Existing literature on climate politics predominantly concentrates on democracies. However, there is a pressing need to examine how authoritarian regimes respond to climate change, given their growing impact on global carbon emissions and their populations’ acute climate vulnerability. Extant research often assumes that authoritarian regimes have inherent advantages in addressing climate change, leading to overly optimistic perspectives on their capabilities. This study highlights the necessity of qualifying those assumptions and evaluates the comparative advantages and disadvantages of autocracies relative to democracies throughout the policy process: policy formulation (or outputs), implementation, and outcomes. I argue that whereas climate-conscious autocracies may efficiently produce policy outputs based on scientific evidence, they often face more challenges related to information about local enforcement during implementation. This may result in greater hurdles than democracies, even with adequate state capacity and monitoring infrastructure. Furthermore, this analysis contends that a country’s developmental stage, rather than its regime type, is related more directly to the effectiveness of translating implementation efforts into tangible policy outcomes. Therefore, this article posits that the political science discourse, which often juxtaposes democracies with autocracies, should expand its scope to better understand how a country’s developmental level influences the success of its climate strategies.

Horror tropes are very popular for entertainment. From novels to films, to video games, we can't seem to get enough of vampires, witches and zombies. But these folkloric creatures were believed to be real by previous generations (and even some contemporary ones). It is worth engaging with our ancestors' history, their thought processes, their religious beliefs and general human psychology to see if this constant investment of energy that people give to malign supernatural agents can illuminate our thought processes and survival mechanisms.

Some musics and musical situations seem to invite the audience to participate; others insist that the audience should absorb the events of performance in rapt attention. A slippage between such distinctions can also arise: a moment where an audience might be uncertain as to whether joining in is desired or welcome. In an examination of such a moment of uncertainty or surprise, at the close of Raymond MacDonald's Stolen in a Dreamland Heist (2021), we suggest that such events point towards and perform the particular creative spaces and spacing effects that arise in musical events in ways which draw attention to the affective bodily relationships between performers and auditors. The article takes the form of its own nested dialogue: an interview with the composer forms its central portion, framed within theoretical examination both of that critical moment within performance and the reflections on it the interview reveals.