A doctor holding an artificial heart model. PHOTO: ADOBE STOCK
A new bet on early heart failure detection and why women’s health is at the center.
Updated
December 23, 2025 12:36 PM
A doctor holding an artificial heart model. PHOTO: ADOBE STOCK
Heart disease does not always announce itself clearly, especially in women. Many of the symptoms are ordinary, including fatigue, shortness of breath and swelling. These signs are frequently dismissed or explained away. As a result, many women are diagnosed late, when treatment options are narrower and outcomes are worse. That diagnostic gap is the context behind a recent investment involving Ultromics and the American Heart Association’s Go Red for Women Venture Fund.
Ultromics is a health technology company that uses artificial intelligence to help doctors spot early signs of heart failure from routine heart scans. It has received a strategic investment from the American Heart Association’s Go Red for Women Venture Fund.
The focus of the investment is a long-standing blind spot in cardiac care. Heart failure with preserved ejection fraction, or HFpEF, affects millions of people worldwide, with women disproportionately impacted. It is one of the most common forms of heart failure, yet also one of the hardest to diagnose. Studies even show women are twice as likely as men to develop the condition and around 64% of cases go undiagnosed in routine clinical practice.
Ultromics works with a tool most patients already experience during heart care: the echocardiogram. There is no new scan and no added burden for patients. Its software analyzes standard heart ultrasound images and looks for subtle patterns that point to early heart failure. The goal is clarity. Give clinicians better signals earlier, before the disease advances.
“Heart failure with preserved ejection fraction is one of the most complex and overlooked diseases in cardiology. For too long, clinicians have been expected to diagnose it using tools that weren't built to detect it and as a result, many patients are identified too late,” said Ross Upton, PhD, CEO and Founder of Ultromics. “By augmenting physicians' decision making with EchoGo, we can help them recognize disease at an earlier stage and treat it more effectively.”
The stakes are high. Research suggests women are twice as likely as men to develop the condition and that a majority of cases are missed in routine clinical practice. That delay matters. New therapies can reduce hospitalizations and improve survival, but only if patients are diagnosed in time.
This is why early detection has become a priority for mission-driven investors. “Closing the diagnostic gap by recognizing disease before irreversible damage occurs is critical to improving health for women—and everyone,” said Tracy Warren, Senior Managing Director, Go Red for Women Venture Fund. “We are gratified to see technologies, such as this one, that are accepted by leading institutions as advances in the field of cardiovascular diagnostics. That's the kind of progress our fund was created to accelerate.”
Ultromics’ platform is already cleared by regulators for clinical use and is being deployed in hospitals across the US and UK. The company says its technology has analyzed hundreds of thousands of heart scans, helping clinicians reach clearer conclusions when traditional methods fall short.
Taken together, the investment reflects a broader shift in healthcare. Attention is shifting earlier—toward detection instead of reaction. Toward tools that fit into existing care rather than complicate it. In this case, the funding is not about introducing something new into the system. It is about seeing what has long been missed—and doing so in time.
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From TV to YouTube, the Oscars’ global shift reveals how entertainment, access and platforms are reshaping cultural institutions.
Updated
December 19, 2025 9:02 PM
Youube on a mobile device. PHOTO: UNSPLASH
The Oscars are moving to YouTube. Beginning in 2029, the Academy of Motion Picture Arts and Sciences has signed a multi-year agreement that makes YouTube the exclusive global home of the Oscars through 2033. From the ceremony itself to red carpet coverage, behind-the-scenes access and the Governors Ball, the entire experience will live on a platform most people already open every day.
On the surface, it looks like a distribution shift. In reality, it signals a broader strategic reset. For decades, television delivered scale for cultural institutions. Today, reach and discovery live on platforms, not channels. By choosing YouTube, the Academy is quietly acknowledging that cultural relevance today is built where audiences already are. In that context, YouTube is no longer just a place to watch clips but an emerging piece of cultural infrastructure.
What also stands out is how the Oscars are being reframed. This partnership is not limited to one night a year. Alongside the ceremony, YouTube will host year-round Academy programming through the Oscars YouTube channel. That includes nominations announcements, the Governors Awards, the Student Academy Awards, the Scientific and Technical Awards, filmmaker interviews, podcasts and education programs. Instead of a single broadcast moment, the Oscars are turning into an always-on ecosystem.
Accessibility is another central pillar of the deal. The Oscars will be free to watch globally, supported by closed captioning and audio tracks in multiple languages. This is less about nice-to-have features and more about staying relevant in a global, digital-first world. Younger audiences and viewers outside traditional Western markets expect access by default. The Academy is clearly building with that expectation in mind.
There is also a deeper exchange happening between heritage and technology. YouTube gains cultural weight by hosting one of the world’s most established creative institutions. The Academy, in turn, gains technological legitimacy and a clearer path into the future.
That balance extends to how the transition is being handled. The Academy’s domestic broadcast partnership with Disney ABC will continue through the 100th Oscars in 2028 and the international arrangement with Disney’s Buena Vista International remains in place until then. This is not an abrupt break from legacy media but a carefully phased shift. Change is being managed without burning bridges.
“We are thrilled to enter into a multifaceted global partnership with YouTube to be the future home of the Oscars and our year-round Academy programming,” said Academy CEO Bill Kramer and Academy President Lynette Howell Taylor. “The Academy is an international organization and this partnership will allow us to expand access to the work of the Academy to the largest worldwide audience possible — which will be beneficial for our Academy members and the film community. This collaboration will leverage YouTube’s vast reach and infuse the Oscars and other Academy programming with innovative opportunities for engagement while honoring our legacy. We will be able to celebrate cinema, inspire new generations of filmmakers and provide access to our film history on an unprecedented global scale.”
From YouTube’s side, the partnership places the platform firmly in the center of global cultural moments. “The Oscars are one of our essential cultural institutions, honoring excellence in storytelling and artistry,” said Neal Mohan, CEO, YouTube. “Partnering with the Academy to bring this celebration of art and entertainment to viewers all over the world will inspire a new generation of creativity and film lovers while staying true to the Oscars’ storied legacy.”
Google Arts & Culture extends the partnership beyond the ceremony. Select Academy Museum exhibitions and materials from the Academy’s 52-million-item collection will be made digitally accessible worldwide, bringing film history and education onto the same platform.
Taken together, the deal is less about where the Oscars will stream and more about how cultural institutions are adapting to the changing landscape. The Academy is positioning itself to be present year-round, globally accessible and aligned with the platforms that shape everyday viewing.