and DRAM offload use the same GPU kernel to select and dequantize rows. With HBM, it reads GPU memory; with Unified Virtual Addressing (UVA), it reads pinned host memory directly. Both support full decode graphs. Moving the table into HBM accelerates only the sparse lookup, leaving decoder computation and communication unchanged, resulting in little overall benefit while consuming memory otherwise available to KV cache. Another benefit of Engram offloaded to DRAM which means you can reduce the communication overhead by using less HBM GPUs per replica. For example, when enabling Engram offloading on B300, we are able to switch from TP4 to now TP2 which improves the pareto curve by up to 1.6x. When iso-model quality, less HBM is required as the engrams could be offloaded to host DRAM. Thus HBM bandwidth matters way more than HBM capacity. For inference workloads where memory bandwidth matters the most, 4-hi HBM provides the best $/bandwidth and therefore lowest cost per token. If China continues to make more and more revolutionary model architecture innovations, soon it could potentially 0Hi HBM stacks. [ ](https://newsletter.semianalysis.com/p/long-live-the-short-king-why-4-hi) [ Long Live the Short King: Why 4-hi HBM Wins ](https://newsletter.semianalysis.com/p/long-live-the-short-king-why-4-hi) Myron Xie, Bryan Shan, and 3 others · Sep 13 [ Read full story ](https://newsletter.semianalysis.com/p/long-live-the-short-king-why-4-hi) Moreover, on B300 and week-0 stack, moving the Engram table back to HBM did not improve results and stay within run-to-run variance. This is a result of the work optimizing DRAM offload, such as async, and overlap. SSD Offloading On B200, we created a unoptimized vLLM fork and stored the Engram tables in memory-mapped files on local SSDs. File backing lets the OS reclaim table pages when other applications need RAM. Pages already cached in memory can be served without reading the SSD again. Furthermore, note that we were unable to turn on GDS The unoptimized SSD implementation changes how rows reach the GPU. It copies row IDs to the CPU, deduplicates them, gathers the requested rows into pinned buffers, copies those rows back to the GPU and dequantizes them. This work runs between segments of the GPU execution graph. Native UVA performs row selection and dequantization directly on the GPU, avoiding the CPU round trip. A warm filesystem cache removes physical SSD reads, but leaves the coordination, row gathering and transfers. This is why a file already cached in RAM can still perform worse than a pinned DRAM table. The comparison measures the whole serving path; it does not separate the time spent on each of these operations. B200 DRAM dominates both measured SSD serving curves in total tokens per dollar and P90 interactivity. Near 125 tokens/s/user, DRAM delivers 121 million total tokens per dollar versus 52 million for SSD. For production serving, SSD offloading is likely not worth the tradeoff. On the B200 configurations we measured, SSD offloading loses on both measures: every observed SSD point has a DRAM alternative that delivers higher P90 interactivity and more total tokens per dollar. The only points where Cheaper storage does not automatically produce a cheaper inference service. Moving Engram to SSD leaves the same four expensive GPUs and the rest of the server in place. Reclaiming RAM only creates an economic benefit if it enables a cheaper server configuration or additional useful capacity. The current unoptimized path provides neither benefit, and the filesystem cache still consumes RAM when table pages are resident. Next we will look at the mechanisms and specific implementation of ngrams from DeepSeekv4.1 Flash, LongCat, Qwen3.8 Flash Next.
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Truth and Politics in the Age of Post-Truth
Get E-International Relations delivered to your inbox, free of charge. As you sign up, consider becoming a paid subscriber, or make a donation, to support our work. Subscribe This is an excerpt from Global Politics in a Post-Truth Era. You can download the book free of charge from E-International Relations. The term post-truth is by now so ubiquitous in describing the state of politics in the Western world and even beyond that the most pressing issue of the day appears to be about making democracy work in the era of post-truth rather than questioning the normalisation of the term itself in the first place. The critical turning point appeared to have occurred in 2016 when the term was chosen by the Oxford English Dictionary as ‘The Word of the Year.’ On its website, the Dictionary notes the transformation of post-truth from ‘being a peripheral term to being a mainstay in political commentary and connects ‘the spike in frequency’ directly with the Brexit referendum in the United Kingdom and the election of Donald J. Trump in the United States – both occurring in 2016. Paired with the noun ‘politics,’ post-truth is defined as an adjective ‘relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief.’ The Oxford English Dictionary traces the first use of the term to a 1992 essay in The Nation by the playwright Steve Tesich as he reflected on the 1980s Iran-Contra scandal and the 1990–91 Gulf War: We are rapidly becoming prototypes of a people that totalitarian monsters could only drool about in their dreams. All the dictators up to now have had to work hard at suppressing the truth. We, by our actions, are saying that this is no longer necessary, that we have acquired a spiritual mechanism that can denude truth of any significance. In a very fundamental way we, as a free people, have freely decided that we want to live in some post-truth world (Tesich 1992, 13; emphasis added). He then continued, The Gulf War is over but the war at home goes on. The gulf between rich and destitute widens – between those of us who live in a modern post-industrial nation and those of us who live in the Third World countries of our inner cities. The present administration’s response to this internal crisis has shifted from benign to malignant neglect. The current levels of misery and decomposition of our cities and the economic gulags of our ghettos are acceptable. Since there is only so much hope to go around, there is a freeze on hope. The have-nots have now been reclassified as never-will-haves (Tesich 1992, 13). In the context of Tesich’s essay, truth includes both facts, as in what happens, and ‘moral absolutes,’ as in the ‘self-evident truths mentioned in our Constitution’ (Tesich 1992, 14). Together, these two notions of truth entail the obligation to both act and react. The two passages cited above show that even in the early post-Cold War years, Tesich was already deeply concerned that the American people are neither prepared to act on truth nor react to truth that is disconcerting, or what he calls ‘bad news’ (Tesich 1992, 12). Accordingly, Tesich’s insight as captured by the term post-truth is not that truth is irrelevant to what we know, but rather it is irrelevant to how we act. In contrast, ‘post-truth politics,’ as defined by Oxford as a term that pitches ‘objective facts’ against ‘emotion and personal belief’ such that the latter appears to have overtaken the former in shaping ‘public opinion’ and thereby, democratic politics. When Tesich’s post-truth politics and its current usage are juxtaposed, the two are in fact not identical in terms of what truth is and how it relates to politics. Against such consideration, this chapter provides a critical survey of selected historical events and theoretical considerations for the purpose of gaining a more nuanced understanding of the relation between truth and politics. Truth and Language One notable impact of post-truth politics is that language is being overtly deployed as a political weapon not only by politicians and those in power, but among the general population. It seems that once facts are irrelevant to the validity of what is being said, language becomes the platform for an all-out political contest in which what is said is no more than an act of will expressed as an assertion of power and/or an exercise in defiance. As early as in the writings of Thucydides (460–400 BCE), the vulnerability of logos – which is the human capacity for rational discourse in tumultuous times – was already noted. Thucydides belonged to a school of Greek thought which maintained that language is conventional and that the association between name and things is a result of ‘human use and habit’ rather than ‘nature or divine dispensation’ (Connor 1984, 99). The conventional nature of language means that it is incapable of providing its users with any independent criteria for judgement. In Thucydides’ study of the Peloponnesian War (431–405 BCE), the subversion of logos as seen in the manipulation of language was introduced through his account of the civil war in Corcyra (Thucydides 1972, 236-245). The war first broke out in 427 BCE between the pro-Athenian democratic faction and the pro-Spartan oligarchic faction before it spread to the rest of the Greek world. There was a general breakdown of law and order, resulting in extreme violence and death. Language underwent changes that were reflective of the events of the time. The English philosopher Thomas Hobbes (1588–1679) translated Thucydides’ description of the situation as follows: The received value of names imposed for signification of things, was changed into arbitrary. For inconsiderate boldness, was counted true-hearted manliness: provident deliberation, a handsome fear: modesty, the cloak of cowardice: to be wise in everything, to be lazy in everything... he that had been so provident as not to need to do the one or the other, was said to be a dissolver of society, and one that stood in fear of his adversary. In brief, he that could outstrip another in the doing of an evil act, or that could persuade another thereto that never meant it, was commended (Hobbes 1839–1845, 8: 348; Thucydides 1972, 242-243). What concerned Thucydides most was that the meanings of words are no more than linguistic conventions that require logos to support them. The Corcyrean civil war was a reminder that such capacity cannot be assumed. This is why history understood as an authentic account of what happens matters. Guided by logos, the historian’s task is ‘the search after truth’, which is established through ‘the absence of the fabulous,’ including ‘the rejection of myth and unverifiable stories’ (de Jonge 2017, 2). Thus, history plays an important role in facilitating the stability of language – without which distinctions and judgements cannot be rendered communicable. Just like Thucydides, Hobbes was a nominalist who subscribed to the view that there is no inherent meaning to words. Hobbes’ state of nature, where there is no common authority, is precisely one in which distinctions cannot be made. As Hobbes put it, there is ‘no Mine and Thine distinct’ nor is there distinction between ‘the notions of Right and Wrong, Justice and Injustice’ (1968, 188; emphasis in original). This is clearly an unsustainable condition for everyone. Behind Hobbes’ famous words that life in the state of nature is ‘solitary, poor, nasty, brutish, and short’ is his uncompromising argument for the ‘Leviathan’, which is described by the late American political theorist, Sheldon Wolin (1922–2015), as the ‘sovereign definer’ (Hobbes 1968, 186; Wolin 2004, 238–243). Accordingly, the social contract is importantly a ‘linguistic contract’ that binds all parties to ‘general names agreed upon’ (Peters 1979, 125; Hobbes 1968, 111). Through Thucydides and Hobbes, we can identify a line of thinking that sees politics as a contestation over the use of language, which is based on shared conventions and norms. Thus understood, politics is not a collective quest for the true nature of our being or an epistemological exercise in pursuit of true knowledge. Rather, politics is about humans living with one another by finding a shared language to communicate with one another on matters that affect them all. Truth is in that sense contingent on what is being said as opposed to setting the standard for it. In other words, truth is the embodiment of shareability among us. While truth as such ensures the viability of a political entity, truth by no means represents a normative standard to adjudicate among contesting actors in what they say, let alone in what they do. During Thucydides’ times, ancient China was also experiencing a tumultuous time as the ruling Zhou dynasty deteriorated into the period of the Warring States (481–221 BCE). This was when the rulers of Zhou no longer presided over the territories brought under its control through conquest. Instead of professing allegiance to the Zhou royalty, the lords of these territories became kings themselves to rule over their own land. The period was one marked by endless military campaigns as each of the seven major states aimed to conquer the rest (Lewis 1999). Yet, the period was also known for its intellectual vibrancy as different thinkers challenged the restoring of order among these warring states – including offering ideas and advice to rulers on good governance. Among these thinkers was Confucius (551–479 BCE). His thought, which came to be known as Confucianism, went on to become the state ideology of China from the Han dynasty (206 BCE–222 CE) until the end of the Qing dynasty in 1911 when China became a republic. The founding text of Confucianism was the Analects, which is a collection of dialogues between Confucius and his students as recorded by them. One key concept Confucius advanced is the ‘rectification of names’. Though the term only appears in one exchange in the Analects, it is considered a major aspect of Confucius’ thought. Generations of Confucian scholars from past and present, including Western academics, have debated over its interpretation (Makeham 2003). The passage in question reads as follows: Zi Lu said: ‘The monarch of the state of Wei wants you to govern the country, what is the first thing you plan on doing?’ Confucius said: ‘First it is necessary to rectify the names.’Zi Lu said: ‘Is that really what has to be done? You are being too pedantic, aren’t you now? How will you rectify these names?’Confucius said: ‘Zhong You, you are too unrefined. A gentleman, faced with a matter that he does not understand, takes a skeptical attitude. If names are not correct, one cannot speak smoothly and reasonably, and if one cannot speak smoothly and reasonably, affairs cannot be managed successfully. If affairs cannot be managed successfully, rites and music will not be conducted. If rites and music are not conducted, punishments will not be suitable. And if punishments are not suitable, the common people will not know what to do. So, when the gentleman uses names, it is necessary to be able to speak so that people understand. If one can say it, one can definitely do it. A gentleman should not be careless with words’ (Analects 13:3 in Cao 2016, 148). This translation is offered by the contemporary philosopher Cao Feng. As Cao notes, the passage is what started the whole debate over ‘exactly what kind of names did Confucius... wish to rectify’ (Cao 2016, 148). Of the three major groups of interpretation examined by Cao, beginning with classical Confucian scholarship, one is arguably the most influential and certainly most pertinent to the issue of language and politics. This is the interpretation that was first associated with the Neo-Confucian master, Zhu Xi (1130–1200), who argued that the ‘rectification of names is simply the rectification of politics’ (Cao 2016, 149). Within this interpretive framework, rectification has the dual functions of correction and prescription by ensuring that predetermined hierarchical roles are strictly adhered to through following ‘the system of rites and propriety’ (Cao 2016, 151). In addition, the rectification of names entails ‘using names to rectify actuality’ (Cao 2016, 151). Yet Cao rejects this whole body of interpretive works by arguing that these were ideas developed later. Instead, Cao suggests the following: The original meaning of Confucius’ rectification of names may, then, be quite simple. Confucius did not mean to establish a concrete, normative system of “names”; rather, Confucius was simply the first person in history to realize or remark upon the importance of language in politics. As a politician, he noticed and foresaw the impact that the indeterminacy, ambiguity, and arbitrariness of names would have on politics. Confucius recognized the political consequences of language’s not accurately expressing meaning or not being accurately received by people. He realized the great role that names, as a means of distinguishing right and wrong and establishing norms, could play in society and politics (Cao 2016, 168). Scholarly debates aside, Cao’s view has the advantage of identifying an interpretation of this controversial exchange in the Analects that enables its readers to extrapolate from it the observation that the meaning of words depends as much on their users as on their interpreters; neither of which can be predetermined. Accordingly, a good ruler is someone who can speak without ambiguity to his subjects and make good his words through actions. Stated differently, Cao’s view on what concerned Confucius then, who was living through times of protracted political upheaval, is that language is an indispensable political tool for those in power and can be deployed by both good and bad rulers alike. To sum up, this historical survey shows that politics as a war of words is by no means a distinctive marker of contemporary politics nor the Western world. Be it ancient or current, east or west, language is subject to manipulation to serve political purposes and when there is an outright war of words that defies existing norms, it is indicative of a political situation in which people no longer share a language and truth becomes irrelevant. Accordingly, political order entails stability in language use. Truth and Politics As previously noted, current use of the term post-truth as an adjective to the term ‘politics’ suggests that once there was a time when politics aligned with truth. Indeed, if we start with Plato’s Republic as the key founding text of Western political thought, we see that the ideal polis (city-state of ancient Greece) is where truth and politics converge, and justice is achieved. Written around 380 BCE when Athens was still coping with its defeat by the Spartans in the Peloponnesian War, the Republic is a defence of the rule of the ‘philosopher king’, defined as someone who is ‘guided by the truth’ and is ‘always and in every way’ in pursuit of the truth (Plato 1974, 490a). For Plato, truth converges with virtues and hence, letting the philosopher take charge of politics is to let the wisest and the most virtuous lead the less wise and the less virtuous even if it requires compulsion (Plato 1974, 499b). In Plato’s words, ‘…until the philosophers attain power in a city there will be no respite from evil for either city or citizens…’ (Plato 1974, 501e). The uncompromising rule of philosopher-kings is made palatable by the claim that we are all ‘earth- born brothers’ with random mixtures of gold, silver, bronze and iron, but only the gold can rule (Plato 1974, 414–415). Understandably, academic debates over the interpretation of Plato’s Republic revolve around the question of whether truth as attained in philosophy can be realised in politics as action and whether such a connection is even desirable. Without getting into the details of these scholarly exchanges, I suggest that they all share the concern that truth acquired through the rigorous process of philosophical reasoning is not without problem when applied to the real world of living humans. This is because not all humans are philosophers – and indeed, in Plato’s view, not everyone is capable of becoming a philosopher given the protracted and arduous training that one needs to endure to become one. Hannah Arendt (1906–1975), a highly influential political philosopher of the twentieth century, notes that ‘Plato was the first to introduce the division between those who know and do not act and those who act and do not know’ and that such a separation has remained ‘at the root of all theories of domination’ (Arendt 1958, 223, 225). What Arendt points out in this remark is not the gap between theory and practice, but rather that Plato provides the normative ground for those who know the truth to tell those who do not know what to do. Arendt herself took on the challenge of understanding the relationship between truth and politics through her analysis of Nazism and Stalinism. Arendt’s insight, which was controversial when The Origins of Totalitarianism was published in 1951, was to identify Nazism and Stalinism as representative of a new form of political rule – totalitarianism – making it distinct from ‘other forms of political oppression... such as despotism, tyranny and dictatorship’ (Arendt 1973, 460). Arendt defines totalitarianism as a self- contained system of ideas driven by their ‘logic’ and marked by a mode of reasoning called ‘ideological thinking.’ Ideological thinking as such is a distinctive form of political reasoning defined by three characteristics. First, ideological thinking claims to provide a ‘total explanation’ of all historical happenings, encompassing the past, the present, and the future. Second, while ideological thinking is an attempt to account for ‘factual reality’ in its totality, this mode of thinking is paradoxically divorced from reality and experience. This is because experience, being rooted in specificity, is clearly limited in its claim to totality. It follows that as its third characteristic, ideological thinking aims to emancipate thought from the limitation imposed by experience through a ‘specific method of demonstration.’ The method involves arranging facts into an ‘absolutely logical procedure’ that starts from an ‘axiomatically accepted premise’. It is, in short, a ‘process of deduction from a premise’ – which is the only possible movement in the realm of logic that leads to one definitive conclusion. This is how the ‘logicality of ideological thinking’ provides the basis for total explanation and the ‘principle of action’ for totalitarian movement (Arendt 1973, 468–474). Stated differently, totalitarianism is a form of uncompromising idealism that exists in one’s head irrespective of shared reality as experienced. It is the perverse form of what Arendt later refers to as ‘rational truth’, which is the product of the ‘speculative mind’ that belongs to philosophy, mathematics and the sciences. The ‘speculative mind’ is the mind working on its way to generate axioms and theories by relying on the cognitive capacity of the human brain (Arendt 1977, 231). The presence of others has no bearing whatsoever on rational truth. In contrast, ‘factual truth’ is what happens when humans are ‘living and acting together’ (Arendt 1977, 231). Factual truth is therefore particular and temporal by definition. But more importantly, factual truth is ‘political by nature’ because it can only be validated in the context of the human community (Arendt 1977, 238). In other words, factual truth is about humans in their plurality rather than in their singularity. For factual truth to be sustainable, we need what Arendt calls ‘common sense’ – understood as ‘community sense’ (Arendt 1982, 72). There is also another distinction about truth that Arendt makes which is pertinent to understanding how totalitarianism works. The issue is whether the so-called totalitarian ideology is simply an unnecessarily cumbersome way of saying that it is an all-round and polished lie. Here, Arendt calls totalitarian ideology the ‘modern lie’ – in contrast to the ‘traditional lie’. The latter is restricted by two conditions: that it is a lie about the ‘particulars’ and that it deceives only the ‘enemy’ – which means that the liar is not engaged in self- deception. The modern lie, however, involves a ‘complete rearrangement of the whole factual texture’. It also intends to deceive everyone alike, to the extent that those who initiate the lie eventually ‘fall victims to their own falsehood’ (Arendt 1977, 249–254). This distinction between the traditional and modern lie is important. It indicates that not only is totalitarianism a lie, but the lie is in fact too big to fit into the standard meaning of the word. To tell a lie from truth, we need a common standard. In the case of a traditional lie, the common standard is precisely ‘the fabric of factuality’. As such, a lie always appears as a ‘tear’ to that fabric. Yet, modern lies require making a surrogate reality with a completely different context for facts to fit ‘without seam, crack, or fissure, exactly as the facts fitted into their original context’. Arendt notes that as long as those who concoct the surrogate reality are prepared to engage in self- deception to ‘create a semblance of truthfulness’, there is nothing to prevent ‘these new stories, images, and non-facts from becoming an adequate substitute for reality and factuality’ (Arendt 1977, 253–254). Totalitarianism therefore requires a person to stand outside of the system itself in order to make sense of it. Arendt points out that it is futile for us to argue with (for example) a Nazi or a Stalinist on race or class. To confront totalitarianism requires more than just a confrontation with specific facts. It is a more fundamental confrontation between reality as experienced and its total rejection. This means that Nazism and Stalinism are more than radical ways of conducting racial conflict or class struggle. Rather: Totalitarian politics – far from being simply antisemitic or racist or imperialist or communist – use and abuse their own ideological and political elements until the basis of factual reality, from which the ideologies originally derived their propaganda value– the value of struggle, for instance, or the interest conflicts between Jews and their neighbours – have all but disappeared (Arendt 1973, xv). Accordingly: The ideal subject of totalitarian rule is not the convinced Nazi or the convinced Communist, but people for whom the distinction between fact and fiction (that is, the reality of experience) and the distinction between true and false (that is, the standards of thought) no longer exist (Arendt 1973, 474). Who then is the ‘ideal subject’ of totalitarianism? Although there is a revival of interest in Arendt’s observation on truth and politics since the onset of post- truth politics, not enough has been said about her reply to the question (Hyvönen 2018; Klinkler 2018; Lee 2019; Zerilli 2020). Yet if we take a look at Arendt’s portrait of this ideal subject, her view is even more pertinent to our current challenge. As a self-contained system of ideas that is detached from experience, totalitarian thinking offers consistency in ways that reality cannot. Arendt notes that this kind of consistency is especially appealing to those who have lost a sense of bearing in the world (Arendt 1973, 353). They constitute what she calls the ‘masses’. The ‘mass man’ is thus a highly isolated and atomised individual, who is ‘obsessed by a desire to escape from reality’ (Arendt 1973, 318, 352). In his ‘essential homelessness’ the mass man can ‘no longer bear its accidental, incomprehensible aspects’ (Arendt 1973, 352). This longing for escape from reality is a ‘verdict against the world’ in which one is ‘forced to live’ but ‘cannot exist’ (Arendt 1973, 352). Such a situation is ripe for the ‘revolt of the masses’ against ‘common sense,’ which is ‘the result of their atomisation, of their loss of social status’ and with it, the ‘whole sector of communal relationships in whose framework common sense makes sense’ (Arendt 1973, 352). In short, the masses are people who are considered to be ‘superfluous or can be spared … [who] cannot be integrated into any organisation based on common interest’ (Arendt 1973, 311). Whether one agrees with Arendt’s analysis of the social conditions in the interwar years that led to the formation of the ‘masses’, her portrait of the ‘mass man’ is a powerful account of what can happen to an individual who has become disposable to the society that they used to belong to. Hand in hand with this phenomenon is indeed the collapse of ‘common sense’ that leaves the dislodged individual scrambling for reconnection. By offering the masses a substitute reality validated by the ‘logic of an idea’ rather than by experience, totalitarianism makes it possible for them to live in a world where there is no condition of plurality. Between ‘facing the anarchic growth and total arbitrariness of decay’ and ‘bowing down before the most rigid, fantastically fictitious consistency of an ideology’, the masses will likely ‘choose the latter’ (Arendt 1973, 352). A world created by ideology, then, is more attractive to the masses not because ‘they are stupid and wicked, but because in the general disaster this escape grants them a minimum of self- respect’ by conjuring up ‘a lying world of consistency which is more adequate to the needs of the human mind than reality itself’ (Arendt 1973, 353). Moreover, it is precisely this ability to guarantee consistency that makes it possible for the leaders of totalitarian movements to demand ‘total, unrestricted, unconditional and unalterable loyalty of the individual member’ (Arendt 1973, 323). While this chapter is not a study of the social factors that led to specific contemporary developments such as the result of the Brexit referendum or the election of Donald Trump in 2016, Arendt’s ‘mass man’ seem to have found their counterparts among the supporters of Brexit and Trumpism. Studies of voters’ profiles in both events point to a disproportionate share of supporters from white male lower income backgrounds without university educations. These are individuals who have either already lost their jobs to globalisation or who are at high risk of losing their job with very little capacity to be retrained for the twenty-first century market economy of advanced industrialised states (BBC 2016; Pew Research Center 2018). In short, these displaced workers are part of the tapestry forming the modern equivalent of Arendt’s ‘mass man’ – ready to be the recruits of totalitarianism. Conclusion If we step back to take a more comprehensive approach to the relationship between truth and politics, both historically and theoretically, it is not so obvious that 2016 is a defining moment. From ancient China and ancient Greece to our so-called post-truth age, the indeterminacy of language appears to be a persistent political challenge. Language is always open to manipulation by its users to serve power. Nonetheless, the tendency these days is to single out the ubiquity of social media and the proliferation of Internet platforms as the incubator for the countless cyberwars of words that in turn fuel the real world of politics. In this context, language is no longer the conveyor of objective facts and accurate information, but rather the medium for expressing subjective opinions and feelings, as captured by the Oxford Dictionary’s definition of the term ‘post-truth politics’. In contrast, the historical approach used in this chapter shows that it is in fact too easy to point the figure at the Internet and digital communication for the political challenge that we face today. What is being suggested here is that with or without the Internet, language, be it used to convey facts or emotions, is simply a tool for communication that humans have invented. While language per se cannot adjudicate what is true or not true, what is right or wrong, it embodies such capacity when language is a shared norm. That shared norm cannot be sustained without some semblance of cohesion in any given community. Any war of words, irrespective of its platform, is indicative of the breakdown of such cohesiveness. Returning to the original context in which the term post-truth politics was first used by Steve Tesich helps to identify the important distinction between truth as the standard for knowledge and truth as the standard for action. The two do not necessarily coincide. Placed in the context of the history of political thought, this distinction is in fact at the heart of Plato’s Republic. Yet when the philosopher as the quintessential bearer of truth becomes king, the polis that he rules over is far from the ideal of a just state that it purports to be. Instead, it is one that is held together by lies and coercion. What Arendt reveals through her study of Nazism and Stalinism is that it is dangerous for the kind of truth that philosophy generates – ‘rational truth’ – to become the guide to politics. Politics guided by rational truth can only be uncompromising and follows a logic of its own that cannot afford the ambiguity and indeterminacy of reality as lived experiences of humans. A world of post-truth politics can be an opportunity for a new kind of politics if it is indeed about dismantling the idea that truth is the ideal that politics should strive for. But as it stands, the post-truth politics of today is more about invoking a past that never exists to judge the presence as a crisis in naming when the real crisis is about rebuilding a shared space that has room for all – be they of the left, right or centre; cosmopolitan or parochial; civic-minded or self-centred; liberal-minded or bigoted. Politics is and always will be about striving for that space, without which no human can thrive. References Arendt, Hannah. 1958. The Human Condition. Chicago: The University of Chicago Press. Arendt, Hannah. 1973. The Origins of Totalitarianism. Rev. ed. New York: Harcourt Brace Jovanovich. Arendt, Hannah. 1977. “Truth and Politics.” In Between Past and Future, 227–264. New York: Penguin Books. Arendt, Hannah. 1982. Lectures on Kant’s Political Philosophy, edited by Ronald Beiner. Chicago: University of Chicago Press. British Broadcasting Corporation. 2016. “Brexit vote: The breakdown.” BBC News, December 7, 2016. https://www.bbc.com/news/uk-politics-38227674 Cao, Feng. 2016. “A New Examination of Confucius’ Rectification of Names.” Journal of Chinese Humanities 2: 147–171. https://doi-org.subzero.lib. uoguelph.ca/ doi/ 10.1163/23521341-12340032. Connor, W. Robert. 1984. Thucydides. Princeton: Princeton University Press. de Jonge, Casper C. 2017. “Dionysius of Halicarnassus on Thucydides.” in The Oxford Handbook of Thucydides, edited by Sara Forsdyke, Edith Foster, and Ryan Balot. Oxford University Press. DOI: 10.1093/ oxfordhb/9780199340385.013.17 https://www-oxfordhandbooks-com.subzero. lib.uoguelph.ca/view/10.1093/oxfordhb/9780199340385.001.0001/oxfordhb-9780199340385 Hyvönen, Ari-Elmeri. 2018. “Careless Speech: Conceptualizing Post-Truth Politics.” New Perspectives 26 (3): 31–55. https://www.proquest.com/ scholarly-journals/careless-speech-conceptualizing-post-truth/ docview/2204515132/se-2?accountid=11233. Hobbes, Thomas. 1839–1845. The English Works of Thomas Hobbes, edited by Sir William Molesworth. London: John Bohn. Vol. 8. Klinkner, Melanie. 2018. “Reasonable Truth.” International Journal of Media & Cultural Politics 14 (3): 393–99. doi:10.1386/macp.14.3.393_7. Lee, Haiyan. 2019. “When Nothing Is True, Everything Is Possible: On Truth and Power by Way of Socialist Realism.” PMLA/Publications of the Modern Language Association of America 134 (5). Cambridge University Press: 1157–64. https://doi.org/10.1632/pmla.2019.134.5.1157 Lewis, Mark E. 1999. “Warring States Political History.” In The Cambridge History of Ancient China: From the Origins of Civilization to 221 BC, edited by Michael Loewe and Edward Shaughnessy, 587–650. Cambridge: Cambridge University Press. Makeham, John. 2003. “Zheng ming (Rectification of names).” In RoutledgeCurzon Encyclopedia of Confucianism, edited by Xinzhong Yao. Vol. 2: 813-814. New York: Routledge. Oxford Languages, n. d. “Word of the Year 2016.” Accessed 19 August 2017. https://languages.oup.com/word-of-the-year/2016/ Peters, Richard. 1979. Hobbes. Westport: Greenwood Press. Pew Research Center. 2018. “An examination of the 2016 electorate, based on validated voters.” Report, August 9, 2018. https://www.pewresearch.org/ politics/2018/08/09/an-examination-of-the-2016-electorate-based-on- validated-voters/ Plato. 1974. Republic. Translated by G. M. A. Grube. Indianapolis: Hackett. Tesich, Steve. 1992. “Watergate Syndrome: A Government of Lies.” The Nation: 12-14. January 6/13, 1992. Thucydides. 1972. The Peloponnesian War. Translated by Rex Warner. Harmondsworth, England: Penguin Books. Wolin, Sheldon. 2004. Politics and Vision: Continuity and Innovation in Westen Political Thought. Expanded Edition. Princeton: Princeton University Press. Zerilli, Linda M. G. 2020. ‘Fact-Checking and Truth-Telling in an Age of Alternative Facts.’ Le foucaldien 6, no. 1: 2, 1–22. Theresa Man Ling Lee is an Associate Professor of Political Science at the University of Guelph (Canada). Lee is a political theorist who specializes in contemporary political thought. Her research and teaching areas include continental philosophy, Marxism and critical theory, feminism, postmodernism, philosophy of social science, psychoanalysis, multiculturalism, human rights, disability studies, modern Chinese political thought and comparative political theory. Lee has published on a wide range of subjects in these areas, including intercultural pedagogy and the challenges of teaching as a person with multiple minority designations in a Canadian university classroom.
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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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