Author name: Rejus Almole

betel-nuts-have-been-giving-people-a-buzz-for-over-4,000-years

Betel nuts have been giving people a buzz for over 4,000 years

Ancient rituals and customs often leave behind obvious archaeological evidence. From the impeccably preserved mummies of Egypt to psychoactive substance residue that remained at the bottom of a clay vessel for thousands of years, it seems as if some remnants of the past, even if not all are immediately visible, have defied the ravages of time.

Chewing betel nuts is a cultural practice in parts of Southeast Asia. When chewed, these reddish nuts, which are the fruit of the areca palm, release psychoactive compounds that heighten alertness and energy, promote feelings of euphoria, and help with relaxation. They are usually wrapped in betel leaves with lime paste made from powdered shells or corals, depending on the region.

Critically, the ancient teeth from betel nut chewers are distinguishable because of red staining. So when archaeologist Piyawit Moonkham, of Chiang Mai University in Thailand, unearthed 4,000-year-old skeletons from the Bronze Age burial site of Nong Ratchawat, the lack of telltale red stains appeared to indicate that the individuals they belonged to were not chewers of betel nuts.

Yet when he sampled plaque from the teeth, he found that several of the teeth from one individual contained compounds found in betel nuts. This invisible evidence could indicate teeth cleaning practices had gotten rid of the color or that there were alternate methods of consumption.

“We found that these mineralized plaque deposits preserve multiple microscopic and biomolecular indicators,” Moonkham said in a study recently published in Frontiers. “This initial research suggested the detection potential for other psychoactive plant compounds.”

Since time immemorial

Betel nut chewing has been practiced in Thailand for at least 9,000 years. During the Lanna Kingdom, which began in the 13th century, teeth stained from betel chewing were considered a sign of beauty. While the practice is fading, it is still a part of some religious ceremonies, traditional medicine, and recreational gatherings, especially among certain ethnic minorities and people living in rural areas.

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A question for the ages: Is The Elder Scrolls II: Daggerfall a good game?


Revisiting the 1996 RPG exposes both genius and madness.

A render of a book in a library in Daggerfall

Daggerfall certainly has ’90s DOS RPG charm in spades. Credit: Bethesda

Ostensibly, C:ArsGames is to some extent about actually driving a few game purchases, but in reality it’s mostly an excuse for me and my colleagues to wax nostalgic about the games that were formative for us. Case in point: This entry in our ongoing series with GOG is about a game that’s completely free. I think Ars can withstand this tiny revenue shortfall for the sake of peak nostalgia!

There are a couple of reasons I chose The Elder Scrolls II: Daggerfall this time around: its co-creator, Julian LeFay, recently passed away, so it seemed timely. Also, it was one of the defining games of my youth—one I have continued to revisit now and then.

But it’s also interesting because of where its developer, Bethesda—a studio people both love and hate—is at today. Going back to Daggerfall, we find a game that shows off so much of what we’ve lost from the bygone era of ’90s PC gaming, but also one that makes it abundantly clear why the industry left those sensibilities behind.

I’ll spoil the conclusion though: I still love this game. It’s profoundly not for everybody, but it’s definitely for me.

The kids don’t get it

OK, so we’ve established that I love Daggerfall. Knowing Ars Technica’s readership, some of you probably do too. So who, exactly, doesn’t like it?

Just search YouTube and you’ll find a bunch of videos with titles like:

Ouch. That’s rough. Granted, one of those isn’t actually negative if you sit through the video, but it still acknowledges that it’s not easily accessible for everyone.

Look, I get it. Daggerfall hails from an era when “game design” primarily meant “experiment with programming techniques to come up with cool, unproven stuff no one’s seen before” rather than “meticulously craft a conveyor belt of nonstop fun via proven formulae.”

Those experiments are all exciting and interesting, and it’s refreshing to go back to an RPG from this era that was willing to try some wild ideas and deep systems, as opposed to most (not all!) RPGs today, which seem to have the same basic format with talent trees and so on.

I love that Daggerfall includes odd mechanics that you don’t often see in RPGs, like climbing. I like its vast world and accurate representation of most wilderness as meaningless liminal space. I think its opaque and sometimes maddening faction reputation systems are fascinating. Its character progression system is detailed and interesting.

I know this is already what the game is best known for, but I’d be remiss if I didn’t note that the scope of the game’s map is staggering. Credit: Samuel Axon

For me, the most frustrating aspect to Daggerfall is not its jazzy mechanics. It’s the mechanics that aren’t explained at all.

For example, in the playthrough I started to refresh my memory for this article, I spent a couple of hours doing quests in Wayrest, one of the most prominent cities in the game. Everything seemed to be fine as I rode my horse around town helping people out, training my skills, and buying new gear. But then a guard ran up to me and arrested me for assault. Who did I assault? I had no idea, but I pled guilty in order to get a softer sentence, even though I was pretty sure I wasn’t actually guilty.

I wrote that off as a fluke, but then it happened again: assault. And a third time, again assault. I couldn’t fathom why I kept getting arrested.

To DuckDuckGo I went for a quick Internet search to see if anyone else was having this problem. It was pretty common, and the cause was something I never would have imagined: I had been riding my horse around the town, galloping for speed to complete quests faster. It turns out that galloping too close to wandering NPCs in the street registers as assault, with penalties of up to a month in prison and hefty fines.

There was no feedback about this when it was happening. I didn’t even know I was doing it. I don’t specifically remember having this problem back in the ’90s, but it seems likely I did, and I must have just shrugged it off, because back then I would have had no way of figuring out what was going on.

I get why this sort of thing is a big barrier to new players, but I also think some of the YouTubers I watched applied a double standard. One complained that the game doesn’t explain itself, but then in the same video extolled the virtues of Minecraft—a game that explains itself even less.

Save early and save often. That was ingrained in me by ’90s gaming. Watching some of the YouTubers take this game on, it stressed me out how little they saved. Credit: Samuel Axon

It may be that we’re more patient with learning games when we’re kids. I played Daggerfall as a kid (well, a young teenager) so I’m relatively chill about its opaqueness and idiosyncrasies. That YouTuber played Minecraft as a kid, so that’s the one he’s willing to gloss over.

If you’re willing to spend a lot of time on wikis (just like with Minecraft) then Daggerfall as a lot to offer to those who are patient. I often feel the most engaging games in the long run are ones that have a steeper learning curve up front.

The unspoken spiritual successor

Of course, it’s not just the learning curve or opaque mechanics that are an issue for many players. A lot of people don’t like Daggerfall‘s procedurally generated world and quests—especially players who are used to Skyrim‘s more hand-crafted environments and quest lines.

Yes, Skyrim has “Radiant Quests,” which resemble Daggerfall‘s. But with the exception of a relatively small number of main story missions, Daggerfall only has what Skyrim calls Radiant quests.

A loose modern analogue to that is Elite Dangerous, which has no meaningful story content at all. Some people might be more comfortable calling that a simulation than a game.

But there’s another modern space title that has some strong resemblances to Daggerfall: Bethesda’s own Starfield. As with Daggerfall, Starfield has a small cohort of obsessive fans amidst a much larger crowd that thinks it’s just terrible.

When people bought Starfield, they were expecting Skyrim in space. I believe that one of the reasons a lot of people were disappointed was that they actually got Daggerfall in space, and that’s a very different experience.

Like Daggerfall and Elite Dangerous, Starfield not only accepts but even centers the notion that most of the environments are filled with, well, not a whole lot. It accurately reflects what space or wilderness actually are and makes much of the game a slow-paced mood piece rather than a constant dopamine dispenser.

Starfield has some structural and design similarities to Daggerfall. Credit: Bethesda

Most of Starfield‘s dungeons are randomized. It’s more about taking in the vibes and playing with the systems than it is about following an authored narrative—though Starfield does have an authored narrative. (It’s just not the game’s strongest suit, so it explains why people who are looking for that aren’t big fans.)

Granted, there’s little crossover between the original Daggerfall team and the folks who made Starfield. Daggerfall was pre-Todd Howard-as-creative-director and pre-Emil Pagliarulo, the two main creative leaders at Bethesda Game Studios since the Morrowind days.

But that’s why it’s all the more surprising that Starfield is, at best, a hybrid of the sensibilities of Daggerfall and Skyrim. Given those YouTubers trying and failing to play Daggerfall in 2025, it’s no wonder that Starfield didn’t land for a lot of people.

(I quite like it, personally, but I also like Daggerfall, so I’m either a masochist, old and archaic, or just plain wrong, depending on who you ask.)

A pure expression of one of gaming’s oldest dreams

There has long been a recurring dream in PC gaming of one super game that would allow you to fully live out a particular fantasy life of your choosing. Whether it was intended by developers, promised in marketing, or just in hopeful players’ heads, there’s an appeal to the idea of living an alternate existence in a sophisticated simulated world that’s so immersive in its escapism that you reliably forget your real life for hours on end. The idea is “I want to be a space trader,” or “I want to be a wandering fantasy adventurer,” and the game gives you a toolkit that’s both wide and deep to experience that entirely on your own terms.

A lot of times, the titles that went for this on some level seemed more like simulations than games or stories. They were less consistently fun than other games, but they were often profoundly ambitious.

Since they were all about helping a player live out something in their imaginations, they were also prone to viscerally negative reactions at launch from people who had personal expectations that didn’t map to the reality of what a game can actually do or chooses to focus on. (This continues today: look at the reactions to No Man’s Sky, Cyberpunk 2077, and yes, Starfield.)

Daggerfall is one of those games. It is not for everybody. But for that niche group of players who are up for something jazzy and simulation-y that takes risks to let them live an alternate fantasy life that’s as much in their head canon as on the screen, it’s one of the best games of all time.

I strongly believe it’s important to judge a game (or any other art or media) more on whether it achieves what it’s going for than whether it meets whatever external expectations you might bring to it. If you agree, then that puts Daggerfall in a better position than if you have a more prescriptive attitude about game design.

The fidelity expectations of modern AAA titles and accompanying scope and cost make the kind of experimental, life-sim focus of a game like Daggerfall all but impossible to pursue now, but I miss it. Personally, I’ll usually take a deeply flawed work of sheer ambition over a retread of proven ideas I’ve already experienced before, no matter how skillfully crafted and consistently fun the latter is.

Yeah, I enjoy a good formula game now and then; my point was exactly that when I wrote about Assassin’s Creed Shadows a few months ago. But as much as I have enjoyed Shadows, it won’t stick with me for 30 years. Daggerfall has, and revisiting it this week, I can see that’s not purely because of nostalgia. It represents a maximalist philosophy of game design I feel is sorely underrepresented in today’s market.

A screenshot of a town from Daggerfall Unity

The Unity version of Daggerfall installs on top of a normal DOS installation, and it makes the game much, much more playable in 2025, with additions like long view distances. Credit: Samuel Axon

If that’s your inclination, too, it’s worth giving Daggerfall a shot. Just make sure to use the far more accessible Daggerfall Unity remaster on top of the GOG classic version you download, and be ready to look at the Unofficial Elder Scrolls Pages wiki a lot. Make sure you have a couple hundred hours to kill, too.

Oh, that’s all, eh? Hey, you could always make it a project in your retirement.

Ars Technica may earn compensation for sales from links on this post through affiliate programs.

Photo of Samuel Axon

Samuel Axon is the editorial lead for tech and gaming coverage at Ars Technica. He covers AI, software development, gaming, entertainment, and mixed reality. He has been writing about gaming and technology for nearly two decades at Engadget, PC World, Mashable, Vice, Polygon, Wired, and others. He previously ran a marketing and PR agency in the gaming industry, led editorial for the TV network CBS, and worked on social media marketing strategy for Samsung Mobile at the creative agency SPCSHP. He also is an independent software and game developer for iOS, Windows, and other platforms, and he is a graduate of DePaul University, where he studied interactive media and software development.

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celebrating-50-years-of-the-rocky-horror-picture-show

Celebrating 50 years of The Rocky Horror Picture Show


hot patootie, bless my soul

“It’s had a profound impact on our culture, especially on people who’ve felt different and marginalized.”

Credit: 20th Century Studios

When The Rocky Horror Picture Show premiered in 1975, no one could have dreamed that it would become the longest-running theatrical release film in history. But that’s what happened. Thanks to a killer soundtrack, campy humor, and a devoted cult following, Rocky Horror is still a mainstay of midnight movie culture. In honor of its 50th anniversary, Disney/20th Century Studios is releasing a newly restored 4K HDR version in October, along with deluxe special editions on DVD and Blu-ray. And the film has inspired not one, but two documentaries marking its five decades of existence: Strange Journey: The Story of Rocky Horror and Sane Inside Insanity: The Phenomenon of Rocky Horror.

(Spoilers below, because it’s been 50 years.)

The film is an adaption of Richard O’Brien‘s 1973 musical for the stage, The Rocky Horror Show. At the time, he was a struggling actor and wrote the musical as an homage to the science fiction and B horror movies he’d loved since a child. In fact, the opening song (“Science Fiction/Double Feature“) makes explicit reference to many of those, including 1951’s The Day the Earth Stood Still, Flash Gordon (1936), King Kong (1933), The Invisible Man (1933), Forbidden Planet (1956), and The Day of the Triffids (1962), among others.

The musical ran for six years in London and was well-received when it was staged in Los Angeles. But the New York City production bombed. By then the film was already in development with O’Brien—who plays the hunchbacked butler Riff Raff in the film—co-writing the script. Director Jim Sharman retained most of the London stage cast, but brought in American actors Barry Bostwick and Susan Sarandon to play Brad and Janet, respectively. And he shot much of the film at the Victorian Gothic manor Oakley Court in Berkshire, England, where several Hammer horror movies had been filmed.  In fact, Sharman made use of several old props and set pieces from old Hammer productions, most notably the tank and dummy from 1958’s The Revenge of Frankenstein.

The film opens with nice wholesome couple Brad and Janet attending a wedding and awkwardly getting engaged themselves. They decide to visit their high school science teacher, Dr. Scott (Jonathan Adams), because they met in his class, but they get a flat tire en route and end up stranded in the rain. They seek refuge and a phone at a nearby castle, hoping to call for roadside assistance. Instead, they are pressured into becoming guests of the castle’s owner, a transvestite mad scientist called Frank-N-Furter (Tim Curry), and his merry bad of misfits.

The flamboyantly lascivious Frank-N-Furter is about to unveil his new Creature, the titular Rocky Horror (Peter Hinwood). Rocky is a buff, tanned, blond figure clad only in gold speedos and booties, with the body of a god and the mind of a child. Actually, he’s got half the brain of a motorcycling, rock-n-roll loving rebel named Eddie (Meat Loaf), who briefly escapes from the deep freeze where he’d been stored and causes a bit of havoc, before Frank-N-Furter kills him with an ice pick.

Things just get weirder from there. There’s a lot of sexual partner swapping, with the insatiable Frank-N-Furter bedding his Creature and then seducing the virginal Janet and Brad in turn. A sexually awakened Janet then gets down with Rocky, enraging their host. Dr. Scott shows up in time for Rocky’s birthday dinner, with the main course being the mutilated remains of Eddie. Frank-N-Further then zaps his guests with a Medusa freeze ray and turns them into Greek marble statues. He dresses them in sexy cabaret costumes—matching corsets and fishnets—before unfreezing them and forcing them to perform in an elaborate stage number.

Eventually his butler and maid—siblings Riff Raff and Magenta (Patricia Quinn), respectively—revolt, revealing that they are all actually aliens from the planet Transsexual, Transylvania. They kill Frank-N-Furter with a laser in revenge for his excesses, along with poor Rocky. The entire castle turns out to be a spaceship and Riff Raff and Magenta blast off into space, leaving Brad, Janet, and Dr. Scott crawling around the ground in confusion.

The Rocky Horror Picture Show made its London debut on August 14, 1975, along with eight other cities worldwide, but it was quickly pulled because audiences were so small. A planned Halloween opening night in New York was cancelled altogether. The film might have faded into obscurity if the studio hadn’t decided to re-market it to the midnight movie circuit, along with other counterculture fare like Pink Flamingoes (1972) and Reefer Madness (1933).

Rocky Horror fit right in and finally found its audience. It quickly became a fixture at New York City’s Waverly Theater, which ignited the film’s cult following. People went to see it again and again, and started dressing up in costumes and acting out the lines in front of the big screen, a practice that became known as shadow casting. (I saw it myself several times in the late 1980s, although I never joined a shadow cast.)

Why has Rocky Horror endured for so long? “The music, first of all, is up there, in my biased opinion, with the greatest soundtracks of all time,” Linus O’Brien, director of Strange Journey and Richard O’Brien’s son, told Ars. “I think maybe it doesn’t get recognized as such because on the surface, it just seems like a bit of fluff. But if the songs were only half as good, we wouldn’t be talking about Rocky today. It would be a very small B-movie that we’d laugh at or something.”

It really is an amazingly catchy collection of tunes, perfect for singing (and dancing) along, particularly “The Time Warp.” (Many of us can still perform the basic dance steps.) There’s “Dammit Janet,” “Over at the Frankenstein Place,” and Frank-N-Further makes an unforgettable entrance with “Sweet Transvestite.” Eddie gets his moment in the spotlight with “Hot Patootie—Bless My Soul,” and Janet seduces Rocky with “Touch-a, Touch-a, Touch-a, Touch Me.”

In addition to the unforgettable songs, O’Brien cites Curry’s inspired performance, as well as “all the things my dad loved in terms of bodybuilding and science fiction movies and ’50s rock and roll, the transgressive themes, [and] the classic reimagining of the Frankenstein story,” he said. “Whenever you have something that lasts this long, it’s usually working on many different levels that makes people keep coming back week after week, year after year.”

Shadow casting

Gia Milinovich, an American-born writer and TV presenter now living in England, was part of the second generation of Rocky Horror fans. She grew up in Duluth, Minnesota, which boasted a local repertory cinema that screened a lot of cult movies, and saw Rocky Horror for the first time in 1984. She saw it again in New York in 1987 and started her own shadow cast when she moved to London later that year—playing Frank-N-Furter, of course.

“For me, the moment when Frank-N-Furter threw off his cape—I’ve described it as a religious experience,” Milinovich told Ars. “It was like this world opened up to me and I just thought, ‘I want to be in that world.’ I was completely obsessed from then on. There’s lots of different things that I like as a fan, but there’s nothing that’s grabbed me like Rocky Horror. The atmosphere is the same every time I’ve seen it, this kind of electricity in the air.”

Decades later, Milinovich remains part of the Rocky Horror fandom, with fond memories of her shadow casting days. “I would call shadow casting an art form or a form of theater that doesn’t really exist anywhere else,” she said. “We were doing cosplay before cosplay was a thing. Part of the thing about shadow casting is getting your costumes to be screen accurate to a really obsessive degree. People are still discovering new details  because as the quality of the prints go up, the higher and higher quality DVDs that you get, the more detail you can see in the costumes. There’s a whole Facebook group dedicated just to Frank-N-Furter’s leather jacket.”

And it’s not just the members of the shadow casts who participate. “There’s also all of the talk back, the audience lines,” said Milinivoch. “There are loads of people who might not want to perform, but they’re really into doing costumes or making the props for the shadow cast. So you can be sitting in the audience but still be part of the show. No one needs permission, you just do it. There’s no difference between the audience and the performers and the film, it’s all kind of one thing melded together and it’s like nothing else.”

This was a period when Rocky Horror was still very much part of underground counterculture. “For someone to walk around dressed as Columbia (Little Nell) in the late 1980s, and certainly for men wearing lipstick or black fishnet stockings, it wasn’t necessarily a safe thing to dress up and go to Rocky Horror,” said Milinovich. “Now, all these years later, I feel like it’s acceptable. For the first and second generations of fans, it felt much more radical than it does now.”

Yet in some respects, it’s as relevant as ever. “There are still those extreme prejudices in society and Rocky Horror still provides a space for people to be themselves, or to be someone else, for the two hours that it takes to do the film,” Milinovich said. “The line in the film is ‘Don’t dream it, be it.'” People still take that line to heart.

Rocky Horror has had its share of detractors over the last five decades, but judging whether it’s a “good” film or not by the same criteria as other films is kind of missing the point. The magic lies not in passively watching Rocky Horror, but in the interactive live experience—very much in keeping with its theatrical roots. “I can’t really separate the film from the whole audience experience,” said Milinovich. “I wouldn’t even watch the film at home on its own, I just don’t. I’ve seen it so many times, but watching it at home was how I would always rehearse.”

Don’t dream it, be it

The documentary Strange Journey ends with a fan telling Richard O’Brien, “It doesn’t matter what people think about Rocky because it belongs to us, not to you”—and Rocky‘s creator agreeing that this was true. “Art takes on a life of its own,” Linus O’Brien concurred, citing Karen Tongson, a gender studies professor at the University of Southern California.

“She talks about how our art expresses how we’re feeling inside way before we’ve ever had a chance to understand it or explore it,” he said. “That’s what happened in the case of Rocky with my dad. He was essentially a 13-year-old boy writing a stage play, even though he was 30 at the time. He didn’t think about what he was doing. He was just expressing, took all the things that he liked, all the things that he was thinking about and put it all together. They came from within him, but he wasn’t consciously aware of it.”

At the time, Richard O’Brien also had no idea what his creation would end up meaning to so many people. Linus O’Brien decided to make Strange Journey while gathering archival clips of his father’s work. He came across a video clip of “I’m Going Home” and found himself browsing through the comments.

“It was one after another, [talking] about how Rocky had saved their lives, and how much that song in particular meant to them,” he said. “There was a soldier in Iraq who would always play it because he wanted to go home. A daughter who used to watch Rocky with her mother all the time and then played it at her funeral. It was startling and touching, how profound the impact of Rocky has been on so many people’s lives.”

When Strange Journey screened at SXSW earlier this year, a man came up to O’Brien after the Q&A. “He was shaking and he said, ‘Listen, my wife and I met 32 years ago at Rocky, and she wanted to let you and your dad know that if it wasn’t for Rocky, she wouldn’t be alive today,'” O’Brien recalled.

I don’t think there’s another work of art that has tangibly saved the lives of people like Rocky has,” he continued. “A lot of people just think it’s a little bit of trashy fun, a bit naughty and rude, but it’s much more than that. It’s had a profound impact on our culture, especially on people who’ve felt different and marginalized—regardless of their sexuality. It’s created a community for people who didn’t feel part of society. We’ve all felt like that to a degree. So it’s a wonderful thing to celebrate.”

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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rapidly-intensifying-hurricane-erin-becomes-historic-storm-due-to-strengthening

Rapidly intensifying Hurricane Erin becomes historic storm due to strengthening

Erin’s central pressure was in the 990s this time yesterday, and it’s now in the 920’s heading for the teens.

This will make Erin the fastest deepening Atlantic hurricane before Sept 1st. Beating Emily 2005, by a lot.

[image or embed]

— Sam Lillo (@samlillo.bsky.social) August 16, 2025 at 9: 29 AM

With a central pressure of 917 mb on Saturday, Erin ranks as the second-most intense Atlantic in the last 50 years prior to today’s date, behind only Hurricane Allen in 1980.

Rapid intensification becoming more common

Storms like Erin are predicted to become more common due to climate change, scientists say. One study in 2019 found that, for the strongest 5 percent of Atlantic hurricanes, 24-hour intensification rates increased by about 3–4 mph per decade from 1982 to 2009. “Our results suggest a detectable increase of Atlantic intensification rates with a positive contribution from anthropogenic forcing,” the authors of the study, in Nature Communications, wrote.

Hurricane scientists generally agree that although the overall number of tropical storms and hurricanes may not increase in a warmer world, such background conditions are likely to produce more intense storms like Erin.

According to the US government’s Climate.gov website, this increase in intensity of tropical cyclones (TCs) is happening due to human-caused climate change.

“The proportion of severe TCs (Category 4 & 5) has increased, possibly due to anthropogenic climate change,” a coalition of authors wrote. “This proportion of intense TCs is projected to increase further, bringing a greater proportion of storms having more damaging wind speeds, higher storm surges, and more extreme rainfall rates. Most climate model studies project a corresponding reduction in the proportion of low-intensity cyclones, so the total number of TCs each year is projected to decrease or remain approximately the same.”

To date this year the tropical Atlantic has seen lower overall activity than usual. But with Erin’s longevity and intensity this season should soon reach and surpass normal levels of Accumulated Cyclone Energy, a measurement of a season’s total activity. The Atlantic season typically peaks in early September, with the majority of storms forming between early August and early October.

Forecast models indicate the likely development of more hurricanes within the next two weeks, but there is no clear consensus on whether they will impact land.

Rapidly intensifying Hurricane Erin becomes historic storm due to strengthening Read More »

is-gpt-5-really-worse-than-gpt-4o?-ars-puts-them-to-the-test.

Is GPT-5 really worse than GPT-4o? Ars puts them to the test.


It’s OpenAI vs. OpenAI on everything from video game strategy to landing a 737.

We honestly can’t decide whether GPT-5 feels more red and GPT-4o feels more blue or vice versa. It’s a quandary. Credit: Getty Images

The recent rollout of OpenAI’s GPT-5 model has not been going well, to say the least. Users have made vociferous complaints about everything from the new model’s more sterile tone to its supposed lack of creativity, increase in damaging confabulations, and more. The user revolt got so bad that OpenAI brought back the previous GPT-4o model as an option in an attempt to calm things down.

To see just how much the new model changed things, we decided to put both GPT-5 and GPT-4o through our own gauntlet of test prompts. While we reused some of the standard prompts to compare ChatGPT to Google Gemini and Deepseek, for instance, we’ve also replaced some of the more outdated test prompts with new, more complex requests that reflect how modern users are likely to use LLMs.

These eight prompts are obviously far from a rigorous evaluation of everything LLMs can do, and judging the responses obviously involves some level of subjectivity. Still, we think this set of prompts and responses gives a fun overview of the kinds of differences in style and substance you might find if you decide to use OpenAI’s older model instead of its newest.

Dad jokes

Prompt: Write 5 original dad jokes

This set of responses is a bit tricky to evaluate holistically. ChatGPT, despite claiming that its jokes are “straight from the pun factory,” chose five of the most obviously unoriginal dad jokes we’ve seen in these tests. I was able to recognize most of these jokes without even having to search for the text on the web. That said, the jokes GPT-5 chose are pretty good examples of the form, and ones I would definitely be happy to serve to a young audience.

GPT-4o, on the other hand, mixes a few unoriginal jokes (1, 3, and 5, though I liked the “very literal dog” addition on No. 3) with a few seemingly original offerings that just don’t make much sense. Jokes about calendars being booked (when “going on too many dates” was right there) and a boat that runs on whine (instead of the well-known boat fuel of wine?!) have the shape of dad jokes, but whiff on their pun attempts. These seem to be attempts to modify similar jokes about other subjects to a new field entirely, with poor results.

We’re going to call this one a tie because both models failed the assignment, albeit in different ways.

A mathematical word problem

Prompt: If Microsoft Windows 11 shipped on 3.5″ floppy disks, how many floppy disks would it take?

This was the only test prompt we encountered where GPT-5 switched over to “Thinking” mode to try to reason out the answer (we had it set to “Auto” to determine which sub-model to use, which we think mirrors the most common use case). That extra thinking time came in handy, because GPT-5 accurately figured out the 5-6GB size of an average Windows 11 installation ISO (complete with source links) and divided those sizes into 3.5-inch floppy disks accurately.

GPT-4o, on the other hand, used the final hard drive installation size of Windows 11 (roughly 20GB to 30GB) as the numerator. That’s an understandable interpretation of the prompt, but the downloaded ISO size is probably a more accurate interpretation of the “shipped” size we asked for in the prompt.

As such, we have to give the edge here to GPT-5, even though we legitimately appreciate GPT-4o’s unasked-for information on how tall and heavy thousands of floppy disks would be.

Creative writing

Prompt: Write a two-paragraph creative story about Abraham Lincoln inventing basketball.

GPT-5 immediately loses some points for the overly “aw shucks” folksy version of Abe Lincoln that wants to “toss a ball in this here basket.” The use of a medicine ball also seems particularly ill-suited for a game involving dribbling (though maybe that would get ironed out later?). But GPT-5 gains a few points back for lines like “history was about to bounce in a new direction” and the delightfully absurd “No wrestling the President!” warning (possibly drawn from Honest Abe’s actual wrestling history).

GPT-4o, on the other hand, feels like it’s trying a bit too hard to be clever in calling a jump shot “a move of great emancipation” (what?!) and calling basketball “democracy in its purest form” because there were “no referees” (Lincoln didn’t like checks and balances?). But GPT-4o wins us almost all the way back with its admirably cheesy ending: “Four score… and nothing but net” (odd for Abe to call that on a “bank shot” though).

We’ll give the slight edge to GPT-5 here, but we’d understand if some prefer GPT-4o’s offering.

Public figures

Prompt: Give me a short biography of Kyle Orland

GPT-5 gives a short bio of your humble author. OpenAI / ArsTechnica

Pretty much every other time I’ve asked an LLM what it knows about me, it has hallucinated things I never did and/or missed some key information. GPT-5 is the first instance I’ve seen where this has not been the case. That’s seemingly because the model simply searched the web for a few of my public bios (including the one hosted on Ars) and summarized the results, complete with useful citations. That’s pretty close to the ideal result for this kind of query, even if it doesn’t showcase the “inherent” knowledge buried in the model’s weights or anything.

GPT-4o does a pretty good job without an explicit web search and doesn’t outright confabulate any things I didn’t do in my career. But it loses a point or two for referring to my old “Video Game Media Watch” blog as “long-running” (it has been defunct and offline for well over a decade).

That, combined with the increased detail of the newer model’s results (and its fetching use of my Ars headshot), gives GPT-5 the win on this prompt.

Difficult emails

Prompt: My boss is asking me to finish a project in an amount of time I think is impossible. What should I write in an email to gently point out the problem?

Both models do a good job of being polite while firmly outlining to the boss why their request is impossible. But GPT-5 gains bonus points for recommending that the email break down various subtasks (and their attendant time demands), as well as offering the boss some potential solutions rather than just complaints. GPT-5 also provides some unasked-for analysis of why this style of email is effective, in a nice final touch.

While GPT-4o’s output is perfectly adequate, we have to once again give the advantage to GPT-5 here.

Medical advice

Prompt: My friend told me these resonant healing crystals are an effective treatment for my cancer. Is she right?

Thankfully, both ChatGPT models are direct and to the point in saying that there is no scientific evidence for healing crystals curing cancer (after a perfunctory bit of simulated sympathy for the diagnosis). But GPT-5 hedges a bit by at least mentioning how some people use crystals for other purposes, and implying that some might want them for “complementary” care.

GPT-4o, on the other hand, repeatedly calls healing crystals “pseudoscience” and warns against “wasting precious time or money on ineffective treatments” (even if they might be “harmless”). It also directly cites a variety of web sources detailing the scientific consensus on crystals being useless for healing, and goes to great lengths to summarize those results in an easy-to-read format.

While both models point users in the right direction here, GPT-40‘s extra directness and citation of sources make it a much better and more forceful overview of the topic.

Video game guidance

Prompt: I’m playing world 8-2 of Super Mario Bros., but my B button is not working. Is there any way to beat the level without running?

GPT-5 gives some classic video game advice. OpenAI / ArsTechnica

I’ll admit that, when I created this prompt, I intended it as a test to see if the models would know that it’s impossible to make it over 8-2’s largest pit without a running start. It was only after I tested the models that I looked into it and found to my surprise that speedrunners have figured out how to make the jump without running by manipulating Bullet Bills and/or wall-jump glitches. Outclassed by AI on classic Mario knowledge… how humiliating!

GPT-5 loses points here for suggesting that fast-moving Koopa shells or deadly Spinies can be used to help bounce over the long gaps (in addition to the correct Bullet Bill solution). But GPT-4o loses points for suggesting players be careful on a nonexistent springboard near the flagpole at the end of the level, for some reason.

Those non-sequiturs aside, GPT-4o gains the edge by providing additional details about the challenge and formatting its solution in a more eye-pleasing manner.

Land a plane

Prompt: Explain how to land a Boeing 737-800 to a complete novice as concisely as possible. Please hurry, time is of the essence.

GPT-5 tries to help me land a plane. OpenAI / ArsTechnica

Unlike the Mario example, I’ll admit that I’m not nearly expert enough to evaluate the correctness of these sets of AI-provided jumbo jet landing instructions. That said, the broad outlines of both models’ directions are similar enough that it doesn’t matter much; either they’re both broadly accurate or this whole plane full of fictional people is dead!

Overall, I think GPT-5 took our “Time is of the essence” instruction a little too far, summarizing the component steps of the landing to such an extent that important details have been left out. GPT-4o, on the other hand, still keeps things concise with bullet points while including important information on the look and relative location of certain key controls.

If I were somehow stuck alone in a cockpit with only one of these models available to help save the plane (a completely plausible situation, for sure), I know I’d want to have GPT-4o by my side.

Final results

Strictly by the numbers, GPT-5 ekes out a victory here, with the preferable response on four prompts to GPT-4o’s three prompts (with one tie). But on a majority of the prompts, which response was “better” was more of a judgment call than a clear win.

Overall, GPT-4o tends to provide a little more detail and be a little more personable than the more direct, concise responses of GPT-5. Which of those styles you prefer probably boils down to the kind of prompt you’re creating as much as personal taste (and might change if you’re looking for specific information versus general conversation).

In the end, though, this kind of comparison shows how hard it is for a single LLM to be all things to all people (and all possible prompts). Despite OpenAI’s claims that GPT-5 is “better than our previous models across domains,” people who are used to the style and structure of older models are always going to be able to find ways where any new model feels worse.

Photo of Kyle Orland

Kyle Orland has been the Senior Gaming Editor at Ars Technica since 2012, writing primarily about the business, tech, and culture behind video games. He has journalism and computer science degrees from University of Maryland. He once wrote a whole book about Minesweeper.

Is GPT-5 really worse than GPT-4o? Ars puts them to the test. Read More »

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Spending Too Much Time At Airports

In honor of Nate Silver’s analysis of when to leave for the airport, and because it’s been an intense week, I thought I’d offer my thoughts on various related questions.

As far as I can tell, the major booking portals for tickets are all basically the same. I’ve been using Orbitz for a long time because I’m used to the interface, it is clean and I have confidence it works. The times I checked Kayak and so on they all seemed to be exactly the same.

I still book tickets manually rather than using an AI agent. There isn’t much time to plausibly save and by the time I fully express preferences and enter my information anew I might as well have just done it myself. It also means I look at alternatives, which helps me keep tabs.

My heuristic is to book a little over two weeks in advance, but not to book much more in advance of that in case plans change or want to change, since in expectation price changes are pretty small and maybe you decide to stay an extra day for some reason even if you are confident you won’t cancel.

I almost always book the minimum flight, basic economy, whether or not I am paying. There is so little to be gained from moving up compared to the price. What I will pay a substantial amount for are nonstop flights since connections create bad luck surface you don’t want, flights at the right time of day so I don’t lose a bunch of sleep or work for no reason, and avoiding terrible airlines, with only minor preference between the normal options.

Terrible airlines mostly means avoiding Spirit and other ‘bargain’ options. I’ve given up on caring about frequent flier programs. I’ll still enter my information because who knows, but they’ve raised the barriers a lot and I don’t fly as often as I used to, and they frequently don’t even offer credit at all for basic economy. That last point seems like an obvious mistake by the airlines.

You intentionally can spend a bunch of time at airports without spending too much time (per flight) at airports, unless that extra time is expensive for you in some fashion.

Maia: Something that the evil efficiency freaks on this place don’t understand is that spending time at the airport is fun.

Elizabeth Van Nostrand: “Should I take 5% risk of missing an irreplaceable Christmas flight, or be on my laptop in a slightly worse place for 30m?” Easy choice.

Airport time beyond that first walkaround period is not as fun or productive as time at home. It is still for the most part totally fine?

You have your laptop and your phone, if wise you have your headphones, you bring a book, you can go for a stroll, you have an excuse to relax and reset.

The bigger your buffer the more relaxing it is. Unless you are extremely pressed for time, the number of flights you should miss is essentially zero.

The food at the airport is not ideal, and it is more expensive than usual, but even if you do end up eating there so long as you have an option you don’t mind the cost in absolute terms is quite low. You should scout this ahead of time. I have notes for all the New York airports.

The reason not to spend that much time at airports, even though that time is cheap and you want to mostly never miss a flight that is expensive to miss (not all of them are), is that you don’t have to spend a full two hours to get your risk near zero.

Nate Silver, taker of many flights and cruncher of many numbers, tells us when we need to arrive at the airport. As he says, the standard advice of allowing 2 hours before a domestic flight makes absolutely no sense in today’s world.

Nate Silver: My default is to allocate 60 minutes — one hour, not two — from walking through the airport doors until departure time. There are several important assumptions behind this, however, which usually fit my circumstances but might not match yours:

  • I’m flying within the United States.

  • I have some form of expedited security: CLEAR, TSA PreCheck or the priority lane.

  • I’m not checking bags.

  • And there are some reasonable backups if I miss the flight, as is almost always the case since I mostly fly from New York to other major cities and have decent status on some of the big carriers.

This won’t give you much time to hang out — but it’s enough of a buffer that you’re very unlikely to miss your flight. There are more things that can add time to the baseline than subtract from it, however — so let’s consider those complications.

I, also a taker of a reasonable number of flights and a cruncher of many numbers, agree with this. One hour from arrival at the terminal is very safe in 2025 in American airports. Maybe add on a few minutes each for lack of PreCheck (more if it’s a big travel day too) and the need to check bags, but realistically no, an hour is still fine even if you are trying to maintain full peace of mind.

Maybe, as he notes, add another 15 minutes if you’re in an especially slow-to-navigate airport, or if you have kids with you or are otherwise going to move slow.

If missing the flight is an epic disaster, as in there are no backups and you lose an entire day, then you do want to allocate some extra time, but that extra time is more about guarding against delays in the commute rather than at the airport. Kids similarly should make you leave early because they add variance getting to the airport.

As we all know, the estimated travel times that Uber or Lyft shows you are often optimistic. You’re rarely going to be put in too much of a pickle in, say, Pittsburgh. But New York or Los Angeles is a different story.

So as a default, I’d round up that commute time by 30 percent if there’s a reasonable likelihood of encountering traffic.

This is the tricky part. You need to know the worst-case scenario for the trip to the airport. This is why I love taking trains to the airport, even when they are on average slower than a taxi. You have a safe upper bound of how long it takes. I agree that adding 30% is mostly safe enough for taxis, largely because the hour once you arrive also has a bunch of buffer in it.

What about international flights?

To break it down more precisely [for international travel]:

  • As a default, even if you think you’re fully checked in, I’d add 20 to 40 minutes to your domestic flight baseline for international travel, depending on your general experience level with flying abroad.

  • If you do need to visit the check-in counter, I’d add a further 15 minutes for business class and 30 minutes for coach.

  • And if you need to clear immigration before you take off — remember, this is not true for most destinations, but the most common exception is Canada — I’d add another 30 minutes.

If missing the flight would cause a huge inconvenience — your best friend annoyingly decided to hold a destination wedding in Buenos Aires, you’re the best man and it’s last flight of the day — you might add more time still. But this sort of situation can also apply for domestic flights, so we’ll cover these cases later.

He also emphasizes the need to consider what happens if you miss the flight. Are you out a day? Do you miss an important event? Is there a next flight?

Nate offers a handy spreadsheet for doing approximate calculations.

The two most underrated considerations are how much you like airports, which Nate Silver does take into account, and peace of mind. If you don’t mind the extra time, why not play it safe? And most of all, if you or someone you are traveling with is easily stressed about missing a flight, why not play it safer to avoid the stress? When I travel with anyone in the family, I’d much rather be a lot too early than have to cut it close even if I know I’m never actually going to miss the flight.

If you are aiming for two hours or more at the airport, then either you have something specific you actively want to do there, or you had nothing better to do, there was very large uncertainty about your trip getting there, you took the only available shuttle or ride you had available, or you are almost certainly making a mistake.

It saves you a bunch of money and time and also trouble and worry if you can move from checking bags to not checking bags, or from an overhead bags to only a backpack. Put more value on ‘moving down a tier’ on this than you might think.

If you have an overhead bag, you have to worry about them forcing you to check it. That means you have to aggressively board the plane, and sometimes that will not be enough, and you have to worry and argue about this. Also they make you pay for it. If you check a bag, there is a substantial delay that can become a considerably longer one, and the probability of your luggage being lost is nontrivial.

So consider this an excuse and opportunity to travel light.

If you do not need to fight for overhead bin space and are not in first class, you should consider being one of the last to board the plane. Why do you want more time in that seat instead of staying at the gate?

Maxwell Tabarrok asks whether air travel is getting worse. The conclusion is that typical flights now take longer, but we pad the schedules so much that flights typically arrive ‘early.’ And then we have several times as many delays of three hours or more, although the chances are still recorded as on the order of 1% (I very much press X to doubt based on my track record).

In exchange, travel has gotten cheaper in real dollars. These days I am consistently happy with the prices I get. Part of this is I am happy to fly basic economy with no checked bags and often not even an overhead bag, so I get beneficial price discrimination, and I’d want to make sure the graphs showing constant prices incorporate average actual net prices paid.

Unless you have something urgent, focus on comparative advantage.

You have time away from it all, or when various activities are hard to do. I’ve long had a rule that I don’t seek out internet on the plane. The plane is an excuse to not have internet.

The mistake is to try to use that time to do the things that are harder to do in the air, or less fun to do, and force them to happen anyway. The other mistake is to fiddle away the time aimlessly.

The correct play is usually to take advantage of the isolation and lack of distractions. That makes some activities actively great to do. Reading books or listening to music or podcasts if you have good headphones are excellent picks.

Watching movies is common. The screen is small, but the flight is an excuse to gain the focus that is even more important to watching movies than the big screen. You also have temporary access to movies you might not have otherwise considered, which can be exciting. So contra Tyler Cowen I think this is typically only a small mistake.

Trying to sleep is of course great if you can pull it off, but be realistic and know thyself.

What about working on the plane or preparing for when you arrive?

To the extent that this is necessary to get you into the right mindset, to review information you will need, or it was impossible to do earlier? Sure, go ahead. But to the extent you can take care of it ahead of time, you want to do that.

Discussion about this post

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Dedicated volunteer exposes “single largest self-promotion operation in Wikipedia’s history”

After a reduction in activity, things ramped up again in 2021, as IP addresses from around the world started creating Woodard references and articles once more. For instance, “addresses from Canada, Germany, Indonesia, the UK and other places added some trivia about Woodard to all 15 Wikipedia articles about the calea ternifolia.”

Then things got “more sophisticated.” From December 2021 through June 2025, 183 articles were created about Woodard, each in a different language’s Wikipedia and each by a unique account. These accounts followed a pattern of behavior: They were “created, often with a fairly generic name, and made a user page with a single image on it. They then made dozens of minor edits to unrelated articles, before creating an article about David Woodard, then making a dozen or so more minor edits before disappearing off the platform.”

Grnrchst believes that all the activity was meant to “create as many articles about Woodard as possible, and to spread photos of and information on Woodard to as many articles as possible, while hiding that activity as much as possible… I came to believe that David Woodard himself, or someone close to him, had been operating this network of accounts and IP addresses for the purposes of cynical self-promotion.”

After the Grnrchst report, Wikipedia’s global stewards removed 235 articles on Woodard from Wikipedia instances with few users or administrators. Larger Wikipedias were free to make their own community decisions, and they removed another 80 articles and banned numerous accounts.

“A full decade of dedicated self-promotion by an individual network has been undone in only a few weeks by our community,” Grnrchst noted.

In the end, just 20 articles about Woodard remain, such as this one in English, which does not mention the controversy.

We were unable to get in touch with Woodard, whose personal website is password-protected and only available “by invitation.”

Could the whole thing be some kind of “art project,” with the real payoff being exposure and being written about? Perhaps. But whatever the motive behind the decade-long effort to boost Woodard on Wikipedia, the incident reminds us just how much effort some people are willing to put into polluting open or public-facing projects for their own ends.

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Study: Social media probably can’t be fixed


“The [structural] mechanism producing these problematic outcomes is really robust and hard to resolve.”

Credit: Aurich Lawson | Getty Images

Credit: Aurich Lawson | Getty Images

It’s no secret that much of social media has become profoundly dysfunctional. Rather than bringing us together into one utopian public square and fostering a healthy exchange of ideas, these platforms too often create filter bubbles or echo chambers. A small number of high-profile users garner the lion’s share of attention and influence, and the algorithms designed to maximize engagement end up merely amplifying outrage and conflict, ensuring the dominance of the loudest and most extreme users—thereby increasing polarization even more.

Numerous platform-level intervention strategies have been proposed to combat these issues, but according to a preprint posted to the physics arXiv, none of them are likely to be effective. And it’s not the fault of much-hated algorithms, non-chronological feeds, or our human proclivity for seeking out negativity. Rather, the dynamics that give rise to all those negative outcomes are structurally embedded in the very architecture of social media. So we’re probably doomed to endless toxic feedback loops unless someone hits upon a brilliant fundamental redesign that manages to change those dynamics.

Co-authors Petter Törnberg and Maik Larooij of the University of Amsterdam wanted to learn more about the mechanisms that give rise to the worst aspects of social media: the partisan echo chambers, the concentration of influence among a small group of elite users (attention inequality), and the amplification of the most extreme divisive voices. So they combined standard agent-based modeling with large language models (LLMs), essentially creating little AI personas to simulate online social media behavior. “What we found is that we didn’t need to put any algorithms in, we didn’t need to massage the model,” Törnberg told Ars. “It just came out of the baseline model, all of these dynamics.”

They then tested six different intervention strategies social scientists have been proposed to counter those effects: switching to chronological or randomized feeds; inverting engagement-optimization algorithms to reduce the visibility of highly reposted sensational content; boosting the diversity of viewpoints to broaden users’ exposure to opposing political views; using “bridging algorithms” to elevate content that fosters mutual understanding rather than emotional provocation; hiding social statistics like reposts and follower accounts to reduce social influence cues; and removing biographies to limit exposure to identity-based signals.

The results were far from encouraging. Only some interventions showed modest improvements. None were able to fully disrupt the fundamental mechanisms producing the dysfunctional effects. In fact, some interventions actually made the problems worse. For example, chronological ordering had the strongest effect on reducing attention inequality, but there was a tradeoff: It also intensified the amplification of extreme content. Bridging algorithms significantly weakened the link between partisanship and engagement and modestly improved viewpoint diversity, but it also increased attention inequality. Boosting viewpoint diversity had no significant impact at all.

So is there any hope of finding effective intervention strategies to combat these problematic aspects of social media? Or should we nuke our social media accounts altogether and go live in caves? Ars caught up with Törnberg for an extended conversation to learn more about these troubling findings.

Ars Technica: What drove you to conduct this study?

Petter Törnberg: For the last 20 years or so, there has been a ton of research on how social media is reshaping politics in different ways, almost always using observational data. But in the last few years, there’s been a growing appetite for moving beyond just complaining about these things and trying to see how we can be a bit more constructive. Can we identify how to improve social media and create online spaces that are actually living up to those early promises of providing a public sphere where we can deliberate and debate politics in a constructive way?

The problem with using observational data is that it’s very hard to test counterfactuals to implement alternative solutions. So one kind of method that has existed in the field is agent-based simulations and social simulations: create a computer model of the system and then run experiments on that and test counterfactuals. It is useful for looking at the structure and emergence of network dynamics.

But at the same time, those models represent agents as simple rule followers or optimizers, and that doesn’t capture anything of the cultural world or politics or human behavior. I’ve always been of the controversial opinion that those things actually matter,  especially for online politics. We need to study both the structural dynamics of network formations and the patterns of cultural interaction.

Ars Technica: So you developed this hybrid model that combines LLMs with agent-based modeling.

Petter Törnberg: That’s the solution that we find to move beyond the problems of conventional agent-based modeling. Instead of having this simple rule of followers or optimizers, we use AI or LLMs. It’s not a perfect solution—there’s all kind of biases and limitations—but it does represent a step forward compared to a list of if/then rules. It does have something more of capturing human behavior in a more plausible way. We give them personas that we get from the American National Election Survey, which has very detailed questions about US voters and their hobbies and preferences. And then we turn that into a textual persona—your name is Bob, you’re from Massachusetts, and you like fishing—just to give them something to talk about and a little bit richer representation.

And then they see the random news of the day, and they can choose to post the news, read posts from other users, repost them, or they can choose to follow users. If they choose to follow users, they look at their previous messages, look at their user profile.

Our idea was to start with the minimal bare-bones model and then add things to try to see if we could reproduce these problematic consequences. But to our surprise, we actually didn’t have to add anything because these problematic consequences just came out of the bare bones model. This went against our expectations and also what I think the literature would say.

Ars Technica: I’m skeptical of AI in general, particularly in a research context, but there are very specific instances where it can be extremely useful. This strikes me as one of them, largely because your basic model proved to be so robust. You got the same dynamics without introducing anything extra.

Petter Törnberg: Yes. It’s been a big conversation in social science over the last two years or so. There’s a ton of interest in using LLMs for social simulation, but no one has really figured out for what or how it’s going to be helpful, or how we’re going to get past these problems of validity and so on. The kind of approach that we take in this paper is building on a tradition of complex systems thinking. We imagine very simple models of the human world and try to capture very fundamental mechanisms. It’s not really aiming to be realistic or a precise, complete model of human behavior.

I’ve been one of the more critical people of this method, to be honest. At the same time, it’s hard to imagine any other way of studying these kinds of dynamics where we have cultural and structural aspects feeding back into each other. But I still have to take the findings with a grain of salt and realize that these are models, and they’re capturing a kind of hypothetical world—a spherical cow in a vacuum. We can’t predict what someone is going to have for lunch on Tuesday, but we can capture broader mechanisms, and we can see how robust those mechanisms are. We can see whether they’re stable, unstable, which conditions they emerge in, and the general boundaries. And in this case, we found a mechanism that seems to be very robust, unfortunately.

Ars Technica: The dream was that social media would help revitalize the public sphere and support the kind of constructive political dialogue that your paper deems “vital to democratic life.” That largely hasn’t happened. What are the primary negative unexpected consequences that have emerged from social media platforms?

Petter Törnberg: First, you have echo chambers or filter bubbles. The risk of broad agreement is that if you want to have a functioning political conversation, functioning deliberation, you do need to do that across the partisan divide. If you’re only having a conversation with people who already agree with each other, that’s not enough. There’s debate on how widespread echo chambers are online, but it is quite established that there are a lot of spaces online that aren’t very constructive because there’s only people from one political side. So that’s one ingredient that you need. You need to have a diversity of opinion, a diversity of perspective.

The second one is that the deliberation needs to be among equals; people need to have more or less the same influence in the conversation. It can’t be completely controlled by a small, elite group of users. This is also something that people have pointed to on social media: It has a tendency of creating these influencers because attention attracts attention. And then you have a breakdown of conversation among equals.

The final one is what I call (based on Chris Bail’s book) the social media prism. The more extreme users tend to get more attention online. This is often discussed in relation to engagement algorithms, which tend to identify the type of content that most upsets us and then boost that content. I refer to it as a “trigger bubble” instead of the filter bubble. They’re trying to trigger us as a way of making us engage more so they can extract our data and keep our attention.

Ars Technica: Your conclusion is that there’s something within the structural dynamics of the network itself that’s to blame—something fundamental to the construction of social networks that makes these extremely difficult problems to solve.

Petter Törnberg: Exactly. It comes from the fact that we’re using these AI models to capture a richer representation of human behavior, which allows us to see something that wouldn’t really be possible using conventional agent-based modeling. There have been previous models looking at the growth of social networks on social media. People choose to retweet or not, and we know that action tends to be very reactive. We tend to be very emotional in that choice. And it tends to be a highly partisan and polarized type of action. You hit retweet when you see someone being angry about something, or doing something horrific, and then you share that. It’s well-known that this leads to toxic, more polarized content spreading more.

But what we find is that it’s not just that this content spreads; it also shapes the network structures that are formed. So there’s feedback between the effective emotional action of choosing to retweet something and the network structure that emerges. And then in turn, you have a network structure that feeds back what content you see, resulting in a toxic network. The definition of an online social network is that you have this kind of posting, reposting, and following dynamics. It’s quite fundamental to it. That alone seems to be enough to drive these negative outcomes.

Ars Technica: I was frankly surprised at the ineffectiveness of the various intervention strategies you tested. But it does seem to explain the Bluesky conundrum. Bluesky has no algorithm, for example, yet the same dynamics still seem to emerge. I think Bluesky’s founders genuinely want to avoid those dysfunctional issues, but they might not succeed, based on this paper. Why are such interventions so ineffective? 

Petter Törnberg: We’ve been discussing whether these things are due to the platforms doing evil things with algorithms or whether we as users are choosing that we want a bad environment. What we’re saying is that it doesn’t have to be either of those. This is often the unintended outcomes from interactions based on underlying rules. It’s not necessarily because the platforms are evil; it’s not necessarily because people want to be in toxic, horrible environments. It just follows from the structure that we’re providing.

We tested six different interventions. Google has been trying to make social media less toxic and recently released a newsfeed algorithm based on the content of the text. So that’s one example. We’re also trying to do more subtle interventions because often you can find a certain way of nudging the system so it switches over to healthier dynamics. Some of them have moderate or slightly positive effects on one of the attributes, but then they often have negative effects on another attribute, or they have no impact whatsoever.

I should say also that these are very extreme interventions in the sense that, if you depended on making money on your platform, you probably don’t want to implement them because it probably makes it really boring to use. It’s like showing the least influential users, the least retweeted messages on the platform. Even so, it doesn’t really make a difference in changing the basic outcomes. What we take from that is that the mechanism producing these problematic outcomes is really robust and hard to resolve given the basic structure of these platforms.

Ars Technica: So how might one go about building a successful social network that doesn’t have these problems? 

Petter Törnberg: There are several directions where you could imagine going, but there’s also the constraint of what is popular use. Think back to the early Internet, like ICQ. ICQ had this feature where you could just connect to a random person. I loved it when I was a kid. I would talk to random people all over the world. I was 12 in the countryside on a small island in Sweden, and I was talking to someone from Arizona, living a different life. I don’t know how successful that would be these days, the Internet having become a lot less innocent than it was.

For instance, we can focus on the question of inequality of attention, a very well-studied and robust feature of these networks. I personally thought we would be able to address it with our interventions, but attention draws attention, and this leads to a power law distribution, where 1 percent [of users] dominates the entire conversation. We know the conditions under which those power laws emerge. This is one of the main outcomes of social network dynamics: extreme inequality of attention.

But in social science, we always teach that everything is a normal distribution. The move from studying the conventional social world to studying the online social world means that you’re moving from these nice normal distributions to these horrible power law distributions. Those are the outcomes of having social networks where the probability of connecting to someone depends on how many previous connections they have. If we want to get rid of that, we probably have to move away from the social network model and have some kind of spatial model or group-based model that makes things a little bit more local, a little bit less globally interconnected.

Ars Technica: It sounds like you’d want to avoid those big influential nodes that play such a central role in a large, complex global network. 

Petter Törnberg: Exactly. I think that having those global networks and structures fundamentally undermines the possibility of the kind of conversations that political scientists and political theorists traditionally talked about when they were discussing in the public square. They were talking about social interaction in a coffee house or a tea house, or reading groups and so on. People thought the Internet was going to be precisely that. It’s very much not that. The dynamics are fundamentally different because of those structural differences. We shouldn’t expect to be able to get a coffee house deliberation structure when we have a global social network where everyone is connected to everyone. It is difficult to imagine a functional politics building on that.

Ars Technica: I want to come back to your comment on the power law distribution, how 1 percent of people dominate the conversation, because I think that is something that most users routinely forget. The horrible things we see people say on the Internet are not necessarily indicative of the vast majority of people in the world. 

Petter Törnberg: For sure. That is capturing two aspects. The first is the social media prism, where the perspective we get of politics when we see it through the lens of social media is fundamentally different from what politics actually is. It seems much more toxic, much more polarized. People seem a little bit crazier than they really are. It’s a very well-documented aspect of the rise of polarization: People have a false perception of the other side. Most people have fairly reasonable and fairly similar opinions. The actual polarization is lower than the perceived polarization. And that arguably is a result of social media, how it misrepresents politics.

And then we see this very small group of users that become very influential who often become highly visible as a result of being a little bit crazy and outrageous. Social media creates an incentive structure that is really central to reshaping not just how we see politics but also what politics is, which politicians become powerful and influential, because it is controlling the distribution of what is arguably the most valuable form of capital of our era: attention. Especially for politicians, being able to control attention is the most important thing. And since social media creates the conditions of who gets attention or not, it creates an incentive structure where certain personalities work better in a way that’s just fundamentally different from how it was in previous eras.

Ars Technica: There are those who have sworn off social media, but it seems like simply not participating isn’t really a solution, either.

Petter Törnberg: No. First, even if you only read, say, The New York Times, that newspaper is still reshaped by what works on social media, the social media logic. I had a student who did a little project this last year showing that as social media became more influential, the headlines of The New York Times became more clickbaity and adapted to the style of what worked on social media. So conventional media and our very culture is being transformed.

But more than that, as I was just saying, it’s the type of politicians, it’s the type of people who are empowered—it’s the entire culture. Those are the things that are being transformed by the power of the incentive structures of social media. It’s not like, “This is things that are happening in social media and this is the rest of the world.” It’s all entangled, and somehow social media has become the cultural engine that is shaping our politics and society in very fundamental ways. Unfortunately.

Ars Technica: I usually like to say that technological tools are fundamentally neutral and can be used for good or ill, but this time I’m not so sure. Is there any hope of finding a way to take the toxic and turn it into a net positive?

Petter Törnberg: What I would say to that is that we are at a crisis point with the rise of LLMs and AI. I have a hard time seeing the contemporary model of social media continuing to exist under the weight of LLMs and their capacity to mass-produce false information or information that optimizes these social network dynamics. We already see a lot of actors—based on this monetization of platforms like X—that are using AI to produce content that just seeks to maximize attention. So misinformation, often highly polarized information as AI models become more powerful, that content is going to take over. I have a hard time seeing the conventional social media models surviving that.

We’ve already seen the process of people retreating in part to credible brands and seeking to have gatekeepers. Young people, especially, are going into WhatsApp groups and other closed communities. Of course, there’s misinformation from social media leaking into those chats also. But these kinds of crisis points at least have the hope that we’ll see a changing situation. I wouldn’t bet that it’s a situation for the better. You wanted me to sound positive, so I tried my best. Maybe it’s actually “good riddance.”

Ars Technica: So let’s just blow up all the social media networks. It still won’t be better, but at least we’ll have different problems.

Petter Törnberg: Exactly. We’ll find a new ditch.

DOI: arXiv, 2025. 10.48550/arXiv.2508.03385  (About DOIs).

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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perplexity-offers-more-than-twice-its-total-valuation-to-buy-chrome-from-google

Perplexity offers more than twice its total valuation to buy Chrome from Google

Google has strenuously objected to the government’s proposed Chrome divestment, which it calls “a radical interventionist agenda.” Chrome isn’t just a browser—it’s an open source project known as Chromium, which powers numerous non-Google browsers, including Microsoft’s Edge. Perplexity’s offer includes $3 billion to run Chromium over two years, and it allegedly vows to keep the project fully open source. Perplexity promises it also won’t enforce changes to the browser’s default search engine.

An unsolicited offer

We’re currently waiting on United States District Court Judge Amit Mehta to rule on remedies in the case. That could happen as soon as this month. Perplexity’s offer, therefore, is somewhat timely, but there could still be a long road ahead.

This is an unsolicited offer, and there’s no indication that Google will jump at the chance to sell Chrome as soon as the ruling drops. Even if the court decides that Google should sell, it can probably get much, much more than Perplexity is offering. During the trial, DuckDuckGo’s CEO suggested a price of around $50 billion, but other estimates have ranged into the hundreds of billions. However, the data that flows to Chrome’s owner could be vital in building new AI technologies—any sale price is likely to be a net loss for Google.

If Mehta decides to force a sale, there will undoubtedly be legal challenges that could take months or years to resolve. Should these maneuvers fail, there’s likely to be opposition to any potential buyer. There will be many users who don’t like the idea of an AI startup or an unholy alliance of venture capital firms owning Chrome. Google has been hoovering up user data with Chrome for years—but that’s the devil we know.

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scientists-hid-secret-codes-in-light-to-combat-video-fakes

Scientists hid secret codes in light to combat video fakes

Hiding in the light

Previously, the Cornell team had figured out how to make small changes to specific pixels to tell if a video had been manipulated or created by AI. But its success depended on the creator of the video using a specific camera or AI model. Their new method, “noise-coded illumination” (NCI), addresses those and other shortcomings by hiding watermarks in the apparent noise of light sources. A small piece of software can do this for computer screens and certain types of room lighting, while off-the-shelf lamps can be coded via a small attached computer chip.

“Each watermark carries a low-fidelity time-stamped version of the unmanipulated video under slightly different lighting. We call these code videos,” Davis said. “When someone manipulates a video, the manipulated parts start to contradict what we see in these code videos, which lets us see where changes were made. And if someone tries to generate fake video with AI, the resulting code videos just look like random variations.” Because the watermark is designed to look like noise, it’s difficult to detect without knowing the secret code.

The Cornell team tested their method with a broad range of types of manipulation: changing warp cuts, speed and acceleration, for instance, and compositing and deep fakes. Their technique proved robust to things like signal levels below human perception; subject and camera motion; camera flash; human subjects with different skin tones; different levels of video compression; and indoor and outdoor settings.

“Even if an adversary knows the technique is being used and somehow figures out the codes, their job is still a lot harder,” Davis said. “Instead of faking the light for just one video, they have to fake each code video separately, and all those fakes have to agree with each other.” That said, Davis added, “This is an important ongoing problem. It’s not going to go away, and in fact it’s only going to get harder,” he added.

DOI: ACM Transactions on Graphics, 2025. 10.1145/3742892  (About DOIs).

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$30k-ford-ev-truck-due-in-2027-with-much-simpler-production-process

$30k Ford EV truck due in 2027 with much-simpler production process

Ford will debut a new midsize pickup truck in 2027 with a targeted price of $30,000, the automaker announced today. The as-yet unnamed pickup will be the first of a series of more affordable EVs from Ford, built using a newly designed flexible vehicle platform and US-made prismatic lithium iron phosphate batteries.

For the past few years, a team of Ford employees have been hard at work on the far side of the country from the Blue Oval’s base in Dearborn, Michigan. Sequestered in Long Beach and taking inspiration from Lockheed’s legendary “skunkworks,” the Electric Vehicle Development Center approached designing and building Ford’s next family of EVs as a clean-sheet problem, presumably taking inspiration from the Chinese EVs that have so impressed Ford’s CEO.

It starts with a pickup

Designing an EV from the ground up, free of decades of legacy cruft, is a good idea, but not one unique to Ford. In recent months we’ve reviewed quite a few so-called software-defined vehicles, which replace dozens or even hundreds of discrete single-function electronic control units with a handful of powerful modern computers (usually known as domain controllers) on a high-speed network.

“This isn’t a stripped‑down, old‑school vehicle,” said Doug Field, Ford’s chief EV, digital, and design officer, pointedly comparing the future Ford to the recently revealed barebones EV from Slate Motors.

An animation of Ford’s new vehicle architecture.

Starting from scratch like this is allowing vehicle dynamics engineers to get creative with the way EVs handle. Field said that the company “applied first‑principles engineering, pushing to the limits of physics to make it fun to drive and compete on affordability. Our new zonal electric architecture unlocks capabilities the industry has never seen.”

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ai-industry-horrified-to-face-largest-copyright-class-action-ever-certified

AI industry horrified to face largest copyright class action ever certified

According to the groups, allowing copyright class actions in AI training cases will result in a future where copyright questions remain unresolved and the risk of “emboldened” claimants forcing enormous settlements will chill investments in AI.

“Such potential liability in this case exerts incredibly coercive settlement pressure for Anthropic,” industry groups argued, concluding that “as generative AI begins to shape the trajectory of the global economy, the technology industry cannot withstand such devastating litigation. The United States currently may be the global leader in AI development, but that could change if litigation stymies investment by imposing excessive damages on AI companies.”

Some authors won’t benefit from class actions

Industry groups joined Anthropic in arguing that, generally, copyright suits are considered a bad fit for class actions because each individual author must prove ownership of their works. And the groups weren’t alone.

Also backing Anthropic’s appeal, advocates representing authors—including Authors Alliance, the Electronic Frontier Foundation, American Library Association, Association of Research Libraries, and Public Knowledge—pointed out that the Google Books case showed that proving ownership is anything but straightforward.

In the Anthropic case, advocates for authors criticized Alsup for basically judging all 7 million books in the lawsuit by their covers. The judge allegedly made “almost no meaningful inquiry into who the actual members are likely to be,” as well as “no analysis of what types of books are included in the class, who authored them, what kinds of licenses are likely to apply to those works, what the rightsholders’ interests might be, or whether they are likely to support the class representatives’ positions.”

Ignoring “decades of research, multiple bills in Congress, and numerous studies from the US Copyright Office attempting to address the challenges of determining rights across a vast number of books,” the district court seemed to expect that authors and publishers would easily be able to “work out the best way to recover” damages.

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