Author: rb809rb

  • EToro reports second quarter crypto loss even as total profit beats estimates

    EToro reports second quarter crypto loss even as total profit beats estimates

    EToro’s (ETOR) crypto trading was $7.2 million in the red in the second quarter of 2026, a decline of nearly 120% from the $37.7 million it made a year earlier, according to its second-quarter earnings released Tuesday.

    The Tel Aviv, Israel-based trading platform reported $1.35 billion in cryptoasset revenue, around 29% lower than the $1.91 billion a year earlier. Its cost of revenue from cryptoassets was $1.35 billion, leaving a $7.2 million loss, compared with a $37.7 million gain a year earlier.

    EToro said it is developing onchain perpetual futures and that crypto buying power is “coming soon.” Crypto activity has cooled, however: the company reported 1.4 million crypto trades in July, down 73% from a year earlier, while the average crypto trade fell 50% to $182.

    Overall, eToro’s net contribution rose 9% year over year to $229 million, driven mainly by equity trading, while funded accounts increased 18% to 4.28 million. Shares fell as much as about 11% after the announcements. The report also noted that the adjusted diluted earnings per share of $0.68 beat analysts’ estimates of $0.61.

    Shares nevertheless traded more than 12% lower in the hours following the earnings release at around $29.80.

  • War on Iran: Mojtaba Khamenei is in ‘perfect health’, Iran says

    War on Iran: Mojtaba Khamenei is in ‘perfect health’, Iran says

    President Masoud Pezeshkian says Supreme Leader Mojtaba Khamenei is in ‘perfect health’, as Iran undergoes a security shakeup with several senior commanders appointed to new roles, while Washington and Tehran continue to demand compensation from one another over the war.
    Al Jazeera’s Marah Rayan has the latest.

  • Tammy Fine To Lead Talent Development For NBC News

    Tammy Fine To Lead Talent Development For NBC News

    NBC News has named Tammy Fine as vice president, talent development, leading the team tasked with attracting, developing and retaining the network’s journalists and other newsroom personnel.

    Fine will succeed Liza Eaton, who has led the team over the past year and has decided to take a part time role, according to a memo sent to employees from Rebecca Blumenstein, president of NBC News editorial; Cheryl Rosenbloom, executive vice president of global human resources, and Libby Leist, executive vice president of Today and lifestyle.

    Tammy Fine

    They wrote, “Widely respected across the network, Tammy brings more than three decades of journalism and newsroom leadership experience, along with a longstanding dedication to developing the next generation of journalists.”

    The executives wrote that Kristen Powers, who joined talent development in the spring, will report to Fine and Catherine Kim, executive vice president of editorial for the network.

    Fine started at NBC News in 1993. Before joining the talent development team, she worked as producer and senior producer for Today, and producer for NBC Nightly News with Tom Brokaw. She also served as adjunct professor at Columbia University, teaching a graduate course on strategic communication in the digital age.

  • Kennedy Center Ordered To Pay Jazz Musician Chuck Redd More Than $250,000 In Legal Dispute Over His Opposition To Trump Renaming

    Kennedy Center Ordered To Pay Jazz Musician Chuck Redd More Than $250,000 In Legal Dispute Over His Opposition To Trump Renaming

    The Kennedy Center is being ordered to pay more than $250,000 in attorneys fees and costs to jazz musician Chuck Redd, who was sued after he backed out of a performance when Donald Trump‘s name was added to the arts institution.

    D.C. Superior Court Judge Tanya M. Jones Bosier ruled that the center owes Redd $252,479.70, about $6,000 less than he sought in legal and other costs.

    Shortly after the center’s board voted in December to add Trump’s name, Redd was among the musicians and artists who canceled performances. He was scheduled to perform at a free Christmas Eve “jazz jam,” but informed the center that he was backing out because he disagreed with the name change. He also emailed a statement to the Associated Press explaining his reason for canceling.

    The center sued Redd for breach of contract, with the lawsuit citing a morals clause, claiming that he “chose to abuse the public forum provided to him by the center in order to make a political statement.”

    In June, the judge dismissed the center’s lawsuit against Redd, noting that he never signed a contract for the 2025 performance. She also sided with Redd’s contention that his conduct was protected under the D.C. Anti-SLAPP Act.

    “Notably, the Center acknowledged at the Hearing that multiple artists canceled their performances leading to the cancelation of the Jazz Jam in its entirety, and Redd acknowledged that he is the only performer to his knowledge to have made a public statement and be sued thereafter,” the judge wrote.

    A Kennedy Center spokesperson did not immediately return a request for comment. In a filing last month, the center’s legal team called the proposed costs “nothing short of astonishing. It is out of all proportion to the issue at stake, the non-complexity of case, the experience needed to handle it, and most importantly, the work needed to defend it.”

    In a separate case, a federal judge ordered the center to remove Trump’s name from the building and other materials by June. A tarp now covers part of the facade of the structure, concealing the original name sans that of the president, but the judge has ordered a status update after the board meets again this month.

  • Heading to the UK? You Might Want to Leave Your Smart Glasses at Home

    Heading to the UK? You Might Want to Leave Your Smart Glasses at Home

    An array of UK businesses and institutions have announced bans on people wearing Meta’s smart glasses, citing privacy and moral concerns. The Guardian reports that UK courtrooms are now confiscating the devices from anyone trying to wear them in court, while pub chain Wetherspoons is no longer allowing them.

    Meta’s smart glasses include a built-in camera for recording images and video, as well as integrating AI features, music listening, and phone calls. But it’s their potential for covert recording that has so many concerned. They’ve been used in harassment content on social media, and after months of public pushback, a number of UK venues are banning them outright.

    Alongside Wetherspoons and its 800 pubs across the UK, London restaurateur Jeremy King told The Guardian that his Arlington, The Park, and Simpsons restaurants have all banned the glasses. ATG Theatres, which owns the Bristol Hippodrome and various theaters across London, doesn’t allow filming and will ask anyone wearing them to remove them.

    Soho private members’ clubs have banned the glasses too, as has the UK’s promoter of major Comic-Con events. They go even further than others, claiming that if anyone is spotted wearing them, they may be asked to leave the event and forced to forfeit any pre-booked signings, photographs, or other events.

    There has been some support for the glasses. Modern “glassholes” can still eat at Michelin chef Tom Kerridge’s restaurants and pubs, who said he has no problem with the devices.

    Recommended by Our Editors

    Meta pushed back on the bans, noting that its glasses include a light that lets you know when you’re being recorded, and that it has improved anti-tamper measures. This comes after a report from journalist Joanna Stern, who found that modders are removing the indicator light for $100.

    Still, the market for non-display smart glasses grew 167% year over year in Q1, according to June data from IDC. Meta held 69.2% of the overall smart glasses market, thanks largely to its Ray-Ban partnership with EssilorLuxottica, the world’s largest eyewear maker, “and a marketing machine that few hardware companies can replicate,” IDC says.

    About Our Expert

  • RTX GPUs Prices Jump 30% Overnight, With RTX 5070 Hitting $900

    RTX GPUs Prices Jump 30% Overnight, With RTX 5070 Hitting $900

    Prices for Nvidia graphics cards have jumped overnight at some retailers as regional pricing adjustments finally impact American buyers.

    Taking an average of recent Newegg prices, Tom’s Hardware found that some card prices have increased by over 30%, with RTX 5070s now at a median price of $900; its launch price was $549. The RTX 5090 is up by 9% to $4,700.

    Gaming graphics card prices have been impacted by secondary demand several times over the past decade. But the AI-induced shortages are far worse than the cryptocurrency mining boom of years gone by. Many cards are now more than 50% more expensive than they’re supposed to be, and in some cases, closing in on double their original launch price. The RTX 5090 blew through that milestone a long time ago and is now about 150% more expensive in 2026.

    The latest round of price increases has been hinted at for a few weeks. We’d heard rumors of price increases in Eastern markets like Japan and South Korea, but as stock of older cards dwindled, we’re now seeing big price rises in the US too. Tom’s Hardware’s data is only from Newegg, so you can still find cheaper RTX cards elsewhere, but don’t expect that to last more than a few days.

    Nvidia RTX GPU prices.

    (Credit: Newegg)

    The price adjustments at the time of writing are as follows:

    • RTX 5050 is now 5% more expensive, at $315.

    • RTX 5060 is now 27% more expensive, at $470.

    • RTX 5060 Ti 8GB is now 13% more expensive, at $530.

    • RTX 5060 Ti 16GB is up 39%, now averaging $805.

    • RTX 5070 is now 36% more expensive, at $900.

    • RTX 5070 Ti is the only card not to see a price increase, but it’s still $1,100.

    • RTX 5080 is up 3%, now priced around $1,500.

    • RTX 5090 increased by 9%, with a median price of $4,700.

    There are cards that are more and less expensive; that’s the median for you. But it shows how ridiculous prices are right now. The RTX 5060 is almost $100 more than the launch price of the RTX 5060 Ti 8GB, and the 5060 Ti 16GB is almost $400 more than it cost when it launched just over a year ago. The RTX 5070 is $150 more than when the 5070 Ti debuted, and the 5070 Ti is $100 more than what the RTX 5080 launched at. None of these cards is more powerful than they were, but AI buyers and global shortages have pushed the prices far into extremes.

    Recommended by Our Editors

    Fortunately, AMD’s GPUs are less affected. Though they are more expensive than they were and should be, you can still find a 9070 XT for under $800, making it now cheaper than a 5060 Ti, a card it absolutely runs rings around. You can get an even better deal with the RX 9070 GRE, which is roughly comparable to the RTX 5070 and yet costs less than $550.

    These prices are unlikely to last, so if you need an upgrade, think fast, but watch out for resellers and scammers. They love nothing more than a desperate buyer.

    About Our Expert

  • Chris Rock, ‘Heated Rivalry’s’ Hudson Williams to Keynote Toronto Film Festival

    Chris Rock, ‘Heated Rivalry’s’ Hudson Williams to Keynote Toronto Film Festival

    Chris Rock, set to world premiere his latest film, Misty Green, in Toronto, will take part in an informal conversation at the September film festival, as will Heated Rivalry star Hudson Williams.

    Rock’s film for A24 follows an actress whose career has stalled years after her breakthrough role, as she fights for her second act. Rosalind Eleazar stars as Misty Green alongside Adam Driver, Daniel Kaluuya, Anna Kendrick, Topher Grace and Rock. Besides his breakout role in the gay hockey drama Heated Rivalry, Williams will also discuss in Toronto his upcoming star turn in the Crave and AMC+ supernatural mystery thriller Yaga, created by Kat Sandler.

    TIFF organizers also announced In Conversation With… sessions for Korean actor and singer Lee Min-ho, who will present his latest film, The Assassin(s), in Toronto, and director Rachel Morrison, as she brings her sophomore feature, Love of Your Life, a romantic drama starring Margaret Qualley, Aaron Pierre and Patrick Schwarzenegger, to the film festival for a world premiere.

    Andrew Scott is headed to Toronto with his latest movie, Simon Stone’s Elsinore, where he plays the late actor Ian Charleson in one of his final London West End stage roles as Hamlet, which he performed while living with AIDS.

    Scott has had other standout roles in Phoebe Waller-Bridge’s Fleabag, playing Moriarty in Sherlock, and credits for Wake Up Dead Man: A Knives Out Mystery and Richard Linklater’s Blue Moon.

    “This year’s In Conversation With… series brings together trailblazers and extraordinary storytellers for conversations that will offer audiences a deeper look at their craft and careers,” Anita Lee, chief programming officer at TIFF, said in a statement on Tuesday.

    The Toronto Film Festival will run from Sept. 10 to 20.

  • Martin McDonagh, Werner Herzog, Cody Fern Films Round Out 2026 Toronto Fest Lineup

    Martin McDonagh, Werner Herzog, Cody Fern Films Round Out 2026 Toronto Fest Lineup

    The Toronto Film Festival has unveiled a fresh round of titles to finalize its upcoming 51st edition, including Martin McDonagh’s Wild Horse Nine and Werner Herzog’s Bucking Fastard.

    Toronto is giving Cody Fern’s directorial debut, Closing Night, a world premiere, with Naomi Watts, Sarah Paulson and Dianne Wiest starring in the Special Presentations title. There’s also a first look for Peter Ho-Sun Chan’s The Road Not Taken in the Special Presentations program, and a world bow for Bahman Ghobadi’s Trees are Watching film in the Centrepiece section.

    Also in the Special Presentations program, Toronto booked an international premiere for Nanni Moretti’s It Will Happen Tonight after it opens in Venice; and there’s North American premieres for Stéphane Brizé’s 11th feature, Un bon petit soldat (A Good Little Soldier), led by Alba Rohrwacher and Vincent London; and It’s My Time, by Chinese director Bai Xue.

    Bucking Fastard with Rooney Mara, Kate Mara.

    Courtesy of Lena Herzog

    The Special Presentations program also has Canadian premieres for Martin McDonagh’s Wild Horse Nine, a dark comedy with John Malkovich and Sam Rockwell as CIA officers sent to Easter Island ahead of the 1973 coup in Chile; Werner Herzog’s Bucking Fastard, the latest feature from the Grizzly Man director set for a Venice world premiere starring sisters Kate Mara and Rooney Mara, along with Orlando Bloom and Domhnall Gleeson; and Neil Peart: No One’s Disciple, a documentary about the late Rush drummer and lyricist from directors Scot McFadyen and Sam Dunn.

    There’s also Canadian premieres for Małgorzata Szumowska offbeat newlywed adventure The Idiot(s), starring Aimee Lou Wood and Johnny Flynn; and Guy Nattiv’s Liberation, starring Carrie Coon, Lily James and Bella Ramsey.

    The latest film additions to the TIFF lineup are the last announced titles for a 51st edition to feature in all 293 titles. Oscar-winning CODA filmmaker Sian Heder’s upcoming feature Being Heumann will open the September event, while Yan Lanouette Turgeon’s Villeneuve: The Rise of a Legend, a biopic about the late Canadian racing car driver Gilles Villeneuve, will close the annual film festival.

    The Toronto Film Festival is set to run Sept. 10 to 20.

  • Jessica Reynolds and Charlotte Rampling to Star in Opera Drama ‘Maya Butterfly’ (EXCLUSIVE)

    Jessica Reynolds and Charlotte Rampling to Star in Opera Drama ‘Maya Butterfly’ (EXCLUSIVE)

    Fast-rising star Jessica Reynolds (“Kneecap,” “A Woman of Substance”) and Oscar-nominated screen icon Charlotte Rampling (“45 Years,” “Under the Sand”) are teaming up for Irish psychological drama “Maya Butterfly,” set in the world of opera and described as “Tár” meets “Sound of Metal.”

    The project, which comes from Hail Mary Pictures and has been acquired by Wildcard for U.K and Irish distribution rights, marks the directorial feature debut of award-winning Irish opera director Edwina Casey. Principal photography is now underway, with filming to take place on location in the National Opera House in Wexford and Belfast.

    “Maya Butterfly” tells the story of a rising soprano who is secretly losing her hearing and must fight to survive the opening week of a radical opera production, until the truth threatens to destroy both her career and her identity.

    “I am honoured to be realising this film with two immensely talented artists: Jessica Reynolds and Charlotte Rampling,” said Casey, a former Bingham Ray New Talent Award winner whose work spans international opera, film and commercial directing. “Told in the first-person perspective, ‘Maya Butterfly will be a sensory experience of one singer’s destructive process during the most important week of her career. Through its combination of musical theatrics and character-led storytelling, it will be a testament to my love of modern, inclusive, cinema and I am sincerely grateful to Screen Ireland for the continued support.”

    The film is produced by Conor Barry (“The End”) and Richard Bolger (“Father Mother Sister Brother”) for Hail Mary Pictures, with funding from Fís Éireann/Screen Ireland, Northern Ireland Screen and Yellowmoon. Patrick O’Neill (Wildcard), Paul Kennedy (Village Films) and Bernard Michaux (SAMSA Film) also serve as producers. Executive producers are Atilla Salih Yücer, Ronan Flynn, Gillian Cooper and Greg Martin.

    “We are thrilled to be working with Edwina on ‘Maya Butterfly,’” said O’Neil. “It’s an incredible story, and set to be an ambitious, thrilling, and emotional film made for the big screen. It’s always exciting to work on a unique film, something audiences have not seen before, and We cannot wait to bring the film to cinemas next year.”

    Behind the camera, the creative team includes production designer Ruta Kiskyte (“Sing Sing”), director of photography Piers McGrail (“Saipan”), costume designer Saffron Cullane (“Censor”), casting director Áine O’Sullivan (“Blue Moon”) and line producer Michael Donnelly V (“Dublin Oldschool”).

    “Maya Butterfly” was selected for the Torino Film Lab and the Venice Gap-Financing Market, and was developed with the support of Fís Éireann/Screen Ireland, including the Fís Éireann/Screen Ireland and Luxembourg Film Fund Co-Development Fund for Female and Non-Binary Filmmakers.

  • Donie O’Sullivan Says He’s Not Worried About Humanizing Extremists: “They’re Human”

    Donie O’Sullivan Says He’s Not Worried About Humanizing Extremists: “They’re Human”

    You’ve got to be either a saint or a masochist — maybe a little of both — to try to explain American partisans these days. Seek out figures on the far left or far right, after all, and you’ll get either criticism for snarking (from that side) or blowback for platforming (from the other side).

    Of course such work is essential at a moment when too many of us listen only to our allies. That’s where the sainthood comes in. 

    All of this forms the unique, admirable and I-still-wouldn’t-want-to-be-him professional role of Donie O’Sullivan, the Millennial CNN reporter who travels around the county earnestly-wryly talking to hardcore figures on all sides, who have a noticeable tendency to open up to him. (That recently included an hourlong Hasan Piker-focused special on the Democrats’ insurgent left and a shorter package this week on the Minnesota gubernatorial candidacy of MAGA hero Mike Lindell on the Trumpian right.) In a time of echo chambers, O’Sullivan is both anomaly and antidote. He’s also a legacy journalist in an influencer world, its own Rubik’s Cube.

    As an intense primary season comes down the homestretch — key races testing the far left and far right unfold both in Minnesota and Wisconsin Tuesday — O’Sullivan seems particularly well-positioned to document where he thinks the country is going. Not to mention describe what it’s like to hurl yourself into the spray with every segment. So The Hollywood Reporter hopped on a Zoom with the Ireland-born journalist to ask how he thinks America is doing, and what it’s doing to him. 

    You’ve covered extremism for a whole bunch of years now. How much more extreme is it in 2026?

    I have been covering the fringe for a long time, and what strikes me as we head into the midterms is what was considered fringe on the left and right is now often part of a prominent debate in both parties. On the right you see what Tucker Carlson and Marjorie Taylor Greene are doing, mounting an insurgency of their own. And you have that on the left too, which we’ve seen in some of the primary races. But I also think we have to be careful not to make a false equivalency between the parties. I often see Hasan Piker in the same breath as Nick Fuentes and people who do that aren’t taking the time to listen to either. A lot of speech on the far right is motivated by blatant antisemitism. Fuentes is saying Jews = bad. Endlessly. Unapologetically. If you listen to Piker he makes the point that ‘I’m not antisemitic I’m anti-Zionist.’ Some will argue the effect is the same. But I find fringes on the left really go to great lengths to try and separate Jews and Judaism from Israel. 

    Certainly both sides do seem to be capitalizing on the same sense of disaffection with government.

    That’s what’s so striking — the similarities. I spend a lot of time talking to people on the left and spend a lot of time on the manosphere and in both feel people like the system is not working and want to do something about it. A lot has been exacerbated by feeling alone and on social media; that’s something I feel very there-but-for-the-grace-of-God about too, by the way. We’re up against trillion-dollar industries of algorithms and so it’s easy to fall into rabbit holes, whether it’s a conspiracy theory or just outrage.

    You’ve seen that up close so many times — what’s an example of where that rabbit-holing really turned ugly, in your opinion?

    A lot of young people think that what Luigi Mangione is alleged to have done is not that bad. An innocent man was assassinated walking in the streets of New York, and so it can be hard to understand that. But we should talk to those young people and find out why they don’t think it’s bad. Don’t let being offended by someone’s opinion stop you from talking to them. Because their opinion is not going to change. And I’m personally not interested in changing anyone’s opinion. But I’m a believer in hearing things and sharing things. I even think that about January 6 — there was a lot of disillusion and disaffection. Vigilante justice is not what we should be dong of course. But we should listen to why people feel the need for it.

    Do you get how some people can see that as problematic? That there is a legitimizing effect when you have someone with outlandish theories or dangerous grievances on CNN?

    That’s one of the biggest question on my beat, the platforming. And there are certainly cases where we don’t want to just amplify. But the mainstream media is no longer the gatekeeper of information, which means that a Hasan Piker or a Tucker Carlson have millions of people listening to them already. And the question is whether we can be part of the conversation beyond soundbites or just sit it out and do a disservice to audiences. I’ll choose the conversation. We also have the resources to fact-check these spaces, and I think that gives us a responsibility to cover them.

    Do you think that makes a difference for all the people down the hole? Not rhetorical — genuinely asking.

    I’m overwhelmingly pessimistic. But I do see an opportunity where journalism can shine if we adapt. We did an episode on someone who went down the rabbit hole, a liberal woman in the Bay Area. And it started with concerns about vaccines and soon she got pulled into homophobia and transphobia and racism and antisemitism. All kinds of horrific things. And she came out of it, and realized so much of what she was thinking about vaccines was colored through this terrible lens. So I think it can happen.

    Your job is listening to people you don’t agree with. It’s not a role most people in this country seek out. What makes you do it?

    The thing I’m most interested in in the world is having those difficult conversations. That’s what’s going to get us out of the dark situation we’re in.

    You undertake this job at great risk to yourself. I know most journalists don’t want to be the story but the threats you get online are pretty eye-popping. Does it ever get easier? Do you still get scared?

    I like to think I’m calm about it but this is easier said than done. The first time the full Twitter mob is on you it’s very scary. There’s doxxing, among many other things. I’m definitely in a space now where I’m fine with it. I speak to young journalists sometimes and my advice is that hate on social media is just part of the job now. I wouldn’t suggest anyone getting this business if they want to do impactful reporting and think that won’t be there. Not just covering extremism — covering anything.

    Do any coping techniques help? Besides touching grass.

    [Laughing] That definitely helps. Just getting offline. But a lot of it is I keep a point of being in touch with a lot of the subjects of our stories. Not everybody is happy of course but I do hear a lot that I was fair to them and that helps a lot. I want to be fair to them even if they’re not always going to be fair to us.

    It does seem like a can’t-win situation — someone will always be mad. Which I know people say means you’re doing your job right but it also means that you’re doing your job unhappily?

    The stuff I get in the most trouble on the internet is the stuff that in a way is most important. With this episode on the insurgent left we spoke to Hasan Piker and we spoke to James Carville. Just a really big story. And of course part of the left attacked me for speaking to Piker at all, and then people attacked me for speaking to Carville at all. They’d even cut up clips so that it looked like we were only talking to them. But we worked really hard to give everyone a hearing. [Ed note: Piker, at least, was happy with the segment, telling his livestreaming audience as he watched the special, “Donie’s the man. The Irish guy. He’s very cool, in spite of the fact that he’s at CNN.”] And that’s something we should be doing more of, as a profession, giving everyone a hearing; that’s the job of a journalist. To get beyond the tables in New York and DC and the Acela car to hear what a lot of different people think. 

    One proof of that is Lindell. Not someone whose election conspiracy theories I or many of us agree with. And yet I came away from your segment kind of liking the guy, someone who has a great backstory as a former addict who pulled himself up by his bootstraps and genuinely seems affable. You can almost forget all the dangerous stuff he’s spouting to Donald Trump’s glee. But of course we shouldn’t forget that, especially as he stands a good chance today of becoming the Republican nominee for governor of Minnesota.

    Lindell is a very likable person and I do think unlike a lot of the MAGA guys who don’t believe the shit they’re saying he truly does believe what he’s saying. But is also doing a lot of dangerous and frankly dumb stuff. But the goal is to understand people. Someone on social media will say ‘why are you humanizing this person?’ To which my response is ’they’re human.’ And dehumanizations are the reason we’re in such bad shape today. I haven’t had the opportunity to interview Nick Fuentes one-on-one yet but from the unguarded moments I’ve seen he’s a terribly insecure, sad Gen Z person and we should show that.

    Is that the end goal then? Understanding not just the ideology but the humans behind it?

    I think the goal is helping us run a society. Our job as a country is to change the [feeling of disaffection] and give people a system of government that actually feels like it’s doing someone for them. That makes them become engaged instead of just cheering on violence. That’s what we’re trying to do on-air.

    And that makes them feel like the other side is not out to get them.

    Totally. You know, one thing that comes up a lot is the viewers who disagree with who I’m interviewing will say ‘you made someone look like a fool’ and then viewers who agree say ‘he sounds smart.’ Their reactions can  say a lot more about them than they do the subject.

    What about from the subjects themselves  — you say they feel you’re fair but you do challenge them in the moment and you certainly do in the voiceover later. Plus there’s the fact that you’re from CNN. Do you get a lot of pushback from them?

    I think a lot of people want to be heard and want to talk. I’ve interviewed supporters of election-denial claims who say ‘I don’t agree with you but thank you for having the conversation with me.’

    How do all your reporting excursions leave you feeling about our prospects as a functional society? Is there hope for reconciliation or not really? Do people want nuance?

    I think we’re in a bit of trouble. [Gives a knowing-bitter laugh].  But I think people do want nuance. You’ve seen that with the success of podcasters like Joe Rogan or Lex Fridman. People will listen to hours of a discussion. Rogan is so meta — he’ll go back to ancient civilizations and then even talk about alien civilizations. And so many other podcasts too. A lot of the conversations are dumb and uninformed, yes. But there’s still an appetite.

    But that’s a form of algorithmic engagement too, isn’t it, following one singular leader because he knows how to press the conspiracy-theory button or get us outraged?

    I think that’s right but what this interest also shows is that there’s a huge opportunity for journalists to have these longform conversations too. Because a news organization that comes in to take advantage of this [appetite] has also done their research and anticipated questions and is preparing for pushback.

    You’re more optimistic than I am that what people want is fact-based, clarity-minded journalism. It feels to me too often that it’s more attractive for people to get mad and reductive.

    That’s the challenge of a big outlet: how do we create stuff that’s compelling and gives the space to have these conversations and maybe even can go viral, but isn’t conspiracy theory or just tawdry. I don’t know that we can completely avoid all of that. But I think we can get closer. It’s all a question of quantity. We don’t do a story [on extremists] every single day, nor should we. But also when we discuss these things, let’s really discuss them.

    Give me a prediction on where this all goes, particularly on the left. Are we really witnessing a sea change? Or is this something that rhymes more with 2018, where there’s a Democratic insurgency midway through Trump’s term and then it dies down two years later when he’s gone from office.

    The big difference between now and 2018 is that the left has a massive independent media and infrastructure that keeps getting bigger. Pod Save America and Hasan Piker and everything in-between. The MAGA-verse has had this kind of scale for a decade, and look at what it did for them. Now the left has it. I think two years from now when we’re in the middle of presidential debates the effect will be huge. I don’t think it’s settling anytime soon.