Author name: Mike M.

nj’s-answer-to-flooding:-it-has-bought-out-and-demolished-1,200-properties

NJ’s answer to flooding: it has bought out and demolished 1,200 properties


The state deals with flooding and sea level rise by buying homes in flood prone areas.

Heavy rains cause flooding in Manville, New Jersey on April 16, 2007. Credit: Bobby Bank

MANVILLE, N.J.—Richard Onderko said he will never forget the terrifying Saturday morning back in 1971 when the water rose so swiftly at his childhood home here that he and his brother had to be rescued by boat as the torrential rain from the remnants of Hurricane Doria swept through the neighborhood.

It wasn’t the first time—or the last—that the town endured horrific downpours. In fact, the working-class town of 11,000, about 25 miles southwest of Newark, has long been known for getting swamped by tropical storms, nor’easters or even just a wicked rain. It was so bad, Onderko recalled, that the constant threat of flooding had strained his parents’ marriage, with his mom wanting to sell and his dad intent on staying.

Eventually, his parents moved to Florida, selling the two-story house on North Second Avenue in 1995. But the new homeowner didn’t do so well either when storms hit, and in 2015, the property was sold one final time: to a state-run program that buys and demolishes houses in flood zones and permanently restores the property to open space.

“It’s pretty traumatic to watch your childhood home be bulldozed,” said Onderko, 64 and now the mayor of this 2.5-square-mile borough, which sits at the confluence of two rivers and a placid-looking brook that turns into a raging river when a storm moves through.

Blue Acres

His boyhood property—now just a grass lot—is one of some 1,200 properties that have been acquired across New Jersey by the state’s Blue Acres program, which has used more than $234 million in federal and state funds to pay fair market value to homeowners in flood-prone areas who, like the Onderko family, had grown weary of getting flooded over and over again.

Images of brown water flowing past partially submerged houses.

Flooding in Manville following a Nor’Easter in 2007 Credit: Bobby Bank

The program, started in 1995, is considered a national model as buyouts are an increasingly important tool for dealing with climate-related flooding. A report this month by Georgetown Climate Center said the program has achieved “significant results” by moving quicker than federal buyout programs, providing a stable source of state funding and shepherding homeowners through the process.

In addition, a report last month by the Natural Resources Defense Council and the Environmental Defense Fund warns that communities may well have to come up with new ways to pay for such initiatives as the Trump Administration continues to downsize government and cut programs.

Already, the NRDC said, billions of dollars in previously approved Federal Emergency Management Agency (FEMA) resilience grants have been cancelled.

“We need to do a lot of things very differently,” said Rob Moore, an NRDC director who worked on the report, which suggests that states and counties consider using revenue from municipal bonds, local fees and taxes, revolving loan funds, and leveraging insurance payouts to offset some of the reductions in federal funding.

But Moore said the problem goes beyond funding uncertainty, as the science is showing that the impacts of climate change are “outpacing our efforts to adapt.”

The report, released Nov. 18, cited the Charlotte-Mecklenburg County Storm Water Services, which has acquired some 500 homes in North Carolina in its buyout program, relying largely on stormwater utility fees to fund the sales. New Jersey’s program, Moore said, is a “wonderful example” of a plan that raised money with three bond issues while building a staff that developed a lot of expertise over the years.

Decades of experience may well come in handy as New Jersey, the nation’s most densely populated state, is likely to experience more significant flooding in the years to come.

Future risks

Sea level rose about 1.5 feet along the New Jersey coast in the last 100 years—more than twice the global rate—and a new study by the New Jersey Climate Change Resource Center at Rutgers University predicts a likely increase of between 2.2 and 3.8 feet by 2100, if the current level of global carbon emissions continues.

Torrential rain storms also have led to massive flooding in inland towns—like Manville—as rivers and streams overflow, sending waves of water into the homes of stunned owners. The stronger storms are attributed by scientists to the Earth’s changing climate, with warming oceans causing rising sea levels and fueling more intense atmospheric activity.

“Blue Acres has been a pioneering program,” said Robert Kopp, a climate scientist and professor at Rutgers University, calling buyouts a “very important tool” in how the state deals with the flooding repercussions of climate change.

The program, which so far has benefitted mostly inland rather than coastal communities, is funded with federal money as well as a share of the state’s corporate taxes, providing a consistent infusion of money at a time of uncertainty about the future of federal disaster funding.

Courtney Wald-Wittkop, who manages Blue Acres for the state Department of Environmental Protection, said the program is an important solution for homeowners who have grown weary of repeated flooding. But deciding to give up a home and move away from the flood plain, she said, often takes time. “You have to give them space,” she said, to weigh the financial and personal costs of leaving a home with memories.

She said the program is known for its novel approach of assigning a case manager to every applicant to help them sort through the issues. “It’s really important that we walk hand in hand with these homeowners,” said Wald-Wittkop.

The program’s goals, however, go beyond the needs of homeowners. The idea is to help reshape the community by returning properties to permanent open space, which can better absorb rain water than impervious surfaces such as concrete, asphalt and buildings. That open space, in turn, is managed—mostly with lawn cutting and brush clearing—by the municipality.

Wald-Wittkop said the program is evolving, and that she would like to make the process move more quickly, provide sellers with more housing assistance, especially outside of flood-prone areas and encourage more community involvement in what to do with the newly acquired open space.

“We’ve tried to be as innovative as possible,” she said.

Epic floods

With its history of flooding, Manville is one of the towns that has benefitted the most from the state buyout initiative, with some 120 homes in the town sold to the state for about $22 million between 2015 and 2024. Another 53 buyouts are currently underway, according to Wald-Wittkop.

About an hour south, the city of Lambertville was hit hard by Hurricane Ida when a series of creeks overflowed in 2021, stranding residents and business owners in the popular tourist town wherever they happened to be when the massive downpour began. Hours later, residents emerged to stunning destruction.

An image of a green suburban area with large portions of it covered by brown flood waters.

Satellite image of Manville during the 2021 flooding. Credit: Maxar

“The force of the water was just unbelievable,” recalled Mayor Andrew Nowick, who said 130 properties were damaged and about two dozen homeowners ended up submitting applications for Blue Acre buyouts. Three eventually accepted buyout offers, he said.

The program, he said, can be attractive for sellers who are ready to move on but he said there was a lot of real soul-searching about the advantage of selling versus repairing homes that were filled with family memories. “These are all hard choices,” said the mayor.

Incorporated in 1929, Manville was named with a nod to the Johns-Manville Corp., a now-defunct asbestos manufacturer with jobs that transformed the area from a farming community to a factory town. As Manville grew so did the rest of once-rural Somerset County, with more housing, industry and roads. The result was less farmland and open space to absorb the rain and more impervious surfaces that cause substantial water runoff and flash flooding.

“It’s troubling today to see all the development that has gone on unabated,” said Onderko.

And when Manville floods, it is often epic.

In 1955, Hurricane Diane caused what was called the town’s “worst flood in history,” according to a special edition of the Manville News, which now hangs in Onderko’s office. “RIVER GOING DOWN; BE CALM!” screamed the banner headline. Then-Mayor Frank Baron urged residents not to panic. “You’re not forgotten, no matter where you live,” Baron declared.

Onderko said getting rescued after Hurricane Doria in 1971 was surreal. Their oil tank came loose from all the water, and he recalled seeing the fuel mix in with the water that was flooding the basement as it approached the first floor. “It was something that you will never forget,” he said.

Later, the remains of Hurricane Floyd caused widespread damage in 1999, as did Hurricane Irene in 2011, but the town largely escaped the fury of Superstorm Sandy, which caused catastrophic damage to parts of New Jersey in 2012.

But then came Hurricane Ida in 2021.

Onderko still chokes with emotion when recalling that night in September 2021 when Ida came roaring through. “It was a war zone,” he recalled in an interview at the borough hall, which was inundated with two feet of water in that storm. “The water came so fast. It was a flash flood event. We were just lucky we didn’t have any loss of life.”

For hours, the mayor and rescue personnel went door to door, urging residents to leave. By the next morning, about 10 to 11 feet of water had flooded the central part of town and surrounding neighborhoods. Two homes and a banquet hall exploded from natural gas leaks, and emergency personnel could not even reach them.

“It took a toll on me,” said Onderko, recalling how he had trouble sleeping and felt “kind of powerless” because of the extent of devastation.

Demolishing properties, saving the town

Wendy Byra and her husband, Thomas Kline, had already moved to higher ground.

Their house had flooded twice and they decided to sell their home to the Blue Acres program. The sale was approved in 2015 for a $185,000 buyout. Byra said a number of their neighbors also applied for the buyout, but had mixed feelings about the amount of money they were offered.

“A lot of people weren’t happy,” said Byra, recalling that some neighbors thought they should receive more money for their homes. Byra said she and her husband figured they would have a hard time selling on their own, so they accepted the buyout and moved to a home on higher ground, but still in Manville, where she grew up.

Except when a major flood happens, Onderko said, Manville is a good place to live. So homeowners, even in the two parts of town known for flooding, can go years without having to deal with a water disaster.

Onderko said residents had long relied on a mix of government help in rebuilding after flooding, but two years after Ida hit in 2021, the state said it would use federal funds only for Blue Acres buyouts of flood-prone properties in Manville.

Onderko said he and residents were caught off guard by the change in policy. He also believes that elevation and repair remained viable alternatives for some of the houses. The buyouts take time, he said, and the town loses tax revenue from the properties sold via the Blue Acres program. “It doesn’t help the town to lose [tax] rateables,” said the mayor, who said the town also bears the cost of maintaining the open space.

Now in his third term as mayor, Onderko, who lives in a house on higher ground than his boyhood home, seems more like a property manager than municipal executive as he presides over a town that is a mix of neighborhoods. Some are on higher ground and do not flood, but others are in areas that get caught repeatedly in deluges. There, vacant grass lots left from demolished Blue Acres properties are interspersed with homes that have been elevated, repaired or are still in recovery mode. “It’s very frustrating,” said Onderko.

Looking to the future, the mayor said he believes many more homes will be at risk whenever the next flood happens. And Onderko does not sound especially hopeful about how that will go.

“It’s going to take a miracle to try to save this town,” he said.

This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy and the environment. Sign up for their newsletter here.

Photo of Inside Climate News

NJ’s answer to flooding: it has bought out and demolished 1,200 properties Read More »

the-10-best-vehicles-ars-technica-drove-in-2025

The 10 best vehicles Ars Technica drove in 2025


Of all the cars we’ve driven and reviewed this year, these are our picks.

Credit: Collage by Aurich Lawson

Credit: Collage by Aurich Lawson

2025 has been a tumultuous year for the car world. After years of EV optimism, revanchists are pushing back against things like clean energy and fuel economy. Automakers have responded, postponing or canceling new electric vehicles in favor of gasoline-burning ones. It hasn’t been all bad, though. Despite the changing winds, EV infrastructure continues to be built out and, anecdotally at least, feels far more reliable. We got to witness a pretty epic Formula 1 season right to the wire, in addition to some great sports car and Formula E racing. And we drove a whole bunch of cars, some of which stood out from the pack.

Here are the 10 best things we sat behind the wheel of in 2025.

10th: Lotus Emira V6

A lime green Lotus Emira at a highway lookout

A Lotus Emira doesn’t need to be painted this bright color to remind you that driving can be a pleasure. Credit: Peter Nelson

Let’s be frank: The supposed resurgence of Lotus hasn’t exactly gone to plan. When Geely bought the British Automaker in 2017, many of us hoped that the Chinese company would do for Lotus what it did for Volvo, only in Hethel instead of Gothenburg. Even before tariffs and other protectionist measures undermined the wisdom of building new Lotuses in China, the fact that most of these new cars were big, heavy EVs had already made them a hard sell. But a more traditional Lotus exists and is still built in Norfolk, England: the Lotus Emira.

Its V6 engine is from Toyota, so it should be pretty bulletproof, and there are three pedals and a proper gearstick to change your own gears. Geely’s parts bin means modern infotainment and switchgear—always troublesome for low-volume, resource-challenged car companies—and the electrohydraulic steering bristles with feel. Sure, most people will play it safe and instead go for the Porsche 718 Cayman, but we’re glad the Emira exists.

9th: Volvo V60 Cross Country

A Volvo V60 Cross Country seen head-on, in an alley

The last time I drove a V60 Cross Country, I was wrong about it. Very, very wrong. Credit: Jonathan Gitlin

I got to spend more time than usual with this Volvo station wagon, and the experience made me completely reevaluate my original thoughts on what I now know is a charming and laid-back car. It doesn’t have a huge top speed. It isn’t that fast to 60 mph. It doesn’t make a particularly exciting noise. But a ride designed to cope with unpaved Swedish forest roads pays dividends on poorly maintained American tarmac, and it’s surprisingly agile when it comes to changing direction.

Station wagons are a nearly extinct breed in North America now, particularly if you’re looking for something more normal than hugely powerful, very expensive wagons like the BMW M5 and Audi RS6. That this one is normal and pleasant to live with secures it a place in the top 10.

8th: Volkswagen Golf GTI

A grey Golf GTI in profile

The three-door GTI went the way of the three-pedal GTI, unfortunately. Credit: Jonathan Gitlin

Take an everyday small hatchback, then add better suspension, a more powerful engine, some sticky tires, and a few styling tweaks. The recipe isn’t quite as old as time, but it is almost as old as I am; the first Volkswagen Golf GTI hit the street in 1976. Since then, it’s supplanted the Beetle as the iconic VW, as well as proving that a car can be sporty and have plenty of utility without jacking up the ride height. Now it’s midway through its eighth iteration—and freshly refreshed.

You can’t get a manual Golf GTI anymore; it turns out that only the US wanted one at this point in the 21st century, with take rates dropping to single figures in Europe. But you can get one without VW’s annoying capacitive multifunction steering wheel—the big improvement for this model year was a return to the old button-festooned tiller. It remains a hoot to drive, and you’re less likely to get pulled over in it than in the Golf R.

7th: BMW i4 xDrive40

A white BMW i4 outside a midcentury modern building

BMW EVs always look good in stormtrooper white, helped here by the black M Sport accents. Credit: Jonathan Gitlin

BMW’s styling department may have played things much safer with the i4 than the i3, but the engineers didn’t. To the uninitiated, it looks like any other 4 Series Gran Coupe—BMW-speak for a five-door fastback—but the filled-in kidney grilles give it away: This one is electric.

The xDrive40 is the regular all-wheel drive version, more efficient and less powerful than the M50. It’s not quite as efficient with its electrons as the rear-wheel drive i4, but you’re probably more likely to encounter one, given US predilections for all-wheel drive. The infotainment is one of the better systems on the market, the interior is a pleasant place to spend time, and the rear hatch makes it almost as practical as an SUV without any of the extra inches in height.

6th: Hyundai Ioniq 5

A silver Hyundai Ioniq 5 N parked by the side of a road

You’ll need a very keen eye to spot the design changes for model year 2025. But the other tweaks improve an already great car. Credit: Jonathan Gitlin

This car probably makes the top 10 list every year we drive one. Like the Golf GTI, 2025 saw the Ioniq 5 get its refresh. This included a different charge port—US-made Ioniq 5s now ship with a Tesla-style NACS plug, plus some adapters for using CCS and J1772 chargers. That means many of Tesla’s superchargers are fair game for recharging this Hyundai on the go, though if you stick with the adapter and seek out a 350 kW CCS1 machine, you’ll experience much faster charging. (For context, 35–80 percent in 15 minutes, last time I charged one.)

There’s now an off-roady version called the XRT—similar to the Cross Country treatment given to the Volvo V60 above—which has a certain charm. But its rugged looks—and especially tires—eat away at the range. The standard car remains one of the more efficient EVs you can buy, and one of the best EVs in general, too. And now it has USB-C ports—and, finally, a rear windshield wiper.

5th: Mercedes-Benz CLA

A mercedes-benz CLA with the Golden Gate Bridge in the background.

The new entry-level Mercedes EV is a very competent effort. Credit: Jonathan Gitlin

Mercedes has an all-new EV, and rather than a really expensive car for plutocrats, this one comes in at the entry level. It’s a compact four-door sedan—there’s a trunk at the rear, not a hatch—with a remarkably low drag coefficient, but most of the clever stuff is under the skin. The CLA is the first true software-defined vehicle from Mercedes, meaning its electronics are a clean-sheet design, controlled by four powerful computers rather than more than a hundred discrete black boxes.

There’s Mercedes’ latest OS running everything and a very modern electric powertrain based on the one in the EQXX concept car that gives the CLA 374 miles (602 km) of range from an 85 kWh battery pack. There’s also some new driver-assist stuff that you’ll have to wait until January to learn about. Best of all, both rear-drive and twin-motor CLAs are less than $50,000.

4th: BMW iX3

A silver BMW iX3 outside a building with a giant eye on its wall and a horn coming out the side.

Based on our first drive, the iX3 should have what it takes to be a contender in the luxury electric crossover segment. Credit: BMW

BMW also has an all-new EV with its latest and greatest powertrain technology, and it chose the best-selling compact crossover class to introduce it. Unlike Mercedes, which will make a hybrid version of the CLA, BMW’s Neue Klasse platform is purely electric, and the first vehicle is the iX3.

Instead of chrome, BMW’s traditional face is picked out with light. Rather than an instrument binnacle, there’s a very effective display that appears built into the base of the windshield. It can charge at up to 400 kW and should go at least 400 miles (643 km) on a full battery. Better yet, it’s engaging to drive, the way a BMW should be—even the SUVs. But fans of sedans, take note: The Neue Klasse i3, a true electric 3 Series, will be next. We can’t wait.

3rd: Honda Civic Hybrid

A blue Honda Civic parked in an alley

Very efficient and fun to drive? Yay! Credit: Jonathan Gitlin

I had to go back to January 2025 for the first of the podium finishers, with the new Honda Civic Hybrid. The Civic is a good example of the way cars of the same name have gotten larger over the years: the 11th generation is three feet (920 mm) longer than the version sold in the early 1970s, and that’s counting the 1974 car’s huge low-speed impact bumpers.

I wouldn’t want to get in a crash in a 1974 Honda Civic, though. And somehow I doubt it would generate 200 hp (150 kW) while getting 50 mpg (4.7 L/100 km) while meeting modern emission standards. The interior still features plenty of physical controls, and like the Golf, it’s refreshing to drive something low to the ground and relatively lightweight.

2nd: Porsche 911 GTS T-Hybrid

A grey Porsche 911 parked outside a building with an Audi logo and Nurburgring on the side.

Porsche developed a new T-Hybrid system for the 911, and it did a heck of a job. Credit: Jonathan Gitlin

I’ve been lucky enough to drive some rather good 911s this year. In January, I got behind the wheel of the new 992.2 GT3 on the road and on track. This fall, I tested a convertible 911 T. Both are excellent 911s, but my pick has to be the 911 GTS T-Hybrid.

Porsche built an all-new flat-six engine for the T-Hybrid, then applied the same turbocharger hybrid technology we’ve seen in F1 and Porsche’s own Le Mans winner to give this engine a sharper, more immediate throttle response than even the naturally aspirated GT3’s. It responds to throttle pedal inputs as quickly as an EV, but you still get all the things people want from a Porsche 911 with a flat six. There are gears (paddle-shift) to use, and the engine revs freely and sounds good doing so.

While it’s cheaper than the GT3, it’s darned expensive. That’s why it placed the runner-up.

1st: Nissan Leaf

A Nissan Leaf

Turning over a new leaf. Credit: Nissan

Nissan might not be having Lotus-level bad times right now, but the Japanese OEM probably wishes life was smoother. A mooted merger with Honda was called off in February, and the company’s competent electric SUV, the Ariya, isn’t available for import anymore due to tariffs. However, it also brought out the third-generation Leaf this year, and we like what we found.

Smaller on the outside than the old car, it has more room inside thanks to a much more modern design approach. That old Leaf bugbear, the air-cooled battery, is a thing of the past. It looks good, and there’s even a version with steel wheels that gets more than 300 miles (487 km) on a single charge, although we reckon the SV+, a little higher up the trim tree, is the one to go for. At less than $35,000, it’s also one of the cheapest new EVs on sale.

Photo of Jonathan M. Gitlin

Jonathan is the Automotive Editor at Ars Technica. He has a BSc and PhD in Pharmacology. In 2014 he decided to indulge his lifelong passion for the car by leaving the National Human Genome Research Institute and launching Ars Technica’s automotive coverage. He lives in Washington, DC.

The 10 best vehicles Ars Technica drove in 2025 Read More »

big-tech-basically-took-trump’s-unpredictable-trade-war-lying-down

Big Tech basically took Trump’s unpredictable trade war lying down


From Apple gifting a gold statue to the US taking a stake in Intel.

Credit: Aurich Lawson | Getty Images

Credit: Aurich Lawson | Getty Images

As the first year of Donald Trump’s chaotic trade war winds down, the tech industry is stuck scratching its head, with no practical way to anticipate what twists and turns to expect in 2026.

Tech companies may have already grown numb to Trump’s unpredictable moves. Back in February, Trump warned Americans to expect “a little pain” after he issued executive orders imposing 10–25 percent tariffs on imports from America’s biggest trading partners, including Canada, China, and Mexico. Immediately, industry associations sounded the alarm, warning that the costs of consumer tech could increase significantly. By April, Trump had ordered tariffs on all US trade partners to correct claimed trade deficits, using odd math that critics suspected came from a chatbot. (Those tariffs bizarrely targeted uninhabited islands that exported nothing and were populated by penguins.)

Costs of tariffs only got higher as the year wore on. But the tech industry has done very little to push back against them. Instead, some of the biggest companies made their own surprising moves after Trump’s trade war put them in deeply uncomfortable positions.

Apple gives Trump a gold statue instead of US-made iPhone

Right from the jump in February, Apple got backed into a corner after Trump threatened a “flat” 60 percent tariff on all Chinese imports, which experts said could have substantially taxed Apple’s business. Moving to appease Trump, Apple promised to invest $500 billion in the US in hopes of avoiding tariffs, but that didn’t take the pressure off for long.

By April, Apple stood by and said nothing as Trump promised the company would make “made in the USA” iPhones. Analysts suggested such a goal was “impossible,” calling the idea “impossible at worst and highly expensive at best.”

Apple’s silence did not spare the company Trump’s scrutiny. The next month, Trump threatened Apple with a 25 percent tariff on any iPhones sold in the US that were not manufactured in America. Experts were baffled by the threat, which appeared to be the first time a US company was threatened directly with tariffs.

Typically, tariffs are imposed on a country or category of goods, like smartphones. It remains unclear if it would even be legal to levy a tariff on an individual company like Apple, but Trump never tested those waters. Instead, Trump stopped demanding the American-made iPhone and withdrew other tariff threats after he was apparently lulled into submission by a gold statue that Apple gifted him in August. The engraved glass disc featured an Apple logo and Tim Cook’s signature above a “Made in USA” stamp, celebrating Donald Trump for his “Apple American Manufacturing Program.”

Trump’s wild deals shake down chipmakers

Around the same time that Trump eased pressure on Apple, he turned his attention to Intel. On social media in August, Trump ordered Intel CEO Lip-Bu Tan to “resign immediately,” claiming he was “highly conflicted.” In response, Tan did not resign but instead met with Trump and struck a deal that gave the US a 10 percent stake in Intel. Online, Trump bragged that he let Tan “keep his job” while hyping the deal—which The New York Times described as one of the “largest government interventions in a US company since the rescue of the auto industry after the 2008 financial crisis.”

But unlike the auto industry, Intel didn’t need the money. And rather than helping an ailing company survive a tough spot, the deal risked disrupting Intel’s finances in ways that spooked shareholders. It was therefore a relief to no one when Intel detailed everything that could go wrong in an SEC filing, including the possible dilution of investors’ stock due to discounting US shares and other risks of dilution, if certain terms of the deal kick in at some point in the future.

The company also warned of potential lawsuits challenging the legality of the deal, which Intel fears could come from third parties, the US government, or foreign governments. Most ominous, Intel admitted there was no way to predict what other risks may come, both in the short-term and long-term.

Of course, Intel wasn’t the only company Trump sought to control, and not every company caved. He tried to strong-arm the Taiwan Semiconductor Manufacturing Company (TSMC) in September into moving half its chip manufacturing into the US, but TSMC firmly rejected his demand. And in October, when Trump began eyeing stakes in quantum computing firms, several companies were open to negotiating, but with no deals immediately struck, it was hard to ascertain how seriously they were entertaining Trump’s talks.

Trump struck another particularly wild deal the same month as the Intel agreement. That deal found chipmakers Nvidia and AMD agreeing to give 15 percent of revenue to the US from sales to China of advanced computer chips that could be used to fuel frontier AI. By December, Nvidia’s deal only drew more scrutiny, as the chipmaker agreed to give the US an even bigger cut—25 percent—of sales of its second most advanced AI chips, the H200.

Again, experts were confused, noting that export curbs on Nvidia’s H20 chips, for example, were imposed to prevent US technology thefts, maintain US tech dominance, and protect US national security. Those chips are six times less powerful than the H200. To them, it appeared that the Trump administration was taking payments to overlook risks without a clear understanding of how that might give China a leg-up in the AI race. It also did not appear to be legal, since export licenses cannot be sold under existing federal law, but government lawyers have supposedly been researching a new policy that would allow the US to collect the fees.

Trump finally closed TikTok deal

As the end of 2025 nears, the tech company likely sweating Trump’s impulses most may be TikTok owner ByteDance. In October, Trump confirmed that China agreed to a deal that allows the US to take majority ownership of TikTok and license the TikTok algorithm to build a US version of the app.

Trump has been trying to close this deal all year, while ByteDance remained largely quiet. Prior to the start of Trump’s term, the company had expressed resistance to selling TikTok to US owners, and as recently as January, a ByteDance board member floated the idea that Trump could save TikTok without forcing a sale. But China’s approval was needed to proceed with the sale, and near the end of December, ByteDance finally agreed to close the deal, paving the way for Trump’s hand-picked investors to take control in 2026.

It’s unclear how TikTok may change under US control, perhaps shedding users if US owners cave to Trump’s suggestion that he’d like to see the app go “100 percent MAGA” under his hand-picked US owners. It’s possible that the US version of the app could be glitchy, too.

Whether Trump’s deal actually complies with a US law requiring that ByteDance divest control of TikTok or else face a US ban has yet to be seen. Lawmaker scrutiny and possible legal challenges are expected in 2026, likely leaving both TikTok users and ByteDance on the edge of their seats waiting to see how the globally cherished short video app may change.

Trump may owe $1 trillion in tariff refunds

The TikTok deal was once viewed as a meaningful bargaining chip during Trump’s tensest negotiations with China, which has quickly emerged as America’s fiercest rival in the AI race and Trump’s biggest target in his trade war.

But as closing the deal remained elusive for most of the year, analysts suggested that Trump grew “desperate” to end tit-for-tat retaliations that he started, while China appeared more resilient to US curbs than the US was to China’s.

In one obvious example, many Americans’ first tariff pains came when Trump ended a duty-free exemption in February for low-value packages imported from cheap online retailers, like Shein and Temu. Unable to quickly adapt to the policy change, USPS abruptly stopped accepting all inbound packages from Hong Kong and China. After a chaotic 24 hours, USPS started slowly processing parcels again while promising Americans that it would work with customs to “implement an efficient collection mechanism for the new China tariffs to ensure the least disruption to package delivery.”

Trump has several legal tools to impose tariffs, but the most controversial path appears to be his favorite. The Supreme Court is currently weighing whether the International Emergency Economic Powers Act (IEEPA) grants a US president unilateral authority to impose tariffs.

Seizing this authority, Trump imposed so-called “reciprocal tariffs” at whim, the Consumer Technology Association and the Chamber of Commerce told the Supreme Court in a friend-of-the-court brief in which they urged the justices to end the “perfect storm of uncertainty.”

Unlike other paths that would limit how quickly Trump could shift tariff rates or how high the tariff rate could go, under IEEPA, Trump has imposed tariff rates as high as 125 percent. Deferring to Trump will cost US businesses, CTA and CoC warned. CTA CEO Gary Shapiro estimated that Trump has changed these tariff rates 100 times since his trade war began, affecting $223 billion of US exports.

Meanwhile, one of Trump’s biggest stated goals of his trade war—forcing more manufacturing into the US—is utterly failing, many outlets have reported.

Likely due to US companies seeking more stable supply chains, “reshoring progress is nowhere to be seen,” Fortune reported in November. That month, a dismal Bureau of Labor Statistics released a jobs report that an expert summarized as showing that the “US is losing blue-collar jobs for the first time since the pandemic.”

A month earlier, the nonpartisan policy group the Center for American Progress drew on government labor data to conclude that US employers cut 12,000 manufacturing jobs in August, and payrolls for manufacturing jobs had decreased by 42,000 since April.

As tech companies take tech tariffs on the chin, perhaps out of fears that rattling Trump could impact lucrative government contracts, other US companies have taken Trump to court. Most recently, Costco became one of the biggest corporations to sue Trump to ensure that US businesses get refunded if Trump loses the Supreme Court case, Bloomberg reported. Other recognizable companies like Revlon and Kawasaki have also sued, but small businesses have largely driven opposition to Trump’s tariffs, Bloomberg noted.

Should the Supreme Court side with businesses—analysts predict favorable odds—the US could owe up to $1 trillion in refunds. Dozens of economists told SCOTUS that Trump simply doesn’t understand why having trade deficits with certain countries isn’t a threat to US dominance, pointing out that the US “has been running a persistent surplus in trade in services for decades” precisely because the US “has the dominant technology sector in the world.”

Justices seem skeptical that IEEPA grants Trump the authority, ordinarily reserved for Congress, to impose taxes. However, during oral arguments, Justice Amy Coney Barrett fretted that undoing Trump’s tariffs could be “messy.” Countering that, small businesses have argued that it’s possible for Customs and Border Patrol to set up automatic refunds.

While waiting for the SCOTUS verdict (now expected in January), the CTA ended the year by advising tech companies to keep their receipts in case refunds require requests for tariffs line by line—potentially complicated by tariff rates changing so drastically and so often.

Biggest tariff nightmare may come in 2026

Looking into 2026, tech companies cannot breathe a sigh of relief even if the SCOTUS ruling swings their way, though. Under a separate, legally viable authority, Trump has threatened to impose tariffs on semiconductors and any products containing them, a move the semiconductor industry fears could cost $1 billion.

And if Trump continues imposing tariffs on materials used in popular tech products, the CTA told Ars in September that potential “tariff stacking” could become the industry’s biggest nightmare. Should that occur, US manufacturers could end up double-, triple-, or possibly even quadruple-taxed on products that may contain materials subject to individual tariffs, like semiconductors, polysilicon, or copper.

Predicting tariff costs could become so challenging that companies will have no choice but to raise prices, the CTA warned. That could threaten US tech competitiveness if, possibly over the long term, companies lose significant sales on their most popular products.

For many badly bruised by the first year of tariffs, it’s hard to see how tariffs could ever become a winning strategy for US tech dominance, as Trump has long claimed. And Americans continue to feel more than “a little pain,” as Trump forecasted, causing many to shift their views on the president.

Americans banding together to oppose tariffs could help prevent the worst possible outcomes. With prices already rising on certain goods in the US, the president reversed some tariffs as his approval ratings hit record lows. But so far, Big Tech hasn’t shown much interest in joining the fight, instead throwing money at the problem by making generous donations to things like Trump’s inaugural fund or his ballroom.

A bright light for the tech industry could be the midterm elections, which could pressure Trump to ease off aggressive tariff regimes, but that’s not a given. Trump allies have previously noted that the president typically responds to pushback on tariffs by doubling down. And one of Trump’s on-again-off-again allies, Elon Musk, noted in December in an interview that Trump ignored his warnings that tariffs would drive manufacturing out of the US.

“The president has made it clear he loves tariffs,” Musk said.

Photo of Ashley Belanger

Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

Big Tech basically took Trump’s unpredictable trade war lying down Read More »

in-the-’90s,-wing-commander:-privateer-made-me-realize-what-kind-of-games-i-love

In the ’90s, Wing Commander: Privateer made me realize what kind of games I love

Ever since 1993, I think I’ve unconsciously judged almost every game by how well it can capture how Wing Commander: Privateer made me feel.

Steam and PlayStation (the two platforms I use the most) have been doing a year-in-review summary akin to the wildly popular Spotify Wrapped for the past few years. Based on these, I can report that my most-played games in 2025 were, from most hours down:

  1. No Man’s Sky
  2. Civilization VII
  3. Assassin’s Creed Shadows
  4. The Elder Scrolls IV Oblivion Remastered
  5. The Lord of the Rings: Return to Moria
  6. The Elder Scrolls III Morrowind
  7. World of Warcraft
  8. Meridian 59
  9. Tainted Grail: Fall of Avalon
  10. Unreal Tournament

With the exceptions of Civilization VII and Unreal Tournament, every one of those games is some kind of open-world experience that’s all about immersing you in a far-flung land (or galaxy).

I like what I like, and my knowing that’s what I like began in the early 1990s with Wing Commander: Privateer.

Privateer taught me that I love games that are spaces for living out whatever fictional life I create for myself much more than I love games that are guiding me through an authored story and a series of carefully designed challenges.

Yes, it has a story and story missions, but they’re hardly the point, partly because they’re not really that good. What’s exciting about this game is exploring new systems, seeing the beautiful CG artwork for their settlements, learning about your ships’ capabilities and upgrading them slowly over time, and attaining mastery of the pseudo-simulated economy.

A ship landed in a spaceport

These CG-rendered planet backgrounds captured my imagination in the 1990s, and they still do, though nostalgia probably plays a part. Credit: GOG

The story that matters in Privateer is the story I am telling myself in my head. To this day, the games I most love offer at least a taste of that experience.

Privateer‘s far-reaching (and drama-laden) legacy

To say this game was influential on later titles would be an understatement, but we, of course, have to acknowledge that this formula was originally popularized by 1984’s Elite. Privateer just married that formula with Wing Commander‘s universe and flight mechanics, with a far more hand-crafted setting. That setting is key, though. I like the original Elite, and this certainly wasn’t the case back in the mid-’80s, but today, it plays like a tech demo for what’s to come.

In the ’90s, Wing Commander: Privateer made me realize what kind of games I love Read More »

tv-technica:-our-favorite-shows-of-2025

TV Technica: Our favorite shows of 2025


Netflix and Apple TV dominate this year’s list with thrillers, fantasy, sci-fi, and murder.

Credit: Collage by Aurich Lawson

Credit: Collage by Aurich Lawson

Editor’s note: Warning: Although we’ve done our best to avoid spoiling anything major, please note this list does include a few specific references to several of the listed shows that some might consider spoiler-y.

This was a pretty good year for television, with established favorites sharing space on our list with some intriguing new shows. Streaming platforms reigned supreme, with Netflix and Apple TV dominating our list with seven and five selections each. Genre-wise, we’ve got a bit of everything: period dramas (The Gilded Age, Outrageous), superheroes (Daredevil: Born Again), mysteries (Ludwig, Poker Face, Dept. Q), political thrillers (The Diplomats, Slow Horses), science fiction (Andor, Severance, Alien: Earth), broody fantasy (The Sandman), and even an unconventional nature documentary (Underdogs).

As always, we’re opting for an unranked list, with the exception of our “year’s best” selection at the very end, so you might look over the variety of genres and options and possibly add surprises to your eventual watchlist. We invite you to head to the comments and add your own favorite TV shows released in 2025.

Underdogs (National Geographic/Disney+)

a honey badger investigates a logg in South Africa

Credit: National Geographic/Doug Parker

Most of us have seen a nature documentary or two (or three) at some point in our lives, so it’s a familiar format: sweeping, majestic footage of impressively regal animals accompanied by reverently high-toned narration (preferably with a tony British accent). Underdogs takes a decidedly different approach. Narrated with hilarious irreverence by Ryan Reynolds, the five-part series highlights nature’s less cool and majestic creatures—the outcasts and benchwarmers more noteworthy for their “unconventional hygiene choices” and “unsavory courtship rituals.” (It’s rated PG-13 due to the odd bit of scatalogical humor and shots of Nature Sexy Time.)

Each of the five episodes is built around a specific genre. “Superheroes” highlights the surprising superpowers of the honey badger, pistol shrimp, and the invisible glass frog, among others, augmented with comic book graphics; “Sexy Beasts” focuses on bizarre mating habits and follows the format of a romantic advice column; “Terrible Parents” highlights nature’s worst practices, following the outline of a parenting guide; “Total Grossout” is exactly what it sounds like; and “The Unusual Suspects” is a heist tale, documenting the supposed efforts of a macaque to put together the ultimate team of masters of deception and disguise (an inside man, a decoy, a fall guy, etc.). Green Day even wrote and recorded a special theme song for the opening credits.

While Reynolds mostly followed the script (which his team helped write), there was also a fair amount of improvisation—not all of it PG-13. The producers couldn’t use the racier ad-libs. But some made it into the final episodes, like Reynolds describing an aye-aye as “if fear and panic had a baby and rolled it in dog hair.” We also meet the velvet worm, which creeps up on unsuspecting prey before squirting disgusting slime all over their food, and the pearl fish, which hides from predators in a sea cucumber’s butt, among other lowly yet fascinating critters. Verdict: Underdogs is positively addictive. It’s my favorite nature documentary ever.

Jennifer Ouellette

Dept. Q (Netflix)

group of people I'm an underground office sanding around a desk

Credit: Netflix

Dep. Q is a rare show that commits to old tropes—an unlikable but smart central character revisits cold cases—and somehow manages to repackage them in a way that feels distinctive. To get a sense of the show, you only have to describe its precise genre. You might call it a murder mystery, and there are murders in it, but one of the mysteries is whether a key player is alive or not, given that a lot of her story takes place in flashbacks with an uncertain relationship to the present. It’s almost a police procedural, except that many of the police are only following procedures grudgingly and erratically. It’s not really a whodunnit, given that you only end up learning who done some of it by the time the first season wraps up. And so on.

Amid all the genre fluidity, the show does a great job of balancing the key challenge of a mystery program: telling you enough that you can make reasonably informed guesses on at least some of what’s going on without giving the whole game away and making it easy to figure out all the details. And the acting is superb. Matthew Goode does a nice job of handling the central character’s recent trauma while helping you understand why he has a few loyal co-workers despite the fact that he was probably unlikable even before he was traumatized. And Alexej Manvelov (who I’d never seen before) is fantastic as a former Syrian policeman who drops occasional hints that he had been an active participant in that country’s police state.

There are definitely quibbles. The creation of a cold case squad happens on the flimsiest of motivations, and the fantastic Kelly Macdonald is badly underused. But the show is definitely good enough that I’m curious about some additional mysteries: Can the team behind it continue to avoid getting bogged down in the tropes in season two, and which of the many threads it left unresolved will be picked up when they try?

John Timmer 

Daredevil: Born Again (Disney+)

Matt Murdock and Wilson Fisk sitting across from each other in a diner

Credit: Marvel/Disney+

Enthusiasm was understandably high for Daredevil: Born Again, Marvel’s revival of the hugely popular series in the Netflix Defenders universe. Not only was Charlie Cox returning to the title role as Matt Murdock/Daredevil, but Vincent D’Onofrio was also coming back as his nemesis, crime lord Wilson Fisk/Kingpin. Their dynamic has always been electric, and that on-screen magic is as powerful as ever in Born Again, which quickly earned critical raves and a second season.

Granted, there were some rough spots. The entire season was overhauled during the 2023 Hollywood strikes, and at times it felt like two very different shows. A weird serial killer subplot was primarily just distracting. There was also the controversial decision to kill off a major character from the original Netflix series in the first episode. But that creative choice cleared the decks to place the focus squarely on Matt’s and Fisk’s parallel arcs, and the two central actors do not disappoint.

Matt decides to focus on his legal work while Fisk is elected mayor of New York City, intent on leaving his criminal life behind. But each struggles to remain in the light as the dark sides of their respective natures fight to be released. The result is an entertaining, character-driven series that feels very much a part of its predecessor while still having its own distinctive feel.

Jennifer Ouellette

Boots (Netflix)

army boot camp recruits running as part of their training in yellow t shirts and red shorts

Credit: Netflix

I confess I might have missed Boots had it not been singled out and dismissed as “woke garbage” by the Pentagon—thereby doubling the show’s viewership. I was pleased to discover that it’s actually a moving, often thought-provoking dramedy that humanizes all the young men from many different backgrounds who volunteer to serve their country in the US military. The show is based on a memoir (The Pink Marine) by Greg Cope White about his experiences as a gay teen in the military in the 1980s when gay and bisexual people weren’t allowed to serve. Boots is set in the early 1990s just before the onset of the “Don’t ask, don’t tell” era.

Miles Heizer stars as Cameron Cope (Cope White’s fictional alter ego), a closeted gay teen in Louisiana who signs up as a recruit for the US Marine Corps with his best (straight) friend Ray (Liam Oh). He’s not the most promising recruit, but over the course of eight episodes, we see him struggle, fail, pick himself back up, and try again during the grueling boot camp experience, forming strong bonds with his fellow recruits but all the while terrified of being outed and kicked out.

Heizer gives a powerful performance as Cameron, enhanced by the contrast with Max Parker’s stellar portrayal of the tightly wound Sergeant Liam Robert Sullivan—a decorated Marine inexplicably reassigned to train recruits while harboring his own secrets. Nor is Miles’ story the only focus: We learn more about several characters and their private struggles, and those inter-relationships are the heart and soul of the show. Netflix canceled the series, but this one season stands tall on its own.

Jennifer Ouellette

Only Murders in the Building S5 (Hulu)

young woman and two older men posing against backdrop of iconic NYC buildings

Credit: Hulu

This charming Emmy-nominated comedy series has made our “Best of TV” list every season, and 2025 is no exception. Only Murders in the Building (OMITB) stars Steve Martin, Martin Short, and Selena Gomez as Charles, Oliver, and Mabel, all residents of the same Manhattan apartment complex, the Arconia. The unlikely trio teams up to launch their own true crime podcast whenever someone dies in the building under suspicious circumstances, chronicling their independent investigation to solve the murder. There’s no shortage of podcast fodder, as this single building has a shockingly high murder rate.

S5 focused on the death of the building’s doorman, Lester (Teddy Coluca), found floating in the Arcadia’s fountain in the season finale. The discovery of a severed finger leads our team to conclude that Lester was murdered. Their quest involves a trio of billionaires, the mayor (Keegan-Michael Key), a missing mafioso (Bobby Cannavale) and his widow (Tea Leoni), and maybe even the building’s new robotic assistant, LESTR (voiced by Paul Rudd). As always, the season finale sets up next season’s murder: that of rival podcaster Cinda Canning (Tina Fey), who lives just long enough to reach the Arcadia’s gates and place one hand into the courtyard—technically dying “in the building.” One assumes that OMITB will eventually run out of fresh takes on its clever concept, but it certainly hasn’t done so yet.

Jennifer Ouellette

The Sandman S2 (Netflix)

Morpheus holds the key to Hell.

Credit: Netflix

I unequivocally loved the first season of The Sandman, the Netflix adaptation of Neil Gaiman’s influential graphic novel series (of which I am a longtime fan). I thought it captured the surreal, dream-like feel and tone of its source material, striking a perfect balance between the anthology approach of the graphic novels and grounding the narrative by focusing on the arc of its central figure: Morpheus, lord of the Dreaming. It was a long wait for the second and final season, but S2 retains all those elements to bring Dream’s story to its inevitably tragic yet satisfying end.

As always, the casting is extraordinary and the performances are note-perfect across the board. And Netflix did not skimp on the visuals, which bring the graphic novel imagery to vivid life. I still appreciate how the leisurely pacing lets the viewer relax and sink into this richly layered fictional world. Part I kicked off with an Endless family reunion that led Dream into revisiting Hell and agreeing to his sister Delirium’s request to look for their absent brother, Destruction. That sets in motion a chain of events that leads to the tragedy that unfolds in Part II. The bonus episode, in which Death gets one day (every hundred years) to be human—an adaptation of the standalone Death: The High Cost of Living—serves as a lovely coda to this unique series, which is pretty much everything I could have wanted in an adaptation.

Jennifer Ouellette

Ludwig (BBC)

middle aged man in dress shirt and short sleeved sweater meticulously working on a puzzle on an easel

Credit: BBC

Ludwig is a clever twist on the British cozy mystery genre. David Mitchell stars as John Taylor, a reclusive eccentric who creates puzzles for a living under the pseudonym “Ludwig.” When his identical twin brother, Cambridge DCI James Taylor (also Mitchell), goes missing, his sister-in-law Lucy (Anna Maxwell Martin) convinces John to go undercover. John reluctantly pretends to be James to gain access to the police department in hopes of finding out what happened to his twin. He inevitably gets drawn into working on cases—and turns out to be exceptionally good at applying his puzzle skills to solve murders, even as his anxiety grows about his subterfuge being discovered.

The best crime shows deftly balance cases-of-the-week with longer character-driven story arcs, and Ludwig achieves that balance beautifully. The writers brought in a puzzle consultant to create the various crosswords that appear in the series, as well as a special cryptic crossword done in character as Ludwig that appeared in The Guardian. The first season ended with a bit of a cliffhanger about what’s really been going on with James, but fortunately, the BBC has renewed Ludwig for a second season, so we’ll get to see more of our cryptic crime-solver.

Jennifer Ouellette

Poker Face S2 (Peacock)

red haired woman in thigh boots and leather jacket standing in front of a classic blue sports car

Credit: Peacock

Poker Face is perfect comfort TV, evolving the case-of-the-week format that made enduring early TV hits like Columbo and Murder, She Wrote iconic. The second season takes the endlessly likeable BS-detector Charlie Cale (Natasha Lyonne) to the end of the road after she overcomes fleeing the mob in her 1969 Plymouth Barracuda. Along the way, Charlie pals around with A-list guest stars and solves crimes, winding her way from Florida to New York as each delightful new caper serves not to ramp up tension but to disrupt how viewers anticipate Charlie will move. Some might think that the lack of tension made the season weaker. But creator Rian Johnson recently revealed that he expects Poker Face to cast a new lead detective every two years. That makes it seem clear that Charlie’s second season was more about release.

In the most memorable episode of the season, “Sloppy Joseph,” the front row of an elementary school talent show suddenly becomes a bloody splash zone when a bullied boy is framed for killing the class pet, a gerbil, with a giant mallet. That scene is perhaps an apt metaphor for Johnson’s attempt to keep modern-day viewers from turning away from their TVs by shattering expectations. It’s unclear yet if his formulaic TV hijinks will work, but if anyone decides to pick up Poker Face after Peacock declined to renew it, Peter Dinklage is next in line to become the world’s greatest lie detector.

Ashley Belanger

The Gilded Age S3 (HBO)

young woman with her parents in evening dress standing in an opera box

Credit: HBO

I was a latecomer to this eminently watchable show created by Julian Fellowes (Gosford Park), who also gave us the Emmy-winning sensation Downton Abbey. Instead of following the adventures of post-Edwardian British aristocracy and their domestic servants, the focus is on ultra-wealthy Americans and their domestic servants in the 1880s and the social tensions that arise from the “old money” versus “new money” dynamic of this rapidly changing period. The Gilded Age has been described as an “operatic soap” (rather than a soap opera), replete with a hugely talented ensemble cast donning lavish costumes and cavorting in extravagantly opulent settings. It’s unadulterated, addictive escapism, and the series really hit its stride in S3.

Old Money is represented by Agnes van Rhijn (Christine Baranski), a wealthy widow who lives with her spinster sister Ada (Cynthia Nixon); orphaned niece Marian (Louisa Jacobson); and son and heir Oscar (Blake Ritson), a closeted gay man seeking to marry a rich heiress. Living just across the street is New Money, personified by robber baron/railroad tycoon George Russell (Morgan Spector) and his socially ambitious wife Bertha (Carrie Coon) and their two children. You’ve got Marian’s friend Peggy (Denee Benton) representing the emerging Black upper class and a colorful assortment of domestics in both houses, like aspiring inventor Jack (Ben Ahlers), who dreams of greater things.

Fictionalized versions of notable historical people occasionally appear, and two figure prominently: Caroline Astor (Donna Murphy), who ruled New York society at the time, and her simpering sycophant Ward McAllister (Nathan Lane). (The Russells are loosely inspired by William and Ava Vanderbilt.) The stakes might sometimes seem small—there’s a multi-episode arc devoted to which of two competing opera houses New York’s social elite will choose to sponsor—but for the characters, they are huge, and Fellowes makes the audience feel equally invested in the outcomes. There were a few rough edges in the first season, but The Gilded Age quickly found its footing; it has gotten better and more richly textured with each successive season and never takes itself too seriously.

Jennifer Ouellette

Outrageous (Britbox)

Aristocratic Family photo circa 1930s with everyone lined up along the grand staircase

Credit: Britbox

The Mitford sisters were born to be immortalized one day in a British period drama, and Outrageous is happy to oblige. There were six of them (and one brother), and their scandalous exploits frequently made global headlines in the 1930s. This is ultimately a fictionalized account of how the rise of Hitler and British fascism fractured this once tight-knit aristocratic family. The focus is on smaller, domestic drama—budding romances, failed marriages, literary aspirations, and dwindling fortunes—colored by the ominous global events unfolding on a larger scale.

Nancy (Bessie Carter) is the primary figure, an aspiring novelist with a cheating husband who feels increasingly alienated from her older sister and bestie Diana (Joanna Vanderham). Diana married a baron but becomes enamored of Oswald Mosley (Joshua Sasse), leader of the British fascist party, embarking on a torrid affair. Another sister, Unity (Shannon Watson), is also seduced by Nazi ideology and has a major crush on Hitler. Meanwhile, Jessica (Zoe Brough) is drawn to the Communist cause, which rankles both her siblings and her traditionally conservative parents.

Things come to a head when Unity goes to study in Germany and becomes completely radicalized, even publishing a vicious anti-semitic screed that shames the family. Diana also goes all-in on fascism when she leaves her husband for Mosley, whom Nancy loathes. Jessica elopes with her Communist cousin to Spain to be on the front lines of that civil war, leading to a lifelong estrangement from Diana. Nancy, the political moderate, is caught in the middle, torn between her love for her sisters and her increasing discomfort with Diana and Unity’s extreme political views.

The Mitford sisters were prolific letter writers all their lives, so there was plenty of material for screenwriter Sarah Williams to draw on when fictionalizing their stories at such a pivotal point in the family’s (and the world’s) history. Outrageous is quite historically accurate in broad outlines, and there are plenty of moments of wry, understated humor amid the family tensions. The gifted cast makes the sisters come alive in all their flawed humanity. There’s no word yet on a second season, and this one ends on a suitable note, but there’s so much more story left to tell, so I hope Outrageous returns.

Jennifer Ouellette

A Man on the Inside S2 (Netflix)

White haired older man in a nice blue suit and tie standing in front of a blackboard filled with equations in a college classroom

Credit: Netflix

I’ll admit I wasn’t sure how well A Man on the Inside would fare with its sophomore season after knocking it out of the park in S1. I should have known showrunner Mike Schur (The Good Place) could pull it off. Ted Danson plays Charles Nieuwendyk, a recently widowed retired engineering professor. In S1, he was hired by private detective Julie Kovalenko (Lilah Richcreek Estrada) to go undercover at a San Francisco retirement community to solve the mystery of a stolen ruby necklace. In S2, Charles returns to his academic roots and goes undercover at fictional Wheeler College to solve the mystery of a stolen laptop—a crime that just might have implications for the survival of the college itself.

Charles even falls in love for the first time since his wife’s death with music professor Mona Margadoff (Mary Steenburgen, Danson’s wife IRL), despite the two being polar opposites. The show continues to be a welcome mix of funny, sweet, sour, and touching, while never lapsing into schmaltz. The central Thanksgiving episode—where Mona meets Charles’s family and friends for the first time—is a prime example, as various tensions simmering below the surface erupt over the dinner table. Somehow, everyone manages to make their respective peace in entirely believable ways. It’s lovely to see a series grapple so openly, with so much warmth and humor, with the loneliness of aging and grief and how it can affect extended family. And the show once again drives home the message that new beginnings are always possible, even when one thinks one’s life is over.

Jennifer Ouellette

Andor S2 (Disney+)

Star Wars rebel Cassian in the cockpit of a spacecraft

Credit: Lucasfilm/Disney+

When real-life political administrations refer to officials as Darth Vader in unironically flattering terms, maybe George Lucas made the Dark Lord of the Sith a little too iconic. Showrunner Tony Gilroy made no such effort in his depiction of the fascists in Andor.

During Andor‘s run, which ended this year with S2, the Empire is full of sad corporate ladder climbers who are willing to stab another in the back to get to the next rung of the Imperial hierarchy. The show makes it clear that these are not people to emulate. If more fans watched the show, maybe that message could have landed for them.

For people who grew up with Star Wars and want something more to chew on in our adulthood than endless callbacks to the original trilogy, Andor is revelatory. It colors the war of light versus dark with large amounts of gray because sometimes, as one character puts it, you have to use the tools of your enemy to defeat them (save for genetically gifted farmboys). Maybe most of Star Wars was always supposed to be for kids, but prestige TV viewers got a glimpse of what the universe could feel like if it took itself more seriously. Rather than use the broad strokes of a war of good versus evil, Andor painted between the lines to demonstrate how systemic oppression can look a lot more personal than firing a giant space laser.

For all its great writing and themes, Andor also delivered high stakes and suspense. Although we already knew the outcome of the story, we still held our breath during tense scenes with characters who make the ultimate sacrifice for a future they will never see.

Jacob May

National Finals Rodeo (The Cowboy Channel)

exterior view of Thomas & Mack area in Las Vegas with banner proclaiming the 2024 Wranger National Finals rodeo

Credit: Sean Carroll

My personal end-of-year TV list would never be complete without a nod to The Cowboy Channel, i.e., the only place where armchair enthusiasts like myself can follow our favorite cowboys and cowgirls throughout the rodeo season. The goal is to rack up enough money to qualify for the Wrangler National Finals Rodeo (NFR), held at the Thomas & Mack Center in Las Vegas every December. This year, I’ve picked the channel’s stellar annual coverage of the NFR itself to highlight. The entire season comes down to this: an intense 10-day competition in which the top 15 athletes in each event duke it out night after night in hopes of winning a coveted championship gold buckle. And night after night, The Cowboy Channel is there with live commentary and post-round analysis.

What I love most is just how unpredictable the NFR can be. Part of that is the substantial monetary rewards that come with round wins; an athlete coming in at #1 in earnings can see even a substantial lead evaporate over just a few nights. Part of it has to do with who wins the average, i.e., who performs the best over ten nights collectively in each event. Winning the average comes with a substantial payout that can lead to unexpected upsets in the final results. But mostly it’s just the human factor: The best in the world can have a bad night, and young rookies can have the night of their lives. An ill-timed injury can knock an athlete out of the competition entirely. And sometimes the judges make inexplicably bad calls with major consequences (*coughStetson Wright in Round 6 saddle bronc *cough*).

It’s all part of the excitement of rodeo. The Cowboy Channel’s in-depth coverage lets us experience all that drama even if we can’t attend in person and lets us savor how the story unfolds in each subsequent round. We celebrate the wins, mourn the losses, and cheer mightily for the final champions. (Stetson did just fine in the end.) Then we gear up to do it all over again next year.

Jennifer Ouellette

Top Guns: The Next Generation (National Geographic/Disney+)

backs of four fighter pilots walking toward a fighter jet

Credit: National Geographic

The blockbuster success of the 1986 film Top Gun—chronicling the paths of young naval aviators as they go through the grueling US Navy’s Fighter Weapons School (aka the titular Top Gun)—spawned more than just a successful multimedia franchise. It has also been credited with inspiring future generations of fighter pilots. National Geographic took viewers behind the scenes to see the process play out for real with the documentary series Top Guns: The Next Generation.

Each episode focuses on a specific aspect of the training, following a handful of students from the Navy and Marines through the highs and lows of their training. That includes practicing dive bombs at breakneck speeds, successfully landing on an aircraft carrier by “catching the wire,” learning the most effective offensive and defensive maneuvers in dogfighting, and, finally, engaging in a freestyle dogfight against a seasoned instructor to complete the program and (hopefully) earn their golden wings. NatGeo was granted unprecedented access, even using in-cockpit cameras to capture the pulse-pounding action of being in the air, as well as more candidly intimate behind-the-scenes moments as the students grapple with their respective successes and failures. It’s a riveting watch.

Jennifer Ouellette

Alien: Earth (FX/Hulu)

young woman standing in a futuristic corridor bathed in white light

Credit: FX/Hulu

My first draft of what was supposed to be a 300-ish word blurb describing why Alien: Earth is fantastic ended up exploding into a Defector-esque narrative deep dive into my ever-evolving relationship with Alien 3 as a film and how Alien: Earth has helped reshape my appreciation for that poor broken baby of a movie by mixing the best of its visual techniques into A:E’s absolutely masterful cocktail of narrative stylings—but I’ll spare you all of that.

Here’s the short version without the bloviating: Alien: Earth is the thing I’ve been waiting for since I walked out of the theater after seeing Alien 3 in the summer of 1992. Unlike Alien Resurrection, any of the AvPs, or the wet-fart, falls-apart-like-mud-in-the-third-act swing-and-miss of Alien: Romulus, A:E gets nearly everything right. It’s grounded without being stodgy; exciting without being stupid; referential without being derivative; fun without being pandering; respectful of the lore while being willing to try something new; and, above all else, it bleeds craftsmanship—every frame makes it obvious that this is a show made by people who love and care for the Alien universe.

The thing that grabs me anew with every episode is the show’s presentation and execution—a self-aware blending of all the best things Scott, Cameron, and Fincher brought to their respective films. As I get older, I’m drawn more and more to entertainment that shows me interesting things and does so in ontologically faithful ways—and oh, does this show ever deliver.

Each episode is a carefully crafted visual and tonal mix of all the previous Alien films, with the episodes’ soundtracks shifting eras to match the action on-screen—like Alien 3’s jumpy choir flash-cut opening credits melding into Aliens’ lonely snare drums. The result is a blended world made of all the best things I remember from the films, and it works in the same way the game Alien: Isolation worked: by conjuring up exactly what the places where we used to have nightmares looked and felt like, and then scaring us there again.

I have heard that The Internet had some problems with the show, but, eh, everybody’s going to hate something. I vaguely remember some of the complaints having to do with how some of the new alien life-forms seem to be scarier or deadlier than our beloved and familiar main monster. All I’ve got for that one is a big fat shrug—I’m fine with our capital-A-aliens sharing the stage with some equally nasty new creatures. The aliens are always more interesting as devices to explore a story than as dramatic ends themselves, and I mean, let’s face it, in the past 40-plus years, there’s not much we haven’t seen them do and/or kill. They’re a literary force, not characters, and I’m way more interested in seeing how they shape the story of the people around them.

The tl;dr is that Alien: Earth is awesome, and if you haven’t watched it, you absolutely should. And when I was a kid, I used to regularly get put in time-out in recess for stiff-arming other kids while pretending to be a power loader, so you should consider my tastemaking credentials in this matter unimpeachable.

Lee Hutchinson

Squid Game S3 (Netflix)

assembly of asian people in matching jumpsuits preparing to compete in a deadly game

Credit: Netflix

In the most violent series to ever catch the world’s attention by playing beloved children’s games, it turns out that the most high-stakes choice that creator Hwang Dong-hyuk could make was to put a child in the arena. For Squid Game‘s final season, Hwang has said the season’s pivotal moment—a pregnant girl birthing a baby during a game of hide-and-seek with knives—was designed to dash viewers’ hopes that a brighter future may await those who survive the games. By leaving the task of saving the baby to the series hero, Seong Gi-hun, whose own strained relationship with his daughter led him into the games in the first season, Squid Game walked a gritty tightrope to the very end.

The only real misstep was involving the goofiest set of cartoon villain VIPs more directly in the games. But we can forgive Hwang the clunky Dr. Evil-like dialogue that slowed down the action. He’s made it clear that he put everything into developing dramatic sequences for the game players—losing teeth, barely eating, rarely sleeping—and he fully admitted to The New York Times that “I have a cartoonish way of giving comic relief.

Ashley Belanger

The Diplomat S3 (Netflix)

blonde woman on cell phone with a concerned look on her face

Credit: Netflix

Let’s be clear: The Diplomat is a soap opera. If you’re not into cliffhangers, intense levels of drama, and will-they-won’t-they sexual tension, it’s probably not going to be for you. Sometimes there’s so much going on that it becomes almost farcical. If that doesn’t scare you off, what do you get in return?

Superb actors given rich and intriguing characters to inhabit. A political drama that nicely finds a balance between the excessive idealism of The West Wing and the excessive cynicism of Veep. A disturbingly realistic-feeling series of crises that the characters sometimes direct, and sometimes hang on for dear life as they get dragged along by. And, well, the cliffhangers have been good enough to get me tuning in to the next season as soon as it appears on Netflix.

Kerri Russell plays the titular diplomat, who is assigned to what seems like a completely innocuous position: ambassador to one of the US’s closest allies, the UK. Rufus Sewell portrays her husband, a loose-to-the-point-of-unmoored cannon who ensures the posting is anything but innocuous. Ali Ahn and Ato Assandoh, neither of whom I was familiar with, are fantastic as embassy staff. And as the central crisis has grown in scale, some familiar West Wing faces (Allison Janey and Bradley Whitford) have joined the cast. Almost all of the small roles have been superbly acted as well. And for all the dysfunction, cynicism, and selfish behavior that drive the plot forward, the politics in The Diplomat feels like pleasant escapism when compared to the present reality.

John Timmer

Murderbot (Apple TV)

shot of head and upper torso of white armored robot and a faceless mask

Credit: Apple TV+

Apple TV+’s Murderbot, based on Martha Wells’ bestselling series of novels The Murderbot Diaries, is a jauntily charming sci-fi comedy dripping with wry wit and an intriguing mystery. Murderbot the TV series adapts the first book in the series, All Systems Red. A security unit that thinks of itself as Murderbot (Alexander Skarsgård) is on assignment on a distant planet, protecting a team of scientists who hail from a “freehold.”

Mensah (Noma Dumezweni) is the team leader. The team also includes Bharadwaj (Tamara Podemski) and Gurathin (David Dastmalchian), who is an augmented human plugged into the same data feeds as Murderbot (processing at a much slower rate). Pin-Lee (Sabrina Wu) also serves as the team’s legal counsel; they are in a relationship with Arada (Tattiawna Jones), eventually becoming a throuple with Ratthi (Akshaye Khanna). Unbeknownst to the team, Murderbot has figured out how to override his governor module that compels it to obey the humans’ commands. So Murderbot essentially has free will.

The task of adapting Wells’ novellas for TV fell to sibling co-creators Paul Weitz and Chris Weitz. (Wells herself was a consulting producer.) They’ve kept most of the storyline intact, fleshing out characters and punching up the humor a bit, even recreating campy scenes from Murderbot’s favorite show, The Rise and Fall of Sanctuary Moon. (John Cho and Clark Gregg make cameos as the stars of that fictional show-within-a-show.) The entire cast is terrific, but it’s Skarsgård’s hilariously deadpan performance that holds it all together as he learns how to relate to the humans—even forming some unexpectedly strong bonds.

Jennifer Ouellette

Down Cemetery Road (Apple TV)

short gray-haired room in black coat staring through a mesh fence

Credit: Apple TV

Fans of Slow Horses (see below), rejoice: with Down Cemetery Road, Apple TV has blessed us with another exciting mystery thriller series based on the works of Mick Herron—in this case, his 2003 novel introducing private investigator Zoë Boehm (Emma Thompson). Ruth Wilson co-stars as Sarah, an artist rather unhappily married to a finance bro. A neighboring building is destroyed by an explosion, and Sarah tries to deliver a get-well card to a little girl who survived from her young classmates. She’s inexplicably rebuffed, and her dogged attempts to figure out what’s going on lead her to seek the help of Zoë’s PI partner and estranged husband Joe (Adam Godley). What Joe finds out gets him killed, setting Sarah and Zoë on a collision course with high-placed government officials trying to cover up a pending scandal.

Thompson and Wilson make a dynamic pair. This is Thompson’s meatiest role in a while: Her Zoë is all flinty cynicism and tough exterior, masking an inner vulnerability she’s learned to keep buried. Wilson’s Sarah is the polar opposite in many ways, but she’s equally dogged, and both women are eccentrics who tend to rub people the wrong way. They’re united in a common goal: find the missing girl and bring her kidnappers (and Joe’s killer) to justice. Down Cemetery Road takes a bit of time to set up its premise and its characters, but the pace builds and builds to a big, satisfying finale. It’s not quite on the level of Slow Horses, but it’s pretty darned close.

Jennifer Ouellette

Pluribus (Apple TV)

blond woman on cell phone in yellow jacket looking dismayed

Credit: Apple TV

After watching five episodes of the nine-episode first season of Apple TV’s Pluribus, I’m still not sure if I should be rooting for protagonist Carol Sturka or not. On the one hand, Carol is one of the last true “individuals” on Earth, fighting to maintain that individuality against a creepy alien pseudo-virus that has made almost everyone else part of a creepy, psychically connected hive mind. Reversing that effect, and getting the world “back to normal,” is an understandable and sympathetic response on Carol’s part.

On the other hand, it’s unlear that being absorbed into the hive mind is a change for the worse, on a humanity-wide scale. Unlike Star Trek’s Borg—who are violent, shambling drones that seem to have an overall miserable existence—the new hive-mind humanity is unfailingly pacifist, intelligent, capable, and (seemingly) blissfully, peacefully happy. In a sense, this virus has “solved” human nature by removing the paranoia, fear, anger, and distrust that naturally come from never truly knowing what’s going on in your neighbor’s head.

The fact that Pluribus has so far been able to navigate this premise without coming down strongly on one side or the other is frankly incredible. The fact that it has done it with consistent humor, thrills, and amazing cinematography transforms it into a must-watch.

Kyle Orland

Slow Horses S5 (Apple TV)

scruffy bearded older man in a beige trenchcoat walking down busy London street

Credit: Apple TV

There are many things I enjoy about Slow Horses, the Apple TV thriller about some not-great spies based on Mick Herron’s novels of the same name. The plots are gripping. The acting can be sublime. It’s shot well. And in its fifth season, which began streaming this September, Slow Horses engages more with the author’s humor than in seasons past. But with a plot involving the honeypotting of the deluded computer expert almost-extraordinaire Roddy Ho (played to perfection by Christopher Chung), that would be hard to avoid.

Slough House is a rundown MI5 office used as a dumping ground for employees in disgrace—the slow horses. They can’t be fired, but they can quit, and working for Jackson Lamb (Gary Oldman) is meant to make that happen. Lamb is a veteran of the dirtiest days of the Cold War, knowing not only where most of the bodies are buried but having helped put a few of them there himself. His legendary field prowess is only dwarfed by his repellent personality, mocking and belittling everyone in sight—but often deservedly so.

Each member of his team is there for a different sin, and throughout the season—which involves a plot to destabilize the British government, ripped from an MI5 playbook—we see evidence of why they’ve been consigned to the slow horses. These are not invincible operators, just flawed human beings, perfectly capable of screwing up again and again. And yet, our lovable bunch of losers usually manages to come through in the end, showing up “the Park”—MI5’s (fictional) head office in London’s Regent’s Park, which is usually a step behind Lamb’s quick and devious thinking.

The adaptation is faithful enough to the books to give me deja vu during the first episode, and with just six episodes in a season, the payoff comes relatively quickly. I can’t wait for season 6.

Jonathan Gitlin 

Severance S2 (Apple TV)

man in business suit holding blue helium balloons while standing in an antiseptic white corridor

Credit: Apple TV

The second season of Severance was never going to be able to live up to the constant, slow rollout of gut punches that characterized the first season. Those first 10 episodes ably explored the most important implications of the titular severance procedure, which splits a single person into separate “innie” and “outtie” consciousnesses with distinct sets of memories. The audience got to explore those implications along with the “innie” characters, who were struggling against the boundaries of their odd cubicle life right up until that thrilling final shot.

With so much now revealed and understood, a lot of that fire fell out of the second season of the show. Sure, there were still some loose ends to tie up from the mysteries of the first season, and plenty of new, off-puttingly weird situations on offer. And the new season definitely has quite a few high points, like the big twist revealed when the “innies” get to have a rare outdoor excursion or the extended flashback showing a character trapped in a seemingly endless sequence of social tests she can’t remember afterward.

But S2 also spent entire episodes exploring backstories and mysteries that didn’t have nearly as much emotional or plot impact. By the time the final episode arrived—with a rescue sequence that required an inordinate amount of suspension of disbelief—I found myself wondering just how much more interesting juice there was to squeeze from the show’s brilliant original premise. I worry that the show is trending in the direction of Lost, which drew things out with a lot of uninteresting padding before finally resolving the plot’s core puzzle box in an unsatisfying way. I’m still along on that ride for now, but I really hope it’s going somewhere soon.

Kyle Orland

And now for our top choice of the year:

The Residence (Netflix)

black woman crouched over on white house lawn with a flashlight at night

Credit: Netflix

Paul William Davies created this delightful mystery comedy, loosely based on a bestselling nonfiction book by Kate Andersen Brower about the maids, butlers, cooks, florists, doormen, engineers, and others dedicated to ensuring the White House residence runs smoothly. In the middle of a state dinner for the visiting Australian prime minister, White House Chief Usher A.B. Wynter (Giancarlo Esposito) is found dead in the third-floor game room. Everyone initially assumes it was suicide.

Enter private detective Cordelia Cupp (Uzo Aduba), who most definitely does not think it was suicide and proceeds to investigate. She has about a dozen suspects, and her blunt, rather eccentric personality means she’s not remotely intimidated by the august setting of this particular murder. Cupp even takes the odd break in sleuthing to do a bit of birdwatching on the White House grounds. (It’s her goal to see all the birds President Teddy Roosevelt recorded during his tenure.) Birdwatching is more than a lifelong hobby for Cupp; it’s central to her character and to how she approaches solving crimes. Bonus: Viewers learn a lot of fascinating bird trivia over eight episodes.

Davies has devised a clever narrative structure, telling the story in flashbacks during a Congressional hearing (presided over by former US Sen. Al Franken playing a fictional senator from Washington state). It’s a good mystery with plenty of unexpected twists and snappy dialogue. Each episode title refers to a famous murder mystery; the camerawork is inventive and fun; and everyone in the cast knocks it out of the park. I especially loved pop star Kylie Minogue’s cameo playing a fictional version of herself as a state dinner guest. Davies apparently couldn’t convince her fellow Australian Hugh Jackman to also make a cameo. But Ben Prendergast’s winking portrayal of “Hugh Jackman”—only seen from behind or with his face obscured—is actually funnier than having the real actor.

It would be a mistake to dismiss The Residence as a mere bauble of a murder mystery just because of its playful, lighthearted tone. The show really does capture what is special and unique about the people who keep the White House residence functioning and why they matter—to each other and to America. Cupp’s final speech after unmasking the killer drives home those points with particular poignancy.

Netflix sadly canceled this excellent series, so there won’t be a second season—although I’m not sure how the writers could improve on such a tour de force. Do we really need Cupp to solve another elaborate murder in the White House? If I’m being honest, probably not. But she’s such a great character. I’d love to see more of her, perhaps in a Knives Out-style franchise where the location and main suspects continually change while the central detective stays the same. Somebody make it so.

Jennifer Ouellette

Photo of Jennifer Ouellette

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

TV Technica: Our favorite shows of 2025 Read More »

keeping-up-against-the-joneses:-balsa’s-2025-fundraiser

Keeping Up Against the Joneses: Balsa’s 2025 Fundraiser

Several years ago Zvi Mowshowitz founded Balsa Research, a tiny nonprofit research organization currently focused on quantifying the impact of the Jones Act on the American economy, and working towards viable reform proposals.

While changing century-old policy is not going to be easy, we continue to see many places where there is neglected groundwork that we’re well positioned to do, and we are improving at doing it with another year of practice under our belts.

We’re looking to raise $200,000 to support our work this giving season, though $50,000 would be sufficient to keep the lights on, and we think we are also well positioned to do more with more funding.

Funds raised this round will support Balsa’s policy advocacy, either in Jones Act and shipping or potentially in other planned cause areas of housing reform and NEPA reform if there is capacity to significantly expand.

Donate here to fund our mainline policy work.

One additional possibility for Balsa, that would be funded entirely separately if it did happen, is for Zvi Mowshowitz to use Balsa as a piece of philanthropic infrastructure to help guide new philanthropic money coming online in 2026 if there is demand. Contact us (hello@balsaresearch.com) if you would like to be involved in such an effort in any capacity, or want to authorize this as a potential use of your funds.

Donate here if you are interested in helping us with fully flexible funding.

Quite early in the year, Balsa’s plans for Jones Act investigative work was derailed by a certain Section 301 Investigation, which I wrote about here. In short, the USTR was proposing two significant changes to maritime transport: a $3-5 million fee for Chinese-built ships to deliver imports to American ports, and new, Jones Act-tier restrictions to up to 20% of American maritime exports. All of American industry focused on lobbying against the legibly bad first proposal, sadly no one else was on the ball about how bad the second proposal was because it required a slightly more sophisticated argument. So Balsa stepped in and wrote up a public comment and presented it to the USTR during their public hearing on the proposal. At least in part due to our research and our outreach to maritime industry players, this proposal was basically entirely axed.

After our mid-year write-up on the whole adventure, Balsa did also end up submitting a second comment in response to what we felt was a deeply counterproductive tariff scheme in the updated proposal. This was the first arc played out in miniature; after functionally scrapping both major proposals from the first round, the USTR was proposing that an increasing percentage of American LNG must be shipped out on U.S.-built LNG tankers (there are currently zero in the fleet and no capacity for the shipyards to build any new ones) and that all port crane parts made in China be subject to 100% tariffs. Everyone focused on lobbying against the first policy change which was obviously bad, the second was bad in a more subtle way. So it was up to Balsa to point out that the exact setup of the port crane tariffs were structured in a way counterproductive to the stated U.S. policy, would incentivize American ports to buy their cranes from Chinese manufacturers instead of manufacturers in allied countries (there is no domestic port crane manufacturing capacity), and negatively impact port revitalization investments that need to happen.

One piece of good news is that President Trump signed a trade deal with China in November, which resulted in a one-year suspension of all of the punitive measures proposed in the Section 301 investigation. We think there’s a good chance that the suspension might become indefinite, but it still seemed like a good use of our time to write up our objections should the measures resume in 2026.

We also worked on the Jones Act. We launched a new RFA to investigate the labor impacts of the Jones Act. This is meant to complement our first RFA, which invites academics to look at the economic impacts of the Jones Act. You may also recall that we had already given out grants for two different studies under the first RFA, on economic impacts. These papers are still in the process of being written. We remain confident in both teams and look forward to seeing their results in 2026.

We shored up a few places where we felt like some of the groundwork done by others on the Jones Act were either neglected or outdated. We published two pieces: The Jones Act Index, which works as a very short overview of all the myriad dysfunctions of the current domestic maritime industry, and an operational analysis of what exactly the 93 extant Jones Act eligible vessels get up to.

Besides all that, there is of course the frustratingly intangible work of networking and building a deeper understanding of the shape of the problem. We conducted over forty conversations with stakeholders across the maritime policy landscape, including domestic shipping operators, port executives, and congressional staff. These conversations directly informed our operational analysis of Jones Act vessels and helped us identify which reform framings resonate (and which don’t) with different constituencies. We’ve compiled this primary research into internal documentation mapping stakeholder positions, constraints, and potential pressure points—groundwork that will directly inform our policy binder and draft reform proposals.

Additionally, in the last few months of the year, we brought on a very part-time contractor to help with shipping out more of our policy work.

A breakdown of our 2025 spend to the nearest thousand, for a total of ~$143k:

  • $87,000 in wages (Jenn at 35 hours a week and a policy analyst at 10 hours a week)

  • $0 for Zvi Mowshowitz

  • $45,000 in research grants to RFA applicants

  • $7000 in travel and conference expenses

  • $2000 in accounting services

  • $1000 in legal, compliance, and nonprofit registration fees

  • $1000 in software, subscriptions, and office supplies

Considering Balsa’s size, unless fundraising goes exceedingly well, we plan to stay focused on the Jones Act and maritime policy until we crack this nut (i.e. deliver the policy binder) instead of diverting attention across different policy streams.

Currently, the people working on Balsa work are me (full time-ish), our contractor who works ten hours a week, plus Zvi Mowshowitz in an advisory capacity. In 2026, we’d like to bring this person or another policy analyst on full time, because my own time is somewhat constrained by the overhead of maintaining a 501(c)(3) nonprofit. The amount of funding we have in reserve gives us a decent amount of runway, but is insufficient for our grantmaking and hiring ambitions.

We’re looking to raise $200,000, which would be enough to bring on our contractor full-time and give us a reasonable amount of buffer for additional research funding that we would like to disburse. However, we think $50,000 is the minimum for Balsa to be viably funded to the end of 2026.

Here’s what we plan on doing in 2026, should we hit our fundraising goal:

This is the core deliverable that everything else feeds into, that was waylaid by our Section 301 work. The binder will include a short executive summary of the case for reform; one-pagers on specific impacts; a longer technical document synthesizing our funded research and the existing literature; and a FAQ addressing common objections. Much of the work is filling gaps identified through stakeholder conversations, and interpreting the information for specific audiences.

Both teams are expected to submit their papers in 2026. Once results are in, we’ll write accessible summaries for non-academic audiences, brief interested Hill offices, and incorporate findings into the policy binder.

The labor angle is underexplored in existing Jones Act research and useful for engaging unions constructively. We’re looking for proposals examining questions like: How many jobs does the Jones Act actually protect, and in which states? What’s the counterfactual employment picture under reform? What are the job creation effects in industries currently harmed by high shipping costs? A rigorous study here could shift the conversation toward a more nuanced understanding of net labor market effects.

The one-year suspension of Section 301 measures expires in late 2026, and if negotiations with China stall, the proposed port fees and export restrictions could return; we’ll track developments and be prepared to submit updated comments or testimony. The SHIPS for America Act proposes expanded cargo preference requirements facing similar vessel availability problems to those we identified in Section 301, and we’re developing analysis of cargo preference laws we can deploy if this legislation gains momentum. The goal is readiness to contribute when high-leverage, without letting monitoring consume time that should go toward the policy binder.

We can do even more with additional resources:

  • We can fund additional academic studies to strengthen the empirical case for reform, complementing our existing research initiatives, as we discover new opportunities. We estimate that each additional study costs around $30,000 to fund.

  • Zvi is not taking any payment for his work currently, but at a sufficiently high level of funding, this could change and he would dedicate more of his attention to the project. In addition, there is still an abundance of policy analysts in DC who are out of work, that we can hire more of.

  • With more funding and interest, we’d also look into spinning up a 501c4 to use going forwards for more direct political advocacy. Though of course the 501c4 would then require its own fundraising work, since we can’t mix the funds.

Donating is not the only way to give. If you have experience with maritime shipping, naval procurement, connections to labor unions, or anything else you think might be relevant to Jones Act reform, we’d be interested in talking to you and hearing your perspective. Get in touch at hello@balsaresearch.com and let us know how you might be able to help, whether that’s sharing your insights, making introductions, or contributing in other meaningful ways.

If you’re an economist positioned to publish in peer-reviewed journals, please consider applying to our economy or labor RFAs, and doing direct research on the issue. If you have friends who fit that profile and might be interested in this kind of work, please consider forwarding the RFAs their way.

Balsa Research is still a very small organization (me, another policy analyst at ten hours per week, and Zvi in an unpaid, very part-time advisory role) and our progress this year has been possible only through the generous support of our donors and the many people who have shared their time and expertise with us. We’re grateful for this community of supporters and collaborators who continue to believe in the importance of this work.

Discussion about this post

Keeping Up Against the Joneses: Balsa’s 2025 Fundraiser Read More »

fcc’s-import-ban-on-the-best-new-drones-starts-today

FCC’s import ban on the best new drones starts today

DJI sent numerous requests to the US government to audit its devices in hopes of avoiding a ban, but the federal ban was ultimately enacted based on previously acquired information, The New York Times reported this week.

The news means that Americans will miss out on new drone models from DJI, which owns 70 percent of the global drone market in 2023, per Drone Industry Insights, and is widely regarded as the premium drone maker. People can still buy drones from US companies, but American drones have a lackluster reputation compared to drones from DJI and other Chinese companies, such as Autel. US-made drones also have a reputation for being expensive, usually costing significantly more than their Chinese counterparts. DaCoda Bartels, COO of FlyGuys, which helps commercial drone pilots find work, told the Times that US drones are also “half as good.”

There’s also concern among hobbyists that the ban will hinder their ability to procure drone parts, potentially affecting the repairability of approved drones and DIY projects.

US-based drone companies, meanwhile, are optimistic about gaining business in an industry where it has historically been hard to compete against Chinese brands. It’s also possible that the ban will just result in a decline in US drone purchases.

In a statement, Michael Robbins, president and CEO of the Association for Uncrewed Vehicle Systems International (AUVSI), which includes US drone companies like Skydio as members, said the ban “will truly unleash American drone dominance” and that the US cannot “risk… dependence” on China for drones.

“By prioritizing trusted technology and resilient supply chains, the FCC’s action will accelerate innovation, enhance system security, and ensure the US drone industry expands rather than remaining under foreign control,” Robbins said.

Understandably, DJI is “disappointed” by the FCC’s decision, it said in a statement issued on Monday, adding:

While DJI was not singled out, no information has been released regarding what information was used by the Executive Branch in reaching its determination. Concerns about DJI’s data security have not been grounded in evidence and instead reflect protectionism, contrary to the principles of an open market.

FCC’s import ban on the best new drones starts today Read More »

openai’s-child-exploitation-reports-increased-sharply-this-year

OpenAI’s child exploitation reports increased sharply this year

During the first half of 2025, the number of CyberTipline reports OpenAI sent was roughly the same as the amount of content OpenAI sent the reports about—75,027 compared to 74,559. In the first half of 2024, it sent 947 CyberTipline reports about 3,252 pieces of content. Both the number of reports and pieces of content the reports saw a marked increase between the two time periods.

Content, in this context, could mean multiple things. OpenAI has said that it reports all instances of CSAM, including uploads and requests, to NCMEC. Besides its ChatGPT app, which allows users to upload files—including images—and can generate text and images in response, OpenAI also offers access to its models via API access. The most recent NCMEC count wouldn’t include any reports related to video-generation app Sora, as its September release was after the time frame covered by the update.

The spike in reports follows a similar pattern to what NCMEC has observed at the CyberTipline more broadly with the rise of generative AI. The center’s analysis of all CyberTipline data found that reports involving generative AI saw a 1,325 percent increase between 2023 and 2024. NCMEC has not yet released 2025 data, and while other large AI labs like Google publish statistics about the NCMEC reports they’ve made, they don’t specify what percentage of those reports are AI-related.

OpenAI’s update comes at the end of a year where the company and its competitors have faced increased scrutiny over child safety issues beyond just CSAM. Over the summer, 44 state attorneys general sent a joint letter to multiple AI companies including OpenAI, Meta, Character.AI, and Google, warning that they would “use every facet of our authority to protect children from exploitation by predatory artificial intelligence products.” Both OpenAI and Character.AI have faced multiple lawsuits from families or on behalf of individuals who allege that the chatbots contributed to their children’s deaths. In the fall, the US Senate Committee on the Judiciary held a hearing on the harms of AI chatbots, and the US Federal Trade Commission launched a market study on AI companion bots that included questions about how companies are mitigating negative impacts, particularly to children. (I was previously employed by the FTC and was assigned to work on the market study prior to leaving the agency.)

OpenAI’s child exploitation reports increased sharply this year Read More »

call-of-duty-co-creator-and-battlefield-lead-vince-zampella-dies-in-car-crash

Call of Duty co-creator and Battlefield lead Vince Zampella dies in car crash

Vince Zampella, a video game developer who has co-created or helmed some of the most popular franchises in the world, died in a car crash on a Los Angeles highway at 12: 45 pm Pacific time on Sunday, December 21. He was 55 years old.

According to the California Highway Patrol, Zampella was in a car on Angeles Crest Highway when the vehicle veered off the road and crashed into a concrete barrier. No other vehicles were reported to be part of the crash.

A passenger was ejected from the vehicle, while the driver was trapped inside after the vehicle caught fire. The driver died at the scene, and the passenger died after being taken to the hospital. The report did not indicate whether Zampella was the passenger or the driver.

Angeles Crest Highway is a scenic road under the San Gabriel Mountains on the eastern end of LA and is commonly used for Sunday leisure drives. The vehicle involved in the crash was a 2026 Ferrari 296 GTS.

A storied career in game development

Early in his career, Zampella worked at SegaSoft and Panasonic, and he was the lead designer for the influential World War II shooter Medal of Honor: Allied Assault, which was released in 2002. But it was the famed studio Infinity Ward that turned him into a household name for gamers. He co-founded Infinity Ward with Jason West and Grant Collier in 2002.

Call of Duty co-creator and Battlefield lead Vince Zampella dies in car crash Read More »

two-space-startups-prove-you-don’t-need-to-break-the-bank-to-rendezvous-in-space

Two space startups prove you don’t need to break the bank to rendezvous in space

It may be happening quietly, but there is a revolution taking place with in-space transportation, and it opens up a world of possibilities.

In January, a small spacecraft built by a California-based company called Impulse Space launched along with a stack of other satellites on a Falcon 9 rocket. Upon reaching orbit, the rocket’s upper stage sent the satellites zipping off on their various missions.

And so it went with the Mira spacecraft built by Impulse, which is known as an orbital transfer vehicle. Mira dropped off several small CubeSats and then performed a number of high-thrust maneuvers to demonstrate its capabilities. This was the second flight by a Mira spacecraft, so Impulse Space was eager to continue testing the vehicle in flight.

Giving up control

This was all well and good up until this summer, when a funny thing happened. Impulse handed control of Mira over to another company, which had installed its own software package on the vehicle. And this second company, Starfish Space, took control.

This was more than a little weird, acknowledged Eric Romo, the president and chief operating officer of Impulse Space, in an interview.

“I would walk past mission control, and our teams would be on a call together, and I would just pop my head in and say, ‘Hey, don’t crash spaceship, please,’” Romo said. “It was definitely a new thing.”

But Starfish Space did not crash Mira. Rather, it activated its camera on board the spacecraft and started flying the vehicle. To what end? Founded in 2019, the Washington-based company seeks to build affordable spacecraft that can service satellites in space, providing propulsion or other aids to extend their lifetimes.

Now, flying Mira, the company sought to demonstrate that a single lightweight camera system, along with its closed-loop guidance, navigation, and control software, could autonomously rendezvous with another spacecraft. In this case, it was the very first Mira spacecraft launched by Impulse in November 2023. This vehicle no longer has propellant on board to control its orientation, but its solar panels periodically receive enough charge to allow it to communicate with Impulse’s engineers in California.

Two space startups prove you don’t need to break the bank to rendezvous in space Read More »

the-evolution-of-expendability:-why-some-ants-traded-armor-for-numbers

The evolution of expendability: Why some ants traded armor for numbers

“Ants reduce per-worker investment in one of the most nutritionally expensive tissues for the good of the collective,” Matte explains. “They’re shifting from self-investment toward a distributed workforce.”

Power of the collective

The researchers think the pattern they observed in ants reflects a more universal trend in the evolution of societal complexity. The transition from solitary life to complex societies echoes the transition from single-celled organisms to multicellular ones.

In a single-celled organism, a cell must be a “jack-of-all-trades,” performing every function necessary for survival. In a multicellular animal, however, individual cells often become simpler and more specialized, relying on the collective for protection and resources.

“It’s a pattern that echoes the evolution of multicellularity, where cooperative units can be individually simpler than a solitary cell, yet collectively capable of far greater complexity,” says Matte. Still, the question of whether underinvesting in individuals to boost the collective makes sense for creatures other than ants remains open, and it most likely isn’t as much about nutritional economics as it is about sex.

Expendable servants

The study focused on ants that already have a reproductive division of labor, one where workers do not reproduce. This social structure is likely the key prerequisite for the cheap worker strategy. For the team, this is the reason we haven’t, at least so far, found similar evolutionary patterns in more complex social organisms like wolves, which live in packs—or humans with their amazingly complex societies. Wolves and people are both social, but maintain a high degree of individual self-interest regarding reproduction. Ant workers could be made expendable because they don’t pass their own genes—they are essentially extensions of the queen’s reproductive strategy.

Before looking for signs of ant-like approaches to quality versus quantity dilemmas in other species, the team wants to take an even closer look at ants. Economo, Matte, and their colleagues seek to expand their analysis to other ant tissues, such as the nervous system and muscles, to see if the cheapening of individuals extends beyond the exoskeleton. They are also looking at ant genomes to see what genetic innovations allowed for the shift from quality to quantity.  “We still need a lot of work to understand ants’ evolution,” Matte says.

Science Advances. 2025. DOI: 10.1126/sciadv.adx8068

The evolution of expendability: Why some ants traded armor for numbers Read More »

lg-tvs’-unremovable-copilot-shortcut-is-the-least-of-smart-tvs’-ai-problems

LG TVs’ unremovable Copilot shortcut is the least of smart TVs’ AI problems

But Copilot will still be integrated into Tizen OS, and Samsung appears eager to push chatbots into TVs, including by launching Perplexity’s first TV app. Amazon, which released Fire TVs with Alexa+ this year, is also exploring putting chatbots into TVs.

After the backlash LG faced this week, companies may reconsider installing AI apps on people’s smart TVs. A better use of large language models in TVs may be as behind-the-scenes tools to improve TV watching. People generally don’t buy smart TVs to make it easier to access chatbots.

But this development is still troubling for anyone who doesn’t want an AI chatbot in their TV at all.

Some people don’t want chatbots in their TVs

Subtle integrations of generative AI that make it easier for people to do things like figure out the name of “that movie” may have practical use, but there are reasons to be wary of chatbot-wielding TVs.

Chatbots add another layer of complexity to understanding how a TV tracks user activity. With a chatbot involved, smart TV owners will be subject to complicated smart TV privacy policies and terms of service, as well as the similarly verbose rules of third-party AI companies. This will make it harder for people to understand what data they’re sharing with companies, and there’s already serious concern about the boundaries smart TVs are pushing to track users, including without consent.

Chatbots can also contribute to smart TV bloatware. Unwanted fluff, like games, shopping shortcuts, and flashy ads, already disrupts people who just want to watch TV.

LG’s Copilot web app is worthy of some grousing, but not necessarily because of the icon that users will eventually be able to delete. The more pressing issue is the TV industry’s shift toward monetizing software with user tracking and ads.

If you haven’t already, now is a good time to check out our guide to breaking free from smart TV ads and tracking.

LG TVs’ unremovable Copilot shortcut is the least of smart TVs’ AI problems Read More »