Larry, the Downing Street cat, has had to adapt to seven different prime ministers moving into No 10 over the past decade. Yet while the nation’s attention is fixed on the departing and incoming political leaders, who is thinking about the effect these upheavals might have on one of the property’s most enduring residents?

Cats thrive on predictability and the consistency of their environment is important for their welfare. On the whole cats prefer an unchanging environment. Some cats cope with change better than others. Many cats are distressed by disturbances such as moving house, changes in familiar routines, people moving into or leaving the household, or even changes to the scent of their home environment.

Unlike dogs, cats aren’t obligate social species, therefore may not have such a strong proclivity to form social attachments. However, in certain situations domestic cats can be found living in social groups, particularly in environments with a plentiful food supply.

Some cats enjoy the company of people, while others prefer a more solitary life. This is determined partly by their early experiences. A young kitten that learns in the early weeks of their life that contact with people is associated with nice experiences is more likely to seek social interactions with people as an adult. Kittens raised by mothers who show friendly behaviour towards people can learn to value human company through the process of social learning.

Genetics also influence a cats friendliness towards people. Researchers in a 1995 study found that the kittens of friendlier fathers were more likely to show friendly behaviour towards unfamiliar people even if they weren’t socialised as a new kitten.

Some cats appear to suffer when separated from their caregivers, although some researchers question whether this can be described as a secure attachment (one that is necessary to maintain feelings of safety and security in threatening situations).

Researchers have identified five different forms of cat-owner relationship, based on the level of emotional investment of the owner, the way the cat relates to others, their aloofness and their need to be in close proximity to their owner. These types range from open relationships (characterised by a lightly emotionally invested owner and an avoidant cat) to casual relationships, co-dependence and friendship.

Although the Starmer family has moved out and the Burnhams have taken up residence, Larry’s main caretakers are civil servants, so his day-to-day care won’t change. Larry’s behaviour in recent days (strutting along Downing Street, nonplussed by the comings and goings and embarking on a successful hunting expedition) suggests that he takes such changes in cohabitants in his stride.

Other animals

The new prime minister has a dog called Axel, and although cats and dogs can live together harmoniously and even form close bonds, integrating Axel into Larry’s home might cause tensions if not handled well. However, not even the prime minster would dare to disturb Larry’s position as chief mouser. Andy Burnham has told the BBC he’s not bringing Axel to London with him because he doesn’t think the two animals will get on.

If he changes his mind there are a few things he could do to help Axel and Larry get along. Introducing a dog into a household with a cat should be done gradually, with the aim to prevent any chasing or aggression between the pets.

Before the dog arrives, settle the cat into a safe space, which the dog won’t have access to. This might be a bedroom, bathroom or any part of the house that the cat likes to relax in, ensuring the cat has access to everything they need such as places to hide, litter trays, food and water.

Scent is incredibly important to both cats and dogs, so getting them accustomed to each other’s aroma in the home helps to smooth the introduction. This can be done by introducing bedding or toys used by the other pet, or gently wiping a damp cloth across the body of the pet to pick up their scent.

It’s vital that the first meeting goes well and there are a few things that will help to ensure they get off on the right foot. Make sure the dog isn’t full of energy by exercising them before the meeting. Start with a barrier such as a baby gate between them.

When they first meet give both pets plenty of their favourite food treats, to reward calm behaviour and so that they associate the presence of other with something nice happening.

Signs of stress

Cats can be difficult to read but there are known warning signs of stress in cats. More obvious stress behaviour includes hissing, growling, swiping or puffed up fur. But indicators also include the cat running away or hiding and refusing treats they normally avoid. Flattened ears, dilated pupils, tense body posture and a flicking tail are all signals a cat is feeling tense.

Larry seems like quite an independent confident cat if reports “he has the run of the house” are anything to go by, so it’s likely that he will soon teach the new inhabitants of No 10 how he likes things done.

Emily Blackwell does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

The European Commission’s decision to fine Google €890 million (US$1 billion) for failing to comply with the EU Digital Markets Act sounds like a significant financial and political intervention against one of the world’s largest technology companies.

The ruling is certainly further evidence of Europe’s desire to regulate US big tech platforms more strictly.

But can such fines really change the behaviour of companies like Google, whose global resources and technical capabilities substantially exceed those of the institutions responsible for regulating them?

Alphabet, Google’s parent company, reported revenues of approximately US$402.8 billion (£302bn) for 2025, and a net income of US$132.2 billion. The EU fine represents less than 0.3% of one year’s revenue.

This makes it, simultaneously, one of the largest penalties imposed under the Digital Markets Act (DMA) and a financially manageable cost for the company receiving it. But that does not mean the penalty is irrelevant. Fines can also carry reputational costs, establish legal boundaries, and create a basis for more serious sanctions.

Europe has been here before

The European Commission has been here before. In 2004, after a five-year investigation, it fined Microsoft more than €497 million for using its position in PC operating systems to restrict competition in adjacent software markets.

Just under a decade later, the same company was fined a further €561 million, after it failed to provide the browser-choice screen it had committed to making available to European Windows users. This judgment was significant, as it showed the initial legal decision was only one stage of the commission’s enforcement process.

Google has since become the principal focus of EU technology concerns. The commission opened proceedings over the company’s comparison-shopping practices in November 2010, finally imposing a €2.42 billion fine in June 2017. A separate three-year investigation into restrictions associated with Google’s mobile operating system, Android, resulted in a €4.34 billion fine in July 2018.

Brussels has used the DMA against other big tech gatekeepers too. In April 2025, it fined Apple €500 million for breaching its anti-steering obligation – which forbids online platforms from blocking out cheaper rival deals – and Meta €200 million in connection with the choices it offered users about their personal data.

While these decisions demonstrated the commission’s willingness to intervene, they also established a recurring pattern: an investigation is opened and a substantial fine is imposed. Then, the company in question introduces a series of technical or contractual changes, only for a further dispute to emerge over whether those changes amount to effective compliance.

In short, the central difficulty is not the absence of legal authority. It is the translation of that authority into timely, measurable changes in market behaviour.

Do fines change big tech behaviour?

There are three main ways in which the effectiveness of a fine such as this can be assessed:

1. Formal compliance: has the company amended its contracts, interfaces or internal policies in response to the decision?

2. Market effectiveness: have the changes given competitors a meaningful opportunity to reach customers, enabled app developers to offer lower prices, or increased consumer choice?

3. Deterrence: has the penalty made Google – and other gatekeepers – less likely to engage in equivalent conduct through future services, product designs or contractual arrangements?

A 2025 study examined the implementation and effectiveness of company responses in 12 major EU antitrust cases. Although most of the imposed remedies had been implemented, fewer than half were found to have been fully effective.

So, it’s not enough to ask whether Google will change the appearance of a search page or amend the wording of its developer terms in response to this latest fine. The commission must assess whether, after Google’s 60-day compliance period, competing services receive meaningful visibility, rival companies can communicate with customers without excessive friction or fees, and consumers are genuinely able to exercise greater choice.

A criticism levelled at regulators in many jurisdictions is that investigations are too slow to curb anti-competitive behaviour. Article 29 of the DMA states that the European Commission should adopt a non-compliance decision within 12 months of opening proceedings.

This is an aspirational timetable, rather than an absolute legal deadline. Nevertheless, the present Google investigations were opened on March 25, 2024 and concluded on July 23, 2026 – approximately 28 months later.

A January 2026 consultation highlighted complaints about the DMA’s slow processes and limited transparency, as well as circumvention and delaying tactics on the part of big tech companies. Suggested changes included binding procedural timelines, independent audits, and public testing of the remedies imposed by the European Commission.

The speed of technological change

When the EU’s latest proceedings against Google began in March 2024, much of the digital competition debate concerned the ordering and presentation of conventional search results. During the investigation, however, Google continued to develop AI Overviews and AI Mode, which offer users AI-generated answers, summaries and recommendations rather than a traditional page of ranked links.

This creates a significant enforcement problem. Self-preferencing can occur not only through the vertical ranking of links, but through the selection of sources, the framing of an answer, the services through which a transaction is completed and the options presented to the user by an AI agent.

Accordingly, the issue should not be whether a rival service has been given a particular box on a search page. It should be whether competing services have a fair and effective opportunity to be discovered, selected and used, irrespective of whether the interaction takes place through a conventional search result, an AI-generated answer, or an automated purchasing agent.

The commission’s ruling announcement recognised this rapid technological development. It also noted that Google had submitted proposals concerning how the principles of the decision should apply to AI Overviews and AI Mode, and that discussions on these services would continue.

Ultimately, the fine represents an early test of whether the DMA can remain relevant as the technology changes. It is this, not the size of the initial fine, that will decide whether Europe really can keep big tech in check.

Iain Nash does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

Elon Musk has promised that before the year is out, his AI tool Grok Imagine will produce a full-length film of Homer’s Odyssey that is, in his words, “historically accurate and true to the art of Homer”.

The claim, posted on X in July alongside a three-minute AI-generated scene, arrived days after Christopher Nolan’s blockbuster version reached cinemas worldwide – a film Musk has spent months attacking for being “woke”.

Set aside, for a moment, that The Odyssey is a 2,800-year-old poem that includes a witch who turns men into pigs and a one-eyed giant shepherd, to ask a simpler question: accurate to what?

There are no photographs of ancient Ithaca. There is no footage of the Trojan shore. What we have is stories, poems, pottery and paint, and, more recently, a century of films that imagined the ancient world for us. That is the only material a generative model has ever seen.

So when Grok Imagine – the AI image generator developed by Musk’s xAI company – renders antiquity, it is not reaching back into history. It is reaching for the centre of every image already made about it – the most probable ancient warrior, assembled from Gladiator, Troy and 300 and a hundred years of sword-and-sandal cinema. The result will not look like the past. It will look like other films about the past, averaged out by AI.

And here is the part that should give anyone bandying about the word “accurate” pause. A machine that reaches for the most probable image does not correct our clichés about antiquity. It concentrates them. Ask it for a classical statue and it will hand you gleaming white marble, because that is how we picture the ancient world.

Except the ancient world did not look like that. Greek and Roman sculpture was painted in strong colours – the pristine white marble in our heads is a later idealisation, not the thing itself. An AI model trained on our pictures of the past will reproduce our mistakes about the past – confidently – and give them back to us labelled as truth. That is the opposite of accuracy. It is our own error, upscaled.

The real problem

This is why “historically accurate” is not really a script problem. It is an image problem. Accuracy on screen is delivered through light, lens, skin, texture, cloth and grain – the hundred deliberate decisions a director of photography agonises over in every frame.

A machine makes those decisions too, but it makes them by consensus, by defaulting to the most probable choice. Research on generative AI has already found that it makes individual work feel more creative while making the whole field more similar, everything drifting toward the same middle. The same regression to the mean that flattens prose will flatten the picture. You do not get the accurate past, and you do not get the thrilling lie. You get the average, and the average is where nothing memorable lives.

Which brings me to escapism, and to a tension in my own work I am happy to admit. I research and teach sustainable, naturalistic image-making – stripping away artifice, working with available light. But I have also argued, including in a TED talk, that escapism matters, and that realism is often its enemy.

Take everything excessive and dangerous out of James Bond and you remove the reason anyone watches. Nolan’s Odyssey is not trying to be accurate. It is trying to be exciting – and excitement is a decision. It is a point of view, a piece of the filmmaker put deliberately on the screen.

Heightening is a choice about what to exaggerate, and a choice is exactly what an average cannot make. A machine that lives at the mean can smooth, but it cannot heighten. So the “exciting” AI blockbuster arrives with the one quality excitement depends on already removed.

There is a reason the AI clips flooding our feeds feel flavourless even when they are technically clean. It is not that the tools are young and will improve. It is that averaging is what they do. Watch a real performer and you are watching a human being decide – take a risk, make a choice you might not have made – in front of you.

That is the thing we actually go to films for, and it is precisely the thing an average has no way to contain. Whether audiences keep noticing is the open question. The appetite to make this work is real, because it is cheap. The appetite to watch it is the thing nobody has tested yet. And the unease many people already feel watching AI slop and struggling to say why it repels them, is not naivety. It is a correct response to work that no one made decisions about.

So what is the endgame? Not, I think, simply proving it can be done. If you only wanted to prove a technical point you would not reach for the word accurate – least of all for a poem, where accuracy means nothing. Reaching for accurate is reaching for authority: the right to say what is true.

Musk is a man who publicly objected to the casting of a black actor as Helen of Troy and a trans actor as a Greek warrior. A man who operates within a wider political project about who gets to tell the national story, now claiming that a tool he owns can portray the past as it truly was. Follow that to its end. If his machine decides what is historically accurate, then he decides what the past looked like. And whoever is trusted to author the past is well placed to author the future.

So watch this one with scepticism – not because AI cannot make images, it plainly can, but because “historically accurate” is a claim about truth. And truth is exactly what a machine trained on the average of everything cannot give you. It is also exactly, in this case, what its owner would most like to define.

Jack Shelbourn has received funding from the British Film Institute; the National Lottery; HEIF/University of Lincoln; CoASSH Scholarship, Professional Practice & Research Resources Allocation Fund; and College of Arts Teaching and Learning Fund.