Picture central London with the power deliberately switched off. Work lamps throw hard cones of light across a construction pit, fluorescent jackets move through the half-dark, and somewhere under the rubble sits a fuze old enough to predate everyone standing over it. That image, a great city dimmed on purpose and reduced to silhouette and emergency strobe, is where David Mackenzie’s Fuze chooses to live. The setup reads like a procedural. An un…
This story is only covered by news sources that have yet to be evaluated by the independent media monitoring agencies we use to assess the quality and reliability of news outlets on our platform. Learn more here.