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Four Padres’ Prospects Who Could Make an Impact in 2027
The San Diego Padres have one of the worst-ranked farm systems in all of Major League Baseball. That has posed a massive problem for General Manager A.J. Preller whenever he tries to wheel and deal at the Trade Deadline. However, Preller has proved adept at holding onto gems. Recent Padres' prospects such as Jackson Merrill …
Business owners prepare for looming PA skill games deadline
LANCASTER COUNTY, Pa. (WHTM) — The clock is ticking, and when Wednesday rolls around, skill games across Pennsylvania will go dark. If bars, convenience stores, and non-profits haven’t …
'Peaky Blinders' Maker Banijay Plots U.S. Expansion
The combined Banijay Entertainment and All3Media business is not "jealous" of the major U.S. studios and will plot its own path in the market.
Ron Perlman’s Watrfall Hands Audiences Control Of $275,000 Creator Fund
EXCLUSIVE: Watrfall, the Ron Perlman-backed creator platform, is planning to put the power in the hands of audiences. The company, which we first told you about in August last year, has opened submiss...
Zee 5 Global Drops ‘Sumo Didi’ Trailer Ahead Of Streaming Launch
EXCLUSIVE: Zee 5 Global has released the trailer for the streaming launch of Indian sports pic Sumo Didi. The Jio Studios, Fresh Lime Films and MA+TH Entertainment Networks film, which released theatr...
Falling Walls Foundation Female Science Talents Intensive Track 2027 (Fully-funded)
Deadline: November 15, 2026 Applications are invited for the Female Science Talents Intensive Track 2027. For 2027, they are looking for 20 exceptionally talented women in science from all disciplines to take part in the one-year career programme. The Intensive Track is a one-year programme supporting 20 outstanding early-career women in science from all disciplines
Pedro Pina: YouTube Is Not “Invested In Producing Content”
YouTube is not “invested in producing content.” That was the message today from the platform’s European chief Pedro Pina, as he continues his tour of the biggest TV events in the world convincing trad...
'A Haunting' Revived At Radial Entertainment With Jupiter Pictures
Radial Entertainment is bringing back the series after acquiring the New Dominion Pictures library earlier this year.
Theatrical Is Alive: YTD Domestic B.O. Surges Past $8 Billion, Two Months Sooner Than 2025
The motion picture studios can easily sing that 42nd Street song “We’re in the Money” as the U.S. and Canada box office clicked past the $8 billion mark on Friday. Why is this a big deal? Because in p...
Raiders Urged to Make Trade to Improve 1 Key Position
The Las Vegas Raiders have emerged as a potential candidate to pursue a wide receiver before the NFL trade deadline, but their early-season success may not change the team’s cautious approach. Despite opening the campaign with a 3-1 record, the franchise must decide whether adding an established pass catcher is worth sacrificing valuable draft capital. […] The post Raiders Urged to Make Trade to Improve 1 Key Position appeared first on Gridiron Heroics.
Lancaster businesses remove skill games in days up to Supreme Court’s deadline
On Thursday afternoon, an employee of K&S Games wheeled three skill games out of House of Pizza in downtown Lancaster. The machines, which generated significant revenue for House of Pizza
Skydance TV: George Cheeks’ Evolution & JB Perrette’s Linear-DTC Job
An analysis of George Cheeks’ evolution from "the business guy" to Chief Content Officer of Skydance TV and JB Perrette’s linear-streaming job bundle.
Netflix’s Summer of Bummer
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) Today, I’ve got a guest post from longtime friend of the newsletter, Brandon Katz. I’ve been trying to find time all summer to look at Netflix’s straight-to-streaming film slate, but between a pre-planned trip and Nielsen moving up their streaming data timeline, I’ve been swamped. So I reached out to Brandon, one of my favorite fellow analysts, to write about it. And I feel like he captured the tone and data focus of the newsletter perfectly. You can connect with Brandon on LinkedIn and Twitter. Enjoy! Don’t worry, folks. You’re in safe hands with me. To ease any anxieties about an interloper in ESG’s domain, I’ll start by stealing one of his best framing devices: headlines. Box office flops are covered in the same way the Teenage Mutant Ninja Turtles eye pizza: with cartoonish insatiability. I would know. I’m a former reporter who wrote nearly identical headlines: Yet, intentionally or not, streaming misses get treated with kids gloves, filtered through a rosy lens: In the last six years, U.S. streaming viewership has become nearly as transparent as the box office, but the data often arrives weeks later, in a number of less intuitive metrics, and with nary an official budget to be found. This plays into the Wall Street-whispering narratives major streamers have been cultivating for years. They get a pass in a way that theatrical studios simply don’t. Subscribe Netflix’s Summer Slate Not a single Netflix original film released between May and August this year opened above 20 million U.S. TV hours, per Nielsen. That benchmark usually serves as the EntStrategyGuy’s floor for a streaming hit on Netflix. None of these films enjoyed a hit-cementing single week of 20-plus million hours during their runs. Netflix’s two best films were true crime docs, Maternal Instinct (16.5 million hours) and The Crash (19.7 million), the best overall week for a film this summer. Great for most other streamers, but not necessarily what we’re used to seeing from Netflix. For an overly-dramatic comparison, Happy Gilmore 2 opened last summer to around 47 million hours (celebrity cameos, baby!). Zooming out, the picture looks even worse. In 2026, Netflix’s five biggest scripted summer films posted the lowest average (28.6 million hours) and median (28.8 million hours) eight-week viewership totals of the past four years. Now, it’s unrealistic and unfair to expect Netflix to deliver a _KPop Demon Hunters-_sized hit every year. But it’s also not ideal to see the size of their hits shrinking over the last few summers. Let’s quickly run through some of the notable summer misses. Jennifer Lopez and Brett Goldstein’s perfectly fine romcom, Office Romance, fell off the charts after 20 million hours in its first two weeks. Top films usually last for four-plus weeks. Starry titles ideally don’t decay that fast either. Homegrown star Millie Bobby Brown couldn’t prevent the snappy Enola Holmes franchise from diminishing returns. At 14.3 million U.S. hours, the third film posted roughly half of what the first two films did in their first two weeks. What’s on Netflix calculated that per-day global views were down nearly 60% from the second movie. The Whisper Man did okay with more than 36 million hours over its first four weeks. But I expected a little more juice from a film featuring Robert De Niro, Michelle Monaghan, and Adam Scott. Kevin Hart’s Ladies First collected just 11.2 million hours total across two weeks. That’s a big miss for one of Netflix’s go-to stars. Plopping into the same bucket are Sunny Sandler’s Don’t Say Good Luck (10.3 million in two weeks) and John Cena’s Little Brother (17.5 million). Meanwhile, English-language originals Color Book (June 19), In the Hand of Dante (June 24) and Heartstopper Forever (July 17) never sniffed Nielsen’s Top 10 at all, despite needing only 2 to 5 million hours to land in the top ten most weeks. (By my count, eleven English-language scripted original films released between May and August did chart). It’s only fair to mention that Swapped (1-May) posted nearly 42 million U.S. hours over five weeks (the longest Netflix original run this summer) and is currently their eighth most-watched English-language film ever worldwide. Remarkably Bright Creatures (37 million, 4 weeks) and Voicemails for Isabelle (27 million, 4 weeks) weren’t bombs either. Still, overall, I think it’s fair to say this was a quieter summer season than we’re used to seeing from the market-leader. You might not realize that given the language commonly used in public analysis. The Twist Despite the starkly black-and-white tone of the coverage, here’s the twist: when many box office bombs arrive on streaming, their viewership looks a whole lot like many of Netflix’s supposedly successful summer releases. Hmm, where have we heard that one before? Masters of the Universe topped out at $65 million stateside against a $170 million budget_._ I’ll admit, Skeletor ripping sleeveless curls as a gym bro and bodyslamming Adam’s co-workers was funny. But, much to the chagrin of my bank account, my laughter doesn’t launch franchises. Yet the He-Man reboot opened to 19.6 million hours (from a Wednesday five-day opening instead of just one weekend), on par with Hoppers on Disney+ (19.4 million). It put up nearly 47 million hours over its first six weeks, bigger than all of Netflix’s summer releases. Pretty darn healthy and likely to land among the 25 most-watched movies on streaming this year. Sticking with Amazon, The Sheep Detectives just barely broke even at the box office with $133 million worldwide (and only $66 million domestic). I never expected cloven-hooved, cud-chewing mammals to be able to bring me to tears. Yet that’s exactly how I found myself at the end of this surprisingly affecting movie (#NoShame). It was likely the unexpected quality in a family-friendly film that powered its streaming over-performance. Sheep Detectives delivered a solid run for Prime video netting 26.2 million hours! How about franchise IP? Star Wars: The Mandalorian & Grogu had the lowest opening ($81 million) and lowest-grossing Disney-era live-action Star Wars film ($178 million domestic). One day before release, its Heat score (19.8%)—audiences who list their interest as a 7/7—fell behind blockbusters Wicked (21%), Superman (23%), Fantastic Four: First Steps (23%), Michael (23%), Toy Story 5 (26%) and Avatar: Fire and Ash (27%), according to Greenlight Analytics. The urgent enthusiasm just wasn’t there. On streaming, Mando opened to weeks of 12.1 million, 6.1 million and 2.7 million hours (21 million total) over its first three frames. Not the numbers Lucasfilm was hoping for nor the numbers of a streaming hit. But they’re in the same vicinity as some Netflix summer releases with $345 million at the global box office to offset a smidgen of the pain. Final Thoughts So why oh why does this nuance gap exist? Four key reasons: Data Literacy: A “$100 million opening” just makes sense. After decades of box office reporting, even casual movie fans are well-versed in the benchmarks of hits and home runs. There’s an immediate shorthand. But “16.5 million” hours doesn’t land nearly as cleanly. Despite leaps of progress, the streaming ratings era is still in its infancy compared to theatrical. The EntStrategyGuy and I met thanks to a late 2010s group chat of data nerds hungry to find a shred of certainty in nebulous streaming performance. I’m not surprised to see “No. 1 on Netflix” still getting misconstrued out in the wild. Timing: By Friday morning, we have the box office’s Thursday night previews totaled, allowing us to better project the weekend’s expectations. From there, ticket sales are reported daily. By Sunday, the film’s fate is usually finalized, at least in terms of public perception. In streaming, Nielsen recently improved its delay to…two weeks. The medium isn’t forced to contend with instant gratification as harshly. Financials: Theatrical film budgets are a mere Google away. Profit and loss is calculated in the cold and unforgiving naked light of day for all to see. But finding the vast majority of streaming exclusive movie budgets requires the forensic investigation skills of a Criminal Minds detective. Also, it’s very difficult to calculate how much revenue/value a straight-to-streaming films provides a streamer. This is why there are so few stories about streaming original movies “losing X amount of money”. On top of that, marketing budgets are far greater for theatrical movies than streaming exclusive movies, which leads to earlier and better awareness. This then translates to a wider pool of potential interest. Narrative Control: Netflix is the only major streaming service to publish weekly first-hand viewership data and annual engagement reports. Naturally, some headlines borrow their first-hand framing**.** Other streamers benefit from their comparative lack of transparency. They may occasionally announce vague performance platitudes such as Apple TV’s Mayday becoming its “biggest film debut on the platform to date over its first 18 days,” and that it ranked No. 1 with left-handed viewers in its first weekend. (Fine, I made up that second one). But, for the most part, they keep first-hand viewership shrouded in mystery to avoid bad press. Especially for outlets that demand multiple articles per day from their writers, it’s an easy (and understandable) way for some reporters to hit their daily article quota by just repeating what the streamers have told them. TL:DR version: Streaming-exclusive movies are asked to do different things than theatrical movies, but that doesn’t mean they should escape judgment. Both still need to draw enough eyeballs to justify their cost within the proper performance contexts. The more cleanly we can inject a little nuance into streaming analysis, the better we’ll understand the audience and content trends that drive this industry. And that’s what all of this is really about: knowing what audiences actually want! Brandon Katz is the Director of Insights & Content Strategy at Greenlight Analytics where he focuses on evaluating the ever-fluid media landscape to unearth understanding, opportunity and value. Greenlight Analytics is the entertainment intelligence consulting company redefining how Hollywood finds, understands, and activates audiences. Prior to joining Greenlight Analytics, he served as the senior entertainment industry strategist at Parrot Analytics, and as a full-time entertainment industry reporter covering the Xs and Os of Hollywood, most notably with TheWrap and the Observer.
NC sues state’s biggest hospital chain, extends enrollment deadline for State Health Plan
North Carolina Treasurer Brad Briner is suing Atrium Health over new payment strategies he says could endanger the financial health of the State Health Plan, which insures 750,000 state workers and others.
Oregon Universal Health Plan Group Hastens To Meet Deadline
A few weeks ago, it looked like the board tasked with giving lawmakers the template for government-run universal health care plan would get until December to finish its big report. It turns out it had to move faster.
Gerhard Zeiler Exiting Skydance To Follow Political Ambitions
Gerhard Zeiler, Warner Bros. Discovery international boss, is officially exiting Skydance to follow political ambitions in Austria.
Huber Heights offers $150K in business, nonprofit grants; deadline Oct. 16
Huber Heights businesses and nonprofit organizations have until Oct. 16 to apply for an economic development grant program with $150,000 allocated for 2026.
Lions Predicted to Land ‘Physical’ Eagles CB Before Trade Deadline
The Detroit Lions are named as a top landing spot for Philadelphia Eagles cornerback Kelee Ringo on the trade market. The post Lions Predicted to Land ‘Physical’ Eagles CB Before Trade Deadline appeared first on HEAVY.
2027–2028 Harvard LEAD Fellowship for Promoting Women in Global Health application is now open
The LEAD Fellowship, a one-year fellowship designed to advance leadership skills among individuals from low- and middle-income countries, is now accepting applications. The program supports the continued development of leaders in global health. Deadline: November 15, 2026
US Supreme Court won't speed up Democratic challenge to FCC political ad policy, for now
Siding with Republicans, the US Supreme Court on Thursday allowed the Federal Communications Commission to avoid for now a judicially imposed deadline in a Democratic challenge to the agency's new political advertising policy.
US Supreme Court Won't Speed up Democratic Challenge to FCC Political Ad Policy, for Now
By John Kruzel WASHINGTON, Oct 8 (Reuters) - Siding with Republicans, the US Supreme Court on Thursday allowed the Federal Communications Commission to avoid for now a judicially imposed deadline in a Democratic challenge to the agency's new political advertising policy. With November midterm ...
Scott Bakula To Headline Detective Drama In Works At CBS (Exclusive)
NCIS: New Orleans star Scott Bakula is eying a return to CBS with another procedural drama, which is in development at the network.
Eagles’ Pass Rusher Emerges as Potential Trade Candidate Before Deadline
The Philadelphia Eagles and general manager Howie Roseman have never shied away from being active in NFL trade discussions. Over the years, Roseman has had one of the more aggressive mindsets in the trade market. With the 2026 NFL trade deadline coming up after Week 9, it would not be surprising to hear the Eagles […] The post Eagles’ Pass Rusher Emerges as Potential Trade Candidate Before Deadline appeared first on Gridiron Heroics.
Who Won August and September: Original Films or Franchises?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) I just heard someone say that if you’re reading a pundit or data analyst, and they don’t tell you that they got anything wrong, they’re not a pundit but an “influencer”. I agree with that. You have to tell your audience when you get things wrong, or they won’t (or shouldn’t) trust you as much. Today, we’ve got another edition of “What I Got Right, What I Got Wrong”. In general, I’m patting myself on the back (and patting very hard) about a few things like IP at the box office, LIV golf, horror films, crowdfunding movies, superheroes, and old people going to the theaters. That said, I also made a couple of data mistakes on the streaming bubble popping and HBO’s datecdotes, so I’m not perfect. But first, I need your feedback... Subscribe Follow-Ups: What Should We Call Mid-Budget Movies Which Aren’t Cinematic Enough for Theaters But Are Too Expensive to Make Money on Streaming? After I asked for feedback on what we should call straight-to-streaming films that are too big to pencil out on streaming but not really big enough to resonate in theaters, I got some great suggestions from you all, including... “Moldilocks” from John Aboud “Little Big Indie” from Travis Frick1 “Midflicks” from Jonathan Funke. “Extra-Medium” from Jona Nwuke. (Read the explanation in the footnote.) Between these and Brandon Katz—who suggested “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”—we’ve got some excellent suggestions. And they’re better than my suggestion, the “Streaming Budget Dead Zone”, so let’s take a poll! The winning entry becomes the new term. Loading... RIGHT: LIV Golf is Fully Bankrupt…Is Anyone Else Next? A few years ago, I was always a bit perplexed at all the articles I’d read praising LIV Golf and their strategy to disrupt the PGA. LIV Golf, a brand new professional golf league, offered PGA stars ten times what they made on the PGA Tour to join their new league. And folks praised this strategy for its initial “success” in that a lot of big names did indeed leave the PGA. Yeah, of course the players came over. LIV Golf paid them so, so, so much more! But LIV Golf hadn’t discovered a way to increase potential revenue. So think about this in basic business terms… They paid much more in costs… …but had no real way to increase revenue. That’s not a strategy! That’s deficit financing. It won’t work unless you bankrupt the competition (and then turn around and pay those same golfers much, much less). It’s not a sustainable strategy and only lasts as long as the company/person/nation backing it decides they’re cool with losing money. For LIV Golf, that meant Middle East oil wealth, in particular Saudi Arabian money. Clearly, the current Iran War has hurt Middle East finances, so they need to trim their more exorbitant spending. And LIV Golf was part of that trimming. This should be a major warning for others. TGL’s parent company, TMRW Sports, just got a $1 billion valuation, despite TGL’s (the indoor golf league) horrible TV viewership of less than half a million viewers per match. Unrivaled, the women’s basketball league, just secured a $650 valuation, despite its horrible TV viewership and a new rival (Project B) entering the scene next year. To relate this to streaming, Hollywood should ask which streamers may have wealthy patrons funding their losses. (Let’s be clear: Google, Amazon and Apple.) Could those patrons lose their appetite? For Amazon, probably not. But Apple has a new boss, so maybe! WRONG: My Analysis of the Streaming Bubble Was Missing a Week I’m going to be congratulating myself a lot today, but I make mistakes too, like this data goof. When I last compiled the data on the decline in TV shows, I was missing one week at the end of June. If you look at the first image, you can see that one week was mislabelled as “July”. Mainly, this image got updated to show a 27% decline, not 29%: This change doesn’t really impact the overall analysis, but it is two percent better. By the way, through the third quarter, the decline increased and it’s now a 30% decrease since 2022. (I’ll write/visualize this in an upcoming article.) But I want you to trust me and my data. Especially these days, when many people are using LLMs that I know are inserting faulty data into their charts, I want to keep earning my audience’s faith. So that’s the accurate data. RIGHT: IP Remains Very, Very Popular In July, I wrote a giant (and I mean giant) article on Backrooms, Obsession, and the box office, going over what we know, what we don’t know about what works in theaters, looking at YouTubers, IP, the horror genre, comic book movies, and a whole lot more. The month of August really tested a lot of my theses and, being honest, mostly supported my arguments. Let’s start with IP. Looking at 8-Aug (the weekend after Spider-Man: Brand New Day came out) to 18-Sep (the weekend that Resident Evil came out, which I think provides a nice bookend to this time period), there were seven films based on pre-existing IP: Resident Evil (2026) ($126 million) Practical Magic 2 ($65 million) _Insidious: Out of the Furthe_r ($65 million) Coyote Vs. Acme ($59 million) Paw Patrol: The Dino Movie ($53 million) Tony ($15 million) Super Troopers 3 ($7 million) Compare those to the notable original films from the past month—I actually could have included more movies, but here are just thirteen, bringing us to an even twenty films—including.... The End of Oak Street ($54 million) Buddy ($26 million) Mutiny ($15 million) By Any Means ($15 million) The Dog Stars ($14 million) Runner ($14 million) One Night Only ($11 million) Hope ($8 million) Spa Weekend ($7 million) The Uprising ($6 million) Teenage Sex and Death at Camp Miasma ($6 million) Onslaught ($3 million) Eli Roth’s Ice Cream Man ($2.8 million) Here’s that in chart form: Five of the top six films in this time period were all based on IP. I made a big chart of films that grossed over $200 million at the box office before Spider-Man: Brand New Day and The Odyssey hit theaters. Let’s update that chart! By the way, if you want to see how I categorized each film—so another bar chart—here it is: I know that many of my fellow critics/pundits/analysts dislike films based on IP and how Hollywood is making so many of them. And I’m sympathetic to this point of view. As I’ve written many, many times before, you need a balance between existing franchises, new IP, and original films. And Hollywood clearly needs to make more films like Resident Evil (a well-made film from a visionary director) and fewer Practical Magic 2’s (which didn’t get critical or customer buzz). But at some point, critics and pundits need to contend with what audiences are telling them: Movie-goers aren’t showing up to original films. Audiences are speaking with their dollars, telling you they want more IP and franchises. You can try to convince studio heads to make fewer IP-based films and franchises, but the data and numbers aren’t there. Instead, critics need to work harder to convince audiences to show up for original films. Aim your ire/concern at the average person, not studio heads.2 Because they’re just making the films that audiences are telling them to make. WRONG: Original Horror Films Didn’t Break Out I’ll be honest, even though I wrote an article casting some skepticism on the horror genre in July, if you asked me to make a prediction, I would have predicted that, in August, a new, original horror film would have blown up. No, seriously, I just assumed that Obsession and Backrooms presaged a change in audience behavior. But none of the buzzy new original horror films from August—Teenage Sex and Death at Camp Miasma, Onslaught (not an action film in spite of the ads), The End of Oak Street, Eli Roth’s Ice Cream Man, or _Buddy—_broke out. To be clear, exactly one of those films (Buddy) had good “ROI”, but again—I try to be specific in my language—none were “popular” in any broad sense of the word. None of them will be “saving” movies theaters like Backrooms or _Obsession_helped save the summer. The new Insidious film and Resident Evil, both based on IP, were far and away the biggest horror films since July. (We’ll see if this changes in October/Halloween season.) RIGHT: Stay Skeptical about Crowdfunding... I’ve long been skeptical about crowd-investing platforms as one of Hollywood’s saviors, mainly because there’s so much hype/buzz. People need to stay more skeptical about more things, explaining both the potential upside but also the downsides. In particular, the media often hypes crowdfunding at the start and never checks in on the actual results after they’ve come in later. And August gave us our first update! _Ice Cream Man—_directed by Eli Roth—grossed $6 million off of a $5.5 million budget. This is a production of The Horror Section, which was one of the first “crowd investing” studios with 2,400 investors, which means that 2,400 investors probably lost money. They certainly aren’t getting as great of returns as if they had just invested their dollars in the stock market. Hopefully Stiletto (Tagline: “Someone’s Going to Make it Rain Blood!”) does better next month. WRONG: Another Data Goof Here’s another data error. When the first episode of House of the Dragon came out, HBO put out that it had 21.5 million viewers in the first three days, and I read that to mean in the US…but no, it was global. So my US-only datecdotes charts shouldn’t have included it. We never got US-only numbers for the first episode, but for the final episode, HBO put out that it had 11 million US viewers. (And that global dropped to 21 million viewers.) Here’s the updated chart (which I’ve since used in the Streaming Ratings Report): Still, this show is absolutely huge. RIGHT: Superhero Films Remain Very, Very Popular After Supergirl flopped, I read a few takes that “comic book movies are going the way of the Western”. Post-Spider-Man: Brand New Day, that take didn’t age well. To be fair, I have a very nuanced take on the superhero genre right now; it’s down right now, for a lot of reasons. But it’s not “dead”. Maybe _Spider-_Man is just a really popular character? I saw that take, and it’s a fair counter-argument. (But pundits arguing that superhero movies were dead should have mentioned this $1.5 billion counter-argument…) But is it just Spider-Man? The next Avengers film already has $50 million in pre-sales (and I was skeptical that that film would do well) and the Avengers: End Game re-release topped the box office two weekends ago (over three original films). And I wouldn’t bet against Batman or Superman. So maybe it’s just Spider-Man, Batman, Superman and the Avengers. Oh, and Deadpool, of course. And Black Panther. And Wolverine. And probably the X-Men. Plus a well-made Wonder Woman or the Hulk film could break out. But that’s it! It’s just those ten characters/teams. Oh, what’s that? Lanterns is also doing well on HBO? (See previous section…) To be fair, I’m actually pretty sympathetic to the argument that more popular characters—like Spider-Man and Batman—anchor more popular films. In fact, I made that exact argument three years ago when I first wrote about the “Marvel-cession”. In many ways, you can blame The Guardians of the Galaxy for fooling Marvel Studios (and the rest of us) into believing that any character could pop. It turns out, the list of iconic characters is probably smaller than most people think. But it’s probably too early to say that superhero films and comic book movies are dead unless “death” means a slight decline over a longtime. RIGHT: Who Killed Theaters? Old People I get frustrated whenever I see headlines or analysis about how young people are “returning” to theaters. As I’ve detailed(for years), young people have always powered the US box office, despite narratives about “kids these days” and their “phones”. Really, what’s changed post-2020/pandemic is that old people aren’t going to the movies nearly as much. This summer, I saw a movie (from an older director) in a theater near a retirement community, and multiple older people at the theater were talking about how this was their first time seeing a movie in years. I dislike personal anecdotes, so YouGov can fill in the data, best summarized by this headline: “Who killed movie theaters? Not the youths”. According to them, 64% of people aged 18-29 have seen a movie in the last year, but only 30% of 65-and-older. 20% of 18-29 have seen a movie in theaters in the last week and 42% in the last month. Here’s the polling data: Most concerning? Many Americans (17%) think theaters are a worse or much worse experience than watching films at home. Slight WRONG: Hadestown Opens Big A live theater capture of the Broadway musical, Hadestown, made $20 million at the US box office, which begs the question: was I wrong to be skeptical about musicals a few years ago? Yes and no. On the one hand, $20 million is a far cry from being “popular”, so yeah, the genre isn’t that popular overall and Hadestown is one of the more popular musicals from recent years (i.e. the “Taylor Swift Data Fallacy” in action). On the other, I doubt filming this cost all that much, and I don’t think that they spent much on marketing, so this is a good source of ancillary revenue. Smaller Updates WRONG: As I mentioned in a Streaming Ratings Report, I underestimated the budget for Enola Holmes 3. It probably cost more like $50 million, if not more. But... I’m not sure that it really matters? At sub-10 million hours, prices have to come down to make this work. WRONG: Netflix is giving Ink a 27-day in theaters! To quote the kids/YouTubers these days, let’s go! Now I might actually have a chance to see Danny Boyle’s latest in theaters. I’d complained about this in a “Coming Soon” section, but I was heartened to read that Netflix is giving multiple films longer theatrical windows this year. RIGHT: Netflix is sending 4-5 films per year to theaters. Netflix is slowly but surely sending more and more films to theaters, as I cautiously predicted earlier this year. For now, it’s just three big films and a number of awards contenders, but still, this is great news. And they’ll be releasing box office grosses! Just this week, Ted Sarandos confirmed that KPop Demon Hunters 2 will come to theaters (and my guess is it performs in the box office top ten at a minimum). WRONG: Angel has 3 million subscribers! How do I know this? Well, they told Deadline, who reported it. I marked this as “wrong”, since they’ve doubled their subscribers in one year but, you know, they don’t really have a hit film to speak of and they’re still losing money. WRONG: Furious was only renewed for one more season. I accidentally wrote “two more seasons” in my latest “Renewals, Cancellations, Un-Orders and Removals Update”. RIGHT: House of David is ending with its third season. In July, Prime Video renewed House of David for a third season, as I just wrote in my latest “Renewals and Cancellations” report. Well, now it’s ending after that third season. Why? As I’ve been writing, its viewership wasn’t great. I got feedback that this show didn’t cost very much, but it cost enough that its limited viewership didn’t save it. WRONG: Adults was a Hulu original! So I missed Adults when it first came out last year; I saw that it aired on FX and just assumed that it was a linear-first program. Turns out, it aired three episodes on FX, but binge-released the rest of its episodes the next day on Hulu. Huh. So I should have covered it last year! But I just wrote about it. 1 “When I was a kid in the 90s, if you wore a t-shirt to school that wasn’t too big and also wasn’t too small, but somehow didn’t quite fit, we’d say you were wearing an “extra-medium” shirt.” 2 As always, a huge exception is Disney, which barely makes anything original anymore.
Sony Pictures Entertainment Launches Crunchyroll Storyworks, Aiming To Boost Japanese Anime
Sony Pictures Entertainment has unveiled a new division of its Crunchryroll subsidiary, Crunchyroll Storyworks, which will look to boost Japanese anime.
Patriots Named Team to Watch in OL Trade Rumors
The New England Patriots could be an active team at the deadline this year.
Glen Powell On Why He Doesn't Talk Politics & Why 'Running Man' Flopped
Glen Powell is opening up about why he shies away from talking about politics publicly, even though his mother worked in the Reagan administration at the U.S. Treasury Department.
Still on Windows 11 24H2? You have one week to upgrade
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Abundantia Entertainment To Turn AI Arm AiOn Into Standalone Studio
cription (150 character max) India's Abundantia Entertainment is moving to turn its AI creative arm Abundantia AiOn into a standalone production studio.
Vikings’ QB Situation Sparks Major Bleacher Report Warning
The NFL trade deadline is not until Tuesday, November 10. However, several analysts have put together articles on ways teams can improve. For the Minnesota Vikings, Bleacher Report’s Moe Moton indicated that the Vikings should look at the quarterback position heading into the trade deadline.Kyler Murray has led the Vikings in the quarterback room this […] The post Vikings’ QB Situation Sparks Major Bleacher Report Warning appeared first on HEAVY.
Ben Shapiro Issues Statement On 'Pawn Shop' Production Shutdown
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Focus Features Takes Global To Ice Cube & Tommy Lee Jones ‘Outside Man’ From Brian Helgeland
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Will the Cardinals trade Josh Sweat as departure rumors swirl?
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Next Generation Collective Launches Mental Health Initiative For Young Talent
Next Generation Collective has teamed with The Kids Mental Health Foundation on an initiative to help young people in entertainment navigate growing up in the public eye.
Next Generation Collective Launches Mental Health Initiative For Young Talent
Next Generation Collective has teamed with The Kids Mental Health Foundation on an initiative to help young people in entertainment navigate growing up in the public eye.
Juventus remains interested in experienced Ligue 1 defender
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Reds May Have Stumbled Into a Valuable Piece at the Trade Deadline
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Matt Vioral Joins Brillstein Entertainment Partners As Manager
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Kylie Jenner 'Bachelorette Weekend' Series Gets Hulu Order (Exclusive)
Kylie Jenner is set to star in and exec produce Bachelorette Weekend, a thriller drama which is getting a Hulu series order with Kim Kardahsian as EP.
Kylie Jenner Bachelorette Weekend Thriller Getting Hulu Series Order From Kim Kardashian, Lauren Oliver & Kapital Entertainment
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CAPE Celebrates 35th Anniversary
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CBS Sports Chief David Berson To Expand Portfolio As TNT Sports Chief Luis Silberwasser Exits
David Berson, who has led CBS Sports as president since 2024, will expand his portfolio after the close of the Paramount-Warner Bros. Discovery merger. The exec will take responsibility for sports across Skydance, the soon-to-be-umbrella over CBS and TNT Sports and their respective parents, Paramount and WBD. The $111 billion merger is due to close …
Why I Don’t Think Ride Or Die Should Have Been Cancelled (And What Company Should Save It...)
(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.) So…I recently came across a Reddit thread, talking about films on streaming, wondering why there are no reliable sources out there for streaming ratings data. Sigh. Honestly, as annoyed as I am that so many still don’t realize that we have streaming ratings, I somewhat get it. Until now, there was such a long delay between when a show or film came to streaming and when we got its viewership data; I understand why people were confused. (But, as you know, this just changed.) Also, even back in the day, how many people knew how well films did on television? Luckily, as a reader, you’re in the know. Okay, on to this week’s issue. I want to take a look at Prime Video cancelling Ride or Die and whether I agree with that decision. Overall, we didn’t have any breakout hits (no TV shows landed over 20 million hours according to Nielsen) but we have a lot of steady performers on the streaming charts. Plus, we’ll look at where $50 million in missing box office dollars went. (Spoiler: straight-to-streaming.) All that, plus new episodes of The Secret Lives of Mormon Wives, Supergirl heads to streaming, a new YA show does well on Netflix, the viewership for the Daily Wire’s $50 million fantasy show, what TV show hit-maker can’t make streaming hits, CD sales, 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 September 7th to September 13th, 2026. You can find a link to my terminology here.) Subscribe Television - Ride or Die Is a Hit…But It Got Cancelled? What The Data “Says” I hate the phrase “here’s what the data says”, even though sometimes I find myself using it. If data just told us everything, we data folks would be out of a job! Data is often messy, complicated and nuanced. When it comes to strategy, many of the best decisions can’t actually use “data”, since it’s vastly too complicated to model. Anyways, I’ve been singing the praises of Prime Video’s Ride Or Die this summer, a show that did very well for them. And yet…it got cancelled. Now, usually when a show gets cancelled, a bunch of websites say “a hit show got cancelled”... Here’s the thing, though: in this case, they’re right! The data “says” that this show was a hit. Specifically, out of 522 first seasons to make a week on the Nielsen charts since 2020, it’s the 75th biggest. On Amazon, Ride or Die is eighth out of 41 first seasons: That’s top 15th percentile all time, almost exactly, which is my definition of a “hit”! I mean, outside of Reacher, Amazon needed a hit this summer! (Admittedly, Off Campus did well for Amazon in the spring, but Ride or Die performed even better.) So what happened? Why did Amazon cancel one of their rare 2026 bright spots? Well, Deadline reported a reason—which I’ll get to—but I’d break it down into three relevant questions: What is a given streamer’s reasoning? Is that reasoning sound? Could the stated reason not be the real reason? According to Deadline, Amazon felt the show “over-indexed” in middle-aged women. (This was based on leaks from within Amazon.) The logic is this: Amazon already reaches this demographic because of unlimited two-day shipping bundled with Prime, so they don’t really need more shows like this. Now, it’s my job to ask if that’s a good reason, and I’ll be honest, in this case, I don’t think it is. Sure, this show may “over-index” in middle-aged women—I’ll just assume that’s the case here—but I think folks often oversell how important over-indexing actually is. When a show is a “hit”, it isn’t a bit bigger than its rivals; it’s usually multiples bigger. For example, Elle only made the charts for two weeks at 8.3 million hours each. So Ride or Die was 80% bigger in its first two weeks, and likely had a much stronger hold, with its terrific 13 million hours in week three. Ride or Die was nearly three times bigger than Sterling Point through three weeks too. And that means that _Elle, Sterling Point a_nd other Amazon YA shows need to not just over-index a little with younger women (assuming that’s who Amazon prefers over middle-aged women), but massively over-index. Otherwise, more people in that demo (and a bunch more besides) likely watched Ride or Die. (I’ll try to explore this concept more in a future article.) And don’t get me started on how Ride or Die did compared to a certain (very, very popular, possibly the world’s most popular) YouTuber’s reality show…which didn’t make the charts after its first week and likely cost much, much more than Ride or Die. All to say, Amazon-MGM Studios/Prime Video can tell reporters that this show didn’t reach the right audience, but that excuse feels weak to me. So this leads to the third question: could other reasons have come into play? Yes! Renewal or cancellation decisions rarely (I’m tempted to say “never”) boil down to one variable. At its simplest, it’s two things: budget versus viewership. But often factors like critical acclaim, ownership and, yes, personal opinion come into play. In this case, Amazon has a new executive running things, and this show isn’t owned by Amazon-MGM Studios (unlike Elle). And yes, it may not have indexed with the right target viewers, too. Likely all of those factors came into play.1 My guess is ownership ended up mattering most. Amazon doesn’t own Ride or Die. It’s actually produced by another major studio. Fortunately/allegedly, this show is being shopped around. I can think of one brand new CEO who should consider it for one of his two major streamers…especially if he wants to rebuild goodwill in Hollywood. His name is on this list of exec producers of Ride or Die… If David Ellison needs some goodwill—and he does—rescue this female-led show tomorrow and grab some good headlines for a day. The data justifies it. Quick Notes on TV 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… How The Secret Lives of Mormon Wives latest season did on Hulu, post-controversy... Whether Supergirl soared on HBO Max... Why the box office is losing money due to the streamers... The viewership for the Daily Wire’s $50 million fantasy show... Updates on The Gentlemen, Lanterns, Outer Banks, King of the Hill and more... What former hit-maker has three streaming flops in a row... Whether The Mandalorian and Grogu popped in week two... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Oh man, we’re almost caught up! We just have two more issues, then the streaming Ratings Report will be coming out just two weeks after a TV show premieres! Next issue, I’ll be looking at the first two weeks of the NFL Thursday night games on streaming, a huge new spinoff, Reacher’s Neagly on Prime Video, and the latest edition of Monster: The Lizzie Borden Story on Netflix, the return of Slow Horses on Apple and MobLand (quietly one of their biggest shows) on Paramount+, and Dancing with the Stars on both ABC and Disney+. Plus I’ll take a look at animation for adults in 2026. The week after, a ton of movies are coming to streaming: Toy Story 5 on Disney+, Backrooms on HBO Max, Jackass: Best and Last on Paramount+ and The Breadwinner on Netflix, plus a Unabomber film on Netflix and a romcom on Prime Video. Woody Harrelson and Matthew McConaughey have a show on Apple, along with a game show inspired by Willy Wonka that everyone seems to hate. Long term, some crazy (but hopefully crazy like a fox) IP news. FX ordered a new Sons of Anarchy show from Charlie Hunnam, but it’s not about the biker gang. No, it features the show’s cast playing themselves in a new “meta-thriller”. Huh. And a lot of the cast is coming back. Next, Ryan Gosling is producing a Flintstones movie about a “grown-up Bamm-Bamm Rubble”. Also, huh. This one is in “early development” so we’ll see what happens. Both projects are based on IP, but also seem to have crazy takes on the IP, which I like.
Amazon Hires Three Netflix Business Affairs Execs
The streamer has moved to a genre-based model for its business affairs operation.
Now Open! APSA Teaching & Learning Conference Awards and Travel Grants | Deadline: November 16, 2026 -
Now Open! Apply for TLC Travel Grants & Awards Michael Brintnall Teaching and Learning Award APSA Award for Teaching Innovation | Travel Grants Deadline: November 16, 2026, 11:59PM ET Join political science teacher-scholars and students [...]
Now Open! APSA Teaching & Learning Conference Awards and Travel Grants | Deadline: November 16, 2026 -
Now Open! Apply for TLC Travel Grants & Awards Michael Brintnall Teaching and Learning Award APSA Award for Teaching Innovation | Travel Grants Deadline: November 16, 2026, 11:59PM ET Join political science teacher-scholars and students [...]
Police urge Pennsylvania businesses to remove skill games as legal deadline approaches
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Entertainment Partners Names UK Boss For European Expansion
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Entertainment Partners Names UK Boss For European Expansion
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KUNC's 2026 midterm election voter guide for Northern Colorado
Everything Northern Colorado voters need to know about the state’s midterm election, including major races, ballot measures, voting deadlines, how to return your ballot, and where to find trusted election resources.
49ers Handed Intriguing Take on Vita Vea After Defeating Broncos
The San Francisco 49ers sit at 4-0 through four weeks, and the trade deadline is on Nov. 10, but if the team keeps playing like this, it’s clear they’ll be buyers looking to improve.Wide receiver and the defensive line are two areas of concern for the Niners given the injuries and lack of depth. On […] The post 49ers Handed Intriguing Take on Vita Vea After Defeating Broncos appeared first on HEAVY.
NC's voter registration deadline nearing
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USDA Expands Regenerative Pilot Funding Soil Health Conservation
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How to watch Dodgers vs. Braves NLDS Game 1
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Register to Vote by October 5 #AACTNow
Your vote is your choice. Make sure registration is on your calendar. October 5, 2026 is the Texas voter-registration deadline for the November 3 general election. AACT Now is sharing voter information and important election dates to help people prepare. Visit aactnow.org for resources. Presented by Texas Border Business and MeGustaTV.
LA County Extends East LA Small Business Grant Deadline
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4 Running Backs Who Could Be Traded Soon
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Jennifer Lawrence Gets Her 'One Month Mark' Director In Gene Stupnitsky
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Alison Hammond Has Heart Check After Suffering Health Scare Live On TV
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Flu shot deadline could cost some metro Atlanta health workers a paycheck
Oak Ridger sets Oct. 6 deadline for political submissions
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Erik Bright Joins PMK Entertainment
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'Bleed The Night': Fox Entertainment Studios Buys Vampire Spec
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Fox Business To Debut 'Big Money' In Bartiromo's Morning Timeslot
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Ed Helms Stars In 'The Streak' For Lion Forge Entertainment
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UTA Restructures Filmed Entertainment Division; Matt Rice Named President
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AGC Studios Launches Digital Division Focused On Creator-Led IP
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Lions Miss Out on Joey Porter Jr.
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Time lost to political haggling means lost momentum for research
While it’s not up to universities to set deadlines for EU institutions, “lost time” in the run-up to the launch of the next Horizon Europe would translate into “lost momentum” for universities, according to Dag Rune Olsen, president of the Young European Research Universities Network.“I think it's important to have [the EU budget] in place in order to be able to work on the research funding mechanisms, because we cannot afford to lose more momentum than we already have,” Olsen told Science|Business in an interview in September, just after EU research lobbies gathered in Brussels to push for a €200 billion budget for the next Horizon Europe programme.A funding gap would mean ramping down research activities, said Olsen. “You can do that quite swiftly, that’s not a problem, but ramping up again is much more difficult.”The last-minute push for an ambitious budget, and for a timely adoption of the research programme, comes at a time when the richest EU states have teamed up to call for significant cuts to European Commission’s proposal for the next multiannual budget, which allocates €175 billion for Horizon Europe. At the same gathering of research associations in September, the European Parliament’s budget rapporteur warned that the EU will need to raise its own taxes, otherwise political pressure and tighter national budgets will translate into a limited EU budget with a less ambitious envelope for research. The research sector hopes EU institutions will reach timely agreement on the budget and on Horizon Europe, but progress has been slow. Legislative progress has been delayed, partly because the European Parliament’s budget committee is still haggling over how to apply new EU-wide spending rules, known as the Performance Framework Regulation, and partly because EU governments have yet to agree on the size of the next EU budget. EU research Commissioner Ekaterina Zaharieva told Science|Business in July that she was hoping for an agreement on Horizon Europe by the end of 2026, but the timelines have been pushed back significantly, with the Parliament now aiming to announce its official position on Horizon Europe only in November. Avoid the funding gapAccording to Olsen, delayed EU funds could prompt universities and researchers to move on and do something else, potentially jeopardising years of work building consortia and collaborations. “If funding is interrupted, the networks fall apart in just a few months,” he said. Olsen also noted that an interruption would affect junior researchers first. PhD students and postdocs are on shorter term contracts and universities risk losing them if funding for EU projects is interrupted. Related articlesEU own resources ‘essential’ for future research budget, says leading MEPParliament haggle over EU-wide spending rules delays vote on Horizon EuropeZaharieva hopes for a Horizon Europe deal in 2026Universities usually have more employees, permanent and short-term staff, than they can cover with national funding, and external funding is essential to keep them all on the payroll. In case of an EU funding gap, “there will be a huge number of people that might end up without any contracts,” he said. Apart from the money issue, Olsen said EU projects forces universities to collaborate more which, in turn, increases the quality of teaching and research. In case of a funding dip, people will look around for opportunities elsewhere, in the private sector or abroad. “And then then you have to recruit again, and it's a tedious business,” said Olsen. “A gap is not a good idea, it's actually a waste of money.”According to Olsen, the difficult political context should encourage universities to make a stronger case for the EU increasing research funding, as universities can deliver on competitiveness, technological sovereignty, security and defence. “The reason why we ask for substantial investments in research is exactly what the Commission, what Europe, the Parliament have been discussing,” he said. “You really need to invest in order to thrive in the longer run.”Focus on the member statesBut EU and national R&D expenditure hasn't kept up with the times. EU governments have failed to reach a spending target set almost 25 years ago. Only six EU countries spend 3% or more of their GDP on R&D. Asked whether universities should put more effort into convincing the governments to ramp up their own spending, but also to support a strong budget for Horizon Europe in the ongoing budget negotiations, Olsen said “the answer is yes.”“We are very actively encouraging our members to talk to their ministries in order to enlighten them about the joint effort,” he said. The network is made up of 25 universities from across Europe, all established in the past 60 years or so.Who will call the shots?Budget and timing issues aside, the Parliament’s research committee has been locked in behind-the-scenes negotiations over the future structure of Horizon Europe, with MEPs disagreeing on the degree to which its collaborative research should be governed by councils of experts.The European Parliament’s lead rapporteur on Horizon Europe wants councils of independent experts to decide on the funding agenda, but the Commission, the Council, and parts of the Parliament disagree. For Olsen, it is normal for politicians to point at the big challenges, but when they start detailing how those challenges should be solved, the endeavour “fails utterly.” He does not necessarily think that “bureaucrats who don’t know the field” would be “much better at it” either. “There has to be a combination” of broad political directions and bottom-up implementation, Olsen said.
Global Health & WASH: October 2026 Funding Opportunities (26 new opportunities)
41 opportunities on the Global Health & WASH page this cycle, 26 of them new. The health money on this page is mostly research money, and much of it is aimed at people early in their careers. Funder after funder, from the TANGO2 Research Foundation’s Research Pathways grants to the South African Medical Research Council’s Early Investigators Programme to the National Ataxia Foundation and Alex’s Lemonade Stand Foundation, is funding early-career investigators and the institutions that host them, with a clear tilt toward researchers based in or from the Global South, from AMBSO in Uganda to Kenya’s CONNECT-VAX network to Ersilia’s AI Incubator for African drug discovery. The money is organized by disease as much as by need: narrow foundations, the Parkinson’s Foundation, NTAP for neurofibromatosis, the RUNX1 Research Program for an inherited blood disorder, each run their own grant, so the question for an applicant is less which health problem you work on than which foundation owns your disease. The largest European cheques go to consortia only, with the European Innovation Council putting up to EUR €4 million behind a single healthy-ageing project and UNITE up to EUR €1 million behind each cross-border digital health team. Water sits apart, almost entirely in applied utility research: the Water Research Foundation’s cluster of USD $250,000 to $500,000 projects, each built around a utility problem from sewer laterals to reuse treatment. And the biggest single pot is public: HRSA is renewing community health center service areas with awards of up to USD $10 million each. This post is for paid subscribers. This helps support the time and effort it takes to curate and organize these opportunities. Subscribe To keep this accessible to everyone who needs it, we’re happy to offer pay what you can rates. You can find more details here. Open Opportunities 2027 Building the Field of Health Advocacy Grant, Georgia Health Initiative. *New!* *Closing soon!* Georgia Health Initiative, a nonprofit private foundation focused on health equity, is opening its 2027 Building the Field of Health Advocacy Grant to strengthen the organizations that push for healthier systems across the state. The Initiative treats advocacy as infrastructure, backing one-year projects that range from urgent responses to shifting federal policy to longer arc campaigns on housing, behavioral health, care access, and food security. It wants coalitions that elevate community voice, apply an equity lens, and arrive ready to deploy concrete strategies, and it deliberately seeks variety in issues, communities, and organizational size. The optional webinar and required lobbying training signal a funder investing in a durable field, not one grant cycle. The strongest fits are Georgia nonprofits and public agencies ready to turn advocacy readiness into systems change. Geographies: United States. Who can apply: Tax-exempt 501(c)(3) public charities, state or local government agencies, or coalitions/collaboratives using a 501(c)(3) fiscal sponsor, that work in Georgia on behalf of Georgians and align with the mission, vision, and values of Georgia Health Initiative. Only one application per organization, though an organization may be listed as a partner or subcontractor on multiple applications. Funding amount: Organizations can apply for up to USD $80,000 per project; the Initiative anticipates investing a total of USD $1.36 million. Targeted Sectors / SDGs: Governance, Policy & Advocacy · SDG3; SDG10. Deadline: October 2, 2026. Learn more and apply here. TDD Research Pathways Grant, TANGO2 Research Foundation. *New!* *Closing soon!* The TANGO2 Research Foundation, working with a founding gift from Tango2UK, is opening its TDD Research Pathways Grant to fund early-career investigators anywhere in the world who study TANGO2 Deficiency Disorder. The foundation is using this money to seed pilot work and to build a research community around a rare disorder that few labs currently study. It wants to back emerging scientists, clinicians, and trainees who will stay with this field, not one-off projects, which is why it requires a committed mentor and real institutional support and asks each applicant for a plan for future contributions. The design rewards promise and persistence over track record. The strongest fits are students, residents, postdoctoral fellows, and new investigators ready to commit to TANGO2 research. Geographies: Global. Who can apply: Early-career investigators worldwide, including undergraduate, graduate, and medical trainees, postdoctoral fellows, residents, and clinical or research fellows. Early-career investigators must hold a PhD, MD, or equivalent doctoral degree and be within 10 years of that degree or within 5 years of initiating rare disease research, engaged in postdoctoral research at an academic institution, teaching hospital, or nonprofit research institute. Currently enrolled trainees and transitional PhD candidates beginning a postdoctoral appointment at a nonprofit institution by July 1, 2026 are also eligible. All applicants must identify a qualified mentor with relevant TDD or rare disease research experience and demonstrate institutional support. Funding amount: Up to USD $15,000. Targeted Sectors / SDGs: Innovation, Science & Technology. Deadline: October 2, 2026. Learn more and apply here. Call for Expression of Interest (EOI): AMBSO Impact Research Initiative, Africa Medical and Behavioral Sciences Organization (AMBSO). *Closing soon!* The Africa Medical and Behavioral Sciences Organization is inviting expressions of interest for its Impact Research Initiative, which funds early-stage pilot studies and proof of concept work on priority health challenges. AMBSO is a Ugandan research organization backing bold ideas that can grow into larger studies, and its tracks span antimicrobial resistance, epidemic preparedness, artificial intelligence for diagnostics, HIV prevention, climate and health, cancer, maternal and child health, and non-communicable diseases. The small award size and direct-cost-only rule point to a funder that wants evidence rather than overhead, and that favors projects able to attract follow-on money or use AMBSO’s own research infrastructure. Eligibility runs worldwide, welcoming researchers and institutions inside and outside Africa. The strongest fits are researchers with a feasible pilot that generates policy-ready evidence. Geographies: Global. Who can apply: Open worldwide to researchers, academic institutions, and research organizations whose work aligns with generating high-impact health evidence. Independent researchers are eligible if affiliated with an academic or research institution. Doctoral students are encouraged to apply as part of a research team led by a faculty Principal Investigator. Community-based organizations and other eligible entities may apply. Projects may be implemented inside or outside Uganda. Funding amount: Up to USD $10,000 per project, with no minimum funding threshold. Targeted Sectors / SDGs: SDG3. Deadline: October 2, 2026. Learn more and apply here. Entrepreneurs for Resilience 2027 (E4R27), Swiss Re Foundation. *Closing soon!* Swiss Re Foundation is opening the tenth edition of Entrepreneurs for Resilience, which backs healthcare social enterprises expanding affordable, quality primary care for low-income communities across low- and middle-income countries. The Foundation is using catalytic, blended funding plus multi-year advisory to take risk out of scaling, helping proven models reach more people sustainably rather than stay stuck at pilot size. It looks to back brick-and-click enterprises that pair physical care with digital tools and build affordability through savings, payments, or microinsurance, ideally integrated with public health systems. Requiring earned revenue, real customer scale, and gender-inclusive teams signals that this is growth capital for commercially serious ventures, not seed money. The strongest fits are established, revenue-generating healthcare enterprises ready to scale access for underserved populations. Geographies: Global. Who can apply: For-profit and hybrid healthcare social enterprises serving low-income and underserved populations in low- and middle-income countries, using combined physical and digital (brick-and-click) healthcare delivery models. Applicants must demonstrate measurable social impact, generate at least 50% of income through earned revenue, have been established no later than December 2023, already serve at least 50,000 people with potential to scale, and have at least 30% low-income customers. Preference for gender-inclusive enterprises with at least one female founder or at least 30% women in management. Funding amount: Pilot funding of up to USD $45,000 for the 6-8 shortlisted social enterprises; up to USD $1 million in blended funding (up to USD $600,000 unconditional plus up to USD $400,000 conditional) shared among 3-4 finalists over a two-year implementation period; total programme funding approximately USD $1.3 million. Targeted Sectors / SDGs: Innovation, Science & Technology · SDG3; SDG5. Deadline: October 4, 2026. Learn more and apply here. Horizon HealthTech 2026, IIITD Innovation & Incubation Center. *Closing soon!* IIITD Innovation and Incubation Center is opening Horizon HealthTech 2026, a nine-month MedTech incubation cohort run under the aegis of BIRAC EDGE for founders building medical devices, diagnostics, surgical and interventional tools, or remote monitoring. The center is backing teams that already hold a validated proof of concept and want to reach a tested prototype, pairing each founder with a named expert and clinical validation through a hospital partner. What they seek to back is Indian health technology that can survive real clinical scrutiny and regulatory review, not slideware. The structure, with lab access, CDSCO guidance, IP support, and investor connects, signals a program built to make startups ready for follow-on capital. The strongest fits are early-stage MedTech teams with defensible IP and a working path from bench to bedside. Geographies: India. Who can apply: Early-stage teams/startups with a validated idea/proof of concept (TRL 3 onwards) working on medical devices, diagnostics, surgical/interventional technologies, or remote monitoring, holding IP or with potential to generate IP. Funding amount: No cash award amount is stated on the official program page. Benefits are in-kind: prototyping lab and equipment access, clinical/hospital validation (Max Healthcare), expert mentorship, CDSCO regulatory guidance, IP filing support, workspace, cloud credits and tools, and investor connects. Run under the aegis of BIRAC EDGE and builds a path to follow-on Government/VC/Angel funding. Targeted Sectors / SDGs: Innovation, Science & Technology · SDG3; SDG9. Deadline: October 5, 2026. Learn more and apply here. OpenAI AI and Teen Development Research Grant Program, OpenAI. *New!* *Closing soon!* OpenAI is opening its AI and Teen Development Research Grant Program to fund independent studies of how generative AI shapes the lives of young people ages 13 to 17. OpenAI wants a stronger evidence base on how teens actually use these tools and what that use does to their social and emotional development, so that product teams, policymakers, and regulators can act on findings rather than assumptions. It seeks work on emotion regulation, relationships, belonging, and the safeguards that keep teens safer, welcoming interdisciplinary teams and any methodology. That it will fund research whose conclusions may not favor AI providers, and prioritizes studies touching ChatGPT, signals a genuine appetite for credible outside scrutiny. The strongest fits are research groups grounded in adolescent development, well-being, and AI safety. Geographies: Global. Who can apply: Researchers aged 18 or older who are affiliated with a research institution or organization, and/or have significant experience relevant to child or adolescent development, well-being, human-computer interaction, AI impacts, or a closely related field. Multiple institutions may collaborate. OpenAI is seeking to fund research rather than for-profit initiatives and will not prioritize for-profit organizations. Funding amount: Individual research grants up to USD $1 million, totaling up to USD $5 million; maximum 10% of each grant for overhead or indirect costs. Targeted Sectors / SDGs: Social Inclusion & Community Wellbeing; Innovation, Science & Technology. Deadline: October 6, 2026. Learn more and apply here.
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Pennsylvania attorney general warns businesses to remove skill game machines ahead of deadline
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Motion Society Hires Chanel Simmons To Lead U.S. Operation
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Black businesses caught in limbo as lawsuit challenges Trump administration over $289M in funding
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Broadcast To Hit A Double, Peacock Going Deep In NBC Sports Coverage Of MLB Wild Card Playoffs
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Deadline Wednesday: Free business training for Central Oregon veterans, families
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Shawn Levy Moves To Disney’s 20th Television With Overall Deal After Long Tenure At Netflix
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VMI Worldwide is handling worldwide sales.