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Digimon Story Time Stranger Free Update Releasing Alongside Switch Versions
Get ready for July
A wallet, a weed eater and a choir: Strangers show up at their best
What's the kindest thing a stranger has ever done for you?
Texas Tech coach Joey McGuire welcomes defined pay-for-play rules governing NIL
In an exclusive conversation with USA TODAY, Texas Tech coach Joey McGuire - his program no stranger to spending - says he welcomes real rules for all
Digimon Story: Time Stranger free update launches July 9, adds Terriermon Assistant, Graphics Mode options, more
Publisher Bandai Namco and developer Media.Vision will release a free update for Digimon Story: Time Stranger on July 9 for PlayStation 5, Xbox Series, and PC, and at launch for Switch 2 and Switch…
Minecraft Beat Itself After Nearly Two Billion Simulated Years
Minecraft is no stranger to simulations, but it turns out that under the right conditions, the game can beat itself if given billions of years.
Chicago taps Fitch senior director as new CFO amid rash of exits
Ashlee Gabrysch, who is no stranger to the city's finances, will be the third person serving as Chicago's chief financial officer in less than a year.
Stranger Than Heaven Resurrects Tupac Shakur
Stranger Than Heaven will feature the digital zombie of Tupac Shakur.
3 ways science can help you feel happier
From avoiding talking to strangers to buying things to make ourselves feel better, we do all kinds of things to feel happier that don’t work. Here are some interesting scientific findings from the wo...
Meet the billionaires behind $336M ‘explosion’ of money in California politics, per new report
San Francisco is no stranger to concentrated wealth shaping City Hall, and big-money spenders did well here during the last primary.
White House's South Lawn is no stranger to sports, but not like the UFC
President Donald Trump is hosting a UFC card Sunday night
Scientists Discovered Two Bizarre New Sea Spiders, and One Has Red Eyes and Hairy Legs
They may not be true spiders, but these ancient marine arthropods are stranger than anything crawling across land.
FEATURE | Mezian Mesloub – Lens’ star in the making
RC Lens are no strangers to departures. And this summer was no exception, as they let Mamadou Sangaré, Adrien Thomasson, Malang Sarr, Wesley Saïd, and Allan Saint-Maximin leave their Coupe de France...
How to Stop Google Maps From Displaying Your Home to Strangers
A straightforward privacy request to Google can remove your home from Street View entirely. Here's the step-by-step process.
Rams Set to Host Former Bills HC Sean McDermott
The Los Angeles Rams are no strangers to bringing in former head coaches, and they are now set to host former Buffalo Bills head coach Sean McDermott.
"Stranger Things" Meets the Wrestling Ring in Utica
Fans of the Netflix series "Stranger Things" and professional wrestling will get a unique experience when actor Randy Havens makes an appearance at the Utica University Nexus Center.
The universe may be hiding conscious minds stranger than we can imagine
What if consciousness isn’t limited to brains like ours? Philosophers Eric Schwitzgebel and Jeremy Pober argue that consciousness could arise in many different forms of life, even in beings built from radically different materials than those found on Earth. Drawing on the vastness of the universe and the likely existence of countless alien civilizations, they suggest it would be surprisingly Earth-centric to assume that only Earth-like biology can support conscious experience.
Ace Combat 8 players in Japan are affectionately headcanoning its ace pilot protagonist as a helpless "airhead" outside the cockpit, thanks to clumsy story moments and awkward QTEs
In ACE COMBAT 8: WINGS OF THEVE, players take on the role of silent protagonist Rex, an ace pilot who racks up impressive achievements in aerial combat. However, a popular headcanon has recently been making the rounds among Japanese Ace Combat players, proposing (affectionately) that outside of the cockpit, Rex is actually a complete airhead. The idea was fueled by how the game’s interactive scenes work as well as certain moments in the story, with Rex gradually becoming the fandom’s beloved anemic baby. Note that this article discusses some details of Ace Combat 8’s main story. Ace Combat 8 is set in the franchise’s shared fictional world of Strangereal. In […]
Sophie's double life-saving gift to a stranger and science
She donated stem cells from her blood at Anthony Nolan's dedicated collection centre in Nottingham.
Lesbian Bar Project Co-Founder: Purity Politics Could Destroy Our Remaining Spaces
Subscribe As a professional lesbian and Massachusetts native, I’ve recently been asked by a lot of folks what I think about the saga unfolding at Last Ditch. The now-viral story, first reported by The Boston Globe, centers on a Western Massachusetts lesbian bar that lifted its mask requirement for one night a week to help drum up business. The decision ignited an intra-queer controversy that has been feasted on by media outlets across the political spectrum—from the New York Post to LGBTQ Nation—and is even reportedly being eyed for a Hollywood adaptation. Apparently nothing is more entertaining than a bunch of lesbians and queers fighting with each other over KN-95s. What has been lost in all of the chatter and media coverage is the very real possibility that Last Ditch, which just opened in April 2025, will have to close its doors. The venue’s one remaining founder, Jackie Matellian, revealed in a community Zoom meeting that she’s working four jobs, is now solely responsible for the bar’s $50,000 business loan and is struggling to keep up with the bills. So as we laugh about the controversy’s similarity to a “Portlandia” skit and how one of the bar’s founders left to enroll in clown school, we forget that yet another lesbian bar is facing an existential crisis—and this time the call is coming from inside the house. In 2020, my friend Elina Street and I created The Lesbian Bar Project, an Emmy-, Webby- and GLAAD Media Award-winning docuseries and initiative that tells the stories of lesbian queer bars around the world. We were moved to act because at the time there were only an estimated 16 lesbian bars in the United States, and the pandemic threatened to bring that number down even further. There are now more sapphic bars than there were just before the pandemic—about 36 of them in total—but this is down from approximately 200 in 1980. Maybe that doesn’t mean much to you, but for the millions of sapphics living in the U.S., this number is calamitous. As the world laughs at lesbians and sapphics, I want to take a second and tell you what I feel when I walk into one of these bars, which are all unique and irreplaceable in their own way: I feel seen. Sometimes I think Cubbyhole in New York City’s West Village neighborhood knew I was gay before I did. When I walked in there for the first time, before I was even out, I was transfixed by the colorful array of tchotchkes hanging from the ceiling and how the women standing next to me were completely unafraid to express their desire for one another. I knew the minute I was ready to come out, I had a home. I also felt the joy of a new couple falling in love at Seattle’s Wildrose, the quiet confidence of a short king lining up her shot at the pool table at Ginger’s in Brooklyn and the kick of cayenne pepper in Julie Mabry’s crawfish at Houston’s Pearl Bar. Subscribe Lesbian bars don’t just serve lesbians; they serve queer folks across the spectrum, including bisexual, pansexual and trans people. As Elina and I traveled across the U.S. and Europe and to parts of Latin America to document the bar owners, staff and patrons that make up the ecosystems of these spaces, we also became uniquely acquainted with the factors that threaten their existence: gentrification, wage gaps, sexism, environmental disasters, gun violence, rising insurance premiums and political administrations working to annihilate queer people and their families. Lesbian bar owners, like all leaders and entrepreneurs, are imperfect. There have been significant issues over the years at lesbian bars: employee harassment, racism, lack of accessibility, sexual assault and transphobia. All bar owners should be held accountable and should listen to their communities to evolve into safer and more equitable spaces. I also acknowledge my privilege: I am able-bodied, white, cis and from a family system that loves me for who I am. Not everyone has that. Queer people, especially trans and bisexual people, are suffering from disproportionately high levels of depression, and our mental health system isn’t equipped to support them. Immunocompromised people and long COVID are real, and many of my friends are suffering to this day. The people with the least safety net are often the ones for whom a bar closing costs the most. And yet, as we’re seeing with Last Ditch, the queer community often lashes out at each other. It’s also the mainstream media taking the internal conflict and making a mockery out of it, distracting from the real possibility that this bar could close due to financial pressures. A bar that many people loved and needed is facing extinction. Perhaps it’s safer to dissent with one another than with the larger forces trying to eradicate us, but in doing so, we risk destroying the few spaces we have left. Due to the constraints of purity politics—some in good faith, some not so much—lesbian bar owners, almost all of whom are queer women themselves, are forced to be everything for everyone, similarly to how women are forced to be everything for everyone. By asking these bars to uphold impossible standards—standards very few other third spaces are asked to consider—we all end up losing. I want to move as a community toward dialogue, compassionate dissent and collaboration to make our spaces better with the goal of keeping them OPEN and thriving, rather than destroying them from the inside with expectations that are arguably unattainable. Subscribe While I have your attention—for this fleeting second of the news cycle—may I urge us to spearhead a way to keep these small businesses afloat without attacking our own community along the way? Bar owners are left with an impasse: They want to be community-centered, but they also have to make money to keep their doors open. Sometimes they might make business decisions that don’t work for everyone—and that’s partly because different patrons have different priorities and want different things—but these owners deserve the opportunity for productive dialogue**.** We have to work with them and with each other to keep our spaces open, to keep them growing. Lesbian bars raised me into the queer woman I am today. One thing I think about as I reflect on the six years of work we’ve done to document these spaces is that shared, unspoken language I have with a stranger the moment we both walk into one of these bars: the nod, the ease, the not having to explain ourselves. I don’t want to lose that, and neither should you. If objective, nonpartisan, rigorous, LGBTQ-focused journalism is important to you, please consider making a tax-deductible donation through our 501(c)(3) fiscal sponsor, Resource Impact, by clicking this button: Donate
Hollywood gets into the microdrama race as mobile-first storytelling draws stars and major studios
While much of Hollywood was consumed by the streaming wars, Issa Rae was studying a different mode of entertainment thousands of miles away: microdramas. No stranger to creating a successful online s...
Responsibilities in close social relationships explain differences across cultures
Do you think that a person who reorganizes their life so that their aging parents can live with them would be likely to push another out of the way on the subway? What about greeting strangers with a smile?The answers to these questions are at the heart of a puzzle social psychologists have been debating for 30 years: how to best understand differences between cultures.
Likely youngest City Council Chair ever, Brodey Weber enjoys local politics for scale of impact
28-year-old Brodey Weber will be leading the Lincoln City Council for the next, and fourth-year of his term. Elected at age 25, Weber is no stranger to being the “young one.”
STRANGER THAN HEAVEN Gamescom 2026 demo playthrough
Publisher SEGA and developer RGG Studio have released a 12-minute playthrough of the Gamescom 2026 demo for 50-year action adventure saga STRANGER THAN HEAVEN.
15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.
'The victories will come'
Fulham enjoyed a better expected goals (xG) of 3.13 than Crystal Palace (1.97), and also ran Chelsea close on the opening weekend. It led to booing from some Fulham fans, as well as chants questioning the team's performance. Alvaro Arbeloa will be no stranger to pressure.
Digimon Story Time Stranger Adds 60fps Option, Photo Mode, and More in Promised PS5 Patch
Hello, Stranger
Postpartum politics: What it means to run for government as a new mum
Victorian Greens candidates Nina Crawley and Lini Fernando reflect on their experiences running a political campaign just months after giving birth. From the challenges and compromises to the support networks that wrapped around them, and why showing up vulnerably in public space matters. Subscribe In 2024, when my second child was four months old, I decided to run for local government. Fast forward two years, I am again four months postpartum, with my third child, and this time running in the state election. But this time has hit differently. Going through pregnancy, birth and postpartum while being a political candidate has had a more profound and personal impact than I ever expected. I reached out to my fellow Greens candidate for the state election, Lini Fernando, who gave birth 20 days before me, and her experience closely mirrored mine. Postpartum has its own unique challenges that we’ve not seen reflected in stories about women running for office. When people discuss the “juggle”, they’re usually talking about the practical mechanics of looking after small children - childcare arrangements, pumping schedules and logistics. As mums of multiple children, we were both aware of the logistical changes and difficulties that accompany giving birth and the months after. We assumed that combining this with running for election would be hard, but that we could organise our way out of any problems. What neither of us anticipated was the intense vulnerability that comes with putting yourself into the spotlight of a state election campaign at a time when you are physically exhausted and navigating things like breastfeeding and feeling like a stranger in your own body. There have been challenges that neither of us anticipated. Firstly, needing to buy new clothes because the supportive leggings that are a staple of the postpartum wardrobe weren’t going to cut it for community events. Lini held her first fundraiser - a trivia night - just three weeks postpartum. A business-casual wardrobe, several sizes bigger than pre-baby, was needed, and fast. As women, how we look is closely scrutinised, and the internalised fatphobia is loud. We are conditioned from our earliest days to believe that our appearance is tied to our worth, and taught how we are allowed to show up in public. Women who dare to put themselves into the spotlight also receive more abuse than their male counterparts, including criticism of their appearance. To stand in front of members of your community and try to convince them that you’re the best person to represent them in parliament is a challenge in and of itself. To do it with leaking breasts, a pelvic floor that could betray you at the first sign of a sneeze, a body that still feels unfamiliar, and with half your hair falling out (hello postpartum hair loss!) is another thing altogether. It requires courage, allowing yourself the grace to be vulnerable in public, and the belief that showing up, however imperfectly, matters. And the vulnerability isn’t just physical; it also includes factors like having to ask a campaign team to accommodate the realities of having a baby. Asking for help is hard, and it’s a skill that both new parents and hopeful political candidates need to become comfortable with. Parents understand the disappointment that comes when a call for help or connection is rebuffed, like a friend cancelling a much-needed coffee. That rejection is amplified for political candidates calling dozens of people each week. Many people don’t realise running for Parliament, when you aren’t the incumbent, is a volunteer role supported largely by other volunteers who have to squeeze volunteering in around their paid work. Calls need to be made and meetings held after work hours - usually during “witching hour” (5-8 pm), that special time of night when babies cry for no reason. I found that I was struggling to make these commitments, or having to tap out and ask for them to be rearranged. When I spoke to Lini, we realised that she had had a similar experience, this push-pull of being the candidate and wanting to show our faces at meetings and help recruit new volunteers at ‘calling parties’, but also being the only people who could settle our newborns. Sometimes we could merge the two worlds; Lini and I realised that we had both attended 7:30pm meetings online, sitting in a dark room, struggling though breastfeeding and settling our babies. Although we’re both committed to breaking the stigma around breastfeeding, it can be hard to keep your composure while trying to feed a young baby as they try to latch, spew and fuss. Ultimately, Lini and I agreed that showing up vulnerably in public space matters. Leaders should possess empathy and understanding for those who feel raw and in transition; from the dad who just got evicted to the teen who acquired a disability - anyone who feels they aren’t the version of themselves they expected right now. The patriarchy tries to tell us otherwise, but women shouldn’t have to wait until they’re ‘recovered’, no longer vulnerable, before they feel entitled to participate in public life. In fact, we could all benefit from our leaders being a little more vulnerable. *This piece was cowritten, but has been presented in the first person for the sake of style. About the authors Nina Crawley is former teacher and community organiser who now works in human rights and inequality advocacy for a non-profit. She’s a mother of three keen to get back to running as soon as her pelvic floor allows! She’s contesting the seat of Ivanhoe for the Greens in this year’s state election. Lini Fernando is a lawyer working in diverse areas of law including anti corruption and public law. She’s a mother of two and a gardening and good policy enthusiast. She is currently contesting the seat of Croydon for the Greens in this year’s state election. Thanks for reading Cheek Media Co. ! This post is public so feel free to share it. Share
‘Stranger Things,’ ‘Emily in Paris’ Outperform IP Rivals in Dentsu Fandom Intelligence Study
Streaming titles including “Stranger Things,” “Emily in Paris” and “Wednesday” outperform the average across all entertainment IP tested by 30% when it comes to converting fans into buyers, according ...
Every Species Lives in Its Own Private Version of Time—and Yours Is Stranger Than You Realize
Humans and animals perceive the movements they see through a startlingly different lens.
Naughty Dog Chose The Last of Us Remake Over Uncharted Remake, It's Claimed
Naughty Dog is no stranger to a remake, and evidence suggests an Uncharted 1 Remake was on the cards, with datamined files proving it.
The Enemies Project: WashU father-daughter duo fight against political extremism
With over 90000 subscribers on YouTube, senior Sadie Rosen and her father Larry Rosen (B.A. ‘88) reveal the power of empathy through their channel, The Enemies Project. The pair bring together strangers with fundamentally opposed political beliefs for a sit-down conversation. Their docuseries aims to break online echo chambers through vulnerability. It’s working, as across their 16 uploaded episodes, all the enemies have left connected.
Until Dawn 2 Launches January 28
The interactive slasher Until Dawn 2 takes place on a tropical island and stars ‘Stranger Things’ actor Dacre Montgomery.
I asked strangers to let me farm their yards. They said yes
Marisa Mender-Franklin built a flower business after dozens of neighbors offered free yard space through Facebook.
A Man Was Scrolling Google Maps—Then He Noticed Google Maps Staring Back at Him
The physical forces beneath this eerie floating “eye” in Argentina are even stranger than the shape itself.
Déjà Vu Has a Stranger, Lesser-Known Opposite – And Scientists May Have Just Found Where It Starts
It's uncanny.
Tupac Is Coming To Stranger Than Heaven And We're As Confused As You Are
Did that Coachella appearance land him the gig?
White House's South Lawn is no stranger to sports, but not like the UFC
President Donald Trump is hosting a UFC card Sunday night
Living with strangers instead of friends after college; worth it
When I moved to San Francisco after college, I signed a lease with three strangers I met online. So far, it's been easier than living with friends.
Scientists Thought Water Carved These Gullies on Mars. Now They Suspect Something Much Stranger
New observations suggest that seasonal dry ice can send soil rushing downhill, carving channels that look deceptively familiar.
White House's South Lawn is no stranger to sports, but not like the UFC
President Donald Trump is hosting a UFC card Sunday night
What Genres and Streamers Won 2025? And Who Lost? Plus Six Strategy Thoughts
(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.) Okay, time for the tenth and final article in my ten-part series recapping 2025. As I wrote two articles ago, my barometer for whether these articles are worth writing/publishing is whether they yield strategic insights, and once again, every subsection in this article has a strategic takeaway (or two). Honestly, these are the most important takeaways, since I step back and look holistically at the streaming wars in 2025. After I declare which streamers won and lost the year and which genres won and lost the year, I have six bonus thoughts. If you’d like to review the whole series... You can find the film flops here and here. You can find the TV shows flops here and here. You can find the top films here. You can find the top TV shows here, here and here. Then I declared my winners and losers in various categories here. You can find my 2024 recaps here. You can find the 2023 recaps here and here. And my 2022, 2021 and 2020 are all stored here. Yeah, it’s halfway through the year, and I’m just finishing this series up now. This year, I tried to space things out to not clog up my writing calendar, plus I had to wait for Fallout to (finally) drop off the charts. Well, that ended up pushing this series wayyyyy too far back on the calendar. Oh well. Next year, the goal will be to finish this series in March, but frankly, I just need more staff to make that happen. So please subscribe. Or, if you’re an advertiser (movie studio, FYC firm, or other), please reach out. Subscribe Streamer of the Year: Netflix Honorable Mention: Paramount (and CBS) So, just last week, I wrote about how Netflix has lost seven of its top twelve scripted shows in the last year. And I shared two very dour looks at Netflix’s potential slowdown this year and last. Guess what? They’re still the number one streamer in America. In 2025, they dominated new streaming shows (even if most of those new hit shows aren’t coming back for future seasons), they had the two biggest films, and they had the top returning TV show by a mile. The world is complicated, nuanced and messy. There may be warning signs of a future Netflix slowdown, but in 2025, Netflix was still the number one streamer. Note what I didn’t say? That Netflix has “won” the streaming wars, because obviously the streaming wars are still ongoing and, more importantly, YouTube is still growing—so now YouTube has “won” the streaming wars?—while Netflix’s share of TV consumption has stalled out. Avoid simplistic talking points, especially if they’re constantly repeated and could fit on a bumper sticker. I had trouble picking the second-place streamer this year, because all of the candidates for second place—Prime Video, HBO Max, and Paramount+—had some hits, but no one stood out. Then I saw this update from Nielsen on the top shows on TV in the 2025-206 season. Sure enough, Netflix had five of the top ten shows! And they had ten of the top 31 shows and fifteen of the top fifty. But CBS/Paramount+ actually had more shows in the top thirty and the top fifty. Paramount+/CBS had twelve of the top thirty shows and nineteen of the top fifty. Let me emphasize that: CBS/Paramount+ had more top shows in the 2025-2026 season than Netflix. And this look was just for TV shows, not live sports, an arena Netflix barely plays in. Meanwhile, Paramount-Skydance’s market cap is a fraction of Netflix’s. That’s weird, right? Streaming Loser of the Year, 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… ...what streamer lost the year in TV... …whether Netflix could win the title for “film” streamer too… …who won the Disney vs Warner Bros. battle for theaters… ...what TV genres won and lost the year... ...what film genres won and lost the year... ...what film genre people think is thriving on streaming but isn’t… …why F-BOSSS TV shows don’t hold the same sway in the 2020s… …what it means to “flop” as a film on streaming… …UK shows underperforming on streaming… 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.
Stranger Than Heaven Devs Say Adding Tupac To The Game Was A 'Good Idea'
'This was something we thought would add value to our game,' said Masayoshi Yokoyama
Netflix tries to recapture Stranger Things magic with nostalgic re-release
It’s even more ‘80s now.
Why Millie Bobby Brown apologized to 'Stranger Things' cast after finale
Millie Bobby Brown doesn't need telepathy to tell the world how she feels about the end of "Stranger Things."
'A Long Winter' review: Fred Hechinger fronts a beautiful, unmissable queer drama
"All of Us Strangers" writer/director Andrew Haigh is back, with Kit Connor, Ebon Moss-Bachrach, and Caitríona Balfe.
Netflix and Superheroes Are Having a Rough Stretch on Streaming....
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) I have a quick prediction before we start today’s article: You might see this data in future news articles. Not my specific charts or analysis, but the core trend I’ve been monitoring—Netflix is having a lackluster Q2—will become inescapable. Often, folks want to know “What does the data say?” Well, that’s what it says. I haven’t seen this analysis hit the trades really yet, but I have a feeling some other outlets are going to start making this case soon. Remember, you read it here first. You probably have read about the problems facing superhero films at the box office this weekend. Well, this week, I explore whether superheroes are dying on TV as well! And the data says: definitely maybe! We have a lot to cover in today’s Streaming Ratings Report, which covers the two weeks of 18-May and 25-May. Today, I’m just looking at TV, like Netflix’s disappointing Q2, superhero shows underwhelming, a few TV shows dropping off the charts, The Pitt finally ending its epic run on the viewership charts (and whether “view counts” change its status as one of the biggest shows of all time), all the flops, bombs and misses, and a whole lot more. Tomorrow, I’ve got a great rundown of the film side of things. 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, Showlabs, TV Time trend 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 May 18th to May 31st, 2026. You can find a link to my terminology here.) Subscribe Television - Netflix’s Q2 Slump Continues Having analyzed streaming ratings for going on half a decade, I have learned to trust my gut, but I’m always relieved when I can find actual data to back it up. For example, after a string of very popular shows like Stranger Things, Bridgerton, The Lincoln Lawyer and The Night Agent came out, week after week, in January and February, my gut wondered if Netflix had enough new and returning TV shows to sustain them throughout the year. Since then, Netflix’s post-March slate of shows has not impressed me. This week seemed to feature a potential new hit, but then, like a classic Duffer Bros. TV show, there was a twist. I speak of The Boroughs, Netflix’s latest (and last) Duffer Bros. produced show. The pitch is “Stranger Things with older actors”. And it topped the Nielsen charts: With just two weeks of viewership, The Boroughs would have been a top 25 debut show last year: But here’s the twist: Netflix has already cancelled The Boroughs! What happened? Likely a few things. First, the show didn’t do as well globally as it did in the US. As What’s on Netflix showed, it lagged behind several other shows that got cancelled. Second, its completion rate was likely low; after an initial burst of interest, it quickly dropped off on the Samba TV and Luminate charts. Third, the Duffer Bros. left Netflix for Paramount, and that may have factored into Netflix’s decision here. (Though I tend to believe that if a show is doing well, Netflix would have kept greenlighting seasons.) Still, just because I can explain why Netflix may have cancelled this show doesn’t mean I’m justifying it. In particular, as I’ve noted before, Netflix is losing a lot of their bigger shows as they reach their natural ends, and they need to replace those shows. This show had the hallmarks of a big new genre show, and it’s their biggest hit of the last few months (in the US at least), but now it’s done. Netflix’s other show this week—The Four Seasons, the second season of the “hit” show from last year—definitely disappointed. Its sophomore season had about half the viewership of the first, only 12.7 million hours. It also only had a two week run on Samba TV, and its numbers were all down on Luminate too. In other words, even with two successes, the Q2 slump for Netflix looks real: I could add to the list of disappointments: Both Lord of the Files and Man on Fire had short runs on the Nielsen charts. Running Point’s sophomore season also opened to about half its viewership, similar to The Four Seasons. A Good Girl’s Guide to Murder’s second season—see below—didn’t even make any of the three viewership charts I track, unlike the first season. Netflix is absolutely having a dismal second three months of 2026. If this Nielsen data is any indication, and I think it is, I think this will show up in Netflix’s engagement report, and maybe even their financial outcomes. And the rest of June doesn’t look much better. We have two hit shows coming back—Sweet Magnolias, one of their quietest big shows, and Avatar: The Last Airbender, a big hit for them in 2024—but the other big swings are limited series crime thrillers i.e. no future season potential. Like I said above, sometimes when I uncover a juicy nugget like this, other outlets end up writing very similar articles mimicking the data without credit. We’ll see if that happens this time! Share Television - The State of Superhero Shows on Streaming When I first heard the pitch for Spider-Noir—a Sony TV show on Prime Video that binge-released eight episodes first on MGM+ then on Prime Video two days later—I had my doubts. It’s a live-action Spider-Man show set in the 1930s, starring Nicholas Cage, based on a cameo of a character in Spider-Man: Into the Spider-Verse. No, seriously, that’s the pitch. That could either go terrifically well or horribly wrong. Great because, Spider-Man. He’s the biggest superhero we have. I’ve seen tracking numbers that put the new _Spider-Man: Brand New Da_y as the blockbuster of the year and initial pre-sales back that up. And yet this Spider-Noir pitch feels very esoteric. (Also, the eight-episode binge release feels very “Amazon copying Netflix” again.) So what’s the data say? And what does this say about the future of superhero shows?
Digimon Story: Time Stranger releases demo for Nintendo Switch 2, Switch
Digimon Story: Time Stranger will be on Nintendo Switch 2 and Switch next month, and to prepare fans for the launch, Bandai Namco just put out a demo. It can be downloaded via the Nintendo eShop pages now worldwide. The first part of the demo offers the opening of the main game in its entirety. This lets players experience exploration,...
White House's South Lawn is no stranger to sports, but not like the UFC
President Donald Trump is hosting a UFC card Sunday night
‘Stranger Things’ star brings music project to S.F.
Nearly one year after the “Stranger Things” finale was released on Netflix, Finn Wolfhard is ready to show a new side of himself to San Francisco fans.
He Asked His Instagram Followers One Simple Question. The Response Led to a Business Partnership That Now Has 13 Locations.
He had no business plan and no partner. One stranger's response to a simple question changed all of that.
Scientists thought Titan was hiding a global ocean beneath its frozen crust. But a 2025 reanalysis of Cassini data points to something stranger instead — a roughly 380-kilometre-thick layer of slushy ice, close to melting and likely threaded with pockets of liquid water that could reach 20°C near the rocky interior.
A 2025 Cassini reanalysis measures a tidal lag that favors a warm, partly melted high-pressure ice layer over Titan's long-assumed global ocean.
Blue Light Doesn’t Actually Fry Your Eyes. The Real Problem Is Much Stranger.
A dark-room experiment reveals why blue blurs the world, and why darker eyes handle it better.
Stranger Than Heaven Devs Shockingly Honest About Tupac
The developers say Tupac's character will be who the man might be 30 years after his death
Meet the billionaires behind $336M ‘explosion’ of money in California politics, per new report
San Francisco is no stranger to concentrated wealth shaping City Hall, and big-money spenders did well here during the last primary.
Politics in plain sight: Social media and surveillance culture
Share your location on Snap Map and the Instagram map. Take a picture of a stranger doing something stupid, then send it to everyone you know. Post your friends, your family, your everyday habits, and special occasions. If it doesn’t end up online, did it really happen? In our ever-more-digital world, constant documentation is almost...
From tennis to T-ball, the White House's South Lawn is no stranger to sports. But not like the UFC
The White House's South Lawn is no stranger to sporting events. But it's never seen anything like the UFC bout Trump is hosting on Sunday.
The Right Thing: What do we owe a stranger?
What do we owe a stranger? For the past several decades, the weekend after Labor Day has been the neighborhood yard sale in the part of Boston where I live.
Hands-On With Stranger Than Heaven's Unique New Combat
We went hands-on with Sega's upcoming action-adventure at Summer Game Fest
Men tell Denton police a stranger threatened them with knife at business park
Two men told Denton police a stranger refused to leave their business property and threatened them with a knife on Wednesday, according to a police report.
Chelsea and Arsenal are watching Brazilian teenager
Arsenal are no strangers to unearthing talent in the Brazilian league, and the Gunners have identified another young player who could shine in European football in the coming years.They have scouts mo...
The ice blasting from Saturn's moon Enceladus is stranger than scientists realized
Enceladus may naturally separate and concentrate chemicals from its hidden ocean as droplets slowly freeze and shatter on their way into space. The process could explain Cassini’s puzzling ice-grain chemistry while giving future spacecraft a powerful advantage in searching for organic compounds and clues to life.
Erling Haaland's ridiculous Norway record continues to grow 📈
Erling Haaland is simply a goal-scoring machine when he puts on the Norway kit. The Manchester City striker is no stranger to finding the back of the net at the club level, but when he suits up for hi...
From tennis to T-ball, the White House's South Lawn is no stranger to sports. But not like the UFC
WASHINGTON (AP) — Teddy Roosevelt boxed. Richard Nixon bowled.
Dark matter’s secret force does the opposite of what scientists expected
Dark matter particles may exert a hidden force on one another, but its effects are stranger than expected. An extra attraction helps the particles cluster, yet it also makes dark matter effectively lighter as the Universe expands. That weakens its gravitational impact and usually slows the growth of cosmic structure rather than accelerating it.
How Do You Find And Vet The Right Broker To Sell Your Business?
You are about to hand a stranger the keys to your life's work. Most business owners have no idea how badly that can go.
White House's South Lawn is no stranger to sports, but not like the UFC
President Donald Trump is hosting a UFC card Sunday night
How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
For young adults, memorable health advice is increasingly coming from strangers online
Emily Pfender, an assistant professor in the department of communications at the University of Delaware, is a researcher on a new study in Health Communication. She explains the focus of the research:
Samsung bans smart TV apps that share users' internet connections with strangers
New security research offers a rare view inside residential proxy networks, which rely on apps that share a person's internet connection with someone else.
Living with strangers instead of friends after college; worth it
When I moved to San Francisco after college, I signed a lease with three strangers I met online. So far, it's been easier than living with friends.
Enter The Sadie-Verse
After ‘Stranger Things’ and ‘John Proctor Is the Villain,’ Sadie Sink is burning up stage and screen in equal measure. Next stop: ‘Spider-Man: Brand New Day.’
Oxford physicists just made Schrödinger’s cat even stranger
Oxford physicists have created an entirely new type of Schrödinger’s cat-like quantum state using components that are themselves highly quantum in nature. The advance could open new possibilities for more resilient quantum computers and deeper insights into the strange rules that govern the quantum universe.
A stranger paid for the World Cup trip I couldn't afford for my sons
After writing about being unable to afford a World Cup trip he'd promised his sons for years, a father received an unexpected message from a stranger.
White House's South Lawn is no stranger to sports, but not like the UFC
President Donald Trump is hosting a UFC card Sunday night
Stranger Than Heaven: The Final Preview of the Yakuza Team’s Ambitious, Decades-Spanning Action-Adventure
in a new three-hour demo, I got to play Stranger Than Heaven from the start, see a bit of its decade-spanning story in action, and explore the different towns that represent each time period. That also meant getting real familiar with how to throw hands in the re-tuned combat, and it feels like I've done a complete 180-degree turn on RGG Studio's next game. Meaning, I’m now all-in on the Yakuza team’s latest.
World Cup politics: something ugly in the beautiful game
Football at the highest level is no stranger to controversy, and World Cup tournaments are not immune to political intervention. Still, 2026 is proving to be much more than a talking point
All Roads Did Not Lead to Rome. Scientists Mapped 186,000 Miles of Roman Roads and Found a Problem With the Phrase
The empire’s 300,000-kilometer road network was stranger and less Rome-centered than legend suggests.
A ‘devil flower’ with no leaves, no branches, no green part has been discovered in a Thai forest, scientists say its bizarre appearance is hiding an even stranger secret
It has no leaves, no branches and no green parts, and spends much of its life concealed beneath fallen leaves on the forest floor. Scientists have now described a bizarre new flowering plant from Thailand, naming it Thismia daemona, the “devil flower”, for its dark, horn-like appearance.
Liverpool to Host Chelsea in League Cup 4th Round
Liverpool FC have drawn their opponents for the fourth round of the Carabao Cup, and it’s fellow Premier League side Chelsea. The two teams are, of course, no strangers to playing each other. The two teams have locked horns in the final of the League Cup twice this decade, in 2022 and 2024. 2022 saw […]
David Harbour confirms past 'disagreement' with Millie Bobby Brown amid bullying rumors
David Harbour confirms prior 'arguments, disagreements' with 'Stranger Things' costar Millie Bobby Brown while addressing rumors that she filed a bullying and harassment claim against him.
‘Take Me Home’: The science of why singing together brings us closer
The cameras panned across thousands of fans, arms draped over the shoulders of friends and strangers alike, singing at the top of their lungs. As John Denver’s “Take Me Home,
Stranger Than Heaven Reinvents Yakuza Combat Around the Shoulder Buttons, Replacing Heat Moves With Stamina-Based Counterattacks
Stranger Than Heaven overhauls Yakuza combat, replacing Heat Moves with a stamina-based counterattack system built around shoulder buttons.
“Grease 2”’s Christopher McDonald on the film’s surprise celebrity fans — and the role he almost played instead
The “Hacks” star reacts to “Stranger Things” actress Millie Bobby Brown’s obsession with his cult classic, and shares the larger part he almost played in the film.
Saber's newest game trailer takes a shot at Gearbox's CEO, if you look closely
The first hint that something might be up with the recent debut trailer for Saber Interactive’s Rideshare Stimulator is an unusual choice of words—aside from that second one in the game’s title. “Don’t take your passengers too seriously,” the trailer’s narrator says, as he describes this upcoming game. It a car game about the gig work of driving eccentric people to their destinations, a riff on Crazy Taxi. And then, he says: “When I think I’ve met the randiest of passengers, someone even stranger gets in.” “Randiest”? That suggests “randy,” which usually means having strong sexual desire. Yet none of the oddball backseat occupants featured in the trailer seem particularly lustful. One is an old man who considers his grandson a failure, another shares the theory that birds might control traffic lights, another says he’s banned from an aquarium. A little later, there’s a license plate, shown 63 seconds into the trailer, on the front of an SUV: USB DRV It’s a Texas plate. The symbol between those letters is a cog wheel. If you know, you know. That’s a reference to Texas-based Borderlands game development studio Gearbox Software (their logo features a cog wheel). More specifically, it’s a reference to Gearbox’s CEO Randy Pitchford, who in 2018 found himself explaining the nature of video he’d saved on a USB drive that was found at a Medieval Times restaurant before being returned to the studio: “It was ‘barely legal’ porn. This girl’s handle was ‘Only 18.’” The “girl” in the video had committed a solo sex act that Pitchford, an avid practitioner of magic, found remarkable. “I realized, this is not a sex worker…This is a fucking magician.” Back then, the USB drive was central to competing lawsuits against Gearbox by the studio’s former lawyer and by Gearbox against him. A settlement in late 2019 “exonerated” Pitchford, per the Hollywood Reporter. The USB story has resurfaced at times, now in a trailer from a company that not long ago was corporate brethren with Gearbox. Saber vs. Gearbox The head of Saber told Game File that the reference is payback. “The dig is because Randy took shots at Embracer in Borderlands 4,” Saber CEO Matt Karch told me when I asked him about the license plate. “Without Embracer, Randy is performing magic tricks at birthday parties for a living.” Having interviewed Karch during a cross-country flight in late 2024, I can confirm that Karch was unimpressed with Pitchford during their time both working in the Embracer group. I’d approached him not out of surprise that there was animosity but that it was manifesting publicly now. Gearbox was founded in 1999, worked on a port of Halo early on, and developed hit series such as the loot-based sci-fi shooter Borderlands before it was purchased by The Embracer Group in early 2021 for $363 million (with a possible earn-out of over $1 billion, if certain targets were hit by 2027). Saber was founded in 2001, worked on a remaster of Halo early on, had a big hit with zombie shooter World War Z and was purchased by Embracer in early 2020 for $150 million, with a potential earn-out of up to $375 million. For a few years, the Embracer group was a voracious acquirer of game studios. Then, as investment dried up, it choked. In March 2024, Embracer sold Saber to an investment company controlled by Saber CEO Matt Karch, and it sold Gearbox in an all-stock deal to long-time Borderlands publisher Take Two Interactive. Other studios were shut down. Hundreds of developers were laid off. Gearbox didn’t say much about their Embracer experience, nothing too direct, at least. In the summer 2024, Pitchford told reporter and occasional Game File contributor Nicole Carpenter that Borderlands 4’s story was in some way thematically connected to Gearbox’s experience at Embracer: “There’s this cultural and emotional shift in me, personally, and at the studio. What does it mean to trade some autonomy for organization?” When Borderlands 4 came out, there was something stranger: the matter of “Embracer’s Bluff,” a location in the game featuring an AI-powered toilet and a large trash dump, according to a detailed Kotaku account of the place. Gearbox never commented on it; Take Two never got back to me about it when I asked them last year. By contrast, since Saber exited Embracer, Karch has been one of Embracer’s biggest defenders, casting their management as well-meaning and supportive despite the layoffs and studio closures that resulted from their excessive expansion. Like others, Saber’s Karch saw Embracer’s as a shot. With Rideshare Stimulator’s trailer, he’s returned fire. “It’s amazing to me how fast people forget those who went above and beyond for them,” Karch told Game File. A rep for Gearbox did not comment by press time. Game File is a reader-supported publication. Your backing makes my reporting—including any coverage of trailer-based beefs—possible. Good news! I’m currently running Game File’s first big sale of 2026. You can get a one-year subscription for 23% off. Click here to take advantage of the limited-time offer. And thank you for your support! Item 2: In brief… 🚫 Wal-Mart has laid off the staff of Restart, a games media outlet launched in 2024, Aftermath reports. 🟥 A GTA VI preview is on the way, at last, via an “extended look” that will premiere, unusually, on Netflix at 3pm ET on August 27, then officially go live elsewhere six hours later. Last week, Game File noted that Take Two label Rockstar Games is overdue for showing off GTA VI, based on the timing of the initial hands-off previews of GTA V and Red Dead Redemption 2. During a call with investors, Take Two CEO Strauss Zelnick said pre-orders for GTA VI were “unprecedented and astonishing,” but added the company can’t predict how many of those pre-orders represent bonus sales vs. sales that otherwise would have been made at launch. During the same call, Zelnick was noticeably bullish on the future of playing games over streaming cloud connections (predicting wider adoption in three or so years). He sounded unbothered by Sony’s plans to stop making discs for new games (he said the business is 90% digital already and predicted that there could still be limited edition physical editions of games “in the same way there’s still vinyl in the recorded music business.”) 👀 Take Two wrote off $43 million in their spring quarter after deciding “not to proceed with further development of an unannounced title in its pipeline from a third-party developer.” 🤔 Some rare age-demographics from a big publisher: Capcom recently told investors that “users in their 20s account for approximately half of the users of both Pragamata and Resident Evil Requiem.” Item 3: The week ahead Tuesday, August 11 Game releases: The Elder Scrolls IV: Oblivion Remastered (Switch 2; already out for PC, PS5, Xbox) continues the Bethesda strategy of putting Elder Scrolls games on everything; Royalty Free-For-All is a Smash Bros.-style fighting game featuring public domain characters such as Mother Goose brawling with Oliver Twist in a stage based on the original Little Shop of Horrors movie. Wednesday, August 12 Game release: Pro Jank Footy (PC, console) is an arcade-style Australian Rules Football game with increasingly ridiculous rules, the more you play (I enjoyed the Steam demo) Thursday, August 13 Game release: Super Mario Sunshine (Switch 2, originally released in 2002 on the GameCube) is released for Switch 2’s Nintendo Switch Online service. This game is the black sheep of 3D Mario games. It’s the successor to the breakthrough Super Mario 64 and the rare Mario game built around a single (vacation resort) theme. Mario’s got a water-spraying backpack, a Yoshi pal and a lot of blue coins to collect.
Notes from the Geetar: Stranger in a Strange Land
I must confess reticence ever since the Notre Dame vs Wisconsin game at Lambeau Field was announced and we here at NDNation decided to make it our official tailgate game. My dear friends who are Green Bay fans have attended many games there.
STRANGER THAN HEAVEN launches January 15, 2027
STRANGER THAN HEAVEN will launch for PlayStation 5, Xbox Series, and PC via Steam and Microsoft Store on January 15, 2027, publisher SEGA and developer Ryu Ga Gotoku Studio announced. It will also …
After a few hours with Yakuza studio's soulful Stranger Than Heaven, I'm smitten, but I suspect this ambitious role-playing epic will be a divisive game
I played RGG Studio's Stranger Than Heaven, and came away impressed by the bold new direction its younger team is taking.
'Magic: The Gathering' Zeta Set Drop Was a 'Disaster,' Says Wizards of the Coast
The Secret Lair platform is no stranger to botched sales, but this one was particularly bad.
Will Netflix’s Latest Horror Film Save Its Summer? And Introducing a New Data Source...
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) All month, I’ve been polling you, my readers, on how we think the summer’s biggest blockbusters will do when they eventually land on streaming, and I wanted to share the results. First up, how readers think The Odyssey will perform when it comes to Peacock... People are pretty bullish that The Odyssey will smash it for Peacock. I don’t know that it will have as much rewatchability as Wicked did for kids, but we’ll see. It is now Universal’s highest-grossing film of all time. One note: almost half of Christopher Nolan’s films weren’t available for streaming the week The Odyssey came to theaters, including some of his biggest films like Inception, Dunkirk, Tenet, Oppenheimer and Insomnia. If you did want to watch the others, Prime Video had Memento and The Dark Knight trilogy, HBO Max only had The Dark Knight trilogy (even though Warner Bros. produced most of Nolan’s films), Hulu had The Prestige and Interstellar, and Paramount+ had Interstellar. So you needed at least two streaming subscriptions to catch the rest. Warner Bros. whiffed right here. I know they have long term licensing deals, but they should have tried to get as many Nolan films on HBO Max for launch as possible. Here are the results for Spider-Man: Brand New Day: The audience is a bit more mixed on this one, with everyone agreeing Spider-Man will swing to a big opening, but not necessarily elite or best all time. On to this week’s issue. Netflix continues searching for a hit straight-to-streaming summer film and Lioness and Ted Lasso allow me to look at the difference between a “hit” and a ‘hit for them”. All that, plus new YA/teen melodramas on Prime Video and Netflix, the House of the Dragon finale, USA Network claims a big opening, more big NFL ratings, all the flops, bombs and misses, and a whole lot more. But we start with a fun new data announcement. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of August 3rd to August 9th, 2026. You can find a link to my terminology here.) Subscribe A New Data Source: Reelgood’s Data on Content Libraries Here’s a fun new treat for you. Reelgood—an online service and app that lets users track where shows or films are streaming—is providing data every month for the Streaming Ratings Report on the size of each streamer’s catalogue, along with the new shows and films for each streamer. Yay! Previously, I had pulled “new shows on streamers premiering on the first of the month”: While I liked that data cut, it was a big wonky since it didn’t show all of the new shows or movies that came to a streamer each month. Instead, I would have preferred something like this from Reelgood’s annual report: And now we have it! I’m going to feature Reelgood’s data monthly, showing both total catalogue size and new shows and films appearing on the charts. That’s going to make these two cool new charts. First, here’s the size of various streamers’ film catalogues… (By the way, Reelgood offered to make the charts for me, but I like doing that task by hand to understand the data better.) They also provided data back to last year. Here’s the number of films timeline: And here are the new films on each streamer for the month prior to Aug: As I get used to this data, I plan to keep tinkering with how I display it, but I’m excited to feature it monthly. Today, I’m sharing the film charts; next issue, I’m going to feature TV shows by streamer. Now, in full disclosure, Reelgood is a sponsor of this little-newsletter-that-could. But in my constant quest to figure out what streamer various shows and films are on, I was already a Reelgood user before this sponsorship. I go to their website all the time, and their data is very accurate on where shows are (or have been). Plus, I’ve been sharing their weekly top ten lists for years now, pre-sponsorship. For me, this is a great win-win, since I get to amplify a service I love, and I get a cool new data source to play with. Now, normally folks don’t usually mention their sponsors directly, but as I wrote before, as I start featuring ads in my newsletter, I plan to be extremely open about who is sponsoring my writing so you can trust what I write. Television - Two Big Returning Shows Look Set to Take Over The Charts One key question when it comes to judging streaming shows is whether a show is a “hit” or a “hit for them”. To be clear, the former means a show that’s one of the top shows on streaming, no questions asked. The latter means a show is one of the biggest, for a given streamer. That distinction makes a big difference! It’s really good to be one of the biggest shows on a streamer; it’s much better to be the biggest on streaming, despite the size of a streamer. Because, as we’ve seen now, nearly every streamer—while lacking the number of subscribers or usage of Netflix—can make hit TV shows: Paramount released Landman, whose first and second seasons were among the top two TV shows the year they came out. HBO Max’s The Pitt’s second season is the biggest show of the year so far. Love Island USA was the top show in 2025 for Peacock. And, crucially for today’s discussion: Wayyyyyyyyyyyyyyyyyyyyyyyyyy back in 2023, Ted Lasso was actually the top streaming show of the year according to Nielsen! So even Apple TV (formerly +) can make hit shows. It just doesn’t make them that often. And looking at the Nielsen charts this week, we have two prime candidates for this discussion: That’s right: Ted Lasso returned to Apple TV for its fourth season. Did it return in all its expected glory? Sure, though right now it’s still just a “hit for Apple TV”, but we’ll see how long it lasts on the charts. Its ten episodes are coming out weekly. (Smart choice, Apple!) Ted Lasso started out strong, actually making the Nielsen charts the week before new episodes dropped, which is a rare feat. (Shows like Stranger Things or Bridgerton have pulled that off. That’s terrific company to join!) On Nielsen, it opened to 14.4 million hours in its first week, and 16.6 million the week of 10-Aug. Here’s how that compares to previous seasons: Apple put out that this is their biggest TV launch through two days ever, and looking at the chart and Apple TV’s viewership history, I’d believe it. Here’s Apple’s top shows for season two and beyond: Other data tells a (mostly) similar story. Ted Lasso made Samba TV and it has elite IMDb scores, an insane 8.7 on 465K reviews. The only outlier is Luminate, where the latest season only had 7.4 million hours, and no other seasons made the top ten. As you’ll see below, that’s well below some other solid, but not spectacular shows like Sterling Point, Ride or Die or Furious. I’d be surprised if Ted Lasso isn’t bigger than those other shows, but it’s fine for different data sources to occasionally disagree. And while it’s sucky to bring this up, given that Warner Bros. produced this show, I do wonder how the streaming wars may have been different if Ted Lasso landed on HBO Max initially instead of Apple. I don’t think one show can make or break a streamer, but given HBO’s brand, it could have helped bring people to that streamer much earlier in its lifespan. (Though yeah, I don’t love calling out executives for passing on hit shows, since that’s just the nature of the job. Even the absolute best execs will pass on lots of successful shows. The key is not greenlighting the under-performers/misses.) The other show I’m thinking about in the “hit or hit for them” category is Lioness from Paramount+. Like Ted Lasso, its first season missed the charts, but it’s grown its audience since then. Here’s how season three opened: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How Lioness did on streaming... Two new melodramas for Netflix and Prime Video... Whether Netflix’s latest horror film saved its summer... Hulu’s Furious and Prime Video’s Ride or Die continuing their strong runs... The latest high profile showrunner to flop on streaming... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. Next week, we’ve got a double issue—since the week of 17-Aug had very few notable new shows or films—so I’ll look at HBO’s Lanterns, Prime Video’s Reacher, Netflix’s Tires, Outer Banks (which posted up huge numbers four years ago), an Aussie romance, and another baseball event (that didn’t resonate). And a bunch of movies like the latest dramedy from an Adam Sandler daughter, Don’t Say Good Luck, Camp Rock 3 on Disney Channel and Disney+, Michael on Starz, and more. Later this month, we’ve got a ton of shows and films to analyze! Movies will be the big story, featuring a box office bomb (Supergirl on HBO Max) and an “underperformer” (The Mandalorian and Grogu on Disney+) contending with a bunch of star-studded straight-to-streaming films like Netflix’s The Whisper Man (Adam Scott, Michelle Monaghan and De Niro!), Mayday on Apple TV+ (Ryan Reynolds and Kenneth Branagh!), The Runner (Gal Gadot) and The Last Sunrise (Eva Longoria and Maia Reficco) on Prime Video. Plus, a ton of TV shows have sophomore seasons coming out. Will The Gentleman put up big numbers on Netflix or suffer from a sophomore slump? Leanne and Beauty in Black on Netflix seem small, but they both might be bigger than you think. Hulu has a bunch of shows: a new season of The Secret Lives of Mormon Wives (the first after all the controversy last year) and the second season of Chad Powers (from Peyton Manning’s production company and starring Glen Powell). This one flopped last year; can it score a touchdown this year? Same goes for FX’s Adults, which I didn’t track last year; will it hit this year? Peacock’s The Office spinoff, The Paper and Apple TV’s Dark Matter also return for second seasons. And Netflix has more Untold specials featuring Vince Young, Raygun (that horrible breakdancer) and Mr. T. Long term, Paramount+ is rebooting yet another franchise, Clueless, and I’m somewhat bullish on this new show. The talent attached (Alicia Silverstone) and creative Josh Schwartz and Stephanie Savage (of The O.C. and Gossip Girl) also feel solid...if they make it funny like the original.
Feels Bad, Man
Misgivings about an upcoming game is a new, uncomfortable sensation for Yakuza fans
Fable: After Watching a Full Quest, I Couldn’t Be More Excited to Play It
Beer, swearing, and aggressive strangers. I feel at home. After watching a full quest from Fable, I couldn't be more excited to play it. Our preview:
From tennis to T-ball, the White House's South Lawn is no stranger to sports. But not like the UFC
The White House's South Lawn is no stranger to sporting events. But it's never seen anything like the UFC bout Trump is hosting on Sunday.
Stranger Than Heaven will explore Tupac's "potential future" if "he was still alive now", according to RGG studio head
Stranger Than Heaven's Tupac Shakur cameo will "try to envision who Tupac might be now", RGG Studio head Masayoshi Yokoyama has said.
From 'Sinners' to 'Stranger Things': Your guide to Universal Orlando's Halloween Horror Nights
Your guide to Universal Orlando's Halloween Horror Nights 2026: What to see, where to scream and how to survive.
LIVE! Till vs. Romero Streaming Updates TODAY!
Former Ultimate Fighting Championship (UFC) standouts Darren Till vs. Yoel Romero will take their talents to the bareknuckle boxing ring later TODAY (Sat., Sept. 26, 2026), headlining BKFC 94 from inside Manchester Arena, Manchester, England, streaming live on DAZN. Neither man is a stranger to the bare knuckle boxing scene, as Romero is fresh off […]
I’ve Been Estranged From My Mother for Years. One Screenshot From a Total Stranger Changed Everything.
I'm not one to keep tabs on my mother. But once I saw the stranger's message, I immediately started scrolling.
Digimon Story: Time Stranger expansion ‘A Hero’s Eternal Legacy’ announced
Publisher Bandai Namco and developer Media.Vision have officially announced Digimon Story: Time Stranger expansion downloadable content “A Hero’s Eternal Legacy.” It will launch i…
RGG Studio Head Talks Tupac's Controversial Stranger Than Heaven Inclusion
Masayoshi Yokoyama discusses his efforts to remain respectful to the legendary rapper's legacy.
Digimon Story: Time Stranger on Switch 2 is a solid port and very good handheld, but needs some more work
Digimon Story: Time Stranger delivers a great handheld experience with some small issues, but it should've been better docked.
IP Saves the Day On Streaming
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Before we get started, I wanted to highlight a new idea I saw from Real Good AI, proposing a ratings system for AI use. (H/T to Anthony Kaufman’s article highlighting this.) It would look something like this: In general, I think that this is a solid, middle-ground solution that should appease both the pro-AI camp (who love AI) and the anti-AI camp (who wants to know if what they’re watching didn’t come from humans). Regardless of your feelings on AI/LLMs—I’ll never use it for my writing—transparency is often the best solution to many problems. In general, I think way more media outlets need to be using way more AI disclosures. My quick “Yes and...” to this idea: what about ads? In particular, I hate it when I see or hear ads that are obviously AI-generated, but a person or voice says, “I used this product”. AI doesn’t use products! Just today, I watched a YouTube ad where a “person” said they use some sort of rain wind chime...but that’s not a real person! They didn’t use this product. (Especially since the video of the wind chime itself also appeared to be AI-generated...) I believe most traditional advertising already has standards like this anyway.1 Okay, on to this week’s issue. We’re covering the week of 14-Sep, and then next issue, I’ll be fully caught up with Nielsen’s new release schedule. In the future, I plan to put out Streaming Ratings Reports each Monday after Nielsen’s Thursday releases. Overall, we had some big new shows this week, like Prime Video’s Reacher spinoff_, Neagley_, which is off to a big, big start, and Netflix’s latest in its Monster anthology, which is their largest opening since June and the second-largest since One Piece came out in March. All that, plus Slow Horses returns, the trio of returning shows (Lioness, Reacher and Ted Lasso) continue to dominate the top tens, Paramount+’s latest crime drama, a big whiff for a Netflix original film and a precipitous drop for Netflix film charts, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 14th to September 20th 2026. You can find a link to my terminology here.) Subscribe Television - IP For the TV Win Can I use the dirty word of entertainment journalism right now? IP. Shhh. Don’t tell anyone I said it. But IP works at the box office, and we’ve seen some evidence it works in TV too. Not as well, and not all the time—no absolutes here!—but often enough. And glancing at the Nielsen top ten…it worked this week! Take Prime Video, who has a monster hit in the crime drama Reacher. Would a spinoff work for that show? Yep! They binge-released Neagley, about a detective from the original Reacher series, and its eight episodes debuted to 29.6 million hours. Here’s how it stacks up to Reacher, one of Prime Video’s biggest shows: That’s great. Nearly as strong as Reacher’s opening! (Both shows started with eight, binge-released episodes, so this comparison is apples-to-apples.) Notably, Prime Video scheduled the debut of Neagley to overlap with Reacher’s most recent season, to help drive tune-in. Obviously, I love smart release strategies like that. And even though I wrote “obviously”, it’s not really that obvious, since streamers don’t often take advantage of natural overlaps like this_._2 Other data backs how well Neagley performed. It opened at second place on Samba TV for two weeks and got 51.7 million hours on Luminate. That’s the eleventh biggest opening on Luminate since May of 2024 and tied with Bridgerton’s third season opening. That’s a huge opening! Its IMDb is solid too, a 7.7 on 24K reviews. Netflix’s latest edition in the “Monster” series—which started with Jeffrey Dahmer and comes from Ryan Murphy—did well too, opening to 24.7 million hours. That’s the biggest opening for Netflix since I Will Find You in June, and second biggest since March. Unlike the Reacher series, this franchise is trending downward, though. The first Monster show—Dahmer - Monster—was giant. More than anything, I think this reflects that Netflix running out of extremely popular—if that’s the right word?—serial killers to feature. Still, the data says this is a very good opening. It made it to third place on Samba TV for two weeks. It also opened to 40.0 million hours on Luminate. That’s not quite as elite as Neagley, but still very, very strong. I’ll be honest: my priors coming into any given week are that IP works to help drive buzz for new shows, but TV shows need to stand on their own even more than movies, so they will succeed or fail based on their quality. But these two spinoffs definitely worked. Quick Notes on TV The top show, film or special this week? Football, again. Specifically, Prime Video’s season opener of Thursday Night Football. The games run long (three hours) but mainly a lot of people watch each game. That adds up to a lot of viewership. Paramount released the second season of MobLand on an unusual day for that service, a Friday! Often, they put their new shows out on a Sunday, as they did last year with a run of shows (Lioness, Tulsa King and Landman). MobLand didn’t make Nielsen in its first week, but on Samba TV it got to eighth and seventh place. Luminate had a smaller opening too, only 5.3 million hours. MobLand missed the Nielsen charts for its first eight weeks, so this season is off to a stronger start. (Bonus note: the first season streams on both Prime Video and The Roku Channel, but I only have it as Paramount+ on those charts.) I’ve mentioned a few times that foreign-language originals do lower numbers than English-language originals on Netflix most of the time. But I don’t usually emphasize what country those originals come from, and observationally, they tend to be from Western or Northern European countries, in general. So credit to Not a Stranger, a Turkish Netflix original, for breaking through on Luminate, getting to 7.9 million hours in its first full week on those charts. As I mentioned last issue, Crew Girl ended up making the Nielsen charts in its second week. That’s still a soft performance compared to many shows, but again this, one looks affordable. And if you’re curious, here’s how it stacks up to some other sports romance shows: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… …about a new data source and how it drives streaming viewership… ...what reality show is struggling in its latest season…. ...what Netflix film bombed…. ...How Reacher, Ted Lasso, and Lioness are doing on the charts… ...what obscure sport put up great viewership numbers… …how far streaming films are falling… …all the flops, bombs and misses for the last week… …and more… ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Next week, we’ve got a double issue, then we’ll be all caught up with Nielsen’s data. Yes! The goal is to have my report out on the Monday after I get Nielsen’s data. So next issue, I’m looking at East of Eden, The Great British Baking Show, a Willy Wonka game show (that people are upset uses AI, but viewers might not care), and a Cosby show spinoff reboot on Netflix, and Brothers on Apple TV (starring Woody Harrelson and Matthew McConaughey). That’s about it for TV, but who’s going to win the streaming week, The Breadwinner or Backrooms on streaming? Answer: Toy Story 5. Plus Netflix has a Unabomber film and a new Tyler Perry film, Teenage Sex and Death at Camp Miasma tries to repeat The Substance’s run on MUBI, and Paramount+ has Jackass: Best and Last. Long term, Netflix is remaking Lonesome Dove. I love this choice, but man, there are a lot of westerns on TV right now. And they’re making Sega TV shows, including a Crazy Taxi TV show and Sonic show with an “edge”.