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Rayman Legends Retold Doesn’t Feel Like a Necessary Remake, But It’s Still a Good Time
Rayman Legends Retold isn't breaking any new ground – not visually and not gameplay-wise, not that it should be expected to since it's a remake, after all – but it is a clean remake chock-full of content both new and old at a pretty nice value. It might be of particular interest to the Switch 2 crowd that isn’t getting the GTA 6 meteor landing in their lives this Fall (particularly in light of a new 3D Mario platformer’s continued absence and Super Mario Bros. Wonder being a couple years old now), and/or to the younger crowd that hasn’t played the series before. Here’s hoping it leads to a brand-new Rayman adventure sooner rather than later.
Skydance mashes proven properties of Paramount and Warner Bros. into an uncertain Hollywood hybrid
LOS ANGELES (AP) — Continuity will be the immediate emphasis for Skydance, the newly created entertainment behemoth borne of Paramount's $81 billion takeover of Warner Bros. Discovery that closed on T...
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
76-86: Chart
Mariners 7, Angels 3, Rick Rizzs 1 in a million The Astros going 81-81: Logan Gilbert, +.015 WPAThe Astros winning the division at 81-81: Julio Rodríguez, -0.09 WPA Game Thread Comments of the Day Both PDX bros coming through today.
Paramount, Warner Bros. combine as new entity Skydance, David Ellison announces
He announced the updated on X
What will Skydance do with the industry’s most complex sports rights portfolio?
With the Paramount and Warner Bros. Discovery merger now complete, forming Skydance, many in the sports media world are watching and wondering what happens to the combined entity’s sports rights. Certainly, this seems like a good time to examine what the folks at Skydance Global Sports Group (now to be called SGSG forevermore) are, and…
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
Commentary: Not even Tom Cruise could save ‘Digger’
Continuing a concerning trend for Warner Bros. in 2026, its latest release is buried in a financial hole no film can escape. Alejandro González Iñárritu’s "Digger" arrived over the weekend
What we know — and don’t
Paramount has cleared the final hurdle in its year-long race to take over Warner Bros. Discovery. Now comes the really hard part.
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.
The McGraw sisters bring double the trouble
The cast and crew celebrate the film’s Los Angeles premiere at the Warner Bros. Studios lot
CNN chief Mark Thompson in talks to remain in role after Paramount takes over network
Paramount Chief Executive David Ellison has approached Thompson about staying in charge following the merger with Warner Bros. Discovery.
Protesters at Paramount's gates say Bonta 'caved' on Warner Bros. merger deal
Dozens rallied outside Paramount's Hollywood lot, saying the settlement clearing its Warner Bros. merger fails to protect L.A. entertainment jobs.
Warner Bros. and Paramount are now Skydance – What the merger means for you
Say goodbye to decades of Hollywood history and hello to the era of mega media corporations.
Best Entertainment Stocks To Watch Now
Warner Bros. Discovery, Autodesk, DraftKings, Verizon Communications, and Spotify Technology are the five Entertainment stocks to watch today, according to MarketBeat's stock screener tool. Entertainment stocks are shares of publicly traded companies involved in producing, distributing, or deliveri
'Street Fighter' review: What if it's giving Super Mario Bros. live-action, but I love that?
Andrew Koji, Noah Centineo, Cody Rhodes, and more bring this epic video game to new life.
Torrance named president, CEO of Fenimore museums
Joshua Campbell Torrance has become president and CEO of Fenimore Art Museum and Fenimore Farm and Country Village in Cooperstown, succeeding Paul D’Ambrosio.
Mark Ruffalo blasts Paramount–Warner Bros. merger after judge approves settlement
Mark Ruffalo decries the recently approved Paramount–Warner Bros. mega-merger as an ‘incredibly disappointing outcome’ that will ‘weaken free speech, and cost people their jobs.’
AG Rob Bonta reaches settlement with Paramount/Skydance’s David Ellison over entertainment mega-merger with Warner Bros.
After clearing a state antitrust lawsuit with minor concessions, David Ellison pledges to keep the combined media empire in LA. By Sarah Lin Major California AG Rob Bonta settled an antitrust lawsuit against Paramount and Warner Bros., securing commitments from David Ellison to keep operations in Los Angeles.
Entertainment: Paramount closes deal with Warner Bros.
Paramount has closed its $81 billion dollar purchase of Warner Brothers Discovery, forming a new Hollywood giant now called "Skydance".
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.
New Paramount Warner Bros. Name is Skydance, David Ellison Says
Paramount and Warner Bros. will exist as sub-brands in the larger corporate brand.
What does the combined Skydance, now in business, mean for Hollywood?
It's been just about a week since the Paramount-Warner Bros. Discovery deal closed. In the months ahead, Hollywood will determine its future.
Tonko, Ambrosio make their cases in 20th Congressional District race
Voters in the 20th Congressional District will choose between a longtime Democratic incumbent and a Republican who has never held elected office.
Skydance raises Discovery+ prices, a week after Skydance merger
Discovery+ is getting more expensive just a week after Paramount and Warner Bros. Discovery became Skydance. Here’s what subscribers will pay, and when.
Former Wallabies hooker Nathan Charles diagnosed with MND after health decline
Former Australia rugby international Nathan Charles, who overcame cystic fibrosis to play a contact sport professionally, has been diagnosed with motor neurone disease (MND). The 37-year-old Charles, who made his test debut in 2014 and earned four caps for the Wallabies, including a 12-12 draw against New Zealand, revealed he has been diagnosed with the same illness as recently retired National Rugby League star Jai Arrow. MND is an umbrella term for a group of progressive neurological conditions where the motor neurones degenerate.
Federal judge allows Paramount-Warner merger to move forward
A federal judge in Oakland has approved a settlement that allows Paramount Skydance Chief Executive David Ellison to finalize his $111 billion acquisition of Warner Bros. Discovery. Ellison is aiming
Brittany Broski, aka ‘kombucha girl,’ is coming to Eastern KY. How to get tickets
Her celebrity talk show, “Royal Court,” boasts some of the most renowned faces and references in pop culture.
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
Skydance CEO David Ellison: AI is going to transform every part of the business
CNBC’s David Faber and David Ellison, Skydance Chairman & CEO, and Ynon Kreiz, Skydance co-CEO, join 'Squawk Box' to discuss Paramount's $110 billion acquisition of Warner Bros. Discovery, what to expect from the new combined entity, the decision to bring Ynon Kreiz on board, future of the company's linear, streaming and movie businesses, integration of AI, and more.
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.
Paramount, Warner Bros. Discovery Officially Merge Into Skydance
Paramount and Warner Bros. Discovery complete their $110 billion merger, creating Skydance, a new global media and entertainment giant.
Tony Gilroy Says Paramount-Warner Bros. Merger Will ‘Destroy’ a ‘Healthy and Beautiful Business’ in ‘The Name of Venture Capital’: ‘It’s Tragic’
Tony Gilroy blasted the “tragic” nature of the Paramount-Warner Bros. merger at the world premiere of his new film, “Behemoth!” Produced on a $36 million budget, “Behemoth!” is representative of the m...
Paramount’s Warner Bros. megamerger will just be called Skydance
David Ellison doesn’t want a ‘new corporate identity’ to overshadow Warner Bros. and Paramount’s brands.
European Leaders Mostly Optimistic About Paramount-WB's Future
European industry leaders are cautiously optimistic now that Paramount is about to complete its takeover of Warner Bros., but there are many unknowns.
Warner Bros. could face loss of at least $150 million on 'Digger' after tepid box office
Tom Cruise’s “Digger” fell 60% in its second weekend to $3.2 million, leaving Warner Bros. facing a loss that could top $150 million.
Best Entertainment Stocks Worth Watching
Walt Disney, Warner Bros. Discovery, Verizon Communications, Roblox, and DraftKings are the five Entertainment stocks to watch today, according to MarketBeat's stock screener tool. Entertainment stocks are shares of publicly traded companies involved in creating, producing, distributing, or deliver
California students post gains in math, science and English in 2025-26
SACRAMENTO, Calif. — California students made gains across key academic and success measures during the 2025-26 school year, with test scores rising in English, math and science while the statewide graduation rate reached a record high of 87.9 percent. For the first time, the state released assessment results and California School Dashboard data together to give families and educators a more complete picture of student performance.English language arts scores increased 0.5 percentage points to 49.3 percent of students scoring proficient or advanced, while math scores rose 1.1 percentage points to 38.4 percent. Science showed the strongest improvement, jumping 3.3 percentage points to 36 percent of students scoring proficient or advanced.The statewide chronic absenteeism rate dropped 1.1 percentage points to 18.3 percent. The suspension rate declined to 2.8 percent, marking the third consecutive year of improvement."At a time when California continues to focus on accelerating learning and closing opportunity gaps, these results provide important evidence that our sustained investments are making a difference," Gov. Gavin Newsom said. "The continued progress we are seeing is a testament to the hard work of students, families and educators across the state—and we will continue working to build on these gains."The percentage of students prepared for college and career increased to 55.2 percent, up 2 percentage points from the previous year. More than 54 percent of graduates completed coursework required for admission to University of California and California State University systems, an increase of 0.9 percentage points."California has made important strides in expanding student supports and opportunities, but the pace of academic improvement reminds us that our work is far from finished," State Superintendent of Public Instruction Tony Thurmond said.Eighth grade students posted the strongest score trends in both English language arts and math. Science performance improved across all tested grades, with the strongest gains at the high school level.African American students demonstrated larger-than-average improvements across English, math and science. Hispanic or Latino students showed larger-than-average improvements in English and math, with positive math score trends across all grades.Students who were socioeconomically disadvantaged made gains across all 3 subjects, including larger-than-average improvements in English and math. Students who were homeless continued to demonstrate gains across grades, with particularly strong improvements in math."We are encouraged to see students making gains across all 3 major assessments and are especially encouraged by the progress of African American students, Hispanic or Latino students, socioeconomically disadvantaged students and homeless youth," said Linda Darling-Hammond, president of the California State Board of Education.The progress comes as California's public school system undergoes significant demographic change. Statewide school enrollment declined to approximately 5.73 million students in 2025-26, nearly 500-thousand fewer students over the past decade.The number of students with disabilities increased approximately 25 percent over the same period, from about 680-thousand to more than 850-thousand students. Graduation rates increased across nearly all student groups, including notable increases for American Indian or Alaskan Native students at 4.3 percentage points and students with disabilities at 3.7 percentage points.In Downey Unified School District, the rate of students demonstrating proficient or advanced grade-level knowledge increased by 2.1 percentage points in English, 2.8 percentage points in math and 4.7 percentage points in science. The district aligned graduation requirements with college admission expectations and invested in inclusive special education practices, expanded career technical education and expanded learning opportunities."The gains Downey Unified is seeing in student assessment results and on the Dashboard are the result of years of focused, consistent work across the district," Superintendent Roger Brossmer said.In Exeter Unified School District, proficiency rates increased by 4.6 percentage points in English, 2.3 percentage points in math and 3.6 percentage points in science. The district placed a strong focus on phonics and the science of reading, particularly in kindergarten through second grade."The gains Exeter Unified is seeing in student assessment results and on the Dashboard are the result of having great people who are focused on the right work, and great students who want to do well," Superintendent Melanie Dorough said.Union Elementary School District saw proficiency rates increase by 1.5 percentage points in English, 2 percentage points in math and 4 percentage points in science. Teachers regularly analyze state and local assessment data to guide instruction, supported by strong core instruction and early literacy strategies."Union Elementary School District's achievement gains reflect a focused, data-driven approach to meeting the needs of every student while fostering a strong sense of belonging, safety and connection," Superintendent Carrie Andrews said.The California Department of Education is examining local results to better understand strategies and conditions associated with stronger student outcomes. The state has made significant investments in recent years, including literacy and math coaching, tutoring, expanded learning opportunities, community schools and universal transitional kindergarten.
FTI, Oracle and Paramount: This Week's Top Five Stories
This week's top stories include, FTI Consulting on the AI slowdown, Oracle's US$664bn backlog and further news from Paramount's Warner Bros. merger
Deanna Harris Joins Alloy Entertainment As VP, Television
Harris joins the company, which is owned by Skydance’s Warner Bros. Television Group, from DiVide Pictures, Milo Ventimiglia’s production company.
When 1 + 1 = 1: The Miserable Math Behind Many Media Mergers
(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.) The last few issues of this newsletter have circled two topics: September’s streaming viewership and all the Paramount/Skydance/Warner Bros./Discovery merger news. I’m happy to say on the Streaming Ratings Report front, we’ll be all caught up by early next week, then the SRR will come out on a tight weekly schedule. Then, after today, I’ll have slayed my PSWbD dragon. It’s such a big story, it demanded multiple issues. With the announcement of a name (just Skydance) and executive team, though, I think we can almost close the book on this story. In terms of topics, it becomes just another studio to cover. So today, I have one last set of takes on that merger. As I’ve sat with it, reading about who was staying and who was going, a big worry crystallized in my brain, and I gotta get that take out. Plus, I still owe you a host of “ugliness” that didn’t fit in my previous “The Good, The Bad and The Ugly” takes. Let’s dive in! Subscribe Most Important Story of the Week - As Paramount Shuffles Deck Chairs, Will They Build or Consolidate? On social media—I try to avoid most social media platforms, but sometimes I end up checking in—the best joke I saw about the announcement of the new name of Skydance was from fellow reporter Claire Atkinson who pointed out… Yeah, I laughed out loud at that one. Later, though, I saw another Twitter response (that later got deleted, so I can’t shout the person out) that did give me pause. The person noted that the Titanic film made the better analogy: a super expensive project everyone in the town doubted that went on to conquer the globe. So yeah: on one hand, the image of the Titanic recalls the actual ship and its infamous end, but that clip is from a movie which proved the doubters wrong. So for all the skepticism of the latest massive media merger, one could wonder which way this one goes. Does it crash like the Titanic or rise to glory like Titanic, the movie? Either way, this deal is “Titanic”, looking at the massive debt required to close the deal, which is not going well when it comes to borrowing costs for Paramount… …or borrowing costs for Oracle. But I’ve started to get worried about another outcome: the sum of this merger will be smaller and weaker and less profitable than its former parts. In other words, one plus one won’t equal three or two, but an even smaller number. Skydance paid to take a traditional studio off the board, but they won’t really capture the upside. Let me explain what I mean, but first, let’s look at the series of news that inspired this thought. Skydance Sets Its Leadership Team As soon as the Paramount-Skydance-Warner Bros.-Discovery merger closed, the new leadership team announced a new name—Skydance, which I’ll use going forward—and a new executive leadership team. You’ve probably read through all the executive shuffling, but if you haven’t, here’s a quick, incomplete summary, in rough order of importance: Mattel’s CEO Ynon Kreiz—who previously ran Maker Studios—joined as co-CEO with David Ellison. HBO/HBO Max’s Casey Bloys will stay and run streaming. Former head of streaming for Paramount-Skydance Cindy Holland—who was also at Netflix—will depart. The former heads of Warner Bros.—Pam Abdy and Mike De Luca—are out. The film studios will be run by Dana Goldstein and Josh Greenstein. George Cheeks of Paramount will run Skydance TV, controlling all the TV production units. In comic book news, the DC films will still be run by Peter Gunn and Peter Safran. Lastly, the head of CNN, Mark Thompson, will stay in place. Let’s quickly opine on the particulars before diving into the broad ramifications. 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… Who I like and dislike in their next gigs… Why I think this consolidation will likely leave Skydance worse off… The math behind which mergers succeed and which don’t… A lot more ugliness in this merger… And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
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
Skydance Executive Team Set By David Ellison Ahead of Deal Close
Skydance announced the executive leadership for the combined Paramount-Warner Bros. Discovery.
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.
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