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How Color Vision Came to the Animals

March 20, 2019 | Story | No Comments

Animals are living color. Wasps buzz with painted warnings. Birds shimmer their iridescent desires. Fish hide from predators with body colors that dapple like light across a rippling pond. And all this color on all these creatures happened because other creatures could see it.

The natural world is so showy, it’s no wonder scientists have been fascinated with animal color for centuries. Even today, the questions how animals see, create, and use color are among the most compelling in biology.

Until the last few years, they were also at least partially unanswerable—because color researchers are only human, which means they can’t see the rich, vivid colors that other animals do. But now new technologies, like portable hyperspectral scanners and cameras small enough to fit on a bird’s head, are helping biologists see the unseen. And as described in a new Science paper, it's a whole new world.

Visions of Life

The basics: Photons strike a surface—a rock, a plant, another animal—and that surface absorbs some photons, reflects others, refracts still others, all according to the molecular arrangement of pigments and structures. Some of those photons find their way into an animal’s eye, where specialized cells transmit the signals of those photons to the animal’s brain, which decodes them as colors and shapes.

It's the brain that determines whether the colorful thing is a distinct and interesting form, different from the photons from the trees, sand, sky, lake, and so on it received at the same time. If it’s successful, it has to decide whether this colorful thing is food, a potential mate, or maybe a predator. “The biology of color is all about these complex cascades of events,” says Richard Prum, an ornithologist at Yale University and co-author of the paper.

In the beginning, there was light and there was dark. That is, basic greyscale vision most likely evolved first, because animals that could anticipate the dawn or skitter away from a shadow are animals that live to breed. And the first eye-like structures—flat patches of photosensitive cells—probably didn't resolve much more than that. It wasn't enough. “The problem with using just light and dark is that the information is quite noisy, and one problem that comes up is determining where one object stops and another one starts. ” says Innes Cuthill, a behavioral ecologist at the University of Bristol and coauthor of the new review.

Color adds context. And context on a scene is an evolutionary advantage. So, just like with smart phones, better resolution and brighter colors became competitive enterprises. For the resolution bit, the patch light-sensing cells evolved over millions of years into a proper eye—first by recessing into a cup, then a cavity, and eventually a fluid-filled spheroid capped with a lens. For color, look deeper at those light-sensing cells. Wedged into their surfaces are proteins called opsins. Every time they get hit with a photon—a quantum piece of light itself—they transduce that signal into an electrical zap to the rudimentary animal's rudimentary brain. The original light/dark opsin mutated into spin-offs that could detect specific ranges of wavelengths. Color vision was so important that it evolved independently multiple times in the animal kingdom—in mollusks, arthropods, and vertebrates.

In fact, primitive fish had four different opsins, to sense four spectra—red, green, blue, and ultraviolet light. That four-fold ability is called tetrachromacy, and the dinosaurs probably had it. Since they're the ancestors of today’s birds, many of them are tetrachromats, too.

But modern mammals don't see things that way. That's probably because early mammals were small, nocturnal things that spent their first 100 million years running around in the dark, trying to keep from being eaten by tetrachromatic dinosaurs. “During that period the complicated visual system they inherited from their ancestors degraded,” says Prum. “We have a clumsy, retrofitted version of color vision. Fishes, and birds, and many lizards see a much richer world than we do."

In fact, most monkeys and apes are dichromats, and see the world as greyish and slightly red-hued. Scientists believe that early primates regained three-color vision because spotting fresh fruit and immature leaves led to a more nutritious diet. But no matter how much you enjoy springtime of fall colors, the wildly varicolored world we humans live in now isn't putting on a show for us. It's mostly for bugs and birds. “Flowering plants of course have evolved to signal pollinators,” says Prum. “The fact that we find them beautiful is incidental, and the fact that we can see them at all is because of an overlap in the spectrums insects and birds can see and the ones we can see.”

Covered in Color

And as animals gained the ability to sense color, evolution kickstarted an arms race in displays—hues and patterns that aided in survival became signifiers of ace baby-making skills. Almost every expression of color in the natural world came about to signal, or obscure, a creature to something else.

For instance, "aposematism" is color used as a warning—the butterfly’s bright colors say “don’t eat me, you'll get sick.” "Crypsis" is color used as camouflage. Color serves social purposes, too. Like, in mating. Did you know that female lions prefer brunets? Or that paper wasps can recognize each others’ faces? “Some wasps even have little black spots that act like karate belts, telling other wasps not to try and fight them,” says Elizabeth Tibbetts, an entomologist at the University of Michigan.

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But animals display colors using two very different methods. The first is with pigments, colored substances created by cells called chromatophores (in reptiles, fish, and cephalopods), and melanocytes (in mammals and birds). They absorb most wavelengths of light and reflect just a few, limiting both their range and brilliance. For instance, most animals cannot naturally produce red; they synthesize it from plant chemicals called carotenoids.

The other way animals make color is with nanoscale structures. Insects, and, to a lesser degree, birds, are the masters of color-based structure. And compared to pigment, structure is fabulous. Structural coloration scatters light into vibrant, shimmering colors, like the shimmering iridescent bib on a Broad-tailed hummingbird, or the metallic carapace of a Golden scarab beetle. And scientists aren't quite sure why iridescence evolved. Probably to signal mates, but still: Why?

Decoding the rainbow of life

The question of iridescence is similar to most questions scientists have about animal coloration. They understand what the colors do in broad strokes, but there's till a lot of nuance to tease out. This is mostly because, until recently, they were limited to seeing the natural world through human eyes. “If you ask the question, what’s this color for, you should approach it the way animals see those colors,” says Tim Caro, a wildlife biologist at UC Davis and the organizing force behind the new paper. (Speaking of mysteries, Caro recently figured out why zebras have stripes.)

Take the peacock. “The male’s tail is beautiful, and it evolved to impress the female. But the female may be impressed in a different way than you or I,” Caro says. Humans tend to gaze at the shimmering eyes at the tip of each tail feather; peahens typically look at the base of the feathers, where they attach to the peacock’s rump. Why does the peahen find the base of the feathers sexy? No one knows. But until scientists strapped to the birds' heads tiny cameras spun off from the mobile phone industry, they couldn't even track the peahens' gaze.

Another new tech: Advanced nanomaterials give scientists the ability to recreate the structures animals use to bend light into iridescent displays. By recreating those structures, scientists can figure out how genetically expensive they are to make.

Likewise, new magnification techniques have allowed scientists to look into an animal’s eye structure. You might have read about how mantis shrimp have not three or four but a whopping 12 different color receptors, and how they see the world in psychedelic hyperspectral saturation. This isn’t quite true. Those color channels aren’t linked together—not like they are in other animals. The shrimp probably aren’t seeing 12 different, overlapping color spectra. “We are thinking maybe those color receptors are being turned on or off by some other, non-color, signal,” says Caro.

But perhaps the most important modern innovation in biological color research is getting all the different people from different disciplines together. “There are a lot of different sorts of people working on color,” says Caro. “Some behavioral biologists, some neurophysiologists, some anthropologists, some structural biologists, and so on.”

And these scientists are scattered all over the globe. He says the reason he brought everyone to Berlin is so they could finally synthesize all these sub-disciplines together, and move into a broader understanding of color in the world. The most important technology in understanding animal color vision isn't a camera or a nanotech surface. It's an airplane. Or the internet.

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All week, WIRED's Culture team will be writing endorsement letters for various Emmy nominees in advance of next Monday's awards ceremony. Kicking things off: senior writer and almost definitely not Chechen mobster Jason Parham.

Does comedy, as a TV genre, have some greater purpose, or responsibility, other than to make us laugh? The best comedies on TV this year posed serious questions, but they weren’t, by traditional standards, all that funny: Of the eight nominees vying for Outstanding Comedy Series at next Monday’s Emmy Awards, only three felt like textbook satires.

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Cunning and permeable, the majority of the nominees hinted at the genre’s elastic progression. There’s Donald Glover’s Atlanta, too stubborn a creative outfit to pigeonhole itself into one tidy category. Its second season, the fittingly titled Robbin’ Season, was consumed with theft and the toll of loss, both physically and psychologically. Black-ish also ventured into darker provinces with its exploration of family decay, focusing on parents Dre (Anthony Anderson) and Bo’s (Tracee Ellis Ross) inevitable separation. Even feminist engines like GLOW and The Marvelous Mrs. Maisel flirted with distinctly sobering themes: the ache of immigration hardship, divorce and single motherhood, the prick of AIDS.

Then there’s Barry, the HBO series about Barry Berkman, a disaffected Midwest hitman-turned-actor in the throes of an existential crisis. With it, the prestige network proved the static half-hour comedy format could strive for meaning outside itself. That perhaps humor, empathy, and truth could be extracted from life’s more solemn notes—murder, violence, personal defeat. Barry didn’t just mine the tragic for comic; it did so better than any of its contemporaries in a year of standout television.

When we first meet our titular hero, played by former Saturday Night Live Renaissance man Bill Hader, he’s trapped in an emotionally dead-in job as a contract killer and wants out of the murder-for-hire business. Understandably, Barry is at a crossroads. That all changes, though, when he ends up in Los Angeles on an assignment tasked with killing a personal trainer who had an affair with a Chechen mobster’s wife. With a dose of serendipity, the hit leads Barry into an acting class. And it’s here, among an odd bunch of wannabes, where he finds his new purpose: aspiring thespian.

But the show, co-created by Hader and Silicon Valley showrunner Alec Berg, is not uniquely concerned with Barry’s pursuits inside the classroom, or on the stage—it’s curious as to how he’ll juggle his old life, as a hitman, with his new one, as an actor. The irony, of course, is that the one quirk that affords Barry success as an ace killer is also what makes him such a godawful actor: he’s a mostly forgettable schlub that easily fades into any background.

Acting, though, becomes a lifeline for Barry—it presents him with a chance to stall the erasure he’s faced with in his own trivial existence. In one of the show’s more baldly tear-worthy moments, he bares his soul to his acting teacher, going into detail about his military stint in Afghanistan and how he feels devoid of true purpose; the teacher, played with a swindler’s touch by Henry Winkler, confuses it for a monologue. “What’s that from?” he asks, eyebrows arched. “Are you telling me that was an improvisation? The story’s nonsense, but there’s something to work with.”

That, essentially, is the gist and genius of the show, which belongs to a new, more morose and deadly serious stripe of comedy. And it’s not just Barry who’s working against irrelevance—it’s the community of artists he’s surrounded himself with, all of whom are similarly trying to make something, anything, of their lives. Like Barry’s love interest, the emotionally volatile actress Sally Reed (Sarah Goldberg), utterly self-serving and willfully naive about her career. Or Gene M. Cousineau (Winkler), the laughably out-of-touch instructor who’s more Joanne the Scammer than Obi-Wan Kenobi. Even Barry’s boss, Fuches (Stephen Root), refuses to let him renounce his life as a hitman because it would further marginalize his own meaningless life. Set against a macabre landscape dotted with palm trees and weirdos, Barry’s bit players are what fuel the show’s loftier aim, the pursuit of redemption. It’s a show that squarely asks: Can a person actually remake himself?

All the while, bodies pile up. There’s blood. There’s death. There’s awkward encounter after awkward encounter. The series unfurls, sometimes with a stumble and other times in brilliant leaps (as it does in the final two episodes), across the outskirts of Los Angeles—North Hollywood, Studio City, the Valley. In this regard, thematically at least, Barry is very much a show about living on the periphery and trying to find your way back to the center. Any center.

Luckily, comedy itself has done away with its center. The influx of streaming giants have amply allowed comedies—“murder-coms” like Barry and Search Party, mockumentaries like American Vandal, absurdist fare like Kimmy Schmidt—more flexibility with interior approach to narrative. The creative flair of a show like Atlanta is that you don’t quite know what it’s looking for, or where it will land, or where its true north is.

Where Barry excels in this regard is its urgency toward empathy—and how it re-engineers that into a kind of power (the same way Showtimes’s SMILF and Netflix’s Atypical do). It wants us to feel for its heroes and anti-heroes even as they work against our better judgements. It’s a show that allows for destruction and daring, for failure and fickleness, in a single clip, even when—mostly when—there’s no expected punchline.

This week has been so long that it’s almost difficult to remember that it started with the horrific deaths of 11 people in a Pittsburgh synagogue, which prompted reports about the growth of anti-Semitism in the US, as well as the ways in which that anti-Semitism is mainstreamed for political purposes. It's weighty, depressing news, so it's no wonder that, by Wednesday, people were throwing themselves into Halloween, and the annual ritual of celebrities apologizing for costumes. Yet celebrity Halloween costumes seem like a small thing when compared to all the other events of the past week. Shall we step back and ruminate on them together? Yes, let's.

Send in the Troops

What Happened: In the middle of an already fraught week, President Trump decided to order thousands of soldiers to southern US border.

What Really Happened: It was Immigration Week at the White House last week, with President Trump trying to mobilize his base using overwrought rhetoric about the migrant caravan making its way to the US border from Honduras. Very little of what he said was true, but the midterms were a week away and it's not like baseless fear-mongering hurt him last time. But then, we’re in a different era, now. Maybe. Perhaps.

After weeks of talking about a the caravan that was coming to invade the US, President Trump started last week by announcing the deployment of 5,200 troops to the US-Mexico border, even though the caravan of migrants was still around 900 miles away, and unlikely to reach the US, anyway. It was pretty obviously a political stunt—made even more obvious by the mission's official name, "Faithful Patriot." (No, we didn't make that up.)

It's certainly a big deal—

—but is it a useful one? Maybe not.

So, they'll be there to … help law enforcement officials who are already there, but not there to do the thing that the president says they’re there for. I mean, sure, OK. After all, the troops are already arriving there and current estimates say the caravan, if it makes it, will likely arrive the last weekend in November, so it's not like the troops would have anything else to do. And it's only a few thousand troops. Surely there's no problem with that and it's all super cheap and above board, right?

Also, it's possible the troops could've been given something more productive to do.

It would be understandable for someone to look at the response to the deployment and think, Oh, maybe I should reconsider this whole thing. Apparently, that’s exactly what President Trump did, but he took things in a different direction than should have been expected.

Oh, man! That President Trump! He's playing four-dimensional chess again, isn't he?

The Takeaway: Of course, there's also the matter of what happens if and when the migrants arrive at the border.

Checking in on the Fourteenth Amendment

What Happened: President Trump vowed to end birthright citizenship for babies born to non-citizens and unauthorized immigrants.

What Really Happened: Of course, it's possible that sending troops to a border that's not actually under siege might not be enough to stop an invasion into the United States that's not actually happening. Perhaps, the president realized, he needs to mobilize his base on the issue even more and take bolder measures. That's almost certainly how this happened early last week:

You would need a constitutional amendment, actually, but we’ll get to that soon enough. For now, let's get back to Axios, which broke the story.

Is this a big deal? Yes; this would be a very big deal indeed.

Don't worry; it also had a fair amount of false claims.

Distraction or not, it was a massive story that reverberated across the internet. But was he correct that he could do it by executive order, considering it would mean reversing the Fourteenth Amendment to the United States Constitution?

That last one apparently got under the skin of the president, judging by this tweet the following day.

Well, this whole thing is turning out well, isn't it?

But, no, let's get back to what else President Trump had to say on Twitter while he was on the topic.

Like a Twitter Beetlejuice, Former Senate Majority Leader Harry Reid couldn’t help but respond having been summoned.

Others also pointed out that Reid has previously renounced his earlier comments, even as the Reid/Trump spat became a brief sideshow.

The Takeaway: While the subject lumbers on like a racist zombie, let’s have our own little sideshow here by noting an unexpected moment in the entire discussion: This tweet from the Associated Press, which might be the shape of things to come in political coverage.

In Which the Ghost of Willie Horton Returns When Least Expected

What Happened: In case a show of military strength at the border and a threat to undo a constitutional amendment wasn't enough, there was a third show of anti-immigrant presidential power this week, and this one was caught on tape. Well, it was all on tape, actually.

What Really Happened: In case you were thinking that things hadn't cratered deep enough when it comes to President Trump’s attempt to scaremonger around the subject of immigration, well … Let’s just look at what the president dropped on his Twitter account on Wednesday, shall we?

To call this, as CNN did, a racist video is an understatement; one so racist, it seems that even other Republicans failed to get behind it. And, unsurprisingly, others noticed it too.

Oh, and guess what? The video isn't even accurate.

Others also noted the lie, but facts! Who cares about facts these days? After all, it's not as if the issue of illegal immigration is even a growing trend, as the president claims—

—but that's missing the point. Outrage surrounding the video did dominate the online conversation in the immediate wake of its release, which meant that it was doing its job.

In case you're wondering why Republicans would like to distract from healthcare, it's because that's not going well for them, because it turns out that people want to be covered for pre-existing conditions.

The Takeaway: If you can look beyond the racism and lie about the Democrats letting Luis Brecamontes back into the country, there's one more thing of interest in Trump's video that he'd probably not like you to think about too much.

Kanye West Steps Out of the Fray

What Happened: Kanye West left politics.

What Really Happened: Remember when Kanye West was in the White House and singing President Trump's praises? Man, that seems like it was years and years ago, instead of just three weeks. But however long ago it was, the point is, it's the past; Ye has now ditched politics altogether. Or so he told the world this week.

The response was … Well, sincere probably isn't the right word, considering.

Here's the thing, though; this wasn't West renouncing Trump, as many believed. Instead, it was West falling out with commentator Candice Owens over Blexit, the new brand she's launched to mark "the official Black Exit from the Democrat[ic] Party."

Owens unveiled Blexit shirts at conservative non-profit Turning Point USA's Young Black Leadership Summit last weekend, and announced that they were designed by West. "Blexit is a renaissance and I am blessed to say that this logo, these colors, were created by my dear friend and fellow superhero Kanye West," she said at the time.

Dropping West's name helped get publicity for the cause, but there was just one problem: According to West, she just used his name.

As it turned out, Owens must have known this was coming, because a day prior to West's tweets, she shared this herself in an attempt to save the relationship:

It didn't work, sadly, and as a result, West jumped ship, taking his credibility with him. (Well, such as it was, anyway.) Naturally, some folks are pretty upset.

The Takeaway: Before anyone feels happy with how this all went down, let's stop for a second and remember that what caused the schism wasn't anything ideological at all, but the use of West's name to promote some apparel. There is no high ground here for anyone, let's be real.

The Makers of Game of Thrones Would Really Like Trump to Not Use Their Messaging

What Happened: President Trump evoked Game of Thrones' "winter is coming…" phrase to announce some sanctions. The makers of Game of Thrones, and much of the internet, was none too pleased with that.

What Really Happened: The Trump administration has, since its start, treated Iran with no small level of suspicion, if not outright disdain. After months of complaining about the deal the Obama administration had made with Iran over its nuclear capabilities, Trump withdrew from the deal in May—something seen as risky by most, and a mistake by Obama, Iranian leader Ayatollah Ali Khameni, and, perhaps less obviously, Jimmy Carter.

Last week, news started to leak that Trump was seeking to reimpose sanctions against Iran that were lifted as part of an Obama administration deal, despite concerns that it could cause a world recession and hand a political and strategic victory to Russia. On Friday, the Trump administration announced all sanctions would return November 5. How do you think Trump marked this decision on Twitter?

…Yeah, like anyone really thought the answer was going to be Game of Thrones-inspired fan art.

Twitter's response was … well, what you might expect.

That last tweet proved at least somewhat prescient when, later on Friday, the official Twitter account for HBO, the network that airs Game of Thrones, tweeted the following.

The cable network followed that up with the following statement: "We were not aware of this messaging and would prefer our trademark not be misappropriated for political purposes."

Yes, we are now living in a world where the President of the United States makes policy statements on Twitter using Game of Thrones memes, and then the network that airs the show claps back on that same social media platform. Just think about that for a second.

The Takeaway: We'll let Maisie Williams, who plays young assassin Arya Stark, handle the mic drop on this one.

Nick Goldschmidt has been lucky so far. A wildfire has burned more than 8,000 acres just north of his vineyards in Geyserville, California, but so far his vines are OK. So is his house in Healdsburg, roughly midway between Geyserville and a 36,000-acre fire that destroyed more than 2,800 homes in Santa Rosa.

But now, amid the charred, empty spaces that scar northern California’s winegrowing region, under skies yellowed by smoke, Goldschmidt has a race to win. Wildfires can ruin the flavor of wine grapes, a problem called smoke taint. “I’ve worked with smoke before,” Goldschmidt says. “It is not an easy thing to fix. But in my experience, it’s more about contact time. So the key thing is, if you have vineyards near the fire, you’ve got to get the grapes off.”

Depending on wind, smoke from the Atlas Fire could potentially reach Goldschmidt’s Napa vineyard, where about 15 percent of the fruit remains to be harvested. He now plans to harvest the rest by the weekend.

That’s typical of Napa, where 80 to 85 percent of the 2017 harvest is done. In nearby Sonoma, 90 percent of the grapes are in. But that still means that a few grapes could get exposed to smoke, and fire and heat could damage the vines. In a region key to California’s $34 billion wine industry—and that figure doesn’t even include the enormous tourist business—that’s a big deal. Fires have killed 31 people so far, destroyed thousands of homes, and consumed the efforts of more than 8,000 firefighters. And the winemakers of the area are trying to make sure the damage to their livelihoods doesn’t get worse.

Winemaking regions around the world, especially in Australia, have been dealing with the consequences of more active fire seasons near vineyards since at least the turn of the century—but the problems haven’t really hit California yet. The state’s frequent fires haven’t intersected with its vineyards. Until now.

Smoke is complicated stuff. Everyone in the Bay Area has gotten a taste in the past few days—that medicinal, ashy, burnt flavor comes from, among other ingredients, molecules called polycyclic aromatic hydrocarbons, nitrogen and sulfur oxides, other organic compounds, and even tiny particles carried aloft by heat and air currents. If you’ve ever sat near a campfire or cooked on a grill, you know it’s not necessarily an unpleasant aroma, as cognitively dissonant as that may feel when you realize it comes from blazes that have destroyed the lives of thousands.

But what’s delicious in bacon or lox generally isn’t—depending on how much you have—in wine. The actual flavor compounds are molecules called volatile phenols. “Volatile” means they evaporate, and in chemistry “phenols” are benzene rings (a hexagon of carbon atoms with hydrogen atoms sticking off like a snowflake) connected to a hydrogen-and-an-oxygen. You might know them better as the aroma of peat in some whiskies or of antiseptic or Band-Aids. Their volatility means that in your mouth, they turn into a vapor that gets sucked up retronasally, through the back of the throat to the sensitive layer of nerve endings behind your nose that translates chemicals into odors.

Smoke taint in grapes has two specific markers: guaiacol and 4-methylguaiacol. They taste like, well, smoke. Expose grapes on the vine to them, and the wine will taste smoky. Obvious, right? Except no. “The mechanism is a little bit unclear,” says Kerry Wilkinson, an oenologist who studies smoke taint at the University of Adelaide. Leaves have pores called stomata involved in respiration, “but when grapevines are exposed to smoke, the stomata close almost immediately and photosynthesis stops,” she says. “The guaiacol conjugates are getting to not only the skins but the pulp of the fruit. I think it’s just permeation, but I don’t think anyone’s done the research.”

Making things even more complicated, grapevines have their own way of dealing with a barbecue. “Those compounds, once they’re taken up, the grapevine will stick one or more sugar molecules on them,” Wilkinson says. “We think that’s to make them less toxic to the plant.” This process—it’s called glycosylation, and the sugars are called glycosides—turns the volatile phenols non-volatile. Which means you can’t taste them in the grape juice.

But ferment that juice into wine, and acids in it will break those sugars off. Poof: Smoke gets in your wines.

I don’t mean to be flip here; smoke taint from the Canberra bushfires of 2003 cost Australian vineyards more than $4 million; fires in 2004 cost another $7 million. Once grapes are tainted, the wine isn’t easy to fix. Those ashy flavors are too strong; you can’t just try to blend in other, untainted wine to cover it up. Efforts to filter it with activated charcoal and reverse osmosis can filter out flavors you might want in the wine, too. Heck, guaiacol and 4-methylguaiacol are markers for oak-barrel aging, too. Nobody ever describes an over-oaked Chardonnay as “smoke-tainted,” but—well, maybe they should, actually. And some grape varietals—shiraz, particularly—already have naturally high guaiacol levels.

All of which might be fine. Most of the grapes were picked before the fires came. In general, “if the fruit’s already been harvested this year, it should be OK,” Wilkinson says. A couple dozen wineries suffered damage so far, from minor to total. But Northern California has almost 250,000 acres of wine grape vines—more than 100,000 of them in Napa and Sonoma Counties as of 2016.

It looks like the grapes those vines produce will be OK next year. “There’s no carryover effect from one season to the other,” Wilkinson says. “We haven't seen any evidence to suggest that any of those smoke compounds are bound up from one season to another in the grapevine.” They get into the grapes, which come off, and the leaves, which fall off or get pruned. (And a little more luck: The grapes left to harvest in Napa are mostly Cabernet Sauvignon, which turns out to be more resistant to smoke taint than some other varietals.)

But vines themselves are sensitive to heat. “They can be scorched, and if it’s severe, that can permanently damage or kill grapevines,” Wilkinson says. “If there’s just a little bit of scorching, vines can recover, but the yield can be decreased in the season immediately after.”

It turns out it’s pretty hard to burn down a California vineyard. In part that’s because most of them are irrigated, so they’re wet and thus resistant to fire. Even when the cover crop growing between the vines gets burned in a fast-moving wildfire, “it’s pretty damn hard” to get a California vineyard to catch, Goldschmidt says.

When he was working in Chile, though, he saw a wind-driven wildfire very much like the ones affecting California destroy a vineyard. “That was devastating,” Goldschmidt says. “A lot of those vineyards are dry-farmed, so they burned much more easily.”

Heat damage is a lot like frost damage, something California vintners know a lot about. Proper pruning and treatment can save an injured vine. The trick is knowing if they’re injured, and how badly. Sometimes vintners will have to cut through the trunks of the vines to assess whether the phloem, the living and respiring part of the wood, is still healthy. But that’s a destructive test—sometimes destroying the vine in an attempt to save it.

So grape-growers look for other ways to assess their vines. “We look at things like, are the irrigation lines melted? Is there indication of scorching of the trunk and canopy? How much fire damage was there to anything growing in between the vines?” Wilkinson says.

That’s an assessment that’ll probably have to wait until the fires are under control. Maybe Goldschmidt’s luck will hold out. “This is my 29th vintage in Sonoma. It’s the first time the Alexander Valley was earlier in maturity than the Napa Valley. Usually it’s 10 days later,” he says. “If it had been the other way I would have really been hammered.”

Ordinarily I might end the story with that, but in this case it’s not as lucky as it sounds. Napa and Sonoma did indeed have a weird year. It rained hard after years of drought, and then over the summer it got really hot. Vintners irrigated when they might not have, which lowered the sugar levels in the grapes as they took up the water…and then it got hot again. “It’s been really hard to make a harvest decision based on sugar,” Goldschmidt says. “It’s been more about flavor and tannin.”

Based on those organoleptic assessments—the fanciest possible way of saying “how it tastes”—most of Napa and Sonoma brought in their fruit in July and August instead of, well, now.

To whom should the vintners send a thank-you? “Over the last five years or so we’ve had this period of very high temperatures that coincided with low precipitation, punctuated by very wet conditions,” says Noah Diffenbaugh, a climate researcher at Stanford. It’s exactly what Diffenbaugh’s group warned would happen in a prescient 2006 paper in the Proceedings of the National Academy of Sciences titled “Extreme heat reduces and shifts United States premium wine production in the 21st century.”

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Their point? At first, heat and rare-but-extreme rain is going to change how winegrowing regions work. Eventually more northerly regions will be better for grapes—hello, Oregon’s Willamette Valley—and existing grape-growing regions will change the varieties they grow.

It’s in the nature of global warming that extreme climate events will become less rare. “We’ve done a lot of work trying to understand how global warming impacts temperature extremes,” Diffenbaugh says. “The extremes are really where we feel the climate.”

The vagaries of climate change let the 2017 vintage mostly dodge the economic devastation that smoke taint would have caused. It’s a faintly silver lining to the clouds of ash and smoke now parked over thousands of acres of death and destruction. But that silver lining won’t last. These won’t be the last fires; next time, maybe the harvest won’t happen first. The most frightening truth about the extreme climate event that is the northern California fires is that such events won’t always be extreme. They’ll be normal.

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Ten years ago, Tom Cruise’s public image was dangerously close to self-destructing. In January of 2008, a nearly 10-minute-long video of Cruise solemnly discussing Scientology wound up on the now-deceased Gawker. “We are the authorities on the mind,” Cruise says in the clip, as a riff on the Mission: Impossible theme plays in the background. “We are the authorities on improving conditions.” In the video, Cruise alternates between uproarious laughter and stern lecturing, extolling the power of his religion—whose members, he says, have the power to stop crime and rescue auto-accident victims. Cruise’s affiliation with the group was never a secret, but the video made his devotion all the more clear. “You’re either on board,” he says, “or you’re not on board.”

At the time, plenty of people were decidedly not on board with Cruise, then stuck in what can now charitably be called his “Weird Tom” era—which had been brought about, in no small part, by the internet. It had begun in May 2005, when Cruise showed up on for an appearance on Oprah Winfrey’s talk show, where audience members screamed maniacally for the actor, leading a keyed-up to Cruise to scamper about the set and, briefly, wind up atop Winfrey’s couch. If the incident had occurred a few years earlier, it likely would have been forgotten—but Cruise’s couch-trip took place just a few months after the introduction of YouTube, and at a peak era for ’00s meme culture. It didn’t take long for someone to add some Return of the Jedi-style Emperor-shocks to Cruise’s appearance, just one of many online responses hinging on the idea that the always-steady Cruise was somehow out of control.

That perception only grew, thanks to a Today Show appearance soon after. During the multi-segment talk, Cruise lectured Matt Lauer on the evils of psychiatry—a practice Scientology abhors—and criticized Brooke Shields, who’d recently disclosed a battle with postpartum depression. Videos of the exchange seemingly commandeered the entire internet, where Cruise was vilified as a bully. The off-putting back-to-back appearances didn’t hurt Cruise’s War of the Worlds (which remains Cruise’s highest-grossing film). But a year later, Viacom CEO Sumner Redstone severed the actor’s long-running production deal with Paramount, the studio behind the Mission: Impossible films, citing the actor’s behavior as “not acceptable.”

By the time Gawker released the widely-seen Scientology video in 2008, Cruise was already in a delicate position. It only grew more precarious when millions of people saw the actor straight-facedly claiming to possess heightened powers, and laughing like he’d just landed a Reebok sponsorship for Rod Tidwell. And the video wouldn’t go away, even after the church tried to pull it from the web, ultimately leading to a war of the words between the organization and Anonymous. Oprah, The Today Show, the Scientology tell-all: The three videos only added to the belief that Cruise was either completely out of touch, or completely out of his mind—possibly both.

So Tom Cruise did what he always does when he’s in trouble: He ran.

Considering he’s been acting for more than thirty years, it seems strange to think that anyone would need a primer on Tom Cruise’s career. But for those who only know him for his ankle-annihilating Mission stunts, a quick recap: Throughout the ‘80s and ‘90s, Cruise was the biggest, most consistent movie star in the world. He made some very good hits (Risky Business, Rain Man), and some very bad hits (Cocktail, Days of Thunder). And he used his industry goodwill and star-charm to lure moviegoers into such potential career danger-zones as Interview with the Vampire, Magnolia, and Eyes Wide Shut—the latter being a nearly three-hour-long drama in which members of a Long Island faux-Illuminati wear fright-masks and languidly bonk each other to gregorian chants.

But more than anything, Tom Cruise was extraordinarily good at being Tom Cruise, the grinning, winning, Maverick-but-not-a-maverick. He was so unimpeachable that, in 2002, when the producers of the Academy Awards needed someone who could soothe audience members after 9/11, they tapped Cruise to deliver the show’s opening remarks. Cruise’s image had been carefully maintained via the press, which he largely avoided early on in his career, before signing with powerhouse publicist Pat Kingsley in the early ‘90s. That led to more than a decade of cover profiles in magazines like Rolling Stone, Vanity Fair, Esquire, GQ, Newsweek, and Time.

Such stories, nearly all arranged by Kingsley, would often only mention Scientology in passing. And they rarely, if ever, became contentious or critical of Cruise—an expert salesman who was extraordinarily adept at charming reporters. It’s what made Cruise’s $20 million-a-movie payday worth the investment: When you hired Cruise, you knew he’d do almost anything to sell your movie to the press—even if that meant getting semi-nude on a magazine cover with his then-wife.

Not anymore. It’s been nearly a decade since Cruise allowed for any sort of in-depth interview with a magazine or newspaper writer. He hasn’t even sat down with Larry King, whose CNN show regularly featured Cruise in the ‘90s. And aside from a few Nerdist interviews, the actor has largely avoided the podcast circuit: There’s no WTF episode where Marc Maron grills Cruise about what guitar Eric Clapton played on the wrap party for The Color of Money; no Bill Simmons interview in which he and Tom rhapsodize over Rain Man-era Las Vegas. Cruise has retreated from just about any situation in which he’d have to relinquish control of the conversation, and of the greater Tom Cruise narrative. Instead, he’s spent the last several years rebuilding his image slowly, and in 4- to 5-minute bursts, by mastering the same medium that launched the Weird Tom era to begin with.

What comes to mind when you think about 2017’s The Mummy? I’m guessing it’s this: Eaughh-aghhhhi! Eaughh-aghhhhi! AAauuuuuGGhhhh!

That’s the sound of Cruise screaming in the monster-movie reboot, his yells isolated in this popular video from late 2016. There are multiple versions of Cruise’s anguished yells, including one video that loops them for ten hours, and another that uses them to replace the famed Wilhelm scream. The Mummy itself is barely a year old, but it’s likely that, within time, Cruise’s gargled nonsense will be the film’s sole legacy.

That scream is just one of several Cruise-clips to have gone moderately viral on YouTube, where you can find the actor running in his movies, butchering Yung Joc’s Motorcycle dance on BET, and going wild on a gun range while preparing to shoot Collateral. But in the last few years, Cruise’s biggest hits have come courtesy of talk shows: He engaged in a lip-sync battle with Jimmy Fallon; took an uncomfortable car ride with Conan O’Brien; and just recently threw James Corden out of a plane. He’s also all but moved in to the set of The Graham Norton Show, where he showed off grisly footage of his Mission: Impossible — Fallout injury, and was lavished with praise by Zac Efron. (Efron: “You’re known for being the man.”)

Cruise is a remarkable talk-show guest—maybe the best there is in 2018: Affable, genuinely funny, and seemingly down for anything (even a bit in which he’s asked to repeatedly yell “Show me the Mummy!”). But, more importantly, when he sits on the couch now, he’s in complete control. Like the stuntwork that makes his Mission: Impossible films so unbelievably believable, Cruise’s TV appearances are engineered to ensure he won’t be harmed in any way: There’s no chance of a spare question about his church or his private life, and little room for unplanned interaction.

Pretty much all chat-show interactions are executed that way, of course. But for Cruise, that assured smoothness has become crucial for someone looking to retain the Quan he almost lost ten years ago. The internet allows him to market his movies, and himself, without ceding power to the reporters and photographers who helped build up his legend in the ‘80s and ‘90s. Other stars have learned how to play the viral-video game, like Dwayne Johnson. But Cruise is one of the few big names to rely almost exclusively on the web. It’s a strategy that other stars of his stature might soon adopt, especially now, when even the most minutely unorthodox comment from an interview lands leads to near-simultaneous howls of outrage (those howls sound like The Mummy screams, only with more growling).

In the mid-’00s, Cruise was merely chastised and mocked for his comments; nowadays, they could very well get him canceled. By facing the public entirely via his movies—and through the web-sticky videos that accompany them—Weird Tom has instead become Crazy-in-a-Good-Way Tom: The guy who plays egg roulette with Fallon, executes HALO jumps over Paris, and always gets the last laugh. And laugh…and laugh….


Inside a red-bricked building on the north side of Washington DC, internist Shantanu Nundy rushes from one examining room to the next, trying to see all 30 patients on his schedule. Most days, five of them will need to follow up with some kind of specialist. And odds are they never will. Year-long waits, hundred-mile drives, and huge out of pocket costs mean 90 percent of America’s most needy citizens can’t follow through on a specialist referral from their primary care doc.

But Nundy’s patients are different. They have access to something most people don’t: a digital braintrust of more than 6,000 doctors, with expert insights neatly collected, curated, and delivered back to Nundy through an artificial intelligence platform. The online system, known as the Human Diagnosis Project, allows primary care doctors to plug into a collective medical superintelligence, helping them order tests or prescribe medications they’d otherwise have to outsource. Which means most of the time, Nundy’s patients wait days, not months, to get answers and get on with their lives.

In the not-too-distant future, that could be the standard of care for all 30 million people currently uninsured or on Medicaid. On Thursday, Human Dx announced a partnership with seven of the country’s top medical institutions to scale up the project, aiming to recruit 100,000 specialists—and their expert assessments—in the next five years. Their goal: close the specialty care gap for 3 million Americans by 2022.

In January, a single mom in her 30s came to see Nundy about pain and joint stiffness in her hands. It had gotten so bad that she had to stop working as a housekeeper, and she was growing desperate. When Nundy pulled up her chart, he realized she had seen another doctor at his clinic a few months prior who referred her to a specialist. But once the patient realized she’d have to pay a few hundred dollars out of pocket for the visit, she didn’t go. Instead, she tried get on a wait list at the public hospital, where she couldn’t navigate the paperwork—English wasn’t her first language.

Now, back where she started, Nundy examined the patient’s hands, which were angrily inflamed. He thought it was probably rheumatoid arthritis, but because the standard treatment can be pretty toxic, he was hesitant to prescribe drugs on his own. So he opened up the Human Dx portal and created a new case description: “35F with pain and joint stiffness in L/R hands x 6 months, suspected AR.” Then he uploaded a picture of her hands and sent out the query.

Within a few hours a few rheumatologists had weighed in, and by the next day they’d confirmed his diagnosis. They’d even suggested a few follow-up tests just to be sure and advice about a course of treatment. “I wouldn’t have had the expertise or confidence to be able to do that on my own,” he says.

Nundy joined Human Dx in 2015, after founder Jayanth Komarneni recruited him to pilot the platform’s core technologies. But the goal was always to go big. Komarneni likens the network to Wikipedia and Linux, but instead of contributors donating encyclopedia entries or code, they donate medical expertise. When a primary care doc gets a perplexing patient, they describe their background, medical history, and presenting symptoms—maybe adding an image of an X-ray, a photo of a rash, or an audio recording of lung sounds. Human Dx’s natural language processing algorithms will mine each case entry for keywords to funnel it to specialists who can create a list of likely diagnoses and recommend treatment.

Now, getting back 10 or 20 different doctors’ takes on a single patient is about as useful as having 20 friends respond individually via email to a potluck invitation. So Human Dx’s machine learning algorithms comb through all the responses to check them against all the project’s previously stored case reports. The network uses them to validate each specialist's finding, weight each one according to confidence level, and combine it with others into a single suggested diagnosis. And with every solved case, Human Dx gets a little bit smarter. “With other online tools if you help one patient you help one patient,” Komarneni says. “What’s different here is that the insights gained for one patient can help so many others. Instead of using AI to replace jobs or make things cheaper we’re using it to provide capacity where none exists.”

Komarneni estimates that those electronic consults can handle 35 to 40 percent of specialist visits, leaving more time for people who really need to get into the office. That’s based on other models implemented around the country at places such as San Francisco General Hospital, UCLA Health System, and Brigham and Women’s Hospital. SFGH’s eReferral system cut the average waiting time for an initial consult from 112 days to 49 within its first year.

That system, which is now the default for every SFGH specialty, relies on dedicated reviewers who get paid to respond to cases in a timely way. But Human Dx doesn’t have those financial incentives—its service is free. Today, though, by partnering with the American Board of Medical Specialities, Human Dx can now offer continuing education and improvement credits to satisfy at least some of the 200 hours doctors are required to complete every four years. And the American Medical Association, the nation’s largest physician group, has committed to getting its members to volunteer, as well as supporting program integrity by verifying physicians on the platform.

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It’s a big deal to have the AMA on board. Physicians have historically been wary of attempts to supplant or complement their jobs with AI-enabled tools. But it’s important to not mistake the organization’s participation in the alliance for a formal pro-artificial intelligence stance. The AMA doesn’t yet have an official AI policy, and it doesn’t endorse any specific companies, products, or technologies, including Human Dx’s proprietary algorithms. The medical AI field is still young, with plenty of potential for unintended consequences.

Like discrepancies in quality of care. Alice Chen, the chief medical officer for the San Francisco Health Network and co-director of SFGH’s Center for Innovation in Access and Quality, worries that something like Human Dx might create a two-tiered medical system, where some people get to actually see specialists and some people just get a computerized composite of specialist opinions. “This is the edge of medicine right now,” Chen says. “You just have to find the sweet spot where you can leverage expertise and experience beyond traditional channels and at the same time ensure quality care.”

Researchers at Johns Hopkins, Harvard, and UCSF have been assessing the platform for accuracy and recently submitted results for peer review. The next big hurdle is money. The project is currently one of eight organizations in contention for a $100 million John D. and Catherine T. MacArthur Foundation grant. If Human Dx wins, they’ll spend the money to roll out nationwide. The alliance isn’t contingent on the $100 million award, but it would certainly be a nice way to kickstart the process—especially with specialty visits accounting for more than half of all trips to the doctor’s office.

So it’s possible that the next time you go in for something that stumps your regular physician, instead of seeing a specialist across town, you’ll see five or 10 from around the country. All it takes is a few minutes over lunch or in an elevator to put on a Sherlock Holmes hat, hop into the cloud, and sleuth through your case.

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Climate Change Is Killing Us Right Now

March 20, 2019 | Story | No Comments

This story originally appeared on New Republic and is part of the Climate Desk collaboration.

A young, fit US soldier is marching in a Middle Eastern desert, under a blazing summer sun. He’s wearing insulated clothing and lugging more than 100 pounds of gear, and thus sweating profusely as his body attempts to regulate the heat. But it’s 108 degrees out and humid, too much for him bear. The brain is one of the first organs affected by heat, so his judgment becomes impaired; he does not recognize the severity of his situation. Just as his organs begin to fail, he passes out. His internal temperature is in excess of 106 degrees when he dies.

An elderly woman with cardiovascular disease is sitting alone in her Chicago apartment on the second day of a massive heatwave. She has an air conditioner, but she’s on a fixed income and can’t afford to turn it on again—or maybe it broke and she can’t afford to fix it. Either way, she attempts to sleep through the heat again, and her core temperature rises. To cool off, her body’s response is to work the heart harder, pumping more blood to her skin. But the strain on her heart is too much; it triggers cardiac arrest, and she dies.

Such scenarios could surely happen today, if they haven’t already. But as the world warms due to climate change, they’ll become all too common in just a few decades—and that’s according to modest projections.

This is not meant to scare you quite like this month’s cover story in New York magazine, “The Uninhabitable Earth.” That story was both a sensation and quite literally sensational, attracting more than two million readers with its depiction of “where the planet is heading absent aggressive action.” In this future world, humans in many places won’t be able to adapt to rising temperatures. “In the jungles of Costa Rica, where humidity routinely tops 90 percent, simply moving around outside when it’s over 105 degrees Fahrenheit would be lethal. And the effect would be fast: Within a few hours, a human body would be cooked to death from both inside and out,” David Wallace-Wells writes. “[H]eat stress in New York City would exceed that of present-day Bahrain, one of the planet’s hottest spots, and the temperature in Bahrain ‘would induce hyperthermia in even sleeping humans.’”

These scenarios are supported by the science. “For heat waves, our options are now between bad or terrible,” Camilo Mora, a geography professor at University of Hawaii at Manoa, told CNN last month. Mora was the lead author of a recent study, published in the journal Nature, showing that deadly heat days are expected to increase across the world. Around 30 percent of the world’s population today is exposed to so-called “lethal heat” conditions for at least 20 days a year. If we don’t reduce fossil-fuel emissions, the percentage will skyrocket to 74 percent by the year 2100. Put another way, by the end of the century nearly three-quarters of the Earth’s population will face a high risk of dying from heat exposure for more than three weeks every year.

This is the worst-case scenario. Even the study’s best-case scenario—a drastic reduction in greenhouse gases across the world—shows that 48 percent of humanity will be exposed regularly to deadly heat by the year 2100. That’s because even small increases in temperature can have a devastating impact. A study published in Science Advances in June, for instance, found that an increase of less than one degree Fahrenheit in India between 1960 and 2009 increased the probability of mass heat-related deaths by nearly 150 percent.

And make no mistake: Temperatures are rising, in multiple ways. “We’ve got a new normal,” said Howard Frumkin, a professor at the School of Public Health at the University of Washington. “I think all of the studies of trends to date show that we’re having more extreme heat, and we’ve having higher average temperatures. Superimposed on that, we’re seeing more short-term periods of extreme heat. Those are two different trends, and they’re both moving in the wrong direction.” Based on those trends, the US Global Change Research Program predicts “an increase of thousands to tens of thousands of premature heat-related deaths in the summer … each year as a result of climate change by the end of the century.” And that’s along with the deaths we’ve already seen: In 2015, Scientific American noted that nine out of the ten deadliest heat waves ever have occurred since 2000; together, they’ve killed 128,885 people.

In other words, to understand how global warming wreaks havoc on the human body, we don’t need to be transported to some imagined dystopia. Extreme heat isn’t a doomsday scenario but an existing, deadly phenomenon—and it’s getting worse by the day. The question is whether we’ll act and adapt, thereby saving countless lives.

There are two ways a human body can fail from heat. One is a direct heat stroke. “Your ability to cool yourself down through sweating isn’t infinite,” said Georges Benjamin, executive director of the American Public Health Association. “At some point, your body begins to heat up just like any other object. You go through a variety of problems. You become dehydrated. Your skin dries out. Your various organs begin to shut down. Your kidneys, your liver, your brain. As gross as this may sound, you in effect, cook.” (So maybe Wallace-Wells wasn’t being hyperbolic after all.)

Heat death can also be happen due to a pre-existing condition, the fatal effects of which were triggered by high temperature. “Heat stress provokes huge amounts of cardiovascular strain,” said Matthew Cramer of the Institute of Exercise and Environmental Medicine. “For these people, it’s not necessarily that they’ve cooked, but the strain on their cardiovascular system has led to death.” This is much more common than death by heat stroke, but is harder to quantify since death certificates cite the explicit cause of death—“cardiac arrest,” for instance, rather than “heat-related cardiac arrest.”

In both scenarios, the body’s natural ability to cool itself off through sweating has either reached its capacity or has been compromised through illness, injury, or medication. There are many people who have reduced capacity for sweating, such as those who have suffered severe burns over large parts of their bodies. Cramer, who studies heat impacts on burned people, says 50,000 people suffer severe burn injuries per year in America, and the World Health Organization considers burns “a global public health problem,” with the majority of severe burn cases occurring in low- and middle-income countries.

Bodies that are battling illness or on medication may also struggle with heat regulation. Diuretics tend to dehydrate people; anticholinergics and antipsychotics reduce sweating and inhibit heat dissipation. An analysis of the 2003 heat wave in France that killed 15,000 people suggested that many of these deaths could have been avoided had people been made aware of the side effects of their drugs. As for illnesses, “Anything that impairs the respiratory or circulatory system will increase risk,” said Mike McGheehin, who spent 33 years as an environmental epidemiologist at the Centers for Disease Control and Prevention. “Obesity, diabetes, COPD, heart disease, and renal disease.” Kidney disease, mental illness, and multiple sclerosis. The list goes on and on.

This summer has presented many opportunities for bodies to break down from heat. Temperature records, some more than a century old, have been broken across California, Nevada, Utah, Idaho and Arizona. (Speaking of Arizona, it’s been so hot there that planes can’t fly.) And it’s not just America. Last month, Iran nearly set the world record for highest temperature ever recorded. The May heatwave that hit India and Pakistan set new world records as well, including what the New York Times called “potentially the hottest temperature ever recorded in Asia”: 129.2 degrees Fahrenheit. Worldwide, 2017 is widely expected to be the second-hottest year, after 2016, since we began keeping global average temperature records in 1880.

These trends have public health professionals concerned about how people are going to deal with the heat when it comes their way. “Clearly this is one of the most important problems we’re going to see from a public health perspective,” Benjamin said. “This is not a tomorrow problem. It’s a significant public health problem that we need to address today.”

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It’s a public health problem especially in cities, says Brian Stone, a professor at Georgia Tech’s City and Regional Planning Program. “Our fundamental work shows that larger cities are warming at twice the rate of the planet,” he said, describing a phenomenon known as urban heat islands, where built-up areas tend to be hotter than surrounding rural areas, mainly because plants have been replaced by heat-absorbing concrete. Global warming is making that phenomenon worse. “We’re really worried about the rate of how quickly we’re starting to see cities heat up,” Stone said.

According to Stone’s analysis, the most rapidly warming city is Louisville, Kentucky, followed by Phoenix, Arizona, and Atlanta, Georgia. But he’s less concerned about cities like Phoenix, which already have infrastructure to deal with brutally high temperatures, than he is about Chicago, Buffalo, and other cities in the northern United States that have really never had to deal with extreme heat. That is precisely why the Chicago heat wave of 1995 that killed 759 people was so deadly. According to the Chicago Tribune, the city was “caught off guard,” and had “a power grid that couldn’t meet demand and a lack of awareness on the perils of brutal heat.”

In other words, Stone and others say, excessive death rates are not always due to just extreme temperatures, but unusual temperatures. People are more likely to die when they are confronted with temperatures they don’t expect and thus aren’t prepared for. That’s why officials in cities not experiencing heat-related extremes need to improve emergency response systems, now. “Those people have got to start thinking in term of, ‘two years ago we had four hot days, the year after we had eight hot days,’” Benjamin said. “Public health systems should be put in place to respond to prolonged heat waves. Emergency cooling centers where people can go should be built. Identify where the people who are most socially isolated live.” Absent preventative action, heat-related deaths in New York City could quintuple by the year 2080, according to recent research.

Some cities have already started to prepare. Stone recently completed a heat adaptation study for Louisville that includes not only emergency management planning but also ways the city can prevent itself from getting so hot (by improving energy efficiency and installing green roofs, for instance). But as for now, he said, it’s rare to see a city actually adopt policies supportive of heat management. “We do see flooding adaptation plans—New York City has one, and New Orleans has one—but heat adaptation planning is a very new idea, in the US and really around the world,” he said. “It takes a lot to convince a mayor that a city can actually cool itself down. It’s not intuitive.”

The good news is that humans adapt to heat, both physiologically (through acclimatization) and socially (with air conditioning, for instance). That will continue, according to the US Global Change Research Program, which states with very high confidence that adaptation efforts in humans “will reduce the projected increase in deaths from heat.”

But there’s a limit to this. “There’s no way to adapt to heat that’s more than a certain amount,” Frumkin said. “And socially, there’s always going to be people we miss, who don’t have access to air conditioning.” McGeehin noted those people will likely be poor, elderly, and minority populations. “It’s a quintessential public health problem in that it impacts the most disenfranchised of our society. Young, healthy, middle-class people will largely be left alone,” he said.

Air conditioners also have limits, especially in cities where blackouts can occur. “It is inevitable,” Stone said, that large cities will see blackouts during future heat waves. “The number of blackouts we see year over year is increasing dramatically,” he said. “Whether that’s caused by the heatwave or just happens during the heatwave doesn’t really matter…. The likelihood of an extensive blackout during a heatwave is high, and getting higher as we add more devices and stressors to the grid.”

It’s a “cruel irony,” Frumkin said, that as the world gets hotter, we need more air conditioning, and thus consume more electricity. And if that electricity comes from fossil fuel sources, it will create more global warming, which in turn will increase the demand for air conditioning. The answer, he said, is to “decarbonize the electric grid.” But that’s easier said than done, especially when the Trump administration is devoted to increasing the use of fossil fuels to support the country’s electrical grid.

As with many other efforts to fight climate change, though, cities don’t need Washington’s help to take action on heat adaptation. “Cities can manage their own heat islands on their own, and that’s where we most need to be focused,” Stone said. But that will require convincing elected leaders that extreme heat is big a threat as, say, rising seas—and one that can’t be addressed with something as obvious as a sea wall. That’s the challenge, says McGeehin: “Heat as a major natural disaster is mostly overlooked in this country.” It’s a quiet killer, and perhaps more lethal because of it.

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In February 2016, the leaders of the Laser Interferometer Gravitational-Wave Observatory (LIGO) announced that they had successfully detected gravitational waves, subtle ripples in the fabric of space-time that had been stirred up by the collision of two black holes. The team held a press conference in Washington to announce the landmark findings.

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Original story reprinted with permission from Quanta Magazine, an editorially independent publication of the Simons Foundation whose mission is to enhance public understanding of science by covering research developments and trends in mathematics and the physical and life sciences.

They also released their data.

Now a team of independent physicists has sifted through this data, only to find what they describe as strange correlations that shouldn’t be there. The team, led by Andrew Jackson, a physicist at the Niels Bohr Institute in Copenhagen, claims that the troublesome signal could be significant enough to call the entire discovery into question. The potential effects of the unexplained correlations “could range from a minor modification of the extracted wave form to a total rejection of LIGO’s claimed [gravitational wave] discovery,” wrote Jackson in an email to Quanta. LIGO representatives say there may well be some unexplained correlations, but that they should not affect the team’s conclusions.

On June 13, 2017, Jackson and four co-authors published their criticism on the scientific preprint site arxiv.org. The paper generated considerable interest, prompting Ian Harry, a researcher at the Max Planck Institute for Gravitational Physics in Potsdam-Golm and a member of the LIGO Scientific Collaboration, to publish a public rebuttal five days later. Harry argued, in effect, that the independent team missed some subtleties in their data analysis, and that he couldn’t reproduce the claimed correlations. Jackson’s team then replied that they had found errors in Harry’s code, and that their argument stood. In an email to Quanta, Harry responded that he had corrected the typo in his code even before Jackson’s team published, and that in any case the error did not affect his analysis.

The technical issues at stake here have to do with the extreme difficulty of the measurements that LIGO attempts to make.

Gravitational waves are exceedingly faint, so to catch them LIGO was built with the ability to measure a change in distance just one-ten-thousandth the width of a proton. Lots of little bumps and vibrations can mimic a gravitational-wave signal, so LIGO uses two observatories, 3,000 kilometers apart, which operate synchronously, each double-checking the other’s observations. The noise at each detector should be completely uncorrelated—a jackhammer going off in the town near one detector won’t show up as noise in the other. Yet if a gravitational wave swoops through, it should create a similar signal in both instruments nearly simultaneously.

The main claim of Jackson’s team is that there appears to be correlated noise in the detectors at the time of the gravitational-wave signal. This might mean that, at worst, the gravitational-wave signal might not have been a true signal at all, but just louder noise.

A far more likely scenario is that the correlations in the noise, if real, point to something else. Perhaps the LIGO team subtracted the gravitational-wave signal from the raw data in such a way that it left a little correlated noise behind. Or perhaps there’s a small amount of correlation in the noise that caused the LIGO scientists to misinterpret their gravitational-wave signal. Vicky Kalogera, an astrophysicist at Northwestern University and a member of the LIGO team, said that the correlated noise, if significant, could cause a bias in the result that could “tell us potentially wrong information about the black holes” that created the gravitational waves.

But not everyone believes that the correlations are real. Harry, in his rebuttal, points out that Jackson’s team could have misused a common data-processing technique called the Fourier transform. The Fourier transform separates a data signal into a collection of simpler waveforms. The error, Harry writes, has to do with the technical assumption that the input data signal be “cyclical,” repeating itself without any breaks or discontinuities. For example, a cyclical sound wave would be the repetition of a sound clip without a pop in between each repetition. A signal that isn’t cyclical cannot be analyzed through the Fourier transform without introducing subtle errors. Otherwise, the so-called Gibbs phenomenon distorts the input signal’s frequencies, thus decreasing the accuracy of the ensuing analysis.

Since real-life data is almost never cyclical, anyone doing Fourier analysis must first execute an array of cleanup jobs on the raw data. “It looks like some of the results [of Jackson’s team] had to do with not pre-filtering the data before taking the Fourier transform,” said David Shoemaker, a physicist at the Massachusetts Institute of Technology and spokesperson for the LIGO Scientific Collaboration, echoing Harry’s public analysis.

Jackson, who declined to be interviewed for this article, writing in an email that “public polemics tend to harden positions and do not advance the desired end,” disputes this characterization. “We are aware of these issues. We neither agree with nor accept Harry’s views,” he wrote. Jackson’s four co-authors did not respond to Quanta’s requests for comments.

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For now, confidence is high in LIGO’s conclusions. “The only persons qualified to analyze this paper are in the LIGO Scientific Collaboration,” said Robert Wagoner, a theoretical physicist at Stanford University who is not affiliated with LIGO. “They are the only ones who have had access to the raw data.” Steinn Sigurðsson, an astrophysicist at Pennsylvania State University who is also not affiliated with either team, agrees. “For now, I’d definitely go with the LIGO people,” he said. “It is very rare for outsiders to find major errors in a large collaboration.”

Nevertheless, “it’s going to take longer than people would like” to get these issues resolved, said Sigurðsson. “It’s going to take months.”

The LIGO team later reported that they had found gravitational waves from a second black-hole merger, then a third. Jackson and his colleagues have not yet published any analysis of these events.

What of the controversy, then? “There is no drama here,” Kalogera said. “It’s science as usual. … Healthy, positive communication is very much welcome amongst scientists.”

Original story reprinted with permission from Quanta Magazine, an editorially independent publication of the Simons Foundation whose mission is to enhance public understanding of science by covering research developments and trends in mathematics and the physical and life sciences.

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Early on Friday, WarnerMedia announced it was shuttering FilmStruck, its streaming service that traffics exclusively in classic Hollywood and arthouse movies–everything from On the Town to Seven Samurai to Night of the Living Dead. In a statement, the company noted that the FilmStruck was “largely a niche service,” a fact that was actually part of the two-year-old streamer’s appeal: Drawing titles from the voluminous Warner Bros. catalog and the prestigious Criterion Collection, FilmStruck was one of the only services catering to incurable movie nerds, the kind of enthusiasts who could devour all three previous iterations of A Star is Born in a single weekend. It’s a huge loss, one with grave implications for what the streaming environment might look like in the future.

FilmStruck wasn’t the only casualty of the recent merger between AT&T and Time Warner: Last week, the newly minted monolith closed down the on-again, off-again digital comedy platform Super Deluxe, while the popular Korean-language provider DramaFever was axed just a few days prior. Both were dynamic, creatively vibrant outlets with dedicated fanbases.

But that’s not enough for WarnerMedia chief John Stankey, who’s made it clear his company and its providers can’t merely be huge–they have to be massive enough to accrue “hours of engagement,” he told employees at an internal meeting in July. That way, he noted, “you get more data and information about a customer that then allows you to do things like monetize through alternate models of advertising as well as subscriptions, which I think is very important to play in tomorrow’s world.”

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What’s clearly not important in that new strategy is smaller platforms like Super Deluxe or FilmStruck–outlets that can’t possibly provide enough users (and user data) to make them worth the company’s time. It’s a pragmatic calculation, one that’s to be expected when we willingly appoint technocrats as our cultural gatekeepers. But it also seems short-sighted: If WarnerMedia’s plan is to roll all of its offerings into one giant stand-alone service–as the company is expected to do next year–it’s the niches that will make it stand apart from the countless other streams. One reason for Netflix’s success is that it strives to appeal to everyone–sitcom enthusiasts, true-crime lovers, baking-contest addicts. Its breadth of programming, from high-budget limited series to tiny documentaries, is what makes it feel essential to everybody.

If WarnerMedia had eventually rolled FilmStruck into its bigger service, it would have been an enticing add-on for movie lovers, who are largely underserved by the big streaming services. The film catalogs of Netflix, Hulu, and Amazon Prime are barely curated and erratically arranged: They’re great if you randomly want to watch The Terminator on a Thursday night, but good luck finding too many older or more oddball offerings on those platforms. And with video stores dead, landing a physical copy of, say, The Seventh Seal requires far more legwork than it once did.

Which is what made FilmStruck so special: At a time when non-blockbuster movies are being devalued–both in theaters and at home–it was a smart, accessible portal into movie history. Most streaming services encourage passivity; they want you to sit back and turn over hours to your life to the screen, without having to search too hard. FilmStruck, with its clean interface and manageable line-up, allowed you to dig around. It was the equivalent of a knowledgeable but none-too-pushy video-store clerk, pointing you toward titles like Seven Brides for Seven Brothers or Purple Noon or The American Friend–the kind of classics that are all but buried on other services. And it did so with enthusiasm and lots of background intel (FilmStruck often included commentary tracks, a huge plus for at-home movie scholars).

Thankfully, there are other streaming options for cinephiles; MUBI, Kanopy, and Fandor offer up decades-spanning archives. But the sudden demise of FilmStruck should serve as a dire warning to anyone who believed the streaming era would open up our cultural history: The more we entrust our art to the tech-titans, the quicker it can disappear. FilmStruck closes at the end of November, giving you another month to mainline as many film-essentials as possible. Hopefully, its offerings will end up somewhere else. But even if they do, you may want to pull your old DVDs from the basement and dust them off. In a few years, they may be your best ticket to watching the classics.

As I understand it, the whole point of cooking a turkey is to take it at some temperature and then increase it to a higher temperature. Sure, maybe there's something about family togetherness in there, but really, Thanksgiving is all about thermal transfer. The USDA recommends a minimum internal temperature of 165°F (74°C). I guess this is the minimum temperature to kill all the bad stuff in there—or maybe it is the lowest temperature that it can be and still taste great.

Either way, if you want to increase the temperature of the turkey you need to add energy. Perhaps this energy comes from fire, or an oven or even from hot oil—but it needs energy. But be careful. There is a difference between energy and temperature. Let me give you an example.

Suppose you put some leftover pizza in the oven to heat it up. Since you don't want to make a mess, you just rip off a sheet of aluminum foil and put the pizza on that and then into the oven. The oven is set to 350 degrees Fahrenheit so that after 10 minutes, both the pizza and the foil are probably close to that temperature. Now for the demonstration. You can easily grab the aluminum foil without burning yourself, but you can't do the same to the pizza. Even though these two objects have the same temperature, they have different amounts of thermal energy.

The thermal energy in an object depends on the object's mass, the object's material and the object's temperature. The change in thermal energy for an object then depends on the change in temperature.

In this expression, m is the mass of the object and the variable c is the specific heat capacity. The specific heat capacity is a quantity that tells you how much energy it takes to one gram of the object by 1 degree Celsius. The specific heat capacity of water is 4.18 Joules per gram per degree Celsius. For copper, the specific heat capacity is 0.385 J/g/°C (yes, water has a very high specific heat capacity).

But what about turkey? What is the energy needed to heat up 1 gram of turkey by 1°C? That is the question I want to answer. Oh sure, I could probably just do a quick search online for this answer, but that's no fun. Instead I want to calculate this myself.

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Here is the basic experimental setup. I am going to take a turkey breast (because I am too impatient to use the whole turkey) and put it in a known amount of hot water. I will then record the change in temperature of the water and the change in temperature of the turkey. Of course, this will have to be in an insulated container such that all of the energy that leaves the water will go into the turkey.

With the change in temperature of the water, I can calculate (based on the known specific heat capacity of water) the energy lost. Assuming all this energy goes into the turkey, I will then know the increase in energy of the turkey. With the mass and change in turkey temperature, I will have the specific heat capacity of a turkey.

Just to be clear, I can set the changes in energy to be opposite from each other and then solve for the specific heat capacity of the turkey. Like this.

OK, it's experiment time. I am going to start with 2,000 mL (2 kilograms) of hot water and add it to a foam box with my turkey breast. I will monitor both the temperature of the water and the turkey. Oh, the turkey has a mass of 1.1 kilograms. Here's what this looks like (without the box lid).

I collected data for quite a while and I assumed that the water and the turkey would reach an equilibrium temperature—but I was wrong. Apparently it takes quite a significant amount of time for this turkey to heat up. Still, the data should be good enough for a calculation.

Hopefully it's clear that the red curve is the hot water and the blue is for the turkey. From this plot, the water had a change in temperature of -21.7°C and the turkey had +27°C. Putting these values along with the mass of the water and turkey, I get a turkey specific heat capacity of 6.018 J/g/°C. That's a little bit higher than what I was expecting—but at least it is in the ballpark of the value for water. But overall, I'm pretty happy.

But what can you do with the specific heat capacity for a turkey? What if you want to do a type of sous-vide cooking in which the turkey is placed in a vacuum-sealed bag and then added water at a particular temperature? Normally, the temperature of the water is kept at some constant temperature. But what if you want to start with hot water and cold turkey and then end up with perfect temperature turkey? In order to do this, you could calculate the starting mass and temperature of water that would give you the best ending turkey temperature. I will let you do this as a homework assignment.

Of course there is another way to cook a turkey. You could drop it from some great height such that it heats up when it lands. Oh, wait—I already did this calculation.

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