Politics can divide even friends and families. When this happens, we like to tell ourselves that the explanation lies in honest differences in values and preferences. From this standpoint, friends from different political parties won’t really disagree, for example, about the number of workers displaced in the pandemic, but they might differ on who should bear the costs.

It’s another matter, however, if political conflict results from differences in information or attachments to alternative realities.

It’s possible to disagree – but still engage – with friends or fellow citizens who evaluate the benefits of test and tracing policies for COVID-19 differently, but how do we communicate with someone who – armed with the same public information – concludes that there is no pandemic?


We are behavioral economists who use controlled experiments in human decision-making to study political behavior.

One of our current research programs finds that Americans who identify with a political party – that is, partisans – don’t always vote for what they believe to be correct. Rather, assuming their vote won’t matter much, they use it to express their partisan affiliation, even when their vote is anonymous.

COVID-19 may be the exception to this rule.

Political expression before COVID-19

In our 2018 paper, “Partisan Bias and Expressive Voting,” we found that differences arise along party lines even when people vote on the answers to factual questions about politics. Rather than reflecting sincere differences in belief, we found these responses were largely “expressive,” or a way of affirming political identity.

We conducted an online experiment in which we asked Democrats and Republicans a series of multiple choice questions about climate change, immigration and police shootings, among other topics.

Each question had an objectively correct answer. For example, participants were not invited to evaluate the importance of climate change, about which honest differences exist. Rather, they were asked how much mean global temperature had changed.

By asking respondents to identify verifiable facts, we left no role for partisan interpretation. Instead, we focused on their willingness to acknowledge facts that may conflict with their party’s preferred views.

Participants answered multiple choice questions as “individuals” or as members of small groups of “voters.” Individuals received a cash bonus when their own answers were right. Voters got the bonus when a majority of their group was correct.

We speculated that someone affiliated with climate skeptical politicians or parties might choose one answer to the question about temperature change as a voter, but another, less partisan, answer as an individual.

The reason is that voters who anticipate that their own response is unlikely to be decisive in determining the group’s answer may prefer to express opinions that are more favorable to their own party, while individuals know that their own answer will definitely determine whether they get the bonus.

We found that, despite the financial rewards for correct responses, a partisan gap did indeed emerge among voters. On most of the questions we asked, there were substantial differences between the choices of Democrats and Republicans, with voters tending to give answers more favorable to their own party’s position.

If these gaps were purely due to differences in beliefs, then we would expect to see similar differences when people answered these questions as individuals. Instead, we found that people answering as individuals were much less partisan than people voting as part of a group.

Additionally, individuals were far more likely than voters to correctly answer questions that challenged their party’s preferred views. This suggests that the partisan differences were primarily due to expression, or the desire to affirm party affiliation, rather than sincere differences in belief. On balance, we found that Republicans were more expressive than Democrats.

Cheering for your team

Our findings provide fresh perspective on a longstanding theory of how and why people vote. Citizens who recognize that their vote is rarely decisive may prefer to cast their votes, not to influence the outcome of an election, but to express themselves or reaffirm their political identities.

In this light, voting has been compared to cheering for a favorite sports team. In most cases, we don’t actually believe we will influence the outcome by going to a game or screaming at our televisions, but we do it because it brings us joy and helps us feel connected to fellow fans.

The consequences of such expressive voting behavior can be serious. Polls indicated that the number of Leave voters who regretted their vote immediately after the learning the outcome of the June 2016 Brexit vote was similar to the margin of victory.

This suggests that if voters had been less expressive, and had voted for the option they truly wanted, the course of European history might have been different.

Still, our initial research indicated that citizens shared a common set of facts about the world, and so provide some reason for optimism.

Unfortunately, our most recent research suggests that this isn’t the case for the COVID-19 crisis, and that at least some partisans seem to live in alternative realities.

COVID is different

This spring, we returned to the field with questions for more than 600 survey respondents in the U.S. about the COVID-19 pandemic. We expected to find that, despite sometimes heated rhetoric, Americans understood, or at least didn’t disagree about, the facts concerning estimates of the mortality rate and U.S. testing capacity.

What we found surprised us. We asked, for example, about the number of completed tests per million residents in the U.S. relative to Italy, one week after the White House announced its “historic public-private testing partnership” on April 13.

At the time, Italy had conducted about 3,000 tests per million. Our participants were offered five options for how many tests had been completed in the U.S. per million residents. The correct answer, at the time, was between 100 and 2,000.

The participants who answered as part of a group were told that they would be rewarded if five or more in a random group of nine voted for the correct answer. Consistent with our previous work, voter responses varied with their political affiliation.

More than 1 in 3 (34.2%) Republicans chose the answers most favorable to the Trump administration, and claimed that the U.S. performed as many or more tests than Italy. Fewer than 1 in 7 (14.2%) Democrats did. Overall, we found a large gap in the average response provided by Democrats and Republicans who voted.

The surprise was that these percentages did not change much, if at all, for individuals, who were rewarded when their own answer was correct.

One in 3 Republicans (33.7%) still chose the incorrect options that were most favorable to President Trump, while the number of Democrats who did likewise fell a little, from 14.2% to 12.6%. Thus, unlike the patterns we observed for non-COVID-19-related questions, we found that little of the difference can be attributed to partisan expression.

We saw a similar pattern with our question regarding the COVID-19 mortality rate. Our research found that Democrats and Republicans held genuine but different beliefs, not just about values or policies, but about basic facts.

To the extent that members of different parties evaluate differently the seriousness of COVID-19 and our government’s response to it in their voting decisions, our results indicate that this assessment is due to differences in beliefs rather than partisan expression.

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While it is tempting to attribute these results to the polarization of television and radio audiences and the influence of social media – that is, to characterize the choices of our participants as somehow uninformed – it’s worth repeating that we did not see the same partisan gaps in 2016, when we asked questions that were no less salient to partisans.

We can only speculate as to the source of these differences. It may be that the COVID-19 threat overwhelmed our usual impulse for partisan expression, and that conflicting information in the earliest stages of the pandemic allowed separate narratives to take root.

It also remains to be seen whether Democrats and Republicans will continue to live in these alternative realities, whether this division will extend to other issues, or what the consequences for the 2020 election will be. Until then, however, we may have to accept that some arguments among family and friends reflect the different worlds we now live in.

This article was originally published by The Conversation and was written by Andrea Robbett and Peter Hans Matthews. You can read it here.

  • Why Michelangelo’s ‘Last Judgment’ endures
    Photo credit: Sistine Chapel collection via Wikimedia CommonsMichelangelo’s 16th-century fresco ‘The Last Judgment.’
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    Why Michelangelo’s ‘Last Judgment’ endures

    A restored masterpiece still provokes awe and debate.

    Michelangelo’s fresco of “The Last Judgment,” covering the wall behind the altar of the Sistine Chapel in Vatican City, is being restored. The work, which started on Feb. 1, 2026, is expected to continue for three months.

    The Sistine Chapel is one of the great masterpieces of Renaissance art. As the setting where the College of Cardinals of the Catholic Church meets to elect a new pope, it was decorated by the most prestigious painters of the day. In 1480, Pope Sixtus IV commissioned Domenico Ghirlandaio, Sandro Botticelli, Pietro Perugino and Cosimo Rosselli to paint the walls. On the south are six scenes of the “Life of Moses,” and across on the north are six scenes of the “Life of Christ.”

    In 1508, Pope Julius II commissioned Michelangelo to paint the ceiling. The theme is the Book of Genesis, the first book of the Bible. The images show God creating the world through the story of Noah, who was directed by God to shelter humans and animals on an ark during the great flood. The ceiling’s most famous scene may be “God Creating Adam,” where Adam reaches out his arm to the outstretched arm of God the Father, but their fingers fail to meet.

    At the sides, the artist juxtaposed the male Hebrew prophets and the female Greek and Roman sybils who were inspired by the gods to foretell the future. It was completed in 1512; then in 1536, Michelangelo was asked to create a painting for the wall behind the altar. For this immense work of 590 square feet (about square meters), filled with 391 figures, he labored until 1541. He was then nearly 67 years old.

    As an art historian, I have been aware how, from the beginning, Michelangelo’s “The Last Judgment” sparked controversy for its bold and heroic portrayal of the male nude.

    Many layers of meaning

    Michelangelo liked to consider himself primarily a sculptor, expressing himself in variations of the nude male body. Most famous may be the Old Testament figure of David about to slay Goliath, originally made for the Cathedral of Florence.

    The artist’s ceiling for the Sistine Chapel had included 20 nude males as supporting figures above the prophets and sibyls. Originally, Michelangelo’s Christ of “The Last Judgment” was entirely nude. A later painter was hired to provide drapery over the loins of Christ and other figures.

    “The Last Judgment” scene also contains multiple references to pagan gods and mythology. The image of Christ is inspired by early Christian images showing Christ beardless and youthful, similar to the pagan god of light, Apollo.

    A section of a fresco shows a naked man bound by a coiling snake, and donkey's ears, surrounded by beastlike figures.
    Group of the damned with Minos, judge of the underworld. Sistine Chapel Collection, Michelangelo via Wikimedia Commons

    At the bottom of the composition is the figure of Charon, a personage from Greek mythology who rowed souls over the river Styx to enter the pagan underworld. Minos, the judge of the underworld, is on the extreme right.

    Giorgio Vasari, a fellow artist and historian who knew Michelangelo personally, later recounted the criticism by a senior Vatican official, Biagio da Cesena. The official stated that it was disgraceful that nude figures were exposed so shamefully and that the painting seemed more fit for public baths and taverns.

    Michelangelo’s response was to place the face of Biagio on Minos, the judge of the underworld, and give him donkey’s ears, symbolizing stupidity.

    A painted scene shows a bearded man holding a knife in one hand and a flayed skin with a human face in the other, while another figure sits just behind him.
    A detail of a scene connected to the Apostle Bartholomew in ‘The Last Judgment.’ Sistine Chapel Collection via Wikimedia

    Michelangelo included a reference to his own life in a detail connected to the Apostle Bartholomew, who is located to the lower right of Christ. The apostle was believed to have met his martyrdom by being flayed alive. In his right hand, he holds a knife and, in his left, his flayed skin whose face is a distorted portrait of the artist.

    Michelangelo thus placed himself among the blessed in heaven, but also made it into a joke.

    Thought-provoking imagery

    The Last Judgment is a common theme in Christian art. Michelangelo, however, pushes beyond simple illustration to include pagan myths as well as to challenge traditional depiction of a calm, bearded judge. He uses dramatic imagery to provoke deeper thought: After all, how does anyone on Earth know what the saints do in heaven?

    In these decisions, Michelangelo displayed his sense of self-confidence to introduce new ideas and his goal to engage the viewer in new ways.

    A digital reproduction of the painting will be displayed on a screen for visitors to the Sistine Chapel during this period of restoration. Behind the screen, technicians from the Vatican Museums’ Restoration Laboratory will work to restore the masterpiece.

    This article originally appeared on The Conversation. You can read it here.

  • Students go for a world record with group drumming rendition of “Beggin”
    Photo credit: CanvaA music teacher plays drums with a student.

    Drum instructor Patrick Abdo doesn’t simply direct a children’s recital—he launches into a full-body celebration of music. In an Instagram post gaining widespread attention, he leads 10 children, ages 5 to 10, in a drumming rendition of the Måneskin song “Beggin’.”

    As the kids bang the drums in rhythmic unison and parents watch, beaming with pride, the room pulses with energy. But what makes the performance all the more magnetic isn’t simply the precision of the young drummers—it’s Abdo’s infectious excitement.

    Abdo guides kids to an impressive musical moment

    In the video, captioned “A record like no other!,” the 10 kids each have their own drum kit arranged in a circle around a large room. As the music starts, Abdo takes the lead, instructing the young musicians and wildly raising his arms to the rhythm. He keeps perfect time with his air drumming, and the kids follow.

    These young drummers do a fantastic job, fully committed and bringing the focus and skill needed to pull off such a high-octane song. Yet it’s nearly impossible not to have your attention drawn to the teacher. Abdo radiates an infectious belief in every child in the room.

    This type of wholehearted encouragement feels increasingly rare, and it’s wonderful to watch. As proud parents smile from the sidelines, he moves through the room, connecting with each student. With each burst of encouragement, the recital transforms into something special.

    There is little publicly available information about Abdo’s background. His breakout visibility appears tied to short-form drum lesson videos posted on his Instagram page. His profile lists Dubai as his location, and his bio reads, “My dream is to recreate School Of Rock MENA [Middle East North Africa] version.”

    The good-vibes energy inspires people

    The video quickly became impossible to scroll past. Views steadily increased, and so did the comments. The appreciation for both the synchronized performance and Abdo’s teaching style offers a moving example of mentoring at its best. As much as viewers loved the kids’ musical showcase, many seemed even more inspired by Abdo’s uplifting and engaging style:

    “They shut it down for real !!!The instructor deserves an applause”

    “I love the teacher !! So enthusiastic, motivating and you can tell he loves these kids!!!”

    “well done to that teacher and all the children — luv this”

    “This teacher has incredible enthusiasm which inspires all the kids to work so hard to get it!”

    “Wow, the instructor’s patience and passion for his work are truly admirable!”

    “This is called perfection.”

    “The teacher’s passion! The talented, focused kids!”

    Great teachers and mentorship matter

    There is simply no denying the value of great teachers and mentors. Everyone benefits from guidance and encouragement, especially young people. Research in 2025 found that mentored youth were 20% more likely to attend college, earn higher incomes, and exhibit better behavior. A 2023 trial conducted by Big Brothers Big Sisters of America found measurable improvements in social and emotional well-being.

    A 2022 study found that mentorship increased retention and promoted success. The benefits extend to mentors as well, offering opportunities to build enduring relationships that evolve and provide value over time.

    The music recital had the Internet buzzing over its great energy and the joy of watching kids go for it. Inspiring mentorship may be the real power behind Abdo’s musical instruction. Whether viewers remember a beloved teacher or recognize the one they wish they’d had, the right mentor can stay with a child long after the music stops.

  • A BBC crew broke ‘cardinal rule’ of nature documentaries to save trapped penguins
    Photo credit: CanvaPenguins jumping off a glacier into the water.
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    A BBC crew broke ‘cardinal rule’ of nature documentaries to save trapped penguins

    Even the show’s narrator, David Attenborough, supported the controversial decision to step in.

    Nature documentaries operate on a single, golden rule: observe, record, but never interfere. The goal is to capture the raw, unscripted reality of the natural world, even when that reality is brutal. But during the filming of the BBC Earth series Dynasties, a situation arose that was so dire, the crew felt compelled to break that cardinal rule.

    The incident, which took place in November 2018, involved a colony of Emperor penguins in Antarctica. A massive storm had hit, dropping temperatures to minus 50 degrees Celsius (minus 76 degrees Fahrenheit) and trapping a large group of mothers and chicks in a steep, icy ravine.

    Separated from the safety of their rookery, the birds were helpless. The mothers, cradling their chicks, were unable to climb the slick, vertical slopes.

    Emperor penguins, BBC Earth, David Attenborough, Antarctica, nature documentary
    Penguins march across the ice. Photo credit: Canva

    The situation was desperate. Some chicks had already been abandoned and frozen to death in the gully, while predators circled the survivors. The emotional toll on the crew was immense. As one cameraman told Country Living, “I know it’s natural, but it’s bloody hard to watch.”

    Faced with the potential extinction of the entire group, the team made a controversial choice.

    “It was not a straightforward decision by any stretch of the imagination,” director Will Lawson explained in an interview with Lorraine. “You just have to look at the facts that are in front of you before you make a decision like that.”

    Once the storm broke, the crew decided to intervene, but they did so “passively.” They didn’t lift the birds; instead, they used their tools to dig a shallow ramp into the ice, creating a path the penguins could potentially use to escape on their own.

    “Once we’d dug that little ramp, which took very little time, we left it to the birds. We were elated when they decided to use it,” Lawson told Country Living, noting that there is simply no “rule book” for such extreme scenarios.

    The footage of the penguins waddling up the man-made ramp to safety became a defining moment for the series. Even Sir David Attenborough, a staunch defender of non-intervention, backed the move.

    “It’s very rare for the film crew to intervene. But they realize that they might be able to save at least some of these birds, simply by digging a few steps in the ice,” Attenborough said.

    Producer Mike Gunton agreed, framing it as a moral imperative rather than a documentary breach. “We have a rule that interfering is a very dangerous thing to do. But these penguins were going to die through a freak act of nature if nothing happened,” he said. “How would this conversation be going if you said you saw them there and did nothing? I think you have to do it.”

    The intervention was passive, but the result was profound. The colony survived, and the crew walked away with clear consciences. As Attenborough concluded, “To have done anything else would only make matters worse and distort the truth.” 

    This article originally appeared two years ago. It has been updated.

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