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'Bond King' Bill Gross shares his best and worst investments ever
Pimco billionaire Bill Gross told BI why he's a big fan of pipeline stocks, and walked through a terrible wager he made in 1969.
NFL 2026 Season Preview
Sports Business Radio Host Brian Berger and Executive Producer Bryan Griggs get you ready for the 2026-27 NFL Season with this NFL Season Preview podcast. From the salary cap to what each team nets from gross national revenue, to the highest paid players and new Head Coaches this season to what is new that you should be paying attention to this season, this show is packed with useful NFL information. Berger and Griggs also make their annual NFL team over/under picks and Super Bowl picks for the
TSS Inc. (TSSI) Is Quietly Rewiring Its Business Around AI Data Centers
On August 13, TSS Inc. (NASDAQ:TSSI) reported second-quarter results that look worse on the top line and better underneath it. Revenue fell 20% year over year to $35.1 million, yet gross profit rose 11% and adjusted EBITDA climbed 12%. The company is deliberately walking away from lower-margin procurement work and leaning into systems integration for […]
When everything is politics on campus
Sociologist Neil Gross argues polarization undermining education opportunities, lays out how students might change things
Melco Resorts & Entertainment (MLCO) Stock Rises on Q2 2026 Earnings
Melco Resorts & Entertainment Limited (MLCO) reported second-quarter 2026 revenue of $1.3 billion, down 40.0% from a year earlier, as gross profit fell sharply to $429.4 million. Despite the weaker top line, operating profit improved to $127.8 million, while net income attributable to common shareholders rose to $22.7 million, or $0.057 per diluted share.Cash generation strengthened meaningfully during the quarter. Cash from operating activit
Car dealerships are relying more on parts and service for profits
Dealership gross profits have fallen from the supply-constrained days of 2022. They are relying more heavily on the income streams that hedge against downturns.
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.
Cardiologist arrested for allegedly sexually abusing patients—officials seek other victims
The cardiologist, 63, was arrested on charges of rape, sexual battery and gross sexual imposition. The Brown County Sheriff's Office believes there are additional victims who have not yet come forward.
'You Can See Everything' is crushing it at the box office
Lance Oppenheim and Nathan Fielder have a hit with their new film, "You Can See Everything." It's the highest-grossing documentary of the year.
Trump rejects Iran blame for Minnesota cyberattack, points finger at 'corrupt' political foe
Trump dismissed claims that Iranian hackers targeted Minnesota water systems, instead blaming the state's governor for what he called gross incompetence.
Amazon Business Reaches $60 Billion in Annualized Gross Sales, Serving Over 11 Million Organizations Worldwide
Organizations of all sizes turning to Amazon Business for its AI-powered tools, business-relevant selection, everyday low prices, delivery fleets purpose-built for businesses, and expanded Prime Business membership benefits More than 1.8 million new organizations joined Amazon Business so far this year Last year, Amazon Business-specific discounts saved organizations more than $1 billion worldwide, while Prime Business members saved more than $880 million in shipping fees globally last year Amazon Business selection up nearly 30% globally this year, with expansion in categories like repair tools, fresh groceries, and office furniture
I grew my side gig into a $2M business after 20 years at IBM
Becky DeGrossa, 66, worked at IBM and then became a therapist before opening CounselingWise as a side gig. It's now her full-time, $2M business.
Arteta 'didn't learn' from Brighton's fast start
Arsenal podcaster Alan Alger says Mikel Arteta "didn't learn" from Brighton's fine start in their 3-0 win over the Gunners on Saturday. The Seagulls' high press smothered Arteta's side, who struggled to match the intensity of their opponents, before Pascal Gross opened the scoring after half an hour. My one big criticism of Arteta is that in his quotes he said 'we will learn from this' - but he didn't learn from watching the first 20 minutes happening in front of him.
Alliance Entertainment Holding Corp. (AENT) Releases Q4 2026 Earnings: Revenue Tops Estimates אך EPS Misses
Alliance Entertainment Holding Corp. (AENT) reported fourth-quarter revenue of $268.1 million, up 17.7% from a year earlier and above the analyst estimate of $244.8 million. The company said gross profit came in at $35.0 million, while cost of sales rose to $233.1 million.Despite the stronger top line, profitability weakened. Operating profit was a loss of $3.9 million, and net income attributable to common shareholders was a loss of $3.5 million
BRIGHTON 1-0 BOLOGNA
Brighton:Verbruggen; Wieffer (78′ Julio), Vuskovic (66′ Svoboda), Boscagli (66′ Yalcouyé), Kadioglu (78′ Costinha); Gross, Ayari; De Cuyper (66′ Osman), Diego Gomez (66′ Yohanna), Hinshel...
Sagtec Reports 46 Percent Gross Profit Growth and Expands International Business Momentum
Stronger margins and operating cash flow provide a foundation for growth across AI and data infrastructureKUALA LUMPUR, Malaysia, Sept. 16, 2026 (GLOBE NEWSWIRE) -- Sagtec Global Limited (Nasdaq: SAGT) ("Sagtec" or the "Company"), a provider of customizable software, technology infrastructure and digital solutions, today announced its unaudited financial results for the six months ended June 30, 2026. The Company delivered higher gross profit, wider margins and positive operating cash flow while
Feld Entertainment CEO on prioritizing innovation, challenging assumptions
To foster innovation, Feld Entertainment, under CEO Juliette Feld Grossman, prioritizes creating an environment that allows people to take risks and challenge assumptions.
Charlize Theron on ‘The Odyssey’ Becoming Universal’s Highest-Grossing Movie and Raising Millions to Fight Femicide in Africa With CTAOP
Last week, Christopher Nolan’s “The Odyssey” became Universal Pictures’ highest-grossing film of all time, grossing $1.68 billion and counting. “I feel like I got a great invitation to the best party ...
Arkansas’ second-quarter GDP up 1.1%, below 2.2% nationwide
Arkansas’ real gross domestic product (GDP) rose at an annual rate of 1.1% in the second quarter of 2026, below the U.S. rate of 2.2%, according to the U.S. Bureau...
Waymo is taking a bite out of rideshare. Driver impact is hard to see.
Waymo's share of gross bookings in SF, LA, and Phoenix are in the high teens, data showed. Experts say the impact on drivers is still murky.
New mobile mammography unit aims to address barriers to receiving care in Sussex County, Delaware
TidalHealth Mobile Mammography launched this month. Its goal is to bring screenings to neighborhoods in Sussex County with limited preventive care.
‘Spider-Man’ tops box office in fourth weekend; ‘The Odyssey’ becomes Nolan’s highest-grossing film
"Spider-Man: Brand New Day" continues to dominate the box office, holding the top spot for the fourth weekend.
Debt Digest | Federal Debt is a Health Care Problem
Welcome David Ditch to the Debt Dispatch! We are pleased to announce a new regular contributor: David Ditch will be joining the Cato Institute as a Policy Analyst for Budget and Entitlement Policy later this week. David has more than a decade of experience in fiscal policy issues, with a particular focus on federal spending. He previously worked at the Senate Budget Committee, the Heritage Foundation, and the Economic Policy Innovation Center. David’s areas of expertise include appropriations, transportation, agriculture, federalism, grantmaking, and policy options for deficit reduction. Originally from the Rochester, N.Y. area, David has a BA in Economics and Political Science from the University of Rochester and a MA in Political Management from George Washington University. David currently lives in Arlington, VA. You may have enjoyed his earlier guest posts: CBO: New Highway Bill Has More Spending, Taxes, and Deficits Trump Administration’s Proposed Changes to Federal Grants Highlight Problems of Big Government Here are this week’s reading links and fiscal facts: The federal debt is largely a health care problem. In a new report, the Congressional Budget Office and Joint Committee on Taxation find that “In 2026, federal subsidies for health insurance, net of related payments to the government, are projected to equal $2.4 trillion, or 7.4 percent of gross domestic product (GDP). In CBO and JCT’s projections, those subsidies grow by 65 percent, reaching $3.9 trillion, or 8.4 percent of GDP, in 2036. Subsidies for Medicare contribute most to that overall growth, increasing by $900 billion. Over the entire 2026–2036 period, federal subsidies for health insurance total $33.6 trillion.” Cato’s Michael Cannon emphasizes, “The long-term federal debt problem is a health care problem. […] Only two categories of federal outlays will grow faster than gross domestic product (GDP): health care subsidies and interest payments on the debt. The former is, therefore, the primary driver of the latter.” The bond market fears deficits, not the loss of tariff revenue. Responding to a New York Times essay claiming tariff revenue has grown too important for a future administration to unwind, Cato’s Kyle Handley argues: “Bond investors are not attached to customs duties as a line item revenue source. They care about the government’s overall fiscal position.” He continues, “tariff revenue is a side hustle. And the Trump administration has already promised to dole out the funds through schemes like tariff dividend rebates, farm subsidies, and pay-fors on tax cuts or other spending.” Furthermore, “tariff revenue is simply not large enough to transform the government’s fiscal trajectory.” Take net interest for example: it “reached $970 billion in fiscal year 2025, absorbing 18.5 percent of federal receipts. Customs duties accounted for only 3.7 percent of receipts—and that was before refunds (see Figure 2).” Handley concludes, “The real bond-market concern is a large and growing interest bill, persistent budget deficits, and a political system unwilling to bring spending and revenue into alignment.” Medicare’s spending growth is driven by more volume and utilization. A Congressional Research Service report finds that Medicare spending “grew at an average annual rate of 7.3%” from 1985 through 2025, and the trustees project health care expenditures will keep rising “faster than gross domestic product (GDP) in most future years.” Citing CBO, the report attributes Medicare’s projected 2026–2036 spending growth to “23% from higher enrollment, 31% from inflation, and 47% from the growth of inflation-adjusted spending per beneficiary. In other words**, the largest single driver of Medicare spending growth during the next decade is expected to be higher volume and intensity of health care services.”** Boccia and Thakur explain: “as the economy grows, Medicare spending tends to grow at least as fast—and often faster—because the program automatically pays the bill for more and more healthcare consumption by seniors, even as prices rise.” The Fed has little control over market interest rates. Cato’s Jai Kedia documents that the Fed has held its rate target steady since December, yet “nearly every rate Americans actually borrow at has climbed over the same stretch.” Kedia continues, “The Fed did nothing, and the cost of credit went up anyway. […] Markets spent these months repricing macroeconomic events such as sticky core inflation, a volatile energy market driven by the conflict in the Middle East, and global trade disrupted by tariffs, among others. None of that required a policy change to show up in borrowing costs because markets, not the FOMC, set prices.” He concludes, “Accurately priced borrowing rates will come from credible disinflation and disciplined budgets and from a Fed content to follow the economy rather than pretend it leads it.” Nearly half of US farm income comes from taxpayers. Former Reagan OMB director David Stockman notes that “in the most recently completed full year (FY 2025) farmer incomes in the US totaled $97.8 billion, but fully 42.7% or $41.8 billion of that amount came from taxpayers, not the marketplace. Nor is this some kind of one-year aberration. If we look at the most recent decade as a whole, total farm income posted at nearly $708 billion, but, as indicated, fully $322 billion or 45% of this came compliments of US taxpayers.” Cato’s Chris Edwards explains why so little of that income is market-earned: “Farmers are businesspeople, but the government shields them from just about every type of weather and market risk. Furthermore, just about every part of the agricultural industry is subsidized, including insurance, loans, marketing, research, export sales, and land improvements.” The Debt Dispatch is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe
A robotic heart surgery specialist was fired by Main Line Health for blowing the whistle on complications, lawsuit
Gianluca Torregrossa joined Main Line Health in 2021 under a lucrative five-year contract. Now he is suing the health system, saying he was retaliated for exposing a pattern of bad patient outcomes.
Kevin Hart Joins The Beyoncé And Jay-Z As One Of The Highest-Grossing Black Touring Acts In History
All roads lead back to comedy for Kevin Hart.
Coventry 0-5 Brighton: What Hurzeler said
On Bart Verbruggen's performance: "Big saves and we know that we have a great goalkeeper so really good to have him." On Lewis Dunk's goal: "We always know that he has a great technique with his right foot and we know that he has the courage so I'm happy that he gets his rewards." Since his Premier League debut in August 2017, Brighton's Pascal Gross has now recorded 50 assists in the competition, the joint-fourth most by any midfielder in this period (level with Bernardo Silva on 50).
Entertainment for everyone
Sarah Gross, fresh off releasing her fourth studio album earlier this month, leads the entertainment coming to local and regional venues over the next couple of weeks. The folk/Americana singer-songwr...
Will Netflix’s Latest Horror Film Save Its Summer? And Introducing a New Data Source...
(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.) All month, I’ve been polling you, my readers, on how we think the summer’s biggest blockbusters will do when they eventually land on streaming, and I wanted to share the results. First up, how readers think The Odyssey will perform when it comes to Peacock... People are pretty bullish that The Odyssey will smash it for Peacock. I don’t know that it will have as much rewatchability as Wicked did for kids, but we’ll see. It is now Universal’s highest-grossing film of all time. One note: almost half of Christopher Nolan’s films weren’t available for streaming the week The Odyssey came to theaters, including some of his biggest films like Inception, Dunkirk, Tenet, Oppenheimer and Insomnia. If you did want to watch the others, Prime Video had Memento and The Dark Knight trilogy, HBO Max only had The Dark Knight trilogy (even though Warner Bros. produced most of Nolan’s films), Hulu had The Prestige and Interstellar, and Paramount+ had Interstellar. So you needed at least two streaming subscriptions to catch the rest. Warner Bros. whiffed right here. I know they have long term licensing deals, but they should have tried to get as many Nolan films on HBO Max for launch as possible. Here are the results for Spider-Man: Brand New Day: The audience is a bit more mixed on this one, with everyone agreeing Spider-Man will swing to a big opening, but not necessarily elite or best all time. On to this week’s issue. Netflix continues searching for a hit straight-to-streaming summer film and Lioness and Ted Lasso allow me to look at the difference between a “hit” and a ‘hit for them”. All that, plus new YA/teen melodramas on Prime Video and Netflix, the House of the Dragon finale, USA Network claims a big opening, more big NFL ratings, all the flops, bombs and misses, and a whole lot more. But we start with a fun new data announcement. 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 August 3rd to August 9th, 2026. You can find a link to my terminology here.) Subscribe A New Data Source: Reelgood’s Data on Content Libraries Here’s a fun new treat for you. Reelgood—an online service and app that lets users track where shows or films are streaming—is providing data every month for the Streaming Ratings Report on the size of each streamer’s catalogue, along with the new shows and films for each streamer. Yay! Previously, I had pulled “new shows on streamers premiering on the first of the month”: While I liked that data cut, it was a big wonky since it didn’t show all of the new shows or movies that came to a streamer each month. Instead, I would have preferred something like this from Reelgood’s annual report: And now we have it! I’m going to feature Reelgood’s data monthly, showing both total catalogue size and new shows and films appearing on the charts. That’s going to make these two cool new charts. First, here’s the size of various streamers’ film catalogues… (By the way, Reelgood offered to make the charts for me, but I like doing that task by hand to understand the data better.) They also provided data back to last year. Here’s the number of films timeline: And here are the new films on each streamer for the month prior to Aug: As I get used to this data, I plan to keep tinkering with how I display it, but I’m excited to feature it monthly. Today, I’m sharing the film charts; next issue, I’m going to feature TV shows by streamer. Now, in full disclosure, Reelgood is a sponsor of this little-newsletter-that-could. But in my constant quest to figure out what streamer various shows and films are on, I was already a Reelgood user before this sponsorship. I go to their website all the time, and their data is very accurate on where shows are (or have been). Plus, I’ve been sharing their weekly top ten lists for years now, pre-sponsorship. For me, this is a great win-win, since I get to amplify a service I love, and I get a cool new data source to play with. Now, normally folks don’t usually mention their sponsors directly, but as I wrote before, as I start featuring ads in my newsletter, I plan to be extremely open about who is sponsoring my writing so you can trust what I write. Television - Two Big Returning Shows Look Set to Take Over The Charts One key question when it comes to judging streaming shows is whether a show is a “hit” or a “hit for them”. To be clear, the former means a show that’s one of the top shows on streaming, no questions asked. The latter means a show is one of the biggest, for a given streamer. That distinction makes a big difference! It’s really good to be one of the biggest shows on a streamer; it’s much better to be the biggest on streaming, despite the size of a streamer. Because, as we’ve seen now, nearly every streamer—while lacking the number of subscribers or usage of Netflix—can make hit TV shows: Paramount released Landman, whose first and second seasons were among the top two TV shows the year they came out. HBO Max’s The Pitt’s second season is the biggest show of the year so far. Love Island USA was the top show in 2025 for Peacock. And, crucially for today’s discussion: Wayyyyyyyyyyyyyyyyyyyyyyyyyy back in 2023, Ted Lasso was actually the top streaming show of the year according to Nielsen! So even Apple TV (formerly +) can make hit shows. It just doesn’t make them that often. And looking at the Nielsen charts this week, we have two prime candidates for this discussion: That’s right: Ted Lasso returned to Apple TV for its fourth season. Did it return in all its expected glory? Sure, though right now it’s still just a “hit for Apple TV”, but we’ll see how long it lasts on the charts. Its ten episodes are coming out weekly. (Smart choice, Apple!) Ted Lasso started out strong, actually making the Nielsen charts the week before new episodes dropped, which is a rare feat. (Shows like Stranger Things or Bridgerton have pulled that off. That’s terrific company to join!) On Nielsen, it opened to 14.4 million hours in its first week, and 16.6 million the week of 10-Aug. Here’s how that compares to previous seasons: Apple put out that this is their biggest TV launch through two days ever, and looking at the chart and Apple TV’s viewership history, I’d believe it. Here’s Apple’s top shows for season two and beyond: Other data tells a (mostly) similar story. Ted Lasso made Samba TV and it has elite IMDb scores, an insane 8.7 on 465K reviews. The only outlier is Luminate, where the latest season only had 7.4 million hours, and no other seasons made the top ten. As you’ll see below, that’s well below some other solid, but not spectacular shows like Sterling Point, Ride or Die or Furious. I’d be surprised if Ted Lasso isn’t bigger than those other shows, but it’s fine for different data sources to occasionally disagree. And while it’s sucky to bring this up, given that Warner Bros. produced this show, I do wonder how the streaming wars may have been different if Ted Lasso landed on HBO Max initially instead of Apple. I don’t think one show can make or break a streamer, but given HBO’s brand, it could have helped bring people to that streamer much earlier in its lifespan. (Though yeah, I don’t love calling out executives for passing on hit shows, since that’s just the nature of the job. Even the absolute best execs will pass on lots of successful shows. The key is not greenlighting the under-performers/misses.) The other show I’m thinking about in the “hit or hit for them” category is Lioness from Paramount+. Like Ted Lasso, its first season missed the charts, but it’s grown its audience since then. Here’s how season three opened: 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 Lioness did on streaming... Two new melodramas for Netflix and Prime Video... Whether Netflix’s latest horror film saved its summer... Hulu’s Furious and Prime Video’s Ride or Die continuing their strong runs... The latest high profile showrunner to flop on streaming... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. Next week, we’ve got a double issue—since the week of 17-Aug had very few notable new shows or films—so I’ll look at HBO’s Lanterns, Prime Video’s Reacher, Netflix’s Tires, Outer Banks (which posted up huge numbers four years ago), an Aussie romance, and another baseball event (that didn’t resonate). And a bunch of movies like the latest dramedy from an Adam Sandler daughter, Don’t Say Good Luck, Camp Rock 3 on Disney Channel and Disney+, Michael on Starz, and more. Later this month, we’ve got a ton of shows and films to analyze! Movies will be the big story, featuring a box office bomb (Supergirl on HBO Max) and an “underperformer” (The Mandalorian and Grogu on Disney+) contending with a bunch of star-studded straight-to-streaming films like Netflix’s The Whisper Man (Adam Scott, Michelle Monaghan and De Niro!), Mayday on Apple TV+ (Ryan Reynolds and Kenneth Branagh!), The Runner (Gal Gadot) and The Last Sunrise (Eva Longoria and Maia Reficco) on Prime Video. Plus, a ton of TV shows have sophomore seasons coming out. Will The Gentleman put up big numbers on Netflix or suffer from a sophomore slump? Leanne and Beauty in Black on Netflix seem small, but they both might be bigger than you think. Hulu has a bunch of shows: a new season of The Secret Lives of Mormon Wives (the first after all the controversy last year) and the second season of Chad Powers (from Peyton Manning’s production company and starring Glen Powell). This one flopped last year; can it score a touchdown this year? Same goes for FX’s Adults, which I didn’t track last year; will it hit this year? Peacock’s The Office spinoff, The Paper and Apple TV’s Dark Matter also return for second seasons. And Netflix has more Untold specials featuring Vince Young, Raygun (that horrible breakdancer) and Mr. T. Long term, Paramount+ is rebooting yet another franchise, Clueless, and I’m somewhat bullish on this new show. The talent attached (Alicia Silverstone) and creative Josh Schwartz and Stephanie Savage (of The O.C. and Gossip Girl) also feel solid...if they make it funny like the original.
'Avengers: Endgame' retakes box office crown; Robert Pattinson drives sales for 'Primetime'
Seven years after becoming the second-highest grossing film ever, “Avengers: Endgame” returned to the No_ 1 spot at the box office in a victory lap for Marvel and an appetizer for the upcoming “Avengers: Doomsday.” | KNX News 1070 AM
CREDA poll: New Mexico’s gross receipt tax makes it hard to do business
Some developers said New Mexico’s gross receipts tax makes the state less competitive than its neighbors. They believe tax reform for new construction would go a long way in attracting new development and investment.
HOW I GOT STARTED: Jim Brooker
Owner of Starlight MFG Solutions in Fulton was vice president at Otis Technology in Phoenix — until the company closed locally. He then decided to open his own shop. “We are pretty much doubling in size each year so far,” he says By Stefan Yablonski Q: When did you start this business” A: I started Starlight MFG Solutions LLC while I was working at another government contractor. I was vice president of engineering at Otis Technology at their Phoenix location until they closed that facility due to a shift in business at the end of 2023. While at Otis, I was also working on Starlight on a part-time basis. I gained a lot of exposure to a lot of different equipment. That is the kind of service we provided to Otis when we were a part of them. Now we have spun that whole concept off here. Q: How would you describe it? A: It’s a manufacturing engineering firm specializing in custom automation to serve as an outsourced engineering support for companies that need additional resources. I want to make it a sustainable business that can partner with local manufacturers to help them. Q: What is your background; did you go to college with this in mind? A: I am a graduate of Rochester Institute of Technology with both a bachelor’s and master’s degree. My B.S. from RIT was in manufacturing engineering technology and my MS from RIT was in manufacturing and mechanical systems integration with a minor in business. Q: Why this type of business? A: I identified a large gap in the market for companies that needed small to medium help with manufacturing projects. Q: What services do you offer? A: We are focusing more on manufacturing. We do a lot of robotics, we do laser marking, we do filling — pretty much anything that the customer needs. Q: Have you seen any growth since you started? A: Yes. We have been growing ever since the company started. Our specialties include robotics, vision inspection and guidance, rotary-indexing workcells, dispense systems, laser marking, machine tending and more. We provide support to companies that need additional resources. We moved to a facility in Fulton about a year and a half ago. We are leasing our space in Fulton — the former NET & Die facility. We bought our own equipment, we are leasing the space. We have been operating here since early 2024. Q: You’re ready to take on bigger jobs? A: We want to stay in the small to medium size market where the large players don’t want to play. That is kind of where we found our niche. We are expanding regionally to take on more of those projects. My customers are relatively small business. They don’t have in-house automation; engineering and development teams are not feasible. Q: Business has been doing well? A: I am pretty satisfied about where we are at. We are definitely growing year to year. We are pretty much doubling in size each year so far. We are self-sustaining. Q: How busy are you on any given day? A: How busy? That’s kind of relative. We average between three and five projects going on in the shop at any time. We have a backlog that is manageable. We have seen a great demand for laser marking. The work is very relationship-driven. Much of it is based on referrals from other customers. Q: So, you must have a pretty big staff? A: No. I have just one other full-time person, a colleague from Otis. I bring in other people as the projects dictate. I handle sales and the overall operation of the manufacturing processes. We use outside sources for some work. We aren’t afraid to take on the other jobs — but we are filling our niche pretty well. Q: Do you get tired? A: I don’t get tired, no not really. Before this I ran a facility in Phoenix for 12 years. I enjoy solving problems and that part of the job is still my favorite. I have a supportive family life at home that definitely helps a lot. I just love the challenge of it. Q: Do you still live in the area? A: Yes. I live in Phoenix, town of Lysander. Q: What is the biggest job you’ve done? A: We have done some that were pretty good size. I don’t want to get into dollar amounts, don’t want to share gross revenue. We try to use locally sourced components. It is just amazing the components you can find that are locally produced.
Accel Entertainment (ACEL) Releases Q2 2026 Earnings: Revenue Beats Estimates and EPS Jumps
Accel Entertainment, Inc. $ACEL reported second-quarter 2026 revenue of $368.1 million, up 9.6% from a year earlier and slightly ahead of Wall Street’s $363.6 million estimate. Gross profit rose 9.5% to $115.2 million, while operating profit climbed 19.3% to $32.1 million.The company also posted stronger bottom-line results, with net income attributable to common shareholders increasing 70.8% to $12.5 million. Diluted earnings per share came in a
Alliance Entertainment Fiscal 2026 Revenue Rises 8% to $1.15 Billion
Alliance Entertainment (AENT) reported fiscal 2026 net revenue of $1.149 billion, up 8% from $1.063 billion in fiscal 2025. GAAP net income was $13.1 million, or $0.26 per diluted share, compared with $15.1 million, or $0.30 per diluted share, a year earlier.Gross profit rose 15% to $152.3 million and gross margin expanded 80 basis points to 13.3%. The fiscal year ended June 30, 2026.Vinyl revenue increased 13% to $383 million, while CD revenue r
‘Avengers: Endgame’ retakes box office crown; Robert Pattinson drives sales for ‘Primetime’
Seven years after becoming the second-highest grossing film ever, “Avengers: Endgame” returned to the No_ 1 spot at the box office in a victory lap for Marvel and an appetizer for the upcoming “Avengers: Doomsday.”.
Looking for a way to sharpen your mind? Bird-watchers may have found it.
They get up early. They know what to look for. They quickly memorize details. For birdwatchers, an engrossing hobby could very well be a path to keeping the brain healthy.
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.
I'm a teen who built a 'can cooler' business
Mike Satterlee, 19, is the CEO and founder of CruiseCup, a business that sells 3D-printed and stainless steel can coolers that reload from the top or the bottom. CruiseCup sells its products on its website, TikTok shop and Amazon. It brought in $808,000 in 2025 gross revenue, according to documents reviewed by CNBC Make It. Satterlee runs the business out of a warehouse in Clifton Park, New York.
My friend grosses $300,000 a year with her pet-sitting business. She pays herself $50,000. Should I do the same?
“She currently has about 15 sitters, all independent contractors.”
How the New York City mayor selects judges
The mayor gets to select his own judges unilaterally for the city's Criminal and Family Court.
‘Resident Evil’ scares up franchise-best $60 million premiere, pushing horror to new box office record
This year’s slate of horror films have put 2026 in contention for the highest grossing box office year in the genre’s history following the $60 million franchise-best open for Zach Cregger’s ‘Resident Evil.’
Local movie theater, radio station and paint store owners win Chamber of Commerce’s 2026 awards
Gross-Alaska Theaters is business of the year, Cliff and Lisa Dumas are citizens of the year, and Charlie Williams gets lifetime achievement award at annual gala Saturday.
'Avengers: Endgame' retakes box office crown; Robert Pattinson drives sales for 'Primetime'
Seven years after becoming the second-highest grossing film ever, “Avengers: Endgame” returned to the No_ 1 spot at the box office in a victory lap for Marvel and an appetizer for the upcoming “Avengers: Doomsday.” | WBEN
Alliance Entertainment Q4 Earnings Call Highlights
Alliance Entertainment (NASDAQ:AENT) reported fiscal 2026 revenue growth, wider gross margins and higher adjusted EBITDA, as demand for physical music, premium home entertainment and collectibles increased. The company also outlined investments in automation, artificial intelligence, authentication
The Fierce Battle For Kids’ Eyeballs...Plus Two “Devils” Face Off
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) During the week of this report, Spider-Man: Brand New Day hit theaters and went on to become one of the biggest films of all time. So, you know what that means! It’s time for a poll! Recently, Project Hail Mary came to Prime Video and became a top five film for them, but didn’t smash streaming records, a feat I cautiously thought it could accomplish. Can Spider-Man 4 do better? To set the stakes, some of the biggest films of all time do just okay on streaming. Wicked, Top Gun: Maverick, and Barbie come to mind... But unlike those films, Spider-Man: Brand New Day is a Sony film which means it’s headed to Netflix, the world’s largest streamer. Now, per friend of the newsletter and my go-to Netflix expert, Kasey Moore of What’s on Netflix, Sony films usually appear on Netflix 120 days after they premiere, which means Spidey 4 would land on Netflix on, checks notes, 28-November, one of the two biggest streaming weekends of the year! But Sony occasionally delays its biggest hits for a bit longer, to give them more time to make money on PVOD, so Spider-Man: Brand New Day might not swing onto Netflix until late December or even February 2027. Loading... Okay, on to this week’s issue. Since The Super Mario Galaxy Movie made its way to Peacock, I’m looking at the true workhorse of streaming viewership: kids films. And the surprising film that bested most Netflix animated movies. All that, plus Hulu has a new show that might be a hit (for them…?), two “Devils” square off on streaming, Zendaya tries to find some streaming magic, Netflix’s I Will Find You continues to do well, House of the Dragon tries to break into the season three top ten, some big NBC sports and summer programs, what friendly neighborhood Spider-Man character actually generates the most viewership on streaming, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 27th to August 2nd, 2026. You can find a link to my terminology here.) Subscribe Film - As The Super Mario Galaxy Movie Hits Peacock, How Have Kids Films Fared in 2026? Like Mario hopping on a Koopa, The Super Mario Galaxy Movie landed on Peacock on 30-July. (Yeah, I kinda forced that Mario reference.) How did it do? Great, just like the first film. It got 13.0 million hours on its opening, and that’s good enough to take second place among Peacock films on the Nielsen charts all time: As I mention all the time, Peacock just isn’t the world’s biggest streamer—in fact, nowhere close—so its films struggle to put up numbers like Netflix (or even Prime Video and Disney+). So this is a solid debut for that streamer. And as we saw last time, The Super Mario Bros. Movie had a HUGE second life on Netflix when it moved streamers. This chart doesn’t even show how long the first Mario lasted on Netflix: a whopping, KPop-esque 31 weeks. For NBCUniversal, though, the big win was the second Mario movie grossing $429 million in America and over $1 billion globally. But yeah, to add a very strong streaming performance only makes its success even greater. Illumination pretty clearly has another hit franchise on their hands. This is a good time, though, to check in on kids films so far in 2026. We’ve had a few big, big titles, a rare Netflix success, and some disappointments. Let’s start with the top animated films since November of 2025, over their first four weeks on the charts, along with a few of the “best all time” animated films: (As a reminder, if a film doesn’t make the Nielsen top ten lists, I don’t have data for it, so it gets a “zero” in terms of viewership. Now, it had some viewership, but I don’t know what it is, so it gets a zero.) I added a few titles to get an idea of what the best of the best looks like in terms of animation. And you can see, through four weeks, Zootopia 2 can now claim “one of the biggest streaming films of all time” titles. GOAT too did surprisingly well, besting Netflix’s biggest films (Swapped and In Your Dreams) through four weeks. When I’ve talked about how films can have varying performances on streaming compared to their box office, this is what I mean. Goat just managed to gross even $103 million at the box office—so it’s popular, but just barely—but did very well on streaming. Of course, what set Encanto and KPop Demon Hunters apart from the rest was their absolutely insane longevity. Here are the kids film charts through eight weeks to show that: And really KPop Demon Hunters just kept going, and no 2025 or 2026 kids films have had that sort of longevity. I can’t wait to see the sequel in theaters. Film - Two Devils and a Drama As I wrote last week, in the past, theatrical-first film flops weren’t eligible for “Miss of the Week” or “Miss of the Year” honors/dishonors, but since so many more films go to theaters first these days, I’ve made them eligible now! But it’s complicated. You see, this is a Streaming Ratings Report, emphasis on streaming, which makes analyzing this week’s two biggest streaming misses—The Drama on HBO Max (A24’s dramedy starring Zendaya and Robert Pattinson) and Prime Video’s The Devil Mouth (a killer shark movie starring young attractive people)—somewhat tricky. The Drama isn’t eligible for Luminate, but The Devil’s Mouth only had 1.5 million hours in its first week: The Devil’s Mouth notched 5.2 million hours according to Nielsen. Meanwhile, The Drama missed the charts entirely. Not great! But Prime Video is a much bigger streamer than HBO Max. That said, HBO Max titles are on Prime Video, but I think Prime Video prioritizes their original/exclusive titles, which helps boost their viewership. Complicating this further, The Drama made $48 million in the US—while A24 sells foreign distribution; the $57 million of overseas grosses helps A24 sell overseas rights for money in the future—off of a $28 million budget (which seems low for Zendaya and Pattinson, so they might have backend). The Devil’s Mouth, though, had zero dollars at the box office. The other stats for The Devil’s Mouth are bleak, and by “bleak”, I mean horrendous: a 4.7 on 15K reviews on IMDb (yikes) and a 46 on Metacritic (double yikes). The Drama, though buzzy online, only has a solid (but far from elite) 7.1 IMDb score on 121K reviews and a 59 on Metacritic (which is far, far lower than I’d have guessed). So which film is the “Miss of the Week”? I’m giving it to The Devil’s Mouth for one simple reason: it’s a horror film. And almost all horror films, even poorly reviewed horror films, should get a shot in theaters to at least try to recoup some of their budgets. The Drama made money at the box office and The Devil’s Mouth didn’t. It’s just like the situation last issue with Obsession and Masters of the Universe. Sure, Obsession didn’t pop on the streaming charts, but at least it already made it money at the box office. And as we’ve been seeing for years now and we’ll see all fall, theatrical films just do better on streaming. After all, the big “devil” winner this week was actually The Devil Wears Prada 2 with 14.8 million hours according to Nielsen. That’s right, The Devil Wears Prada 2—one of the box office success stories of May—came to streaming and parlayed its $220 million box office into 14.8 million Nielsen hours. Disney also put out a datecdote that it had 15.2 million “views” globally in five days, but again we don’t have a lot of great context for what that means. Here’s how it stacks up to other Hulu films, since I’m categorizing this mainly as a Hulu title (though it was also on Disney+): Share Quick Notes on Film We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Whether Hulu has a new hit show on its hands... The top first and third seasons of all time and which shows are climbing those charts… What version of Spidey is the most popular... What sport and TV show are performing better on NBC than the NBA... All the flops, bombs and misses... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, wow, things stay so busy. One of streaming’s biggest shows of all time, Ted Lasso, returns along with new YA-ish shows from Hulu (The Shards, from Ryan Murphy) and Prime Video (Sterling Point). The Challenge moves to Paramount+, plus My Life with the Walter Boys returns to Netflix and Futurama returns to Hulu. And Netflix has a new horror film, The Last House. Lots to talk about! All month, things stay busy. We’re talking Reacher on Prime Video! Outer Banks and Tires on Netflix! Lanterns on HBO Max! UFC 330 on Paramount+ and the MLB Field of Dreams game on Netflix. And a ton of smaller films come to streaming. Long term, the VMAs are back on 27-Sep! I feel like I haven’t heard much about this show in past years, but I’m seeing more news coverage and buzz for this show than in past years. I’m curious to see how it does.
Oak Global aiming to become $1 billion-plus business in 2027
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Shift4 Payments (FOUR): A Stock Priced for Trouble, a Business Still Compounding Underneath
Back in August, Shift4 Payments, Inc. (NYSE:FOUR) lowered its full-year outlook, cutting expected gross revenue less network fees to $2.48 billion – $2.53 billion from $2.5 billion – $2.6 billion and adjusted earnings per share to $5.15 – $5.35 from $5.50 – $5.70, citing roughly $25 million from Middle East travel disruption and $20 million […]
Tom Holland Becomes Third-Highest-Grossing Actor of All Time
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Atwater in the Park taproom set to close
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TCL Chinese makes theater history after $4.1M in 'Odyssey' ticket sales
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AB Science announces today the successful completion of capital increases of a total gross amount of EUR 14.2 million
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Rigor Over Rhetoric
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Power of Pink event offers free mammograms, health screenings
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Analysis: Glasner left with food for thought
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Herring Gut Coastal Science Center's Learn-Discover-Grow Series: OCEAN GREENS
Seaweed in the past has been a misunderstood part of our marine world. Until recently it has always been seen through the lens of a slimy gross weed that no one likes to touch while swimming. Now, seaweed is being seen as a way to help diversify careers, feed livestock, and help solve climate change. This Learn Discover Grow event will focus on highlighting the importance of seaweed and how mid coast businesses are utilizing these ocean greens. First we will watch the film “Ocean Greens” (link below) online at the WaterBear network. We will then take time to talk to our wonderful guest speakers about how they use seaweed in their business! Our speakers are, Allison Lakin from Lakin’s Gorges Cheese, Gabriela Acero from wolfpeach, and Lauren & Greg Soutiea from the Causeway Restaurant at the Craignair. Watch the video ahead of time: Title of video: Ocean Greens Link: https://www.waterbear.com/player/62389235111f77a1b677ded9 Create an account, it's free. Guest speakers: Allison Lakin, Lakin’s Gorges Cheese at East Forty Farm Gabriela Acero, Wolfpeach Lauren & Greg Soutiea, The Causeway Restaurant REGISTRANTS WILL RECEIVE A ZOOM LINK PRIOR TO THE EVENT
Goddess Empire Entertainment proudly presents EARTHA... I'M STILL HERE!
STARRING THOMASINA GROSS THOMASINA GROSS HEADLINES SOLD OUT / SRO ACCLAIMED EARTHA KITT TOUR-DE-FORCE
Tom Holland Becomes Third-Highest-Grossing Actor Thanks to 'Spider-Man: Brand New Day'
The actor just made history.
Opinion | College Is More Political Than Ever. But in a New, Insidious Way.
Students are self-segregating by ideology.
Caesars Entertainment, Inc. (CZR) Investigation: Bronstein, Gewirtz & Grossman, LLC Encourages Shareholders to Contact the Firm to Learn More About the Investigation
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AENT Surges As Alliance Entertainment Earnings Spark 46% Jump
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Grosso aware Fiorentina could fire him after three defeats
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Mom-and-Pop Business Owners Grapple with Harsh Times
Report shows small business owners in NYS less optimistic about the economy. Taxes, inflation, labor costs and competition from larger businesses are major concerns right now, they say By Aaron Gifford [caption id=attachment_11067 align=alignright width=300] Ashley Ranslow is director for New York state at The National Federation of Independent Business (NFIB).[/caption] Owners of mom-and-pop businesses in New York state have been less optimistic lately than their peers in other parts of the country, a recent report indicates. The National Federation of Independent Business (NFIB), based on a survey of 11,000 of its members in the Empire State, reported that taxes, inflation, labor costs and competition from larger businesses are major concerns right now. “Indeed, while taxes are a major problem in New York and the United States overall, New York small businesses notably are struggling more with the state’s onerous, multi-level tax burden,” Ashley Ranslow, NFIB’s director for New York state, said in the July report. Compared with surveys of business owners in other states, far fewer New York respondents rated their businesses as in excellent or good health. The report also said labor costs here are about 25% higher than the national average and are the “single most important problem” facing businesses. One respondent to the New York-specific survey complained that too much red tape, taxes and laws that restrict high-yielding companies have stifled their operation’s growth. Others said high disability and workers’ compensation insurance costs, alarming increases in utility rates and excessive building regulations are discouraging. Statewide, New York has a gross domestic product of $2.53 trillion (third in the nation, followed by Texas, $2.90 trillion; and California, $4.25 trillion), a per capita income of $90,500 (sixth) and an unemployment rate of 4.6% (34th). There are 2.4 million small businesses that employ 3.9 million people. [caption id=attachment_11112 align=alignright width=451] Member of the Greater Liverpool Chamber of Commerce gather at one of the several functions the chamber organizes monthly. “Everyone in this business community encourages each other to shop local. Everyone just wants to see each other succeed,” says Megan Wilmot, the chamber director[/caption] “New York state boasts one of the largest, wealthiest and most diverse cities in the world — and that’s still only about half the state’s population,” the report said. “In other words, the state is both its iconic city and so much more — geographically, demographically, economically. But New York is not without its challenges, challenges that include notably high taxes and other weaknesses that impact the small business environment,” it said. The report includes an optimism index that compares responses from New York (NFIB) members with those of their peers in other states across several categories. This ranges from plans to increase employment to expectations for higher sales, to plans to increase inventory or expand. The scores for Empire State business owners were lower in most categories, but they did score higher than the national average in noting that they have current employment openings, and that they are hopeful that the economy will improve. “The metrics so far paint a picture of a state with a series of challenges for small businesses, from a slightly below national average Optimism Index to a more seriously below national business health to very substantially below national Employment Index. What is going on with businesses that are creating these differences?” the report stated. In Central New York, the regional labor force comprises nearly 398,000 workers. The median household income here is $71,463, and the gross domestic product for the region last year totaled $61.3 billion, according to the CenterState CEO economic development and research organization. About half of the region’s labor force works for small and mid-sized businesses, although the number of people employed in that sector has decreased by 7% since 2010, according to CenterState’s 2026 economic forecast report. “While record-high employment in large-scale enterprises provides a strong foundation for Central New York,” the report says, “the long-term health of communities depends on a thriving small business sector to serve as a stabilizer.” Area employers identify several barriers to Central New York’s anticipated growth, including lack of specialized or skilled workers, government regulations, unaffordable housing options and long-term construction disruptions. In the city of Syracuse, the number of jobs in retail trade decreased by 1,500 or 4.7% between July 2025 and this past July. By contrast, the number of jobs in the leisure and hospitality sector increased by 2.5% or 700 jobs, in the same annual period, according to the New York State Department of Labor. Still, there’s plenty of interest for new businesses across Central New York. U.S. Census figures show that the number of applications for new businesses in all four counties increased significantly in the past 20 years. In Cayuga County, there were 324 applications in 2005 compared to 470 last year. In Madison County, the number increased from 385 to 480; Onondaga County, from 2411 to 4132; and Oswego County, from 553 to 836. Downtown Cazenovia is exemplary of Madison County’s trend: In the past year, the village welcomed a bait shop, a thrift store, a vitamin infusion center, a pizzeria, a Pilates studio and an Italian restaurant. A candy store is scheduled to open on the main drag in the months ahead. Oswego’s list of interesting new businesses in the past year includes a bubble tea shop, a hot dog eatery in Fulton, a specialty grocery store that features New York state products in Mexico, a beauty and esthetics studio in Hannibal and a hardware and farm supply store in Sandy Creek. In Onondaga County, the Liverpool area has also enjoyed a steady stream of new shops and eateries in recent years. That suburban community is unique in that, unlike neighboring communities, most of the restaurants are family-owned and not part of a national chain. [caption id=attachment_11116 align=alignright width=300] Megan Wilmot is the executive director of the Greater Liverpool’s Chamber of Commerce.[/caption] Megan Wilmot, executive director of the Greater Liverpool Chamber of Commerce, said independent business owners in her community maintain a strong sense of pride in holding their own against national companies. The chamber helps boost morale with red carpet events, ribbon cuttings, coffee hours and five-year anniversary celebrations for participating businesses. “We have built such a strong community,” Wilmot said. “Everyone in this business community encourages each other to shop local. Everyone just wants to see each other succeed.” In Syracuse, the downtown retail occupancy rate last year was about 82%, a slight improvement from 2024, according to the Downtown Syracuse Committee’s most recent annual report. Buildings with the largest amount of vacant space included The Galleries, One Park Place, and Equitable Towers, though not all of those spaces are designated for retail use. New businesses that opened in downtown Syracuse last year: Better with Time Clothing, Dakshin Curry & Biriyani, Havana Tattoo Society, Milano Bean Café, Miss Daisy, Pausa Coffee, Sweets for Babe, The Society CNY and Yafah Beauty Studio. The Destiny USA mall’s occupancy rate decreased from 80% in 2023 to 72% by the end of 2024, according to Integra Realty Resources. That leaves more than a quarter of the mall’s retail space vacant. “Looking ahead, the retail market is expected to see minimal rent growth, with vacancy rates likely remaining stable in community and neighborhood centers but continuing to rise in enclosed malls,” Integra’s report said. “New construction activity is low and redevelopment plans for former malls like Shoppingtown and Great Northern are still in the planning stages. The proposed Micron chip plant may spur development, but challenges remain in finding co-developers for large-scale projects.” Nationally, the U.S. Chamber of Commerce expects that small businesses will remain resilient and see their sales and revenues eventually improve. That organization, in a recent national survey, found that 25% of small business owners expect the economy to improve in 2027, while 45% indicated that they plan to increase employment in the next 12 months. And 69% said they believe their small business is in good shape and 70% said they are comfortable with their current cash flow. Thirty-one percent of small businesses reported raising their prices in July and 28% are planning to raise their prices within the next three to four months, the report said. Twelve percent indicated that this is a good time to expand their business. “Small business owners voice optimism for future revenues and hiring,” the report said. “High costs continue to be a wet blanket on reinvestment.” The NFIB reported in July that Main Street, despite gas price hikes, “is OK … for now.” Its small business economics trend report said sales across the country have been strong compared to last year, but continued inflation and higher prices from mom-and-pop establishments are causing some “cracks” to show. “If costs stay this high for much longer, reduced investment will have a tangible economic impact,” the report said. “The status quo is OK, but the outlook? The outlook is uncertain.”
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The highest-grossing entertainment franchise in the world isn't Star Wars, Marvel or Mickey Mouse — it's Pokémon, which began as a Japanese video game about collecting creatures and has since rung up north of a hundred billion dollars in retail sales
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Riser House Entertainment Adds Paul Grosser As Director Of Regional Promotion
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Around the Net In Media: Thunder Road, Lit Entertainment Founders Launch Media Firm
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“Spider-Man: Brand New Day ”and “The Odyssey ”boost 2026 domestic box office to best summer on record
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Eloxx Pharmaceuticals Reports Second Quarter 2026 Financial Results and Provides Business Update
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Bleecker Street’s Crosswalk and LD Entertainment’s HADESTOWN: THE MUSICAL Surpasses HAMILTON as the Number One Opening Weekend for Live Theater Capture of All Time
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‘Gross negligence’ alleged at Iowa mental health facility
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Toy Story 5, Backrooms and The Breadwinner Vie to Become the Second Biggest Film This Year...
(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.) Often, people blame “data” for ruining Hollywood, when I’d argue that hype (which can often be debunked by data) is often worse, as you can see in these two headlines. To use a common meme, here’s how it started: and how it’s going: Earlier this year, I read countless (and I mean countless) articles (in almost every mainstream media outlet) about how Heated Rivalry was a huge hit and that it “heated” interest in hockey. But Heated Rivalry wasn’t a huge viewership hit compared to the hype: [ ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) [ You Can’t Eat Buzz…Did Heated Rivalry’s Buzz Translate into Actual Viewership? ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) Entertainment Strategy Guy · Jan 22 [ Read full story ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) In this case, the hype (Heated Rivalry is really popular) belied the data (It didn’t make the top ten charts, meaning it wasn’t a huge hit.1) Even worse, every time I write about this, I get a lot of negative feedback, hence why I only sparingly mention the show these days or add lots of caveats when I write about it, but this just further cements the hype. But companies, and the executives leading them, have to determine strategy based on reality, not media coverage. The NHL committed real marketing dollars to a campaign that didn’t work. Sure enough, the latest NHL season opened to under a million viewers. At some point, you have to focus on what the data says, because real dollars are at stake. And that’s why we have the Streaming Ratings Report! To provide and analyze cold, hard data. Luckily, this week, I can be positive and take a look at a huge opening on streaming, along with a very buzzy horror film that customers kind of like, but don’t really love. And a comedy that tried to rebound on streaming. Today, I’m covering two weeks—21-Sep and 28-Sep—so we have a lot to discuss (nearly 5,000 words worth), including a series of film misses for Netflix, another argument for weekly-released TV shows on streaming, another sitcom tries to avoid the comedy curse, Netflix has two new game shows (one powered by AI), Reacher falling off the charts after a huge run, Prime Video tries its hands at the romcom game**,** a look at the WNBA’s big season, a big night for the VMAs on CBS and MTV, all the flops, bombs and misses, and a whole lot more. (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 October 4th, 2026. You can find a link to my terminology here.) Subscribe Film - Two Hits and a Miss Come to Streaming… Three very interesting films came to streaming in one week, and I like comparing them since they show the range of theatrical films. One was a huge blockbuster, one was popular, and one was neither. One is a horror film, a buzzy genre; one is a comedy, a struggling genre; and one is an animated family film, the king of the box office. One went to a tiny streamer (HBO Max), one went to a second-tier streamer (Disney+), and one went to the biggest (Netflix). So… If you just went by box office, you’d expect Backrooms—the $197 million grosser, and partner of Obsession for “YouTube Horror Summer”—to dominate on streaming. If you read this report, though, you know that horror films don’t do great on streaming, and that’s the case again. Backrooms opened at 3.8 million hours according to Nielsen, and had 3.9 million hours in its second week. Here’s how that stacks up to other HBO Max films: 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… ...why I don’t buy Backrooms budget… …two new games shows arrive on streaming… …another sitcom struggles… ...another argument for putting out shows weekly on Netflix... ...and a whole lot more, nearly 5,000 words 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, I’ll be taking a look at the eighth season of Hulu’s The Kardashians, answering the question: will this show ever make the charts? If Mormon wives can make it, surely one of social media’s most popular families can as well. Also, Prime Video has a new horror show based on popular IP, Carrie, Netflix has a horror show starring Josh Hartnett, Below, and Apple TV has a UK import, Small Prophets. Plus a bunch of movies like Disclosure Day heading to Peacock, The Housemaid coming to HBO Max, Ben Affleck’s latest on Apple TV, Animals, and Matchbox the Movie on Apple TV, a John Cena action comedy inspired by Hasbro’s toy cars. The week after is even busier! I’ll look at another IP-based horror show, Crystal Lake, a new MCU show on Disney+, VisionQuest, season two of The Lowdown on FX/Hulu, the fourth seasons of The Diplomat on Netflix and Tulsa King on Paramount+, another season of Love is Blind, and four straight-to-streaming films: Netflix’s Sacrifice (starring Chris Evens, Anya-Taylor-Joy, Vincent Cassel, John Malkovich, Salma Hayek. Charlie XCX), Apple TV’s Tenzing (starring Tom Hiddleston and Willem Defoe), Prime Video’s Love of Your Life (Margaret Qualley) and Masterplan (Stanley Tucci) and a whole lot more, somehow. Long term, here’s some huge IP news: a Game of Thrones movie is coming to theaters, Game of Thrones: Aegon’s Conquest in 2029, while Jon Watts (who helmed three of the most recent Spider-Man movies) is directing the next Star Wars trilogy, to be written by Simon Kinberg. I’m cautiously optimistic for both. It feels obvious to say that making good movies matters, but for bets this big (Star Wars is on a swoon, Game of Thrones hasn’t been to theaters yet), the quality has to be there.
Fomer NFL All-Pro Jordan Gross revamping Utah's offensive line
Gross implements dynamic conditioning to transform a fresh unit ahead of 2026 season.
Back-to-School Skate with Wheelz Entertainment gathers school supplies at Grossingers
Wheelz Entertainment is a pop-up skating organization based in Bloomington that rose to fill the need for skating in the Twin Cities.
Nurses demand immediate reinstatement of colleagues unlawfully suspended by Prime Healthcare for speaking up for patients at two of its Chicago hospitals
In gross violation of national labor laws, Prime Healthcare over the past week has retaliated against registered nurses for speaking up and fighting for their patients at two of its Chicago-area hospitals, suspending six nurses at Olympia Fields Hospital in Olympia Fields, Ill. and one nurse at Saint Francis Hospital in Chicago, Ill.
‘Spider-Man: Brand New Day’ to oust ‘Titanic’ from top 5 highest-grossing films at global box office
James Cameron’s days with three films in the top 5 highest-ever earners at the global box office are numbered, as ‘Spider-Man: Brand New Day’ is poised to unseat ‘Titanic’ at No. 5.
Celebrating National Lobster Day with coastal flavors and weekend entertainment at Confab Kitchen and Bar
Confab Kitchen & Bar owner Doug Gross and Chef Jason Hall visit WANF’s ATL Live Show to demonstrate how to assemble a fresh lobster roll for National Lobster Day and share details on Friday live patio music and fall game-day viewing.
15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.