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Neanderthals extracted animal fat in advanced food prep 'fat factories' 125,000 years ago: report

Neanderthals extracted animal fat in advanced food prep 'fat factories' 125,000 years ago: report

Yahoo06-07-2025
Neanderthals living 125,000 years ago in what is now modern-day Germany may have extracted and eaten fat from animal bones through an organized food preparation process that scientists describe as a "fat factory."
While excavating the site of a former lake landscape called Neumark-Nord, archaeologists discovered thousands of bones from at least 172 large mammals, along with flint artifacts. The bones, which date back to an interglacial period in which Neanderthals lived, were from animals like red deer and horses, according to a study published on July 2 in Science Advances.
While many of the bones that contained less bone marrow were spread out across the archaeological site, researchers observed that many of the marrow-rich bones were located in clusters — sites they call "fat factories."
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Researchers believe our extinct ancestors used tools to smash the bones into small fragments and then boiled them for hours. The grease, which then floated to the surface of the water, could be skimmed off the top and eaten — providing a calorie-dense food source for the archaic people.
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Prior to this, evidence of the practice had only dated back to 28,000 years ago, according to the research.
"Neanderthals were clearly managing resources with precision — planning hunts, transporting carcasses, and rendering fat in a task-specific area," Dr. Lutz Kindler, the study's first author, said. "They understood both the nutritional value of fat and how to access it efficiently — most likely involving caching carcass parts at places in the landscape for later transport to and use at the grease rendering site.
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Fat was a "life-sustaining" resource for Neanderthals, especially during the winter and spring seasons when carbohydrates were scarce. Their diets consisted largely of animal protein, and consuming lots of protein without other nutrients could lead to a sometimes deadly condition called protein poisoning, the research noted.
"The sheer size and extraordinary preservation of the Neumark-Nord site complex gives us a unique chance to study how Neanderthals impacted their environment, both animal and plant life," Dr. Fulco Scherjon, data manager and computer scientist on the project, said. "That's incredibly rare for a site this old—and it opens exciting new possibilities for future research."
In recent years, scientists have also discovered that Neanderthals went diving for seashells that they could chip with stone hammers into thin and sharp cutting edges. Similarly, another study suggested Neanderthals may have buried their dead with flowers.
Researchers Lutz Kindler and Wil Roebroeks did not immediately respond to Fox News Digital's request for comment.Original article source: Neanderthals extracted animal fat in advanced food prep 'fat factories' 125,000 years ago: report
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Peter Sarsgaard On Awards, Elon Musk, And Dancing In His New Film ‘The Bride': 'It's About The Monster In All Of Us' – Karlovy Vary Film Festival
Peter Sarsgaard On Awards, Elon Musk, And Dancing In His New Film ‘The Bride': 'It's About The Monster In All Of Us' – Karlovy Vary Film Festival

Yahoo

time28 minutes ago

  • Yahoo

Peter Sarsgaard On Awards, Elon Musk, And Dancing In His New Film ‘The Bride': 'It's About The Monster In All Of Us' – Karlovy Vary Film Festival

Peter Sarsgaard arrived in Karlovy Vary as one of the festival's few honorees without a new film in the lineup — instead, he presented his 2003 film Shattered Glass, a visionary real-life drama about an ethically unmoored journalist whose embellished stories in some ways foresaw the media landscape of today. That doesn't mean the actor has been idle; he came to the Czech Republic direct from the set of William Gibson's 1984 sci-fi classic Neuromancer. 'It's a big, ten-episode thing for Apple,' he reveals. 'I play a guy called Ashpool, who, if you've read the book, is a guy who's created something that's sort of like AI. He's the wealthiest person in the world, but the world is suffering. He's in his own small world of not suffering, and you see how that's an impossibility: Elon Musk may think he's going to go to Mars to get away from it all, but everything's going to follow him to Mars. There's no getting away. And who the f*ck wants to be on Mars?' 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'I'm known as the first one on and the last one off the dance floor. I shake it until my moneymaker's wet.' DEADLINE: The clip reel of your past work that the festival showed here was pretty impressive… PETER SARSGAARD: Anguish! [Laughs.] So much anguish, my God. DEADLINE: How did you feel about it, looking back at your work? SARSGAARD: I feel like I'm getting better and better as an actor. That's what I feel like. I feel like at least it's not going the other way yet. DEADLINE: Have you always been able to be objective about your acting? SARSGAARD: I think when I was younger, I thought I was great, period. Yeah. When I first started acting, the first time I ever did it, this beautiful woman named Karen Schmulen asked me to come to an acting class with her, because I seemed depressed or something. And so, I audited an acting class, and I remember sitting there watching these other actors. I always felt really like a non-actor. And I felt like a non-actor for a long time, because a lot of the people who were actors that I grew up around were very theatrical people. And the class had a lot of those people. They asked me to read from this play, Bent, which is about homosexuals in the Holocaust, and it was an insanely dramatic scene where he has to prove his sexuality — prove that he's heterosexual — by having sex with a dead woman. And I mean, the stakes could not be higher! And I didn't know that I could do it. I thought, well, this is impossible. And then I started doing it, and it was like I slipped into [a trance] and I came out the other side and everyone was looking at me like they had just watched something, and I went, 'Oh wow, I'm really good at this. And so, I felt like I was really good at it kind of immediately. And I look back now and I see someone who needed to be seen, had a lot of emotions to let go of and express, and I was sort of just venting emotions for a long time. It wasn't as finely nuanced as I'm ultimately capable of. And it took a number of years to get all of that out. Now, I have access to an emotional life, but that doesn't have to be everything. DEADLINE: When did you reach that point of letting go? SARSGAARD: I mean, it was gradual. I don't know that there was an exact moment, but I knew it was something that I needed to ultimately do. I was asked to play a lot of people in crisis situations early on, a lot of victims. My audition for Dead Man Walking was: 'Your girlfriend is getting raped in front of you. Improvise.' I actually have the audition tape. The casting director, Doug Aibel, still had it, and I saw it recently. It's very convincing. I look like a person who's watching his girlfriend get raped, but that's only one aspect of acting, right? To put yourself in heightened imaginary circumstances and be able to do it. I'm really glad that I'm not having to do that anymore. 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What was interesting about that film is I had people who were on both sides of that war come up to me and say, 'I have problems with the film,' and I've had people who are on both sides of that situation come up to me and say that they thought the film was great. To me, that film was just about journalism. It was about the beginning of 24/7 news coverage, and it asks, 'Is seeing something in real time, without having any perspective on it, the truth?' I mean, is it better to take 24 hours to fully understand something versus following it second by second? Where you point the camera, you've made a decision already. It's already subjective. This idea that a live camera is the truth I don't think is… It's certainly not the full truth. So… I don't know. To me, it exceeded its expectations. When I went to go make that movie, if somebody had told me that it would've been nominated for any awards, I would've been very surprised. DEADLINE: Just because it was so small? SARSGAARD: Yeah. It was made for nothing. It had no money behind it. Awards are about money. Look, if you're on a big movie, that's a lot of voters that are just on your movie set that are going to vote for your movie, right? Or if your director has been nominated for 15 Academy Awards, chances are he will be nominated, the film will be nominated, and all the actors will be nominated. The awards are no litmus test of anything other than a certain degree of quality and popularity. I think awards are important for shining a light on movies that otherwise wouldn't have been seen. And so that's why, I guess in some sense, I'm into a kind of affirmative action with awards. We should really go, 'What needs it?' Not necessarily what deserves it, because who the f*ck knows what deserves it? We all have different opinions on that, but what could use a spotlight? What could use some attention? For me, a film like Nickel Boys, that deserves some attention. That's an interesting thing that happened not that long ago in the United States and I thought the film was very well-made and, yeah, give that film some attention. DEADLINE: You're in Karlovy Vary with another film about journalism, , about a guy who fabricates his stories… SARSGAARD: …In the interest of entertainment? DEADLINE: Yes. How do you think that story resonates in today's world? SARSGAARD: Isn't journalism all about entertainment on some level? I mean, why do we cover a hurricane coming toward some place in 24/7 coverage? It's not just to warn people to get away. It's because it's entertaining. It's a natural phenomenon that looks incredible. 'Oh, we're going to get in a plane and we're going to look at it from the top and it's impressive.' It's viewership. A lot of the places where I get my news are not supported by advertising. And I think that if viewership is your model and advertising and all of that, then it's going to have an effect on the news. So, what happens in Shattered Glass is, he's trying to make it entertaining. So, he fabricates things to make it more entertaining. I think that happens so much now that it's almost like the movie feels old-fashioned. Right? I know a couple of journalists who are independent journalists, and I actually get a lot of my news from them. DEADLINE: In your speech the other night you touched on current affairs in the United States. Do you like to use your platform as an actor, as a public figure, or is it more about the need to express how you feel? SARSGAARD: I have no idea if anyone will listen to what I say, but anytime I'm in front of a microphone and there are a bunch of people, I consider it an opportunity. And I certainly am not going to stand up there and weep about how my acting teacher helped me get to this moment. I think we are not in the age of individual achievement. Nobody wants to watch an actor get up there and be like, 'This is my big moment!' 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I think for 99% of us, 1% [of the population] is fucking things up. DEADLINE: Do you think actors in particular are starting to self-censor, because they don't know whether their words will be used against them? SARSGAARD: I think that that time is ending. I was looking at actors at Cannes, they were all speaking out quite forcefully about things they believed in. I mean, some of them pretty controversially. I don't feel scared about it, really. I mean, I'm not an actor that's in big blockbusters that have to sell to every single person. My audience doesn't have to be absolutely everyone. When you make a movie for $10 million or under, you can make it however you want it. You don't have to have everybody like it. If you make a movie for a $100 million then you have to not say anything controversial. The good news is that I'm not like Tom Cruise. I think for him there would probably be more at stake in terms of saying what he thought. In some ways he does say what he thinks, but not super-controversially. DEADLINE: What is your relationship with technology and AI? SARSGAARD: My relationship with that stuff? Well, I'm just old enough that… I mean, I have memories of black and white television and getting up and changing the channel. I watched [TV shows] Hogan's Heroes, Baa Baa Black Sheep. These were the things I grew up watching. And we didn't get cable for a long time, because my family doesn't watch television. We didn't get cable until I was, I think, 14. And then I didn't get a cell phone until I was 23 or something like that. But my dad was a computer programmer and salesman and stuff and knew a lot about computers. And so, we always had IBM computers in the house. My dad also had a ham radio. They felt similar. So, my relationship with technology is still like that. I use this phone for music and chess. That's about it. 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APOE4 May Raise Brain Bleed Risk in Apixaban Users With AF
APOE4 May Raise Brain Bleed Risk in Apixaban Users With AF

Medscape

timean hour ago

  • Medscape

APOE4 May Raise Brain Bleed Risk in Apixaban Users With AF

TOPLINE: Carriers of the apolipoprotein E epsilon 4 (APOE ε4) allele had a threefold higher risk for intracranial hemorrhage (ICH) when taking apixaban for atrial fibrillation (AF) compared with noncarriers, a new study suggested. METHODOLOGY: The study included data for more than 2000 participants (mean age, 71 years; 55% men; 84% with European ancestry) from the All of Us Research Program, collected between 2017 and 2022. The median follow-up duration was 2.9 years. Individuals older than 50 years who were taking apixaban for AF were included in the study, which excluded those with prior ischemic stroke or ICH. After APOE ε4 status was determined, carriers (n = 483) were defined as those having one or two alleles and noncarriers (n = 1555) as those without alleles. The primary outcome was incident ICH after initiating apixaban therapy, including any nontraumatic intraparenchymal, subdural, or subarachnoid hemorrhage. Secondary outcomes included incidences of intraparenchymal hemorrhage, ischemic stroke, and a composite of ischemic stroke and ICH. Also used was a HAS-BLED score, which includes factors such as age, hypertension, stroke, and history of or predisposition for bleeding, to predict risk for major bleeding. TAKEAWAY: About 26 participants developed ICH during the study, with cumulative ICH incidence significantly higher among APOE ε4 carriers than noncarriers (3.1% vs 1%; P = .007). Carrying the APOE ε4 allele was associated with a threefold increase in risk for ICH (hazard ratio [HR], 3.1; P = .004) and intraparenchymal hemorrhage (HR, 3.7; P = .002) compared with not carrying the allele. There were no significant differences between carriers and noncarriers in the other two secondary outcomes. APOE information improved the predictive power of the HAS-BLED score, with C statistics of 0.74 and 0.68 for models with and without APOE information, respectively (P = .03). IN PRACTICE: The findings 'underscore the importance of genetics in personalizing pharmacological therapy, aiding clinicians in identifying high-risk patients and tailoring anticoagulant strategies,' the investigators wrote. 'Further research is needed to evaluate whether cerebral amyloid angiopathy mediates the observed association and whether APOE ε4 information improves clinical decision-making about anticoagulation therapy' in patients with AF, they added. SOURCE: This study was led by Santiago Clocchiatti-Tuozzo, MD, Yale School of Medicine, New Haven, Connecticut. It was published online on June 23 in JAMA Neurology LIMITATIONS: This study could not distinguish between lobar and deep hemorrhages because of its reliance on electronic health record data, limiting the ability to determine the relative contributions of hypertension and cerebral amyloid angiopathy to each hemorrhage type. The predominant European ancestry of participants may have limited the generalizability of the findings. Additionally, external validation of the prediction analyses was not possible because of the lack of other genetic studies in the US evaluating patients with AF treated with apixaban. DISCLOSURES: This study was funded by the National Institutes of Health and the American Heart Association. Several investigators reported having financial ties with various organizations and companies. Full details are provided in the original article. This article was created using several editorial tools, including AI, as part of the process. Human editors reviewed this content before publication.

Topflight Pharma Development Veteran Joins Synendos
Topflight Pharma Development Veteran Joins Synendos

Yahoo

time2 hours ago

  • Yahoo

Topflight Pharma Development Veteran Joins Synendos

Dr. George Garibaldi is named Chief Medical Officer (CMO) as Synendos transitions from Phase 1 into Phase 2 of its clinical development strategy Dr. George Garibaldi, MD BASEL, Switzerland, July 15, 2025 (GLOBE NEWSWIRE) -- Synendos Therapeutics ('Synendos'), the clinical-stage biotechnology company developing breakthrough therapies for neuropsychiatric disorders, announced today that it has named Dr. George Garibaldi, CMO. This appointment is particularly timely as the company moves towards Phase 2 clinical development of its lead drug asset SYT-510. Synendos CEO, Andrea Chicca said, "It's tremendous that Synendos can attract this calibre of talent and experience. George offers a nuanced clinical perspective on the urgent needs of the patients we are looking to help, combined with specific expertise in advancing transformative neuroscience therapies from concept to clinical adoption.' Dr. George Garibaldi is a psychiatrist and neuroscientist with more than 30 years of experience leading global clinical development programs in CNS disorders. His career spans leadership roles at Roche, Novartis and Janssen, where he oversaw the development of breakthrough treatments including Ocrevus® for primary progressive and relapsing remitting multiple sclerosis and Exelon® for Alzheimer's disease and Lewi body dementia. As co-founder of Noema Pharma, he spearheaded the in-licensing and advancement of shelved CNS assets, securing major venture funding and progressing them through pivotal clinical trials. Known for his strong beliefs in empowering patients, Dr. Garibaldi has published more than 100 peer-reviewed articles and has developed widely used clinician- and patient-reported outcome measures. He is a founder and past president of the International Society for CNS Clinical Trials and Methodology and is recognized by peers as a collaborative, strategic leader dedicated to advancing mental health and neuroscience therapeutics. 'Mental health and brain health have for far too long been underserved by traditional drug development models,' said Dr. Garibaldi. "Synendos is combining the pursuit of an innovative target with a commitment to rethinking how we design trials, measure outcomes and prioritize patient function. It's this willingness to be ahead of the curve with therapeutic innovation and a genuine patient focus that made me want to be part of the company.' He added, 'Society today recognizes that there is no health without mental health. We have the rare opportunity to chart our own path here. I am eager to lead this transformation and help this exceptional team advance the next generation of brain therapies that could truly change the lives of patients.' About SynendosSynendos is a clinical-stage, neuroscience company developing potentially breakthrough therapies for neuropsychiatric and other CNS disorders such as anxiety disorders, PTSD and other indications. We utilise the modulation of a new drug target in the endocannabinoid system (ECS) that enables restoration of the natural functioning of the brain. Synendos' lead drug candidate, SYT-510, belongs to a novel class of ECS modulators named Selective Endocannabinoid Re-uptake Inhibitors (SERIs). SERIs represent first-in-class, new chemical entities that modulate the ECS through a self-limiting mode of action (MoA) with the potential to deliver meaningful benefits to patients. This novel MoA has the potential to combine treatment of a range of symptoms with sustained efficacy in large patient populations together with the potential to address a key unmet need, that of chronic tolerability, allowing more patients to stay on treatment and regain an improved quality of life. For more information please contact: Synendos Therapeutics AG Simon Russell +41 79 138 5840 O Public Relations GmbHO'Patrick Wilson o@ 78 888 4332 A photo accompanying this announcement is available at in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data

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