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From Penn State teammates to business partners, the Clifford brothers’ paths continue
Growing up playing football, Liam Clifford never thought he’d follow his older brother, Sean, to Penn State. Sean had arrived in Happy Valley in 2017, and Liam wanted to carve
Trump will speak at South Carolina midterm rally for Sen. Darline Graham as early voting begins
President Donald Trump will visit South Carolina on Wednesday to boost Graham, whose stumbles in her first campaign since replacing her late brother have Democratic voters hopeful — but not necessarily optimistic — that their candidate can break Republicans' grip on the state.
George W. Bush’s Brother Neil Bush Breaks G.O.P. Ranks to Vote for James Talarico in Texas
Neil M. Bush, a brother of former President George W. Bush, expressed “deep concern about Ken Paxton’s record” and said he voted for James Talarico, the Democrat running for Senate in Texas.
Brookshire Brothers opening new location with premier outdoor entertainment venue Nov. 11
Brookshire Brothers will open the doors to its newest Lufkin location at 6 a.m. Wednesday, Nov. 11, bringing an enhanced grocery shopping experience, expanded services and a premier outdoor entertainment
Travis Kelce recalls early morning phone call from brother Jason that Taylor Swift called ‘f---ed up’
Everyone knows midnights are her afternoons, Jason!
“Chicago Fire” prepares for ‘emotional’ goodbye to Joe Cruz in first look at 300th episode (exclusive)
“We couldn’t think of a better way to honor the milestone than by making ‘300’ a love letter to our dear friend and brother, Joe,” says showrunner Victor Teran.
The Apothecary Diaries: The False Imperial Brother launches March 18, 2027
Mystery solving adventure game The Apothecary Diaries: The False Imperial Brother will launch for PlayStation 5, Switch 2, Switch, and PC via Steam on March 18, 2027 worldwide, publisher Koei Tecmo…
'The New Stanford Prison Experiment' review: A project reimagined for TV
Netflix's new reality series is a mix of the 1971 social experiment that investigated power dynamics, 'Big Brother' and 'Wonka's Golden Ticket.'
Seattle’s Brudi Brothers on opening for Kacey Musgraves, new album
The Seattle folk trio have played their share of milestone stages. But the next one is a different beast.
Matthew McConaughey recreates iconic “Dazed and Confused” scene on “Brothers” (exclusive)
Wooderson is back on McConaughey’s new Apple TV show with Woody Harrelson.
Disney stars Dylan and Cole Sprouse are ‘children of incest’
Dylan Sprouse revealed how he discovered that he and twin brother Cole Sprouse are ‘children of incest,’ due to a wild family history for the ‘Suite Life of Zack and Cody’ stars.
The Family Business Rewritten
Founded by two brothers in Philadelphia in 1916, Govberg Jewelers has evolved over 110 years into The 1916 Company, bringing Govberg, WatchBox, Radcliffe and Hyde Park under one name. Danny Govberg and John Shmerler explain how one family business became a business of families.
A Knicks tradition, a brother's love and a bond bigger than basketball
Like so many fans, he wanted his passion to become his livelihood.
Why the Muslim Brotherhood has become a flashpoint in the Michigan Senate race
The Muslim Brotherhood has become a flashpoint in Michigan’s Senate race, with Republicans trying to cast Democratic nominee Abdul El-Sayed as sympathetic to interests connected to Islamic terror and El-Sayed arguing that he is being unfairly accused of the same “dual loyalties” that former Presidents John F. Kennedy and Barack Obama once were.
‘Topdog/Underdog’ revival opens Steppenwolf's 51st season
When I reviewed the Chicago premiere of “Topdog/Underdog” at Steppenwolf Theater in 2003, I suggested that Suzan-Lori Parks' play about the rivalry between two Black brothers didn't deserve its 2002
Shop These Businesses for Down Syndrome Awareness Month
October is Down Syndrome Awareness month so TODAY’s Ally Love is spotlighting six incredible small businesses from the National Down Syndrome Society all founded by entrepreneurs who have Down syndrome, including The Jam Man Sweet Heat Jam, Two Fresh Brothers and more. See all their creations!
The Brockman Gallery is celebrated in new LACMA exhibition
The Brockman Gallery, founded by brothers Alonzo and Dale Brockman Davis after the Watts rebellion, became a community hub for multicultural experimentation in art. That legacy is explored in a new exhibition at LACMA.
Aaron Rodgers reunites with brother Luke and his kids in rare family photo
The Rodgers family showed up to support Steelers quarterback Aaron Rodgers in rare family photos following the family’s reconciliation.
Kaia Gerber pens heartbreaking tribute to late brother Presley: ‘This party sucks so bad without you, Prez’
“I am learning how to love you when I cannot see you,” the model wrote in a letter addressed to her brother, who died on Sept. 20.
Rob Raede: Santa Barbara Forge Turns Metalworking Expertise into Sizzling Cookware Business
Our usual focus here at Team Let’s Go Eat is talking to the people who put food in the pan. This time, we decided to talk to the people who make the
El-Sayed gets into testy exchange with man who presses him on Muslim Brotherhood
“I think it’s you who needs to understand the Constitution, not me,” El-Sayed told the man, who identified himself as “Tommy.”
Abdul El-Sayed disavows Muslim Brotherhood and criticizes implications that he has ‘dual loyalty’
Michigan Democratic Senate nominee Abdul El-Sayed on Saturday disavowed the Muslim Brotherhood, an Islamist political movement, during a heated exchange at a town hall.
Graham breaks with Trump over Russia sanctions law her brother championed
Darline Graham has only been a senator for a few months, but she has cited her role in passing the sanctions package, a major part of her brother’s legacy, as a top achievement.
Graham Breaks With Trump Over Russia Sanctions Law Her Brother Championed
Senator Darline Graham, appointed to fill the Senate seat of her late brother, Lindsey, gently disagreed with the president’s decision to exempt Russia from the sanctions legislation.
Man gets 2 life sentences for killing 2, injuring 3 in Chester business shooting
A man was sentenced to two life terms in prison for killing two brothers and injuring three other people at a laundry business in Chester in 2024.
Sixers vs. Celtics preseason: How to watch, lineups, broadcast info
The Philadelphia 76ers will take on the Boston Celtics in the preseason finale on Friday back in the City of Brotherly Love.
Analyst suggests the Vikings trade for a player's brother
Should the Minnesota Vikings trade for this current players brother?
IP Saves the Day On Streaming
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Before we get started, I wanted to highlight a new idea I saw from Real Good AI, proposing a ratings system for AI use. (H/T to Anthony Kaufman’s article highlighting this.) It would look something like this: In general, I think that this is a solid, middle-ground solution that should appease both the pro-AI camp (who love AI) and the anti-AI camp (who wants to know if what they’re watching didn’t come from humans). Regardless of your feelings on AI/LLMs—I’ll never use it for my writing—transparency is often the best solution to many problems. In general, I think way more media outlets need to be using way more AI disclosures. My quick “Yes and...” to this idea: what about ads? In particular, I hate it when I see or hear ads that are obviously AI-generated, but a person or voice says, “I used this product”. AI doesn’t use products! Just today, I watched a YouTube ad where a “person” said they use some sort of rain wind chime...but that’s not a real person! They didn’t use this product. (Especially since the video of the wind chime itself also appeared to be AI-generated...) I believe most traditional advertising already has standards like this anyway.1 Okay, on to this week’s issue. We’re covering the week of 14-Sep, and then next issue, I’ll be fully caught up with Nielsen’s new release schedule. In the future, I plan to put out Streaming Ratings Reports each Monday after Nielsen’s Thursday releases. Overall, we had some big new shows this week, like Prime Video’s Reacher spinoff_, Neagley_, which is off to a big, big start, and Netflix’s latest in its Monster anthology, which is their largest opening since June and the second-largest since One Piece came out in March. All that, plus Slow Horses returns, the trio of returning shows (Lioness, Reacher and Ted Lasso) continue to dominate the top tens, Paramount+’s latest crime drama, a big whiff for a Netflix original film and a precipitous drop for Netflix film charts, 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 14th to September 20th 2026. You can find a link to my terminology here.) Subscribe Television - IP For the TV Win Can I use the dirty word of entertainment journalism right now? IP. Shhh. Don’t tell anyone I said it. But IP works at the box office, and we’ve seen some evidence it works in TV too. Not as well, and not all the time—no absolutes here!—but often enough. And glancing at the Nielsen top ten…it worked this week! Take Prime Video, who has a monster hit in the crime drama Reacher. Would a spinoff work for that show? Yep! They binge-released Neagley, about a detective from the original Reacher series, and its eight episodes debuted to 29.6 million hours. Here’s how it stacks up to Reacher, one of Prime Video’s biggest shows: That’s great. Nearly as strong as Reacher’s opening! (Both shows started with eight, binge-released episodes, so this comparison is apples-to-apples.) Notably, Prime Video scheduled the debut of Neagley to overlap with Reacher’s most recent season, to help drive tune-in. Obviously, I love smart release strategies like that. And even though I wrote “obviously”, it’s not really that obvious, since streamers don’t often take advantage of natural overlaps like this_._2 Other data backs how well Neagley performed. It opened at second place on Samba TV for two weeks and got 51.7 million hours on Luminate. That’s the eleventh biggest opening on Luminate since May of 2024 and tied with Bridgerton’s third season opening. That’s a huge opening! Its IMDb is solid too, a 7.7 on 24K reviews. Netflix’s latest edition in the “Monster” series—which started with Jeffrey Dahmer and comes from Ryan Murphy—did well too, opening to 24.7 million hours. That’s the biggest opening for Netflix since I Will Find You in June, and second biggest since March. Unlike the Reacher series, this franchise is trending downward, though. The first Monster show—Dahmer - Monster—was giant. More than anything, I think this reflects that Netflix running out of extremely popular—if that’s the right word?—serial killers to feature. Still, the data says this is a very good opening. It made it to third place on Samba TV for two weeks. It also opened to 40.0 million hours on Luminate. That’s not quite as elite as Neagley, but still very, very strong. I’ll be honest: my priors coming into any given week are that IP works to help drive buzz for new shows, but TV shows need to stand on their own even more than movies, so they will succeed or fail based on their quality. But these two spinoffs definitely worked. Quick Notes on TV The top show, film or special this week? Football, again. Specifically, Prime Video’s season opener of Thursday Night Football. The games run long (three hours) but mainly a lot of people watch each game. That adds up to a lot of viewership. Paramount released the second season of MobLand on an unusual day for that service, a Friday! Often, they put their new shows out on a Sunday, as they did last year with a run of shows (Lioness, Tulsa King and Landman). MobLand didn’t make Nielsen in its first week, but on Samba TV it got to eighth and seventh place. Luminate had a smaller opening too, only 5.3 million hours. MobLand missed the Nielsen charts for its first eight weeks, so this season is off to a stronger start. (Bonus note: the first season streams on both Prime Video and The Roku Channel, but I only have it as Paramount+ on those charts.) I’ve mentioned a few times that foreign-language originals do lower numbers than English-language originals on Netflix most of the time. But I don’t usually emphasize what country those originals come from, and observationally, they tend to be from Western or Northern European countries, in general. So credit to Not a Stranger, a Turkish Netflix original, for breaking through on Luminate, getting to 7.9 million hours in its first full week on those charts. As I mentioned last issue, Crew Girl ended up making the Nielsen charts in its second week. That’s still a soft performance compared to many shows, but again this, one looks affordable. And if you’re curious, here’s how it stacks up to some other sports romance shows: 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… …about a new data source and how it drives streaming viewership… ...what reality show is struggling in its latest season…. ...what Netflix film bombed…. ...How Reacher, Ted Lasso, and Lioness are doing on the charts… ...what obscure sport put up great viewership numbers… …how far streaming films are falling… …all the flops, bombs and misses for the last week… …and 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! Next week, we’ve got a double issue, then we’ll be all caught up with Nielsen’s data. Yes! The goal is to have my report out on the Monday after I get Nielsen’s data. So next issue, I’m looking at East of Eden, The Great British Baking Show, a Willy Wonka game show (that people are upset uses AI, but viewers might not care), and a Cosby show spinoff reboot on Netflix, and Brothers on Apple TV (starring Woody Harrelson and Matthew McConaughey). That’s about it for TV, but who’s going to win the streaming week, The Breadwinner or Backrooms on streaming? Answer: Toy Story 5. Plus Netflix has a Unabomber film and a new Tyler Perry film, Teenage Sex and Death at Camp Miasma tries to repeat The Substance’s run on MUBI, and Paramount+ has Jackass: Best and Last. Long term, Netflix is remaking Lonesome Dove. I love this choice, but man, there are a lot of westerns on TV right now. And they’re making Sega TV shows, including a Crazy Taxi TV show and Sonic show with an “edge”.
El-Sayed again denies ties to Muslim Brotherhood
“I wasn’t raised by my mother,” El-Sayed said in response to past social media posts that allege his mother was active in the Islamist movement in the 1970s.
Kid Rock talks political controversy, AI music, new haircut and more
On the eve of his Christian album, Kid Rock addresses his remarks about Islam, celebrates his friendship with Pope Leo's brother, and more.
United voices concert celebrates unity and brotherhood
One nation. Five choruses. More than 250 voices united in song.
Mayor backs new Vegas NBA arena proposal
New York-based real estate firm Fisher Brothers has joined the list of contenders eyeing the opportunity of an NBA expansion franchise heading to Las Vegas by setting out a proposal for an arena based at the site of its Area15 immersive entertainment complex. Area15, founded by Winston Fisher and opened in 2020, has been put
BUSINESS UPDATE: A 138-year-old New York Manufacturer Gets Another Life in Fulton
E.J. Willis Co. was founded in New York City in 1888 and for generations it has made ship’s bells and other equipment for the U.S. Navy and American shipbuilders. This summer, the new owner moved the company’s equipment to Fulton By Stefan Yablonski E. J. Willis Co. cast brass ship’s bells — handcrafted in the United States since 1888. Ship bells, “built to last a lifetime at sea,” are now manufactured in Fulton. E.J. Willis Co. has moved its operation and manufacturing business to Fulton. They are currently operating out of N.E.T & Die. The company is now under the ownership of Jonathan Hyatt. He recently acquired the company after seeing a for sale note on Craigslist. [caption id=attachment_11110 align=alignright width=400] Entrepreneur Jonathan Hyatt is the new owner of E.J. Willis Co. He bought the business this summer after finding a listing on Craigslist by chance.[/caption] “I had been looking for something to do. I had been 20 years in corporate America and I was just tired of building someone else’s empire, you know what I mean? I was in consulting, pretty much a jack of all trades. I wanted to do something that I could call my own,” he explained. “I’d been on this path of trying to find a business to buy for about a year. One night I am on Craigslist about 11:30 in mid-April searching for something completely unrelated. At the bottom of Craigslist was a ‘things you might be interested in from outside of your area.’ There was an ad that said 138-year-old bell manufacturing company for sale. So, I clicked; why not, right? I wasn’t looking to buy a manufacturing company, but I went down the rabbit hole, absolutely fell in love with the history and ended up buying it.” He read the ad and responded. “I called and I am talking to the owner of the business for about two hours. We ended with, let’s have another chat and then come on out here and have a look. I figured, well I might wind up getting kidnapped and getting murdered or there is a real business here. But I gotta see it through,” he quipped. “And sure enough, there is a big machine shop operation there. The gentleman who owned it was retiring and in the corner of this shop is a little room where they make bells and they have been doing this ever since the company had started.” That’s the one constant thing that has survived the changes of the business. [caption id=attachment_11061 align=alignright width=300] Sales 1929 general catalog published by E. J. Willis Co, listing all the merchandise it sold. It’s like the Sears Roebuck and Co. catalog for marine parts.[/caption] “I drove home and told my wife, ‘This is what I am doing for the rest of whatever we are calling this — mid-life crisis.’ And she said, ‘absolutely you got to do it.’ I took out a loan and off we go.” He put in an offer on the business and they closed on July 1. He didn’t disclose what he paid for the company. “In terms of price, the seller and I have agreed to keep those terms private.” “I am finding that I am a business owner, an archeologist, opening files and cabinets that haven’t been opened in 100 years. It’s just amazing, just cool things that I am finding,” he said. “I want to build the business back. I want to be able to sell the bells to outsiders. I think they are beautiful. “It’s really a wild story about a company that started in lower Manhattan, exploded in the automotive space, sold parts to the Wright Brothers, moved into the aeronautical world and then landed in marine. The cool thing, I have been digging around and the gentleman who owned the company prior to me was not a digital guy. There is nothing out there. “Now I am sitting here with all the art from like the 1930s, the E.J. Willis boat catalog it’s like 250 pages of things this company used to make. It’s like the Sears-Roebuck and Co. catalog for marine parts. We are modernizing, we are staying true to the heritage of the business. It’s exciting to be the next steward of the whole business.” Initially he thought he’d move everything from the company’s plant in Middleville, Herkimer County, to Boston, out of convenience. “Then I thought let’s keep the foundry where it is. Let’s not move anything right away,” he said. “I want to get a good sense of what we’ve got, what works and what doesn’t. “I went to the foundry and met with the people there, lovely people, and said here is my position — I am buying a company where everyone is retiring. There is machining and polishing to be done, who would you work with around here? Without hesitation they said, ‘you need to go to NET Tool & Die and talk to Michelle [Shatrau]. She is a third-generation machinist and she runs the company now.’” So, he drove to Fulton. “I knocked on the door, they let me in. And she said, ‘how’d you get in here?’” he said with a laugh. “We became fast friends. I told her what I am doing. It must have struck a nerve. She has a very entrepreneurial background. I must have said something right because she came out and she said, ‘I’d love to help you. Why don’t we move the equipment that you have into my large building and I will give you a space to work at and use my team?’” [caption id=attachment_11058 align=alignleft width=300] Bell in progress awaiting assembly[/caption] It’s a great relationship so far. “We are bringing the business into the modern world. It’s been a lot of stuff all at once. But it has been very exciting,” he said. “We moved in a month ago [in July]. We closed on the business July 1. We moved a couple weeks later. We had all our equipment set up, electrical being run, everything. [caption id=attachment_11059 align=alignright width=300] Bell attached to a lathe going through the machining process[/caption] “We’re working with NET Tool & Die to rebuild production and preserve manufacturing processes that, in some cases, existed mostly in the heads and hands of the people who had been doing them for decades. We’re currently working on several 200-pound ship’s bells and bringing an old two-way manual bilge pump back into production.” He said he will be working with NET employees for the time being, adding, “I’d love to get to a point where I have so much growth that I need to hire people.” No one wakes up and says, ‘I am buying a bell today,’ Hyatt admitted. [caption id=attachment_11060 align=alignleft width=225] Bell after receiving a custom etching toward the bell mouth[/caption] “Everyone does wake up and has things that deserve acknowledgment and remembering — a promotion, a marriage, the birth of a child,” he said. “These are the things I feel like if there was something that could capture a particular moment in time and will literally outlast the person that bought it, a bell is that. We can engrave a bell if you get married or the birth of a child. We can put anything on a bell. “I have orders, yes. I am working on several orders right now. We have a little bit of busyness. But there are still some things to work out. I want to make things consistently and continue to move forward.”
Christal Jordan on the latest in entertainment headlines
A new Jackson's brothers documentary is in the works, and Selma Blair is free on bail after a reported assault. Christal chats with Joanne about these stories and more.
“Big Brother” producers weigh in on if icons had unfair advantages in game
Rich Meehan and Allison Grodner address what players and fans alike have been debating.
How a St. Louis sixth-grader turned her love of space into a published book
Inspired by her love of space and science, Ava-Marie McDonald turned a handwritten story into a published adventure, "The Moon Crystal."
‘Play On!’ hits all the right notes
The English Renaissance meets the Harlem Renaissance in “Play On!,” a sparkling show that marries a loose adaptation of Shakespeare's “Twelfth Night” with the music of Duke Ellington. Conceived by Sheldon Epps, who also directed the original 1996-97 production (first in San Diego, then on Broadway), the show is getting a marvelous revival under his direction to open Chicago Shakespeare Theater's 40th anniversary season.While the title “Play On!” refers to the famous quote about music being the food of love and thus to the dozens of Ellington songs—among them “It Don’t Mean a Thing,” “Don’t Get Around Much Anymore,” “I Got It Bad (And That Ain't Good),” “Solitude” and “I’m Beginning to See the Light”—incorporated into the plot, one of the highlights for me is the clever way Cheryl L. West's book reworks the story. Apparently, it's also been updated for this outing, among other things to give the women more agency. In the big opening number (there's a six-piece, horn-heavy onstage band), aspiring songwriter Vy (Hailee Kaleem Wright) is the one to “Take the 'A' Train” to “Drop Me Off in Harlem.” She wants to meet the famous Duke (Edred Utomi) — Ellington, not Orsino, that is — and she seeks the help of Jester (an engaging James Harkness) to find out how. When Jester tells her in no uncertain terms that the music industry is a man's world, she disguises herself as Vy-Man and persuades the Duke to listen to one of her songs. He's suffering from a creative block because he's pining for Lady Liv (Krystal Joy Brown), queen of the Cotton Club, and convinces Vy-Man to bring the Lady the song as if the Duke had written it, promising to reward her with employment. Vy reluctantly complies, and the predictable complications ensue. Lady Liv is attracted to Vy-Man, while Vy is attracted to the Duke and he to Vy, though it disturbs him because he thinks she's a man. The fallout when the deception comes to light bodes ill—at least for a while.Here's where West's book cannily diverges from Shakespeare. Vy's twin brother Sebastian really is dead, so West devises another love interest for Lady Liv basically by rehabilitating the Malvolio character, here named Rev (Alan H. Green), the Lady's uptight, self-important manager. His unrequited love for her is magically transformed after he gets his comeuppance (minus the torture) from Miss Mary (Alanna Lovely), her honey Sweets (James Earl Jones II) and Jester, the stand-in for Sir Toby, who has romantic problems of his own with a woman named CC (Kaylah Janssen). In other words, Rev gets the girl — and also a show-stopping yellow zoot suit from costume designer An-Lin Dauber. All the costumes are dandy, though those for the men have more pizzazz than the women's day dresses. The bilevel, slanted scenic design by Beowulf Boritt brings 1930s Harlem to life in a slightly expressionistic way with the help of Adam Honoré's lighting and Ray Nardelli's sound design. Edgar Godineaux's choreography adds to the period feel, though there could be even more of it.Most of all, the leads have splendid voices, and the performances are terrific. Green's Rev and Harkness's Jester get my vote for comedy chops, and Brown's Lady Liv probably will stay with me the longest for her complexity and big blues number, “I Ain't Got Nothin' But the Blues.”
Honky-tonk legend Mark Chesnutt brings ‘Brother Jukebox’ to Hard Rock Jan. 15
One of country music’s most recognizable voices of the ‘90s, honky-tonk legend Mark Chesnutt makes his return to the Hard Rock Live stage inside Hard Rock Hotel & Casino Tulsa
“Big Brother” star Amber Siyavus dies at 46
Siyavus made her debut on the CBS reality show on season 8.
Big Brother's Amber Siyavus Dies at 46
Former reality television star Amber Siyavus has passed away. She was only 46 years old. If you are not aware, she competed on season 8 of Big Brother,
Princess Diana’s Brother Offers Prince Harry and Meghan Markle a Place to Stay: ‘Rent-Free of Course’
Princess Diana‘s brother Charles Spencer is offering Prince Harry and Meghan Markle a permanent home should things get too rough where they are in the U.K., a source tells Closer. “He adores Harry and...
Christian Brothers Academy football rolls to another lopsided victory
Junior star Jack Hulett scored three touchdowns for No. 3 ranked CBA.
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.
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By Alex Carlen The United Arab Emirates likes to present itself as part of the solution to the climate crisis. The oil-rich Gulf state has committed to Net Zero by 2050, hosted COP 28, and even declared “championing climate action” as one of three strategic objectives for this week’s session of the United Nations General Assembly. But behind the scenes the UAE has quietly built one of its closest political relationships in Europe with the party most hostile to climate action in Britain: Nigel Farage’s Reform UK. There is no evidence that the UAE is funding Reform. But a new FairSquare report, Petro-populism: the UAE–Reform threat, published today, documents a growing political relationship that should concern anyone interested in the integrity of British democracy. Reform’s leaders have embraced the UAE’s political model and promoted positions that align closely with the Emirati government’s priorities, while the UAE has given Farage and his party unusually warm access and public backing. What is emerging is not simply a relationship between British politicians and a wealthy Gulf state, but a channel through which an authoritarian government can cultivate political influence here, and abroad. Democracy for Sale relies on its readers. If you already support us, thanks so much. If you don’t, sign up to support fearless independent investigative journalism. Subscribe Back in January, Nigel Farage appeared at a GB News event in Dubai. On the 50th floor of a tower overlooking the luxury resorts and upscale residences of Palm Jumeirah, the Reform leader declared: “I want Clacton to look like this.” At the event – which Farage never declared on his official register of interests – senior Emirati officials mixed with British expats. Farage was keen to flatter. “We recognise you are our friends”, he said, assuring them that “a Brexit London, a Reform London, will remember you.” Controversy surrounding Reform’s finances and its susceptibility to foreign influence have centred around high-profile donations from billionaire crypto donors, and the jailing of Nathan Gill, Reform’s former leader in Wales, for accepting bribes to give pro-Russia speeches. Far less attention has been paid to Reform’s blossoming new alliance with the UAE, an oil-rich authoritarian state with a track record of ruinous anti-democratic interventions. Farage wasn’t always so fond of the UAE. Back in 2023 he called it an “absolute monarchy with an abysmal human rights record.” Now Reform’s hierarchy calls the UAE home. Deputy leader Richard Tice splits his time between his constituency and Dubai and has called on the UK to learn from the UAE. The party’s treasurer Nick Candy runs a firm which has been in partnership with a UAE-state linked firm since 2024. Nadhim Zahawi sits on the board of an Abu Dhabi think tank alongside an array of the most senior UAE officials and is reportedly close to three brothers of the country’s despotic ruler Mohammed Bin Zayed. Reform’s leading lights have effusively praised the UAE’s governance model, defended it from criticism, and advanced its political agenda in the UK. GB News, whose two major shareholders – the Legatum Foundation and Paul Marshall – have strong links to the UAE, has been more than happy to broadcast UAE propaganda and was forced to pay damages in 2025 after airing a false claim about a UK charity by the UAE “disinfluencer” Amjad Taha. The UAE has responded in kind. When the UAE Minister for Foreign Affairs conducted an official visit to the UK in May, Farage was the only non-government figure granted an audience. UAE state media publicised the meeting, and said that they discussed “the strategic relations between the two countries and ways to enhance them in a manner that serves mutual interests.” For the UAE these ‘mutual interests’ largely concern its paranoia over political Islam, and in this regard the UAE-Reform alliance is part of a broad and troubling pattern. Following a crackdown on dissent at home in the aftermath of the Arab Spring, the UAE has offered material and political support to a range of violent and authoritarian actors willing to oppose the Muslim Brotherhood with no regard for the consequences. Its meddling in Egypt, Tunisia, Yemen, and most notably Sudan, have been devastating. The UAE’s strategy of seeking out partners on the political fringes who it believes will advance its interests is not unique to Britain – it extends beyond the Middle East to Europe and the US. In France, it has offered clandestine support to Marine Le Pen through secret meetings, as well allegedly funding trips to the region after which Le Pen returned with a renewed focus on the UAE’s perceived enemies – Qatar and the Muslim Brotherhood. Left-wing opposition leader Jean-Luc Mélenchon has accused the UAE of smearing him and of “encouraging discrimination, hatred or violence”. In the US, the UAE actively supported the rise of Donald Trump, establishing itself as a key ally during both his first and second terms. Around these relationships sits a wider ecosystem of figures willing to amplify UAE narratives, that even extends to Andrew Tate and Tommy Robinson. Subscribe In Britain, the UAE has used a combination of aggressive diplomacy and illicit, disruptive tactics to achieve its policy goal of eliminating any perceived threat from political Islam. In 2012, for instance, it threatened to block billion-pound arms deals with the UK and stop inward investment if David Cameron did not act against the Muslim Brotherhood and rein in the BBC’s coverage of the group – going so far as to suggest, with no supporting evidence, that the group had infiltrated the BBC. It has financed smear campaigns against a high-profile UK charity and funded a mercenary to secretly surveil, and possibly assassinate, a British national on British soil. In Reform UK, the UAE has finally found an ally willing to not only ban the Muslim Brotherhood, but to publicly vilify the group and repeat the UAE’s claims that dangerous Muslims are a fifth column in British society, a narrative that aligns with the Islamophobia and anti-immigration sentiments that underpin Reform’s populist politics. The Rycroft review into foreign interference concluded that “hostile states and non-state actors have a clear incentive to attempt to undermine UK democracy.” The UAE’s network and alliance with Reform must be understood within that framework. It is a powerful, disruptive and deeply authoritarian actor with the resources and networks to intervene in our politics, and a track-record of doing so in a multitude of other countries. The evidence of the threat the UAE poses is overwhelming. The question is whether parliamentarians are willing to call the UAE out and demand action using the tools that the government has to respond. Placing the UAE on the “Enhanced Tier” of the Foreign Registration scheme alongside Russia and Iran would send a powerful signal to the UAE that its meddling will no longer be tolerated, and would place Farage’s next trips to the UAE under the scrutiny they deserve. Alex Carlen is research and advocacy manager at London based human rights organisation FairSquare and author of its new report Petro-populism: the UAE–Reform threat. Subscribe
My Husband Wants Us to Hire His Brother for Our Business. Uh, What He Did to His Last Employer Landed Him in Jail.
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