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Netflix’s Leadership Shake Up…Explained
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Well, I had a simple article planned for this week. Called “Whoa, I Missed It!”, I’d take a gander at a few important-but-under-the-radar stories I didn’t cover while I wrote about all things “Skydance. (Formerly known as “the saga of Netflix trying to buy Warner Bros., but not Discovery, then Paramount-Skydance bought all of Warner Bros. Discovery”.) Alas, that article will have to wait. Netflix made news. Ironically, my “Whoa, I Missed It!” article would have mostly been about “content” strategy decisions, which is also what today’s article is about. But instead of the entire industry, this article will only cover Netflix’s decision to upend their film and TV content teams. Just that! So that’s the full topic of the day. I’m going to tackle the issue in the opposite direction of the way “stuff” flows: uphill. We’ll start at film, then move onto TV, and then onto the CEOs themselves, and the strategy questions that still remain. But we start with the numbers driving this. Let’s dive in. Subscribe Most Important Story of the Week - Netflix Upends Their Corporate Hierarchy I’ve got a lot of thoughts, but we’ll start with the most common response to yesterday’s article. Let’s Talk Stock Price More than one person, responding to what I published two days ago, pointed out that, well, actually, the thing driving Netflix’s actions is this: In short, stock price! Even if Netflix isn’t obsessed with their own share price—they probably are, but, for the record, my strategic advice to every CEO is to absolutely ignore stock prices, which will, ironically, probably help the stock price long-term—most everyone thinks they are. By the way, I prefer market capitalization to stock prices, because it’s a more apples-to-apples way to compare companies: But there’s an even better way to look at it, and it kinda casts some doubt on the entire push here: price-to-earnings. I have a long list of articles that I wish I had written, and chief among them is an article titled, “Am I Still a Netflix ‘Bear’?” meaning someone who thinks Netflix’s stock is overvalued. As of last summer, Netflix had solved their biggest problem—which for me (circa 2019) was the lack of free cash flow—but their stock was CRAZY overvalued. That’s this chart here: Why did Netflix’s stock price increase to a price-to-earnings ratio of 50 last summer? What financial metric changed so quickly? Nothing. Given that, historically, mature entertainment companies average 10 to 20, with 16 being the average, that increase made little sense. Netflix’s stock swoon these last eight or so months wasn’t irrational; the stock price rise last year was. So if you want a really hot Netflix take, here it is: Netflix’s stock price has been going down because the financial industry recovered its senses, not because of any strategic mistake. Yes, that would imply that cleaning house may have been a mistake. That’s why the charts yesterday are so important, because they show that Netflix did have a strategic problem (a lack of hits) and that’s what they moved to address. (One could also argue the industry drastically overrated Netflix’s growth prospects, but that’s a financial industry problem, not a Netflix strategy problem per se. Some growth estimates are just crazy. *cough* AI *cough*) Now, the last time Netflix’s stock price crashed—circa 2022—it gave them an opening. I’d argue Netflix insiders knew they needed to expand post-COVID-19 crisis, adding advertising, cracking down on password sharing, and dabbling in sports. But if they had done that when their stock price was high, it would give folks a reason to second guess their strategy. (Arguably, last year, when Netflix pursued the Warner Bros. merger, it gave the industry a chance to review their business.) Instead, after the 2022 fall, they had the opening to make strategic changes. We may see Netflix pivot again following this latest slide. For example, the “binge versus weekly” conversation is alive and well again. Same for expanding into theaters even more. And adding both linear channels and streaming bundles. And maybe more either social, user-generated, vertical, or creator content. But the first shift came with who is making the content calls. A Message from Our Sponsor Last winter Pulp Fiction was on Netflix. For those same 90 days, it was also free, with ads, on Pluto TV and the Roku Channel. That is not a glitch, and it is not rare. The title has run on 20 different US streaming services since 2019, across 80 separate windows, and for more than 600 of those days it sat on a paid subscription service and a free ad-supported one at the same time. Almost nobody can see this, because when a title leaves a service, the record that it was ever there tends to leave with it. Reelgood keeps that record, dated to the day rather than the month: 4MM+ movie, show and episode titles across 300+ services globally, with timestamped arrivals, departures and moves across SVOD, AVOD, TVOD and vMVPD. Licensing teams price against every prior window. Rights teams check what a licensee actually delivered, and when. Pick a title you think you know: data.reelgood.com/title-availability Film - Dan Lin Want to know why I don’t opine on individual film or TV executives, especially new hires? Dan Lin. As I always caution, it’s really, really, really tough to predict which executives will succeed in new roles and which won’t. The successful head of co-production/finance partner, Rideback, Lin was considered for the head of DC Studios job before taking the job as the head of Netflix. By all accounts at the time, this was a smart hire. (That’s my read of the news coverage anyways.) But now that Netflix has fired Dan Lin, we got a slew of news stories about how he was doing a terrible job. In sports media, Bryan Curtis, new Substack writer/podcaster from The Ringer, calls this the “now you tell us” story, when you only hear the bad news after a star athlete leaves a sports team. In this case, now they tell us that Dan Lin was bad with talent after he got kicked out the door. So was Dan Lin a flop? It’s actually tough to say. While film moves faster than TV, even two years isn’t really enough time to evaluate a person’s output. The new head hasn’t really taken control. As Emily Horgan noted, it takes much longer than two years to produce animated films, so yeah, it’s definitely too early to judge in that domain. As for live-action films, I just published an article by Brandon Katz called “Netflix’s Summer of Bummer”, but I’d point out Netflix had a bad summer two years ago too. Arguably, their best summer came from KPop Demon Hunters last year and Happy Gilmore 2, the latter of which I saw credited to Lin. Then, the stories came out that Dan Lin clashed with talent, both Ben Affleck and Greta Gerwig, classic “now they tell us” factoids to explain his firing. This may have been true, but also should have been expected given that he was given the mandate to bring budgets back in check, especially after Rebel Moon. So if he made folks upset, well, that’s what he was hired to do! But also, he was described as “well-liked” at his hiring! In that case, I’m a bit sympathetic to Lin, since he may have been undercut by senior leadership, as often happens. Basically, a CEO hires a subordinate to be their “bad cop” and keep budgets in check, but then when talent complains, the CEO ends up undercutting them. That’s how I think you end up with a Narnia movie as expensive as any of the other flops, along with a film executive the town no longer likes. As a result, I think that Netflix is now executing a classic “hire the opposite” move by hiring Peter Rice. This phrase comes from my experience following football and basketball coaching decisions, where teams generally hire the opposite of who they just had. If you have an offense-minded head coach, hire the defensive guy. Or in college football, if you have a strong recruiter, then you pivot to an “X’s and Os” type of guy. Or in pro basketball, if you have a very analytically minded coach, you hire the player-friendly guy. I see that here. After dropping Scott Stuber—arguably a talent-friendly executive with lax budget control—Netflix hired the business guy to keep costs in check. Now Netflix is pivoting back to Peter Rice and presumably a more talent-friendly regime. (Disney, by the way, has done this twice: hiring business guys to succeed talent-friendly Bob Iger. It didn’t work out last time.) When it comes to Peter Rice…we’ll see! Maybe he works out, but maybe he doesn’t. I’d actually say the biggest problem is that Netflix still hasn’t solved its “IP Problem”, in that they don’t own much IP, so they just have a lower hit rate. The new executive won’t solve that. (Though buying Lionsgate would help.) Share “Content” - Bela Bajaria I almost published yesterday’s article after this column, but ended up flipping the order, because it told the story so well. So if you want the data for why Netflix is looking at TV to fix their problems, it’s in that article, this graph in particular: I know I just wrote that it’s often hard to judge executives, but Bajaria ran TV for six years and film for three and a half more. That’s more than enough to judge hit rates, and Netflix needs more hits. That’s the story. Since 2023, Netflix hasn’t had as many hit shows as it used to, and many of its previous power house TV shows have ended their runs (Stranger Things most of all). Also, many shows from 2020 to 2022 probably pre-dated Bajaria’s tenure. (That said, one thing may have been outside of Bajaria’s control, which I explain below.) Let’s lump some content strategy thoughts about Netflix and TV into one place: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Why I partially blame Squid Game for Netflix’s latest troubles… What is “the football trap”... Why it might not be the TV shows or films’ fault at all… What change I don’t think Netflix will make... How Bela Bajaria evolved Netflix’s TV strategy in smart ways… Whose departure likely submarined Bajaria’s final few years… One sneaky explanation for Netflix’s content struggles... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
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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.
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What Box Office Bomb Crushed Obsession 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 into this week’s issue, let me ask you for some suggestions. At the risk of coining too many names for too many things (hence my dictionary of terms...), I need a name for straight-to-streaming films that are too expensive to justify a straight-to-streaming release, but not big enough to justify a theatrical release. Like some of the films I highlighted in last week’s tally of the biggest film flops of 2026 so far: Hulu’s Mike & Nick & Nick & Alice, Pizza Movie or Never Change! They don’t feel like “made for TV movies” (think Hallmark and Lifetime movies, cheap Netflix romcoms, or Disney Channel Original movies, for example) but they don’t feel big enough for the big screen. They’re not “cinematic” enough, so to speak. As I wrote... “I still need a name for this middle zone of film that’s too expensive to go straight-to-streaming but too small to justify a theatrical release (with all the PR, distribution, marketing and whatnot costs that go along with it), the Goldilocks zone of streaming film death.” Friend of the newsletter Brandon Katz has suggested the “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”. I love that first one. I’d offer up the much wordier “The Streaming Budget Dead Zone” or “the Goldilocks Zone of streaming film death” but that last one isn’t accurate since, unlike Goldilocks’ porridge, these films are the opposite of “just right”. That’s the problem! Anyway, if you have any suggestions, let me know! On to today’s Streaming Ratings Report. As you can tell by today’s headline, things are going to be spicy! I’m looking at a box office bomb that did really, really well on streaming, somewhat challenging a few different narratives. And another Netflix series declined in its second season. All that, plus Wicked: For Good switching streamers, The Hawk continuing its strong run, _The Bear’_s finale season finally dropping off the charts, the WNBA posting a big viewership number, “shallow libraries”, a sitcom spinoff failing to launch, more big budget IP flopping on Paramount+, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 20th to July 26th, 2026. You can find a link to my terminology here.) Subscribe Film - The Latest Theatrical Success Story on Streaming In the latest edition of “Flops, Bombs and Misses of the First Half of 2026”, I made a crucial change: I started including theatrical films with the streaming misses. The streamers have collectively—including Netflix, but not to as big of an extent—stopped making a lot of straight-to-streaming films, and the ones they do make aren’t as expensive as in the heyday of the streaming bubble. After the following two films bombed in theaters, you’d guess that they’ll be included in my next collection of flops, bombs and misses six months from now: Masters of the Universe on Prime Video (only $64 million domestic box office) Mortal Kombat II on HBO Max ($79 million domestic) But you’d be wrong! Masters of the Universe, a reboot of the He-Man franchise, a toy from the 1980s, came to streaming on 22-July and did great! This long-gestating project—it’s been at every studio for years, and came close to getting a greenlight at Netflix—then finally came to theaters in June, and showed up on streaming less than two months later. (I don’t love this short theatrical window.) It surprisingly grabbed nearly 20 million hours on its debut: That means, wait for it, Masters of the Universe is currently the eighth biggest film on streaming through two weeks. My rough bar for “hit” is shows or films in the top 15%. Ergo…Masters of the Universe is a legit, streaming hit! (One quick caveat: if it falls out of the top ten next week, it will move to 13th overall, just on the edge of the top 15.) Of course, that’s the data for just 2026. Here’s how it stacks up to Prime Video’s theatrical films: That drop into its second week is typical for Amazon films, but also a worrying sign. I have a feeling interest in this film is front-loaded and we’ll see it drop off after this. As for Mortal Kombat II, in this case, the viewership numbers roughly match the theatrical outing, with only 4.1 million hours in its first week. Here’s how it stacks up to other HBO Max films: The best defense of this number is that, as a relatively violent rated-R film, Mortal Kombat II never had a good chance at breaking out. So now it’s time for a little big of “Entertainment Nuance Guy”: First, yeah, my headline is obviously facetious, since Masters of the Universe besting Obsession says more about horror as a genre than it does that film. Second, I read and listened to quite a few “nobody wanted this IP” takes about Masters of the Universe, and that’s not really true. At least enough people wanted it to power a 20 million+ hour debut! Third, both this film and Mortal Kombat II were considered “average” by viewers, but not great films, with a 6.4 and 6.3 respectively on IMDb. That’s just shy of the level needed to be a word-of-mouth hit. Fourth, in the olden days, strong word of mouth could transform a box office miss into a cable/DVD hit, like Austin Powers or The Shawshank Redemption. We haven’t seen a lot of examples of that on streaming, though. And there are far fewer ways to monetize the post-theatrical life of a film these days. Fifth, Prime Video has shown an ability to push their own titles well, likely because they control the Amazon Fire TV ecosystem. Add it all up, and here’s my nuanced take on Masters of the Universe: it was a box office bomb, but, shockingly, a streaming hit. Unfortunately, while being a theatrical hit saves your film financially, being a streaming hit does not. Both Masters of the Universe and Mortal Kombat II had big budgets and needed to make more money in theaters to justify them. So…Straight-to-Streaming or Theaters? We’ve hit a really fun point in the streaming calendar, since the films that came out in theaters in April, May, and June are now arriving on streaming. So the “Do theatrical releases help streaming performances?” question is gonna get a fresh round of updates nearly every week. No single week will answer the question, but we may get some insights. For example, so far in 2026, it looks like theatrical films are lasting longer on the weekly Nielsen film charts. Here’s a list of films that have made the charts in their fourth or fifth week of release, separated by “for kids” and “general entertainment”: It certainly seems like theatrical films are lasting just a pinch longer on the charts, with Project Hail Mary being the current five-week champion. One Battle After Another did well for HBO Max too, and even The Sheep Detectives made it four weeks. The only exception to this trend? Obsession, which only lasted two weeks on the charts. You might tempted to overreact to this news. Don’t. Obsession is a huge horror hit, but horror just doesn’t do as well on streaming. By the way, here’s the Google Trends for various theatrical and stremaing films: Plus, when it comes to Netflix in four months, Obsession may have another big boost. Quick Notes on Film Note that when I write, “the streamers have pulled back on straight-to-streaming films” that doesn’t mean “abandoned” because Netflix is gonna Netflix. On 24-July, they released 72 Hours, a Kevin Hart comedy. Along with Eddie Murphy, Mark Wahlberg, John Cena and Adam Sandler, Kevin Hart is a streaming film star now. Did this latest one work? Not really. It only garnered two weeks of 13.2 and 12.2 million hours on its debut, well below the 20-million-hour hit threshold. It also was poorly received critically—a 44 on Metacritic—and by customers—a 5.4 on IMDb on 21K IMDb reviews. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The latest Netflix true crime doc to pop on the charts… How The Bear finished its run… Netflix’s latest Western to return to streaming… What Paramount+ animated film flopped… And what sitcom also missed… All the flops, bombs and misses… And a whole lot more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! I’m behind by a week, so we’ve got two issues coming your way this week, including one in a couple of days or so, then we’ll be all caught up**.** Next issue, inspired by The Super Mario Galaxy Movie coming to Peacock, I’m going to take a look at the workhouse of streaming TV: kids films. Plus The Devil Wears Prada 2 continues theatrical films’ big run on streaming. All that, plus another surprise hit on Hulu, Lioness on CBS, and a whole lot more. Long term, LeBron James is filming his own “Last Dance”-style docu-series, surprising no one. But as I’ve been writing about a lot this summer, this genre is really overrated, so whoever ends up buying it (reportedly ESPN) really shouldn’t pay too much for it.
A Peaceful Detective Mystery to Watch
Culture and entertainment recommendations including The Sheep Detectives, the Hold Steady, and more
Home Entertainment Guide August 2026: "Project Hail Mary," "The Sheep Detectives," "Power Ballad," More
A great month for physical media includes "Mandalorian and Grogu," "Project Hail Mary," "Hokum," "EPiC," and Arrow Special Editions of "Identity," "Ju-On: The Grudge," and "Troy."
List of DVD release dates for Aug. 25 and beyond
Following is a partial schedule of coming movies on DVD. Release dates are subject to change: AUGUST 25: Star Wars: The Mandalorian and Grogu 25: Disclosure Day 25: The Sheep
Right-to-hunt ballot measure’s a cruel, anti-wildlife solution to a nonexistent problem
By Eric Washburn I love to hunt. Every year I try to hunt big game in Colorado and waterfowl in Louisiana. This year, I applied for five Colorado big game licenses — elk, deer, pronghorn, moose and bighorn sheep. I drew a moose tag and an elk tag and will be chasing them around northwest […]
When Farm Animals Get Sick, Human Health Is Often Next
New editorial reviews 10 studies on zoonotic pathogens, AMR, and vaccine advances, underscoring One Health surveillance needs for biosecurity professionals.
List of DVD release dates for Aug. 25 and beyond
Following is a partial schedule of coming movies on DVD. Release dates are subject to change: AUGUST 25: Star Wars: The Mandalorian and Grogu 25: Disclosure Day 25: The Sheep
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.
BUSINESS MONDAY: Spotlight on Prado de Lana Sheep Farm Yarn & Wool Shop
The family-run sheep farm and yarn shop enters a new chapter at Stockbridge’s historic train depot, with more room for classes and community.
The best recent science fiction, fantasy and horror
Sublimation by Isabel J Kim; Last Day of a Prior Life by Andrés Barba; Dead But Dreaming of Electric Sheep by Paul Tremblay; The Carrier by Ruth Newton; Time to Burn by Ellery Lloyd
'House of the Dragon' Season 3: How does the Battle of the Gullet compare to the book?
From a Sheepstealer surprise to Lohar's demise, here are the biggest changes.
What AI-herding scientists can learn from watching ‘sheepdog YouTube’
Controlling a small group of “noisy” sheep holds hints for computer algorithms
'Remarkable Bright Creatures' doesn't aim high, but lands perfectly
Last week we had talking sheep, this week it’s an octopus. Based on the best-selling book of the same name, “Remarkably Bright Creatures” is another example of live action family
‘The Sheep Detectives’: Wooly, charming fantasy whodunit
Droll characters on two legs and four
From The Sheep Detectives to Rivals: your complete entertainment guide to the week ahead
Hugh Jackman and Emma Thompson star in a farmyard mystery, while the spirited bonkbuster returns for a smutty second outing
Oregon open for business: Study shows more biz openings than closings
On this edition we talk with OSU Doctor of Applied Economics Richard Acquah-Sarpong about his study which showed that since 2012 more businesses have opening in Oregon than have closed. Then we talk to KLCC's Julia Boboc about her story on the life and lessons of a local sheep farmer.
Temper your post-season expectations for the Cavaliers
The Cavaliers are a sheep in wolves clothing.
Hong Kong animal groups urge HKTVmall boycott over life science experiments
Online retailer facing major backlash after its parent company confirmed tests on pigs’ and sheep’s detached heads and limbs.
Can AI dream of electric sheep? The team behind the award-winning 1000XResist on their next game
We talked with Remy Siu, the Creative Director behind the award-winning 1000XResist, about their upcoming AI-centric game.
On plant health and embracing new plant-breeding techniques in South Africa
The major challenge currently confronting South Africa’s agriculture is the spread of foot-and-mouth disease. For many farmers across the country, the most urgent tasks are both securing sufficient vaccines and rolling them out quickly in the coming months, particularly as the beef and dairy industries continue to suffer big losses. There is also pressure on sheep, goats, and other livestock to prevent the disease from spreading. As efforts to get the country through this monumental challenge continue, I believe it is important to sharpen our focus on the broader task at hand: strengthening biosecurity. This covers both animal and plant health. In recent years, we haven’t focused much on plant health, except a few times, such as when we had a goss’s wilt scare in the maize industry, a few cases of citrus black spot, or cases of sclerotinia in sunflower seeds. But the fact that South Africa managed to control the outbreaks of these particular diseases when they occurred a few years ago was due to organized agricultural and government scientific capabilities, and, most importantly, the availability of crop protection or agrochemicals necessary to address some of them. Therefore, as the animal health division in the Department of Agriculture focuses on the pressing challenge of the day, the foot-and-mouth disease, there is an opportunity for the plant health division to assess if they have all the requirements to tackle any outbreak that may occur on fruits, vegetables or crops in future. The challenge with crop diseases is that they can spread quickly and cause much more rapid damage in the field than we typically see with livestock. Therefore, speed is everything in ensuring the appropriate controls are available. I raise this as an important area, particularly given the drastic climate variation we observe across the country. The production conditions in some areas have changed noticeably over time, which may introduce new risks. The other essential part is ensuring that South Africa has access to the best crop protection technology available in the market. Many technology developers worldwide have operations in South Africa. Therefore, the Department of Agriculture, along with the Agricultural Research Council, must continuously interact with technology developers to assess the various crop protection technologies they are releasing globally and determine their suitability and need in South Africa. This will require a proactive approach from the government, unlike the current approach, in which technology developers typically approach regulators with new technologies. The government, recognising the food security risks, must take a proactive approach to ensure that South African farmers have access to the latest crop protection technologies, thereby safeguarding the country’s food security. Beyond crop protection, we must never forget that South Africa’s agriculture is key to ensuring that the country is the most food-secure country at the national level in sub-Saharan Africa. South Africa is also the only African country in the top-40 global agricultural exporters, having more than doubled since 1994 on the back of the adoption of high-yielding seed cultivars. South Africa has been the only African country to adopt a bold approach to embracing science and adopting genetically engineered seeds for grains and oilseeds in the early 2000s. Since then, we have seen crop yields improve noticeably, contributing to the gains we mentioned above. But ensuring that South Africa improves further is not a given. The key lies in South African regulators’ attitudes towards new technologies. We have to maintain a progressive approach and not give in to the politics of non-food and non-scientific voices that shout on the sidelines. Food security is national security, and the government must ensure we progress, leaning on science. Therefore, the registration of high-yielding new genomic techniques is required. South Africa cannot afford to fall behind the EU, the USA, South America, and many of its competitors in global agriculture. The Department of Agriculture’s crop science division must adopt a progress-and-science-embracing approach for the good of the country. Thanks for reading AgriView! Subscribe for free to receive new posts and support my work. Subscribe Share
Glyphosate: A story of science, risk, and nuance
In the summer of 2014, a California groundskeeper named Dewayne Johnson started noticing patches of raw, weeping skin spreading across his body. He had spent years applying Roundup, Monsanto’s glyphosate-based herbicide, for a school district, sometimes drenched in it when equipment malfunctioned. By 2014, he had a diagnosis: non-Hodgkin’s lymphoma. In 2018, a jury awarded him $289 million in damages, later reduced on appeal. Tens of thousands of lawsuits followed. The story hasn’t quieted down. It’s all over the internet, swinging between “this will kill you, buy organic” and “relax, you’re fear-mongering.” Some of that recent chatter stems from an Executive Order protecting glyphosate and its production, which set off intense infighting within the MAHA movement. Some of it reflects a deeper truth: Americans genuinely care about harmful chemicals in their environment (see poll below). And the conversation isn’t going anywhere, with a Supreme Court case involving Monsanto set for this April. Glyphosate (the active ingredient in Roundup) is one of the most widely used herbicides in the world. But does glyphosate cause cancer? And how much exposure is actually risky? With so much mistrust in institutions and corporations (and some genuine conflicts of interest), making sense of the actual scientific evidence is genuinely hard. Here is a translation of what the scientific evidence actually says. Does glyphosate cause harm? Glyphosate is an herbicide that kills most plants it contacts rather than targeting specific species. It works by blocking an enzyme pathway (EPSPS) that plants and many microorganisms need to produce essential amino acids. Without those amino acids, the plant can’t grow and dies. Glyphosate was first developed by Monsanto in the 1970s and became ubiquitous after the company introduced “Roundup Ready” crops in the 1990s. In 2024, Bayer removed glyphosate from residential Roundup-branded products due to litigation pressure. But today it is still the most widely used herbicide in the world. Farmers also discovered they could spray it directly on crops like oats, lentils, beans, and peas just before harvest to dry them out faster and make harvesting easier. Because of its widespread use, it’s obviously really important to understand if it’s harmful to humans. The key principle: The dose makes the poison The most important concept in toxicology is that “the dose makes the poison.” Sixteenth-century physician Paracelsus articulated what remains the foundational principle of toxicology: sola dosis facit venenum. Water will kill you if you drink enough of it. Aspirin saves lives at 81 milligrams and causes internal bleeding at higher chronic doses. So, at what dose is glyphosate poisonous? The LD50 in rats (the dose that kills half the test animals) is around 5,600 mg/kg body weight. Table salt is roughly 3,000 mg/kg. By that classic measure, glyphosate is less acutely toxic than salt. But some people are exposed to a lot of glyphosate through their work. And among the general public, there are many questions about low-dose, cumulative exposure from multiple sources over long periods. Does glyphosate cause health problems? Cancer Correlation maps are striking, with one analysis finding that 60% of counties that spray the most glyphosate have non-Hodgkin’s lymphoma rates above the national average. But correlation alone doesn’t establish cause, which is why animal and human studies matter. In animals: Rat studies are typically what most fear is rooted in, but most people don’t know the study details on the dosage given to rats. A pooled analysis of the 13 most rigorous rat studies found evidence that very high doses, around 55,000 times greater than typical food residue exposure, can cause certain cancers. In humans: One of the strongest studies followed 55,000 herbicide users over 20 years and found no overall increased cancer risk. There was one signal: among those with the highest use, rates of acute myeloid leukemia (AML) appeared elevated. A broader meta-analysis of 18 human studies also found no overall cancer risk, though a separate meta-analysis focused specifically on non-Hodgkin lymphoma found that people with high cumulative glyphosate exposure faced a 41% higher relative risk compared to those with low or no exposure. These human studies are observational studies (randomized controlled trials would be unethical), and meta-analyses are only as reliable as the studies they pool. But the story seems consistent: at very high exposure levels, there may be some cancer risk. But that’s about as far as the science currently takes us. Emerging research: gut and reproductive health Gut: Because glyphosate targets a pathway that exists in some gut bacteria, scientists have questioned whether it could affect the microbiome. In mice, a 2023 University of Iowa study found that glyphosate altered gut bacterial composition and raised markers of intestinal inflammation. A 2024 systematic review found similar patterns: disrupted gut bacteria and problems with the mucus layer that protects the intestinal wall in mice. Whether this translates to humans is an open question. The human gut is highly variable and resistant, and we don't yet have strong studies confirming the same effects in people. Reproductive health: Animal studies have found that glyphosate-based herbicides can interfere with reproductive hormones, including disrupting egg cell development in mice and reducing the number of eggs available in sheep’s ovaries. However, the doses used in these experiments were high, so it’s not yet clear whether the same effects would occur in humans. On the human side, a 2021 pilot study led by Mount Sinai researchers tested urine samples from pregnant women across the U.S. and found glyphosate in 95% of them. The study also found a possible connection between higher glyphosate exposure during pregnancy and a subtle physical difference measured in female newborns. That said, some connections weren’t statistically reliable and this was a small study. The researchers themselves said more and larger studies are needed before drawing firm conclusions. What do regulators say about glyphosate safety? In 2015, the International Agency for Research on Cancer (IARC), part of the World Health Organization, classified glyphosate as "probably carcinogenic to humans" (Group 2A). The classification is worth taking seriously. But, there’s an important distinction: IARC classifies hazard, meaning the potential to cause harm under some conditions. It does not assess risk, which accounts for actual exposure levels and the real-world probability of harm. The U.S. EPA, the European Food Safety Authority, Health Canada, and regulatory agencies in Australia and Japan have all concluded that glyphosate is “unlikely to be carcinogenic to humans” at realistic exposure levels. They’re asking a different question: given how much of this people actually encounter, what is the probability of harm? Your actual exposure is what determines your actual risk. What does glyphosate mean for your daily life? At the grocery store: Food residues are small. The EPA’s acceptable daily intake is 1.75 mg/kg of body weight per day. To hit that threshold from oatmeal alone, a 150-pound adult would need to eat roughly 50 pounds of oats every day. But this calculation addresses only one pathway (food), and we don’t yet have robust tools to measure people’s actual total exposure. If reducing exposure matters to you, organic certification prohibits synthetic herbicides, and organic oat products generally test at lower or undetectable levels. Either way, a diet rich in whole grains, conventional or organic, is far better for your health than one that omits them out of fear of residues. On the farm: Occupational exposure is orders of magnitude higher than consumer exposure. Farmers and farm workers who mix, load, and apply glyphosate-based herbicides, especially without protective equipment, face meaningfully different risk profiles. Proper PPE isn’t optional. Integrated weed management strategies that rotate chemical modes of action are also worth taking seriously, both for health and for long-term effectiveness. If you live near a farm: Spray drift is real. Concentrations near field edges can spike during and after application, particularly on windy days. This is an area where I think public health could really step up and empower rural communities with buffer zones, rather than placing the onus on individuals. But for now, knowing your local agricultural calendar and keeping windows closed during application are the first steps. Bottom line Dewayne Johnson was exposed to glyphosate at levels most people will never encounter, and a jury decided he deserved compensation. That outcome is not evidence that the oatmeal in your pantry is dangerous. But it is a reminder that the dose, the context, and the person doing the exposing all matter enormously. Glyphosate is a chemical tool with benefits, trade-offs, and genuine open scientific questions. Learning to hold that complexity without collapsing into panic or dismissal is, honestly, one of the most useful and hardest things to do in navigating modern health science. Love, YLE Your Local Epidemiologist (YLE) is founded and operated by Dr. Katelyn Jetelina, MPH PhD—an epidemiologist, wife, and mom of two little girls. Hannah Totte, MPH, is an epidemiologist and YLE Community Manager. YLE reaches more than 425,000 people in over 132 countries with one goal: “Translate” the ever-evolving public health science so that people will be well-equipped to make evidence-based decisions. This newsletter is free to everyone, thanks to the generous support of fellow YLE community members. To support the effort, subscribe or upgrade below: Subscribe
Classroom grants bring science to life for local students
Virtually tracing the blood vessels through the chambers of a sheep’s heart and following the path of air through the lungs allowed seventh graders at Berry Creek Middle School to move beyond just reading about...
NC's 'toothiest fish' topic of next talk in science lecture series
Fisheries ecologist Dr. Jim Morley will explain the life history of sheepshead during the Jan. 15 "Science on the Sound" Lecture Series at the Coastal Studies Institute in Wanchese.
League of Legends 2026 S1 Gameplay Changes: Atakhan Removed, New Plates on T2 & T3, Nashor Back at 20
Dive into in-depth analysis and latest updates in the world of League of Legends Esports with Sheep Esports.