troubled

“I’m born alone and I’m going to die alone, so go on your own journey.”

That statement from British light-middleweight Ishmael Davis might appear blunt at face value, but his harsh view on life was developed through some difficult formative years.

By the age of 14, Davis had been kicked out of school, kicked out of his childhood home and was adapting to the responsibility of caring for newborn twin sons.

“I had a bit of a rough upbringing,” Davis tells BBC Sport.

“I was living with my first baby’s mum at 14, went into a hostel until I was 15 and then I got my own flat.

“Because I wasn’t making money it was hard. I was only getting around £100 every two weeks. It was a hard time in my life but these are the things I’ve had to come through.”

Davis, now 30, first stepped into a boxing gym aged 12 and took part in an unlicensed amateur fight the following year, but any dreams of pursuing the sport further were shelved as he tried to provide for his children.

Despite still being a child himself, Davis turned to the streets of Chapeltown in Leeds to make ends meet.

“I was year nine when I had my first kids. After that I wanted to be out on the streets all the time and I got into gangs,” Davis says.

“Because I had kids young, I started selling drugs.”

Davis would land himself in prison not long after and was on the path some of his closest friends and family were walking.

On 15 November he faces Sam Gilley for the British and Commonwealth light-middleweight titles on the undercard of Chris Eubank Jr v Conor Benn at Tottenham Hotspur Stadium as he looks to get his career back in track after three losses in his past four fights.

Davis discusses how differently his life could have been if not for boxing and his personal drive.

Lockheed Martin has received a new full-rate production contract, valued at $233 million, for Block II IRST21 infrared search and track sensors to go into pods for U.S. Navy and U.S. Air National Guard fighters. For the Navy, in particular, this is a notable move forward given the reliability and quality control issues the service has faced with its podded configuration of the IRST21 for years now.

The Navy officially declared initial operational capability (IOC) with its version of the IRST21, also known by the designation AN/ASG-34A(V)1, back in November 2024. Limited operational evaluations, including as part combat operations in the Middle East, had been ongoing since at least 2020.

The Navy’s pod, developed for use on the service’s the F/A-18E/F Super Hornets consists of a modified FPU-13/A drop tank with the IRST sensor in a redesigned front section, as you can learn about more in this past TWZ feature. Air Force F-15C/D Eagles, which are now in the process of being retired, and F-16C/D Vipers, have been flying for years with IRST21s integrated into modular, multi-purpose Legion Pods from Lockheed Martin. Legion Pods with IRST21s are part of the sensor suite for the Air Force’s new F-15EX Eagle IIs, as well. Though they have the same IRST sensor at their core, which allows for shared contracts like the one announced today, the Navy and Air Force efforts are distinct, with major differences in the respective pod designs.

The Navy’s pod, developed for use on the service’s the F/A-18E/F Super Hornets consists of a modified FPU-13/A drop tank with the IRST sensor in a redesigned front section, as you can learn about more in this past TWZ feature. Air Force F-15C/D Eagles, which are now in the process of being retired, and F-16C/D Vipers, have been flying for years with IRST21s integrated into modular, multi-purpose Legion Pods from Lockheed Martin. Legion Pods with IRST21s are part of the sensor suite for the Air Force’s new F-15EX Eagle IIs, as well.

As designed, the ASG-34A(V)1 has long been set to offer a valuable new way for Navy Super Hornets to spot and track airborne threats. IRST systems offer particular advantages when it comes to detecting stealthy crewed and uncrewed aircraft, as well as missiles, designed to evade traditional radars. IRSTs also scan passively, so they do not send out signals that can alert an opponent to the fact that they are being tracked, and are also immune to expanding adversary electronic warfare capabilities. The information from IRSTs can also be fuzed with that from radars, datalinks, and other passive sensors to provide major synergistic capabilities.

When carried by a Super Hornet, “the IRST acts as a complementary sensor to the aircraft’s AN/APG-79 fire control radar in a heavy electronic attack or radar-denied environment,” according to the Pentagon’s Office of the Director of Test and Evaluation. “It operates autonomously, or in combination with other sensors, to support the guidance of beyond-visual-range air-to-air missiles.”

IRST systems, in general, have experienced a renaissance within the U.S. military amid a steadily growing ecosystem of stealthy aerial threats, especially emanating from China. IRST technologies are also evolving, including with the emergence of systems that can be distributed around an aircraft using smaller individual sensors, which are also sometimes less complex and costly.

The Navy’s particular efforts to field this capability for its Super Hornets, which trace all the way back to 2007, have faced hurdles. The service only formally initiated work on the improved Block II IRST21 in 2018, according to the Government Accountability Office (GAO), a Congressional Watchdog. A Block II prototype pod first flew on a Super Hornet the following year.

Quality control and reliability issues continued to dog the program afterward, as you can read more about here. Following the IOC declaration, a full-rate production decision was expected to come in January 2025, but was delayed.

“The program reported that it would not reach a full-rate production decision by its baseline schedule threshold in January 2025 due to delays incurred during flight testing,” according to a GAO report published in June 2025. “IRST officials told us that operational tests were delayed by 2 months due to software defects that caused IRST pods to falsely report overheating.”

“Director, Operational Test and Evaluation (DOT&E) officials told us that the defect was relatively easy to fix and would likely have been addressed during developmental testing had the program allocated more time for that testing,” the GAO report added. “The program now expects a full-rate decision in June 2025. This is the second time the program breached its baseline schedule in the past 3 years.”

GAO’s June 2025 report also said that DOT&E remained of the view that “the pods were extremely unreliable.”

“These officials said that the program improved pod reliability as it made software updates but only managed to achieve 14 hours mean time between operational mission failures – short of the 40 hours required,” the report said. “As such, DOT&E officials said that deploying the IRST pods without improving their reliability would transfer risk to the Navy’s fleet. Program officials noted that IRST initial capability was achieved without any noted limitations.”

“IRST Block II operational flight test events demonstrated tactically relevant detection ranges against operationally relevant targets and the ability to translate these long-range target detections into stable system tracks to facilitate weapons employment,” DO&TE had said in its own most recent annual report, covering work done during the 2024 Fiscal Year. “The Navy must continue to improve the F/A-18 E/F Super Hornet’s operating software and address existing deficiencies to effectively integrate IRST into aircraft fire control solutions.”

“IRST Block II demonstrated significant reliability problems during operational testing. Throughout the test period, IRST Block II suffered from hardware and software deficiencies, which required the aircrew to restart the pod multiple times,” that report added. “Troubleshooting and repair often exceeded the abilities of Navy maintenance crews and required assistance from Lockheed Martin. Many of these problems were discovered during integrated and operational test after the Navy completed a minimal developmental test program with the representative hardware.”

It is curious to note that there has been no commensurate reporting of reliability or other issues with the IRST21/Legion Pod combination that has been seen flying on Air National Guard F-15s and F-16s for years now. At the same time, whether or not the Air Force has experienced any troubles with those IRST pods is not entirely clear.

To what degree remaining issues on the Navy side have been addressed and/or mitigated is also unclear, and TWZ has reached out the service, as well as Lockheed Martin, for more information.

The decision now to move ahead with full-rate production of the IRST21 is certainly a new vote confidence, especially when it comes to the Navy program.

Contact the author: [email protected]

Brad Ingelsby knew after the breakout success of HBO’s “Mare of Easttown” — a crime drama about a police detective (Kate Winslet) investigating the murder of a teenage girl in a fictional working-class town — he didn’t want his next series to be another whodunit.

“That’s Mare’s thing,” he says on a recent late afternoon. “So, you start to go, if you’re going to write another story in the crime genre, what would get the audience to keep clicking to the next episode? I just thought, ‘Well, maybe a collision course show, where [in] every episode, we get a little closer, a little closer, a little closer, until things collide.’ ”

In “Task,” which concluded Sunday on HBO, Mark Ruffalo stars as Tom Brandis, a priest-turned-FBI agent leading a task force investigating a series of robberies in Delaware County, Pa., an area commonly referred to as Delco that was also the setting for “Mare of Easttown.” (And with references to Wawa and Scrapple, along with visits to Rita’s Water Ice, it slips into its role of expanding the universe.) It leads Tom to Robbie Prendergast (Tom Pelphrey), a sanitation worker who robs drug houses at night to provide for his family. Both men are emotionally tortured by life events — Tom’s wife was murdered by their adopted son, who is incarcerated; Robbie’s brother was killed by a member of a motorcycle gang — that have set them each on different, but destructive paths.

In “Task,” Mark Ruffalo, left, Alison Oliver, Thuso Mbedu and Fabein Frankel portray law enforcement officers who are part of an FBI task force investigating a string of robberies.

(Peter Kramer / HBO)

“ ‘Mare’ was about the moms — the damage that all the guys have caused and the women are kind of having to pick up the pieces of that,” Ingelsby says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it. The guys who are actually doing the damage without knowing.”

Ingelsby says his uncle, who was an Augustinian priest, helped inspire the throughline of the series.

“I’ve always been very intrigued by his idea of faith in God over the years, and how it’s changed over time, and what he believed once and what he believes now,” he says. “I was intrigued by the idea of a guy who, everything he held as truth, all the pillars of his life, have come crumbling down. And Robbie has a much different faith. And it’s through the gauntlet of the story, how their lives intersect, that they both get to navigate their own journeys of faith.”

Over dinner at a West Hollywood hotel, The Times sat down with Ingelsby, Ruffalo and Pelphrey to discuss their faith journeys, economic inequality, fatherhood — and Wawa, too. Here are edited excerpts from the conversation, which contains spoilers about the finale.

After the success of “Mare of Easttown,” creator Brad Ingelsby wanted his follow-up, “Task,” to feel connected, but not repetitive: “ ‘Mare’ was about the moms,” he says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it.”

(Bexx Francois/For The Times)

The themes of the show involve forgiveness and faith. Every person has experienced something in life that has tested those ideas. How has your own relationship to faith and forgiveness evolved as you’ve lived more life or taken on roles that ask you to live different experiences?

Pelphrey: My faith, to me, is when I got sober. God willing, Oct. 1, which is three days from now, it’ll be 12 years. That’s truly by the grace of God — you hear that phrase, but I genuinely, I mean that. That’s how I’ve experienced faith, through my sobriety. I was raised Catholic, but the experience I had at 31 was like in a different dimension to what I thought of religion or ideas. It’s one thing to have an idea, it’s another thing to have your heart opened. It’s definitely an important part of my life. And I think Brad did such a beautiful job conveying that. My grandma used to have one of these things when I was a kid — not a real gem, but like a glass cut thing so if you put it in the window, the sun shines through a million different ways, and the color goes everywhere. I feel like you [Brad] did that with some themes in the show where you’re like, “Let me just hold it up, and we’ll just look at it a few different ways.”

Ruffalo: My journey with faith is probably very similar to Tom’s. When you get a job or something, it can take you on a journey that you’re ripe to take. It touches your life at a very moment where you need it. I’d say, after my brother died, the whole notion of faith just went out the window for me. But oddly enough, I have a lot of addiction, alcoholism in my family. I say, either you are one or you love one. When you love somebody who’s struggling with that, it takes a lot of faith to let them go and to trust it will be OK. My friend says to me, “They got a God and you ain’t it.”

My faith has been renewed, actually, through Tom [the character] — he is an alcoholic. It’s touched my life in so many ways, even with my brother, that it’s like where I lost my faith and where I gained my faith again has been through this journey with alcoholism and drug addiction. And I waver. You look at the world and you’re like, “Where is God in this? Please show yourself. ” But the thing about faith is it requires you to believe without any evidence of its existence. I’d rather believe in that than nothing. Although, I fought him [Brad] all the time. I was like, “He’s [Tom] not really praying here. He’s trying to pray. He’s going through the actions of praying, but he can’t quite get to the opening sentence, which is “ … God …” He does pray, eventually, but it’s a journey.

There’s the powerful moment in that car when Tom and Robbie finally meet in Episode 5. Robbie says, “I don’t think I’ve ever experienced God in my life.” This is a man that hasn’t felt hope, and he has this glimmer of it with this goal of escaping to Canada. Tom, how was it getting into the mindset of this guy just trying to get out of this life?

Pelphrey: It’s heartbreaking. We’re articulating an American dream that far too many people don’t get to experience, and maybe are starting to lose the hope of ever experiencing it. That’s a very real thing — unfortunately, way too real and increasingly way too common. It was just constantly reminding myself: What does this character want? And at the end of the day, regardless of how extreme some of the things Robbie’s doing, he just wants a decent life for his kids. And the fact that he’s having a hard time getting it is heartbreaking.

That scene and in the car, the first time I read it, I was like, “Oh, he’s [Brad] got some balls.” You have so much s— boiling over — the plot lines, the violence, the stakes are through the roof for everyone now in the show, and we are going to sit in a car for half an episode? And two dudes are gonna talk?

In Episode 5, Robbie Prendergast (Tom Pelphrey), left, and Tom Brandis (Mark Ruffalo) finally meet.

(HBO)

Ruffalo: There’s no chase! And when they finally face each other, they’re not even [actually] facing each other! They’re both pushed to the edge and you don’t know where it could go. Tom certainly doesn’t know where it will go. Tom’s kind of at that point, like, “F— it. Go ahead.” We talked about it a lot, I was like, “I think Tom should die.”

[They break into laughter]

Ingelsby: Every single day he was pitching it.

Ruffalo: I was pitching Tom should have a heart attack at the end and he literally sees God and he says to God, “I’m ready.” He finally finds his faith. It’s finally paid off and he says [gasping], “I’m … reaaady.”

Ingelsby: Enough people die here. But that particular episode has always been very special to me. That’s when the show is operating at the peak of its powers. It just felt like, how do we subvert the expectations of the audience and do that in a way that still feels true to who these characters are? I remember talking to you [Tom] about this. You were like, “As soon as I know Cliff’s done, I’m on a one-way street. I have a plan.” But with you [Mark], once they get out of the car and you feel like you’re going to die, you’re like, “I want to call my family.” That’s when you get activated in a way. You’ve been going through the motions in life, but that’s when it gets very real.

Ruffalo: It’s like being reborn. It opens his heart. He sees how life can be taken away.

We’re in a political and cultural moment where the mood of the country is simmering — there’s anger and rage on all sides, and a lot of it stems from class and systemic issues that are in place that put people in certain positions. There’s that layer, but there’s also the grief element both these men are facing.

Ingelsby: With Robbie in particular, I was interested in a guy that felt really stuck. What I liked about Robbie was, if he didn’t take action, what would happen to Robbie? He’d be a trash man in too deep his whole life. Who cares about Robbie and his family? Nobody. He was left behind. In early versions of the script, I very explicitly said, “He wants his bite of the apple.” There are lots of people like that now. I loved writing Robbie because it felt like he was raging against being left behind and and I felt, in many cases, in the script, why wouldn’t you do something? Whether you agree with the actions or not —

Pelphrey: He had his f— life stolen from him. What he’s going after is a very specific thing. He’s not lashing out blindly against anybody to get any money at any cost. He’s like: “I’m gonna take it from these mother f—, who are bad dudes.” Even within that, he has principles. No one’s gonna die — obviously, the rules all go out the window Episode 2, but we’re not going to take the drugs, we’re not going to sell the drug. We’re going to destroy the drugs. We’re going to take the cash. Even within his brand of lashing out, he actually has a set of principles that he’s operating by.

Mark Ruffalo, left, and Tom Pelphrey star as two troubled men on a collision course in “Task.” Ruffalo portrays an FBI agent recovering from a family tragedy, while Pelphrey plays a garbage collector and criminal involved in a series of robberies. (Bexx Francois/For The Times)

Mark and Tom, as sons and fathers, how did you think about the father-child relationships of these two men and the collateral damage of their choices?

Ruffalo: It’s so hard to be a father, especially now because this generation is like, “We’re not going to do it the way our parents, our fathers did. We see that there’s another way to do it. We’re actually talking about it.” At the same time, we don’t exactly know what it is that we should do differently, plus we have the responsibility of, financially, keeping it together. It’s obviously hard to be a mom too. These guys are doing the best they can.

Pelphrey: Becoming a dad two and a half years ago now, it’s just the most f— awesome, wild, intense, crazy s— I’ve ever experienced in my life. It’s like getting struck by lightning. I’m so in love and I feel so vulnerable and I feel so happy — it’s all the feelings. Then suddenly, when you’re thinking about how you feel, you go, “How do I balance this? How do I protect her, but make sure that she’s brave and experiencing things? And you quickly realize there is so much to this that I will have no power over and the realization of that, in the deepest sense — and I’ve already had moments of that and we’re just getting started here. You imagine what it’s like, when you don’t have kids, but you have no f— clue. One of the things I could say without blinking, ever, is, “I totally understand why he’s doing what he’s doing.”

Was there a version where Robbie lived?

Ingelsby: No, I felt like structurally what needed to happen was Tom had to witness Robbie’s kindness, then his sacrifice. It felt very necessary to be like, “Oh, wait. Robbie — he went up to the woods…” Because he’s always like, “What’s the plan?” Tom realizes, “Oh, I know what the plan was. He went there to die.” Part of Tom’s journey to getting rid of the anger and to believing in something at the end, was to have witnessed the goodness in Robbie. He [Robbie] also gets in so deep eventually, he has pushed himself into such a corner and there’s no good way out of this. What’s an audience gonna think if he gets out of this unscathed? Even if he were to survive, he’s gonna be in jail for the rest of his life. The idea of sacrifice would speak to Tom as a character and get him to his ultimate decision to give the boy [Sam] up, but also forgive his own son and, quite literally, get the house ready for him.

Mark, how did you feel about the statement that Tom winds up giving at the hearing in the finale?

Ruffalo: He had to sit down and write that. I don’t think he really knew what he was going to be writing. He’s taking stock of his life and his son’s life and the story of the life. It’s connecting him to the whole story. It’s not just the loss of my wife, but also we raised that boy. We made this life together and, even in the hard part of it all, that’s where we learned what love is. Then when he gets in there, he doesn’t even know that he’s gonna say it. He doesn’t know he’s going to confront him with it and say [to his son], “Look at me.” But the whole journey, leads us there.

There’s something, too, about his composure in that moment.

Ingelsby: That’s the genius of Mark. That was the first or second take, what we used.

How many versions of it did you write? Was there an overly emotional or dramatic version?

Ingelsby: There was a longer version. But I think what was important about it was — and Mark does such a beautiful job — was that he had to be honest about how hard it was. I was always worried it would be a bit maudlin, if he just went in and said straight away, “I love you.” It was almost like he had to be really honest with everybody, like, “Hey, this was f— horrible.” And the shame of changing your name —

Ruffalo: Yes. To be that honest and to say that I pretended like I wasn’t his father. It’s so shameful. It’s so honest.

Ingelsby: I think because he’s so honest, it makes the forgiveness even more impactful. When he says, “I forgive you,” you believe because he’s earned the trust in the speech by admitting the things that were so shameful .

Ruffalo: It doesn’t just go one way — forgiveness. There’s a lot of shame on it on the other side, that’s where the anger comes from. There’s always this question: What could I have done? The backstory was I left, knowing that he was in an episode, but I had to go. I left her with him, thinking it would blow over. And it didn’t. He has to also be honest about his part in it. What dad says, “That’s not my kid. You’re in retreat already.”

Ingelsby: That’s what we want the ending to be. It’s not that everything’s going to be easy. I think the same for Mare — it wasn’t like Mare’s life was so great at the end of the show. There was a lot of going on.

Ruffalo: She’s going to an AA meeting. Tom and Mare can meet at an AA meeting.

Tom Pelphrey as Robbie Prendergrast, a garbage collector trying to avenge his brother’s death by hitting trap houses belonging to a local gang before getting caught in a deadly standoff. (HBO)

Mark Ruffalo, Silvia Dionicio and Phoebe Fox in “Task.” Ruffalo plays a priest-turned-FBI agent who hasn’t confronted his feelings about the murder of his wife at the hands of their adopted son. (HBO)

To that point, was there thought about whether to incorporate “Mare” characters in this show, if they’re in the same universe?

Ingelsby: It’s funny you say that. [In] one of the early scripts, we had a scene where Emily (Silvia Dionicio), at the end of the show, went to a concert with her boyfriend, Leo, the guy that’s a magician. And Mare’s daughter, Siobhan (Angourie Rice), was playing. And there was another connective piece I’m missing. I think Leo’s brother was in the band. And they had a moment together, because I felt like Emily and Siobhan were very, very similar. That they had the weight of the world on their shoulders in some way, Emily especially —

Ruffalo: They’re well suited for each other. They could just sink to the bottom of the lake together.

He’s got a crossover season mapped out for you.

Pelphrey: If we hold hands, we can sink faster.

Ingelsby: But we did have something connecting them. But I’m glad HBO read it and were like, “Is it a bit much?” It felt like maybe we were reaching to do something that the story didn’t require. And when we took it out, I felt like this story exists on its own, and we didn’t need that. If we had threaded it through the story in a more interesting way, maybe it would have worked, but it would have felt really tacked on and kind of just fan service for the sake of fan service, which I didn’t want.

Can we talk about the Phillies cup? It’s seems like such an obscure detail, but that cup triggered me. I know it well. A father trying to hide his vice.

Ingelsby: That’s another detail of my own life that I can repurpose, steal. That’s my dad. He drinks out of that. He watches every Phillies game. There’s 162 games. And if he can’t watch, he’s listening to it in a radio in the car. I feel like we always talk about in the specific, is the universal. And Mark did the swirly thing.

Ruffalo: That’s what made me want to do the show. That he was drinking out of that. And then he swirled his hand. I said, “This guy is writing character like nobody is doing that I’ve seen in television.” I only read the first episode and I was like, “I want to go. I trust this journey with him.” And it was from that nuance thing. I know that guy. He’s a priest who swirls his vodka and tonic with his finger. In a Phillies cup. And he thinks he’s pulling it over. That’s my family. It’s so honest.

The accent was such a feature of “Mare of Easttown.” I imagine that had its own expectations or pressure for this show.

Ingelsby: “Mare” was more a community — very, very specific community. I felt like, in that show, we had to go all in and Kate did. A lot of Mark’s character was driven by my uncle, who has no accent at all. Because he went to the seminary, then he went to Merrimack College, he was a teacher — he bounced around. And even me, there’s a couple words I’ll say that you can’t pick up a heavy accent. There’s a couple words, where maybe you could pick it up.

Ruffalo: We tried. I tried it. I kept kicking it out, it just didn’t feel right. He does hit some of those words. He does say wooder — cheery wooder ice. We kept some of it in, but we didn’t go as hard at it because he goes another way. I feel like he might have ended up in South America at some point. I was thinking he traveled the world.

Did you pay many visits to Wawa? I remember Kate telling me about her Wawa experiences.

Pelphrey: I grew up going to Wawa. I was Wawa all the time because I was living out in the suburbs.

Ingelsby: I think Kate ate hoagies or something.

Pelphrey: They make a good sandwich.

Ruffalo: Oh, bro. I started with a fat suit and then I had to take it off. I just kept getting fatter. My wife saw me and she’s like [to the kids], “huh, your father’s eating his way through Philly.” But, man, I’d be like, “How about a sandwich for the scene?” [Mimics scarfing down a sandwich.] Like a troll.

Ingelsby: He is an amazing sandwich eater. We were talking about it.

Pelphrey: We were.

Ruffalo: Oh, I knew I was going to be eating a sandwich that day [in a scene], so I starved myself so I could just plow that thing.

Are you interested in a Season 2, Brad?

Ruffalo: No one wants a Season 2. [the trio laughs] No, I’m kidding. That would be amazing.

Ingelsby: It would be amazing. If people respond and we get a chance to do it.

Could we get that “Task”-”Mare” crossover?

Ingelsby: A lot could happen.

Ruffalo: Some “Mare” people could show up. There could be a love affair.

Sept. 16 (UPI) — Officials at U.S.-based website LimeWire have acquired the Fyre Festival brand after emerging as the winning bidder for the fraud-plagued music festival.

LimeWire officials said the purchase enables the digital music provider and the Fyre Festival to combine their brand identities and attract millions of new users.

“Fyre became a symbol of hype gone wrong, but it also made history,” said LimeWire Chief Executive Officer Julian Zehetmayr in a news release.

“We’re not bringing the festival back,” he said. “We’re bringing the brand and the meme back to life.”

The purchase will enable LimeWire and Fyre to start a new chapter that is “grounded in technology, transparency and a sense of humor,” according to the news release.

LimeWire was an early pioneer of online file sharing, which a federal judge ended in October 2010 by ordering it to stop illegally sharing files in a lawsuit filed by the Recording Industry Association of America.

LimeWire’s new owners resurrected the brand in 2022 and seek to do the same with Fyre Festival.

“LimeWire’s acquisition is not about repeating past mistakes,” the news release said. “It’s about saving one of the Internet’s most infamous cultural memes from extinction and turning it into something new.”

The Fyre Festival was a subsidiary of Fyre Media, whose owner was charged and convicted of wire fraud in 2018 for lying to at least two investors.

The Fyre Festival formerly sponsored a live music event and booked musical artists at venues across the nation.

Filmmaker Taika Waititi and his wife, singer-songwriter Rita Ora, last week announced they are producing a stage musical about the failure and eventual cancellation of the 2017 Fyre Music Festival.