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I love this quote from Denis Villeneuve & it holds true for editing manuscripts:

"There’s a specific moment when you know that the movie’s finished because you try to correct the editing and the movie bites you back."

(Photo:Chantal Anderson/The New York Times)

nytimes.com/2024/02/21/movies/

Mechanisms of metastasis.

'Together, our data show that glucocorticoids released during chronic stress cause NET formation and establish a metastasis-promoting microenvironment. Therefore, NETs could be targets for preventing metastatic recurrence in cancer patients, many of whom will experience chronic stress due to their disease.'

cell.com/cancer-cell/fulltext/?

'As if this quest isn’t hard enough, biologists cannot agree on what a species is. A 2021 survey found that practicing biologists used 16 different approaches to categorizing species. Any two of the scientists picked at random were overwhelmingly likely to use different ones.'

nytimes.com/2024/02/19/science

"Illustration of evolutionary mechanisms enabling eukaryotic acquisition of innate immune machinery from bacteria. Gray background illustrates bacterial sequences, with transition to white background indicating inheritance by eukaryotes. Through analysis of the evolutionary history of CD-NTase, STING, and viperin proteins, Culbertson and Levin highlight 3 broad mechanisms of eukaryotic immune gene evolution: vertical inheritance from LECA (green clade), horizontal gene transfer to specific eukaryotic clades groups (blue, pink, and tan clades), and convergent domain shuffling where similar accessory domains (red with white hashes) are found fused to the same immune gene (tan clade)."

journals.plos.org/plosbiology/

'The center of the movie, however, is the music. Tavernier, Maxine Gordon writes, “insisted that all the music would be recorded live as the musicians were filmed.” The musicians in “ ’Round Midnight” don’t play watered-down jazz. Although the numbers are condensed, much shorter than is usual on records or in concerts, the performances themselves are almost all full-strength, unadulterated modern jazz.'

newyorker.com/culture/the-fron

"With this perspective, our intent is to provide some orientation—and some sense of calm—while navigating the diversity of CRISPR tools, recognizing what needs to be done to make them better and tackling the technical, regulatory and other challenges. Inspired by Douglas Adams’ classic scientific-fiction comedy novel The Hitchhiker’s Guide to the Galaxy (1979), this article is our attempt to provide a brief, and hopefully informative, tour with this hitchhiker’s guide to the universe of -based editing tools in bacteria."
Krink et al @emboreports
embopress.org/doi/full/10.1038

"Antivaccine perceived experts are therefore overrepresented on Twitter compared to the share of actual biomedical experts who oppose COVID-19 vaccines, which may lead observers to underestimate the scientific consensus in favor of COVID-19 vaccination, in turn reducing vaccine uptake"

academic.oup.com/pnasnexus/art

"One of the movie’s nice surprises is that Morricone turns out to be a total charmer, a low-key showman with a demure gaze that he works like a vamp and an impish smile that routinely punctuates one of his anecdotes."

nytimes.com/2024/02/08/movies/

Joana Lobo Antunes @JoanaLA at the Champalimaud PostDoc day, describing the moment when she realised science communication could be more than something you do on the side (spoiler: there was a lot of screaming across age groups).

That's not a profit margin. *That's*👇 a profit margin

"Relx does not disclose figures for specific journals but reported £2.9bn revenues in 2022 for all scientific, technical and medical products, with an operating profit of £1.1bn."

ft.com/content/33e41e46-0d5d-4

During the 2020 lockdown @madparreira experimented with making miniature paper sets in tupperwares & lighting them with her cellphone :)

madalenaparreira.com

'Duke Maximilian I of Bavaria had whisked Dürer’s panel off to his private collection in Munich in 1614, just over a century after it was completed, arranging with the Dominicans for a copy to replace it. This copy is now in the Historisches Museum in Frankfurt, and although it lacks Dürer’s skilled brushwork and glorious colors, it allows us to see his design and in particular one daring, even shocking, detail. Just to the left of center Dürer painted his own portrait: an isolated figure in a recognizably German landscape, poised between the apostles looking up in awe and the Madonna floating above. He holds a board with “credits larger than a shop sign” declaring that he, Albrecht Dürer, had created this picture, ending with a large version of his monogram, “AD.”'
Jenny Uglow @nybooks

nybooks.com/articles/2024/02/2

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