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Amazon’s new Alexa Tablets are an iPad-inspired reboot, complete with the Play Store
After more than a decade of ignoring Google's app store, Amazon is finally bringing real Play Store support to its rebooted tablet lineup.
Pittsburgh Oktoberfest returns with food, music and Ferris wheel
Pittsburgh's annual Oktoberfest celebration has officially kicked off with German-inspired food, drinks and entertainment in the heart of downtown Pittsburgh through Oct. 11.
How boxing inspired a play about men's mental health
The play explores losing a sense of purpose, the difficulty some men have talking about their mental health and the support they can find in each other.
Ari Emanuel: Elon Musk's AI prediction inspired live-events business
Hollywood powerbroker Ari Emanuel recently said on a podcast that Elon Musk once told him live events were essentially AI-proof.
NHL Says Players In ‘Hot For Hockey’ Campaign Approved Content
The romance novel–inspired marketing effort has received mixed reviews.
Populous and Brooklyn Sports & Entertainment Debut Phase Three of Barclays Center Transformation
Brooklyn-inspired hospitality spaces and a reimagined fan arrival experience advance a long-term vision for the arena.——–A reimagined 9,000-square-foot hospitality destination was also debuted and inspired by the layered evolution of Brooklyn’s Dumbo neighborhood and Barclays Center’s tradition of celebrating the borough through thoughtfully designed spaces. Steel trusses span the high ceilings, while brick and concrete finishes […]
Populous and Brooklyn Sports & Entertainment Debut Phase Three of Barclays Center Transformation
Brooklyn-inspired hospitality spaces and a reimagined fan arrival experience advance a long-term vision for the arena.——–A reimagined 9,000-square-foot hospitality destination was also debuted and inspired by the layered evolution of Brooklyn’s Dumbo neighborhood and Barclays Center’s tradition of celebrating the borough through thoughtfully designed spaces. Steel trusses span the high ceilings, while brick and concrete finishes […]
Miami Heat To Wear Grand Theft Auto VI-Inspired Uniforms For “A Night In Vice City”
The Heat have teamed up with Rockstar to promote the release of the highly anticipated game during their Nov. 18 matchup with the Milwaukee Bucks.
Surprise Connor Storrie, Hudson Williams appearance supports ‘Heated Rivalry’-inspired charity
Connor Storrie and Hudson Williams make a surprise appearance to support a ‘Heated Rivalry’-inspired charity.
Yes, 'War's shocking episode 1 ending was inspired by Olivia Wilde's custody serving
Dominic West, Sienna Miller, and series creator George Kay weigh in on "War"s red carpet gone wrong.
More Than a Charcuterie Board: A Mother and Daughter Build a Business Around Gathering.
The Bar Harbor Story is generously sponsored by Birch Bay Retirement Village. NORTHEAST HARBOR—Food’s ability to be a social cornerstone is one of the founding premises of one of Mount Desert Island’s newest, and perhaps most unique, endeavors in cuisine based catering. From intimate gatherings to large functions, Olive & Pearl creates charcuterie boards that can not only astound the tongue but also the eye. Many would agree that food can bring people together. In fact, culinary delights, and sometimes adventures, have been utilized as the centerpiece for social and business occasions of all kinds for centuries. Often times it even has the ability to start conversation, temper differences, and build new relationships. Settings can vary, from a multi-course sit down meal, a backyard barbecue, or a couple of bowls of chips and dip in front of a television, but the result can be the same. Humans come together, they share food, and the whole process is a catalyst for thought, communication, and a shared experience. Imagined and created by the mother and daughter team of Dr. Susan Scanlan (formerly MacCready) and Kayla Musetti, Olive & Pearl was started in June of this year and has been creating, delighting, and growing since. We gave the two an opportunity to answer some questions about themselves and their new venture. The love, passion, and pride for what they are doing and the fact that they are doing it as a mother and daughter team came through so strongly in their answers that we decided to present the question and answer session in its entirety. The Interview What did you do prior to Olive & Pearl? We’re a mother-daughter team, and food, family, and hospitality have always been a big part of our lives. Susan grew up in a large family in Pennsylvania, where the table was always at the center of everything. There were multiple dishes, little bites, stories, and plenty of conversation. Food was never simply about eating. It was about gathering, celebrating, and spending time together. After living in several Southern states, Susan relocated to Maine more than 20 years ago, and Maine has truly become home. She loves its sense of community, natural beauty, and connection to local food and makers. Professionally, Susan is a registered nurse and holds a doctorate in health administration. She has worked in a variety of clinical, nonclinical, and leadership roles and currently works as a faculty academic director. Building Olive & Pearl has been an exciting creative venture alongside her career. Kayla is also a registered nurse and works in the ambulatory surgery unit at Mount Desert Island Hospital. While healthcare is an important part of both of our professional lives, Olive & Pearl has given us an entirely different way to connect, collaborate, and create something together. Tell us about the business. Olive & Pearl is a mother-daughter charcuterie business centered around beautiful food, thoughtful presentation, and bringing people together. We create curated charcuterie boards designed for everything from intimate gatherings and dinner parties to weddings, showers, corporate events, boat days, and celebrations of all kinds. We think of our boards as more than food. They’re an experience and an invitation to gather, slow down, and enjoy time with the people around you. We’re intentional about quality ingredients, artful presentation, and personalization. Whenever possible, we also incorporate Maine-made and locally sourced products, including cheeses, jams, honey, seasonal produce, and baked goods. What inspired you to start Olive & Pearl? In many ways, Olive & Pearl grew out of something we had been doing our entire lives —bringing people together around food. We’ve always loved creating beautiful spreads for family and friends. There was something special about watching people gather around a table, graze, talk, laugh, and simply enjoy being together. Friends and family began telling us, “You should do this as a business,” and one day, we stopped laughing it off and started mapping it out. We realized we had an opportunity to combine our different strengths and create something that reflected what we both value: hospitality, creativity, quality, and connection. Charcuterie felt like the perfect expression of that. It’s beautiful and creative, but it’s also communal and approachable. At its heart, it brings us right back to where the idea began, a table filled with food and people gathered around it. Do you have a business partner(s)? Our business partner is each other! Olive & Pearl is truly a mother-daughter partnership, and building it together has been incredibly meaningful and sometimes hilarious! We know each other extremely well, which can be both a strength and, occasionally, a challenge. We have different personalities and strengths, but we’ve learned to lean into those differences and use them to our advantage. There’s a lot of trust between us, and we’ve learned how to communicate, collaborate, and occasionally laugh at ourselves along the way. We’re also building Olive & Pearl while continuing our careers in healthcare and education, so we’re taking things thoughtfully and growing the business one step at a time. We all have to start somewhere. One of the most rewarding parts has been having something that belongs to both of us. We get to learn from one another, celebrate the small wins together, and create something that we hope will become part of our family’s story for years to come. When exactly did you launch the business? Recently, in June 2026, we launched Olive & Pearl, turning an idea we had talked about for years into real business. It has been incredibly rewarding to watch something that started around our own family table and begin to find a place within the community. How is it going so far? How do you feel it has been received? It has been going very well, and we’ve been incredibly encouraged by how warmly Olive & Pearl has been received. As more people hear about us, our orders have continued to increase, and we’re seeing growing interest in boards for events and celebrations. It’s exciting to watch something that began as an idea between the two of us start to grow within the community. One of the most rewarding parts is hearing from customers after their events or seeing photos of our boards being enjoyed. Knowing that something we created became part of someone’s celebration is incredibly meaningful to us. Is there a brick-and-mortar location or is it all online? Olive & Pearl is currently an online business. We’re intentionally starting this way so we can build relationships with our customers, learn what they love, and grow thoughtfully. Our long-term dream, if the business continues to grow, is to eventually have a sit-down space where people can experience Olive & Pearl in person. Do you have any future plans if things go well/keep going well? Absolutely. For now, our focus is on continuing to grow Olive & Pearl, getting to know our customers, and becoming part of more celebrations and gatherings throughout the area. Long term, we would love to have our own physical space where people can come together and experience Olive & Pearl beyond the boards themselves. We can imagine a place that combines food, hospitality, creativity, and community. Ultimately, we want to build something that continues to grow while still feeling personal and connected to the people and community around us. Is there an aspect of the business that you really love? There are so many things we love about it, but the people and the connection are probably at the top of the list. We love creating something beautiful, but what really matters to us is what happens after we hand it over to the customer. We picture our boards on kitchen islands, at backyard gatherings, on boats, at weddings, or around a long dinner table—with people laughing, talking, and lingering a little longer. We also love the creative side. Every board is an opportunity to play with color, texture, shape, seasonality, and flavor. We don’t just want to fill a board, we want to curate an experience. And supporting local makers is especially meaningful to us. Whenever possible, we love incorporating Maine-made cheeses, local jams and honey, seasonal produce, and products from nearby bakeries and businesses. It allows us to showcase some of what makes Maine so special. Perhaps most importantly, we love doing this together. Building something as a mother and daughter has given us another way to spend time together, learn from one another, celebrate small wins, and create memories. Is there anything regarding any aspect of Olive & Pearl that you may think is important that is not reflected on the website? One thing that may not always come through online is just how personal this business is to us. Olive & Pearl isn’t something we created simply because charcuterie was popular. It grew very naturally from our family, our traditions, and the way we’ve always enjoyed gathering with people we love. There is a lot of heart behind every board. We think about the people who will be enjoying it, the occasion they’re celebrating, and how we can make the experience feel special. We also want people to know that we care deeply about supporting locals whenever possible. Using Maine products isn’t just about sourcing ingredients, it’s about telling a little story about where we live and the talented people who make and grow wonderful things here. Is there anything that we have not asked that you think is important/relevant that would like readers to know? We hope people see Olive & Pearl as more than just a charcuterie business. At its heart, it’s about gathering. Our goal is to make it easier for people to create those moments when everyone gathers around the table, conversations last a little longer, and people simply enjoy being together. We also hope people see the mother-daughter story behind the business. We’re building Olive & Pearl alongside our careers, one step at a time, and there is something incredibly special about creating a shared family legacy in the process. For us, success isn’t just about how many boards we make. It’s about becoming part of people’s special moments - birthdays, weddings, weekends with friends, quiet evenings at home, or a beautiful day on the Maine coast. If one of our boards helps people put down their phones, linger a little longer, laugh a little more, and enjoy the people around them, then we feel like we’ve done exactly what we set out to do. All photos courtesy of Olive & Pearl. LINKS TO LEARN MORE Olive & Pearl website Olive & Pearl Facebook Olive & Pearl Instagram RECENT PRESS RELEASES AND BRIEFS To see all the press releases, click here. To see our news, click here. For the full archive, click here. All of these are on our dedicated website. [ ](https://barharborstory.substack.com/p/pemetic-students-share-thoughts-on) [ Pemetic Students Share Thoughts on Declaration of Independence Oct 22 ](https://barharborstory.substack.com/p/pemetic-students-share-thoughts-on) [ Read full story ](https://barharborstory.substack.com/p/pemetic-students-share-thoughts-on) [ ](https://barharborstory.substack.com/p/fall-festival-at-the-noreaster-for) [ Fall Festival at the Nor’Easter for Mount Desert Nursery School, October 24. Oct 22 ](https://barharborstory.substack.com/p/fall-festival-at-the-noreaster-for) [ Read full story ](https://barharborstory.substack.com/p/fall-festival-at-the-noreaster-for) [ ](https://barharborstory.substack.com/p/explore-career-opportunities-where) [ Explore career opportunities where you make a difference for Maine’s natural resources—and the people who enjoy them. Oct 22 ](https://barharborstory.substack.com/p/explore-career-opportunities-where) [ Read full story ](https://barharborstory.substack.com/p/explore-career-opportunities-where) [ Cranberry Isles Comprehensive Plan Committee Oct 22 ](https://barharborstory.substack.com/p/cranberry-isles-comprehensive-plan) [ Read full story ](https://barharborstory.substack.com/p/cranberry-isles-comprehensive-plan) [ ](https://barharborstory.substack.com/p/community-school-hosts-a-pancake) [ Community School Hosts a Pancake Breakfast Fundraiser October 25! Oct 22 ](https://barharborstory.substack.com/p/community-school-hosts-a-pancake) [ Read full story ](https://barharborstory.substack.com/p/community-school-hosts-a-pancake) HELP SUPPORT THE BAR HARBOR STORY When we started The Bar Harbor Story, we didn’t know if anyone would read it. But you showed up. You shared. You sent tips. Now—over 400,000 views every month later—it’s clear: people here care about their community and each other. We’ve kept everything free because news should never be out of reach, but every one of our stories takes time to write, and your support keeps The Bar Harbor Story going. If you value our work, please consider a paid subscription, a founding membership, or a sponsorship. It truly helps us cover one more meeting, tell one more story, shine one more light. Even $5 a month makes a difference. Click here to become a one-time supporter now. Thank you so much for being here. Founding member information can be found here. Have questions about sponsorships? Just send Shaun an email at sfarrar86@gmail.com, he’d love to hear from you. Subscribe Share Bar Harbor Story Share Leave a comment
Why I Don’t Think Ride Or Die Should Have Been Cancelled (And What Company Should Save It...)
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) So…I recently came across a Reddit thread, talking about films on streaming, wondering why there are no reliable sources out there for streaming ratings data. Sigh. Honestly, as annoyed as I am that so many still don’t realize that we have streaming ratings, I somewhat get it. Until now, there was such a long delay between when a show or film came to streaming and when we got its viewership data; I understand why people were confused. (But, as you know, this just changed.) Also, even back in the day, how many people knew how well films did on television? Luckily, as a reader, you’re in the know. Okay, on to this week’s issue. I want to take a look at Prime Video cancelling Ride or Die and whether I agree with that decision. Overall, we didn’t have any breakout hits (no TV shows landed over 20 million hours according to Nielsen) but we have a lot of steady performers on the streaming charts. Plus, we’ll look at where $50 million in missing box office dollars went. (Spoiler: straight-to-streaming.) All that, plus new episodes of The Secret Lives of Mormon Wives, Supergirl heads to streaming, a new YA show does well on Netflix, the viewership for the Daily Wire’s $50 million fantasy show, what TV show hit-maker can’t make streaming hits, CD sales, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 7th to September 13th, 2026. You can find a link to my terminology here.) Subscribe Television - Ride or Die Is a Hit…But It Got Cancelled? What The Data “Says” I hate the phrase “here’s what the data says”, even though sometimes I find myself using it. If data just told us everything, we data folks would be out of a job! Data is often messy, complicated and nuanced. When it comes to strategy, many of the best decisions can’t actually use “data”, since it’s vastly too complicated to model. Anyways, I’ve been singing the praises of Prime Video’s Ride Or Die this summer, a show that did very well for them. And yet…it got cancelled. Now, usually when a show gets cancelled, a bunch of websites say “a hit show got cancelled”... Here’s the thing, though: in this case, they’re right! The data “says” that this show was a hit. Specifically, out of 522 first seasons to make a week on the Nielsen charts since 2020, it’s the 75th biggest. On Amazon, Ride or Die is eighth out of 41 first seasons: That’s top 15th percentile all time, almost exactly, which is my definition of a “hit”! I mean, outside of Reacher, Amazon needed a hit this summer! (Admittedly, Off Campus did well for Amazon in the spring, but Ride or Die performed even better.) So what happened? Why did Amazon cancel one of their rare 2026 bright spots? Well, Deadline reported a reason—which I’ll get to—but I’d break it down into three relevant questions: What is a given streamer’s reasoning? Is that reasoning sound? Could the stated reason not be the real reason? According to Deadline, Amazon felt the show “over-indexed” in middle-aged women. (This was based on leaks from within Amazon.) The logic is this: Amazon already reaches this demographic because of unlimited two-day shipping bundled with Prime, so they don’t really need more shows like this. Now, it’s my job to ask if that’s a good reason, and I’ll be honest, in this case, I don’t think it is. Sure, this show may “over-index” in middle-aged women—I’ll just assume that’s the case here—but I think folks often oversell how important over-indexing actually is. When a show is a “hit”, it isn’t a bit bigger than its rivals; it’s usually multiples bigger. For example, Elle only made the charts for two weeks at 8.3 million hours each. So Ride or Die was 80% bigger in its first two weeks, and likely had a much stronger hold, with its terrific 13 million hours in week three. Ride or Die was nearly three times bigger than Sterling Point through three weeks too. And that means that _Elle, Sterling Point a_nd other Amazon YA shows need to not just over-index a little with younger women (assuming that’s who Amazon prefers over middle-aged women), but massively over-index. Otherwise, more people in that demo (and a bunch more besides) likely watched Ride or Die. (I’ll try to explore this concept more in a future article.) And don’t get me started on how Ride or Die did compared to a certain (very, very popular, possibly the world’s most popular) YouTuber’s reality show…which didn’t make the charts after its first week and likely cost much, much more than Ride or Die. All to say, Amazon-MGM Studios/Prime Video can tell reporters that this show didn’t reach the right audience, but that excuse feels weak to me. So this leads to the third question: could other reasons have come into play? Yes! Renewal or cancellation decisions rarely (I’m tempted to say “never”) boil down to one variable. At its simplest, it’s two things: budget versus viewership. But often factors like critical acclaim, ownership and, yes, personal opinion come into play. In this case, Amazon has a new executive running things, and this show isn’t owned by Amazon-MGM Studios (unlike Elle). And yes, it may not have indexed with the right target viewers, too. Likely all of those factors came into play.1 My guess is ownership ended up mattering most. Amazon doesn’t own Ride or Die. It’s actually produced by another major studio. Fortunately/allegedly, this show is being shopped around. I can think of one brand new CEO who should consider it for one of his two major streamers…especially if he wants to rebuild goodwill in Hollywood. His name is on this list of exec producers of Ride or Die… If David Ellison needs some goodwill—and he does—rescue this female-led show tomorrow and grab some good headlines for a day. The data justifies it. Quick Notes on TV We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How The Secret Lives of Mormon Wives latest season did on Hulu, post-controversy... Whether Supergirl soared on HBO Max... Why the box office is losing money due to the streamers... The viewership for the Daily Wire’s $50 million fantasy show... Updates on The Gentlemen, Lanterns, Outer Banks, King of the Hill and more... What former hit-maker has three streaming flops in a row... Whether The Mandalorian and Grogu popped in week two... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Oh man, we’re almost caught up! We just have two more issues, then the streaming Ratings Report will be coming out just two weeks after a TV show premieres! Next issue, I’ll be looking at the first two weeks of the NFL Thursday night games on streaming, a huge new spinoff, Reacher’s Neagly on Prime Video, and the latest edition of Monster: The Lizzie Borden Story on Netflix, the return of Slow Horses on Apple and MobLand (quietly one of their biggest shows) on Paramount+, and Dancing with the Stars on both ABC and Disney+. Plus I’ll take a look at animation for adults in 2026. The week after, a ton of movies are coming to streaming: Toy Story 5 on Disney+, Backrooms on HBO Max, Jackass: Best and Last on Paramount+ and The Breadwinner on Netflix, plus a Unabomber film on Netflix and a romcom on Prime Video. Woody Harrelson and Matthew McConaughey have a show on Apple, along with a game show inspired by Willy Wonka that everyone seems to hate. Long term, some crazy (but hopefully crazy like a fox) IP news. FX ordered a new Sons of Anarchy show from Charlie Hunnam, but it’s not about the biker gang. No, it features the show’s cast playing themselves in a new “meta-thriller”. Huh. And a lot of the cast is coming back. Next, Ryan Gosling is producing a Flintstones movie about a “grown-up Bamm-Bamm Rubble”. Also, huh. This one is in “early development” so we’ll see what happens. Both projects are based on IP, but also seem to have crazy takes on the IP, which I like.
‘Miami Vice ‘85’ first look reveals Michael B. Jordan, Austin Butler
‘Miami Vice ‘85’ first look reveals Michael B. Jordan and Austin Butler as Tubbs and Crockett, inspired by the original ‘80s TV series.
‘Italian Wannabe’ Highlights Food Night At Colonial Theatre
BETHLEHEM, N.H. — The Colonial Theatre will celebrate the connections between food, home, and community with a special screening of “Italian Wannabe” on Thursday, Oct. 15, featuring Italian-inspired food, a
Matthew Lillard explains why he ‘resented’ the “Scooby-Doo” movies ‘for a long time’
The “Scream” star is now “so grateful” for the “humbling” that the films inspired in him.
Velvet Cowboy, a Western Bar With a $5 Food Menu, Opens on the Upper West Side Tomorrow
The Jacob's Pickles team's new bar opens Tuesday with Southwest-inspired cocktails and a menu where every dish costs $5.
Mining her musical roots inspired Robin Barnes to make a docuseries about Louisiana culture
Native New Orleans artist Robin Barnes channels her heritage as a vocalist and songwriter in "Discovering Home," a docuseries celebrating Louisiana culture across Lafayette, Lake Charles, and New Orleans.
Pokémon Space Trail and Pokémon Merchandise Land at the Science Museum in World Space Week
Pokémon fans can join a new space-inspired adventure at the Science Museum from Friday 2 October, when an out-of-this-world trail takes over the museum’s galleries as Trainers around the world cel…
Sapphire discovery could reshape future brain-inspired electronics
Using X-ray beams from Argonne’s Advanced Photon Source, researchers discovered that a substrate beneath a vanadium dioxide film is not just a passive host. Data reveal mutual interactions that could shape future low-power, brain-inspired computing.
Amazing Halloween party inspiration!
Dive into the world of a nurse turned creative genius as she transforms her small Louisiana home into a 1930s haunted hotel for a legendary Halloween party every year. Get inspired by this immersive experience and creative vision! 🎃👻 #HalloweenPartyIdeas #ImmersiveExperience
Music Review: Remi Wolf emerges, dirty but renewed, on 'Mud'
Remi Wolf, the singer-songwriter known for her funk and soul-inspired choruses and danceable beats, comes down to earth on “Mud,” her third album. Wolf settles into new territory on the
Partake Foods founder shares her biggest small business lessons
Inspired by her daughter's allergies, Partake Foods founder, Denise Woodard raised millions, overcoming growth challenges with storytelling skills.
'Biermann' Doc Film on German Political Singer for Trump Era: Viennale
Jens Meurer discusses his doc, screening at Austria's Viennale and showing Wolf Biermann narrating his life in various iterations of Germany, and how the outspoken artist inspired 'The Lives of Others.'
Spend a Halloween-inspired evening at The Huntington exploring ‘Strange Science'
Tickets are going on sale, and the nighttime celebrations always, always sell out.
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.
Witcher Dev Reveals Why CD Projekt Red Doesn't Do Crossovers In Its Own Games
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New Orleans celebrates Dolly Parton Day, in photos
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Mystery dinner in Whitesboro to benefit cancer patients
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🥐 Vinicius punishment, Champions League hangover: Thursday’s 5️⃣ stories
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Aramark Sports + Entertainment Turns up the Heat for the 2026-27 Arena Season With Locally Inspired, Personalized Fan Experiences
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Harry Potter and the British business of international schools
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See the brilliance: Dunn artist creates and sells glass artwork that shines brightly
Cindy Akers-Gilford creates stained glass, fused glass, mosaics, handmade glass jewelry, pendants, suncatchers and other original glass artwork in her studio in Dunn, N.C. Photos provided by Cimply Broken.Self-made Artist and Founder of Cimply Broken, Cindy Akers-Gilford is helping people “see the brilliance” in all things with her glass artwork. Akers-Gilford started her business right after she retired from 20+ years as a civilian contractor at Fort Bragg. The official opening date for Cimply Broken was Nov. 8, 2021.“It’s been quite the adventure ever since. Not only did I have to learn how to manage a small business, but I’ve never taken a class in stained glass or anything I currently do,” shared Akers-Gilford. Her work includes stained glass, fused glass, mosaics, handmade glass jewelry, pendants, suncatchers and other original glass artwork.“I chose glass art just by happenstance. I saw a video on YouTube with a gentleman using plates and resin to make beautiful windows. I used that idea and created a simple picture frame-sized piece for myself. It was beautiful. I put it up in my window and pretty much forgot about it for a few days. Well, one beautiful sunny morning I went up to my studio, and the sun was rising and the light was shining beautifully through that piece. It was absolutely stunning. I thought that it was the perfect reflection of how God’s light shines through each of us. It was broken glass, so it changed ever so slightly as the sun continued to rise in the sky. I thought it poignant – like each of us – we all shine bright and differently in God’s glorious light, and we are all simply broken as well. We are all made beautiful in his light,” explained Akers-Gilford.The name of the business was inspired by the artist’s name and her faith-driven mission. “Simply became ‘Cimply’ as a play on my name and ‘simply’… and ‘Broken’ because we are all Cimply Broken – but each of us is beautiful,” added Akers-Gilford.Akers-Gilford sells her glass art at the Dunn Farmers Market when the weather is bearable, but mostly from her website at www.cimplybroken.com. “I enjoy getting lost in the creative process. I work out of my home, and I often compare my studio to Walmart returns after Christmas time. It’s hectic, busy and there are always at least 10 things being created simultaneously- it is fun!” shared Akers-Gilford. Her goal for the business is to continue to watch customers as they spot a piece of work from a distance and walk up to it in awe. “That is my biggest joy! I don’t speak to them until they speak – that is their moment to ‘See The Brilliance,’ which is my moniker,” shared Akers-Gilford. She also shared she would love to someday become part of an artist collective in Dunn.
Victor Wembanyama says he was inspired by the unity …
Victor Wembanyama says he was inspired by the unity …
Pull Up to 7-Eleven in Forza Horizon 6
A storefront inspired by 7-Eleven stores in Japan, a Konbini Prop Pack, an Egg Salad Sandwich Collectible, and an exclusive 7-Eleven Toyota Supra GR livery – all available in Forza Horizon 6 today.
When 1 + 1 = 1: The Miserable Math Behind Many Media Mergers
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) The last few issues of this newsletter have circled two topics: September’s streaming viewership and all the Paramount/Skydance/Warner Bros./Discovery merger news. I’m happy to say on the Streaming Ratings Report front, we’ll be all caught up by early next week, then the SRR will come out on a tight weekly schedule. Then, after today, I’ll have slayed my PSWbD dragon. It’s such a big story, it demanded multiple issues. With the announcement of a name (just Skydance) and executive team, though, I think we can almost close the book on this story. In terms of topics, it becomes just another studio to cover. So today, I have one last set of takes on that merger. As I’ve sat with it, reading about who was staying and who was going, a big worry crystallized in my brain, and I gotta get that take out. Plus, I still owe you a host of “ugliness” that didn’t fit in my previous “The Good, The Bad and The Ugly” takes. Let’s dive in! Subscribe Most Important Story of the Week - As Paramount Shuffles Deck Chairs, Will They Build or Consolidate? On social media—I try to avoid most social media platforms, but sometimes I end up checking in—the best joke I saw about the announcement of the new name of Skydance was from fellow reporter Claire Atkinson who pointed out… Yeah, I laughed out loud at that one. Later, though, I saw another Twitter response (that later got deleted, so I can’t shout the person out) that did give me pause. The person noted that the Titanic film made the better analogy: a super expensive project everyone in the town doubted that went on to conquer the globe. So yeah: on one hand, the image of the Titanic recalls the actual ship and its infamous end, but that clip is from a movie which proved the doubters wrong. So for all the skepticism of the latest massive media merger, one could wonder which way this one goes. Does it crash like the Titanic or rise to glory like Titanic, the movie? Either way, this deal is “Titanic”, looking at the massive debt required to close the deal, which is not going well when it comes to borrowing costs for Paramount… …or borrowing costs for Oracle. But I’ve started to get worried about another outcome: the sum of this merger will be smaller and weaker and less profitable than its former parts. In other words, one plus one won’t equal three or two, but an even smaller number. Skydance paid to take a traditional studio off the board, but they won’t really capture the upside. Let me explain what I mean, but first, let’s look at the series of news that inspired this thought. Skydance Sets Its Leadership Team As soon as the Paramount-Skydance-Warner Bros.-Discovery merger closed, the new leadership team announced a new name—Skydance, which I’ll use going forward—and a new executive leadership team. You’ve probably read through all the executive shuffling, but if you haven’t, here’s a quick, incomplete summary, in rough order of importance: Mattel’s CEO Ynon Kreiz—who previously ran Maker Studios—joined as co-CEO with David Ellison. HBO/HBO Max’s Casey Bloys will stay and run streaming. Former head of streaming for Paramount-Skydance Cindy Holland—who was also at Netflix—will depart. The former heads of Warner Bros.—Pam Abdy and Mike De Luca—are out. The film studios will be run by Dana Goldstein and Josh Greenstein. George Cheeks of Paramount will run Skydance TV, controlling all the TV production units. In comic book news, the DC films will still be run by Peter Gunn and Peter Safran. Lastly, the head of CNN, Mark Thompson, will stay in place. Let’s quickly opine on the particulars before diving into the broad ramifications. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Who I like and dislike in their next gigs… Why I think this consolidation will likely leave Skydance worse off… The math behind which mergers succeed and which don’t… A lot more ugliness in this merger… And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
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NBA star Wembanyama trains with French rugby club
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Nashville-inspired tavern, entertainment venue coming Westlake Towne Center
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Sixth annual Oktoberfest! returns to Barefoot Landing on Oct. 3
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Meet Haute & Freddy, the band that inspired ‘Carrie’ with breakout song ‘Shy Girl’
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How a St. Louis sixth-grader turned her love of space into a published book
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Inspired Entertainment slides after Brazil's ban on online betting and gambling
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New “plant armor” more than triples strawberry yields
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Morgan Rogers Names His Top Three Players Of All Time
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Huntington startup creates landmark-inspired pajamas and gifts
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Sandow Birk’s San Francisco show takes on Trump and U.S. history
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Schmooze: WV natives return to Charleston area for film shoot 20 years in the making
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How a Damien Jurado song inspired Phoebe Bridgers’ ‘Lost Weekend’
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Southwest Art Gallery & Science Center to host annual fundraising gala with natural elements theme
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Pokémon Space Trail and Merchandise Land at the Science Museum
, , , , • Created in partnership with the European Space Agency and The Pokémon Company International, the free-to-visit Pokémon Space Trail invites curious visitors of all ages to explore the Science Museum in London and discover more about space science in a fun, accessible way., , , , , • Visitors can seek out Pokémon across the museum, take part in special Pokémon GO activity and browse Pokémon merchandise inspired by the partnership with ESA in the Science Museum shop. , , • The Pokémon Spa...
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How a neighbor and daughter inspired Aric Putnam's political career
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A father lost his son at Rolling Loud. That real-life panic inspired a comedy
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‘Being Heumann' trailer brings Judy Heumann's fight to life
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Central Florida students ‘scout’ out coveted nuclear science merit bad
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The Netflix series Drive to Survive inspired Star Wars: Galactic Racer
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Pittsburgh Oktoberfest returns with food, music and Ferris wheel
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Cirque du Soleil to bring Mexico-inspired show to Houston
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'Dark Hollow': West Virginia horror film highlights Appalachian culture, history
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Streaming’s Biggest Show Returns…and a Buzzy Genre Struggles
(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.) Obviously, the big news of the week (if not month) is Netflix letting go of executive Bela Bajaria, their chief content officer. I’m going to cover this in my next “Most Important Story of the Week”, but I also have a data angle that I might publish before then. (Too much news this month, am I right?) But first, I have a bonus Streaming Ratings Report issue for you. Today’s article is a bit of a grab bag of topics I’ve wanted to write about, but couldn’t squeeze into the (already very long) Streaming Ratings Report issues. The NFL drives huge viewership numbers, so I’ve got a look at that. A whole bunch of TV shows returned to the traditional broadcast channels, and I have thoughts. And I have a quick look at adult animated shows, since a couple flopped earlier this month. Plus, the Emmys aired earlier this month, and we got some fun data bout how popular those nominated shows are and why I’m not optimistic about the show’s future. That’s a lot, so let’s dive right in. Subscribe Sports - Football Remains the King of Streaming Over the last two Streaming Ratings Reports, I sorta ignored the biggest “show” each week. (I was tempted to say “piece of content” but I know that word bugs folks.) In my database, I call these “specials”, and they sure are special. I speak of the king of American TV: football!!! Streaming football is back and, unlike some other sports, it routinely dominates all viewership. Probably the best way to show this is to update one of my favorite graphics, the “40 Million Hour Club”1 since football games have joined that club each week they’ve premiered: (Yep, that’s the data through 28-Sep, the first four weeks of the season. As a reminder, I take the average minute audience provided by Nielsen, factor out a percentage of linear TV viewers in home markets, and multiply the run time by the three-hour runtime.) Again, the numbers are huge. Let’s start with Netflix. They grabbed the rights to the bonus opening week NFL Kickoff game (which was on YouTube last year) and it put up 18.5 million viewers on average. That nets out to 47.4 million hours of estimated streaming hours. That’s good! Though, notably, it’s well below Christmas Day games from previous years. Compared to other streamers/broadcasters, that’s a bit of a mixed result. On one hand, Netflix’s 18.5 million average is about what YouTube claimed last year, though Nielsen used a bespoke methodology at that time, so I trust this viewership figure more. So that’s good. (The game also shifted from a Friday to a Thursday and that could have helped the viewership as well.) And Netflix continues to best Prime Video in total viewership—as you’ll see next—though Netflix has had much higher-profile (opening week and Christmas Day) games. NBC/Peacock’s opening game the night before averaged 25.1 million average viewers, which is just much bigger than Netflix (or Prime Video). That’s the big caveat to all streaming viewership records: even in success, they can’t compete with traditional linear TV. Previously, I called this my “hierarchy of viewership”, and the data keeps supporting that thesis. The downside for NBC is that this game’s viewership was down compared to previous years, though it may be a counting issue. Here’s a great chart from Sports Media Watch: Indeed, looking at all the opening week games across all windows, Netflix still lags the other primetime windows, but does well compared to the afternoon games: I saw a few folks make the case that streamers still lag traditional broadcasters in reach, and I’d add they really lag compared to “broadcast plus streaming” options like NBC/Peacock, ESPN/Disney+ and CBS/Paramount+. The best data I saw for this came from Samba TV, who charted reach through the 2025 season, and, wow. (Samba TV’s numbers are historically lower than Nielsen’s, so don’t compare their household figures to Nielsen’s hours, but use them as a proxy for the relative reach of the streamers.) The good news is Prime Video is NOT having a down year. Their opening Thursday Night Football game reached 18.6 million viewers (about what Netflix got), but that’s a high for Prime Video on Thursdays and the biggest Thursday night game since 2015. The TNF games the weeks of 21-Sep and 28-Sep continued this streak, getting 43.1 (16.8 million average viewers) and 42.5 total hours (16.6 million average viewers), which were both up from last year. Still, that continues the (typical) season slide: (For those new-to-streaming-football-numbers folks, the viewership declines for Thursday Night Football as the year goes along.) Overall, it appears as if Prime Video is now part of the “football habit”, be it for customers at home or out at places like bars and restaurants. And its viewership is slowly catching up to broadcast. One last chart shows this. Last season, Nielsen started adding out-of-home viewership to the charts, so I try not to do season-to-season comparisons as I did for the first few years. And while Nielsen added Big Data viewing this year, I’m going to compare the last two seasons. Here’s that chart, which shows the season-over-season gains: When it comes to streaming football, we have to keep a few seemingly contradictory thoughts in our head… First, streaming doesn’t come close to matching broadcast’s reach and, thus, viewership. Second, even with that gap, football is still the biggest “thing” on streaming. It’s very, very popular. Third, while some methodology changes have likely helped Prime Video’s numbers, their viewership does appear to be growing. Lastly, yeah, the NFL started the season off poorly, with week one dragging down the numbers in year-over-year comparisons. However—and again, methodology changes may have helped this—the viewership grew compared to previous seasons over the next couple of weeks. So football is still king. On streaming and off. Television - Adult Animation Continues to NOT Make the Streaming Charts In the last two reports, two adult-animated shows whiffed: Netflix’s animated comedy, Dang! Paramount+’s Sega-video-game-inspired fantasy/comedy, Golden Axe. Neither made the charts, but that’s usually the case for animated shows. I mean, here’s literally every animated show that’s made the Nielsen Original charts since the start of 2025: And one of those shows is G_abby’s Dollhouse_! A kids show! The problem with charts like this is that they don’t give you a sense of how many shows miss the charts. Netflix had at least eleven animated flops, including comedies like Big Mouth (a show everyone assumed was popular in the pre-Streaming Ratings Era), Long Story Short, Haunted Hotel, Mating Season, Strip Law, and Alley Cats, and action shows like Blood of Zeus, Castlevania: Nocturne, Devil May Cry, Splinter Cell: Deathwatch, and Tomb Raider: The Legend of Lara Croft. Prime Video had at least six animated misses, two in the same universe (Hazbin Hotel, Helluva Boss), three more comedies (#1 Happy Family USA, The Second Best Hospital in the Galaxy and Kevin) and an action show (The Mighty Nein). Disney+ had MCU and Star Wars animated misses (Eyes of Wakanda, Marvel Zombies, Star Wars: Visions, Star Wars: Maul – Shadow Lord, and Star Wars: Tales of the Underworld) but I can’t tell how many of those shows were geared towards adults. HBO Max had Harley Quinn and Hulu had Solar Opposites. None of these shows made the charts! That’s a lot of misses! If I remade the chart with all those misses, here’s how it would look: Listen, I know the counter arguments. First, it’s cheaper to produce animated shows than live action. Fair enough, but with viewership this low, even that cheaper price point starts to not matter. Second, just look at the acquired charts. Hit animated comedies can generate viewership for years! Shows like The Simpsons, South Park, Family Guy, and Bob’s Burgers do really, really well. Fair enough, but streaming has failed to recreate the dynamic that Fox has mastered so well. That’s a problem for streaming still. Television - Emmys! The annual Emmys broadcast was a few weeks ago, and I’ve got data on how the nominees performed on streaming, plus hot takes on this year’s viewership (and the big news about the broadcast’s, er, streamcast’s future). 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… The top Emmy-nominated shows… ...why I’m worried about the future of the Emmys telecast... ...the pros of broadcast television ...and the cons... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, we’ve got a double issue (since the weeks of 21-Sep and 28-Sep were so light), but then I’ll be all caught up after a deluge of streaming ratings data from Nielsen in September. In the meantime, I’m going to try to take a look at Netflix’s stats to explain why Bela Bajaria is out. But even light weeks give me plenty to talk about. The Great British Baking Show returns to Netflix and Apple TV has a buzzy new star-studded comedy. And Netflix has a controversial-but-appears-to-be-popular new game show. Plus big films like Toy Story 5, Backrooms and The Breadwinner head to streaming. And is East of Eden a hit? After that, The Kardashians return to Hulu, Prime Video has a reboot of Carrie, and Netflix has a horror show, Below. Disclosure Day heads to Peacock, The Housemaid heads to HBO Max_,_ a new Ben Affleck film, Animals, lands on Netflix, and Apple TV has a new John Cena action film based on, checks notes, Hasbro’s Matchbox toys. Okay. Longterm, some interesting TV production news. HBO Max ordered How to Survive Without Me, starring Kaley Cuoco, Joshua Jackson, Ray Romano and Rita Wilson, for fifteen episodes! I love that some streamers (or, at least, HBO Max) are finally ordering TV shows with more than eight episodes. In less wise production news, Landman does not appear to be coming back this year, since it just started production. Frankly, I don’t love this (get your shows out on time) but Landman is so popular, I doubt it matters.
Gears of War: E-Day sells 230K copies
Gears of War: E-Day has sold 230K copies since its advance-access launch on October 1 and full release on October 6. Steam accounts for 168K of those, with Xbox (console and PC) selling 62K. But there’s more to this story, as Xbox makes up the bulk of revenue. E-Day is the best-reviewed Gears game in nearly two decades (and the best one ever made, in my opinion). The Coalition has made a banger here (it’s currently in my top 10 of the year). Despite E-Day’s undeniable quality, this is a soft result. And it’s down to the business model, really. E-Day has made $37M so far, thanks to the Premium upgrade On Xbox, Game Pass is cannibalising much of the premium revenue. Our estimates show that 1.7M folks accessed E-Day via their subscription rather than a copy. But Xbox is having it both ways – or having it halfway, at least – via its Premium Edition Game Pass upgrade. Game Pass subscribers could pay $30 (or their local equivalent) for up to five days of early access starting October 1. Our estimates show that of the 1.7M who accessed E-Day through Game Pass, 722K paid for the upgrade. Between the review embargo lifting on October 1 and the full release, E-Day managed to shift another 250K early-access upgrades – no doubt helped by the campaign’s rave reviews. So despite selling far fewer copies on Steam, Xbox accounts for almost three-quarters of the revenue (roughly $26M of the $37M, versus about $11M on Steam). So “230K copies” undersells the paying audience. Including the 722K upgrades, nearly 950K people actually paid something for E-Day. The $30 upgrade is a halfstep from cannibalisation, but will Xbox go all the way? While E-Day is a sublime game, these are soft numbers for a flagship when Xbox badly needs revenue wins. E-Day sold 62K copies on Xbox against 722K Premium upgrades, so for every one copy sold on Xbox, nearly 12 Game Pass upgrades were sold. The $70 premium SKU is – functionally – dead on Xbox. Normally you can’t see what a Game Pass player would have paid, because the game’s just there in the subscription. But the $30 early-access upgrade estimate shows that 722K people demonstrated they’ll spend real money on this game. In a world without day-one Game Pass, many of these folks would have bought E-Day at $70. They paid $30 for five days early access to something they don’t own. Xbox is, in effect, charging its most valuable customers the least, based on a hangover from a tried-and-exhausted strategy from a previous administration. Those 722K willing-to-pay players generated about $21.7M via the upgrade. If three quarters of this group – mostly US and European audiences – bought E-Day outright, that’s nearly $40M. Of course, Game Pass does bring in meaningful recurring revenue, and E-Day is adding value for hundreds of thousands of subscribers. However, Game Pass is no longer growing, so Xbox is at a crossroads. Xbox is reportedly looking to do a Netflix and bolt on an ad-supported tier to pad it further. But that will just set a new floor, and leadership keeps telling us the priority now is revenue growth, which is subscriber-speak for ARPU. Xbox has already pulled Call of Duty from day-one Game Pass after day-one inclusion hammered its sales, with new CoD titles now arriving on the service around a year late. We know that some Microsoft executives believe the service devalues games outright, and rumours (which Microsoft has dismissed so far, to be fair) suggest that day-one releases could be taken off Game Pass. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe When a game this well-reviewed does this softly on its home platform, the model – not the game – gets brought into question. What else E-Day’s early adopters have played (including this month so far) Looking at E-Day‘s players on Xbox, most have played the franchise before (86% have played Gears 5, 76% Gears 4), and every game on the crossover list is either a shooter or a title from an Xbox-owned studio (though Game Pass is inflating those numbers, of course, more on that later): As for what else Xbox’s E-Day players have played this month, the top three are Fortnite (16%), Roblox (7%), and Call of Duty (6%). Another 5% played Minecraft Dungeons II, which is also on Game Pass and launched a couple of days before Gears‘ advance-access date. Many Game Pass players are happy to check out most big new additions. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Over on Steam, the top crossover games are also mostly shooters (slightly more PC-coded ones), including Space Marine 2, which was itself heavily inspired by Gears: Looking at what E-Day‘s Steam players are into this month shows who they are – as subscriptions don’t skew the data. The top three are Wardogs (13%), Deadlock (12%), and CS2 (10%), so you’ve got the restless shooter crowd checking out the new hotness. A little further down are Helldivers 2 and Space Marine 2, your co-op PVE shooter players who’ll feel right at home in Horde mode. Game Pass is skewing the playtime distribution on Xbox Looking at the playtime distribution in our platform, E-Day players on Steam are – relatively speaking – playing for longer: 54% of E-Day players on Xbox have played for five hours or less (versus 32% on Steam) 19% of Xbox players played for over 15 hours (versus 33% on Steam) 14% of Xbox players played for over 20 hours (22% on Steam) The absolute number of people playing for over 15, 20, and 50 hours is, of course, bigger on Xbox, thanks to the sheer volume of folks who came in through Game Pass (upgraders included). None of that is cause for alarm. Game Pass is the reason Xbox playtime skews lower, as when a game is free to try, people try it and bounce without putting in even an hour (17% under an hour on Xbox versus 6% on Steam). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe The subscription brings in tourists alongside the committed, dragging down the average even when the game is excellent (but also perhaps winning over the uninitiated). It’s standard across every subscription-included title, on PS Plus too. Forza Horizon 6, for instance, had 11% of its Xbox players bounce under an hour, versus just 2% on Steam. So, Xbox’s crossroads So there we have it. Gears of War: E-Day is an incredible game whose revenues have been stifled by subscription inclusion and exclusivity. It’s the best-reviewed entry in the series in fifteen-odd years, but it still turned into one of the year’s softer flagship launches, not because players didn’t want it, but because Xbox’s own storefront gave its most willing buyers a reason not to pay. Which leaves Xbox at a crossroads. Will it keep making Gears games when the financial returns are this thin and the margins this low? And if it does, does the next one arrive off Game Pass at day one – the way CoD now does, or even on PlayStation? I think it should. Alright, back to E-Day for me! The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
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Van Goat Studios, which has been operating since 2019, has allowed Johnson to express herself and reflect the spirit of local communities through murals. Photo provided by Elyse Johnson.Elyse Johnson of Van Goat Studios in Dunn wants to spread her artistry and make a lasting mark in her community. Van Goat, which has been operating since 2019, has allowed Johnson to express herself through murals and decorating electrical boxes in the urban landscapes of North Carolina. On top of traditional mural painting, Johnson offers what she calls “portable murals,” an option tailor-made for structure owners who do not want to commit to a design for their wall.“A contractor builds a framed piece of wood, and then they can frame the ‘mural’ onto the wood, whether it’s into their building, whether it’s interior or exterior,” Johnson said. The beginnings of Johnson’s journey into establishing Van Goat Studios reflect the teachings she wants artists to take away today: everything is a learning opportunity. When she started Van Goat, she shared it was a joint venture with a business partner. “I mainly did that because I didn’t feel like I was ready to go and do this on my own,” Johnson said. Her business partner eventually dropped out of the project, deciding she wanted to pursue other forms of art. That is when Johnson was thrust into growing her business on her own during and in the aftermath of the COVID-19 pandemic. “I had built up my confidence enough to go out and reach new heights,” she said. “And I was probably one of the few that benefited from COVID.”The moment presented a silver lining for Johnson. One of her first projects was a Farmers Day mural for the town of Coats. “When COVID-19 hit, Coats was not able to hold their annual festival, so they had a little bit of savings. They decided they wanted to do something for their community without getting anyone sick,” Johnson said.From there, word of mouth spread. Now, Johnson has an organic way of approaching projects. “Like a lot of muralists, if I feel inspired by a building, I will just go up and talk to that building owner and tell them a mural is something they should consider,” Johnson said. But above all, Johnson says she wants art to be accessible to everyone. Johnson said she is trying to stick to projects that benefit “the little guys.” “I’m not trying to go for a project in downtown Raleigh to get the eight-foot-tall building,” Johnson said. “I’m not trying to go to those major cities and get those huge buildings for two reasons: one, I don’t want to go that high; two, my passion really lies with the small guys.” But due to financial constraints and the material reality of art commerce, that requires open communication, she added. “I don’t want to just snowball you with this huge price, and then you just shut me down because it wasn’t what you were thinking,” Johnson said. “At the same time, I am an advocate for the arts, so I’m not going to give you a $10,000 mural when you’re only going to pay $5,000.” There is a healthy balance in explaining the artistic process and working with clients and the surrounding community, Johnson said.“Your municipality invested this, and this is why they invested this, and this is how it’s going to help and improve your community,” she noted. “Same thing when I’m talking to a small business. You asked for me to come at you with this that is outside your budget. How do we make this still your same exact goal, but within your budget lines?” Johnson also provides lessons to aspiring artists. She does so with a mission: how do you master the balance between being a great artist and a competent business owner? “We still do art lessons, but I’m also going to give you business scenarios,” she noted.One of the scenarios she has come up with for her students is a T-shirt competition. “The kids have to think about ‘okay, I can’t just draw whatever I want on a T-shirt. I need to think about what colors Miss Elyse likes. What does Miss Elyse’s logo look like? What would Miss Elyse like?’” Johnson said. “So the design needs to be around that kind of concept.” As Johnson looks toward the future of Van Goat Studios, she is thinking of time, longevity and succession. Johnson is a new mom, which she said has shaped how she sees the future of the studio.“I still want my name and my business out there continuing, so that when my daughter is of age and she can be more independent, then I can be out there doing more and more,” Johnson said. “I would love to get a student to pass this on to, or an intern. I would love for this business to be passed on to the next generation and let them go.”
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I wanted to write a response to van Fraassen, but the projects demanded too much of my attention. But now that those projects are complete, I am in a position to explain the objections to van Fraassen’s thesis. Summarizing van Fraassen’s argumentIn a nutshell, his argument is this: What scientists do is make predictions based on theories and then invite others to test to see whether those predictions are borne out. “If theory T is right, result R should happen in experimental condition C.” Many think that running an experiment that shows that R happens in condition C is proof that theory T is true (and should be believed). But, van Fraassen argues, that R happened in condition C is only a reason to think that R happens in condition C. That’s the only observable, or empirical, result we can actually see, so that is all that we are really justified in believing. (The underlying theory that made that prediction still may or may not be true.) That is why he calls those who accept his position “empiricists.”Before I explain what is wrong with this position, let me explain what it gets right. What van Fraassen Gets RightFirst, a theory correctly predicting the results of an experiment is not, strictly speaking, “proof” that the theory is correct. The basic line of reasoning is this:If the theory T is true, result R should happen. Result R did happen. Thus, theory T is true.In other words:“If T then R. R. Thus, T.”This is a deductively invalid, fallacious mode of reasoning, called “affirming the consequent.” Those premises do not guarantee that the conclusion follows. “If I am in Pennsylvania, then I am in the USA. I am in the USA. Thus, I am in Pennsylvania.” Clearly that argument doesn’t guarantee its conclusion; neither does the above argument.However, science is not a deductive method of reasoning; it is an inductive one. And inductive arguments merely try to raise the probability of their conclusion, not “prove” them for certain. Thus, the fact that an experimental result doesn’t prove a theory is true is irrelevant; it’s not supposed to. That is not what scientific reasoning is about.___If the hypothesis that something exists clearly provides the best explanation for what we can observe, then the belief that it exists is what is rational.___Second, it’s also true that a single experimental result doesn’t provide enough justification to believe that a theory is true. Scientists do not come to a consensus about whether a theory is true by looking at a single experiment; they look at all the evidence to determine where the preponderance of evidence points. The mere fact that I am in the USA raises the probability that I am in Pennsylvania, but not nearly enough to conclude that I am in Pennsylvania. However, if I am also regularly encountering people wearing Eagles and Phillies hats and seeing advertisements for Founding Father tours, I probably am. In the same way, a theory successfully predicting the outcome of one experiment is not enough to conclude that it is true; but if a theory makes a wide variety of predictions that are all vindicated by multiple experiments, performed by many different groups and people, all actively trying to prove the theory false (which is what good scientific experiments are designed to do)—that is a good reason to conclude that the theory is true. In other words, if you repeatedly try to prove something false but can’t, that is a very good indication that it isn’t. The problem of underdeterminationIn reply, those whom van Fraassen calls “empiricists” often point to the “problem of underdetermination.” For any given theory that makes successful predictions about what happens in experimental conditions, there are countless other possible theories that make exactly the same predictions—and since they do, the experimental evidence in question is just as much reason to accept any of those theories as it is to accept our original one. Thus, the argument goes, we have no way of knowing whether our original theory is true, or one of the other “predictively equivalent” theories is true. SUGGESTED VIEWING How Occam's Razor changed the world With Johnjoe McFadden As an example of underdetermination, philosophers often offer this example. The evidence of fossils seems to provide reason to conclude that the universe is quite old; ancient fossils are what the “ancient universe” hypothesis predicts. But it’s also possible that God created an ancient-looking universe 200 years ago, complete with a “fake” fossil record for us to find, to make it look old. The existence of fossils is what that theory predicts too. So, the argument goes, the fossil record can’t be used as evidence that the universe is ancient; the fossil record supports the “200-year-old ancient-looking universe” theory just as much. The problem of underdetermination points out that, for any theory with supporting evidence, we could invent another completely different theory that predicts exactly the same evidence, and thus undermine that evidence’s ability to support the original theory.But this “argument from underdetermination” betrays a fundamental misunderstanding of what scientific reasoning is and how it works. To explain, let me use another rather strange (but very real and commonly discussed) philosophical thought experiment called “The Grue Problem.” The “Grue” ProblemSuppose I want to know what color emeralds are, so I observe a few, see that they all appear green, and form the theory that “all emeralds are green.” I thus predict that the next 100 emeralds I find will also appear to be green. And let’s say that happens, and so I thus conclude that my theory that all emeralds are green is true. Now, one might rightly point out that I don’t know for sure that all emeralds are green—I have not seen them all. Maybe some I haven’t found yet are blue. Fair enough. After all, we used to think that all swans were white, until we found some black ones. But let’s say that I go on a quest and collect every emerald in the universe—and, for the sake of the argument, let’s say I can do this, and can even know that I have every one of them. So, I collect them all, look at them all, and verify that they all appear green. Can’t I now rightly conclude that all emeralds are green?Inspired by the problem of underdetermination, a friend might argue that I cannot.Sure, they all appear green now—but there could be another kind of color called “grue.” Something is grue if it is green up to a certain point in time, but then spontaneously turns blue. And there could be an infinite number of “shades” of grue. Something that is one shade of grue will turn blue at noon today, but something that is another shade of grue will turn blue at noon tomorrow, etc. So yes, the emeralds appear green now; and since they haven’t turned blue yet, they are not some “past” shade of grue. But they might be some “future” shade of grue (e.g., they may turn blue at noon tomorrow). And since all future shades of grue are consistent with “being green up to this point in time,” the evidence you have is completely consistent with the notion that all emeralds are some future shade of grue, rather than green. Indeed, that they would appear green until now is what the “some future shade of grue” hypothesis predicts. So, we have just as much reason to conclude that all emeralds are some shade of grue as we do to conclude that they are green.You’re probably thinking “It’s not equally possible that the emeralds are grue; they are obviously green.” You are right! But explaining why your instinctive reaction to my friend’s argument is correct will help inform why van Fraassen’s “empiricist” is wrong and science actually does describe reality.The main mistake my friend makes is in thinking that the “empirical evidence” (of all the emeralds appearing green) is (or even should be) all I am using to draw the conclusion that all emeralds are green. It is not. I am also considering known facts about how colors typically work; things don’t usually change color, and when they do, they don’t do so suddenly, without cause, and all at once. So, even though the simple evidence of the emeralds all appearing green up to this point is consistent with them being some future shade of grue—that is even what the grue hypothesis “predicts”—it is still exceedingly unlikely that they are. The hypothesis that they are green is much more likely. Understanding science refutes the problem of underdetermination The misunderstanding about science that the “empiricist” pointing to “the problem of underdetermination” makes is similar to the one that my friend made. Science is not just about considering experimental evidence; in fact, it’s not even just about considering empirical evidence. As Ernan McMullin and many other philosophers of science have pointed out, the inference that makes science is “inference to the best explanation” (sometimes called “abduction” or “retroduction” by McMullin). While, depending on the circumstances, scientists use many different kinds of reasoning, science as a whole is, simply put, the process of considering multiple competing explanations and comparing them to certain criteria—explanatory criteria (the kinds of things explanations must be and do, by definition, to be a good explanation)—to see which explanation is the best.And these criteria do not deal only with empirical results. Yes, successful predictions raise the probability of a hypothesis, but it’s also the case that the more new assumptions a theory makes, the less likely it is to be true; every new assumption presents an opportunity for the theory to be false. (The fewer assumptions a theory makes, the simpler or “more parsimonious” it is said to be.) Likewise, the more existing evidence a theory contradicts, the less likely it is, because in order for a theory to be true, every piece of evidence it contradicts has to be somehow faulty. (The fewer established theories a new theory contradicts, the more “conservative” it is said to be.) And, obviously, the more something explains, the better explanation it is. (This is called having “scope.”) If a theory raises unanswerable questions, it’s not expanding our understanding, and thus is not wide-scoping. Scientists consider all these things when deciding which theory to accept, because the theory that adheres best to these explanatory criteria is most likely to be true.___the mere fact that a theory’s predictive success is why it “sticks around” or “becomes accepted” in the scientific community is not a reason to be skeptical about its truth.___The reason the grue hypothesis is no good is because it invents an entirely new kind of color—not just a new shade, but an entirely different category of color (a different way colors work)—and thus is not parsimonious. It raises unanswerable questions about how and why emeralds would just spontaneously change from green to blue (and thus does not have wide scope). And it contradicts what is already well established about how color works (and thus is unconservative).The theories that the problem of underdetermination points to do the same thing. Yes, the theory that God created an “ancient-looking universe” (complete with an ancient-looking fossil record) two hundred years ago is also consistent with the empirical evidence (of a fossil record) that presently exists; but that theory is monumentally unparsimonious (it requires many extra assumptions about infinite entities) and not wide-scoping (it raises unanswerable questions about why God would do such a thing). So, I can rationally conclude that it is false.Indeed, the history of science includes many examples of theories that were rejected because they lacked parsimony and/or scope, even before their falsity (and the truth of their competing theory) was confirmed by observation. As I point out in my book, geocentrism was rejected by the scientific community because it lacked parsimony, almost 200 years before the observation of parallax confirmed that the Earth moves around the sun. And the continuum theory of matter was completely rejected by 1860, because it couldn’t explain chemical reactions or organize matter into a periodic table, even though the experiments that eventually confirmed atomic theory weren’t even proposed until the 1870s. Solving the best of a bad lot problemIn response, the “empiricists” are likely to object, this time pointing to the “best of a bad lot” problem. “We have no reason to conclude that an explanation that has been shown to be better than others is true because we have no guarantee that the true theory was among those that we were considering.” If you have a “lot” (a collection) of poor explanations, even the best one is not true.The responses to this problem, however, are numerous. Peter Lipton argues that the set of hypotheses that scientists consider are not just randomly selected and thus unlikely to contain a theory that is true; they use existing knowledge to home in on what is most likely to be true. A doctor trying to explain abdominal pain is not going to bother wondering whether demons are causing it; they are going to stick with things like appendicitis and kidney stones, because they are most likely. Further, despite its name, inference to the best explanation is not just the process of comparing hypotheses and accepting the best one; we also want one that is a good explanation in its own right. If it’s not, we are going to keep looking until we find an explanation that is. And while that process does not guarantee that we will come across the exact truth, it’s very likely that the theory that emerges as the best will be at least approximately true, and thus we will be justified in believing it. And lastly, as I point out in my book, although many theories not based in scientific evidence (like geocentrism and continuum theory) have been completely overturned, science almost always progresses by the refinement of scientifically established theories—not their replacement. (Although our sun is not the center of the universe, heliocentrism was our first step in understanding the Earth’s true place in the universe.) So even if a theory we accept today may not be completely right, accepting it is a step on the journey toward the complete truth. The example of atomic theoryNow, it’s worth pointing out that most empiricists are not skeptical of all scientific theories; they are only skeptical of the ones that hypothesize the existence of “unobservables.” It’s not like they think that round Earth, heliocentrism, and germ theory are just useful (but untrue) “instruments” for making predictions about how to most efficiently navigate the seas, predict planetary motion, and treat diseases. They admit that the Earth actually is round, that the planets revolve around the sun, and that germs exist and cause disease. These facts and entities can be observed; the theories that suggest they exist are true. It’s only when theories start hypothesizing the existence of unobservables—like electrons, or quantum fields—that can’t be observed directly, that we should start doubting the theories’ truth. And to be fair to van Fraassen, in this published work, he doesn’t really say that we should doubt the truth of such theories. Only that scientific reasoning does not rationally force us to accept them as true. Skepticism, or agnosticism, he argues, is warranted. SUGGESTED READING Science is based in metaphor By Andrew Reynolds But the history of atomic theory throws a monkey wrench into that argument. Atoms used to be unobservable; again, scientists first accepted the theory that they exist because it had such grandiose explanatory power. But then atoms were seen with electron microscopes. They thus moved into the category of the observable. But this didn’t substantially change anything about what scientists were justified in believing; it certainly didn’t change any “atomic skeptics’” minds. It just confirmed what everyone already knew! If the hypothesis that something exists clearly provides the best explanation for what we can observe, then the belief that it exists is what is rational. The fact that the thing itself is not technically observable does not make doubting its existence rational.What’s more, the atoms were seen with an electron microscope. But electrons are themselves unobservable. How can an electron microscope reveal an atom if electrons are not real? This leads us to what is famously known as Hilary Putnam’s “miracle argument.” It’s (not) a miraclePhilosopher Hilary Putnam’s miracle argument is somewhat famous. Basically, he argued that a scientific theory being able to repeatedly make successful predictions—even about unobservables—without being at least approximately true would require a “miracle.” In other words, it would be such an improbable occurrence that it could not rationally be believed—the better explanation for why scientific theories about unobservables make the right predictions is because the unobservable entities and structures they hypothesize exist.Van Fraassen has addressed this argument. Indeed, in his original article, where he references Alison Gopnik’s point about orgasms not being “necessary for procreation” even though the desire for orgasm “drives the creation of progeny,” he is pointing to his own argument about how organisms are not naturally selected by evolution to get true beliefs; to the extent that belief-forming processes are selected for, the ones that are selected are the ones that are useful for survival—not the ones that produce true beliefs. In the same way, van Fraassen argues, scientific theories are accepted, not because they are true, but because they aren’t falsified; they make successful predictions; that’s what makes them “stick around.” So, the fact that they make successful predictions (and thus became accepted) is not a reason to think they are true.This argument is similar to C. S. Lewis’s “argument from reason,” which he used to argue against evolution: “The truth of evolution undercuts our ability to know that it is true.” Lewis’ argument famously failed; Elizabeth Anscombe, by Lewis’s own admission, demolished Lewis in a debate on the topic, and I have explained elsewhere why modified versions of the argument fail as well. In short, it’s because it fails to recognize that a belief-forming process can make an organism more likely to survive because it reliably produces true beliefs. It is therefore not the case that beliefs generated by naturally selected belief-forming processes are automatically false or unjustified.In the same way, the reason a theory “sticks around” could be because it’s not falsified, because it “makes correct predictions.” But the reason it makes correct predictions is most likely because it is true. (In pointing this out, I am echoing the arguments of Musgrave, Lipton, Psillos, and Kitcher, who refuted van Fraassen’s argument and analogy long before his 2024 article.) It would be a huge coincidence that it could do so without being true. And that is the point of Putnam’s miracle argument. Thus, contrary to van Fraassen’s suggestion, the mere fact that a theory’s predictive success is why it “sticks around” or “becomes accepted” in the scientific community is not a reason to be skeptical about its truth. ConclusionLet me close by saying something about the fact that empiricists don’t doubt the truth of all scientific theories, just the ones that hypothesize unobservables. In today’s society, this theory is dangerous to espouse publicly. The nuance between being skeptical about all of science, and just the highly technical theories about unobservables, is guaranteed to be lost to the average reader. And there is so much unjustified skepticism and doubt about the findings of science and experts that a headline like “Science Does Not Describe Reality” could easily fuel the anti-science movement, worsen climate change denial and cause the next pandemic.This is why I believe it was important to still respond to van Fraassen’s article, a full two years after he wrote it. Not only, as I have argued, does it represent a philosophically inaccurate view of how scientific reasoning works and what scientific reasoning can do, but it is a dangerous view to boot. It should thus be rejected.
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Nashville-inspired entertainment destination planned for former Sunken City Brewery at Smith Mountain Lake
Widow turns tragedy into triumph with new Blawnox-based baking business
A Blawnox widow is turning personal tragedy into personal triumph with a new baking business inspired by her late husband. Lisa Collins was devastated when she lost her husband of 27 years, David Collins, suddenly from cardiac arrest in 2023. The couple’s three adult children were grown, so Collins was