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Poll: Cracks emerge in GOP support for Trump and his handling of the Iran war
The share of Republicans who strongly approve of Trump and how he’s managed the war has dropped significantly in recent months, according to the new NBC News Decision Desk Poll.
Colin Kaepernick on his political evolution and which current politician he believes is ‘moving the needle’
Kaepernick writes in his new memoir, “The Perilous Fight,” that he has since changed his views after he said would not vote in the 2016 presidential election.
Brandon McGinley: How the measles got political
In 1982, C. Everett Koop became Surgeon General of the United States. His unusual appearance — bright bowties and a mustache-less face framed by...
Recap: Sporting KC suffers late 4-3 defeat at FC Dallas
Sporting Kansas City (4-16-3, 15 pts.) suffered a heartbreaking 4-3 defeat against FC Dallas (10-6-7, 37 pts.) at Toyota Stadium on Saturday night. After taking a 2-0 lead through Taylor Calheira and Stephen Afrifa, Sporting found themselves 3-2 down at halftime. Sporting controlled the second half and equalized through Calheira,
Pennsylvania’s measles crisis: Inside the nation’s largest outbreak
LANCASTER — For Hilda Smucker, the signs that her daughter was sickened with measles came soon after she arrived from camp. It started with tiny...
Rockford nonprofit connects community with health resources at Health and Hope fair
A Rockford nonprofit that helps women rebuild their lives after incarceration expanded its mission Saturday, bringing health care, housing, employment and other resources directly into the community.
Mesa County highlights suicide prevention efforts for awareness month
Public health officials point to 2025 suicide report as September marks national awareness month
New Super Smash Bros. Switch 2 game leaks before September Nintendo Direct
After revealing the Ocarina of Time remake and upcoming Nintendo Directs, the same leaker has offered another revelation. Rather than a Super Smash Bros. Ultimate Switch 2 upgrade, a game with unique characters may be in development. Even so, the platform fighter’s release date could be years away.
Xiaomi 18 Fold: New colors officially revealed
Xiaomi has unveiled two new colors for its upcoming 18 Fold, joining the previously revealed red model. Set to launch in China on September 7, the foldable is expected to feature high-brightness displays, Leica-branded cameras, the new Xring O3 chipset and a 6,000mAh battery.
TILLAMOOK FAMILY COUNSELING CENTER: Supporting Mental Health in Our Agricultural Community
In a community like Tillamook County, agriculture isn’t just an industry, it’s a way of life. Agricultural workers play a vital role in sustaining our local economy and food systems. But…
Matt Quatraro Explains Royals Starter's Rough Outing Before Rematch
Seth Lugo gets a second crack at Max Scherzer tonight, six days after giving up nine earned runs in Cleveland.
Trump-aligned super PAC to spend $10 million in Texas Senate race
Trump told reporters that the MAGA Inc., super PAC would spend between $400 and $500 million on midterm races.
Trump’s first major midterm money move: A $10M Texas Senate ad blitz
BRIDGEWATER, New Jersey — The political group associated with President Donald Trump is spending $10 million on television and digital advertisements...
The Weekend Mauling: 9/5/26
Links! The KC Star breaks down KU’s blowout win over Long Island SI writes that Nik McMillan lived up to his billing in his Jayhawk debut Queen Creek, Arizona (literally right down the street from where I live) has made it a specific crime to damage Flock cameras The John Fetterman drama keeps getting weirder […]
Fall’s essential pop concerts, from arena rock to country to indie
Highlights include Bruce Springsteen and Joan Baez, Olivia Rodrigo, Angine de Poitrine and Shaboozey.
Lenovo goes MacBook Neo: Hands-on review with Lenovo's best-looking $699 laptop
Consumer laptops do not have to look boring - with the Lenovo IdeaPad vibe, Lenovo goes for a design with a few colorful twists, at an attractive price-point with many useful features. We had a chance to check it out at IFA 2026.
OKC Mexican consulate provides free health, financial programs
The Mexican Consulate in Oklahoma City is offering free health, finance and education services through three community windows. A health \
Philippines vice president posts bail after arrest order for alleged threats against president
President Ferdinand Marcos Jr. and Vice President Sara Duterte were running mates in the 2022 elections, but their relationship has broken down amid political disputes.
At the center of Pa.’s measles outbreak, those closest to the most vulnerable feel ‘helpless’
LANCASTER, Pa. — Bree Robinson spent her last week of maternity leave trying not to think about the two people who died after contracting measles...
Robert Pattinson and Oasis bring star power to Venice Film Festival
The Venice Film Festival is buzzing as Robert Pattinson and Oasis frontmen Noel and Liam Gallagher arrive for premieres on Saturday | KCBS All News 106.9FM and 740AM
Even snakes have to audition for the opera at the Met. Princess the boa constrictor got the part
The Metropolitan Opera in New York requires auditions for everyone on stage | KCBS All News 106.9FM and 740AM
KCRA 3 welcomes Weekend Sports Anchor/Reporter Darius Joshua
Darius Joshua joins KCRA 3 as the Weekend Sports Anchor and Reporter.
iPhone Ultra, iPhone 18 Pro, and More: Apple's September 9 Event Preview
Apple's September event will take place on Wednesday, September 9 at 10:00 a.m. Pacific Time. Apple will announce its 2026 iPhone lineup, and this year is a big one. Along with the slab-style iPhones we've been using for years, Apple is going to debut its first foldable device. We'll also get new Apple Watches, a new set of AirPods, and possibly some other surprises. Subscribe to the MacRumors YouTube channel for more videos.
15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.
Judge again blocks Trump’s effort to restrict voting by mail as ballots start going out
The move comes as the Trump administration is appealing a related order to the Supreme Court.
Player Availability Report: #DALvSKC
Player Availability Report is SportingKC.com’s look at the latest status updates around the team ahead of upcoming matches and is presented by Saint Luke’s. All details listed are from the league’s official Player Status Report that is submitted the day prior to the match. Sporting Kansas City is back on
Measles cases top 3,000, CDC reports, the highest in more than 3 decades
A Pennsylvania coroner confirmed Friday that two infants died in the state’s growing measles outbreak.
Texas AG Paxton investigates military healthcare contractor over denied claims
Paxton cited an NBC News investigation into TriWest Healthcare Alliance, one of the contractors that administers the military’s healthcare benefits.
HP’s latest OmniBooks get RTX Spark, 128 GB LPDDR5X RAM and 3K OLED displays
HP has unveiled the OmniBook Ultra 16 and OmniBook X 14, two RTX Spark-powered laptops that are among the first to offer the lower-tier 18-core N1X configuration with a 5,120-core Blackwell RTX GPU. Both come with up to 128 GB of LPDDR5X-9400 memory and 3K 120 Hz OLED displays.
Lubbock Public Health confirms first human case of West Nile virus for the year
Lubbock Public Health has confirmed its first human case of West Nile virus (WNV) this year.
High School Football Week 2: Watch Omaha Westside take on Lee’s Summit (MO) on Golden Spike Sports
Friday Night Fever returns for round two!
Supreme Court backs Republicans in election ad rate dispute
Republicans asked the court to allow party committees to receive the same ad discounts that candidates themselves benefit from.
The Fierce Battle For Kids’ Eyeballs...Plus Two “Devils” Face Off
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) During the week of this report, Spider-Man: Brand New Day hit theaters and went on to become one of the biggest films of all time. So, you know what that means! It’s time for a poll! Recently, Project Hail Mary came to Prime Video and became a top five film for them, but didn’t smash streaming records, a feat I cautiously thought it could accomplish. Can Spider-Man 4 do better? To set the stakes, some of the biggest films of all time do just okay on streaming. Wicked, Top Gun: Maverick, and Barbie come to mind... But unlike those films, Spider-Man: Brand New Day is a Sony film which means it’s headed to Netflix, the world’s largest streamer. Now, per friend of the newsletter and my go-to Netflix expert, Kasey Moore of What’s on Netflix, Sony films usually appear on Netflix 120 days after they premiere, which means Spidey 4 would land on Netflix on, checks notes, 28-November, one of the two biggest streaming weekends of the year! But Sony occasionally delays its biggest hits for a bit longer, to give them more time to make money on PVOD, so Spider-Man: Brand New Day might not swing onto Netflix until late December or even February 2027. Loading... Okay, on to this week’s issue. Since The Super Mario Galaxy Movie made its way to Peacock, I’m looking at the true workhorse of streaming viewership: kids films. And the surprising film that bested most Netflix animated movies. All that, plus Hulu has a new show that might be a hit (for them…?), two “Devils” square off on streaming, Zendaya tries to find some streaming magic, Netflix’s I Will Find You continues to do well, House of the Dragon tries to break into the season three top ten, some big NBC sports and summer programs, what friendly neighborhood Spider-Man character actually generates the most viewership on streaming, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 27th to August 2nd, 2026. You can find a link to my terminology here.) Subscribe Film - As The Super Mario Galaxy Movie Hits Peacock, How Have Kids Films Fared in 2026? Like Mario hopping on a Koopa, The Super Mario Galaxy Movie landed on Peacock on 30-July. (Yeah, I kinda forced that Mario reference.) How did it do? Great, just like the first film. It got 13.0 million hours on its opening, and that’s good enough to take second place among Peacock films on the Nielsen charts all time: As I mention all the time, Peacock just isn’t the world’s biggest streamer—in fact, nowhere close—so its films struggle to put up numbers like Netflix (or even Prime Video and Disney+). So this is a solid debut for that streamer. And as we saw last time, The Super Mario Bros. Movie had a HUGE second life on Netflix when it moved streamers. This chart doesn’t even show how long the first Mario lasted on Netflix: a whopping, KPop-esque 31 weeks. For NBCUniversal, though, the big win was the second Mario movie grossing $429 million in America and over $1 billion globally. But yeah, to add a very strong streaming performance only makes its success even greater. Illumination pretty clearly has another hit franchise on their hands. This is a good time, though, to check in on kids films so far in 2026. We’ve had a few big, big titles, a rare Netflix success, and some disappointments. Let’s start with the top animated films since November of 2025, over their first four weeks on the charts, along with a few of the “best all time” animated films: (As a reminder, if a film doesn’t make the Nielsen top ten lists, I don’t have data for it, so it gets a “zero” in terms of viewership. Now, it had some viewership, but I don’t know what it is, so it gets a zero.) I added a few titles to get an idea of what the best of the best looks like in terms of animation. And you can see, through four weeks, Zootopia 2 can now claim “one of the biggest streaming films of all time” titles. GOAT too did surprisingly well, besting Netflix’s biggest films (Swapped and In Your Dreams) through four weeks. When I’ve talked about how films can have varying performances on streaming compared to their box office, this is what I mean. Goat just managed to gross even $103 million at the box office—so it’s popular, but just barely—but did very well on streaming. Of course, what set Encanto and KPop Demon Hunters apart from the rest was their absolutely insane longevity. Here are the kids film charts through eight weeks to show that: And really KPop Demon Hunters just kept going, and no 2025 or 2026 kids films have had that sort of longevity. I can’t wait to see the sequel in theaters. Film - Two Devils and a Drama As I wrote last week, in the past, theatrical-first film flops weren’t eligible for “Miss of the Week” or “Miss of the Year” honors/dishonors, but since so many more films go to theaters first these days, I’ve made them eligible now! But it’s complicated. You see, this is a Streaming Ratings Report, emphasis on streaming, which makes analyzing this week’s two biggest streaming misses—The Drama on HBO Max (A24’s dramedy starring Zendaya and Robert Pattinson) and Prime Video’s The Devil Mouth (a killer shark movie starring young attractive people)—somewhat tricky. The Drama isn’t eligible for Luminate, but The Devil’s Mouth only had 1.5 million hours in its first week: The Devil’s Mouth notched 5.2 million hours according to Nielsen. Meanwhile, The Drama missed the charts entirely. Not great! But Prime Video is a much bigger streamer than HBO Max. That said, HBO Max titles are on Prime Video, but I think Prime Video prioritizes their original/exclusive titles, which helps boost their viewership. Complicating this further, The Drama made $48 million in the US—while A24 sells foreign distribution; the $57 million of overseas grosses helps A24 sell overseas rights for money in the future—off of a $28 million budget (which seems low for Zendaya and Pattinson, so they might have backend). The Devil’s Mouth, though, had zero dollars at the box office. The other stats for The Devil’s Mouth are bleak, and by “bleak”, I mean horrendous: a 4.7 on 15K reviews on IMDb (yikes) and a 46 on Metacritic (double yikes). The Drama, though buzzy online, only has a solid (but far from elite) 7.1 IMDb score on 121K reviews and a 59 on Metacritic (which is far, far lower than I’d have guessed). So which film is the “Miss of the Week”? I’m giving it to The Devil’s Mouth for one simple reason: it’s a horror film. And almost all horror films, even poorly reviewed horror films, should get a shot in theaters to at least try to recoup some of their budgets. The Drama made money at the box office and The Devil’s Mouth didn’t. It’s just like the situation last issue with Obsession and Masters of the Universe. Sure, Obsession didn’t pop on the streaming charts, but at least it already made it money at the box office. And as we’ve been seeing for years now and we’ll see all fall, theatrical films just do better on streaming. After all, the big “devil” winner this week was actually The Devil Wears Prada 2 with 14.8 million hours according to Nielsen. That’s right, The Devil Wears Prada 2—one of the box office success stories of May—came to streaming and parlayed its $220 million box office into 14.8 million Nielsen hours. Disney also put out a datecdote that it had 15.2 million “views” globally in five days, but again we don’t have a lot of great context for what that means. Here’s how it stacks up to other Hulu films, since I’m categorizing this mainly as a Hulu title (though it was also on Disney+): Share Quick Notes on Film We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Whether Hulu has a new hit show on its hands... The top first and third seasons of all time and which shows are climbing those charts… What version of Spidey is the most popular... What sport and TV show are performing better on NBC than the NBA... All the flops, bombs and misses... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, wow, things stay so busy. One of streaming’s biggest shows of all time, Ted Lasso, returns along with new YA-ish shows from Hulu (The Shards, from Ryan Murphy) and Prime Video (Sterling Point). The Challenge moves to Paramount+, plus My Life with the Walter Boys returns to Netflix and Futurama returns to Hulu. And Netflix has a new horror film, The Last House. Lots to talk about! All month, things stay busy. We’re talking Reacher on Prime Video! Outer Banks and Tires on Netflix! Lanterns on HBO Max! UFC 330 on Paramount+ and the MLB Field of Dreams game on Netflix. And a ton of smaller films come to streaming. Long term, the VMAs are back on 27-Sep! I feel like I haven’t heard much about this show in past years, but I’m seeing more news coverage and buzz for this show than in past years. I’m curious to see how it does.
New Kansas initiative aims to keep mental health patients out of police cars
Kansas launches $2.46M search for statewide behavioral health transport network.
Maria Bartiromo’s lawyer says she was not fired from Fox News
Fox News Media said it had parted ways with the high-profile business anchor on Thursday.
9 Fruits With the Most Carbs Dietitians Love For Energy and Fiber
These high-carb fruits provide energy for exercise, plus fiber and nutrients to boost health. Carbs are “the most efficient fuel source” for the brain and muscles, dietitians say.
Reform UK polling sting: why even small donations matter in politics these days
It’s the latest financial controversy to rock the party.
Jay Craven: Another Remarkable KCP Season Takes Shape
I always look forward to the fall when the new KCP Presents performance series is announced, as it was this week. Over the years, the series, and its predecessor, the
Two sectors are powering Ascension’s commercial property market
Retail and industrial properties kept Ascension Parish’s commercial real estate market on steady ground during the second quarter, even as the office sector continued to lag. The market recorded … Already an INSIDER? Sign in. Already an INSIDER? Sign in
This Overlooked Type of Friendship Promotes Healthy Aging, Expert Says
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Sony's PlayStation disc plant is losing 10 percent of its volume in 2028, not 90
Sony’s PlayStation disc plant is losing 10 percent of its volume in 2028, not 90 Sony won’t license disc pressing to anyone else, Microsoft does, and a former PlayStation boss thinks that’s the whole problem. When Sony DADC chief Dietmar Tanzer spoke with an Austrian broadcaster in July about PlayStation disc production at the Thalgau plant, a number of press outlets misunderstood the report, writing that production would fall to a tenth of current levels. It won’t. Sony DADC confirmed to Game this week that the figure is a 10 percent decline, not a decline to 10 percent. “To clarify and avoid any misleading information: in that statement Dietmar anticipated an overall product volume decline by 10 percent, not a decline down to 10 percent,” a spokesperson with Sony DADC told Game. That figure covers 2028. Tanzer didn’t put a number on the years after, and the spokesperson declined to comment further. What we do know is that on July 1, PlayStation announced that physical game disc production for all new games releasing on PlayStation consoles will be discontinued starting January 2028 and that the transition has no impact on games that have already released in disc format or will be releasing in disc format prior to that month. “So, there will be reorders going to the market after January 2028,” the Sony DADC spokesperson said. “For details around that I would ask you to liaise with the PR team from PlayStation, as we can’t speak or comment on their behalf.” PlayStation officials did not respond to questions about reorders or other disc-related matters. But I did recently speak with Shawn Layden, Game Industry Strategic Advisor and former chairman of SIE Worldwide Studios, who called a future without physical PlayStation discs “depressing, but solvable.” then added, “I think.” The chief hurdle to third-party manufacturing of collector’s editions or any other version of a PlayStation game disc is that Sony owns the proprietary process to press those discs, Layden said. “And unless they decide or determine a way to license that to some of these bespoke disc manufacturers, there’s no way to make it happen,” he said. Layden was careful to add that he understands the concept but doesn’t have “line of sight on the particulars.” “Depressing but solvable, I think.” — Shawn Layden Microsoft already licenses replication to outside plants. Xbox discs are pressed by manufacturers Microsoft certifies as Authorized Replicators, a term defined in its publisher agreements, with the approved list set at the company’s sole discretion and Microsoft retaining the right to halt manufacture. The structure is still in place today: publishers select an Authorized Replicator in Partner Center and submit a bill of materials created with a Microsoft representative. Sony, by contrast, presses PlayStation discs through Sony DADC, its own manufacturing subsidiary. No one I spoke with said they were in discussions with Sony about doing that, and PlayStation hasn’t responded to questions about whether it would be open to a licensing deal. There is an obvious reason Sony might not want to. Niko Partners analyst Daniel Ahmad pointed it out on the day of the announcement: it’s a platform-led decision, he wrote, designed to cut costs, eliminate the resale market, and drive all revenue through the PlayStation Store. The math is not subtle. On a $70 third-party game sold through the PlayStation Store, Sony keeps $21. Sold at retail, Ahmad says, it earns about half that. Licensing disc replication to an outside manufacturer might not be worth it. And even if it were, it seems unlikely that such a deal would come from boutique companies like iam8bit, which sells collector’s editions of video games. “We would absolutely love to find a way forward to continue making physical PlayStation games,” said Jon Gibson, co-owner and co-creative director of the company. “We are big believers in giving humans the option to truly own media. If we can play a role in helping make that a reality for the future of PlayStation games, count iam8bit in!” If it were to happen, it would most likely be with a company like Conectiv Supply Chain Solutions, a Memphis-based manufacturer of optical discs and vinyl records that also runs third-party logistics, fulfillment and distribution for packaged media. The company, which was formed in 2025 when Los Angeles private equity firm Variant Equity Advisors purchased Vantiva’s Supply Chain Solutions division, traces its lineage back to Technicolor. When it sold the division, Vantiva described the business as having served video game creators for more than 25 years. Conectiv is also buying, not shrinking. Last month it acquired SDS, the distributor for Universal and Warner Bros. home entertainment, consolidating those studios’ packaged-media pipeline from pressing plant to retail shelf. I reached out to Conectiv and its CEO, but haven’t heard back. Layden pointed to music and books in our discussion about the ongoing value of physical media. “No one ever saw the comeback of cassette tape,” he said. “And vinyl didn’t so much come back. The flame went down, the fire’s dying, but the ember was always there, and it just kind of came back. Much like the book business. We thought we’d all be on Kindles right now. “I believe that physical media is crucial and important. One of the things that makes us gamers, one of the core game mechanics, going back to the beginning of time, is collecting stuff. “Did you get all the diamonds in Crash Bandicoot? Did you get all the stars in Mario? And we like to collect our games. And we have a game shelf. And we put all our boxes up there. And if you’re super hardcore, when you buy a game, you buy two copies, right? One stays in the shrink wrap, and you play the other one. What happens to that important cultural part of the gaming world? You know, we buy the steelbook and the three-disc Final Fantasy set and the figurine and, you know, you can’t download any of that. “What happens to that?” And Layden believes it shouldn’t have been a revenue question for PlayStation. “This was a core thing to the experience of our most devoted fans,” he said. “Yeah, it’s fan service. Why would we take that away? Well, we can’t afford to. It’s already 120 bucks, you know, limited edition special purchase onyx box version of whatever, and those sell at a higher rate than the box selling at $69.99 does. So yeah, the market has said they will continue to buy them. You’re just saying you just don’t want to make them anymore.” Layden said he was recently talking with someone about these sorts of business decisions and how they’re made. Too often, he said, it’s all about the financials and nothing else. “OK, we can do this and save this much money, or we can invest this to look at that outcome, or we can do this and have this happen over there, or move this team to Sri Lanka,” he said. “But each one of those, someone also has to have a ledger there saying, ‘OK, what is the brand impact from that move?’ “Iif you can’t resell it, do you really own it?” — Shawn Layden “If we do that, dollars and cents work out. I get it. That’s just math. But what’s the brand impact? Are people going to say, ‘Good move, you guys?’ Or are they going to say, ‘We hate you guys. Quit doing that.’ And sometimes they say, ‘We hate you.’ Then you take a note and say, OK, how much of that can we live with? How much ‘we hate you’ is OK. And when does it go over the line? “I see a lot of companies making decisions which, objectively speaking, I don’t know what the dollar end of that was for you, Mr. Company, but your brand value just dropped 30 percent. So I hope it was worth it.” Of course, shifting to a digital-only model for games raises other issues beyond simply wanting to collect. The biggest is ownership. Layden pointed out that once you go to a streaming-only or download-only model, it’s just a digital footprint on a hard drive. “What does ownership mean anymore?” he said. “It’s a genuine question. Well, in fact, it’s not even a question anymore. It’s like you are shifting the model from ownership to accessibility. “And what’s always been true, which people forget, is you’ve never been able to sell your iTunes library. And you can’t sell your PlayStation download library. So if you can’t resell it, do you really own it?” The touching tribute found in the credits for Star Wars Zero Company. Resonance: A Plague Tale Legacy Interview and Hands-On with a Minoan Masterpiece Star Wars Zero Company hands-on: Attack Astromechs, permadeath, and delightfully fatal Rube Goldberg tactics Control Resonant opens up as you get stronger — and as characters start trusting you
Live updates: First mail ballots being sent amid challenge to Trump’s restrictions
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Sony and Microsoft say they’re not obligated to pass U.S. tariff refunds to consumers, echoing Nintendo
Back in July, Sony executives told investors that the company expected to receive $508 million in refunds from the U.S. government, after tariffs that the PlayStation-maker paid were ruled mostly in 2025 were found to be illegal. “Most” of the refund would by recouped by Sony’s gaming division, its chief financial officer said. This week, Sony’s lawyers are arguing that the company is not legally obligated to pass those proceeds on to consumers who paid for recently price-hiked PlayStation consoles. That’s in the face of a lawsuit from gamers calling on them to do exactly that. “Paying fair market price for voluntarily purchased consumer goods is not a legally cognizable injury in fact,” the lawyers wrote in a legal motion filed on Monday, as they asked a judge in California’s Northern District to dismiss a potential class action lawsuit over the tariff refunds. Microsoft made a similar argument two weeks ahead of Sony’s lawyers, in a similar lawsuit brought by a gamer in federal court in Washington State. As Microsoft’s legal team put it on August 21, in their request for a dismissal of that lawsuit: “There is nothing unjust about Plaintiff purchasing an Xbox at an advertised price and getting exactly what he paid for—regardless of whatever theory he devised months later about Microsoft’s cost structure.” Both legal fights are set to go on for some time. How things got to this point U.S. tariffs impacting a wide range of imported goods, including game consoles, had kicked off in early 2025. In May 2025, Microsoft raised the price of its Xbox consoles, citing “market conditions and the rising cost of development.” They raised them again that September. In August of that year, Sony raised the price of PlayStation 5 consoles, citing “a challenging economic environment.” Sony later told investors that its tariff fees for the fall quarter were nearly $200 million. in February of this year, the U.S. Supreme Court ruled the 2025 tariffs illegal, prompting impacted companies to begin to request refunds. In turn, consumers began suing the likes of Sony and Microsoft to get what they said was their share. The gamers in the Microsoft and Sony lawsuits argue that the 2025 price hikes of PlayStation and Xbox consoles, which added $50 or more to their sticker price, were due to illegal tariffs and should now be returned to consumers. The Sony suit started in May, when a group of gamers sued in federal court in California, saying Sony Interactive Entertainment (PlayStation) would be unjustly enriching itself if it did not pass tariff refunds to its PS5 buyers. “Sony is poised to be paid twice for the same unlawful tariff burden: once by its customers (through elevated prices) and once by the U.S. government (through tariff refunds),” the gamers’ lawyers wrote at the time. They called for Sony to partially reimburse anyone who bought a PlayStation in the U.S. since August 1, 2025. The Microsoft suit, filed by gamer Trevor Hastings against the Xbox giant in July, made similar claims. The console makers push back In late July, Nintendo’s lawyers, facing a similar suit accusing them of double-dipping on tariffs and refunds, replied with arguments that previewed Microsoft’s and Sony’s: “Nintendo or one of its retailers set a price for each product, and consumers decided whether that price was worth paying,” they wrote. Sony has buttressed that Nintendo-style argument this week by saying that the gamers have failed to prove that tariffs were the reason for its August 2025 PS5 price hike. They call thatclaim “speculative and illogical.” Other factors, including “inflation, currency fluctuations, component costs, logistics, competitive dynamics, or demand,” could have played a role. (No, the Sony lawyers do not break down the costs and factors that officially triggered the price increases). Microsoft has also argued that there’s no proof in these lawsuits that tariffs drove all or some of the price increase, as it seeks to dismiss the tariff refund suit it’s facing: “Plaintiff provides no specific allegations that would establish any pricing differential attributable to tariffs or suggest any possibility that Microsoft applied then or could recreate now any dollar-for-dollar calculation of tariff-related pricing—any more than it could any other market factor that affects pricing.” To further skewer the gamer side’s argument in its case, Sony’s lawyers have pointed to what might be a surprising defense: yet another PlayStation 5 price hike from this past spring, after the tariffs were ruled illegal. “If the original price increase were attributable to tariffs, SIE [Sony Interactive Entertainment, aka PlayStation] would have had no reason to raise prices again after the Supreme Court invalidated the IEEPA tariffs.” … “If tariffs were the cause of the price increases, one would expect SIE to lower prices once the tariffs were eliminated—not raise them again. Instead, the timeline confirms that the pricing of PlayStation consoles includes a diverse and dynamic set of input costs.” Judges have not yet ruled on the arguments made by Sony, Microsoft or Nintendo. Last week, Panic, the company behind the small, yellow Playdate handheld said it would be passing its tariff refunds on to consumers. It is the only gaming hardware maker to have made such a pledge. Game File is a reader-supported publication. To receive new posts and support my reporting, please consider becoming a free or paid subscriber. Subscribe Item 2: A reporter’s second Second Life Wagner James Au, who from 2003-2006 was paid by San Francisco-based tech company Linden Lab to be a full-time journalist embedded in their virtual world Second Life, is returning to the company. This time, he’ll be an editorial advisor and business development specialist, he tells Game File. The new role will involve trying to share the stories of people inhabiting Second Life’s ongoing online world with reporters and by extension the public. Au plans to continue to also chronicle some of that through his long-running blog New World Notes. I’ve known Au since the mid-2000s and featured him in a 2007 article for the Columbia Journalism Review about reporters like him opening up virtual news outlets within Second Life. As I wrote at the time: On April 22, 2003, writing as Hamlet Linden for the New World Notes blog on Second Life’s Web site, Au introduced himself. “For the next few months, Linden Lab has invited me to set aside my journalist cap, and instead, don the digital beanie of their in-house virtual correspondent.” He wasn’t paid to keep it positive. He wrote about builders and eccentrics, but then in August of that year, he reported on a tax revolt against Linden Lab (a complaint about the fees it charges users who build stuff) led by a resident whose avatar was a big cat. Second Life has always been less of a video game and more of a virtual world where people can live, hang out, make art, sell virtual items and flirt. Back in 2007, Au described touring it as “sort of like underwater lucid dreaming.” For the past two decades, Au has maintained New World Notes as an independent publication. But he said he’s been drawn back to Second Life and Linden Lab as a place to directly work. The virtual world has around 650,000 monthly active users, he said, “which is actually about what it was during the hype wave.” Au says he’s still finding rich stories in Second Life, the kind that keep him interested 20 years into the beat: “Over the last few months for instance, I wrote about an SL creator in Venezuela whose apartment was destroyed by the earthquakes, so the global SL community rallied to get him back on his feet,” he told me. “Then there’s the woman from a Middle Eastern country who explored her lesbian sexuality in SL, then earned enough from her virtual jewelry to escape her abusive family situation and country.” Au wants to beckon more reporters to give Second Life another look. He argues that it is often ahead of internet trends, noting, for example, an early backlash in the community against AI-made art. Now the platform is drawing curiosity from more of the user-generated content community who’ve grown up with the likes of Roblox, according to Au. “Second Life was too early during its hype wave in 2005-2010, but it now feels right for a new wave of interest,” he told me.
Presented with bleak polling, the White House moves to make the midterms about Trump
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August Monthly Review: ChatGPT In Epic
Death, taxes, another frontier lab healthcare launch inspiring truly insane LinkedIn takes. As much as I want to stay away, I repeatedly am the crewman unplugging his ears whenever we pass these sirens. So it’s not the first and probably not the last time we dial up the typewriter rather than tie ourselves to the mast. The full blow-by-blow timeline: Health API Guy is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe The End of the Standalone PHR (Jan 8): ChatGPT Health arrives for consumers, at the time powered by b.well. I was bullish on the approach in that the best way for the PHR to finally solve distribution was to meet consumers were they already are (i.e. When Horizontal Meets Healthcare (Jan 9): OpenAI for Healthcare puts out the shingle for enterprises, with SharePoint ingestion standing in for the EHR integration the product actually needed. Another One: Anthropic’s Healthcare Debut (Jan 16): Claude's version, on HealthEx rails instead of b.well, with Agent Skills for FHIR development as the one true vertical-specific investment. ChatGPT for Clinicians: The Trap Sprung (Apr 24): OpenAI filled in the missing GTM middle with a free product for verified clinicians, effectively peeling the enterprise wrapper off ChatGPT for Healthcare and taking the PLG fight directly to OpenEvidence. OpenAI’s Second Attempt at Health (Jul 31): a relaunch of their patient specific app, now branded Health in ChatGPT, where the privacy partition came out, the connectors thinned, and b.well disappeared in favor of first-party FHIR work against a smaller network Beyond a Shingle So what was announced now? Today, we’re introducing a new electronic health record integration that brings authorized patient context from Epic into ChatGPT for Healthcare, along with the Healthcare Public Data plugin for direct, structured access to official healthcare datasets like PubMed, DailyMed, and CMS Coverage. Together, these capabilities bring ChatGPT closer to the systems and sources healthcare teams trust, while supporting the controls and compliance healthcare work requires. The core portfolio is unchanged from prior announcements we delineated and discussed (aside from the relaunch of patient-facing). Since trade publications still seem to be confusing them by using the wrong names: Enterprise sales motion: ChatGPT for Healthcare Protecting their core product / PLG: ChatGPT for Clinicians Consumer/patient-facing product: Health in ChatGPT So really, this is a feature release (specifically for ChatGPT for Healthcare when it comes to EHR integration). What’s cool about it, though, is that we are moving beyond just putting out a shingle. Everything in the January enterprise launch was horizontalizable: Horizontal tech companies thus generally start verticalization with their “putting out a shingle phase”. Telling the world you’re open for business as a horizontal tech company reliably attracts early inbound interest from buyers who are already trying to force-fit horizontal tools into domain-specific workflows and are eager for any signal that the vendor intends to support their use case more directly. Nothing was really vertical specific, which is exactly what you'd expect from the ultimate hypergrowth horizontal company dipping their toes into specific industries. But eventually you have to stop changing the sign on the door and start changing the product. Can you guess where the horizontal product was going to run out of road? This is the core dilemma writ large: verticalization requires differentiation, while scale economics of consumer and horizontal push toward unification. I’ve buried the lede so deep here it will be painful to some readers, but what should be shocking to no one is that my perspective is that EHR integration is the only path that meaningfully resolves this tension for ChatGPT for Healthcare. Integration with Microsoft Sharepoint is fine, but it is categorically insufficient for any product that hopes to influence clinical decision-making. SMART Money Well here we are, eight months later! Real vertical investment has begun, which surprised a few people. One friend in the industry messaged me: “Absolutely no way Epic gave ChatGPT API access.” Looking forensically at the announcements, the integration is notably read-only across appointment notes, laboratory results, medications, and specialist documentation. So while I’m not a betting man, I'd wager the house this is a SMART on FHIR launch: That sounds a lot like USCDI! The recommended path for the workflow they outline would be SMART on FHIR Their Health AI lead’s post is evocative of both standalone and EHR launch SMART, which another termed “ChartGPT” and “EHR Plugin” The implementation burden for SMART on FHIR is the lowest of the available integrative paths This is the team who literally did patient-facing SMART on FHIR with Epic last month Most importantly, if you’re a horizontal company, you generally still haven’t taken the full plunge and thus (overly) value reusability. SMART on FHIR is the logical compromise: healthcare-specific enough to matter, but standardized enough to reuse. Nobody Asked Judy Another friend asked “I thought they had to go to each health system, or did they go direct to Epic and now health systems opt in?” Given the trust paradigms in healthcare, this functionally cannot be Epic hoovering up all the data for OpenAI and shoving ChatGPT in their customers’ faces (or they would revolt). However, I do believe the aforementioned terrible coverage by TechCrunch and other outlets is probably responsible for that question, given the 325 million reference. When using FHIR as a business associate to an Epic customer, there is no EHR gatekeeping to speak of, as that isn’t how fhir.epic.com works: You register an app You pick your APIs You test against the sandbox APIs You list as “Ready for Production” Hospitals pick your app You test and go live with them Bluntly, nobody had to say yes or no in Verona (nor were they given the chance). Vendor Services (their next developer tier up that I doubt OpenAI is using quite yet in this initial release) certainly has contractual paperwork that some resent, but even there, the twin pressures of mounting antitrust and information blocking make outright gatekeeping increasingly fraught. My friend’s sentiment is, to me, representative of a broader industry neurosis, perhaps a sort of scar tissue of prior eras: people assume the gate is still there and never actually try the door. There are certainly other ways Epic (and any EHR) can put its thumb on the scale, but they are not so dumb as to stand in front of a federally mandated API and play bouncer at this exact moment in time. So I think they can and probably should go deeper, as this release is at best parity and at worst behind vertical-specific competition. OpenEvidence did a basic SMART launch with Sutter Health in February, allowing for more convenient evidence search by providers. They then add patient-context (the equivalent SMART on FHIR flow to what we see here) when Cedars-Sinai went enterprise-wide in May. UpToDate has four distinct applications across deeper workflows like patient engagement listed in Epic Showroom and announced a partnership with Epic to power Art at UGM Abridge and other ambient scribes have invested deeply into the deepest bidirectional clinical copilot workflow with integrations well beyond SMART on FHIR. In that light, the “Who is OpenAI primarily targeting here?” is clear. This release brings them into striking distance of OpenEvidence, but not the others quite yet. They are the only one of the three you can reach without building something truly Epic-specific. When will they go further? Competition is a great motivator to overcome the horizontal demons and start building things that can’t be reused: not across industries, not across EHRs, maybe not past the customer you built them for. That’s the price of actually verticalizing. The question is if and when OpenAI will be willing to pay it. Month in Review Here is the monthly review. As a reminder, this is a regular round-up of the month’s posts and other content to surface things you may have missed across regulation, litigation, interoperability, and beyond. AI assistance is used in these bullet summaries so I can focus on articles. Articles Published: None this month Video Content: The Information Exchange: Standards-based Thruple Edition (Aug 14): Back to school for us too, with Brad reporting in from the CMS Health Tech Ecosystem’s one year anniversary in DC. We get into the January CMS-0057 deadline, the fall rulemaking reading list, and why enrollment still keeps most apps off FHIR. The Information Exchange: Epic Dúnadan Edition (Aug 25): A UGM roundup with Ryan Brickner joining for the first time to check our takes against what the building actually thinks. Rangers, Ergo sitting on top of EHI, and a down-market lineup that needs some cuts. Regulatory: Stacked Deck, Bad Hand (Aug 05): ONC’s website refresh took the entire HIT Policy Committee record with it, so I rebuilt the archive and went looking for the regulatory capture story everyone assumes is buried in there. Stacking the deck and winning the hand turn out to be very different things. The Sixth Generation of Patient Access (Aug 19): A quick catalog of the five generations of patient access we’ve layered on since HIPAA, and the two candidates now competing to be the sixth. One is planned. The other is the market routing around the plan entirely. Court cases: Three Cases Walk Into a Docket (Aug 06): Two surprise settlements cleared the board in a single week, and then Judge Maddox dropped ninety-four pages on Vyne v. Henry Schein. The sleeper is a DMCA holding that makes direct-to-database a considerably riskier business model. Epic v. Health Gorilla: Into the MDL (Aug 10): Nine class actions are headed to Miami, and the Panel signaled it wants to bring the case that spawned them along too. That would leave Epic arguing the requests were obviously fraudulent in one courtroom and unknowable in the other. Amazon v. Perplexity: Agents Are Legalized! (Aug 11): The Ninth Circuit vacated the injunction against Comet, holding that the user is the one accessing the servers rather than the company that built the agent. A real win for agentic access, and a much narrower one than the headline suggests. Veeva v. Epic: Come At Me, Bro (Aug 26): Epic’s response brief wants the dismissal affirmed and, unusually, wants the opinion published as precedent. Buried in it is Epic’s own description of what its non-competes actually prohibit, which current and former employees should read closely. EHRs: The Contract Epic Would Never Sign Today (Aug 04): A 1999 SEC exhibit catches Epic licensing nearly its entire product line, Tapestry included, to the company that became TriZetto. The marketing services menu attached to it is the part that will make you blink. Forecast from Verona (Aug 07): The Epic Almanac makes one argument six different ways: the AI is only as good as the networks behind it. Emmie headlines, Art’s context stack is the most ambitious part, and Penny finally gets an autonomous coding date on the calendar. Works With Epic MyChart (Aug 17): Epic’s first new Showroom category since the death of Workshop certifies hardware instead of software, badge on the box and all. Made for iPhone, but for blood pressure cuffs, and rough news for anyone selling the RPM stack sitting in between. UGM Hot Takes 2026 (Aug 20): Everyone else covered the AI announcements, so I went after Savvy deleting the payment gateway, Rangers as Boost with the timer removed, and a down-market lineup with too many entries. Plus the Health Grid tidbits I cannot help myself on. MyChart Central Grows Up (Aug 24): Device data and Emmie turn Epic’s identity hub into a full consumer platform, which is both a logical answer to ChatGPT and a bit of a mistake. It also happens to be the best scraping target Epic has ever shipped. Industry Analysis: The Wrong Yardstick (Aug 12): Vertical software keeps getting judged against Superhuman and Notion, which is the wrong bar entirely. Your user is comparing your product to a whiteboard and forty phone calls before lunch. Primitives vs. Abstractions (Aug 27): Developers want building blocks, systems of record prefer to hand out business logic, and both sides have a real case. There’s no test from the outside that separates the engineering reason from the competitive one, which is why this keeps ending up in court. Cross-industry Comparisons: The Two Kinds of Platform Power (Aug 18): Attention power and record power are different problems that keep getting handed the same regulatory toolkit. Congress’s latest swing at Big Tech shows both what’s possible and where it falls apart. The Dogs of (Platform) War (Aug 21): A CourtListener alert turned up a property management fight with healthcare’s exact shape and none of the Cures Act. Shell prospects, ghost accounts, a notetaker bot that came back to haunt someone, and a lawyer arguing both sides of the same theory in two states. Fractals All the Way Down (Aug 31): Yardi dominates property management right up until you zoom into one segment, where AppFolio owns it outright and Yardi doesn’t appear at all. Where you draw the line around a B2B software market is about to decide an awful lot of cases. Other News: If Judy Had the Courage (Aug 13): A short eulogy for the era when software was allowed to look insane: WinAMP, bold colors, and everything the grey chatbot era has taken from us. External Media: Portland Monthly Health Tech Meetup: Erin O’Brien channeled my own feelings - maybe it’s just because it’s August and beautiful, but the monthly edition of the PDX Health community meetup was a ripper. Make sure to reach out if interested to join for the next one. STAT’s Coverage of Epic This Month: Brittany Trang of STAT did a fantastic job of breaking the FTC investigation that’s been lurking, as well as UGM related coverage, so I had to give her her wish of a meme. Fall Conferences: I’m pumped to be kicking off my fall conference season in NYC at Nabla Accelerate next month, which Chrissy provided the link to apply for. Here’s the rest of my schedule in case you want to meet up: Commonwell (Redwood Shores, CA): Oct 13-14 Open@Epic (Madison, WI): Oct 21-22 eHealthExchange (Austin, TX): Oct 27 Sequoia Project (Austin, TX): Oct 28-29 HLTH (Vegas): Nov 15-18 RSNA (Chicago): Nov 29-Dec 3 Posts I Liked: HTI-6 Should Unbundle API Certification: Josh Mandel makes the case that HTI-6 should split (g)(10) into separate authorization and data certifications, so a PACS or a genomics platform can certify only the role it actually performs. Imaging is the urgent example, but the structure solves a much bigger problem. On implementing ePrior Auth with Epic: Scott Rossignol’s field notes from a live ePrior Auth build on Epic, including the two app registrations nobody warns you about and the CPT mapping problem waiting at the end. CMS-0057 implementations are going to be such a beast. Healthcare point solutions are starting to look a lot like streaming services: Spencer Dorn runs the cable-to-streaming arc against health IT and lands squarely on the bundling half of the cycle. Bundling can be good! It can also be bad! Life is nuanced. Health API Guy is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe
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What Box Office Bomb Crushed Obsession on Streaming?
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Before we get into this week’s issue, let me ask you for some suggestions. At the risk of coining too many names for too many things (hence my dictionary of terms...), I need a name for straight-to-streaming films that are too expensive to justify a straight-to-streaming release, but not big enough to justify a theatrical release. Like some of the films I highlighted in last week’s tally of the biggest film flops of 2026 so far: Hulu’s Mike & Nick & Nick & Alice, Pizza Movie or Never Change! They don’t feel like “made for TV movies” (think Hallmark and Lifetime movies, cheap Netflix romcoms, or Disney Channel Original movies, for example) but they don’t feel big enough for the big screen. They’re not “cinematic” enough, so to speak. As I wrote... “I still need a name for this middle zone of film that’s too expensive to go straight-to-streaming but too small to justify a theatrical release (with all the PR, distribution, marketing and whatnot costs that go along with it), the Goldilocks zone of streaming film death.” Friend of the newsletter Brandon Katz has suggested the “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”. I love that first one. I’d offer up the much wordier “The Streaming Budget Dead Zone” or “the Goldilocks Zone of streaming film death” but that last one isn’t accurate since, unlike Goldilocks’ porridge, these films are the opposite of “just right”. That’s the problem! Anyway, if you have any suggestions, let me know! On to today’s Streaming Ratings Report. As you can tell by today’s headline, things are going to be spicy! I’m looking at a box office bomb that did really, really well on streaming, somewhat challenging a few different narratives. And another Netflix series declined in its second season. All that, plus Wicked: For Good switching streamers, The Hawk continuing its strong run, _The Bear’_s finale season finally dropping off the charts, the WNBA posting a big viewership number, “shallow libraries”, a sitcom spinoff failing to launch, more big budget IP flopping on Paramount+, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 20th to July 26th, 2026. You can find a link to my terminology here.) Subscribe Film - The Latest Theatrical Success Story on Streaming In the latest edition of “Flops, Bombs and Misses of the First Half of 2026”, I made a crucial change: I started including theatrical films with the streaming misses. The streamers have collectively—including Netflix, but not to as big of an extent—stopped making a lot of straight-to-streaming films, and the ones they do make aren’t as expensive as in the heyday of the streaming bubble. After the following two films bombed in theaters, you’d guess that they’ll be included in my next collection of flops, bombs and misses six months from now: Masters of the Universe on Prime Video (only $64 million domestic box office) Mortal Kombat II on HBO Max ($79 million domestic) But you’d be wrong! Masters of the Universe, a reboot of the He-Man franchise, a toy from the 1980s, came to streaming on 22-July and did great! This long-gestating project—it’s been at every studio for years, and came close to getting a greenlight at Netflix—then finally came to theaters in June, and showed up on streaming less than two months later. (I don’t love this short theatrical window.) It surprisingly grabbed nearly 20 million hours on its debut: That means, wait for it, Masters of the Universe is currently the eighth biggest film on streaming through two weeks. My rough bar for “hit” is shows or films in the top 15%. Ergo…Masters of the Universe is a legit, streaming hit! (One quick caveat: if it falls out of the top ten next week, it will move to 13th overall, just on the edge of the top 15.) Of course, that’s the data for just 2026. Here’s how it stacks up to Prime Video’s theatrical films: That drop into its second week is typical for Amazon films, but also a worrying sign. I have a feeling interest in this film is front-loaded and we’ll see it drop off after this. As for Mortal Kombat II, in this case, the viewership numbers roughly match the theatrical outing, with only 4.1 million hours in its first week. Here’s how it stacks up to other HBO Max films: The best defense of this number is that, as a relatively violent rated-R film, Mortal Kombat II never had a good chance at breaking out. So now it’s time for a little big of “Entertainment Nuance Guy”: First, yeah, my headline is obviously facetious, since Masters of the Universe besting Obsession says more about horror as a genre than it does that film. Second, I read and listened to quite a few “nobody wanted this IP” takes about Masters of the Universe, and that’s not really true. At least enough people wanted it to power a 20 million+ hour debut! Third, both this film and Mortal Kombat II were considered “average” by viewers, but not great films, with a 6.4 and 6.3 respectively on IMDb. That’s just shy of the level needed to be a word-of-mouth hit. Fourth, in the olden days, strong word of mouth could transform a box office miss into a cable/DVD hit, like Austin Powers or The Shawshank Redemption. We haven’t seen a lot of examples of that on streaming, though. And there are far fewer ways to monetize the post-theatrical life of a film these days. Fifth, Prime Video has shown an ability to push their own titles well, likely because they control the Amazon Fire TV ecosystem. Add it all up, and here’s my nuanced take on Masters of the Universe: it was a box office bomb, but, shockingly, a streaming hit. Unfortunately, while being a theatrical hit saves your film financially, being a streaming hit does not. Both Masters of the Universe and Mortal Kombat II had big budgets and needed to make more money in theaters to justify them. So…Straight-to-Streaming or Theaters? We’ve hit a really fun point in the streaming calendar, since the films that came out in theaters in April, May, and June are now arriving on streaming. So the “Do theatrical releases help streaming performances?” question is gonna get a fresh round of updates nearly every week. No single week will answer the question, but we may get some insights. For example, so far in 2026, it looks like theatrical films are lasting longer on the weekly Nielsen film charts. Here’s a list of films that have made the charts in their fourth or fifth week of release, separated by “for kids” and “general entertainment”: It certainly seems like theatrical films are lasting just a pinch longer on the charts, with Project Hail Mary being the current five-week champion. One Battle After Another did well for HBO Max too, and even The Sheep Detectives made it four weeks. The only exception to this trend? Obsession, which only lasted two weeks on the charts. You might tempted to overreact to this news. Don’t. Obsession is a huge horror hit, but horror just doesn’t do as well on streaming. By the way, here’s the Google Trends for various theatrical and stremaing films: Plus, when it comes to Netflix in four months, Obsession may have another big boost. Quick Notes on Film Note that when I write, “the streamers have pulled back on straight-to-streaming films” that doesn’t mean “abandoned” because Netflix is gonna Netflix. On 24-July, they released 72 Hours, a Kevin Hart comedy. Along with Eddie Murphy, Mark Wahlberg, John Cena and Adam Sandler, Kevin Hart is a streaming film star now. Did this latest one work? Not really. It only garnered two weeks of 13.2 and 12.2 million hours on its debut, well below the 20-million-hour hit threshold. It also was poorly received critically—a 44 on Metacritic—and by customers—a 5.4 on IMDb on 21K IMDb reviews. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The latest Netflix true crime doc to pop on the charts… How The Bear finished its run… Netflix’s latest Western to return to streaming… What Paramount+ animated film flopped… And what sitcom also missed… All the flops, bombs and misses… And a whole lot more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! I’m behind by a week, so we’ve got two issues coming your way this week, including one in a couple of days or so, then we’ll be all caught up**.** Next issue, inspired by The Super Mario Galaxy Movie coming to Peacock, I’m going to take a look at the workhouse of streaming TV: kids films. Plus The Devil Wears Prada 2 continues theatrical films’ big run on streaming. All that, plus another surprise hit on Hulu, Lioness on CBS, and a whole lot more. Long term, LeBron James is filming his own “Last Dance”-style docu-series, surprising no one. But as I’ve been writing about a lot this summer, this genre is really overrated, so whoever ends up buying it (reportedly ESPN) really shouldn’t pay too much for it.
Republicans weigh whether to vote for Rep. Max Miller amid abuse allegations he denies
The allegations have given Republican leaders an unexpected headache as they try to hold back Democrats from retaking the House.