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Sports tourism generates $42 million in economic impact last year
Nearly 43,000 room nights were booked, and a record number of 37 different sports played throughout 12 communities.
Trimming the Vikings’ Salary Cap
The Minnesota Vikings are about $42 million over the estimated $303.5 million NFL salary cap for 2026 (the projected range is between $301.2 million and $305.7 million) and must get salary cap compliant by 4pm ET on March 11th. Beyond trimming $42 million in cap space (the Vikings currently are the most over the salary […]
Peters' properties under foreclosure are on the market for over $42 million
Most of the properties are located in the downtown area, while another one is situated at the corner of the busy Cerrillos Road-Rodeo Road intersection.
Maryland health inspector general audits find $42M in improper payments, report says
Maryland’s Office of Inspector General for Health (OIGH) has identified more than $42 million in improper or unrecovered payments over the last four years, acco
Seattle's World Cup finale draws record number of viewers
A total of 42 million viewers watched the men's USA-Belgium World Cup match on US media outlets, setting records for the sport.
Barbara Oil Co. Invests $2.42 Million in Live Nation Entertainment, Inc. $LYV
Barbara Oil Co. acquired a new stake in Live Nation Entertainment, Inc. (NYSE:LYV - Free Report) in the 2nd quarter, according to the company in its most recent 13F filing with the SEC. The firm acquired 13,010 shares of the company's stock, valued at approximately $2,416,000. Several other institu
Catholic health provider agrees to $42 million settlement in pension dispute
The lawsuit alleged that Providence Health had failed to adhere to the federal Employee Retirement Income Security Act in managing the company’s 401(k) plan.
Newly available reports show state owed millions by providers, local health agencies
The Office of Inspector General for Health did almost 1,400 audits and investigations over the last four years and found more than $42 million in improper or unrecovered payments -- but those reports have only recently been posted for public review.
Reports show MD owed millions by providers, local health agencies
The Office of Inspector General for Health conducted almost 1,400 audits and investigations over the last four years that found more than $42 million in improper or unrecovered payments — they only recently were made public.
Families push WA to open a dormant mental health facility
The $42 million campus in Vancouver was supposed to serve 48 patients, but hasn't been able to open.
Chicago White Sox Release Brother of Braves’ Player Jurickson Profar
The Chicago White Sox currently sit atop the AL Central with a 54-48 record. They lead the Guardians by 1.5 games in the division. An Atlanta Braves player who is a little bit forgotten is Jurickson Profar. Profar signed a three-year, $42 million deal with the Braves a couple of seasons ago, but he is […] The post Chicago White Sox Release Brother of Braves’ Player Jurickson Profar appeared first on HEAVY.
Inside GM’s $242M push to rebuild America’s skilled trades workforce
General Motors is investing $242 million in a skilled trades apprenticeship program, training 600 new journeypersons yearly through hands-on experience.
Steelers Reportedly Sign TE To $42 Million Extension
Pittsburgh has signed Darnell Washington to a four-year deal.
SSM Health to build $42 million senior living campus on Fond du Lac’s east side
SSM Health plans to break ground in early 2027 and be open to residents in 2028.
Dallas Cowboys WR George Pickens Given $142 Million Contract Prediction
Bleacher Report's Kristopher Knox makes $142 million contract prediction for Dallas Cowboys superstar. The post Dallas Cowboys WR George Pickens Given $142 Million Contract Prediction appeared first on HEAVY.
Sabre refinances billions of debt; Thryv to sell parts of Yellow Pages business for $142 million
Southlake-based Sabre is refinancing more than $1 billion of debt in one of several deals that have occurred recently in Dallas-Fort Worth. Others include a $275 million acquisition by a Frisco-based home care company and a $142 million sale of some Yellow Pages and White Pages directories by Dallas-based Thryv. Learn about these deals and others in our latest wrap.
Netflix’s Summer of Bummer
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) Today, I’ve got a guest post from longtime friend of the newsletter, Brandon Katz. I’ve been trying to find time all summer to look at Netflix’s straight-to-streaming film slate, but between a pre-planned trip and Nielsen moving up their streaming data timeline, I’ve been swamped. So I reached out to Brandon, one of my favorite fellow analysts, to write about it. And I feel like he captured the tone and data focus of the newsletter perfectly. You can connect with Brandon on LinkedIn and Twitter. Enjoy! Don’t worry, folks. You’re in safe hands with me. To ease any anxieties about an interloper in ESG’s domain, I’ll start by stealing one of his best framing devices: headlines. Box office flops are covered in the same way the Teenage Mutant Ninja Turtles eye pizza: with cartoonish insatiability. I would know. I’m a former reporter who wrote nearly identical headlines: Yet, intentionally or not, streaming misses get treated with kids gloves, filtered through a rosy lens: In the last six years, U.S. streaming viewership has become nearly as transparent as the box office, but the data often arrives weeks later, in a number of less intuitive metrics, and with nary an official budget to be found. This plays into the Wall Street-whispering narratives major streamers have been cultivating for years. They get a pass in a way that theatrical studios simply don’t. Subscribe Netflix’s Summer Slate Not a single Netflix original film released between May and August this year opened above 20 million U.S. TV hours, per Nielsen. That benchmark usually serves as the EntStrategyGuy’s floor for a streaming hit on Netflix. None of these films enjoyed a hit-cementing single week of 20-plus million hours during their runs. Netflix’s two best films were true crime docs, Maternal Instinct (16.5 million hours) and The Crash (19.7 million), the best overall week for a film this summer. Great for most other streamers, but not necessarily what we’re used to seeing from Netflix. For an overly-dramatic comparison, Happy Gilmore 2 opened last summer to around 47 million hours (celebrity cameos, baby!). Zooming out, the picture looks even worse. In 2026, Netflix’s five biggest scripted summer films posted the lowest average (28.6 million hours) and median (28.8 million hours) eight-week viewership totals of the past four years. Now, it’s unrealistic and unfair to expect Netflix to deliver a _KPop Demon Hunters-_sized hit every year. But it’s also not ideal to see the size of their hits shrinking over the last few summers. Let’s quickly run through some of the notable summer misses. Jennifer Lopez and Brett Goldstein’s perfectly fine romcom, Office Romance, fell off the charts after 20 million hours in its first two weeks. Top films usually last for four-plus weeks. Starry titles ideally don’t decay that fast either. Homegrown star Millie Bobby Brown couldn’t prevent the snappy Enola Holmes franchise from diminishing returns. At 14.3 million U.S. hours, the third film posted roughly half of what the first two films did in their first two weeks. What’s on Netflix calculated that per-day global views were down nearly 60% from the second movie. The Whisper Man did okay with more than 36 million hours over its first four weeks. But I expected a little more juice from a film featuring Robert De Niro, Michelle Monaghan, and Adam Scott. Kevin Hart’s Ladies First collected just 11.2 million hours total across two weeks. That’s a big miss for one of Netflix’s go-to stars. Plopping into the same bucket are Sunny Sandler’s Don’t Say Good Luck (10.3 million in two weeks) and John Cena’s Little Brother (17.5 million). Meanwhile, English-language originals Color Book (June 19), In the Hand of Dante (June 24) and Heartstopper Forever (July 17) never sniffed Nielsen’s Top 10 at all, despite needing only 2 to 5 million hours to land in the top ten most weeks. (By my count, eleven English-language scripted original films released between May and August did chart). It’s only fair to mention that Swapped (1-May) posted nearly 42 million U.S. hours over five weeks (the longest Netflix original run this summer) and is currently their eighth most-watched English-language film ever worldwide. Remarkably Bright Creatures (37 million, 4 weeks) and Voicemails for Isabelle (27 million, 4 weeks) weren’t bombs either. Still, overall, I think it’s fair to say this was a quieter summer season than we’re used to seeing from the market-leader. You might not realize that given the language commonly used in public analysis. The Twist Despite the starkly black-and-white tone of the coverage, here’s the twist: when many box office bombs arrive on streaming, their viewership looks a whole lot like many of Netflix’s supposedly successful summer releases. Hmm, where have we heard that one before? Masters of the Universe topped out at $65 million stateside against a $170 million budget_._ I’ll admit, Skeletor ripping sleeveless curls as a gym bro and bodyslamming Adam’s co-workers was funny. But, much to the chagrin of my bank account, my laughter doesn’t launch franchises. Yet the He-Man reboot opened to 19.6 million hours (from a Wednesday five-day opening instead of just one weekend), on par with Hoppers on Disney+ (19.4 million). It put up nearly 47 million hours over its first six weeks, bigger than all of Netflix’s summer releases. Pretty darn healthy and likely to land among the 25 most-watched movies on streaming this year. Sticking with Amazon, The Sheep Detectives just barely broke even at the box office with $133 million worldwide (and only $66 million domestic). I never expected cloven-hooved, cud-chewing mammals to be able to bring me to tears. Yet that’s exactly how I found myself at the end of this surprisingly affecting movie (#NoShame). It was likely the unexpected quality in a family-friendly film that powered its streaming over-performance. Sheep Detectives delivered a solid run for Prime video netting 26.2 million hours! How about franchise IP? Star Wars: The Mandalorian & Grogu had the lowest opening ($81 million) and lowest-grossing Disney-era live-action Star Wars film ($178 million domestic). One day before release, its Heat score (19.8%)—audiences who list their interest as a 7/7—fell behind blockbusters Wicked (21%), Superman (23%), Fantastic Four: First Steps (23%), Michael (23%), Toy Story 5 (26%) and Avatar: Fire and Ash (27%), according to Greenlight Analytics. The urgent enthusiasm just wasn’t there. On streaming, Mando opened to weeks of 12.1 million, 6.1 million and 2.7 million hours (21 million total) over its first three frames. Not the numbers Lucasfilm was hoping for nor the numbers of a streaming hit. But they’re in the same vicinity as some Netflix summer releases with $345 million at the global box office to offset a smidgen of the pain. Final Thoughts So why oh why does this nuance gap exist? Four key reasons: Data Literacy: A “$100 million opening” just makes sense. After decades of box office reporting, even casual movie fans are well-versed in the benchmarks of hits and home runs. There’s an immediate shorthand. But “16.5 million” hours doesn’t land nearly as cleanly. Despite leaps of progress, the streaming ratings era is still in its infancy compared to theatrical. The EntStrategyGuy and I met thanks to a late 2010s group chat of data nerds hungry to find a shred of certainty in nebulous streaming performance. I’m not surprised to see “No. 1 on Netflix” still getting misconstrued out in the wild. Timing: By Friday morning, we have the box office’s Thursday night previews totaled, allowing us to better project the weekend’s expectations. From there, ticket sales are reported daily. By Sunday, the film’s fate is usually finalized, at least in terms of public perception. In streaming, Nielsen recently improved its delay to…two weeks. The medium isn’t forced to contend with instant gratification as harshly. Financials: Theatrical film budgets are a mere Google away. Profit and loss is calculated in the cold and unforgiving naked light of day for all to see. But finding the vast majority of streaming exclusive movie budgets requires the forensic investigation skills of a Criminal Minds detective. Also, it’s very difficult to calculate how much revenue/value a straight-to-streaming films provides a streamer. This is why there are so few stories about streaming original movies “losing X amount of money”. On top of that, marketing budgets are far greater for theatrical movies than streaming exclusive movies, which leads to earlier and better awareness. This then translates to a wider pool of potential interest. Narrative Control: Netflix is the only major streaming service to publish weekly first-hand viewership data and annual engagement reports. Naturally, some headlines borrow their first-hand framing**.** Other streamers benefit from their comparative lack of transparency. They may occasionally announce vague performance platitudes such as Apple TV’s Mayday becoming its “biggest film debut on the platform to date over its first 18 days,” and that it ranked No. 1 with left-handed viewers in its first weekend. (Fine, I made up that second one). But, for the most part, they keep first-hand viewership shrouded in mystery to avoid bad press. Especially for outlets that demand multiple articles per day from their writers, it’s an easy (and understandable) way for some reporters to hit their daily article quota by just repeating what the streamers have told them. TL:DR version: Streaming-exclusive movies are asked to do different things than theatrical movies, but that doesn’t mean they should escape judgment. Both still need to draw enough eyeballs to justify their cost within the proper performance contexts. The more cleanly we can inject a little nuance into streaming analysis, the better we’ll understand the audience and content trends that drive this industry. And that’s what all of this is really about: knowing what audiences actually want! Brandon Katz is the Director of Insights & Content Strategy at Greenlight Analytics where he focuses on evaluating the ever-fluid media landscape to unearth understanding, opportunity and value. Greenlight Analytics is the entertainment intelligence consulting company redefining how Hollywood finds, understands, and activates audiences. Prior to joining Greenlight Analytics, he served as the senior entertainment industry strategist at Parrot Analytics, and as a full-time entertainment industry reporter covering the Xs and Os of Hollywood, most notably with TheWrap and the Observer.
Longtime Purdue benefactor Parrish commits $42M to name new Daniels School building
WEST LAFAYETTE, Ind. — Purdue University has received a $42 million commitment from longtime benefactor and alumnus Roland G. Parrish to name the new flagship facility within the Mitch Daniels School…
Insurance Australia Group, RAC challenge $942M merger rejection
Insurance Australia Group Ltd. and RAC Insurance Pty Ltd. have lodged applications for a tribunal review of their blocked 1.3 billion Australian dollar ($942 million) takeover deal…