I hold the key to the Ferrari in my hand. I press it, like a puzzle piece, into a notch by my right hip. Yellow fades from the key as the hue enters the shifter and the dashboard comes to life with a wave of yellow.
Im enchanted. My foot cant wait to slam down on the pedal. The only thing Im missing is . . . the entire rest of the car.
Even for a legendary automaker launching its first EV, it was a preposterous pitch: Ferraris big car reveal would not show the car. And it wouldnt show the cars interior, either. Instead, journalists were asked to flysome of them halfway across the worldto scope out a steering wheel, a few chunks of dashboard, a center console, and a seat.
I can count the designers Id do that for, not on one hand, but on one finger. As it happens, that was the designer pointing the way.
While the world will never get a ride in Jony Ives long-lost Apple Car, they will get a spiritual sequel with a 1,000+ horsepower upgrade, Jony Ives spin on Ferrari.
[Photo: Ferrari]
Ferrari meets Silicon Valley
Designed over the last five years with the firm LoveFrom, the Ferrari Luce (translation: “light” or “illumination”) is a generationally important car for the Italian automaker as it transitions to an electric future. Everything from the cars form, to its layout, to its buttons, to an e-ink key that’s the size and shape of a Zippo lighter, to the vehicles interface and typeface, was designed through the gaze of the San Francisco firm.
It’s nearly impossible to ignore the Venn diagram between Ferraris first electric vehicle and the golden era of Apple products. And you certainly dont need to squint to spot some of Ives favorite materials, like the prominent use of anodized aluminum and Gorilla Glass across the components.
[Photo: Ferrari]
But this outcome seems largely by Italy’s own design. Ferraris CEO, Benedetto Vigna, spent two decades on semiconductors before turning to Italian supercars in 2021. He wants to carve a future for Ferrari in a rapidly changing world, and also crack the code to court new customers, like Silicon Valley billionaires, to spend some of their fortune on cars.
The projectto be fully revealed later this year before shipping in Octoberwas led by the aforementioned Ive and Marc Newson. Before co-founding LoveFrom, they were best friends for decades, and collaborators on projects ranging from a 1.5-ton desk auctioned for charity to the Apple Watch.
Ive, of course, defined the modern era by designing products ranging from the iMac to the iPhone. While Newson, a lesser-known name in Apple history, is a star in his own rite. Hes also an almost archetypal designer to reimagine a luxury automaker. Long before he posted his own exploits racing vintage cars on his Instagram, he crafted just about every object imaginable (including a public bathroom for Japan, Nikes built for space, and the influential Ford 021C), with a particular penchant for high-end brands. His Lockheed Lounge is still the most expensive piece of furniture ever sold by a living designer. (Get a deep look into his career and design process here.)
Backing the two of them, of course, are the industrial, UX, mechanical, and graphic design experts at LoveFrommany of whom worked with Ive during his days at Apple.
Ive, as it turns out, had good reason for extending the hype cycle for LoveFroms first major client outside of Apple. If they showed the body of the Luce now, its all anyone would notice. Meanwhile, LoveFrom has been working for years on dozens of components inside the car, each of which they treated as beloved products all their own.
Ferraris chief design officer, Flavio Manzoni, frames the Luce as something of a capsule project thats independent from Ferraris full lineup, which offered LoveFrom license to create a thesis that can live self-contained. This is very inspiring, and certainly will influence everything [we do], says Manzoni. But it also must be kept as something really singular and unique. Everything has been done interpreting the soul of a very special car.
The Ferrari Luce seat. [Photo: Ferrari]
Deconstructed and organized atop white tables during the preview, I could appreciate not only the Luces components like its wheel, but its subcomponents of knobs, switches, and paddlesperhaps a dozen different buttons each offering their own feeling. With nested, CNCd aluminum housings, you can almost see a watch, or a game controller, or just some irresistibly interesting thingamabob living harmoniously inside another. The vehicle is an ecosystem of mini gadgets.
Pulse-rocketing supercars couldnt be more disparate from te ever-serene atmosphere inside LoveFroms San Francisco studio, where fresh cut flowers casually adorn each nook. As I sit with Ive and Newson at a long white table, upon soft blue, yellow, and orange stools mirrored by their Moncler collection at the far end of the room, the duo conjures a whole other thought space, riffing on their high-octane handiwork.
We really wanted every part, every component, to be designed as an individual product. So it’s like dozens and dozens of cameras and watches. The idea [was] we could spend the time and invest the care on every part and have it work, says Ive. Even the forms are very self-contained and modular.
The components, as it turned out, are worth talking about. As the auto industry inevitably transitions to electric, LoveFroms design team created a love letter to tactile interface, offering solutions to blending digital and physical experiences in the vehicle, and teasing the sort of auteur-driven work thats disappeared in an increasingly blanded and averaged automotive industry that sold its soul chasing Tesla.
We’re very aware that we love the sounds of our big old Ferrari engines, says Ive. And so rather than trying to figure out some sort of surrogate or something inauthentic to [compensate], we worked so hard to try and create as visceral and direct connection with the object [as possible].
[Photo: Ferrari]
Focusing the drivers experience
A Ferrari is a drivers car, and without looking around at any other spectacle in the Luce, the driver experience has been designed for focus.
It begins with the car’s seats, which seem plucked from somewhere between a race car and a living room. After sinking into them, drivers place their key into the console, and they take the wheel.
[Image: Ferrari]
Most wheels tilt up and down independently from the cars instrument panel, making it sometimes difficult to be comfortable while having a clear line of sight through the wheel to your gauges. But the Luce moves this entire rig as one unified gesture: The wheel, steering column, and instrument panel shift as one. (What I hear was a particular engineering challenge for both safety and mitigating vibration.)
The wheel feels like a natural conclusion to Ferraris last few generations of fussing with its own icon. The manufacturer added controversial touch capabilities in 2019, before reversing course last year with a modernized, more mechanical option that can be retrofitted into older vehicles.
LoveFrom designed the Ferrari Luce steering wheel with an aluminum core. [Photo: Ferrari]
The LoveFrom wheel reads rounder all around, veering more toward vintage Ferrari than an oblong reference to F1. Its aluminum core is earnestly exposed rather than obfuscated in leathers and rubber. The controls gently reorganize Ferrari mainstays, like the bold red Manettino dial (to adjust your driving mode), into something you feel like your brain can process alongside new touches like left and right buttons (theyre turn signals).
[Photo: Ferrari]
The instrument panelor binnacleis not just a wide screen with widgety virtual controls: its a collection of four screens. Three round screens, making up the speedometer and other dials, live recessed inside a fourth screen. Lenses and parallax effects give the panels additional depth and physicality. But that physicality is more than an illusion of pixels and refraction: the speedometer needle is real.
[Image: Ferrari]
The combined effect will be something drivers haven’t exactly seen or felt before, punctuated by a pared back interface that tells most of the story through the three hues of the Tricolorewithout it feeling like a trip through our grocery stores international aisle.
[Photo: Ferrari]
Chris Wilson, who you know for his work on the Apple Watch UI, worked with Ferrari engineers to marry onscreen UX with its new torque shifting technology. While electric motors require no shifting, pulling the paddle on the left side of the wheel provides a virtual downshift (turning the dial green while motors slow the car to recoup energy). When its time for an extra jolt of power, the interface blinks red, and you pull the paddle on the right.
LF Maranello, the Ferrari Luce’s custom typeface. [Image: courtesy LoveFrom]
Meanwhile, the numbers you see on the instrument panel are part of a new typeface family called LF Maranello designed by LoveFroms Antonio Cavedoni, who worked alongside Wilson on Apples San Francisco typeface before making LoveFroms own. Bucking the wide stance letters Ferrari is known for, the clean sans serif is an amalgamation of midcentury Ferrari engine stamping, the numbers on old Ferrari dials (themselves often plucked from whatever watch manufactures were already using), and local signage from Ferraris hometown of Maranello. With the slightest expressive indulgencesa curvy flag on the 1, a short stem on the 4it manages to look vintage and contemporary at the same time.
The hardware is geometrically perfect, says Cavedoni. But here, we can do anything.
Fixing human factors at high speeds
Over two days of previews, Ive doesnt mince words about the influential approach Tesla has taken, in which, through some desperate attempt to create sci-fi mystery, the vehicles mask the simplest functions. One such example is the way a Tesla handles its gaspers (thats the technical term for the fans built into the dash). Whereas Tesla literally hides them so well you can only control them via a screen, LoveFroms gaspers almost glow.
The Ferrari Luce’s tablet is a departure from typical EV design.[Photo: Ferrari]
With spherical aluminum bodies, they could double as Macbook satellite speakers. You twist a ring, and a visible, central flap swings open or closes with a satisfying click. You dont need to dig through a UI, or even squint to look for an X symbol on some dial on the dash. The object explains itself.
Clarity is so important. Not only in terms of physical interaction, but intellectual clarity, says Newson.
Since Elon Musk stuck what Ive calls an iPad into the center of a Tesla, a disjointed center screen has increasingly taxed the experience of driving. Its why I was perhaps the most and least surprised by LoveFroms choice to have a tablet in the center of the vehicle.
[Image: Ferrari]
However, Luces tablet is foundationally different. Its entirely unnecessary for driving, and, perhaps ironically, a screen thats usable without looking at it.
The tablet sits atop a large aluminum handle, which allows you to tilt the screen or blindedly rest your palm for a point of reference.
That handle also adds impact protection from a series of aluminum toggle switches that live in the bottom of the display, managing tasks like climate control and seat warming. Yes, these switches appear straight out of midcentury Ferrari design language. And yes, LoveFrom produced four thick books charting the history of Ferrari gifted to the company at the start of their collaboration. But the team bristles when I characterize the choice for toggle switches as an homage.
The Luce’s tablet includes physical controls. [Photo: Ferrari]
Newson points out the toggle itself is a known typology, because its the best tool for the job. Thats why its in the Luce and all sorts of vintage control panels, he notesand thats also why we innately think toggles are so cool.
If you look at helicopters from the 50s, 60s, they weren’t screwed up with design, says Ive. Their beauty was a function of them being so brilliantly utilitarian. And I think so often stuff just gets ugly when design gets in the way.
Setting the stage for performance
But thats not to say the Luce is some unflinching commitment to minimalism, or that a serious commitment to craft requires the driver to never crack a smile.
In the upper right hand corner of that tablet is a multigraph. At a glance, it looks like a clock with physical minute and hour hands that could be straight out of a fine timepiece. But a split second later, it can turn into a compass or one of two stopwatches (in 60-second, and 5-secod launch variants). Unlike typical timepieces, the hands will spin independently from one another, animating in an unexpected way.
[Photo: Ferrari]
Is this touch purely about function? Ha! Of course nota virtual clock could appear on the screen in the same spot. Its LoveFrom stunting, taking its own metaphorical Ferrari out of the garage and bringing fans along for the ride.
[Image: courtesy LoveFrom]
We’re introducing an impedimentan engineering challenge, but it makes it way more engaging, says Ive, before holding his own iPhone into the air looking like an Uber driver scanning for their next ride. Or it could just be [that] mounted.
We see a similar celebration of driver engagement with Luces launch control. This is a setting that preps the car, the battery, and the driver to coax the maximum straight-line power for acceleration. Instead of pressing a button on the wheel, this new launch control requires the driver to hold the brake while reaching above their head and pull on a cylindrical, pneumatic handle.
After a few seconds, Im told, the cars entire cabin lights up orange, enlisting everyone into the vehicle to hold on with dramatic flare.
[Photo: Ferrari]
Back in LoveFrom’s studio, Ive and Newson deconstruct their code-orange approach.
The Ferrari brand is extremely visceral. And in some ways there’s a theatricality you really need to embrace, says Newson. So things like the launch control, things like the key ceremonythere’s a nice, humor is the wrong word
…It’s tough to figure out the word for the yellow of the key translating into the carI mean, it’s sort of funny, chuckles Ive.
It’s funjoyful. It needs to be,” says Newson. “No one needs a Ferrari, sorry to say, but you own a Ferrari, because it will just be a much more fun way of [driving].”
We love that there was such a focus on being fun and joyful to drive, and it’s like, no apology, says Ive.
My Non-Negotiable Mindset started with exercise, or more accurately, with not wanting to.
That moment of resistance became a turning point in how I show up and follow through. I wasnt lazy or undisciplined. I was human. And thats when it clicked: if I only exercised when I felt like it, Id never do it often enough to matter.
So I made exercise non-negotiable, like brushing my teeth or showing up to teach a class. This commitment was to myself. No mood checks. No internal bargaining. No excuses. Four times a week, minimum. That was the contract.
What changed wasnt just my behavior; it was my identity. My thinking shifted from I need to exercise to Im the kind of person who exercises. Commitment replaced motivation. Routine replaced inspiration.
Once that clicked, I started applying the same logic everywhere I noticed myself negotiating. Why was I waiting for the perfect moment to write? Why did a project I already knew mattered require inspiration before action?
What began as a personal experiment became something I couldnt help but share. Years later, when I introduced this mindset to faculty I mentor through a national design-writing fellowship, it clicked for them, too. One day, I casually mentioned that I sometimes write on my laptop while on the elliptical or stationary bike. The room went quiet. Their expressions hovered somewhere between disbelief, admiration, and curiosity.
We’ve been conditioned to believe meaningful work requires perfect conditions. It doesnt. It just needs to happen.
Not long after, I started hearing the same question on repeat: How do you get so much writing done while working full-time and parenting?
The answer wasnt superhuman discipline. It was decision designdeciding once, then removing the debate.
High performers dont rely on motivation; they make decisions their Future Self wont regret. They design hesitation out of their day by asking one simple question before important choices: Will tomorrows me thank me for thisor have to clean up after it?
The hidden cost of hesitation
Most productivity systems treat hesitation as harmless. It isnt.
Every small internal debateShould I start now or later? Email first or focus?drains cognitive energy before meaningful work even begins. You dont just lose minutes. You lose momentum, follow-through, and the ability to act decisively when it matters most.
In organizations, this shows up as delayed launches, deferred decisions, and teams waiting for clarity that never quite arrives.
This is why capable, motivated professionals struggle to execute: not because they lack discipline, but because they burn cognitive bandwidth negotiating instead of doing.
The Non-Negotiable Mindset
The solution isnt more motivation. Its fewer decisions.
The Non-Negotiable Mindset eliminates hesitation by turning essential actions into pre-commitments: decisions made once and executed automatically. When something is non-negotiable, theres no internal debate. You just do it.
Most habit advice says to start small and repeat until the behavior becomes automatic. The Non-Negotiable Mindset reverses that logic. Automaticity comes first, not last.
You block time on your calendar, show up, and act. An author writes because thats what the writer version of herself does. An entrepreneur schedules investor outreach every Tuesday morning because their Future Self needs those relationships built.
These people arent more disciplined than everyone else. Theyve stopped asking permission from their present-moment selves. Weve been trying to solve a systems problem with motivational tools. This mindset flips that equation.
Why Future-Self thinking beats willpower
What makes this approach stick isnt grit or self-control. Its perspective.
Your Future Self isnt a distant stranger. Its you, living with the consequences of todays choices. Research by psychologist Hal Hershfield shows that the more connected people feel to their future selves, the more likely they are to make wise, long-term decisions.
But the real shift happens when you dont just think about your Future Selfyou decide as your Future Self.
Non-negotiables arent arbitrary rules. They are actions anchored to identity, not momentary comfort. When you ask What would my Future Self do? follow-through stops feeling optional. The decision is already locked in.
A four-step execution framework
You can implement the Non-Negotiable Mindset immediately:
Identify what matters to your Future Self. Choose actions that compound over time. Not everything deserves non-negotiable status.
Focus on the critical few. Systematize only what truly moves the needle. Automating everything creates rigidity.
Act consistently, not reactively. Systems run whether you feel inspired or not. Consistency beats intensity.
Make it non-negotiable. Remove the option to delay or debate. Flex the method if needed, but honor the commitment.
When action becomes automatic, you free mental energy for creativity, judgment, and strategic thinkingthe work humans still do better than machines.
Why this matters now
In 2026, competitive advantage will belong less to those with the best ideas and more to those who act on them consistently while others hesitate.
As AI absorbs routine cognitive labor, human value increasingly depends on what machines cant yet replicate: discernment, prioritization, and action under uncertainty.
Your Future Self is building a company, leading a team, or creating meaningful work. That person needs you to act on what matters, now.
This mindset isnt about hustle. Its about protecting what moves the needle from the daily erosion of indecision. Its productivity designed for the attention economy, where the scarcest resource isnt time, but the clarity to use it well.
What to do today
Think like your Future Self right now. Pick one action youve been negotiating with yourself about, something important youve been meaning to get to.
Ask yourself: Six months from now, will I wish I had started today?
Then decide once. Make it non-negotiable. Set a time. Remove the debate.
The only question is whether you’ll decide as the person you are today or the person you’re becoming.
Stop negotiating. Start doing.
Hello and welcome to Modern CEO! Im Stephanie Mehta, CEO and chief content officer of Mansueto Ventures. Each week this newsletter explores inclusive approaches to leadership drawn from conversations with executives and entrepreneurs, and from the pages of Inc. and Fast Company. If you received this newsletter from a friend, you can sign up to get it yourself every Monday morning.
I recently celebrated my 56th birthday, and Im feeling my age. Not because Im slowing down (which I am), but because I feel increasingly removed from the passions, peeves, and predilections of Gen Z and Generation Alpha. This matters, as young people shape popular and workplace cultures, and their tastes drive big swaths of consumer and tech spendingall things Inc. and Fast Company cover.
To help me figure out how to stay tuned into their wants and needs, I asked six executives to share their strategies for staying ahead of the youth culture curve. They shared some interesting initiatives and resources in the edited insights that follow.
Craig Brommers, chief marketing officer, American Eagle
At AE, we have a Gen Z panel, a group of our key consumers between the ages of 15 to 25 that help us test everything we do. They are excellent sounding boards for key marketing initiatives, product decisions, partnerships, and more. They help to drive insight into the consumer and also allow us to figure out what matters most to the people shopping our brand.
We also have a very large network of creators we work with at any given time. They are not just making content for us; they are teaching us. From the biggest macro influencer down to the most micro, the more creators we are working with the more patterns and trends we have seen emerge, even before they hit the mainstream feed.
Jackie Jantos, CEO, Hinge
I try to be very intentional about surrounding myself with folks whose lived experiences are different from my own, so Im always learning. Humility, curiosity, and listening go a long way. I love newsletters, Substacks, and fictionWilla Bennett, Casey Lewis, Shit You Should Care About, The Audacity, and Sylvains Progress Report are a few people and places I regularly return to for inspiration.
Im [based] in New York City, so I get to walk the streets and ride the subwayyou can learn a ton just from being out in the world and paying attention. But best of all, is this incredible Hinge team. The shortcut to staying current is to surround yourself with people different from you. The education and inspiration unfolds on its own.
Kory Marchisotto, chief marketing officer, E.l.f. Beauty
My intention word is Shoshin [a Buddhist term] meaningfully chosen to remind me to wake up each day with a beginners mindset. Staying current is about showing up curious, staying grounded, and engaging with total presence. At E.l.f., 78% of our employee base is Gen Z or millennial, so culture is in the room with me every day. I am also an active member of our community. Its me responding to every comment on LinkedIn, engaging in director dialog equally on TikTok lives, in social comment pools, and alongside the shoppers at shelf. Tuning E.l.f. into what gives people energy is my rocket fuel. Every conversation, every story, every connection is a new star in my constellation. Its zero distance between me and the community we serve.
Maureen Polo, CEO, Hello Sunshine
Our Sunnie Gen Z Advisory Board functions as both a cultural council and a co-creation engine. Theyre not a focus group; theyre collaborators who act as cultural translators between lived youth behavior and brand and creative strategy. We engage this group through regular working sessions, collaborative projects, and early-stage creative reviews. They help surface emerging trends, challenge assumptions, and shape concepts before theyre finalized.
With our brand partners, we collaborate on insight, not just activation, using shared learnings to co-create platforms that feel culturally meaningful and deliver unforgettable consumer experiences. This is how weve approached building Sunnie and Sunnie Reads alongside partners like E.l.f. Beauty, If/Then, an initiative of Lyda Hill Philanthropies, Purdue University, Victorias Secret Pink, Invisalign, and Coach: grounding creativity in real youth insight, inviting the audience into the process and building ecosystems rather than campaigns.
Josh Rosenberg, CEO and cofounder, Day One Agency
Nearly 40% of the Day One team is Gen Z, and I learn so much from each of themwhat they read, watch, and listen to, where they hang out and travel, how theyre embracing adulthood (or not!). We also host a youth insights focus group called Group Chat. Its a Slack community made up of 75 Gen Zers from across the country who share their perspective on trends, headlines, or specific client askstheir thoughtful answers are an invaluable part of how we know what young people are actually thinking about, focused on. And then my other youth culture go-to is our good friend Casey Lewis, who tirelessly reports upon both Gen Z and Alpha in her daily After School Substack. We recently published a report on Gen Alpha in collaboration with Lewis.
Jane Wakely, chief consumer and marketing officer, chief growth officer, international foods, PepsiCo
For me, scrolling TikTok or Insta remains the fastest way to understand whats resonating, whats becoming a trend, whats already passé, and what people are quietly rolling their eyes at. Looking for the weak signals and using data and tech to help create real foresight is key. I also have college-aged kids, which is maybe the most authentic insight you can have. They have no tolerance for anything that feels try-hard or inauthentic, and just listening to how they talk, what they buy, what they share, what they laugh at, and what they ignore is incredibly insightful. Seeing through their eyes is so powerful.
At PepsiCo, we pair our instinctive read with constant cultural listening and rapid signal-sharing. Our teams are always tracking whats bubbling up across social, sports, entertainment, and creator ecosystems, looking for momentum: whats accelerating, whats losing energy, and where sentiment is shifting. Those signals move quickly across our organization so our brands can make real-time decisions in how we show up in cultural moments, which creators we partner with, and how we adjust creative, media, and experiences.
Keeping up with Gen Z and Gen Alpha culture
How do you keep current on youth culture? And what trends are you watching in 2026? I asked Brommers, Jantos, Marchisotto, Polo, Rosenberg, and Wakely to share their top trends, and Ill publish themalong with reader insightsin an upcoming newsletter.
Read and watch more: understanding the next generation
Managing Gen Z: Fast Companys 143-point guide for leaders
What Gen Z really wants at work
Gen Alpha may find the workplace even tougher than Gen Z does
It has been two weeks since Winter Storm Fern swept through the United States, and many cities are still busy digging themselves out of waist-high snow mountains. A brand-new building in Antarcticawhere temperatures average 14 degrees Fahrenheit along the coastmight offer some useful insights for a more efficient approach.
Perched on the southern edge of Adelaide, an island on the Antarctica Peninsula, the Discovery Building spans two stories and nearly 50,000 square feet. It is clad in highly insulated metal composite panels and topped with a mono-pitch roof that slopes in just one direction, so snow slides right off instead of piling up.
[Photo: BAS]
Most notably it sports an innovative feature called a wind deflector, which protrudes on the leeward edge of the building (the one sheltered from the prevailing wind) and prevents snow from piling up right next to the building. So far, the system has most commonly been used above doors to clear snow that would otherwise fall adjacent to the building, but the architects say it’s never been used at this scale before. The feature could change the way we design buildings for harsh climates.
[Photo: Stle Eriksen]
Design for extreme conditions
The Discovery Building is located within Rothera Research Stationa center for marine and atmospheric studies and the U.K.’s largest research facility in Antarctica. (The station is famously served by one of the most advanced, icebreaking polar research vessels in the world, the RRS Sir David Attenborough, which itself carries the autonomous underwater vehicle Boaty McBoatface, of internet fame.)
[Photo: BAM]
For years, the research station was spread across nine separate buildings, meaning researchers often had to navigate between them in blizzard conditions. Now, all functions are consolidated under one (very unique) roof, in a building that acts as the stations nerve center.
[Photo: Matt Hughes/BAS]
The Discovery Building was designed by British firm Hugh Broughton Architects, which, over the past decade, has a gained a reputation for designing buildings that exist in extreme conditions. In 2013, the firm completed Halley VI, a raised building that sits on a floating ice shelf. Mounted on hydraulic legs with retractable skis, the station was specifically designed to be relocated if the ice shelf showed signs of breaking off, which it did in 2017. The entire base was successfully moved 14 miles inland.
Halley VI Science Modules, ca. 2012. [Photo: Hugh Broughton Architects/Wiki Commons]
Halley VI, which went on to earn over a dozen awards, led to several commissions in other extreme, isolated environments, including a health center in the world’s most remote island, Tristan de Cunha, and Juan Carlos 1, a radial modular research base also on the Antarctic Peninsula. The firm is also currently designing a new building for the Australian Antarctic Division at Davis Station in East Antarctica.
What keeps bringing Broughton back to such punishing conditions? #8220;The briefs are interesting and challenging,” he says of the requirements and constraints such projects often demand.
Over the years, Broughton has gained an understanding of the challenges that come with harsh climate of the Antarctic, but every site, he says, continues to bring with it its own set of complications and peculiarities, whether those are topographical, climate-related, or simply differences in the way the building is used.
“I must admit, when we first started on Halley VI, I thought ‘is there any chance for a cookie-cutter approach here?’ But there most definitely isn’t,” Broughton says. “Every site has its own idiosyncratic, environmental, but also cultural and social challenges.”
[Photo: Matthew Scott /BAS]
The wind as a resource
In the case of the Discovery Building at Rothera, which took six years to build due to the limited construction season (October-March), wind was one of the primary challenges. Lifting the building on stilts, like the architects did at Halley VI, would have helped the wind blow underneath the building and chase the snow away from it. But the building’s requirementswhich called for workshops and science offices, a heating and power plant, a health facility, and stations that could serve as a launchpad for expeditions in the fieldmade it too heavy to be lifted. The need for constant vehicle access to stage expeditions also meant the building had to sit on the ground. The architects had to find another way to prevent snow from building up.
To understand snow behavior in those particular windy conditions, Broughton’s team worked with Canadian engineering agency RWDI, which conducted detailed wind and snow modeling studies. It was RWDI that introduced Broughton to wind deflectors, which look a bit like angled metal fins and function like aerofoils in Formula One cars, redirecting airflow to work with the building rather than against it.
[Image: BAS]
By channeling wind down the facade and along the ground, the deflector transforms what would normally be a liability into an asset that actively clears snow. This means the building remains accessible, but also that snow doesn’t pile up right up against the facade, which could lead to damage. In a climate where blizzards can last for days, a wind deflector reduces the amount of effort needed to clear the snow, as well as the fuel required to power the snow plows. “There’s both a resource and a carbon cost,” says Broughton.
[Photo: BAM]
Lessons from Antarctica
There are currently 70 permanent research stations dotted around Antarctica, representing 29 countries from every continent on Earth. Many of these stations were built in the late 1950s, after the explosion of polar research that took place during the International Geophysical Yearan 18-month global scientific collaboration that involved more than 60 countries conducting coordinated research on Earth.
After an initial renovation period in the ’80s, many of these buildings have been reaching the end of their lifespan. This, combined with an increased emphasis on climate change research, is leading to what Broughton calls a construction boom on the Antarctic Peninsula. “There’s also a geopolitical aspect to it,” he says. “Everybody wants to have a presence.” Antarctica is not under the sovereignty of any single country and is regarded as the “international continent.”
Over the past few decades, scientists have become better at understanding how wind blows and snow drifts around a building, and as a result, Broughton’s team has become better at responding to these challenges. He thinks these lessons can carry over to the urbanized world.
[Photo: Matthew Scott /BAS]
As climate change reinforces the strength and frequency of extreme weather eventslike Fern in the U.S., and Storm Goretti in Europecities are scrambling to mobilize resources and clear snow. (New York City, for example, converted garbage trucks into snowplows.)
Broughton believes that buildings where winters are harsh and winds are strong could benefit from relatively low-cost systems like wind deflectors, but he says there are other lessons architects can borrow from Antarctica. These include focus on thermal efficiency by favoring air-tight envelopes instead of relying on heating, as well as efficient planning that means you’re achieving more with less built space.
“There is a whole raft of principles that are applied to these buildings by absolute necessity that could be applied more by choice in a more temperate environment,” he says.
A few leftover donuts may not seem like a major problem, but for a fast-food operation with nearly 100 stores, unnecessary waste can add up to serious costs.
To better predict donut demand, a Knoxville, Tennesseebased Dunkin franchisee, Bluemont Group, has rolled out an AI system called DoCast designed to cut waste while keeping popular flavors in stock. Developed in partnership with restaurant AI company PreciTaste, the system uses in-store cameras to track inventory in real time and forecast demand for each type of donut. Those predictions factor in recent sales, weather, seasonal patterns, holidays, days of the week, and major local events such as college football games. So far, the companies say, DoCast has reduced donut and Munchkin donut hole waste by up to 25%, lowering costs while ensuring top-selling treats stay available.
Adjusting the product mix based on what the cameras are monitoring, I think that’s one of the sweet spots for this technology, says Moritz Illi, PreciTastes head of product development and lead on the DoCast project.
Bluemont operates about 99 Dunkin locations across multiple states, with donuts delivered to individual stores daily from a central bakery. Any unsold donuts are tossed at the end of the day, and before rolling out DoCast about seven months ago, the company saw an average of just under $100 per waste at each store per day, says Margo Hughes, Bluemont’s director of business services. That adds up to more than $3 million in discarded donuts each year, Hughes says.
Even to cut that in half is one-and-a-half-million dollars in savings, she says. Thats a big deal.
[Image: PreciTaste]
The system combines predictive modeling with image recognition, since workers in busy stores do not log each individual donut that goes out the door, particularly when customers order complex assortments. Hughes says she had read about other AI systems capable of identifying baked goods, including one used in Japan that can distinguish among hundreds of pastry varieties, and realized a similar approach could be trained to tell the difference between an Old Fashioned and a Chocolate Creme. PreciTaste, which got its start in Germany developing AI-powered oven technology that can automatically recognize different items and cook them on the correct settings, already had experience classifying baked goods.
They had rolls, and breads, and croissants, and whatever, and these are all brown, says Hughes. So, I thought, surely if they can identify breads, they can identify donuts.
The system now captures images of the donut display case several times a day so it can understand how store inventory shifts during the day and also records a definitive count of waste at the end of the day, as excess items are tossed in the trash. Having excess donuts is a waste of money, but running out of popular varietiesespecially early in the dayis also a problem, and even being down to just one of a particular category isnt ideal, since many customers are reluctant to buy the last donut, Hughes says.
[Image: PreciTaste]
This is where the cameras are so important to assess availability throughout the day that we react quickly to non-performant algorithms based on the product mix, Illi says.
The AI still isnt perfecthumans at PreciTaste still supervise and validate the counts, Illi says, and store managers can communicate with the company to override the AIs donut orders and suggest factors the system may be overlooking. Its also still learning from new data about how different factors impact sales. Recent snowstorms led to drastically decreased demand, for instance, and changes in Dunkin product lineups can mean new varieties of donuts the system is unfamiliar with, so human managers may give better sales estimates for them at first.
PreciTaste, which offers ingredient prep planning for a variety of restaurant types, holds weekly calls with Bluemont to discuss how the system is performing and how it can best be tweaked. The companies also hope to incorporate other factors that can help with production planning, like understanding which donuts can serve as substitutes for each other. If you want chocolate, youre not going to buy strawberries, Hughes says.
Hughes compares the process training the puppy she got around the time Bluemont rolled out the PreciTaste technology: I know that in the long run, all the training and all the investment and all of the time is going to be worth it,” she says, “because we’re going to be best friends for life.
When viewers tune in to the 2026 Winter Olympics, they will see pristine, white slopes, groomed tracks, and athletes racing over snow-covered landscapes, thanks in part to a storm that blanketed the mountain venues of the Italian Alps with fresh powder just in time.
But at lower elevations, where cross-country and other events are held, athletes and organizers have been contending with rain; thin, sometimes slushy snow; and icy, machine-made surfaces.
Most of our races are on machine-made snow, 2026 U.S. Olympic team cross-country skier Rosie Brennan told us ahead of the Games. TV production is great at making it look like we are in wintry, snowy places, but this year has been particularly bad.
As scientists who study mountain snow, water resources, and the human impact of warming winters, we see winters changes through data: rising temperatures, shrinking snowpack, shorter snow seasons.
Olympic athletes experience changing winter conditions personally, in ways the public and scientists rarely do. Lack of snowfall and more frequent rain affect when and where they can train, how they train and how dangerous the terrain can become.
We talked with Brennan and cross-country skiers Ben Ogden and Jack Young as they were preparing for the 2026 Winter Games. Their experiences reflect what many athletes describe: a sport increasingly defined not by the variability of natural winter but by the reliability of industrialized snowmaking.
What the cameras dont show
Snowmaking technology makes it possible to create halfpipes for freestyle snowboarding and skiing competitions. It also allows for races when natural snow is scarcethe 2022 Winter Olympics in Beijing relied entirely on machine-made snow for many races.
However, machine-made snow creates a very different surface than natural snow, changing the race.
In clouds, each unique snowflake shape is determined by the temperature and humidity. Once formed, the iconic star shape begins to slowly erode as its crystals become rounded spheres. In this way, natural snow provides a variety of textures and depths: soft powder after a storm, firm or brittle snow in cold weather, and slushy, wet snow during rain or melt events.
Machine-made snow varies less in texture or quality. It begins and ends its life as an ice pellet surrounded by a thin film of liquid water. That makes it slower to change, easier to shape, and, once frozen, it hardens in place.
Theyre faster, icier, and carry more risk
When artificial snow is being made, the sound is piercinga high-pitched hiss roars from the pressurized nozzles of snow guns. These guns spew water mixed with compressed air, and it freezes upon contact with the cold air outside, creating small, dense ice particles. The drops sting exposed skin, as one of us, Agnes Macy, knows well as a former competitive skier.
Snow machines then push out artificial snow onto the racecourse. Often, the trails are the only ribbons of snow in sighta white strip surrounded by brown mud and dead grass.
Courses built for natural snow feel completely different when covered in man-made snow, Brennan, 37, said. Theyre faster, icier, and carry more risk than anyone might imagine for cross-country skiing.
Theres nothing quite like skiing on fresh snow. After a storm brings a blanket of light, fluffy powder, it can almost feel as though youre floating. The snow is forgiving.
On artificial snow, skiers carry more speed into downhill runs. Downhill racers may relish the speed, but cross-country skis dont have metal edges like downhill skis do, so step-turning or skidding around fast, icy corners can make an athlete feel out of control. It requires a different style of skiing, skill sets and strengths than I grew up learning, Brennan said.
How athletes adapt, with help from science
Athletes must adjust their technique and prepare their skis differently, depending on the snow conditions.
At elite levels, this is science. Snow crystal morphology, temperature, ski base material and structure, ski stiffness, skier technique, and environmental conditions all interact to determine an athletes speed.
Before cross-country, or Nordic, races, ski technicians compare multiple ski pairs prepared with different base surfaces and waxes. They evaluate how quickly each ski glides and how long it maintains that glidetraits that depend on the friction between the ski and the snow.
Compared to natural snow, machine-made snow generally provides a more durable and longer-lasting surface. In cross-country racing, that allows for more efficient and stronger pushes without skis or poles sinking deep into snow. Additionally, improvements in the machines used to groom snow now provide harder and more homogeneous surfaces that permit faster skiing.
While fast skiing is the goal, ski crashes are also the most common cause of injury in the Winter Olympics. With machine-made snow, ski jump competitors and anyone who falls is also landing on a harder surface, which can increase the risk of injury.
Why winters are changing
Weather can always deal surprises, but long-term climate trends are shifting what can be expected ofa typical winter.
In the Alps, air temperature has increased by about 3.6 degrees Fahrenheit since the late 1800s, before rising fossil fuel use began increasing the levels of greenhouse gases trapping heat in the atmosphere. Globally, 2025 was the third-warmest year on record, following 2024 and 2023.
For mountain regions, these warmer conditions have consequences. Snow melts earlier and more frequently in midwinter, especially during warm spells that used to be rare.
Midwinter snowmelt events are occurring more often at higher elevations and earlier in the season across many mountain ranges of western North America. At the same time, the snow linethe elevation where precipitation shifts from snow to rainis moving upslope.
Warming in high mountain environments is also causing the threshold where rain turns to snow to rise by tens of meters per decade in some regions. This means storms that once blanketed entire valleys in snow now may deliver snow only to upper slopes, with rain falling below.
Together, these changes mean that many winter storms produce less snow, over less area, and for shorter durations than they did a generation ago.
Training venues
The changing winter landscape has also transformed how athletes train. Traditional training venues, such as glaciers once used for summer skiing, have become unreliable. In August 2025, the Hintertux Glacierthe only year-round training center operating in Austriaannounced its first temporary closure.
Its been increasingly hard to make plans for locations to train between races, Brennan said. Snow reliability isnt great in many places. We often rely on going to higher elevations for a better chance of snow.
Higher-elevation training can help, but it concentrates athletes in fewer places, reduces access for younger skiers due to the remoteness and raises costs for national teams. Some of these glacierslike Canadas Haig Glacier or Alaskas Eagle Glacierare accessible only by helicopter. When skiers cant get to snow, dryland training on rollerskis is one of the only options.
Winter athletes see the climate changing
Because winter is their workplace, athletes often notice subtle changes before those changes show up in long-term statistics.
Even athletes in their early twenties, like Young, said they have noticed the rapid expansion of snowmaking infrastructure at many racing venues in recent years. Snowmaking requires large amounts of energy and water. It is also a clear sign that organizers see winters becoming less dependable.
Athletes also witness how communities are affected when poor snow conditions mean fewer visitors. In the Alps, when conditions are bad, it is obvious how much it affects the communities, Ogden, 25, said. Their tourism-based livelihoods are so often negatively affected, and their quality of life changes.
Many winter athletes are speaking publicly about their concerns. Groups such as Protect Our Winters, founded by professional snowboarder Jeremy Jones, work to advance policies that protect outdoor places for future generations.
A wintry look, but an uncertain future
For athletes at the 2026 Olympics, the variability within the Olympic regionsnow at higher elevations, rain at lower onesreflects a broader truth: The stability of winter is diminishing.
Athletes know this better than anyone. They race in it. They train in it. They depend on it.
The Winter Games will go on this year. The snow will look good on television. But at the same time, winter is changing.
Keith Musselman is an assistant professor in geography, mountain hydrology, and climate change at the University of Colorado Boulder.
Agnes Macy is a graduate student in geography at the University of Colorado Boulder.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Fashion weeks around the world are dominated by four main shows: New York, Paris, Milan, and London. But in 2020, Copenhagen Fashion Week (CPHFW) made a bold move that helped it garner attention. It launched a framework with nearly 20 sustainability standards that fashion brands must meet to participate.
The choice came at a time when fashions sustainability practices were under increased scrutiny. Every year the industry contributes up to 10% of global carbon emissions, pollutes billions of cubic meters of clean water, and produces metric tons of textile waste.
[Photo: James Cochrane/OperaSport]
Copenhagens fashion week was applauded for its forward-thinking approach. However, over the next few years, that facade started to crack. Brands that had helped establish Copenhagen as an up-and-coming fashion mecca departed for bigger fashion weeks (see Ganni and Cecilie Bahnsen). And its sustainability claims came under fire.
This year marks the 20th year of CPHFW, and with the anniversary, the city and its fashion scene are ready to double down on the idea that Copenhagen is one of the best cities for sustainable, emerging fashion.
The sustainability debacle
Danish anti-greenwashing specialist Tanja Gotthardsen and the Danish Consumer Council (Forbrugerrdet Tnk), as well as consultancy firm Continual, brought a complaint to Danish Consumer Ombudsman (that overlooks marketing and consumer protection laws) against CPHFW and some of its participants for greenwashing.
It alleged the days-long Danish fashion event made misleading claims about its sustainability requirements, and the brand Baum und Pferdgarten admitted to failing to meet its pledge against polyester. While there could have been severe ramifications from the complaint, the Ombudsman ultimately dismissed it since CPHFW is not directly consumer facing and instead gave something of a warning to strengthen its oversight.
[Photo: James Cochrane/OperaSport]
The dialogue with the Ombudsman was constructive and valuable, and it has allowed us to stay focused on further developing the Sustainability Requirements as a strong screening and development tool for the fashion industry, Cecilie Thorsmark, Copenhagen Fashion Week’s CEO, tells Fast Company. As a result, the Fall/Winter 2026 season saw two new minimum standards focusing on circular design principles and responsible purchasing practices, and overall, the bar has been raised across the existing Minimum Standards taking many of them from a commitment level to an actual implementation level. It maintained its green reputation within the industry, too.
Its important to acknowledge that the most sustainable choice would be to not make new clothes, but thats not realistic. CPHFWs framework aims to tame the beast, encouraging upcycled materials, decreasing virgin plastic-based fiber use, and having transparent supply chains that arent fueled by exploited labor. For many designers gunning to show at CPHFW, this culture determines how they design, and they often work to incorporate framework tenets into their brand from day one.
[Photo: James Cochrane/OperaSport]
It was very important for us that we had a thoughtful production from the beginning, OpéraSport co-founder Awa Malina Stelter says. The contemporary womenswear brand, which she created in 2019 with Stephanie Gundelach, met the framework and survived the screening by CPHFW partner Rambll on the first try.
The impact of the sustainability-aware culture is also evident for Forza Collectives Kristoffer Kongshaug. Four years ago when he started the brand, the founder and creative director says, It was a given that if you were to start a brand, it had to be sustainable. You’re not doing it right if you leave that out of the conversation. Secondly, I wanted to be a part of the [CPHFW] calendar.
Exits and homecoming
This go-round, some homegrown talent made a return. For the Fall/Winter 2026 show season, CPHFW debuted a homecoming slot, specifically targeting Nordic talents thatleft CPHFW to calendars in other cities. Brands returning to the event act as proofpoints that CPHFW can indeed help launch an emerging brand, and it remains a valuable place to keep growing.
Oslo-born ready-to-wear label Holzweiler led in the inaugural spot, after a few years hiatus away from Copenhagen while showing at London Fashion Week. Andreas Holzweiler, co-founder of the label, says the team worked closely with Thorsmark for the return. There was a shared understanding that returning should feel meaningful, not symbolic, he says.
[Photo: James Cochrane/Holzweiler]
Leaving Copenhagen wasnt about stepping away from the platform itself, but about following a natural progression at the time. London offered a different scale and challenged us in new ways, Holzweiler tells Fast Company. What brought us back was clarity. After taking time to strengthen the brand internally, Copenhagen feels aligned again with where we are today. Its scale, he adds, feels best right now for the brand to cut through.
Thorsmark doesnt take brands leaving the schedule as an insult. [It] underlines that we have built a platform that allows these brands to grow and thrive, which we are incredibly proud of, as well as being proud of these brilliant brands themselves, she says. For other brands that have left the schedule and not returned to it, some have found ways to still have a CPHFW presence. Ganni, for example, put on an event with Disney.
Leaving the schedule is often a business question and more about getting in front of the right people to sell the pieces and create culture. Staying or returning to CPHFW signals the right people are more consistently showing up in the Scandi city.
More than a launchpad
CPHFW is becoming a platform for emerging brands to startand stay. Its always been where you can go and see the cool kids, Forza Commercial Strategy Head Ariana Milton says. This is aided by the fact that the org is dedicated to emerging talent through programs like its Newtalent directive, which launched in 2022 and provides three seasons of support, including money, mentorship, and more.
[Photo: James Cochrane/Forza Collective]
Its “One to Watch” label also helps the industry know who to keep an eye on. This all helps brands find their footing, and then what? Historically, they leave.
Five to ten years back in Copenhagen, it had always been like that the brands that grew big enough to leave would eventually do it, Kongshaug explains. [But] if we keep up the pace and the level of fashion that comes out of the city right now, there would probably not be any reason to leave because the right people are here. The exposure is here. Today, honestly, the platform is here.
[Photo: James Cochrane/Forza Collective]
For young brands like Nicklas Skovgaards eponymous line, founded in 2020, Copenhagen is home. Its where he feels most creative and where he wants to stay. Plus, it seems to be working for the balance sheet. His womenswear label is already in several stockists across Europe, Asia, and the U.S.
Another way it’s supporting its designers and new talents is by working more closely with the Copenhagen International Fashion Fair (CIFF), which takes place at the same time bi-annually and has expanded over recent years.
[Photo: CIFF]
To CIFF Director Sofie Dolva, the two groups fates are intertwined. For both to succeed, and help boost Nordic fashion brands, its important they keep working together. The key is to be close and to coordinate also with the schedule across so you get the right mix, according to Dolva, whos been at her post since 2022. Both for us and Copenhagen Fashion Week, it is really important to support the new talents. Without the new talents and new brands showing some innovativeness, it gets boring. Our industry needs excitement and newness.
The Fall/Winter 2026 season was an example of how that can be done. Not only did the two orgs host events together and sync on timing so that buyers and press ere in town for both, but many CPHFW designers, including those in the Newtalent program, had booths at CIFF. Two on-calendar labels, Forza Collective and Fine Chaos, even had their runway shows at the fairs massive location just outside Copenhagens center.
CIFF also plans to increase its partnerships with retailers, which could have a positive ripple effect on designers looking for wholesale partners. This season, it debuted a partnership with Milans 10 Corso Como, hosting a mini version of the conceptual store at the trade fair. Dolva says she wants to go from a transactional relationship to a more partnership level [with retailers] because if we don’t work together, we will not win together.
[Photo: James Cochrane/Holzweiler]
For a homecoming Holzweiler, its about what you can get in the Danish city that the others, like Paris and London, cant offer. Copenhagen operates at a different scale, he says. It allows for more focus and continuity around the collections, which can be valuable depending on where you are as a brand. Both [larger and more intimate] contexts matterthey just create different conditions.
When Obvious Ventures launched 12 years ago with a focus on world positive companies, the idea was a contrarian bet: that startups tackling climate, health, and economic resilience could deliver big returns, not just feel-good impact. Founded by Twitter cofounder Ev Williams and others, the firm backed companies like Beyond Meat, the AI drug discovery company Recursion Pharmaceuticals, and Diamond Foundry, which makes sustainable lab-grown diamonds. By 2020, other VC firms had gotten into the climate investing space, and overall investment in climate tech surged. Now, as the Trump administration rolls out anti-climate policy and some investors retreat, Obvious is leaning in. Fresh off closing its fifth fundat the precise figure of $360,360,360the firm remains bullish. We talked to managing director Andrew Beebe about how Obvious has grownand the current state of climate investing in the age of Trump.
World positive investing went mainstream
In the beginning, Obviouss approach was unusual. We started with this basic idea that the biggest companies of our time are going to be those that solve the worlds biggest problems, Beebe says. Some people misunderstood it as impact investing that would only have concessionary returns. But Obvious was thinking differently: the thesis was that solving global challenges could drive financial success. Over time, as Obvious Ventures had early successes with companies like Beyond Meat, a growing number of investors moved in the same direction. (Beyond Meat has since struggled, but had the best-performing IPO in the U.S. in 2019.)
Twelve years forward, weve had many venture firms copy, or lets say lift, some of our language, Beebe says. But we appreciate that. We definitely consider imitation a sincere form of flattery. And because of that, but also because of the successes of these early companies, its been easier to explain what world positive means. Thats important with limited partners. But its also really important with founders, so that we are not just getting, you know, sort of a yoga mat cleaning service or something, but instead getting these extraordinary ideas like radically reducing the cost of geothermal energy or AI for drug discovery. The big change is that I think more people can more easily digest what we do and why we do it. And the movement of world positive companies is stronger than ever.
Smart climate investors arent pulling back
As the federal government pivoted on climate policypulling back billions of dollars in funding for clean energy projects, tax credits for EVs and other incentives, and pouring more support into the fossil fuel industryclimate investing dropped. But the fundamentals havent changed, and Beebe says that climate investing still makes sense.
Venture firms outlast presidential cycles by definition, he says. And in this case, easily, because we only have two more years. But more importantly, with regard to climate, I love climate investing because its the macro of all macros. Unfortunately, we can very predictably see where things are going. And thats just not always true. In health care, its hard to predict where things are going. But climate, the problem literally gets worse by the day, even if the government chooses to ignore itoftentimes, because they choose to ignore it. And yet there are a lot of investors in the US who say, Well, the government supports gone. And look, people arent buying EVs anymore. So, lets move on. And I love that. Those tourists should go home. And, I guess, go back to enterprise SaaS or whatever. Meanwhile, both on the founder side and on the investor side, the people who really understand the science and really understand the macro are not going anywhere.
As climate investing grew over the past several years, Obvious Ventures had focused more of its last fund in other areas like health and robotics. Climate got really frothy and overpriced, he says. But its a better investment now. Its only over the last year, and this year, where Im much more comfortable going really hard into climate.
The One Big Beautiful Big Act slashed support for a wide swath of climate startups. Still, Beebe argues that some of what was in the original Inflation Reduction Act wasnt necessary. I was very supportive of the climate bill as an American, as an Earthling, he says. But from an investment standpoint, there was too much hype because of it, and it threw a lot of money at things that I did not think were going to work. We sort of stepped back and we only had one company out of maybe 25 that was really impacted by all of that being yanked. Now, because of that, a lot of those things that I didnt think deserved investment are not going to get more investment. I would say an example of that is direct air capturea lot of people are really into it as an investment category, I just dont believe it. So, I think a lot of those things are going to die on the vine.
He believes that other technology, from tech to help the electric grid to electric aviation, can grow now. All of these things are not getting as much attention and are better priced, but are awesome, better solutions than whats out there today, he says. Its hard to say were doubling down on climate because weve always been in it, but, for sure, I am more bullish on the investment landscape and climate that Ive been in probably five years.
Theres still room for optimism on climate
In its latest annual report, Obvious includes some predictions from Beebe on what could come in the next decadelike the idea that well have energy thats too cheap to meter, and well stop selling gas-powered cars. Despite the headwinds, Beebe is optimistic. I love that Gates quote that we overestimate what we can do in two years and underestimate what we can do in 10, he says. Decade-long predictions I find pretty easy, but the near term is a different bucket. You know, Im a professional optimist, Im a venture capitalist, we have to do that. But I do think that graded on a curve, Im much more optimistic than a lot of folks out there.
Even with the unfortunate rhetoric from the federal government, he says, states, utility companies, and startups are still moving forward with solutions. American car companies risk falling behind on EVs, but globally, theyre still booming. The rest of the world has also figured out that solar plus storage, wind plus storage, is much cheaper than natural gas, he says. Most U.S. utilities have figured that out, too. Unfortunately, there are some people in the administration who I actually think know that as well, but have decided to just take a very head in the sand approach. That wont last. This is going to be our biggest solar year of installations yet, and I think well probably see something of the same size next year. Itll dip without changes after that. But I think well see some changes. Im pretty optimistic.
MacKenzie Scott helped build one of the most recognizable companies in modern historyall while writing her first novel. As Amazon scaled from a fledging startup to a global force, Scott was simultaneously cultivating a literary life.
Long before Amazon, Scott launched her literary career. While studying creative writing at Princeton University, Scott landed herself a highly coveted spot as one of Toni Morrisons advisees, a relationship that would shape her literary pursuits.
This writer that I admired so much also turned out to be such a gifted and devoted teacher, Scott said at the dedication for Princetons Morrison Hall. She has given me a real example of a life of passionate devotion to more than one calling.
For some time, those callings competed. In Amazons early years, Scotts writing necessarily receded as she supported the companys founding and expansion. But by 1996, she stepped into a less involved role, carving out space for her literary ambitions and for her family.
She consequently forged a slow, deliberate writing life. And after a decade of workbalanced alongside raising her children and supporting Amazons growthScott published her debut novel, The Testing of Luther Albright.
Morrison continued to mentor her through the process, offering advice and encouragement. Your hand is sure, your technical ability sophisticated, Morrison said, according to Howard University. Dont worry about overdoing it at this point. It is so much easier to cut back than to write up.
Morrisons mentorship proved pivotal, as Scott went on to win the American Book Award for her novel, cementing her literary career.
Morrison, however, was not the only writer to leave a lasting imprint. In her Giving Pledge letter years later, Scott returned to The Writing Life by Annie Dillard, a slim meditation on the discipline and solitude of writing with no promise of success.
Scott rediscovered the book on a shelf of college-era favorites, its pages underlined and started. One passage, in particular, stuck with her.
For Scott, the advice was no longer just about writing. It became a framework for philanthropy. I have no doubt that tremendous value comes when people act quickly on the impulse to give, she wrote in her pledge letter.
The same philosophy that propelled Scotts literary success also undergirds her philanthropic pursuits, treating wealth not as something to preserve, but as something meant to be spent with intention.
By Leila Sheridan
This article originally appeared on Fast Companys sister site, Inc.com.
Inc. is the voice of the American entrepreneur. We inspire, inform, and document the most fascinating people in business: the risk-takers, the innovators, and the ultra-driven go-getters that represent the most dynamic force in the American economy.
Time could be up for TikToks metronomic For You feed, which pushes videos to users with clock-like accuracy. The endless scroll that defines the TikTok experience has been flagged as part of a broader set of features that make the app addictive by design, according to the European Commission. The regulator has issued a preliminary decision under the Digital Services Act, a sweeping piece of tech regulation, arguing that TikTok has not done enough to mitigate the risk of user addiction tied to those features.
European regulators have asked TikTok to tweak the offending system, along with others, to make the app less addictive or face fines of up to 6% of parent company ByteDances total annual turnover, reportedly forecast at $186 billion in 2025.
Under the terms of the Digital Services Act, TikTok has the right to respond to the European Commissions preliminary decision and to contest it. A TikTok spokesperson tells Fast Company that the company will take whatever steps are necessary to challenge these findings through every means available to us.
If TikTok does push back and the two sides remain at odds, the result could be a prolonged standoff. I am fearing that this will become a game of cat and mouse, but we will see I am interested and watching and grabbing the popcorn, says Carolina Are, a social media researcher at the London School of Economics.
Still, some observers believe there is a real chance TikTok ultimately bends to the EUs demands. This is the future of enforcement action in the EU, says Lilian Edwards, director of Pangloss Consulting and a law professor at Newcastle University.
Edwards notes that EU legislation such as the Digital Markets Act, the Digital Services Act, and the AI Act is not designed primarily to generate fines that companies can shrug off. Instead, the goal is to force actual design changes to become less addictive and less toxic especially to children, she says. She also points out that companies have made changes for EU markets in the past though never at such fundamental design levels.
There is precedent for TikTok accommodating political pressure to alter how its app operates, including in the very recent past. In the United States, TikTok moved toward partial U.S. ownership to satisfy a law enforced by the Trump administration, a reminder that compromise for continued operation is already part of the companys playbook.
What we saw with TikTok and the United States deal, recently, is that the app will change to continue operations, says Jess Maddox, a social media expert at the University of Georgia. This EU ruling is not an exception, so this could mark the end of the endless scroll, at least for minors. I could see TikTok then going the way of YouTube, with YouTube Kids, or even teen accounts with Instagram.
Such changes could also extend to region-specific versions of the app, depending on where users live. Tama Leaver, a professor of social media at Curtin University in Australia, argues that this has already happened to some degree under the U.S. compromise deal.
That alone would represent a significant shift. But the ripple effects could go further if TikTok concedes ground under the Digital Services Act. It’s an interesting moment for the architecture, considering that every other platform has to [potentially] redesign and tweak as well, says Leaver. If TikToks endless scrolling feed is deemed addictive by law, other platforms could soon face similar scrutiny.
That prospect marks a turning point, says social media analyst Matt Navarra. If this holds, infinite scroll, auto-play, frictionless feeds could become legally risky for the platforms, and not just ethically dubious, he says. I think the EU’s [] pretty much saying, If your design patterns override self-regulation in young users, we’re going to consider that systemic harm.
The consequences could extend far beyond TikTok alone. They could end up reshaping social media norms entirely. And I think, Navarra adds, that’s quite a bold and some might argue long overdue statement.
