Increasingly, it seems like the corporate names that dominate headlines are much more diverse than they used to be. Samsung, TSMC, and SK Hynix. Alibaba and Tencent; BYD and DeepSeek. Sea and Grab.

For twenty-five years, it seems like every major technology was American . That assumption is now under strain as innovation spreads from one place to many.

Mehran Gul tries to map out this new network in his book The New Geography of Innovation: The Global Contest for Breakthrough Technologies (Simon and Schuster, 2026). From China's startlingly messy AI ecosystem to Singapore's government-led innovation, from South Korea's decades-old conglomerates still at the frontier to India's world-class talent that too often works abroad; from Europe's struggle to hold on to its best companies, to the deeper role of the state everywhere—including in Silicon Valley—and why the United States, far from declining, is extending its lead into a genuinely bipolar technological order.

Mehran is a winner of the Financial Times/McKinsey Bracken Bower Prize. He attended Yale where he was a Fulbright Scholar, Fox International Fellow, and Teaching Fellow. He has been a Lead for the Digital Transformation of Industries at the World Economic Forum and an expert on Higher Education, Entrepreneurship, and Industrial Policy at the United Nations Industrial Development Organization. Before Yale, he studied at the Lahore University of Management Sciences. He has been a visiting scholar at the Jawaharlal Nehru University in New Delhi and a Fellow with the Acumen Fund.

You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The New Geography of Innovation. Follow on Twitter at @BookReviewsAsia.

Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.

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In Hollywood today, thousands of data specialists work for streaming video platforms, playing a role not just in distribution and marketing but also in decisions about content and production. In Data-Driven Hollywood: The New Data Professionals in the Age of Streaming (Princeton UP, 2026), Violaine Roussel examines the emergence of this new category of professionals at the heart of the Hollywood dream factory. Roussel shows how the rise of data and algorithm specialists has transformed organizations and rearranged power relationships within them. Drawing on extensive interviews and in situ observations, she describes the ways that technical “data work” carried out by professionals at streaming platforms including Netflix, Amazon Prime Video, and Disney+ has had a significant effect on creative decisions.
Rather than fetishizing data and algorithmic models, Roussel explores the practices of the professionals who shape them, manipulate them, and give them power. She examines the relationships of these workers with traditional producers, describing legitimacy struggles and the eventual stabilization of new professional arrangements. Roussel’s account of the ways that data specialists deploy algorithmic models to reinvent their industry’s approach to content, artists, and the market—the first in-depth sociological study of the rise of this new profession—reveals the new forms of power and knowledge at play in today’s Hollywood.

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Debates about AI typically deal with its immediate material consequences, from cybersecurity and infrastructure to plagiarism and copyright. Yet most people deal with AI as a generative consumer product that raises longer-term questions about its cultural effects on American society, human art, and ultimately, our souls. What is the role of the artist, for example, when a bot can crank out the same thing more quickly and efficiently?

To help answer that question, as we continue Season 6, I have as our guest the playwright, novelist, and essayist Matthew Gasda. The author of the novels The Sleepers (2025) and Stranger Beauty (2026), he has written, produced, and directed over thirty plays, including Dimes Square, Zoomers, and Doomers, with his former production company, The Center for Theatre Research.

Today, drawing on his upcoming book, Futurepast (Encounter Books 2026), alongside Stranger Beauty, his many essays on culture and technology, as well as his Ted Talk about training an LLM on his own works, we discuss the future of the creative arts in the AI age.

We also touch upon the paradoxes of Jorge-Luis Borges, Harold Bloom’s literary criticism, what is different about large language models, why Kafka felt older than his predecessors, the mysteries of poetic inspiration and of the soul, what hosting live theater was like during the pandemic, the possibility of secular monasteries, how to use AI as a competitor to root out artistic complacency, and the unpredictable prospects for cultural renewal.

Hosted by Ryan Shinkel, Madison’s Notes is the podcast of Princeton University’s James Madison Program in American Ideals and Institutions. The transcript for this interview is available on the JMP substack page, “Madison’s Footnotes.

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