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Manny Pacquiao mentioned in Marvel’s ‘VisionQuest’
Photo: Screengrab from Disney+ Filipino boxing champion Manny Pacquiao receives a brief mention in Marvel Television’s VisionQuest, when a conversation about an injured hand turns to his record in the sport. The reference comes in “Reboot,” the third episode of the Disney+ series, released October 21. Thomas Shepherd, played by Ruaridh Mollica, tells Vision (Paul Bettany) that he can manage…
Chris Pratt confirms Star-Lord will return to Marvel Cinematic Universe
Chris Pratt attends the 'Guardians of the Galaxy Vol. 3' World Premiere at the Dolby Theatre in Hollywood, California on April 27, 2023. (Photo by Rich Polk/Getty Images for Disney)
Marvel's Wolverine leads US September charts, achieves highest monthly dollar sales for a Sony-published title since Helldivers 2
PlayStation 5 spending rose 43% year over year, while unit sales increased 22%
Carrie-Anne Moss won’t return for ‘Daredevil: Born Again’ season 3 (exclusive)
Carrie-Anne Moss says Marvel didn’t invite her back for ‘Daredevil: Born Again’ season 3, but she is reuniting with ‘Jessica Jones’ star Krysten Ritter on a new project.
Morgantown native Emily Calandrelli brings science to Marvel's 'Iron Man and His Awesome Friends'
MORGANTOWN, W.Va. — For Emily Calandrelli, science is a superpower — one she hopes to inspire the next generation to discover for themselves.
Marvel exhibit brings more than 150 artifacts to Houston Museum of Natural Science
Marvel: The Exhibition – Universe of Super Heroes opens at the Houston Museum of Natural Science Dec. 19, featuring more than 150 artifacts including costumes, props, concept sketches and original-comic book art.
VisionQuest Explores the Tension Between Marvel Magic and Marvel Science
VisionQuest makes magic and science messy again in the MCU.
T-shirts and silver balls: Politics get mixed in with the profane at a Trump store
By Elle Reeve, Samantha Guff, Frank Fenimore, CNN Boones Mill, Virginia (CNN) — Walk into Trump Town USA in Boones Mill, Virginia, and you may marvel at the breadth of human creativity, as long as you’re not distracted by how the merchandise tackles some of the most controversial political issues in the most vulgar way
PlayStation Founder Understands Why Players Want to Keep Physical Media Alive
'I really understand that mentality'
Houston Museum of Natural Science scores massive Marvel exhibit
Costumes, iconic comics and life-size statues of Marvel Heroes are coming to Houston.
Marvel exhibition coming to Houston Museum of Natural Science
Marvel: The Exhibition – Universe of Super Heroes is scheduled to open at the Houston Museum of Natural Science on Dec. 19, 2026.
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.
US Representative Introduces Plan To Preserve Digital Game Ownership
"The legislation aims to close the gap between buying a game and owning it"
Best Disney+ deals and bundles: Best streaming deals in October 2026
Catch the best from Marvel, Star Wars, and more with these Disney+ deals and bundles.
“The Hobbit ”and Marvel star Martin Freeman quietly marries longtime partner Rachel Benaissa
Freeman and Benaissa have been dating since 2020.
Eternal Anima interview with producer Makoto Shioda and development director Katsuhisa Higuchi – Future Sight Battles, time travel, and more
Gematsu recently sat down with Eternal Anima producer Makoto Shioda and development director Katsuhisa Higuchi to discuss Marvelous’ newly announced turn-based RPG. Topics discussed include t…
Ubisoft plans cuts at German studios, adding to wave of workforce reductions
Ubisoft is planning to reduce its workforce in Germany, where it operates a trio of studios, by about 100 workers, Game File has learned. The company wants to offer employees buyouts to, should enough people accept, avoid having to lay anyone off. “In Germany, we initiated discussions with the Works Council last week regarding a proposed voluntary departure plan across Ubisoft Dusseldorf, Ubisoft Berlin & Ubisoft Mainz,” a company rep told Game File. A “works council” is a union-like group representing employees. “The voluntary plan is the primary measure being proposed to support the intended organizational changes,” the Ubisoft rep added. The company declined to confirm the scale of the potential headcount cut. Of the impacted studios, Mainz might be the best known to the public. It leads development of the Anno series and shipped the well-reviewed strategy game Anno 117: Pax Romana in November 2025. Berlin and Dusseldorf operate as support studios within Ubisoft’s creative network. Berlin recently supported the development of Rainbow Six Siege and the Rayman Legends Retold remake. Dusseldorf also contributed to those projects, as well as The Settlers and Ubisoft-branded escape rooms. Dusseldorf is the biggest of the three studios, with some 400+ workers, compared to just over 100 at the other two, a source familiar with the reductions and the teams told Game File. More than half of these new reductions of about 100 people are expected to happen at Dusseldorf. The planned cuts were announced at a town hall for the German studios on Tuesday of last week. In an email follow-up, the studio group’s managing director, Benedikt Grindel, said the cuts were intended to “best position our German studios for the future... with a clearer focus on their role, capabilities and organizational setup needed for the work ahead.” The email was an echo of the past. In January 2025, Grindel had emailed the Ubisoft developers in his region (or studio “zone”) to explain that a round of 185 cuts at the time, including about 65 at Dusseldorf, were “essential to improve our operational efficiency and ensure the long-term sustainability of our studios, the zone and the company.” A half-decade of continued job cuts Ubisoft has been aggressively cutting its headcount for years. At the end of September 2022, it had 20,729 workers. By the end of March 2026, that total was down to 16,590. Studio management is trying to trim costs as it grapples with a changing industry and a drought of releases, let alone hits. The company announced earlier this year that it had reduced its costs since 2022 by “nearly €325 million” ($362m) and planned to lower them through 2028 by another €180 million ($200m). In June the company said it was closing down its Winnipeg and Belgrade studios and cutting roles in its Barcelona team. Even commercial and creative success hasn’t spared studios from this ongoing company-wide contraction. As Game File was nailing down details around the proposed cuts in Germany, Ubisoft management was informing workers of cuts in its Singapore studio, which shipped a hit remake of Assassin’s Creed IV: Black Flag this past July. Some 70 positions in Singapore are being eliminated “to align the studio with upcoming production needs,” per a company rep’s statement to Game File. In early 2024, a large team in the Singapore studio launched the multiplayer pirate game Skull & Bones. It performed poorly but has been supported with regular content updates since. Many of Ubisoft’s studios around the world are heavily subsidized via regional grants and tax breaks. Singapore had been among them for years, but received no such local assistance in the 12 months ending this past March. News of the Singapore cuts broke today alongside word that Ubisoft is also proposing the closure of RedLynx, pending negotiations with officials. The Finnish studio behind the motorbike series Trials was founded in 2000 and sold to Ubisoft in 2011. As reported by VGC (and corroborated by Game File), Ubisoft management told employees it could not come up with a new, sustainable assignment for RedLynx. The 2025 workforce at Ubisoft Dusseldorf were straight-up cuts. This time, Ubisoft is hoping the reductions at its trio of German studios will largely come from workers taking a payout to leave. The company offered such voluntary dismissals at its Massive Entertainment studio (The Division) a year ago. For the German studios’ buyouts this time around, Ubisoft and the Works Council had discussed a formula that’d pay a worker’s monthly salary multiplied by 1.5 and by the number of years they’ve worked at the company, according to Game File sources. The formula is still subject to negotiations with the Works Council and has not yet been part of an official offer to workers. It could be adjusted up or down, and it could be supplemented with additional bonuses. Asked about the floated payout formula, a Ubisoft rep told Game File, “The terms of a potential voluntary departure program remain subject to negotiation with employee representatives. No final agreement has been reached, and we won’t comment on specific proposals while discussions are ongoing.” 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: Epic’s AI adventures Epic Games (Fortnite, the Unreal engine) is all-in on using AI to try to transform the way it makes video games and game-making tools. It’s leaders appear to be undeterred by any resistance among gamers and some game developers around generative AI—and instead emboldened by advances, particularly in AI-assisted programming. A recap of the last three days: On Monday, Bloomberg reported that Epic management told workers last week that development of an upcoming game combining Star Wars and Marvel characters would be “AI first.” Employees would be expected to use AI models such as Claude to code the game. A manager told Epic’s developers there would be “[n]o more hand-written code” and that art for the game would be “generated with full AI workflows,” per the outlet. Just ahead of that story running, Epic founder Tim Sweeney tweeted: “We have a huge pivot underway here at Epic, moving developers around to retool for maximum AI acceleration. The aim isn’t to do the same stuff with fewer people, but to enable everyone here to build MORE and BETTER stuff, and to bring the benefits to all teams using Unreal.” In a follow-up, Sweeney predicted that most game development processes would be at least three times faster a year from now than they were in January 2026, thanks to AI. To a person on X who told him he was failing to read the room, Sweeney said: “Much of the room wants it to be 2016 again, but it’s not. Our job, as the provider of tools and technology to much of the industry, is to design for the present that is and the future that will soon be.” On Wednesday, Epic announced it was releasing a faster launcher for its Epic Games Store marketplace. It did so by stating in a blog post as clear as could be that the launcher is an AI-enabled, vibe-coded project: Programming is hard. So, instead of doing that, we vibe coded a new Epic Games Launcher that’s way faster and more responsive than the current one, and has a new look. Programming is hard? That was unexpected phrasing from a company founded by a legendarily great programmer. Back in 2011, Sweeney told me that he’d picked up programming quickly as a kid and rejoiced at the power it gave him. “I could look at any program that anybody else had written and, with enough effort, build something cooler.” Item 3: The Xbox Labs experiment (and one of the people behind it) Microsoft’s Xbox division, which is flooding the zone with announcements lately, yesterday revealed a new internal tech-tinkering team called Xbox Labs. In the words of Xbox boss Asha Sharma Labs is “a small group of game makers, engineers and scientists whose job is to turn emerging ideas into things our players and developers can experience.” Conventional wisdom coming out of the announcement is that Labs is a team that’ll focus on ideas driven by generative AI. In her announcement, Sharma cited some of the dizzying achievements in tech and gaming over the past month as AI agents and other AI tools have been deployed to swiftly figure out how popular games work, then rebuild them and mix them up. She mentioned seeing ”games rapidly decompiled and rebuilt to run on hardware they were never originally designed to support” and said “[p]erhaps more surprisingly, we’ve seen many of the biggest games in the world have been remixed into the source code of another.” (Minecraft plus Elden Ring, for example, or Fortnite + Super Monkey Ball + Overwatch + Diablo + others.) Sharma also cited the work of Windows PC games being ported to run in browsers, a seeming reference to a recent AI-assisted fan port of Halo. Or perhaps Call of Duty or GTA. Sharma didn’t use the specific term “AI” in her memo, but she came close, citing AI “agents” and their potential for game-making tools that Labs could help craft: I think XBOX has an important role to play here. Coding became the first major workload for agents because they can write, run, and test software. Games share many of those same properties, and people spend more than 72 billion hours a year playing XBOX games, roughly five times the estimated time spent writing code worldwide. We’ve spent 25 years learning how to make great games, and I want our game makers to help shape what these new technologies make possible. As we learn, we’ll share the tools we build with developers across the industry, just as we always have. When I asked an Xbox rep if Labs was an AI-centric team, they said genAI was not the focus, describing it as having a broader mandate for using new tech in new ways in gaming. As an example, they pointed to Xbox’s recently launched disc-to-digital gaming usage rights program. Microsoft didn’t specifically name anyone involved full-time in Xbox Labs yesterday, but on social media and LinkedIn, I spotted Adrian Mato IDing himself as leading the creatio of tools at Labs and talking up the launch. Mato first caught my attention in late September, when he said on X that he was “starting to build a new team at Xbox focused on products and tools for how games get built and distributed as agentic tools become more capable.” At the time, he framed AI-based tools as a supplement to traditional game dev tools. “I don’t think we need to replace them,” he said. Since then, he’s publicly shown interest in AI and in games. He’s recently spent some of his X feed marveling at the power of AI agents and praising the lighting in the latest Gears of War. Following the Labs announcement yesterday, he enthused about the Xbox Labs’ stylish landing page. He wrote: “We built some fun tools to art-direct shaders in real time, experimented with interactive ASCII art, and sprinkled in lots of tiny details. “Move your mouse to leave a colorful trail that reveals the original footage, or interact with the video to trigger bursts of particles. “A lot of love went into making it all feel just right. “More to come”
An 194-Year-Old Tortoise Named Jonathan Is an Anti-Aging Marvel—and We Finally Know His Secret
He’s way over the hill and still going because of incredible genes. But what’s his skincare routine?
Trillions Of Particles Pass Through You Every Second. What They Are
Neutrinos have always fascinated scientists as they pass through everything that's there on the plant, like Marvel's fictional character Juggernaut (though not like a wrecking ball).
Paul Bettany says Marvel transformed his life after he was told his career was over
By Francesca Halliwell LONDON, Oct 12 (Reuters) - British actor Paul Bettany said Marvel has transformed his career and personal life after an unlikely twist of fate over a decade
VisionQuest’s Biggest Entertainment Factor Remains James Spader’s Ultron
Marvel’s VisionQuest brought back Paul Bettany’s Vision for another chapter as he continues his search for identity The post VisionQuest’s Biggest Entertainment Factor Remains James Spader’s Ultron ap...
Report: Epic Games goes all-in on AI for Disney collaboration
No more hand-written code" or AI-free art for delayed Marvel/Star Wars shooter.
VisionQuest’s Biggest Entertainment Factor Remains James Spader’s Ultron
Marvel’s VisionQuest brought back Paul Bettany’s Vision for another chapter as he continues his search for identity
Epic Games delays Disney game and tells developers to go "AI first"
Epic Games has delayed its upcoming Disney collaboration - a shooter featuring characters from the Marvel and Star Wars…
‘Play On!’ hits all the right notes
The English Renaissance meets the Harlem Renaissance in “Play On!,” a sparkling show that marries a loose adaptation of Shakespeare's “Twelfth Night” with the music of Duke Ellington. Conceived by Sheldon Epps, who also directed the original 1996-97 production (first in San Diego, then on Broadway), the show is getting a marvelous revival under his direction to open Chicago Shakespeare Theater's 40th anniversary season.While the title “Play On!” refers to the famous quote about music being the food of love and thus to the dozens of Ellington songs—among them “It Don’t Mean a Thing,” “Don’t Get Around Much Anymore,” “I Got It Bad (And That Ain't Good),” “Solitude” and “I’m Beginning to See the Light”—incorporated into the plot, one of the highlights for me is the clever way Cheryl L. West's book reworks the story. Apparently, it's also been updated for this outing, among other things to give the women more agency. In the big opening number (there's a six-piece, horn-heavy onstage band), aspiring songwriter Vy (Hailee Kaleem Wright) is the one to “Take the 'A' Train” to “Drop Me Off in Harlem.” She wants to meet the famous Duke (Edred Utomi) — Ellington, not Orsino, that is — and she seeks the help of Jester (an engaging James Harkness) to find out how. When Jester tells her in no uncertain terms that the music industry is a man's world, she disguises herself as Vy-Man and persuades the Duke to listen to one of her songs. He's suffering from a creative block because he's pining for Lady Liv (Krystal Joy Brown), queen of the Cotton Club, and convinces Vy-Man to bring the Lady the song as if the Duke had written it, promising to reward her with employment. Vy reluctantly complies, and the predictable complications ensue. Lady Liv is attracted to Vy-Man, while Vy is attracted to the Duke and he to Vy, though it disturbs him because he thinks she's a man. The fallout when the deception comes to light bodes ill—at least for a while.Here's where West's book cannily diverges from Shakespeare. Vy's twin brother Sebastian really is dead, so West devises another love interest for Lady Liv basically by rehabilitating the Malvolio character, here named Rev (Alan H. Green), the Lady's uptight, self-important manager. His unrequited love for her is magically transformed after he gets his comeuppance (minus the torture) from Miss Mary (Alanna Lovely), her honey Sweets (James Earl Jones II) and Jester, the stand-in for Sir Toby, who has romantic problems of his own with a woman named CC (Kaylah Janssen). In other words, Rev gets the girl — and also a show-stopping yellow zoot suit from costume designer An-Lin Dauber. All the costumes are dandy, though those for the men have more pizzazz than the women's day dresses. The bilevel, slanted scenic design by Beowulf Boritt brings 1930s Harlem to life in a slightly expressionistic way with the help of Adam Honoré's lighting and Ray Nardelli's sound design. Edgar Godineaux's choreography adds to the period feel, though there could be even more of it.Most of all, the leads have splendid voices, and the performances are terrific. Green's Rev and Harkness's Jester get my vote for comedy chops, and Brown's Lady Liv probably will stay with me the longest for her complexity and big blues number, “I Ain't Got Nothin' But the Blues.”
What to Stream: Katseye, 'VisionQuest,' 'Tenzing' and a new 'Castlevania' game
New streaming entertainment options are arriving this week, including a tribute to Norm Macdonald and a new Marvel series. Judd Apatow's documentary on Norm Macdonald is begins streaming on Netflix
What to Stream: Katseye, 'VisionQuest,' 'Tenzing' and a new 'Castlevania' game
New streaming entertainment options are arriving this week, including a tribute to Norm Macdonald and a new Marvel series. Judd Apatow's documentary on Norm Macdonald is begins streaming on Netflix
Seedy K’s GameCap: Florida State
There are times when the aura of sports is as marvelous and heartening as Friday evening’s sunset. There’s the game. The fandom. The sense of community. Victory makes it better. But, when you find yourself the morning after, thinking about one of those people who passed in and out and in of your life and […]
What to Stream: Katseye, 'VisionQuest,' 'Tenzing' and a new 'Castlevania' game
New streaming entertainment options are arriving this week, including a tribute to Norm Macdonald and a new Marvel series. Judd Apatow's documentary on Norm Macdonald is begins streaming on Netflix on...
Everything announced at Marvel TV's New York Comic Con panel
From "VisionQuest" to "Daredevil: Born Again" Season 3, here's what we learned and saw.
‘Daredevil: Born Again’ stars preview Defenders reunion with final season teaser
Marvel’s ‘Daredevil: Born Again’ stars staged a Defenders reunion at New York Comic Con to preview the final season of the superhero show.
Obama marvels at Democrats’ Senate chances
“There are states right now in play that I would not have imagined being in play,” the former president said.
MARVEL Cosmic Invasion DLC ‘The Siege of Castle Doom’ launches November 10
MARVEL Cosmic Invasion paid downloadable content “The Siege of Castle Doom” will launch on November 10, publisher Dotemu and developer Tribute Games announced.
Muramasa: Revenant Blades hands-on gameplay preview
Recently, I had the chance to visit Marvelous at its Shinagawa headquarters for a one-hour preview of its upcoming Vanillaware side-scrolling action RPG remaster Muramasa: Revenant Blades. As a dis…
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.
Here Are Wednesday’s Top Wall Street Analyst Research Calls: Abbott Laboratories, AppFolio, Delek US Holdings, Flutter Entertainment, Honeywell Aerospace, Intuitive Surgical, Marvell, NetApp, and More
Pre-Market Stock Futures: Futures are trading lower as today’s oil and interest rates are higher. Baseball legend Babe Ruth was often credited with the saying, “Records are made to be broken,” and Tuesday was one of those days for the stock market. For the second straight day, all major indices ended higher, with only the […]
Stephen Wacker outlines his ‘new mandate’ for every Marvel comic
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Scientists Discover 57 New Species in Atlantic Ocean, Including One That Shares a Name with a Marvel Character
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Sony introduces AI upscaling to base PS5; Marvel's Wolverine and Ghost of Yōtei are first games to implement new tech
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Marvel's 'Project COMET' First Gameplay Trailer Allegedly Leaks
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Where’s Blade? Fans wonder why Marvel Studios cutbacks seem to be landing on Black heroes
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A tale of two AAA games: Control Resonant shows what gaming can be, Marvel’s Wolverine shows what it is becoming
News, Reviews and other Informations about Laptops
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Sony Brings AI Upscaling To The Base PS5
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Sony announces QSSR AI upscaling tech for base PS5 in Marvel's Wolverine and Ghost of Yōtei
The PS5 Pro is no longer the sole domain of AI upscaling tech on console.
PS5 Jailbreak Exploit For Systems Running July 2026 Firmware
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Imperial Valley Entertainment Convention draws big crowds
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PS5-exclusive Marvel’s Wolverine now boots on PC, Demon’s Souls reaches 40–50 FPS
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“Avengers: Endgame Encore” bows at No. 1, Robert Pattinson’s “Primetime” catches $20 million at global box office
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‘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.”.
'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
'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
Marvel's Wolverine review: visually spectacular, but frustratingly safe
Grrr, Grrrrr, Rrrrrgh, Grraahh, Rrraaargh, Gnnnh… JEAN!… Snarf.
Wolverine Now Officially Lets Players Turn Off Its Most-Hated Feature
Goodbye, scent trails
Mahershala Ali says ‘Blade’ taught him to focus on movies ‘that don’t feel like reissues of things’
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Insomniac lets players turn off the dreaded "fart trail" from Marvel's Wolverine
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Marvel's Wolverine Dev Adds Option to Turn Off Controversial Scent Trails and More in New Update
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New PS5 RPG Beats Wolverine, Control Resonant, and Silent Hill With 97/100 Score
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Sean Gunn retires from 'Guardians of the Galaxy' Rocket raccoon role
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Marvel Rivals Has Suffered From Poor Balancing and Toxic Player Behaviour for Too Long – It’s Time for an Intervention
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The Giants’ season is already in danger, plus an early NHL preview
The Pulse Newsletter 📣 | This is The Athletic’s daily sports newsletter. Sign up here to receive The Pulse directly in your inbox. Good morning! Talk to your friends about EPA today. Coming up: 🔀 Vibe shift in L.A. 🤓 The WNBA’s spectacle 📕 We’re all football nerds Football season can be so fickle. Vibes can turn on a dime. Last week, we marveled at how the new-look Giants dominated the Cowboys in primetime. We wondered if New York’s ceiling could be higher than previously thought under coaching legend John Harbaugh. And we wondered if the Rams’ dream season...
‘Daredevil: Born Again’ ending with season 3 amid showrunner departure
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Marvel Tōkon: Fighting Souls' Future Already Looks Bleak
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Famitsu review scores - September 20, 2026 - Fire Emblem: Fortune's Weave, more
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Wolverine developer Insomniac denies using generative AI after fans spot strange restroom sign
Insomniac denies using generative AI on Marvel's Wolverine after fans spotted a strange bathroom sign, blaming a "UV map bug" instead.
Insomniac Says Marvel's Wolverine Uses No Generative AI After Fans Spot Strange Signs in-Game
Insomniac Games has stepped in to confirm Marvel's Wolverine contains no generative AI after a few bizarre in-game signs raised eyebrows on social media.
'The Ford/Hill Project' review: Anita Hill, Christine Blasey Ford testify
In 'The Ford/Hill Project,' a new docudrama created by Elizabeth Marvel and director Lee Sunday Evans now at REDCAT, the Senate testimonies of Anita Hill and Christine Blasey Ford are entwined to throw into relief enduring political patterns.
Can MRVL's Data Center Business Sustain Its Growth in 2027?
Marvell Technology's AI-driven data center growth is accelerating across custom silicon, optics and switching, but competition remains fierce.
Beloved Marvel Series & All TV Shows Canceled in September
A beloved Marvel series and several fan-favorite shows lost their spots on major platforms during September 2026. The cancellations hit streamers and broadcasters alike, ending runs that ranged from o...
Best Disney+ deals and bundles: Best streaming deals in September 2026
Catch the best from Marvel, Star Wars, and more with these Disney+ deals and bundles.
What to stream and play: ‘Dancing With the Stars,’ ‘Marvel’s Wolverine’
This week's streaming releases include the return of “Dancing With the Stars” with a two-night premiere on ABC and Disney+.
Review: ‘Marvel’s Wolverine’ packs ferocity but none of his nuance
Insomniac Games resurrected the “Spider-Man” franchise by re-envisioning how the web-slinger could inhabit an open-world Manhattan. The team did it so well that it spawned a spinoff and a sequel.
Review: ‘Marvel’s Wolverine’ packs ferocity but none of his nuance
Insomniac Games resurrected the “Spider-Man” franchise by re-envisioning how the web-slinger could inhabit an open-world Manhattan. The team did it so well that it spawned a spinoff and a sequel.
Your Mother Your Mother Your Mother will make you forget all about Marvel’s Blade disaster
Day 3 at TIFF 2026.
'Trash Mountain' review: Caleb Hearon is ready for his next act
Zooey Deschanel, Jacki Weaver, and Jaboukie Young-White co-star in this marvelous queer comedy.
Fort Scott football dominates Parsons on the road
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Marvell Is Winning Custom AI Business. TSMC May Be the Safer Way to Play It
Marvell Technology, Inc. (NASDAQ:MRVL) is betting heavily on custom AI accelerators and networking. Taiwan Semiconductor Manufacturing Company Limited (NYSE:TSM) occupies a particularly powerful position in that strategy. Marvell’s latest regulatory filing says TSM is currently the sole wafer supplier for its advanced-node products, including its 3nm products. That makes the relationship unusually direct. Marvell itself […]
How San Antonio businesses are working on the Spurs' new arena
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James McAvoy reacts to Christopher Abbott’s casting as Professor Xavier in new ‘X-Men’ film (exclusive)
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Muramasa: Revenant Blades resolution and frame rate targets revealed for PS5, Switch 2, and Switch 1 docked
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Angel flies into Marvel’s “X-Men” movie: “Gen V” star joins cast
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The Best Video Games of 2026 (So Far)
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Is Marvell The Broad Chip Business You Think You Own?
Marvell Technology (MRVL) raised its revenue outlook again with its fiscal Q2 2027 results in late August. The size of the raise is the easy story. What fell out of management's script matters more, because the business you own has narrowed toward a single bet.
Muramasa: Revenant Blades launches February 4, 2027
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The Marvel of a Seed
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Cosmos Update
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The 98 Biggest TV Show Flops, Bombs and Misses in the First Half of 2026
(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.) In July, I updated my look at how the “streaming bubble” popped since 2023, showing the decline in streaming TV shows over time. But after compiling and analyzing and writing about over one hundred TV show flops in the first half of 2026—I counted 99 “nominees” and there are even more honorable mentions—I couldn’t have told you that the number of shows is going down. When it comes to scripted, English-language TV shows, it feels like we have as many bombs as ever. I don’t keep a specific count, but some streamers probably had as many flops as they’ve ever had.1 That’s right, it’s time for part two of my analysis of the biggest flops, bombs and misses on streaming in the first half of 2026. Two weeks ago, I took a look at films. Today, TV shows. If you want to read the full methodology for how I assemble this list, you can find it at the bottom of this article. In short, this list is… ...scripted and unscripted TV shows,...from the nine major streamers,...in the US (using US-only ratings),...excluding true crime, kids and foreign-language shows,...that got no/poor ratings,...from Jan-2026 to the end of June-2026. Reminder: this article does not represent my personal opinion—many of these shows are great!—but I follow the data, and a miss is a miss and a bomb is a bomb. Also, price matters. If a TV show costs north of $100 million, it needs to get lots and lots of streaming viewership to justify that budget. As with past editions, I ordered this list by streamer, going from best (fewest flops) to worst (the most misses)—taking the size of the flops into consideration—and like the last edition, three or four streamers vied to take the win/loss of having the most flops. (But the actual winner is no surprise.) I try to avoid tooting my own horn too much, but seriously, in just under 5,000 words (including the methodology section) I provide a mostly comprehensive overview of the eight major streamers (Netflix, Disney+, Prime Video, Hulu, HBO Max, Peacock, Paramount+, and Apple TV) for the first half of the year, mentioning most of their hits and all their misses. It summarizes the entire first half of 2026! If you want to support this work, please subscribe. Subscribe Tubi Big Mood Boarders The Freak Brothers Twenty Twenty Six Honorable Mentions: Busted on Bodycam, Deestroying the Pitch, Destination World Cup 2026 I don’t think that Tubi spends all that much making or (mostly) licensing these original TV shows—Big Mood, Boarders and Twenty Twenty Six all come from the UK—but they’re not free and they didn’t chart anywhere. Winner: The Freak Brothers Have you even heard of this show? It’s an animated comedy...that’s on its third season! And Pete Davidson, Woody Harrelson, John Goodman and Tiffany Haddish all provide voice talent for it. Yes, animated shows don’t cost as much as live action shows, but cheap isn’t free! So a show with this level of talent needs to perform better. Disney+ Daredevil: Born Again Star Wars: Maul – Shadow Lord Honorable Mentions: Behind the Attraction, Donna Hay Coastal Celebrations, We Call It Imagineering Disney+ doesn’t make all that many original shows anymore. They had two flops, and one was animated. Their one not-a-miss show, Wonder Man, got just good enough viewership to not be considered a “miss”...but it’s since been cancelled. At this point, Disney has pivoted entirely away from making big budget TV shows for Disney+ to making...almost nothing for Disney+? Sure, Disney’s spending circa 2019-2022 was unsustainable, but now they’re pivoting too far in the other direction. At some point, Disney needs to stop shifting strategies so wildly. Really, Disney should have made fewer shows for Disney+ at launch and the shows they did make at that time needed to be made at more reasonable budgets. And they should adopt that strategy now. Winner: Daredevil: Born Again Daredevil, the Marvel Comics character, is on my personal Mount Rushmore of favorite superheroes, so it pains me to give him the win/loss today, but this show deserves it. I’ll repeat my hot take from last spring: “Based on his popularity, Daredevil should be in movies, and probably ones that cost a lot less than the MCU’s usual price tag. Disney/Bob Iger/Ike Perlmutter (who, based on reporting, made the decision) made a huge mistake selling TV shows to Netflix in the 2010s, thus limiting this character to the small screen. Daredevil could have anchored Marvel’s post-Infinity War plans, and if he did, the MCU would probably be in a better place than it is now.” HBO Max 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… What four streamers had the most misses... HBO’s strong start to 2026… The caveat to Peacock’s turnaround this year... Paramount+’s key man problem… What country isn’t delivering hits for Netflix or Hulu... The cavalcade of stars on a streamer where no one is watching their shows... Across nearly 5,000 words of analysis… And a lot more... ...please subscribe! We can only keep doing this great work with your support. If you’d like to read more about why you should subscribe, please read this article about the Streaming Ratings Report, why it matters, why you need it, and why we cover streaming ratings best.
Exclusive: Two of gaming’s biggest names are making a big investment in gaming’s future
The first thing to know about the Nova Games Foundation is that it isn’t about The Game Awards. And it’s not about PlayStation. The ambitious new grant program is the brainchild of Geoff Keighley and Mark Cerny. Keighley is the host of The Game Awards, Summer Game Fest and Opening Night Live. Cerny is a game designer of some 45 years and the lead architect for the PlayStation 4 and 5. But this new thing, which they’re revealing through Game File, isn’t about their day jobs. It’s an unaffiliated, standalone philanthropic project. It’s a bet on the artistic future of video games and a way, they tell me, to give back. “I’m nearing the end of my career,” Cerny recently told me over email. “I’m not done yet, but paying it forward—in the best way possible—is very much on my mind these days,” The Nova Games Foundation is a university-affiliated fellowship program, intended to offer six-figure grants to 20 young game designers each year, potentially for decades to come. It will offer no-strings-attached funding along with mentorship from games industry leaders, a combination intended to aid the development of groundbreaking new games, Cerny and Keighley told me. Nova will begin accepting applications in December, from class of 2026 and 2027 students from 13 affiliated gaming programs at universities in eight countries. The schools working with Nova include the New York University and the University of Southern California in the U.S., along with Abertay University in Scotland, Cnam-Enjmin in France, TH Köln in Germany, and the Royal Melbourne Institute of Technology in Australia, Cerny and Keighley said. The plan: $100,000 per recipient, with about a quarter of Nova fellows eligible for up to $500,000 more for projects that are shaping up particularly well. Payments will be delivered based on development milestones, and recipients will own their games. Nova will help promote the work, and developers will be free to pursue the publishers and platforms of their choice. Nova can help introduce fellows to publishers, but won’t take a cut. “I’ve always wanted to give back, but given my role in the industry, I’ve never felt it appropriate to commercially invest in games,” Keighley told Game File. “I’ve never owned stock in a game company or taken a financial stake in a game. Nova is philanthropy: we aren’t taking equity or looking to recoup the grants. The return we’re hoping for is creative—helping new voices make games and find their footing. “Mark and I have each made multi-million-dollar donations to establish the foundation, and we intend to keep contributing. We hope others will join us.” Cerny and Keighley have already hired an executive director, John Maconga, and a head of grants, recent Game Developers Conference director Ashley Corrigan, to help launch the effort. They’re working to recruit game industry leaders to join the effort. Keighley says “dozens of leading game directors have already expressed interest in contributing their time.” To name one, they’ve already gotten Josef Fares, lead designer from It Takes Two and Spit Fiction studio Hazelight on board with a donation and pledge to help out. “I’m proud to support Nova because it gives the next generation of creators the freedom to explore their creativity and hopefully bring their unique visions to life,” Fares told Game File. A plan forged from a friendship Keighley and Cerny have known each other a long time. It’s been so long, Cerny isn’t even sure exactly when they met. “We travel in much the same circles and I’m sure first intersected in the 90s or early 2000s,“ Cerny said. Keighley thinks it might have been during his stint writing a column about the mid-’90s console 3DO for a gaming magazine while Cerny was working on games with Crystal Dynamics or on Way of the Warrior with Naughty Dog. They became genuine friends about a 10 years ago, Keighley said, as they bonded over a shared love of games and a hope to improve the industry. “About a decade ago, we started having dinner a few times a year in LA,” Keighley said. “Just to catch up on life and the industry. Those conversations continued over Zoom during COVID. Nova grew out of that friendship and a question we kept coming back to: ‘What could we do to help the next generation of game directors get started?’” Keighley credits Cerny with the idea to figure out a way to put their money and time back into the industry. At one of those dinners, Keighley proposed the idea of a fellowship program. He’d recalled applying for a Rhodes Scholarship when he was younger. “Spoiler: I didn’t get it,” he said. He’d admired the MacArthur Foundation’s so-called “genius grants.” He liked these kinds of programs that recognized people’s talents and gave them the financial boost and the freedom to realize their potential. With Cerny, he had pondered what a game industry version of that could be. Keighley liked the idea of centering the fellowship on students, drawing inspiration from the accomplishments of Jenova Chen, the USC game design graduate who went on to lead the creation of gently moving, ambitious games such as Flower and Journey. Keighley also thought it could be useful to help promising graduates bridge the transition from student to professional. “Joining an established studio isn’t always possible—especially in today’s market—and even then, it isn’t the right path for everyone,” Keighley said. A fellowship, he realized, could give “graduates the time, resources and guidance to pursue a game of their own and not worry about the commercial viability.” As the idea took shape, Cerny also saw an opportunity to enable more games of a certain type: “The target with the grants is games as an artistic medium,” Cerny told me. “We like to say games with ‘artistic, literary and societal value.’” He added: “I’m a pretty big gamer myself, though I tend to gravitate towards the smaller and more unique or artistic titles, games like Neva, Abzu, Gorogoa, Stray or Outer Wilds. I was just playing and Roger on a flight to Japan, and was getting misty eyed to a degree that I was concerned that a flight attendant would ask me if I was OK. “So one fun benefit here is the games that will come out of the Nova Games Foundation – I can’t wait to play them myself.” Cerny believes it will also be useful for Nova fellows to hone their craft and team leadership skills. “We are looking for the next generation of visionaries,” he said. “The trick is that they will also need to have the executive function necessary to drive a small project to completion.” Game File is a reader-supported publication. To receive new posts and support my reporting, please consider becoming a free or paid subscriber. Subscribe Going big with this Keighley and Cerny may have started Nova and may be the ones primarily backing it right now, but they’re dreaming of something that goes beyond them. “Mark and I may have helped get it started, but one of our measures of success is that Nova grows into something the entire games industry feels a sense of ownership in,” Keighley said. “Our ambition is to build a lasting endowment supported by people and companies across the industry, and an equally broad community of creators willing to give their time and experience to the next generation.” The industry has a lot of knowledge that it can pass to the next generation, Keighley said: “Nova can hopefully become a way to connect that generosity with talented young creators at the moment when it can make the biggest difference.” Cerny, who told me he believes Nova can mature “over the next 10 or 20 years,” sees an opportunity to give generations of game makers momentum. “The industry has changed immeasurably since I started in games in 1982,” he said. “These graduates have talent, training and tools that outclass what we had back in the day by an astonishing amount. But they face a tough road ahead getting traction in the industry, and many could benefit from our support. We want to be there to give it to them.” “There’s a personal side to this, too,” Keighley said. “I don’t have children, and I’ve spent a lot of time thinking about what I can do for future generations. Games have been my entire career. I’ve been incredibly fortunate, and helping someone else build a life in this industry feels like a meaningful way to give back.” Cerny’s oeuvre dates back to Marble Madness and Sonic the Hedgehog 2. He has stood on stage multiple times to reveal the future of PlayStation hardware. He’s been an executive producer for a string of modern PlayStation classics such as The Last Guardian and Marvel’s Spider-Man. Nevertheless, of Nova, he said, “It’s certainly not like anything I’ve done before.” Nova Foundation applications will be due in December and the first wave of fellows will be announced in March 2027. A full list of participating universities and steps students and recent graduates can take to apply to become a Nova Fellow is forthcoming.
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