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When a grizzly bear attacked a group of fourth- and fifth-graders in western Canada in late November 2025, it sparked more than a rescue effort for the 11 people injuredfour with severe injuries. Local authorities began trying to find the specific bear that was involved in order to relocate or euthanize it, depending on the results of their assessment. The attack, in Bella Coola, British Columbia, was very unusual bear behavior and sparked an effort to figure out exactly what had happened and why. That meant finding the bear involvedwhich, based on witness statements, was a mother grizzly with two cubs. Searchers combed the area on foot and by helicopter and trapped four bears. DNA comparisons to evidence from the attack cleared each of the trapped bears, and they were released back to the wild. After more than three weeks without finding the bear responsible for the attack, officials called off the search. The case highlights the difficulty of identifying individual bears, which becomes important when one is exhibiting unusual behavior. Bears tend to look a lot alike to people, and untrained observers can have a very hard time telling them apart. DNA testing is excellent for telling individuals apart, but it is expensive and requires physical samples from bears. Being trapped and having other contact with humans is also stressful for them, and wildlife managers often seek to minimize trapping. Recent advances in computer vision and other types of artificial intelligence offer a possible alternative: facial recognition for bears. As a cultural anthropologist, I study how scientists produce knowledge and technologies, and how new technology is transforming ecological science and conservation practices. Some of my research has looked at the work of computer scientists and ecologists making facial recognition for animals. These tools, which reflect both technological advances and broader popular interest in wildlife, can reshape how scientists and the general public understand animals by getting to know formerly anonymous creatures as individuals. New ways to identify animals A facial recognition tool for bears called BearID is under development by computer scientists Ed Miller and Mary Nguyen, working with Melanie Clapham, a behavioral ecologist working for the Nanwakolas Council of First Nations, conducting applied research on grizzly bears in British Columbia. It uses deep learning, a subset of machine learning that makes use of artificial neural networks, to analyze images of bears and identify individual animals. The photos are drawn from a collection of images taken by naturalists at Knight Inlet, British Columbia, and by National Park Service staff and independent photographers at Brooks River in Katmai National Park, Alaska. Bears bodies change dramatically from post-hibernation skinny in the spring to fat and ready for winter in the fall. However, the geometry of each bears facethe arrangement of key features like their eyes and noseremains relatively stable over seasons and years. BearID uses an algorithm to locate bear faces in pictures and make measurements between those key features. Each animal has a unique set of measurements, so a photograph of one taken yesterday can be matched with an image taken some time ago. In addition to helping identify bears that have attacked humans or are otherwise causing trouble for people, identifying bears can help ecologists and wildlife managers more accurately estimate bear population sizes. And it can help scientific research, like the behavioral ecology projects Clapham works on, by allowing individual tracking of animals and thus better understanding of bear behavior. Miller has built a web tool to automatically detect bears in the webcams from Brooks River that originally inspired the project. The BearID team has also been working with Rebecca Zug, a professor and director of the carnivore lab at the Universidad San Francisco de Quito, to develop a bear identification model for Andean bears to use in bear ecology and conservation research in Ecuador. Animal faces are less controversial Human facial recognition is extremely controversial. In 2021, Meta ended the use of its face recognition system, which automatically identified people in photographs and videos uploaded to Facebook. The company described it as a powerful technology that, while potentially beneficial, was currently not suitable for widespread use on its platform. In the years following that announcement, Meta gradually reintroduced facial recognition technology, using it to detect scams involving public figures and to verify users identities after their accounts had been breached. When used on humans, critics have called facial recognition technology the plutonium of AI and a dangerous tool with few legitimate uses. Even as facial recognition has become more widespread, researchers remain convinced of its dangers. Researchers at the American Civil Liberties Union highlight the continued threat to Americans constitutional rights posed by facial recognition and the harms caused by inaccurate identifications. For wildlife, the ethical controversies are perhaps less pressing, although there is still potential for animals to be harmed by people who are using AI systems. And facial recognition could help wildlife managers identify and euthanize or relocate bears that are causing significant problems for people. A focus on specific animals Wildlife ecologists sometimes find focusing on individual animals problematic. Naming animals may make them seem less wild. Names that carry cultural meaning can also frame peoples interpretations of animal behavior. As the Katmai rangers note, humans may interpret the behaviors of a bear named Killer differently than one named Fluffy. Wildlife management decisions are meant to be made about groups of animals and areas of territory. When people become connected to individual animals, including by naming them, decisions become more complicated, whether in the wild or in captivity. When people connect with particular animals, they may object to management decisions that harm individuals for the sake of the health of the population as a whole. For example, wildlife managers may need to move or euthanize animals for the health of the broader population or ecosystem. But knowing and understanding bears as individual animals can also deepen the fascination and connections people already have with bears. For example, Fat Bear Week, an annual competition hosted by explore.org and Katmai National Park, drew over a million votes in 2025 as people campaigned and voted for their favorite bear. The winner was Bear 32, also known as Chunk. Chunk was identified in photographs and videos the old-fashioned way, based on human observations of distinguishing characteristicssuch as a large scar across his muzzle and a broken jaw. In addition to identifying problematic animals, I believe algorithmic tools like facial recognition could help an even broader audience of humans deepen their understanding of bears as a whole by connecting with one or two specific animals. Emily Wanderer is an associate professor of anthropology at the University of Pittsburgh. This article is republished from The Conversation under a Creative Commons license. Read the original article.
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E-Commerce
Most business leaders view themselves primarily as “productive” rather than “creative.” Productivity is often associated with measurable outcomes, such as efficiency, consistency, and task completion. Creativity, by contrast, is frequently perceived as spontaneous, unpredictable, and elusive. Yet, productivity and creativity are not at odds. In fact, they reinforce each other powerfully. Leaders who successfully integrate productive habits with creative practices can unlock new levels of innovation, effectiveness, and personal fulfillment. A global Adobe survey found that 75% of professionals report growing pressure to be productive rather than creative at work, while only 25% believe theyre living up to their creative potential. This creativity gap reveals a systemic imbalance: leaders may be achieving efficiency, but theyre underperforming on innovation. Productivity Without Creativity Leads to Stagnation Many leaders find themselves trapped in cycles of productivity: checking off tasks, hitting deadlines, and running efficient meetings. However, overemphasizing productivity metrics at the expense of creativity can lead to stagnation, disengagement, and missed opportunities for innovation. According to Gallup, disengagement costs the global economy $8.8 trillion annually. And disengaged leaders set the tone for disengaged teams. In our work with executives, we often hear the same lament: Im getting things done, but I dont feel like I am getting anywhere. The problem isnt a lack of effort. Its that productivity without creativity produces motion without momentum. Creativity Needs Discipline The myth of creativity is that it arrives in spontaneous bursts of inspiration. In reality, creativity flourishes when it rests on a foundation of discipline. Cliff knows this from his dual roles. As a songwriter, he leans on courage, openness, and uncertainty. As a recording engineer, he thrives on precision, technical structure, and predictable workflow. Each role strengthens the other. The order of the studio makes space for creative leaps in songwriting. The risks of songwriting push him to keep the studio at peak performance. Similarly, in my own work, Ive seen how structure creates room for insight. In leadership workshops, I utilize tools like the Illuminated Cubea reflective exercise that provides a framework for individuals to surface their hidden strengths. The structure isnt the end; its the container that makes creativity possible. As organizational psychologist Adam Grant points out, productivity isnt about more output; its about quality output. And quality often comes from pairing disciplined focus with creative risk-taking. In Grants view, a disciplined focus allows individuals to produce fewer, higher-quality ideas that have a greater overall impact. Disciplined practice also builds the resilience needed to navigate creative challenges and maintain consistency. Your Spaces Matter, Too Leaders often underestimate the impact of their environment. But organized spacesboth physical and mentalmake breakthroughs more likely. Cliffs recording studio is a model of meticulous organization. Everything is in its place, technically reliable, and ready to go. That structure frees him to explore ideas in songwriting, knowing the foundations wont fail. He also maintains a daily haiku practicea tiny ritual that trains his creative muscles consistently over time. Small practices like these work for leaders too: quick journaling, five-minute brainstorms, reflective pauses before meetings. These micro-habits signal to the brain: This is a space where creativity belongs. Kate ONeill, founder of KO Insights, employs similar strategies, using structured prompts and systematic reminders to maintain consistent creative output amidst demanding productivity schedules. This disciplined consistency allows ONeill to seamlessly integrate creativity into her everyday activities, resulting in more impactful and innovative work. Incorporating small, consistent creative rituals into daily routines can significantly improve leadership effectiveness. Activities like quick journaling, brief brainstorming sessions, or reflective writing help leaders systematically foster creativity, encouraging long-term innovation and adaptability. The Creative-Productive Zone The biggest shift is identity. Too many leaders see themselves as either productive or creative. But the most impactful leaders integrate both. For me, this came from reconciling two identities: The strategist and the artist. For years, I thought of them as separate worlds. However, when I began blending artistic practicessuch as visual thinking, storytelling, and pattern-makinginto my leadership development work, my impact expanded. Creativity didnt dilute my productivity; it deepened it. Cliffs path illustrates the same lesson. His creativity as a songwriter is inseparable from the technical precision of his engineering work. Together, they create a rhythm of freedom within structure. This integration is what we call the creative-productive zone: a state where structure supports exploration and exploration fuels progress. How to Harness Productivity and Creativity Together Bringing productivity and creativity into balance doesnt happen by accident; it requires intention. The good news is that you dont need sweeping overhauls to start. Often, its the smallest shifts in routine and mindset that unlock the most significant breakthroughs. By making space for both discipline and imagination, leaders create the conditions where innovation feels less like a gamble and more like a habit. Here are four practical ways leaders can start today: 1. Build Creative Rituals into Routine. Add small, repeatable practicesa haiku, a sketch, a reflective questionthat keep your creative muscles strong. 2. Organize for Freedom. Create reliable structures (clear processes, tidy workspaces, predictable rhythms) so your mind is free to take risks. 3. Alternate Modes. Design your calendar with intentional blocks for both focused execution and open exploration. Dont try to do both at once. 4. Audit Your Balance. Ask: Am I measuring only outputs? Where am I creating space for ideas, not just tasks? The future of leadership isnt choosing between productivity and creativity. Its mastering both. When you create the structures that support your craft and the rituals that spark your imagination, you dont just get things done, you create things worth doing. The leaders who thrive will be those who can deliver results and inspire, who can hit deadlines and spark breakthroughs. In a world overflowing with efficiency, its the capacity to generate meaning and originality that sets you apart. Productivity makes you reliable; creativity makes you unforgettable. The challenge and the opportunity lie in embracing both with equal intention.
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E-Commerce
Weve had branded entertainment since Procter & Gamble invented soap operas back in the 1930s. But today, brands are forced to diversify the ways in which they gain and hold our attention. Its no longer as viable or effective to depend on traditional paid media tools. Innovative marketers are increasingly investing in content and experiences that attract and engage audiences rather than interrupt and annoy them. And the shift is driving results. Brands of all stripes talk about brand entertainment, but its the exceptions that truly create actual entertainment. Ive spent a lot of time this past year writing and talking on the Brand New World podcast about the variety of ways different brands are doing this right. From WhatsApp working with Modern Arts on a Netflix doc about the Mercedes F1 team, to Dicks Sporting Goods formally establishing an internal entertainment studio that has already won Sports Emmys for We Could Be King in 2015 and The Turnaround in 2024, to the unprecedented deal struck between AB InBev and Netflix. The latter, signed in November, puts the global brewer’s major beer brands front and center in Netflixs push into live sports, as well as giving it early access to placement and integration in Netflix shows and movies. Obviously brands want the shine of legitimate Hollywood entertainment. But production costs and other financial pressures have made working with brands a much more attractive prospect for Hollywood too. So I wanted to check back in with the executives behind some of these projects to find out what they anticipate the biggest developments will be in 2026. The most significant drivers of these developments stem from the evolving platforms, fueled by audience preferences and behavior, as well as the economic realities driving brands and Hollywood into each others arms more often and in more varied ways. Marketersand audiences, for that matterare going to see some big changes coming to screens, both big and small. Read on for what to expect. Shifting platforms Meta announced on December 16 that it would begin testing its Instagram for TV app in the U.S. on Amazon Fire TV streaming devices. Zac Ryder, cofounder and co-chief creative officer of Modern Arts, says this feature is going to be a game-changer for brand entertainment. Brands as varied as UPS, Bud Light, and Sephora have been building audiences on Instagram Reels and Stories, while other brands are jumping into the micro-drama trend of serialized, bite-size soap operas in vertical video. Ryder says this shift means brand content on the platform will continue to look even more like entertainment, getting longer and more ambitious to better align with TV viewing behavior. Ultimately, this will further blur the lines between entertainment and social. Ryder says that as a result we’ll start to see more big swings featuring A-list storytellers and talent this year. This will be especially true for brands who are already very invested in IG and have spent years building their followers. And of course, if brands are going to start dropping more ambitious work on IG, theyll drop it on YouTube as well, he says. In order to compete for brand dollars, streamers will need to become even better partners to brands, all of which will create even more energy in this space and raise the bar even higher. A growing number of people are watching YouTube (and soon, Instagram Reels) on their TVs. Meanwhile, streamers like Netflix and Disney+ are increasingly utilizing brand partnerships to keep subscriber prices competitive. Many of my sources believe these changing dynamics of how we watch and engage with entertainment will drive where brands can find the best opportunities. I suspect we’ll see more next-generation partnerships like those we’ve been involved with this past year, especially as the Warner Bros. thing sorts itself out, says Jae Goodman, cofounder and CEO of Superconnector Studios. I bet Skydance/Paramount, Disney, Amazon, Comcast/NBCU will all come to market with brands as true partners in surprising, innovative, mutually beneficial, and I bet very effective ways. A new strategy Goodman helped broker the Netflix-AB InBev deal and has also helped giants like Nike and LVMH set up their entertainment strategies. He says the long-standing trajectory of how brands and Hollywood do business has fundamentally changed. Typically, its TV networks and streamers selling ad space to media agencies, then creative agencies filling the order. Film studios and distributors sell partnerships to brands, then licensing and promotional agencies get creative with the intellectual property. Brands are now entering the market with real entertainment strategies, Goodman says. And brands are leading the conversation with entertainment entities by asking, What if we wanted to achieve XYZ and then figure out the structure and cost? We refer to it as idea flow before deal flow. This past year, the Martin Agency worked with Subway Takes creator Kareem Rahma on UPS Business Trips. Martins chief brand officer, Elizabeth Paul, believes branded entertainment is growing up and moving from bloated bandwagons with hundreds of brand sponsors (see: Wicked) to fewer projects with a more focused audience. UPS is a major brand that could easily jump on the blockbuster movie bandwagon or make a Super Bowl ad. Instead, “UPS Business Trips” was a relatively small, Subway Takes-inspired series in which Rahma and UPS drivers visit small-business customers. According to the agency, it had more than 100 million views across platforms, and generated 1,000% return on ad spend. For those who truly believe in the space, brand entertainment will stop being treated as a campaign format and start being managed as a portfolio, says Paul, who suggests that the best brands will start thinking like studios, not marketing departments. We’ve seen this most recently with Dick’s Sporting Goodss new in-house studio division, Cookie Jar & a Dream Studios. Dick’s CMO Emily Silver told me back in Septembr that this move will see the brand be more aggressive in the number of films and pieces of content it releases, as well as help the brand build more of a name for itself in the entertainment industry to attract different writers and projects. “It gives us the opportunity to put a little more structure and framework around what content we want to produce and where we want to lean in to help build for the long term,” she said at the time. New economics The most significant factor in the pace of brand entertainment’s evolution is the business imperative from both sides to make the economics work. North American box office revenue for 2025 was more than 20% lower than pre-pandemic levels. And in the first half of 2025, major streamers ordered 24% fewer first-run and renewed scripted titles than the same period in 2024. As production costs have skyrocketed, and the ability to get entertainment projects off the ground more difficult, Hollywoods typically cool condescension toward marketers has thawed to the point of giddy embrace. Cynically, even if Hollywood sees brands as logo-plastered ATMs, brands see an opportunity to exploit this need for cash to do cool things that are actual entertainment. Last year, economic pressure forced marketers to be really choiceful with their media plans, which forced intentionality, says Paul. As brands got more selective, the most successful collaborations meant fewer swings with clearer creative intent. The result wasnt louder brand entertainment, but more considered workprojects that respected fandom, embraced specificity, and trusted audiences to meet brands halfway. Paul cites the Martin Agency’s work on Bud Lights Armchair Quarterback last year, a Netflix partnership starring Peyton Manning that parodies the second season of the streamer’s show Quarterback. Armchair Quarterback attracted more than 100 million social impressions, thanks in no small part to tapping into the fandom of Quarterback by working with the show, its producersManning’s Omaha Productionsand Netflix. However, she reiterates that this can’t be a simple exchange of relevance for cash. This is about forging true strategic partnerships that delight fans and move markets. Talent magnet The relationship between Hollywood and brands has evolved significantly over the past year. Brand partnerships and content are not embarrassing for studios or streamers anymore, in part because of the aforementioned economics, but also because the quality is higher and the value is clear. WhatsApp’s film The Seat, for example, cost about as much as it would to make and buy ad time for a 60-second commercial. But it also was high enough quality to stand on its own on Netflix. This is a virtuous cycle: The better the quality, the higher caliber of talent is attracted to subsequent projects, which in turn should continue to boost the caliber of these projects. Ryder says a growing number of A-list showrunners, writers, directors, and creators have been reaching out to learn more about the brand world in hopes of finding a project to work on together. LVMH’s entertainment division, 22 Montaigne, for example, is developing projects with Reese Witherspoon’s Hello Sunshine, as well as Ron Howard and Brian Grazer’s Imagine Entertainment. When we started making these kinds of brand projects 10 years ago, everyone on the talent side was so suspicious, Ryder says. Many believed brand entertainment was just a glorified long commercial. That has changed as more high-quality films have dropped. Its a bit like a Michelin chef trying a killer food truck and realizing that could be a new outlet for their cooking, he says. There are just a lot more delicious food trucks out there now.
Category:
E-Commerce
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