Nashville Zoo says a proposed AI data centre could stop its endangered leopards from breeding


TL;DR

Nashville Zoo is fighting a DC BLOX data centre proposed 50 yards from its animals, citing noise risks to endangered clouded leopards.

The Nashville Zoo has launched a campaign to block a 69,000-square-foot AI data centre proposed by Georgia-based DC BLOX on a site roughly 50 yards from the zoo’s animal enclosures. A petition against the project has drawn nearly 300,000 signatures in less than a week. Nashville’s Metro Council is now considering a data centre moratorium, and the mayor has directed his legal department to review the proposal.

The zoo’s primary concern is noise. Southeast Asian clouded leopards, which the zoo breeds as part of a conservation programme, are classified as vulnerable on the IUCN Red List and as endangered under the US Endangered Species Act. The species is notoriously difficult to breed in captivity and is, according to the zoo’s own website, “sensitive to auditory and visual disturbances.” Zookeepers worry that the constant hum of cooling systems and backup generators could stop the animals from reproducing entirely.

We are vehemently opposed to having a data centre so close to animals,” Nashville Zoo president and CEO Rick Schwartz told NBC News. The zoo houses more than 3,000 animals across its grounds at Grassmere, and the proposed facility at 648 Grassmere Park would sit immediately adjacent to the property.

The backlash has drawn national attention. Country music star Brad Paisley publicly opposed the project over the weekend, calling it an “absolute nightmare scenario” and urging fans to sign the petition. Courtney Johnston, the Metro Council member whose district includes the zoo, has filed a zoning appeal and said she will push for a vote on a data centre moratorium at a Tuesday council meeting. Nashville mayor Freddie O’Connell told reporters that “we have a lot of concerns about the project and have our legal department looking into it.

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The metropolitan government was caught off guard. Nashville does not yet have zoning rules or building regulations specific to data centres, a gap that DC BLOX appears to have identified. The company filed a grading permit application for a single-storey structure on a 23.5-acre site currently owned by MarketStreet Enterprises. The property has not yet been sold. A separate Metro Council bill that would ban data centres larger than 500,000 square feet and restrict them from being built within half a mile of homes, schools, churches, and zoos has already passed its first reading.

DC BLOX has said it will maintain and test “noise levels to measurable and acceptable levels” and adhere to all federal and local environmental requirements. The company also promised to use “closed-loop or waterless cooling designs to minimize ongoing water use” and stated that the proposed facility is not an AI factory. Those assurances have not slowed the opposition.

Nashville’s fight is the latest in a pattern of community revolts against data centre projects across the United States. In Utah, residents protested a 40,000-acre hyperscale campus backed by Kevin O’Leary until the governor signed an executive order establishing new development standards. In New Brunswick, New Jersey, residents successfully blocked a data centre development entirely. The political dynamics are shifting ahead of November’s midterm elections, with data centre opposition drawing bipartisan support in communities that had never previously organised around infrastructure policy.

The environmental footprint of data centres extends well beyond noise. A United Nations University report published this month found that AI data centres could consume as much water as the basic needs of 1.3 billion people by 2030, reaching 9.3 trillion litres annually. US utilities are planning to spend $1.4 trillion on electricity infrastructure by 2030 to accommodate the demand, more than double the investment of the prior decade. Residential electricity prices have already risen approximately 40 per cent since 2021, and a further 5.1 per cent increase is projected for this year.

The strain is not confined to the US. Denmark paused all new grid connection agreements in March after a 60-gigawatt queue, nearly nine times the country’s peak demand, overwhelmed the system. Ireland imposed a similar moratorium on new data centre connections in Dublin in 2021 that lasted more than two years. The Nashville Zoo case adds a dimension those examples did not have: the tangible, visible harm to animals that a community already cares about, giving the opposition an emotional anchor that electricity bills and grid capacity numbers alone have not provided.



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Pixar is the champion of animation, but not all of their movies have had the chance to shine. For 40 years, the studio has brought families together across 30 movies. Certain movies never enter the discussion of being among the studios’ best — they were overshadowed by other films, or they went direct-to-streaming on Disney+.

In honor of the 40th anniversary, here are four Pixar movies that are worth reevaluating in 2026.

Toy Story 4

A surprisingly strong sequel

In 2010, Toy Story 3 brought Pixar’s debut franchise to an emotional close, as Woody (Tom Hanks), Buzz (Tim Allen), and the gang said farewell to Andy, preparing for a new life with Bonnie (Madeleine McGraw). After bringing their genre-defining animated trilogy to a fitting conclusion, I was doubtful that any follow-up could ever live up to the trilogy’s legacy. However, I was pleasantly surprised when I finally found the time to watch Toy Story 4.

As the gang of toys and Bonnie embark on a trip, Woody sets out to help the handcrafted toy Forky (Tony Hale) while also reuniting with Bo Peep (Annie Potts), who has become a rescuer of stray toys. As expected, Pixar’s animation remains ever-impressive, but Toy Story 4 manages to recapture the charm of the original 3 movies and offer a surprisingly fitting epilogue to Woody’s story in particular. Even with a new installment on the horizon, the emotion behind Toy Story 4‘s major status quo change for the gang ensures that the movie will be able to stand on its own merits for many years to come.

Turning Red

A stylistic reinvention

2022’s Turning Red saw Pixar take another crack at a coming-of-age story. The young Mei (Rosalie Chiang) clashes with her mother, Ming Lee (Sandra Oh), leading to her learning that she inherited the power to turn into a gigantic red panda in moments of heightened emotion. With her favorite boy band in town, Mei and her friends plan to use these gifts to attend the concert. As the concert draws nearer, however, Mei continues to clash with her mother, building to a generational showdown to heal her family’s curse.

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When compared to what came before, Turning Red is a drastic stylistic departure from Pixar’s filmography. Mei’s story is told in a more informal manner when compared to other features, as Mei breaks the fourth wall and is incredibly expressive when compared to how past features tiptoed the line between cartoon and realism. However, this stylistic decision gives Turning Red a unique charm while making its story feel all the more personal and emotional, as we are given a clearer insight into Mei’s state than any other Pixar protagonist that has come before.​​​​​​​

Monsters University

Expanding a universe

While Toy Story had proven that Pixar could create successful sequels, expanding on a movie was still a rare move for the studio in the early 2010s, with said franchise and Cars being an exception. As such, Monsters University had a lot of pressure placed upon its shoulders when it released. Set several years before the events of Monsters Inc, the prequel explores how Mike (Billy Crystal) and Sully (John Goodman) went from fierce rivals to the firmest of friends during their time at the titular scaring school.

Blending the setting and cast of Monsters Inc. with a teen college movie was an ideal choice to expand the world of this Pixar movie, as most of the charm found in Monstropolis comes from how it drastically imagined elements of our own world in its monstrous lens. Furthermore, it is interesting to see that Sully and Mike began as rivals, and Mike’s arc focusing on his struggle to be a scarer does add layers to where his journey ends in the original movie. As such, Monsters University is a worthy prologue to one of Pixar’s most enduring franchises.​​​​​​​

Soul

A deeper tale with age

Pixar is unafraid to tackle deeper and more mature subjects. However, I feel Soul stands as one of their most ambitious explorations yet. On the verge of fulfilling his dream, Joe (Jamie Foxx) is caught in a near-death experience, leading to him becoming a disembodied soul in the “Great Before.” When his soul is tasked to guide the reluctant 22 (Tina Fey) into finding the passion that will drive her during her time on Earth, Joe is taken on a journey to not only return to his body but also reconsider what drives him and what is important in life.

For a studio that has prided itself on packaging deeper themes into a family-friendly package, Soul easily stands as a movie that feels targeted for its older viewers. Children may be inspired to take joy in everything life can offer through 22’s journey, but Joe’s story is particularly relatable to those who have had to grapple with their passions being lost or an unpredictable turn in life putting a stop to a dream, and watching him regain that through his experiences with 22 is incredibly emotional. While it may not have had a chance to shine at the box office, Soul will stand as a fondly remembered Pixar classic. Hopefully, new viewers and young fans can begin to see the movie through different perspectives as they face their own trials.​​​​​​​


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