The Gayzette

Psychedelic Alpha's practitioner newsletter (Oct 14) reports that Compass Pathways, which is developing a psilocybin treatment called COMP360, expects to file its new drug application this quarter, with a decision in up to 4 months and a launch in the first half of 2027. Compass expects a REMS like Spravato's, with at least 6 hours of monitoring. The newsletter also says Compass based its payer talks on Spravato's annualised price, around $50,000 to $65,000; that is a benchmark, not a COMP360 price.

Two other pieces moved. Resilient, the company formerly called Lykos, has, the newsletter understands, refiled its application for MDMA to treat PTSD without completing a fresh Phase III trial in-house (the large final stage of testing), leaning on other groups' studies; neither Resilient nor the FDA has commented. And California has budgeted $4.7 million for psychedelic research for veterans. Next on the regulatory calendar: the FDA's request for information on ibogaine closes for comments on Nov 20.

The caveat: this is one trade newsletter, and the Compass timeline is the newsletter's reporting of company statements, not an FDA schedule. It is also regulation and logistics only. Nothing here is a claim about what these drugs do for any one person.

To compare how fast different black holes eat, astronomers use the Eddington limit, roughly the fastest a black hole can feed before the light from its own meal starts pushing the food away. It works like a speed limit that scales with the black hole's size, so feeding rates can be compared as a percentage of it.

Goodwin and Mummery, in a Nature Astronomy paper announced by Curtin University, studied 10 usable tidal disruption events. The delayed radio jets appeared when feeding fell to about 2% of the Eddington limit. The same roughly 2% threshold had already been tied to jets from small black holes in our own Milky Way. So objects that differ in mass by millions of times appear to follow one rule.

Picture a garden tap and a fire hydrant that both start to sputter at the same fraction of full flow. When a single number holds across a size gap that large, it hints that the switch belongs to the physics of feeding itself rather than to any one kind of black hole.

The caveat: 10 events is a small sample, so this is a strong pattern so far, not a closed case.

Kate Su of the Space Science Institute and colleagues studied 21 of these disks, 5 observed by the Spitzer telescope and 16 by Webb, in The Astrophysical Journal (published Oct 1). They read the dust's chemistry like a crash report. About one-third of the disks are silica-rich, which points to violent collisions between Mars-sized bodies. The other two-thirds are silica-poor, which points to lower-energy impacts, including grazing impacts between Moon-sized bodies. Silica is the mineral family behind sand and glass, so its abundance works as a clue to how hard the hit was.

This stage is rare. Only about 1% of young stars show it, which is why a sample of 21 is worth having. And it is close to home: the work relates to the giant impact that made our own Moon, so these disks are a look at the kind of crash that shaped the sky we see every night.

The caveat: these are snapshots of 21 systems, not a movie of one, and the release is 11 days old, at the outer edge of this week's window.

The music is the unusual part. Singer-songwriter Emily Estefan performs live onstage, with most of the music drawn from her 2017 debut album, on vocals, guitar and drums, while the orchestra in the pit plays her songs. Picture a concert and a ballet sharing one stage, with the artist standing inside the dance rather than hidden away below it.

Delgado told Pointe what the new role feels like: "This feels like I have the ability to craft the dance in any way I want." For a dancer who spent nearly two decades executing other people's choices, that sentence is the whole career turn in miniature.

Per Miami City Ballet's page, the program runs Oct 16-25: Miami's Arsht Center through Oct 18, then the Broward Center in Fort Lauderdale on Oct 24-25.

The caveat: Pointe's piece ran on Oct 8, before opening night, so this is a preview of what she set out to make, not a review of how it landed.

Tessa Virtue, a two-time Olympic ice-dance champion, is crossing that line. She performs solo in The Unruly Heart, a premiere by choreographer Alyssa Martin, the festival's artist in residence, at Fall for Dance North in Toronto. Rehearsals began in July. National Ballet of Canada principal Heather Ogden brought the three of them together, and Scott Moir, Virtue's skating partner of 22 years, is in the audience this time rather than beside her.

There is a road not taken in the story: at 9, Virtue turned down a spot at Canada's National Ballet School to pursue ice dancing. Her pro dance debut is that other door, opened years later.

The festival, now in its 12th edition, runs Oct 15-25. Martin's piece sat on the LEGENDS program, Oct 15-17.

The caveat: Dance Magazine wrote this up ahead of the performances, so we can say what the piece is and how it came together, not how it went.

Tribeca TV takes episodic work, pilots and independent series. The fee is $50 by Oct 21, $60 by Nov 18 and $75 by Feb 3, 2027. Shorts, meaning films under 40 minutes, cost $50 by Oct 28, $70 by Dec 2 and $80 by Feb 3. Every deadline closes at 11:59 pm Eastern, which is 8:59 pm in Los Angeles.

Two rules matter for a puppet comedy. Tribeca says independently created pilots must show potential for serial growth and standalone short films will not be considered, so a pilot and a short are different animals, and each project needs its own entry form. Decide which one Stacy is before paying.

Timing matters too, because other doors have shut. Slamdance 2027 (Feb 18-24 in Los Angeles) closed on Oct 6, with notifications due Dec 17; its page says submissions are closed, with Oct 6 as the final deadline.

The caveat: Tribeca's rules page carries no publish date, so confirm the fee on the form itself before you pay. The beat was quiet this week, which is why a deadline story leads it.

The UK Society of Authors, the Creators' Rights Alliance, the Authors Guild in the US, and the Australian, Canadian and New Zealand author bodies released a shared charter for the ethical use of generative AI, built on UNESCO's 10 principles for responsible AI. The Society of Authors' release is dated Oct 14; Publishing Perspectives reported it the next day.

Among the commitments, signatories pledge three things that matter most here. They will publish a policy saying what AI use they permit and how they disclose it. They will back consent-based systems that include the rightsholder's permission. And they will disclose AI-generated content when it forms a material part of a work. That last phrase carries the weight: a spell-checker is not a co-author, but a chapter drafted by a model may well be a material part.

Early backers named include Kazuo Ishiguro, Tracy Chevalier and Kester Brewin, and anyone can sign at ethicalaicharter.com.

The caveat: the article gives no signatory count, so it is too early to say how widely the charter has caught on.

On Oct 15 the US Small Business Administration issued its first guidance that names content creators, placing them under NAICS 5121, Motion Picture and Video Industries, for SBA lending and contracting. Net Influencer reports that this covers 27 million creator-led businesses.

Creators were already eligible for SBA programs. What they lacked was a clear answer about which code applied, so two businesses that both sell video could reasonably have filled in different boxes. The SBA is also weighing a permanent creator-specific exception, and a comment period on the SBA's broader size-standards rule (the cutoffs for what counts as a small business) closes on Nov 20.

Think of it as the government finally printing a label for a drawer people were already using.

The caveat: guidance names a code; it does not hand out money. It makes the forms clearer, not the approvals easier.

It is in public beta on all paid plans. Claude can read the file and whatever you have selected, and edit it directly. In Sheets it writes formulas, pivot tables (summary tables that regroup rows by category) and native charts. In Slides it builds from the deck's existing layouts and checks for overlapping elements.

The default mode is "Ask before edits": each proposed change arrives as an approval card you accept or reject, a bit like tracked changes from a collaborator. Separately, Google Docs, Sheets and Slides connectors let you create and edit those files from inside a Claude chat.

The caveat: it is a beta, Anthropic's page says nothing about free plans, and we have not tested it ourselves, so treat the feature list as the vendor's own description until it has been tried on a real file.

The toggle hides AI-generated tracks, albums and related artists from search, and it is due before the end of 2026, TechCrunch reported on Oct 14. The scale explains why. In July, Deezer said more than half of its daily uploads were AI-generated, about 90,000 tracks a day, up from about 10% when it launched its AI detector in January 2025.

Listeners asked for it. A Deezer-Ipsos survey from November 2025 found roughly 45% of customers wanted a way to remove AI music. The switch puts that choice in the listener's hands instead of the platform deciding for everyone.

It lands as YouTube Music starts labeling songs as "Fully Gen AI", "Partly Gen AI" or "No Gen AI". One service labels, the other lets you filter; together they sketch where streaming is heading on AI music: disclosure first, and a choice for the listener.

The caveat: Deezer's toggle is a promise with a deadline, not a shipped feature yet.

The report's angle is energy security: how much imported oil those cars let a country skip. Every electric car on the road is a fuel tank that never has to be filled from a tanker. Ember estimates that oil importers saved about $20 billion in the six months after the Hormuz crisis began, with about 200 million barrels of crude displaced.

China carries most of it. From March to August, electric cars there displaced about $14 billion of crude, roughly three-quarters of the total for oil importers. The EU accounted for $3.1 billion.

This is a bad-news-makes-good-news receipt: a supply shock that made oil painful also made the cars that skip oil look better, and the buying records show people noticed.

The caveat: displaced oil is an estimate. Nobody can meter a barrel that was never burned, so these savings are calculated, not counted.