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Jay Norris Defines a New Model of Business Transformation at the Intersection of Humanity and Technology
Westport, New York, United States, October 11, 2026 -- As businesses navigate an increasingly technology-driven economy, entrepreneur and transf...
New restaurant and hotel arrive in the Redding area
This week in the Buzz: Two friends are opening a new eatery in an old pizza spot. An indoor cycling studio expands, and a new hotel opens in Redding.
Silent Hill, Gravity Rush director's Bokeh Game Studio is reportedly casting for a new horror game
Bokeh Game Studio, from Silent Hill director Keiichiro Toyama, is reportedly casting motion capture performers for a new, untitled horror game.
Television Q&A: Do new CBS late-night shows both have studio...
CBS late-night imports “Comics Unleashed” and “Funny You Should Ask” both use studio audiences, Allen Media Group says. Also: updates on “Lioness,” “Patience” a...
Silent Hill Creator Keiichiro Toyama’s Bokeh Game Studios Next Project First Info Unearthed
When it comes to horror franchises, Silent Hill is up there as one of the most known and respected. That's why when its creator, Keiichiro Toyama, left Konami to start…
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.
Gears of War: E-Day sells 230K copies
Gears of War: E-Day has sold 230K copies since its advance-access launch on October 1 and full release on October 6. Steam accounts for 168K of those, with Xbox (console and PC) selling 62K. But there’s more to this story, as Xbox makes up the bulk of revenue. E-Day is the best-reviewed Gears game in nearly two decades (and the best one ever made, in my opinion). The Coalition has made a banger here (it’s currently in my top 10 of the year). Despite E-Day’s undeniable quality, this is a soft result. And it’s down to the business model, really. E-Day has made $37M so far, thanks to the Premium upgrade On Xbox, Game Pass is cannibalising much of the premium revenue. Our estimates show that 1.7M folks accessed E-Day via their subscription rather than a copy. But Xbox is having it both ways – or having it halfway, at least – via its Premium Edition Game Pass upgrade. Game Pass subscribers could pay $30 (or their local equivalent) for up to five days of early access starting October 1. Our estimates show that of the 1.7M who accessed E-Day through Game Pass, 722K paid for the upgrade. Between the review embargo lifting on October 1 and the full release, E-Day managed to shift another 250K early-access upgrades – no doubt helped by the campaign’s rave reviews. So despite selling far fewer copies on Steam, Xbox accounts for almost three-quarters of the revenue (roughly $26M of the $37M, versus about $11M on Steam). So “230K copies” undersells the paying audience. Including the 722K upgrades, nearly 950K people actually paid something for E-Day. The $30 upgrade is a halfstep from cannibalisation, but will Xbox go all the way? While E-Day is a sublime game, these are soft numbers for a flagship when Xbox badly needs revenue wins. E-Day sold 62K copies on Xbox against 722K Premium upgrades, so for every one copy sold on Xbox, nearly 12 Game Pass upgrades were sold. The $70 premium SKU is – functionally – dead on Xbox. Normally you can’t see what a Game Pass player would have paid, because the game’s just there in the subscription. But the $30 early-access upgrade estimate shows that 722K people demonstrated they’ll spend real money on this game. In a world without day-one Game Pass, many of these folks would have bought E-Day at $70. They paid $30 for five days early access to something they don’t own. Xbox is, in effect, charging its most valuable customers the least, based on a hangover from a tried-and-exhausted strategy from a previous administration. Those 722K willing-to-pay players generated about $21.7M via the upgrade. If three quarters of this group – mostly US and European audiences – bought E-Day outright, that’s nearly $40M. Of course, Game Pass does bring in meaningful recurring revenue, and E-Day is adding value for hundreds of thousands of subscribers. However, Game Pass is no longer growing, so Xbox is at a crossroads. Xbox is reportedly looking to do a Netflix and bolt on an ad-supported tier to pad it further. But that will just set a new floor, and leadership keeps telling us the priority now is revenue growth, which is subscriber-speak for ARPU. Xbox has already pulled Call of Duty from day-one Game Pass after day-one inclusion hammered its sales, with new CoD titles now arriving on the service around a year late. We know that some Microsoft executives believe the service devalues games outright, and rumours (which Microsoft has dismissed so far, to be fair) suggest that day-one releases could be taken off Game Pass. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe When a game this well-reviewed does this softly on its home platform, the model – not the game – gets brought into question. What else E-Day’s early adopters have played (including this month so far) Looking at E-Day‘s players on Xbox, most have played the franchise before (86% have played Gears 5, 76% Gears 4), and every game on the crossover list is either a shooter or a title from an Xbox-owned studio (though Game Pass is inflating those numbers, of course, more on that later): As for what else Xbox’s E-Day players have played this month, the top three are Fortnite (16%), Roblox (7%), and Call of Duty (6%). Another 5% played Minecraft Dungeons II, which is also on Game Pass and launched a couple of days before Gears‘ advance-access date. Many Game Pass players are happy to check out most big new additions. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Over on Steam, the top crossover games are also mostly shooters (slightly more PC-coded ones), including Space Marine 2, which was itself heavily inspired by Gears: Looking at what E-Day‘s Steam players are into this month shows who they are – as subscriptions don’t skew the data. The top three are Wardogs (13%), Deadlock (12%), and CS2 (10%), so you’ve got the restless shooter crowd checking out the new hotness. A little further down are Helldivers 2 and Space Marine 2, your co-op PVE shooter players who’ll feel right at home in Horde mode. Game Pass is skewing the playtime distribution on Xbox Looking at the playtime distribution in our platform, E-Day players on Steam are – relatively speaking – playing for longer: 54% of E-Day players on Xbox have played for five hours or less (versus 32% on Steam) 19% of Xbox players played for over 15 hours (versus 33% on Steam) 14% of Xbox players played for over 20 hours (22% on Steam) The absolute number of people playing for over 15, 20, and 50 hours is, of course, bigger on Xbox, thanks to the sheer volume of folks who came in through Game Pass (upgraders included). None of that is cause for alarm. Game Pass is the reason Xbox playtime skews lower, as when a game is free to try, people try it and bounce without putting in even an hour (17% under an hour on Xbox versus 6% on Steam). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe The subscription brings in tourists alongside the committed, dragging down the average even when the game is excellent (but also perhaps winning over the uninitiated). It’s standard across every subscription-included title, on PS Plus too. Forza Horizon 6, for instance, had 11% of its Xbox players bounce under an hour, versus just 2% on Steam. So, Xbox’s crossroads So there we have it. Gears of War: E-Day is an incredible game whose revenues have been stifled by subscription inclusion and exclusivity. It’s the best-reviewed entry in the series in fifteen-odd years, but it still turned into one of the year’s softer flagship launches, not because players didn’t want it, but because Xbox’s own storefront gave its most willing buyers a reason not to pay. Which leaves Xbox at a crossroads. Will it keep making Gears games when the financial returns are this thin and the margins this low? And if it does, does the next one arrive off Game Pass at day one – the way CoD now does, or even on PlayStation? I think it should. Alright, back to E-Day for me! The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
Artist opens downtown Walla Walla gallery to the public
Photographs and found-object constructions will be on display Saturdays through Nov. 28 at The Noodle Grotto Studio Gallery.
UK's Oxford Metrics warns about annual loss on entertainment industry spending cuts
Oct 9 (Reuters) - British smart sensing tech firm Oxford Metrics warned about an annual loss on Friday, hit by spending cuts and studio consolidation across the film and TV
UK’s Oxford Metrics warns about annual loss on entertainment industry spending cuts
Oct 9 (Reuters) - British smart sensing tech firm Oxford Metrics warned about an annual loss on Friday, hit by spending cuts and studio consolidation across the film and TV industry and tighter research budgets, sending its shares 15% lower. Here are...
Arc Raiders Jumps to Six-Month High Player Count With 2.0 Update and Free Weekend
Embark Studios has put in a decent amount of work maintaining and developing Arc Raiders in recent months, with the company recently announcing an upcoming co-op mode slated to launch into testing on October 13 while it continues to iterate on its anti-cheat processes and detection methods. In...
Samsung’s first AirPods Max 2 rival could be called Galaxy Studio
Samsung recently launched its first clip-on wireless earbuds, the Galaxy Buds On, and the company is reportedly working on two more audio products. One is a pai
New ASU podcast asks: What if the future of news starts with people?
Andy Pergam has spent his career thinking about journalism not only as an industry, but as a public service that has to keep earning its place in people’s lives.
Samsung’s over-ear headphones might be called ‘Galaxy Studio’
According to a fresh leak, Samsung’s upcoming over-ear headphones might be called “Galaxy Studio.” A leak earlier this year revealed...
Your Pixel can turn into a mini TV studio, now in 11 more apps
Google updates Pixel Camera Services, bringing Connected Camera multi-feed video streaming to 11 new work and messaging apps.
Open Studios Tour of Nevada County returns
The 31st annual Open Studios Tour of Nevada County is happening October 10-11 and 17-18 with over 90 studios and over 100 artists participating this year. Free tour guides are
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.
Star Wars Zero Company Studio Tries To Bring Back As Many Furloughed Devs 'As Possible' Following 'Unexpected Business Developments Outside Of Our Control'
Bit Reactor says it will have more to share on the XCOM-like strategy game's future 'soon'
Some furloughed Star Wars Zero Company developers are returning to work, studio says
Bit Reactor, the Maryland based company, behind this summer’s well-received tactical combat game Star Wars Zero Company says that “more” of its team is returning to work after being furloughed ahead of the game’s release. This is the studio’s first statement on the matter since Game File’s August report that “most” of the development team had been furloughed—technically kept as employees, but without pay or benefits—a few weeks prior to launch. Some of those furloughs ended this week. “This week, we started the process of returning more of our team back to work at Bit Reactor, an important step forward in our continued support for Zero Company, “ Bit Reactor CEO Greg Foertsch said in a statement. He continued: “Having to ask team members to step away after we navigated unexpected business developments outside of our control and so close to launch was an incredibly difficult decision, but one that was necessary to help us eventually bring as many people back as possible. “This team means a tremendous amount to me, and I am incredibly proud of what we have accomplished together. Thank you to our fans for the incredible response to the game and for supporting us along this journey. We look forward to sharing more updates regarding Bit Reactor and Zero Company soon.” Game File reported in August that Bit Reactor had retained a small team to work on updates for Zero Company. One person familiar with the situation told Game File that the returns announced today bring the studio’s pay-rolled headcount to more than half of what it had been ahead of the furloughs. That means a considerable number of people have been brought back, but that a fair number also remain without pay. While companies in the U.S. are often legally required to publicly disclose how many people they’ve laid off, furloughs can often be kept private, for a time. The United States Department of Labor requires companies to publicly report mass furloughs if they meet specific criteria, including any expectation that they will last more than six months. For those game makers who remain furloughed by Bit Reactor, it’s now been about two months. For more about Bit Reactor, the furloughs, the studio’s back-story and the ongoing lawsuit that brought this to light, read my August report. [ ‘Most’ of Star Wars Zero Company studio Bit Reactor was furloughed ahead of launch ](https://www.gamefile.news/p/star-wars-zero-company-bit-reactor-furloughs-lawsuit) Stephen Totilo · Sep 1 Last week was meant to be a moment of triumph for Bit Reactor, the Maryland-based game studio founded in 2021 with ambitions to create a great new tactical combat game. [ Read full story ](https://www.gamefile.news/p/star-wars-zero-company-bit-reactor-furloughs-lawsuit)
Build apps, workflows, and agents together | New in Copilot Studio, September 2026
Explore September 2026 Copilot Studio updates that bring apps, workflows, and AI agents together in one place to transform business processes.
Gears of War: E-Day Studio Boss Insists 'The Next Game Will Not Take Nearly as Long' to Make, Responds to Layoff Concern
The boss of Gears of War: E-Day developer The Coalition has responded to reports that staff at the studio are worried they will lose their jobs amid the ongoing cuts at Xbox, and promised the next Gears game won’t take as long to make.
You Can Get Up to $149 Off Every New Mac Mini During Prime Day
Prime Big Deal Days sales have hit Apple's brand new Mac mini and Mac Studio computers, and we're tracking up to $149 off every model of the M6 and M5 Pro Mac mini during this year's event. You'll also find $199 off the M5 Max Mac Studio below. Note: MacRumors is an affiliate partner with some of these vendors. When you click a link and make a purchase, we may receive a small payment, which helps us keep the site running.
Sources: Ape Escape revival in the works from Sonic Mania team
The studio behind Sonic Mania and Penny’s Big Breakaway will reportedly helm PlayStation’s Ape Escape revival…
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.
Will AI kill the Asian entertainment industry, or reinvent it?
Studios in China are turning to models from ByteDance and Kling to generate 100-minute short dramas for less than $3000.
Will AI kill the Asian entertainment industry, or reinvent it?
Studios in China are turning to models from ByteDance and Kling to generate 100-minute short dramas for less than $3000.
Skydance now runs two of Hollywood’s legacy film studios. A look at the new company, by the numbers
David Ellison’s Paramount Skydance has completed its $81 billion acquisition of Warner Bros. Discovery, bringing two of Hollywood’s most storied legacy film studios under one mammoth media and entertainment conglomerate named Skydance. Now, Skydance must decide how to make the most out of a trove of entertainment assets, including the HBO Max and Paramount+ video streaming services, a film library that includes “Star Trek,” “Barbie,” “Top Gun,” “Harry Potter,” and “Superman,” and two major news organizations, CNN and CBS News. Here’s a look at the new company, by the numbers.
Eminem and Kid Rock Prioritize Friendship Over Politics on New Collab Track
The longtime friends have teamed up for a new track set to appear on Kid Rock's 13th studio album, 'Halfway to Jesus.'
U.S. share of studio TV spending fell from 94% to 64%, unions say
A study commissioned by Hollywood unions finds the U.S. share of major-studio TV spending fell from 94% to 64% as Congress weighs a film tax credit.
Forza Horizon 6's Community Is Fed Up With Playground Games, and the Studio Has Finally Responded
Forza Horizon 6 developer Playground Games has finally addressed its player community after months of constructive feedback about the game has been met with nothing but radio silence from the renowned British studio.
Apple's Entire Mac Lineup Gets Massive Discounts for Prime Day
Prime Big Deal Days is in full swing, and we've already begun tracking the best Apple discounts during Amazon's big fall event. This year, there are notable markdowns across Apple's Mac lineup, including the MacBook Air, MacBook Pro, and brand new Mac mini and Mac Studio. MacBook Air Note: MacRumors is an affiliate partner with some of these vendors. When you click a link and make a purchase, we may receive a small payment, which helps us keep the site running.
PARAMOUNT COMPLETES ACQUISITION OF WARNER BROS. DISCOVERY, CREATING A NEW GLOBAL ENTERTAINMENT LEADER, SKYDANCE
Skydance Corporation (f/k/a Paramount Skydance Corporation) (NYSE: SKYD) ("Paramount") today announced the completion of its acquisition of Warner Bros. Discovery, Inc. (NASDAQ: WBD) ("WBD"), creating a combined company, named "Skydance." The company brings together two major film studios, two global streaming services, a premier television portfolio including CBS, HBO, and Paramount's and WBD's cable networks, two of the industry's most recognized news networks, CBS News and CNN, and a portfoli
United Talent Agency signs Kansas City Chiefs’ Foolish Club Studios
United Talent Agency signs Kansas City Chiefs’ Foolish Club Studios | @EdEastonJr
The Pixel 11 Pro and Pro XL phones are $250 off
The Pro now costs less than the non-Pro did at launch.
Banijay Entertainment Introduces New US Gameshow Scrambled Up to Market
Media and entertainment powerhouse, Banijay Entertainment, today announces it has acquired the global format rights and finished tape rights to Scrambled Up, an all-new studio-based word game from Michael Eisner’s The Tornante Company; Keller/Noll, the prolific US format creators Cleve Keller and Dave Noll (Chopped, America Says, Flip Side); Crazy Legs Productions; and Playing Field […]
As Halo Moves to Activision, Halo Studios Writers Tease What Might Have Been
Following the launch of Halo: Campaign Evolved, Halo Studios has put out a blog post detailing plans for the future of Master Chief’s story. It’s an interesting look at where the series might have gone, prior to the recent announcement that Activision is now the shepherd of the Halo series.
Scripted Veteran Jason Simms Switches On Fusebox Entertainment
Former Fox and Sky Studios scripted exec Jason Simms has launched TV's latest drama house, Fusebox Entertainment.
Amazon MGM Names Daniel Matusov Head of Business Affairs for Animation
Amazon MGM Studios has moved TV biz affairs exec Dan Matusov onto Melissa Wolfe's Animation team as part of a restructure.
Carson Daly returning for huge “TRL” reunion special with surprises in store — and it’s not for MTV (exclusive)
EW has exclusively learned that Daly will return to reunite with major “TRL” personalities and music stars in the original Times Square studio.
Carson Daly returning for ‘TRL’ reunion special — but it’s not on MTV (exclusive)
Carson Daly will return for a ‘TRL’ reunion special recorded at the MTV Times Square studio where ‘Total Request Live’ used to air. Major surprises are in store for the Roku special.
Legends Radio spotlights JB Berkow’s lifelong art passion
JB Berkow is the founder of Benzaiten Center for Creative Arts in Lake Worth Beach. LEGENDS RADIO / COURTESY PHOTO This week's Legends Radio Local Artist Spotlight shines on accomplished artist and passionate advocate for the arts, JB Berkow. For more than five decades, JB Berkow has dedicated her life not only to creating art but also to making sure art has a place to thrive. Her work has been exhibited throughout the country in galleries, museums, and universities, and is held in permanent collections, including the Vatican’s Contemporary Art Collection in Italy, Boston University, and Palm Beach International Airport. Her passion for supporting other artists began early. At age 26, Berkow founded Touchstone Gallery in Washington, D.C., which became a highly successful cooperative gallery. She later brought that same entrepreneurial spirit to South Florida, founding Frenchman’s Art Gallery and Studios in Juno Beach in 1995. She opened Rosetta Stone Fine Art Gallery in 2003. In 2015, JB took her commitment to arts education even further by founding the nonprofit Benzaiten Center for Creative Arts. The 15,000-square-foot facility in Lake Worth Beach is home to Florida’s largest publicly accessible glassblowing hot shop and offers instruction in glassblowing, fusing, flameworking, and glass casting. The center also provides free classes to approximately 1,000 underserved children and young adults with disabilities each year. Its “Fragments Reimagined” art therapy program for veterans with PTSD recently received a $100,000 Impact 100 grant. In addition to her work as an artist and advocate, Berkow has authored four books, including Shades of Love and What They Didn’t Teach You in Art School. For JB, art has always been about more than creating something beautiful. It’s about opening doors, inspiring others, and making creativity an important part of life.That is why JB Berkow is in this week’s Legends Radio Local Artist Spotlight.
Tony Gilroy on Leaving the Politics of 'Andor' Behind for His 9-Composer Music Drama 'Behemoth!'
NEW YORK (AP) — Long before Tony Gilroy wrote “The Bourne Identity," made “Michael Clayton” or created “Andor,” he wanted to be a musician. After playing guitar in a string of bands, Gilroy came to Los Angeles hoping to become a studio musician. A session with some real players quickly disabused him ...
Fox Creator Studios Hires Senior Executives
Bryan Thoensen and Kirsten McAuliffe join the media company as it seeks to push further into the creator economy.
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.
Banijay Entertainment Unites US Operations With Banijay America Following All3Media Merger
Ben Samek will serve as the CEO of this division, which will now house Turnkey Studio Services
Banijay Entertainment Unites US Operations With Banijay America Following All3Media Merger
Ben Samek will serve as the CEO of this division, which will now house Turnkey Studio Services
Mary McNamara: As David Ellison names his new empire Skydance, the message is clear: He owns Hollywood
LOS ANGELES — What a surprise. David Ellison has decided to name the Frankenstudio media company created by the merger of Paramount Skydance and Warner Bros. Discovery simply Skydance. And
Behind the Seams | Wildwood
Go behind the scenes at LAIKA Studios for an up-close look at the extraordinary costumes of ‘Wildwood,’ the studio’s most intricately designed stop-motion film yet. Nearly 20 years after ‘Coraline,’ LAIKA’s artists and designers reveal how every tiny stitch, button and layer of fabric is handcrafted and engineered to help bring its puppets to life, combining costume design, fabrication and animation at an astonishing scale.
Ninja Theory developers announce they are facing redundancy, as the studio starts laying off staff following widespread Xbox cuts
Ninja Theory staff on LinkedIn have shared either farewell messages or sombre posts on the ongoing redundancy process happening at Ninja Theory.
Senua At Risk Of Cancellation As Ninja Theory Employees Announce They've Left The Studio
"It’s incredibly sad knowing that we won’t get to finish..."
Apple's Newest Macs Just Got Their Biggest Price Cuts Yet on Amazon
Prime Big Deal Days sales are already starting, and have now hit Apple's brand new Mac mini and Mac Studio computers. You can get up to $199 off these 2026 devices with Amazon's latest savings. Note: MacRumors is an affiliate partner with some of these vendors. When you click a link and make a purchase, we may receive a small payment, which helps us keep the site running.
Hellblade studio Ninja Theory has started laying off staff, following Xbox’s announcement that it faces closure
Two separate agreements with the studio “fell through”…
'Sing With Me,' 'Golden Elevators' Lead Talpa Studios' Mipcom Slate
John de Mol’s Talpa Studios is heading to Mipcom with a slate of new entertainment formats, led by 'Sing With Me' and 'The Golden Elevators.'
Naeem Khan Propels His Artistic Vision Into Project Healthy Minds World Mental Health Day Gala
The gala, hosted by Carson Daly, takes place Oct. 8 at Spring Studios
Local business plans Halloween event at Buckhannon’s Jawbone Park
Majestic Mountains Studio is planning a Halloween event at Jawbone Park in Buckhannon on Oct. 31 from noon to 5:30 p.m. The free event will feature vendors, games, crafts and costume contests.
Forma brings a community pottery studio to Napa
Step inside Forma, a new pottery studio at 100 Coombs St. in Napa.
Alan Alda opens up about Parkinson’s diagnosis: ‘I don’t want to wish it away’
Alan Alda says the first Parkinson’s symptom that he experienced ‘was not that well-known’ at the time, adding that he had ‘no twitch, no tremor’ and ‘no problems with [his] voice.’
On cusp of merger, ‘Digger bombs for Warner Bros., ‘Verity’ takes No. 1 at box office
On the cusp of the studio’s merger with Paramount, Warner Bros.
On cusp of merger, 'Digger bombs for Warner Bros., 'Verity' takes No. 1 at box office
On the cusp of the studio’s merger with Paramount, Warner Bros | 830 WCCO
On cusp of merger, 'Digger bombs for Warner Bros., 'Verity' takes No. 1 at box office
On the cusp of the studio’s merger with Paramount, Warner Bros | NewsRadio 1080 KRLD
On cusp of merger, 'Digger bombs for Warner Bros., 'Verity' takes No. 1 at box office
On the cusp of the studio’s merger with Paramount, Warner Bros.
PlatinumGames boss hints he wants to expand Bayonetta as Stellar Blade director calls the series "indispensable"
PlatinumGames president Atsushi Inaba says he "strongly wants" to expand Bayonetta, three years after series creator Hideki Kamiya left the studio.
Where’s Blade? Fans wonder why Marvel Studios cutbacks seem to be landing on Black heroes
Mahershala Ali has said he’s moved on from the “Blade” reboot, making it another MCU project that’s fallen by the wayside. Black fans are asking whether Black characters are being purposely neglected and sidelined.
Culver City protesters demand Sony, Amazon, other studios defend democracy
LOS ANGELES — On a sweltering Saturday, around 100 people gathered in Culver City for a rally and march to deliver a message to several major media companies: Help us
Baubles & Brews brings women-owned businesses together in Pottsville
Candles, pottery, books, and skincare filled tables at Arrow Studio & Events on Saturday as 23 small businesses came together for Baubles & Brews, a fall market centered on women entrepreneurs and the community they have built. For…
Soulection celebrates 15 years with upcoming L.A. show
Soulection, the radio show, independent label and global music collective is celebrating its 15th anniversary on Saturday at Reframe Studios Outdoors.
4 new businesses coming to East Brunswick’s Legacy Place
A pet groomer has opened at East Brunswick’s Legacy Place, while a yoga studio, IV therapy business and Mediterranean bakery are coming soon.
"We felt that fans were getting a bit desensitised to the violence" Gears of War: E-Day devs made a "big investment" in gore, and weirdly, it works
"Brutality is a pillar of this game," says studio art director Aryan Hanbeck at The Coalition.
David Ellison's Skydance is a pretty name. What it stands for isn't
By naming the product of two mergers Skydance, David Ellison relegates two of Hollywood's founding studios to a sub-brand stew and attempts to erase a bunch of controversial hires.
3 new business openings worth knowing about in downtown and North Raleigh
A yoga studio, a 35-year-old coffee shop expanding near its Hillsborough Street home, and a round hotel reborn after a $36 million makeover.
Kingdom Come: Deliverance Dev Hopes GTA 6 Will Encourage Studios to Charge More for Their Games
Warhorse co-founder Martin Klima wants GTA 6 to “blaze a trail” for higher game prices.
Commentary: Can Letterboxd stay Letterboxd under studio ownership?
Letterboxd, once a niche social network for cinephiles to review, recommend and discover films, is now the subject of a potential nine-figure acquisition. As reported by the New York Times
New Black Cat Theater Cafe brings live entertainment to Tulsa’s Studio Row
The new Studio Row venue will feature family matinees, live theater, magic shows, comedy and other entertainment alongside a full cafe and bar.
Texans brass see content studio as promising natural offshoot of club business
The Houston Texans have launched Hustle Town Studio, which they hope offers new revenue upside by branching out of a football focus into cultural works.
'Bleed The Night': Fox Entertainment Studios Buys Vampire Spec
'Bleed the Night,' a vampire spec by Keith & Zoe Cooper, is being developed at Fox Entertainment Studios.
Apple TV Just Updated Its Selection of 'Bonus' Movies
Starting today, the Apple TV streaming service is offering a new selection of "bonus" movies in the U.S., Canada, the U.K., and some other countries. While competitors like Netflix offer an extensive catalog of movies from various studios, Apple TV primarily offers its own original films produced by Apple.
ESPN announces 2026-27 Inside the NBA presented by Eli Lilly regular season schedule
ESPN today announced its 2026-27 regular season schedule for Inside the NBA presented by Eli Lilly. Produced by TNT Sports from its Atlanta studios, the
AGC Studios Launches Digital Division Focused On Creator-Led IP
AGC Studios is launching AGC Digital, a dedicated division focused on creator-led content. The studio said the division will partner with digital creators to turn their ideas, content, and audiences i...
Jason Jones, Co-Creator of Halo and Destiny and Co-Founder of Bungie, Announces New Studio
Jason Jones, one of the co-founders of Bungie and a co-creator of Halo and Destiny, has announced his new studio, Stone Kite, which will work on projects across various entertainment mediums. The studio's first release is One Zero One, a limited-series comic book based on a manuscript written by Jones.
Start TODAY’s October Challenge: Routine Revamp, Healthy Meals
October is the perfect time to revamp your routines, so fitness contributor Stephanie Mansour stops by Studio 1A to break down some easy Start TODAY workouts, which can be accessed for free on the app this month. TODAY nutrition and health expert Joy Bauer also shares some simple meals, including a French toast grilled cheese, cottage cheese fettuccine alfredo, pumpkin peanut butter, and more!
Nerial shuts down after 13 years
Reigns series and Card Shark developer Nerial will shut down after 13 years of operation, the studio announced.
Stone Kite Is A New Studio From Halo, Destiny Creator Jason Jones And Author Margaret Stohl, And Its First Project Is About Rogue AI Robots
Stohl is perhaps best known for writing the Beautiful Creatures series of books. - Game Informer
Inside Larry Ellison's Wide Web of Power, Money and Politics, As Oracle's Data Centers Claim Force Majeure
The $200 billion software titan has suctioned himself to many hubs of influence—from data centers to TikTok to Hollywood studios to the Oval Office itself. Tom Dotan dives deep into Ellison’s kingdom, starting on the island enclave of Lanai.
Center on Science and Technology being evaluated due to budget constraints
Princeton is reviewing the Center on Science and Technology as part of broader budget reductions, though its courses and StudioLab operations will continue through the current academic year.
New Guide, 'How Do I Get ChatGPT To Recommend My Business?', Strategy Revealed
Authority Acquisition's new guide explains how ChatGPT recommends businesses based on discoverable published content, not paid placement, and ou...
Upworthy Launching Entertainment Studio Led By Sarah Yourgrau
One of the dominant digital platforms of the early social media era has hired Sarah Yourgrau to help it develop positive, uplifting stories to new platforms.
Looking at the Ugly Side of the Paramount-Skydance Merger...And How I’d Fix It
A Message from Our Sponsor Certified Fresh with 100% on Rotten Tomatoes, FX’s Adults is an ensemble comedy series about a group of twenty-somethings in New York leaning on each other to navigate love, work, friendship and family. Don’t sleep on “The Sitcom of the Moment” - Awards Buzz All Episodes now streaming on Hulu on Disney+. Watch The Teaser Trailer... (Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industr(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Before we dive in, I wanted to congratulate Broadcast Now for being the first to report that Netflix’s How to Get to Heaven from Belfast has been cancelled. (I saw this in a write-up by Kasey Moore of Whats-On-Netflix.) More importantly, I wanted to note that, as of yesterday, none of the other trades had reported the news yet. I have half a guess that eventually one of them will report this. Anyways, it’s time to take a break from my deluge of streaming ratings reports to continue my analysis of the Paramount Skydance Warner Bros. Discovery (PSWbD) saga. As I noted last week, a lot of times when folks use the (sometimes cliched) “the good, the bad and the ugly” framing for an article, “the ugly” section is just more bad. Or very, very bad. In this case, yeah, I do think it’s ugly. In more than one way. Unfortunately, we’re only going to have time to tackle one of those ways today: the ugly pile of debt to finance this deal. (In a future article, I may cover the entire process for how it went down, which was very, very ugly.) Last issue, I explained why I liked this deal in a vacuum. Unfortunately, “vacuums” don’t exist outside of space. Let’s dive in. Subscribe Most Important Story of the Week - The Ugliness of the Paramount/Warner Bros. Merger More than one person sent me a note speculating that the big problem with Paramount Skydance buying Warner Bros. Discovery is the “Warner Bros.” portion of the deal. In fact, that’s a take I read a lot about Warner Bros., ever since they caught Netflix’s, and then Paramount-Skydance’s, eye. In short, multiple companies (Time, AOL, AT&T, Discovery) have bought and then regretted buying Warner Bros. Since it’s nearing Halloween, you could almost say it’s like the folks think WB is cursed! It’s a haunted studio—like the town of Derry in movie studio form—and whoever takes possession of it will fall into misery! Yet...I just don’t like that story, because it doesn’t explain the “why” behind why those deals fell through. Especially when Warner Bros. has continued to succeed as a TV and film studio in the intervening two decades. Lord of the Rings? Harry Potter? Game of Thrones? Everything HBO? Considering it never fully owned a broadcast TV channel, this media company has done pretty well. So what went wrong? Well, in recent years, companies bought Warner Bros. instead of the other, smarter option. Explaining POCD (And Applying It to Mergers & Acquisitions) As I explained last issue, one of my favorite frameworks is the POCD tool for evaluating venture capital investments: People Opportunity Context Deal The bar to invest as a VC is high. (Or I might say “was” since cheap interest rates made life easier last decade.) You review a thousand prospectuses, get pitched by a hundred, and invest in the ten best, with the hopes that one of those ten would pay for the rest. That means every element of a deal needed to pay off: you needed the right people running the companies, who could capitalize on the right opportunity, in the context of an industry that was ripe for disruption. If you could then not overpay, you could make some money in a smart deal. The analogy isn’t perfect here, but close enough. For a merger or acquisition to work, you need the combined company (which is the opportunity) to make more than the price you need to pay (which is the deal). Note: the people and context still matter, but with M&A, it’s a little more straightforward: does the opportunity exceed the cost? And usually with Warner Bros., it hasn’t. If you want to find out the single biggest mistake made by the Warner Bros. suitors over the last few years (and my simple fix) become a paid subscriber. I’ll also touch on who I think Paramount-Skydance could (shockingly) consider buying next, TBD, and more. Sign up here.
Ubisoft Adopts Massive Entertainment as Name of Studio Group Led by Christoph Hartmann
Games company Ubisoft has landed on a name for what it has been calling “Creative House 2,” led by general manager Christoph Hartmann, the former head of Amazon Games who recently joined the team. The group is being named Massive Entertainment, adopting the name of Ubisoft’s Sweden-based studio that has been part of the company …
Grasshopper Manufacture Leaves NetEase Games to Operate as Independent Studio
Suda51's studio, maker of No More Heroes and Killer7, has split from NetEase Games to work as an independent developer again.
Readsboro Glassworks will open its studio to the public
READSBORO — The public is invited to visit Readsboro Glassworks during the Vermont Crafts Council’s Fall Open Studio Weekend, Oct. 3 and 4, from 10 a.m. to 5 p.m.
Story Circle Event Set For Oct. 3 In St. Johnsbury
ST. JOHNSBURY — 560 Railroad Community Artist and Vermont Studio Center alum Lori Lee will facilitate a story circle event titled Community Stories: Stories the Town Keeps, on Sunday, October
Pocket Entertainment: Interview With Co-Founder And CEO Rohan Nayak About AI-Powered Storytelling And The Single-Person Studio
Pocket Entertainment is building an entertainment ecosystem that connects storytelling, creation, production, distribution, localization, and audience engagement. The company operates Pocket FM, its flagship serialized audio drama platform, and has expanded into short-form visual entertainment through Pocket Saga while developing AI tools such as Sherpa that helps creators develop ideas and build characters, worlds, story arcs and episodes. Pulse 2.0 interviewed Pocket Entertainment Co-Founder and CEO Rohan Nayak to learn more about the company’s origins, its evolution beyond audio entertainment, and how AI could enable individual creators to build global entertainment franchises.
Deborah Sathe to lead new drama indie, CliffEdge Entertainment
BBC Studios is launching a new scripted production label, CliffEdge Entertainment.
Halo’s former creative director urges Activision to hire laid off Bungie, Halo Studios devs
Frank O’Connor shares advice to Activision for how the Halo series could go forward…
Xbox’s Millennial C.E.O., Asha Sharma, Isn’t Playing Around
“I think the industry will require disruption,” said Asha Sharma, who has overseen layoffs and divested studios since inheriting Microsoft’s flailing video game division.
Star Fox version 1.2.0 update now available
Publisher Nintendo and developer Velan Studios have released the version 1.2.0 update for Star Fox, which adds new stages to Battle Mode, split-screen support for up to four players on a single Swi…
Paramount streaming chief Cindy Holland exits studio
The announcement comes as Paramount waits for a judge's approval of its $111-billion purchase of Warner Bros. Discovery.
United Airlines Debuts Polaris Studio Business Class For Global Premium Travelers
United’s new Polaris Studio adds larger suites, privacy doors, 27-inch 4K screens, upgraded dining and wine. Here’s how the experience compares.
Halo's Former Franchise Creative Director Sees 3 Possible Paths for Activision's Halo
Frank O'Connor, Halo's Franchise Creative Director for nearly 20 years at 343 Industries/Halo Studios, has weighed in on Halo's future at Activision, suggesting three viable paths forward for Xbox's former biggest franchise.