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This Zac Efron Tearjerker Just Cracked Netflix’s Top 10
A familiar romantic drama is climbing Netflix’s Top 10 more than a decade after its theatrical release. Here’s why viewers are revisiting the tearjerker, and what they’re saying about it.
There’s a Reason That Netflix’s Ad Business Has Underwhelmed
Somewhat lost in the company’s slew of firings and engagement warnings over the past few weeks was the fact that Netflix is scaling back its ad forecast for 2026 from $3 billion to $2.7 billion. That’s despite the fact that: CTV is growing by 14-15% this year This year saw a monster upfront Netflix is the biggest streamer out there this side of YouTube, and was the platform that for years brands were supposedly dying to be a part of In other words, that’s an alarming pull-back from Netflix. A Wall Street analyst I spoke with last week was blunt, calling Netflix’s ad business “disappointing.” To me, a red flag on the ad front is that Netflix has never revealed how many ad-supported subscribers it has. Because if I know anything about how big companies work, if they have a positive number that makes them look really good - they tend to share it. (How many subs does go90 have right now? We’re not saying just yet. How are ads going on ChatGPT? Oh, a billion run rate - I see). Yes, to date Netflix has shared some fuzzy ad numbers, such as the idea that the company’s ad tier ‘reaches’ 250 million users globally.’ Here’s why that figure gives me pause: a)they lead with global, and b) they don’t explain how they are calculated. (Are they based on average people in each room? Surveys of some kind?). Regardless, some insiders say that Netflix’s ad tier is scaling nicely - others not so much. Either way, one of Netflix’s biggest challenge on the ad front appears to have been its starting point. Remember, when Netflix launched ads in 2022, it had 73 million subs in the US and Canada. That’s 73 million people who were used to Netflix with zero ads. And when the ad product rolled out, the company clearly was going after new users - a limited pool of potential subscribers by default. That focus seems to have changed over time, as Netflix has tried to convert longtime subscribers to the ad tier. Historically Netflix subscribers are very sticky. But is the company’s low churn a problem? Not necessarily, according to Antenna data. Rather, Netflix’s consumer loyalty is a bit of a double-edged sword. “Netflix is the one streamer which actually has seen substantial “trade downs” but has much lower ‘win backs,’ said Antenna founder Jonathan Carson (win-backs being people who were on the ad-free plan, cancelled, then rejoined on the ad plan). “Netflix has lower churn and so has less opportunity to win back old subs with a lower cost plan option.” This all might explain why Netflix has been so slow to roll out all of these table stakes targeting options until just this week. It likely didn’t have enough users to carve up into various targets. etc. However, what really hit Netflix’s ad business was Amazon’s move a few years ago to turn on advertising for Prime Video by default. Suddenly the market was awash in premium inventory, and Netflix was playing catch-up on multiple fronts. Thus, the streaming giant appears to still be figuring out if if wants lead in ‘programmatic TV,’ or premium ‘upfront’ TV sales. “The CTV market now sorts into three businesses, and Netflix is not the leader of any of them,” wrote analyst Jack Myers. Ouch. So how does Netflix ratchet up its ads business? Get the next NFL package You’re gonna have to wait until 2030 unless one of the bigger media companies like Skydance opts out, but the easiest (not cheapest) way for Netflix to become a huge TV ads contender is to get one of the regular NFL packages, ideally Sunday afternoons. That way it can sell ads to its whole U.S. subs base overnight. Go FAST This one is risky, because to program a compelling FAST channel, you’d likely have to take some older Netflix exclusive shows and make them available for free to non-subscribers. But FASTs, for better or worse, are ad-inventory machines. Go full UGC I’m not sure I see this happening. There is something already off about Netflix carrying podcasts and shows for creators. The experience sticks out in what is such a produced, and generally non-communal environment. But Netflix could open up its platform by allowing creators to upload videos without having to be approved by the service. But that opens a whole other can of worms (policing brand safety, copyright infringement, overall quality). Make a huge RMN Deal I was going to suggest something crazy, such as ‘instead of buying Warner Brothers, Netflix should buy Target. But the company doesn’t want to be in the brick and mortar business. Yet for Netflix’s ad business to compete in an Amazon world, it needs to be able to connect ad exposures to shopping. What if, instead of letting Amazon target Netflix viewers with its DSP, Netflix inked a deal with Target, or even took control of Roundel, and created its version of the Amazon full-funnel for brands? Price us out. I hope they don’t do this, but Netflix’s price increases - while significant - haven’t been enough to push long-term customers out of the ad-free tier. But if they made those prices so prohibitive, it could push large swaths of consumers to trade down. Then again, that could also dent engagement - as binging becomes much less appealing once you bring ads into the equation. Or, they could just launch a bunch of hit shows and maybe everyone will quickly forget all this angst. More from Amazon unBoxed A few weeks ago, I recorded two podcasts live at Amazon’s unBoxed event in San Francisco. I was able to go really deep with several brand partners about how Amazon’s various data and ad products work - particularly the under appreciated Amazon Marketing Cloud. First, I talked with Laura Abadias Velilla, of the Amazon specialty agency Amerge, along with Amazon’s own Charlotte Maines, Vice President, Devices Content & Advertising, about how the two partners helped a very specific printer company Epson launch into a brand new category - high end projectors. It’s a great example of how brands connect audience data across platforms to make budget deployment decisions. Next, I chatted with Monks VP Head of Digital Investment for North America Tom Burchill about how the agency actually brought in data from Linkedin to help target B2B customers across various Amazon properties for the brand Quicken. Check it out: Check these out, or just listen:
How the School of Hard Knocks founder built a $37 million business
School of Hard Knocks cofounder James Dumoulin uses staged drama to hook viewers and sells consulting services and memberships.
Tom Alvarez celebrates 14 years of ‘On the Aisle’ entertainment picks on ‘Life.Style.Live!’
Celebrate 14 years of Tom Alvarez and his entertainment insights for Indianapolis viewers on WISH-TV.
What happened to Jalen Hurts? Reported health update raises questions among viewers
lev radin/Shutterstock.com David Muir reports Jalen Hurts’ diagnosis ABC News anchor David Muir covered Philadelphia Eagles quarterback Jalen Hurts’ blood-clot diagnosis during World News Tonight on October 19, 2026. The report followed the team’s announcement of a serious medical condition that will sideline the quarterback for the remainder of the 2026 NFL season. Hurts, 28,…
Week 8 college football viewer's guide: Can No. 7 Ole Miss hand No. 19 Texas a third consecutive loss?
John Gillispie: Life isn’t ‘Normal’ in Odenkirk film
Movies & More reviewer John Gillispie shares his thoughts on the movie “Normal,” which is rated R and is available on DVD.
Liev Schreiber scolds interviewer at red carpet premiere: ‘Talk to people like they’re humans’
The actor was promoting his new Apple TV crime drama, “Nocturne,” at its New York premiere.
iPhone Duo Reviewers Really Miss Face ID
Touch ID on the iPhone Duo might end up being frustrating for some users, based on media reviews that came out today. Multiple reviewers found Touch ID to be slow to unlock, which can be jarring coming from Face ID. According to Marques Brownlee, Apple added an intentional delay to "every single" Touch ID unlock. After you touch a finger to the side button to unlock, it pauses on the Lock Screen. If you keep your finger there, it continues to the Home Screen. It's technically smart.
Does the iPhone Duo Run Hot? Here's What Reviews Found
Multiple iPhone Duo reviews covered the device's thermal properties, and reviewer opinions varied. Some found that it was just warm, while others thought it was running too hot at times. Joanna Stern said the back of the device got warm when using FaceTime and taking photos. She had to end a FaceTime call during testing because it got too hot. "Yeah, I'm gonna burn my hand off," she said. "This thing is getting really warm".
Who went home on 'DWTS' Week 6 from Dedication Night
Tuesday night was an emotional one on Dancing with the Stars as the reality show hosted Dedication Night. The 10 remaining couples all honored special people -- or places -- in their lives, often bringing the crowd, viewers and judges to tears. Former DWTS pro and two-time Mirrorball champ, Kym Johnson, joined the panel as a fourth judge this week.
Toy Story 5, Backrooms and The Breadwinner Vie to Become the Second Biggest Film This Year...
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Often, people blame “data” for ruining Hollywood, when I’d argue that hype (which can often be debunked by data) is often worse, as you can see in these two headlines. To use a common meme, here’s how it started: and how it’s going: Earlier this year, I read countless (and I mean countless) articles (in almost every mainstream media outlet) about how Heated Rivalry was a huge hit and that it “heated” interest in hockey. But Heated Rivalry wasn’t a huge viewership hit compared to the hype: [ ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) [ You Can’t Eat Buzz…Did Heated Rivalry’s Buzz Translate into Actual Viewership? ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) Entertainment Strategy Guy · Jan 22 [ Read full story ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) In this case, the hype (Heated Rivalry is really popular) belied the data (It didn’t make the top ten charts, meaning it wasn’t a huge hit.1) Even worse, every time I write about this, I get a lot of negative feedback, hence why I only sparingly mention the show these days or add lots of caveats when I write about it, but this just further cements the hype. But companies, and the executives leading them, have to determine strategy based on reality, not media coverage. The NHL committed real marketing dollars to a campaign that didn’t work. Sure enough, the latest NHL season opened to under a million viewers. At some point, you have to focus on what the data says, because real dollars are at stake. And that’s why we have the Streaming Ratings Report! To provide and analyze cold, hard data. Luckily, this week, I can be positive and take a look at a huge opening on streaming, along with a very buzzy horror film that customers kind of like, but don’t really love. And a comedy that tried to rebound on streaming. Today, I’m covering two weeks—21-Sep and 28-Sep—so we have a lot to discuss (nearly 5,000 words worth), including a series of film misses for Netflix, another argument for weekly-released TV shows on streaming, another sitcom tries to avoid the comedy curse, Netflix has two new game shows (one powered by AI), Reacher falling off the charts after a huge run, Prime Video tries its hands at the romcom game**,** a look at the WNBA’s big season, a big night for the VMAs on CBS and MTV, all the flops, bombs and misses, and a whole lot more. (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 14th to October 4th, 2026. You can find a link to my terminology here.) Subscribe Film - Two Hits and a Miss Come to Streaming… Three very interesting films came to streaming in one week, and I like comparing them since they show the range of theatrical films. One was a huge blockbuster, one was popular, and one was neither. One is a horror film, a buzzy genre; one is a comedy, a struggling genre; and one is an animated family film, the king of the box office. One went to a tiny streamer (HBO Max), one went to a second-tier streamer (Disney+), and one went to the biggest (Netflix). So… If you just went by box office, you’d expect Backrooms—the $197 million grosser, and partner of Obsession for “YouTube Horror Summer”—to dominate on streaming. If you read this report, though, you know that horror films don’t do great on streaming, and that’s the case again. Backrooms opened at 3.8 million hours according to Nielsen, and had 3.9 million hours in its second week. Here’s how that stacks up to other HBO Max films: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… ...why I don’t buy Backrooms budget… …two new games shows arrive on streaming… …another sitcom struggles… ...another argument for putting out shows weekly on Netflix... ...and a whole lot more, nearly 5,000 words more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Next week, I’ll be taking a look at the eighth season of Hulu’s The Kardashians, answering the question: will this show ever make the charts? If Mormon wives can make it, surely one of social media’s most popular families can as well. Also, Prime Video has a new horror show based on popular IP, Carrie, Netflix has a horror show starring Josh Hartnett, Below, and Apple TV has a UK import, Small Prophets. Plus a bunch of movies like Disclosure Day heading to Peacock, The Housemaid coming to HBO Max, Ben Affleck’s latest on Apple TV, Animals, and Matchbox the Movie on Apple TV, a John Cena action comedy inspired by Hasbro’s toy cars. The week after is even busier! I’ll look at another IP-based horror show, Crystal Lake, a new MCU show on Disney+, VisionQuest, season two of The Lowdown on FX/Hulu, the fourth seasons of The Diplomat on Netflix and Tulsa King on Paramount+, another season of Love is Blind, and four straight-to-streaming films: Netflix’s Sacrifice (starring Chris Evens, Anya-Taylor-Joy, Vincent Cassel, John Malkovich, Salma Hayek. Charlie XCX), Apple TV’s Tenzing (starring Tom Hiddleston and Willem Defoe), Prime Video’s Love of Your Life (Margaret Qualley) and Masterplan (Stanley Tucci) and a whole lot more, somehow. Long term, here’s some huge IP news: a Game of Thrones movie is coming to theaters, Game of Thrones: Aegon’s Conquest in 2029, while Jon Watts (who helmed three of the most recent Spider-Man movies) is directing the next Star Wars trilogy, to be written by Simon Kinberg. I’m cautiously optimistic for both. It feels obvious to say that making good movies matters, but for bets this big (Star Wars is on a swoon, Game of Thrones hasn’t been to theaters yet), the quality has to be there.
Jay Z's past political statements won't help perception of NFL politicizing Super Bowl halftime
Jay Z reportedly chose himself to perform the 2027 Super Bowl halftime show, but his extensive political history could deepen a troubling viewership trend.
‘Wildwood’ review: Laika’s stunningly animated epic is a visual wonder
"Wildwood," the latest release from stop-motion studio Laika, shines bright visually. Its story, though, is quite a bit darker, writes our reviewer.
GTA 6 Platform Poll: 36% of DF Viewers to Play on PS5 Pro after 30,000 Votes
With only one in five planning to play on Xbox - and thousands of comments in favour of PC.
'The Simpsons' resurrects Apu after nearly a decade of silence
The Halloween-themed episodes of “The Simpsons” have always been a treat of spooky stand-alone storylines. On Sunday, the show surprised viewers with the resurrection of Apu. The beloved Indian Kwik-E-Mart
‘The Simpsons’ revives Apu following years of controversy
Across 38 seasons of “The Simpsons,” the Halloween-themed “Treehouse of Horror” episodes have always been a treat of spooky stand-alone storylines. On Sunday, the show surprised viewers with a majo…
The Chase still has NASCAR chasing its former viewership
While NASCAR reintroduced its final stretch run, The Chase, to rekindle postseason interest, viewership for the races has remained lackluster. Over six races, the 2026 NASCAR Cup Series Chase averages 1.62 million viewers, up just 1% year over year (1.61 million), per NASCAR Communications. So far, The Chase hasn’t delivered the viewership renaissance NASCAR hoped…
NBCUniversal’s shoppable TV business is seeing a boost from shows like ‘Traitors’ and ‘Love Island USA’
Viewers can now buy products from about 12 of their favorite NBCUniversal shows, including "Top Chef" and "Below Deck."
Streaming’s Biggest Show Returns…and a Buzzy Genre Struggles
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Obviously, the big news of the week (if not month) is Netflix letting go of executive Bela Bajaria, their chief content officer. I’m going to cover this in my next “Most Important Story of the Week”, but I also have a data angle that I might publish before then. (Too much news this month, am I right?) But first, I have a bonus Streaming Ratings Report issue for you. Today’s article is a bit of a grab bag of topics I’ve wanted to write about, but couldn’t squeeze into the (already very long) Streaming Ratings Report issues. The NFL drives huge viewership numbers, so I’ve got a look at that. A whole bunch of TV shows returned to the traditional broadcast channels, and I have thoughts. And I have a quick look at adult animated shows, since a couple flopped earlier this month. Plus, the Emmys aired earlier this month, and we got some fun data bout how popular those nominated shows are and why I’m not optimistic about the show’s future. That’s a lot, so let’s dive right in. Subscribe Sports - Football Remains the King of Streaming Over the last two Streaming Ratings Reports, I sorta ignored the biggest “show” each week. (I was tempted to say “piece of content” but I know that word bugs folks.) In my database, I call these “specials”, and they sure are special. I speak of the king of American TV: football!!! Streaming football is back and, unlike some other sports, it routinely dominates all viewership. Probably the best way to show this is to update one of my favorite graphics, the “40 Million Hour Club”1 since football games have joined that club each week they’ve premiered: (Yep, that’s the data through 28-Sep, the first four weeks of the season. As a reminder, I take the average minute audience provided by Nielsen, factor out a percentage of linear TV viewers in home markets, and multiply the run time by the three-hour runtime.) Again, the numbers are huge. Let’s start with Netflix. They grabbed the rights to the bonus opening week NFL Kickoff game (which was on YouTube last year) and it put up 18.5 million viewers on average. That nets out to 47.4 million hours of estimated streaming hours. That’s good! Though, notably, it’s well below Christmas Day games from previous years. Compared to other streamers/broadcasters, that’s a bit of a mixed result. On one hand, Netflix’s 18.5 million average is about what YouTube claimed last year, though Nielsen used a bespoke methodology at that time, so I trust this viewership figure more. So that’s good. (The game also shifted from a Friday to a Thursday and that could have helped the viewership as well.) And Netflix continues to best Prime Video in total viewership—as you’ll see next—though Netflix has had much higher-profile (opening week and Christmas Day) games. NBC/Peacock’s opening game the night before averaged 25.1 million average viewers, which is just much bigger than Netflix (or Prime Video). That’s the big caveat to all streaming viewership records: even in success, they can’t compete with traditional linear TV. Previously, I called this my “hierarchy of viewership”, and the data keeps supporting that thesis. The downside for NBC is that this game’s viewership was down compared to previous years, though it may be a counting issue. Here’s a great chart from Sports Media Watch: Indeed, looking at all the opening week games across all windows, Netflix still lags the other primetime windows, but does well compared to the afternoon games: I saw a few folks make the case that streamers still lag traditional broadcasters in reach, and I’d add they really lag compared to “broadcast plus streaming” options like NBC/Peacock, ESPN/Disney+ and CBS/Paramount+. The best data I saw for this came from Samba TV, who charted reach through the 2025 season, and, wow. (Samba TV’s numbers are historically lower than Nielsen’s, so don’t compare their household figures to Nielsen’s hours, but use them as a proxy for the relative reach of the streamers.) The good news is Prime Video is NOT having a down year. Their opening Thursday Night Football game reached 18.6 million viewers (about what Netflix got), but that’s a high for Prime Video on Thursdays and the biggest Thursday night game since 2015. The TNF games the weeks of 21-Sep and 28-Sep continued this streak, getting 43.1 (16.8 million average viewers) and 42.5 total hours (16.6 million average viewers), which were both up from last year. Still, that continues the (typical) season slide: (For those new-to-streaming-football-numbers folks, the viewership declines for Thursday Night Football as the year goes along.) Overall, it appears as if Prime Video is now part of the “football habit”, be it for customers at home or out at places like bars and restaurants. And its viewership is slowly catching up to broadcast. One last chart shows this. Last season, Nielsen started adding out-of-home viewership to the charts, so I try not to do season-to-season comparisons as I did for the first few years. And while Nielsen added Big Data viewing this year, I’m going to compare the last two seasons. Here’s that chart, which shows the season-over-season gains: When it comes to streaming football, we have to keep a few seemingly contradictory thoughts in our head… First, streaming doesn’t come close to matching broadcast’s reach and, thus, viewership. Second, even with that gap, football is still the biggest “thing” on streaming. It’s very, very popular. Third, while some methodology changes have likely helped Prime Video’s numbers, their viewership does appear to be growing. Lastly, yeah, the NFL started the season off poorly, with week one dragging down the numbers in year-over-year comparisons. However—and again, methodology changes may have helped this—the viewership grew compared to previous seasons over the next couple of weeks. So football is still king. On streaming and off. Television - Adult Animation Continues to NOT Make the Streaming Charts In the last two reports, two adult-animated shows whiffed: Netflix’s animated comedy, Dang! Paramount+’s Sega-video-game-inspired fantasy/comedy, Golden Axe. Neither made the charts, but that’s usually the case for animated shows. I mean, here’s literally every animated show that’s made the Nielsen Original charts since the start of 2025: And one of those shows is G_abby’s Dollhouse_! A kids show! The problem with charts like this is that they don’t give you a sense of how many shows miss the charts. Netflix had at least eleven animated flops, including comedies like Big Mouth (a show everyone assumed was popular in the pre-Streaming Ratings Era), Long Story Short, Haunted Hotel, Mating Season, Strip Law, and Alley Cats, and action shows like Blood of Zeus, Castlevania: Nocturne, Devil May Cry, Splinter Cell: Deathwatch, and Tomb Raider: The Legend of Lara Croft. Prime Video had at least six animated misses, two in the same universe (Hazbin Hotel, Helluva Boss), three more comedies (#1 Happy Family USA, The Second Best Hospital in the Galaxy and Kevin) and an action show (The Mighty Nein). Disney+ had MCU and Star Wars animated misses (Eyes of Wakanda, Marvel Zombies, Star Wars: Visions, Star Wars: Maul – Shadow Lord, and Star Wars: Tales of the Underworld) but I can’t tell how many of those shows were geared towards adults. HBO Max had Harley Quinn and Hulu had Solar Opposites. None of these shows made the charts! That’s a lot of misses! If I remade the chart with all those misses, here’s how it would look: Listen, I know the counter arguments. First, it’s cheaper to produce animated shows than live action. Fair enough, but with viewership this low, even that cheaper price point starts to not matter. Second, just look at the acquired charts. Hit animated comedies can generate viewership for years! Shows like The Simpsons, South Park, Family Guy, and Bob’s Burgers do really, really well. Fair enough, but streaming has failed to recreate the dynamic that Fox has mastered so well. That’s a problem for streaming still. Television - Emmys! The annual Emmys broadcast was a few weeks ago, and I’ve got data on how the nominees performed on streaming, plus hot takes on this year’s viewership (and the big news about the broadcast’s, er, streamcast’s future). We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The top Emmy-nominated shows… ...why I’m worried about the future of the Emmys telecast... ...the pros of broadcast television ...and the cons... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, we’ve got a double issue (since the weeks of 21-Sep and 28-Sep were so light), but then I’ll be all caught up after a deluge of streaming ratings data from Nielsen in September. In the meantime, I’m going to try to take a look at Netflix’s stats to explain why Bela Bajaria is out. But even light weeks give me plenty to talk about. The Great British Baking Show returns to Netflix and Apple TV has a buzzy new star-studded comedy. And Netflix has a controversial-but-appears-to-be-popular new game show. Plus big films like Toy Story 5, Backrooms and The Breadwinner head to streaming. And is East of Eden a hit? After that, The Kardashians return to Hulu, Prime Video has a reboot of Carrie, and Netflix has a horror show, Below. Disclosure Day heads to Peacock, The Housemaid heads to HBO Max_,_ a new Ben Affleck film, Animals, lands on Netflix, and Apple TV has a new John Cena action film based on, checks notes, Hasbro’s Matchbox toys. Okay. Longterm, some interesting TV production news. HBO Max ordered How to Survive Without Me, starring Kaley Cuoco, Joshua Jackson, Ray Romano and Rita Wilson, for fifteen episodes! I love that some streamers (or, at least, HBO Max) are finally ordering TV shows with more than eight episodes. In less wise production news, Landman does not appear to be coming back this year, since it just started production. Frankly, I don’t love this (get your shows out on time) but Landman is so popular, I doubt it matters.
Woman allegedly hit business owner with a closed fist when he tried to stop robbery
WCYB NBC 5 Bristol and WEMT Fox 39 Greeneville offer local and national news reporting, sports, and weather forecasts to viewers in the Tennessee, Virginia Tri-Cities area including Bristol, Kingsport and Johnson City.
Review: 'The Social Reckoning,' director Sorkin takes a more subdued approach
Movie reviewer Joshua Hill says 'xxxxxxx' xxxxxxxxx.
Man’s Clever Trick After Realizing His Job Interviewer Was AI Sparks Fears For Humanity’s Future
As more and more companies replace their interviewers with AI, a frustrated comedian went viral by bringing his own “AI representative” to the meeting. Curiosities, Funny, Science & Technology, Social Issues, Society
Netflix Scrambles to Rewrite Its Narrative With Layoffs and a Sudden Firing
Despite strong revenues and profits, the streaming service cut 1,000 jobs and jettisoned its chief content officer. Drops in the stock price and viewer engagement are to blame.
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”.
What Chinese viewers are learning from America’s political chaos
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When 1 + 1 = 1: The Miserable Math Behind Many Media Mergers
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) The last few issues of this newsletter have circled two topics: September’s streaming viewership and all the Paramount/Skydance/Warner Bros./Discovery merger news. I’m happy to say on the Streaming Ratings Report front, we’ll be all caught up by early next week, then the SRR will come out on a tight weekly schedule. Then, after today, I’ll have slayed my PSWbD dragon. It’s such a big story, it demanded multiple issues. With the announcement of a name (just Skydance) and executive team, though, I think we can almost close the book on this story. In terms of topics, it becomes just another studio to cover. So today, I have one last set of takes on that merger. As I’ve sat with it, reading about who was staying and who was going, a big worry crystallized in my brain, and I gotta get that take out. Plus, I still owe you a host of “ugliness” that didn’t fit in my previous “The Good, The Bad and The Ugly” takes. Let’s dive in! Subscribe Most Important Story of the Week - As Paramount Shuffles Deck Chairs, Will They Build or Consolidate? On social media—I try to avoid most social media platforms, but sometimes I end up checking in—the best joke I saw about the announcement of the new name of Skydance was from fellow reporter Claire Atkinson who pointed out… Yeah, I laughed out loud at that one. Later, though, I saw another Twitter response (that later got deleted, so I can’t shout the person out) that did give me pause. The person noted that the Titanic film made the better analogy: a super expensive project everyone in the town doubted that went on to conquer the globe. So yeah: on one hand, the image of the Titanic recalls the actual ship and its infamous end, but that clip is from a movie which proved the doubters wrong. So for all the skepticism of the latest massive media merger, one could wonder which way this one goes. Does it crash like the Titanic or rise to glory like Titanic, the movie? Either way, this deal is “Titanic”, looking at the massive debt required to close the deal, which is not going well when it comes to borrowing costs for Paramount… …or borrowing costs for Oracle. But I’ve started to get worried about another outcome: the sum of this merger will be smaller and weaker and less profitable than its former parts. In other words, one plus one won’t equal three or two, but an even smaller number. Skydance paid to take a traditional studio off the board, but they won’t really capture the upside. Let me explain what I mean, but first, let’s look at the series of news that inspired this thought. Skydance Sets Its Leadership Team As soon as the Paramount-Skydance-Warner Bros.-Discovery merger closed, the new leadership team announced a new name—Skydance, which I’ll use going forward—and a new executive leadership team. You’ve probably read through all the executive shuffling, but if you haven’t, here’s a quick, incomplete summary, in rough order of importance: Mattel’s CEO Ynon Kreiz—who previously ran Maker Studios—joined as co-CEO with David Ellison. HBO/HBO Max’s Casey Bloys will stay and run streaming. Former head of streaming for Paramount-Skydance Cindy Holland—who was also at Netflix—will depart. The former heads of Warner Bros.—Pam Abdy and Mike De Luca—are out. The film studios will be run by Dana Goldstein and Josh Greenstein. George Cheeks of Paramount will run Skydance TV, controlling all the TV production units. In comic book news, the DC films will still be run by Peter Gunn and Peter Safran. Lastly, the head of CNN, Mark Thompson, will stay in place. Let’s quickly opine on the particulars before diving into the broad ramifications. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Who I like and dislike in their next gigs… Why I think this consolidation will likely leave Skydance worse off… The math behind which mergers succeed and which don’t… A lot more ugliness in this merger… And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
Mark Zuckerberg and Alexandr Wang don't seem sold on Guinness
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‘VisionQuest’ review: ‘WandaVision’ sequel an excellent examination of humanity
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'The film of the year': Critics rave about Nathan Fielder's 'masterpiece' Elizabeth Holmes documentary
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This Terrifying New Series Just Might Be Your Next Spooky Season Obsession
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Why Samantha From Cobra Kai Looks Familiar
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Politics Unplugged (Full Episode) Oct. 11, 2026
On "Politics Unplugged," political editor Dennis Welch sits down with Republican gubernatorial candidate Andy Biggs for a wide-ranging interview weeks before election day. The conversation is dominated by Governor Katie Hobbs' multi-million-dollar ad campaign accusing Biggs of protecting Warren Jeffs' FLDS cult while he was Arizona Senate President. Biggs forcefully denies the allegations, defending his legislative record and accusing the interviewer of carrying Hobbs' water. He escalates further, claiming Hobbs' rhetoric has led to death threats and that she would be "thrilled" if he were physically harmed. The interview also covers his vote against honoring Capitol Police on January 6th, his call to Rusty Bowers about decertifying the 2020 election, and whether he'd certify results as governor in 2028. Hobbs' office responds with a statement denying the claims. The show closes with a teaser for a Hobbs interview the following week.
‘Avatar: Seven Havens’ review: Beloved franchise gets vibrant expansion
The sequel to "Avatar: The Last Airbender" and "The Legend of Korra," premiering Friday on Paramount+, is a worthwhile franchise addition, writes our reviewer.
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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Who Won August and September: Original Films or Franchises?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) I just heard someone say that if you’re reading a pundit or data analyst, and they don’t tell you that they got anything wrong, they’re not a pundit but an “influencer”. I agree with that. You have to tell your audience when you get things wrong, or they won’t (or shouldn’t) trust you as much. Today, we’ve got another edition of “What I Got Right, What I Got Wrong”. In general, I’m patting myself on the back (and patting very hard) about a few things like IP at the box office, LIV golf, horror films, crowdfunding movies, superheroes, and old people going to the theaters. That said, I also made a couple of data mistakes on the streaming bubble popping and HBO’s datecdotes, so I’m not perfect. But first, I need your feedback... Subscribe Follow-Ups: What Should We Call Mid-Budget Movies Which Aren’t Cinematic Enough for Theaters But Are Too Expensive to Make Money on Streaming? After I asked for feedback on what we should call straight-to-streaming films that are too big to pencil out on streaming but not really big enough to resonate in theaters, I got some great suggestions from you all, including... “Moldilocks” from John Aboud “Little Big Indie” from Travis Frick1 “Midflicks” from Jonathan Funke. “Extra-Medium” from Jona Nwuke. (Read the explanation in the footnote.) Between these and Brandon Katz—who suggested “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”—we’ve got some excellent suggestions. And they’re better than my suggestion, the “Streaming Budget Dead Zone”, so let’s take a poll! The winning entry becomes the new term. Loading... RIGHT: LIV Golf is Fully Bankrupt…Is Anyone Else Next? A few years ago, I was always a bit perplexed at all the articles I’d read praising LIV Golf and their strategy to disrupt the PGA. LIV Golf, a brand new professional golf league, offered PGA stars ten times what they made on the PGA Tour to join their new league. And folks praised this strategy for its initial “success” in that a lot of big names did indeed leave the PGA. Yeah, of course the players came over. LIV Golf paid them so, so, so much more! But LIV Golf hadn’t discovered a way to increase potential revenue. So think about this in basic business terms… They paid much more in costs… …but had no real way to increase revenue. That’s not a strategy! That’s deficit financing. It won’t work unless you bankrupt the competition (and then turn around and pay those same golfers much, much less). It’s not a sustainable strategy and only lasts as long as the company/person/nation backing it decides they’re cool with losing money. For LIV Golf, that meant Middle East oil wealth, in particular Saudi Arabian money. Clearly, the current Iran War has hurt Middle East finances, so they need to trim their more exorbitant spending. And LIV Golf was part of that trimming. This should be a major warning for others. TGL’s parent company, TMRW Sports, just got a $1 billion valuation, despite TGL’s (the indoor golf league) horrible TV viewership of less than half a million viewers per match. Unrivaled, the women’s basketball league, just secured a $650 valuation, despite its horrible TV viewership and a new rival (Project B) entering the scene next year. To relate this to streaming, Hollywood should ask which streamers may have wealthy patrons funding their losses. (Let’s be clear: Google, Amazon and Apple.) Could those patrons lose their appetite? For Amazon, probably not. But Apple has a new boss, so maybe! WRONG: My Analysis of the Streaming Bubble Was Missing a Week I’m going to be congratulating myself a lot today, but I make mistakes too, like this data goof. When I last compiled the data on the decline in TV shows, I was missing one week at the end of June. If you look at the first image, you can see that one week was mislabelled as “July”. Mainly, this image got updated to show a 27% decline, not 29%: This change doesn’t really impact the overall analysis, but it is two percent better. By the way, through the third quarter, the decline increased and it’s now a 30% decrease since 2022. (I’ll write/visualize this in an upcoming article.) But I want you to trust me and my data. Especially these days, when many people are using LLMs that I know are inserting faulty data into their charts, I want to keep earning my audience’s faith. So that’s the accurate data. RIGHT: IP Remains Very, Very Popular In July, I wrote a giant (and I mean giant) article on Backrooms, Obsession, and the box office, going over what we know, what we don’t know about what works in theaters, looking at YouTubers, IP, the horror genre, comic book movies, and a whole lot more. The month of August really tested a lot of my theses and, being honest, mostly supported my arguments. Let’s start with IP. Looking at 8-Aug (the weekend after Spider-Man: Brand New Day came out) to 18-Sep (the weekend that Resident Evil came out, which I think provides a nice bookend to this time period), there were seven films based on pre-existing IP: Resident Evil (2026) ($126 million) Practical Magic 2 ($65 million) _Insidious: Out of the Furthe_r ($65 million) Coyote Vs. Acme ($59 million) Paw Patrol: The Dino Movie ($53 million) Tony ($15 million) Super Troopers 3 ($7 million) Compare those to the notable original films from the past month—I actually could have included more movies, but here are just thirteen, bringing us to an even twenty films—including.... The End of Oak Street ($54 million) Buddy ($26 million) Mutiny ($15 million) By Any Means ($15 million) The Dog Stars ($14 million) Runner ($14 million) One Night Only ($11 million) Hope ($8 million) Spa Weekend ($7 million) The Uprising ($6 million) Teenage Sex and Death at Camp Miasma ($6 million) Onslaught ($3 million) Eli Roth’s Ice Cream Man ($2.8 million) Here’s that in chart form: Five of the top six films in this time period were all based on IP. I made a big chart of films that grossed over $200 million at the box office before Spider-Man: Brand New Day and The Odyssey hit theaters. Let’s update that chart! By the way, if you want to see how I categorized each film—so another bar chart—here it is: I know that many of my fellow critics/pundits/analysts dislike films based on IP and how Hollywood is making so many of them. And I’m sympathetic to this point of view. As I’ve written many, many times before, you need a balance between existing franchises, new IP, and original films. And Hollywood clearly needs to make more films like Resident Evil (a well-made film from a visionary director) and fewer Practical Magic 2’s (which didn’t get critical or customer buzz). But at some point, critics and pundits need to contend with what audiences are telling them: Movie-goers aren’t showing up to original films. Audiences are speaking with their dollars, telling you they want more IP and franchises. You can try to convince studio heads to make fewer IP-based films and franchises, but the data and numbers aren’t there. Instead, critics need to work harder to convince audiences to show up for original films. Aim your ire/concern at the average person, not studio heads.2 Because they’re just making the films that audiences are telling them to make. WRONG: Original Horror Films Didn’t Break Out I’ll be honest, even though I wrote an article casting some skepticism on the horror genre in July, if you asked me to make a prediction, I would have predicted that, in August, a new, original horror film would have blown up. No, seriously, I just assumed that Obsession and Backrooms presaged a change in audience behavior. But none of the buzzy new original horror films from August—Teenage Sex and Death at Camp Miasma, Onslaught (not an action film in spite of the ads), The End of Oak Street, Eli Roth’s Ice Cream Man, or _Buddy—_broke out. To be clear, exactly one of those films (Buddy) had good “ROI”, but again—I try to be specific in my language—none were “popular” in any broad sense of the word. None of them will be “saving” movies theaters like Backrooms or _Obsession_helped save the summer. The new Insidious film and Resident Evil, both based on IP, were far and away the biggest horror films since July. (We’ll see if this changes in October/Halloween season.) RIGHT: Stay Skeptical about Crowdfunding... I’ve long been skeptical about crowd-investing platforms as one of Hollywood’s saviors, mainly because there’s so much hype/buzz. People need to stay more skeptical about more things, explaining both the potential upside but also the downsides. In particular, the media often hypes crowdfunding at the start and never checks in on the actual results after they’ve come in later. And August gave us our first update! _Ice Cream Man—_directed by Eli Roth—grossed $6 million off of a $5.5 million budget. This is a production of The Horror Section, which was one of the first “crowd investing” studios with 2,400 investors, which means that 2,400 investors probably lost money. They certainly aren’t getting as great of returns as if they had just invested their dollars in the stock market. Hopefully Stiletto (Tagline: “Someone’s Going to Make it Rain Blood!”) does better next month. WRONG: Another Data Goof Here’s another data error. When the first episode of House of the Dragon came out, HBO put out that it had 21.5 million viewers in the first three days, and I read that to mean in the US…but no, it was global. So my US-only datecdotes charts shouldn’t have included it. We never got US-only numbers for the first episode, but for the final episode, HBO put out that it had 11 million US viewers. (And that global dropped to 21 million viewers.) Here’s the updated chart (which I’ve since used in the Streaming Ratings Report): Still, this show is absolutely huge. RIGHT: Superhero Films Remain Very, Very Popular After Supergirl flopped, I read a few takes that “comic book movies are going the way of the Western”. Post-Spider-Man: Brand New Day, that take didn’t age well. To be fair, I have a very nuanced take on the superhero genre right now; it’s down right now, for a lot of reasons. But it’s not “dead”. Maybe _Spider-_Man is just a really popular character? I saw that take, and it’s a fair counter-argument. (But pundits arguing that superhero movies were dead should have mentioned this $1.5 billion counter-argument…) But is it just Spider-Man? The next Avengers film already has $50 million in pre-sales (and I was skeptical that that film would do well) and the Avengers: End Game re-release topped the box office two weekends ago (over three original films). And I wouldn’t bet against Batman or Superman. So maybe it’s just Spider-Man, Batman, Superman and the Avengers. Oh, and Deadpool, of course. And Black Panther. And Wolverine. And probably the X-Men. Plus a well-made Wonder Woman or the Hulk film could break out. But that’s it! It’s just those ten characters/teams. Oh, what’s that? Lanterns is also doing well on HBO? (See previous section…) To be fair, I’m actually pretty sympathetic to the argument that more popular characters—like Spider-Man and Batman—anchor more popular films. In fact, I made that exact argument three years ago when I first wrote about the “Marvel-cession”. In many ways, you can blame The Guardians of the Galaxy for fooling Marvel Studios (and the rest of us) into believing that any character could pop. It turns out, the list of iconic characters is probably smaller than most people think. But it’s probably too early to say that superhero films and comic book movies are dead unless “death” means a slight decline over a longtime. RIGHT: Who Killed Theaters? Old People I get frustrated whenever I see headlines or analysis about how young people are “returning” to theaters. As I’ve detailed(for years), young people have always powered the US box office, despite narratives about “kids these days” and their “phones”. Really, what’s changed post-2020/pandemic is that old people aren’t going to the movies nearly as much. This summer, I saw a movie (from an older director) in a theater near a retirement community, and multiple older people at the theater were talking about how this was their first time seeing a movie in years. I dislike personal anecdotes, so YouGov can fill in the data, best summarized by this headline: “Who killed movie theaters? Not the youths”. According to them, 64% of people aged 18-29 have seen a movie in the last year, but only 30% of 65-and-older. 20% of 18-29 have seen a movie in theaters in the last week and 42% in the last month. Here’s the polling data: Most concerning? Many Americans (17%) think theaters are a worse or much worse experience than watching films at home. Slight WRONG: Hadestown Opens Big A live theater capture of the Broadway musical, Hadestown, made $20 million at the US box office, which begs the question: was I wrong to be skeptical about musicals a few years ago? Yes and no. On the one hand, $20 million is a far cry from being “popular”, so yeah, the genre isn’t that popular overall and Hadestown is one of the more popular musicals from recent years (i.e. the “Taylor Swift Data Fallacy” in action). On the other, I doubt filming this cost all that much, and I don’t think that they spent much on marketing, so this is a good source of ancillary revenue. Smaller Updates WRONG: As I mentioned in a Streaming Ratings Report, I underestimated the budget for Enola Holmes 3. It probably cost more like $50 million, if not more. But... I’m not sure that it really matters? At sub-10 million hours, prices have to come down to make this work. WRONG: Netflix is giving Ink a 27-day in theaters! To quote the kids/YouTubers these days, let’s go! Now I might actually have a chance to see Danny Boyle’s latest in theaters. I’d complained about this in a “Coming Soon” section, but I was heartened to read that Netflix is giving multiple films longer theatrical windows this year. RIGHT: Netflix is sending 4-5 films per year to theaters. Netflix is slowly but surely sending more and more films to theaters, as I cautiously predicted earlier this year. For now, it’s just three big films and a number of awards contenders, but still, this is great news. And they’ll be releasing box office grosses! Just this week, Ted Sarandos confirmed that KPop Demon Hunters 2 will come to theaters (and my guess is it performs in the box office top ten at a minimum). WRONG: Angel has 3 million subscribers! How do I know this? Well, they told Deadline, who reported it. I marked this as “wrong”, since they’ve doubled their subscribers in one year but, you know, they don’t really have a hit film to speak of and they’re still losing money. WRONG: Furious was only renewed for one more season. I accidentally wrote “two more seasons” in my latest “Renewals, Cancellations, Un-Orders and Removals Update”. RIGHT: House of David is ending with its third season. In July, Prime Video renewed House of David for a third season, as I just wrote in my latest “Renewals and Cancellations” report. Well, now it’s ending after that third season. Why? As I’ve been writing, its viewership wasn’t great. I got feedback that this show didn’t cost very much, but it cost enough that its limited viewership didn’t save it. WRONG: Adults was a Hulu original! So I missed Adults when it first came out last year; I saw that it aired on FX and just assumed that it was a linear-first program. Turns out, it aired three episodes on FX, but binge-released the rest of its episodes the next day on Hulu. Huh. So I should have covered it last year! But I just wrote about it. 1 “When I was a kid in the 90s, if you wore a t-shirt to school that wasn’t too big and also wasn’t too small, but somehow didn’t quite fit, we’d say you were wearing an “extra-medium” shirt.” 2 As always, a huge exception is Disney, which barely makes anything original anymore.
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Why I Don’t Think Ride Or Die Should Have Been Cancelled (And What Company Should Save It...)
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) So…I recently came across a Reddit thread, talking about films on streaming, wondering why there are no reliable sources out there for streaming ratings data. Sigh. Honestly, as annoyed as I am that so many still don’t realize that we have streaming ratings, I somewhat get it. Until now, there was such a long delay between when a show or film came to streaming and when we got its viewership data; I understand why people were confused. (But, as you know, this just changed.) Also, even back in the day, how many people knew how well films did on television? Luckily, as a reader, you’re in the know. Okay, on to this week’s issue. I want to take a look at Prime Video cancelling Ride or Die and whether I agree with that decision. Overall, we didn’t have any breakout hits (no TV shows landed over 20 million hours according to Nielsen) but we have a lot of steady performers on the streaming charts. Plus, we’ll look at where $50 million in missing box office dollars went. (Spoiler: straight-to-streaming.) All that, plus new episodes of The Secret Lives of Mormon Wives, Supergirl heads to streaming, a new YA show does well on Netflix, the viewership for the Daily Wire’s $50 million fantasy show, what TV show hit-maker can’t make streaming hits, CD sales, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 7th to September 13th, 2026. You can find a link to my terminology here.) Subscribe Television - Ride or Die Is a Hit…But It Got Cancelled? What The Data “Says” I hate the phrase “here’s what the data says”, even though sometimes I find myself using it. If data just told us everything, we data folks would be out of a job! Data is often messy, complicated and nuanced. When it comes to strategy, many of the best decisions can’t actually use “data”, since it’s vastly too complicated to model. Anyways, I’ve been singing the praises of Prime Video’s Ride Or Die this summer, a show that did very well for them. And yet…it got cancelled. Now, usually when a show gets cancelled, a bunch of websites say “a hit show got cancelled”... Here’s the thing, though: in this case, they’re right! The data “says” that this show was a hit. Specifically, out of 522 first seasons to make a week on the Nielsen charts since 2020, it’s the 75th biggest. On Amazon, Ride or Die is eighth out of 41 first seasons: That’s top 15th percentile all time, almost exactly, which is my definition of a “hit”! I mean, outside of Reacher, Amazon needed a hit this summer! (Admittedly, Off Campus did well for Amazon in the spring, but Ride or Die performed even better.) So what happened? Why did Amazon cancel one of their rare 2026 bright spots? Well, Deadline reported a reason—which I’ll get to—but I’d break it down into three relevant questions: What is a given streamer’s reasoning? Is that reasoning sound? Could the stated reason not be the real reason? According to Deadline, Amazon felt the show “over-indexed” in middle-aged women. (This was based on leaks from within Amazon.) The logic is this: Amazon already reaches this demographic because of unlimited two-day shipping bundled with Prime, so they don’t really need more shows like this. Now, it’s my job to ask if that’s a good reason, and I’ll be honest, in this case, I don’t think it is. Sure, this show may “over-index” in middle-aged women—I’ll just assume that’s the case here—but I think folks often oversell how important over-indexing actually is. When a show is a “hit”, it isn’t a bit bigger than its rivals; it’s usually multiples bigger. For example, Elle only made the charts for two weeks at 8.3 million hours each. So Ride or Die was 80% bigger in its first two weeks, and likely had a much stronger hold, with its terrific 13 million hours in week three. Ride or Die was nearly three times bigger than Sterling Point through three weeks too. And that means that _Elle, Sterling Point a_nd other Amazon YA shows need to not just over-index a little with younger women (assuming that’s who Amazon prefers over middle-aged women), but massively over-index. Otherwise, more people in that demo (and a bunch more besides) likely watched Ride or Die. (I’ll try to explore this concept more in a future article.) And don’t get me started on how Ride or Die did compared to a certain (very, very popular, possibly the world’s most popular) YouTuber’s reality show…which didn’t make the charts after its first week and likely cost much, much more than Ride or Die. All to say, Amazon-MGM Studios/Prime Video can tell reporters that this show didn’t reach the right audience, but that excuse feels weak to me. So this leads to the third question: could other reasons have come into play? Yes! Renewal or cancellation decisions rarely (I’m tempted to say “never”) boil down to one variable. At its simplest, it’s two things: budget versus viewership. But often factors like critical acclaim, ownership and, yes, personal opinion come into play. In this case, Amazon has a new executive running things, and this show isn’t owned by Amazon-MGM Studios (unlike Elle). And yes, it may not have indexed with the right target viewers, too. Likely all of those factors came into play.1 My guess is ownership ended up mattering most. Amazon doesn’t own Ride or Die. It’s actually produced by another major studio. Fortunately/allegedly, this show is being shopped around. I can think of one brand new CEO who should consider it for one of his two major streamers…especially if he wants to rebuild goodwill in Hollywood. His name is on this list of exec producers of Ride or Die… If David Ellison needs some goodwill—and he does—rescue this female-led show tomorrow and grab some good headlines for a day. The data justifies it. Quick Notes on TV We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How The Secret Lives of Mormon Wives latest season did on Hulu, post-controversy... Whether Supergirl soared on HBO Max... Why the box office is losing money due to the streamers... The viewership for the Daily Wire’s $50 million fantasy show... Updates on The Gentlemen, Lanterns, Outer Banks, King of the Hill and more... What former hit-maker has three streaming flops in a row... Whether The Mandalorian and Grogu popped in week two... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Oh man, we’re almost caught up! We just have two more issues, then the streaming Ratings Report will be coming out just two weeks after a TV show premieres! Next issue, I’ll be looking at the first two weeks of the NFL Thursday night games on streaming, a huge new spinoff, Reacher’s Neagly on Prime Video, and the latest edition of Monster: The Lizzie Borden Story on Netflix, the return of Slow Horses on Apple and MobLand (quietly one of their biggest shows) on Paramount+, and Dancing with the Stars on both ABC and Disney+. Plus I’ll take a look at animation for adults in 2026. The week after, a ton of movies are coming to streaming: Toy Story 5 on Disney+, Backrooms on HBO Max, Jackass: Best and Last on Paramount+ and The Breadwinner on Netflix, plus a Unabomber film on Netflix and a romcom on Prime Video. Woody Harrelson and Matthew McConaughey have a show on Apple, along with a game show inspired by Willy Wonka that everyone seems to hate. Long term, some crazy (but hopefully crazy like a fox) IP news. FX ordered a new Sons of Anarchy show from Charlie Hunnam, but it’s not about the biker gang. No, it features the show’s cast playing themselves in a new “meta-thriller”. Huh. And a lot of the cast is coming back. Next, Ryan Gosling is producing a Flintstones movie about a “grown-up Bamm-Bamm Rubble”. Also, huh. This one is in “early development” so we’ll see what happens. Both projects are based on IP, but also seem to have crazy takes on the IP, which I like.
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Studying Science in an Anti-Scientific Time
This Chronicle Review Deep Cut was first published in 2025. By Julianne Werlin Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe The last two decades have not been kind to science studies. Already bruised and battered by the “science wars” of the 1990s, by the 2000s sociologists of science — who had long argued that science had to be understood in its human context — were encountering the funhouse-mirror version of their own views in right-wing critiques of climate scientists. It was enough to give some prominent scholars pause. “Was I wrong to participate in the invention of this field known as science studies?” asked Bruno Latour, the most famous sociologist of science in the world, in 2003. “Should we apologize for having been wrong all along? Or should we rather bring the sword of criticism to criticism itself and do a bit of soul-searching here: What were we really after when we were so intent on showing the social construction of scientific facts?” In response, Latour proposed a change of method and attitude. Science studies, now chastened and contrite, would no longer seek to strip facts of their authority, but to enrich and enhance them. What this meant in practice was never fully clear. But his diagnosis of problems resonated, even if his solutions did not. Latour’s exercise in public hand-wringing signaled a shift in mood. By 2016, with the first election of Donald Trump, the idea that skepticism of science was a right-wing position, not a left-wing one, had become a commonplace, discussed eagerly in The New York Times. For liberals, vaccine denial during the Covid era and Trump’s second-term attacks on the funding of scientific research, covered extensively in these pages, added a new urgency to the defense of science on both practical and principled grounds. There was little appetite for a sociology or philosophy of science that emphasized the messiness and missteps of the scientific process rather than its integrity and triumphs. The distinguished historian of science Peter Dear’s new book, The World as We Know It: From Natural Philosophy to Modern Science (Princeton University Press, 2025), which seeks to tell the story of 18th- and 19th-century science for a general public, may seem comfortably remote from these bitter contests. In its 16 short chapters, Dear draws swift, sure sketches of major discoveries from Newton to Einstein, ably guiding the reader through debates on stellar nebulae, animal taxonomy, atomic chemistry, evolution, and other flashpoints in the history of science. But though a work of history, Dear’s book must still negotiate our polarized present. In a blurb on its back cover, the historian of biology Lynn K. Nyhart alludes to the “present moment, when scientific knowledge is being swamped by misinformation and its institutions are under siege.” Dear himself, in his conclusion, refers to the “yard signs” and “bumper stickers” that proclaim “Science Is Real.” One antidote to both anti-science propaganda and to reductive slogans in science’s defense is a robust history and philosophy of science: exactly what Dear’s scholarship has long offered. But his new book illustrates how difficult such work has become. Dear, an emeritus professor of history at Cornell University, is best known as a creative and philosophically minded historian of the Scientific Revolution. His edited volume The Literary Structure of Scientific Argument (1991) analyzed the rhetoric of Galileo’s thought experiments to brilliant effect. Discipline and Experience: The Mathematical Way in the Scientific Revolution (1995) was a major contribution to the analysis of scientific experiments in early modern Europe and beyond, while Revolutionizing the Sciences: European Knowledge in Transition, 1500-1700 (2001), now in its third edition, remains one of the best overviews of the profound epistemological upheavals of 16th- and 17th-century science. But Dear has also ventured into later periods. Nearly two decades ago, in The Intelligibility of Nature: How Science Makes Sense of the World (2006), he turned to the 18th and 19th centuries to sketch a history and theory of scientific knowledge. Aimed at a generalist audience, Dear’s simple prose belied serious philosophical ambitions. Science, Dear argued, has two aspects: “natural philosophy,” the quest to understand the true nature of the universe, and “instrumentality,” the applied skills and technologies that allow us to manipulate the world for human advantage. Both strands are ancient, but the innovation of the phenomenon we call “science” was to yoke them together. As Francis Bacon wrote, “Human knowledge and human power meet in one; for where the cause is not known, the effect cannot be produced,” an insight typically abridged to “knowledge is power.” Or, in Bertrand Russell’s characteristically blunt phrase, science has two functions, “1. to enable us to know things, and 2., to enable us to do things.” So far, so conventional. But Dear took issue with this familiar story in one respect. Bacon’s formula implied that theory and practice could be fused in a single method. In fact, Dear argued, the quest to understand nature and the desire to manipulate it were coupled only loosely. They could come together, but they could also pull apart. Focusing on natural philosophy, the “knowing” half of the scientific circle, he used a series of case studies from cosmology, taxonomy, chemistry, electromagnetism, and quantum theory to show how theories changed over time, in dialogue with practice, but never reducible to it. Take the case of matter, the basic substrate of the physical world. In the 18th and 19th centuries, scientists not only disagreed about what it was, but also about how well it could be known. In 1789, the chemist Antoine Lavoisier dismissed speculation about the atomic composition of chemicals as “discussions entirely of a metaphysical nature,” as he sought to orient chemistry away from philosophical abstraction and toward laboratory results. But in the 19th century, atoms returned with a vengeance in the atomic chemistry of John Dalton, who wanted to explain the underlying structure of nature. It was not just that Dalton and Lavoisier had a different set of experimental results, or even a different theory, Dear showed. What counted as an explanation had changed. In arguing that scientific theories depended on their intelligibility to human beings with complex arrays of beliefs and commitments, Dear was in sympathy with science studies. Key figures such as the sociologist Steven Shapin emphasized the importance of psychological mechanisms like trust in the formation and acceptance of scientific ideas. But in focusing on the scientific pursuit of knowledge, not its politics or economics, Dear resisted the more cynical perspective of some of his colleagues. The Intelligibility of Nature strikes a very different note than Shapin’s collection of a few years later, Never Pure: Historical Studies of Science as If It Was Produced by People With Bodies, Situated in Time, Space, Culture, and Society, and Struggling for Credibility and Authority (2010), to name just one example. Walking a very fine line, Dear depicted science as driven at once by complex social dynamics and by the intellectual power of real discoveries. It was a testament not only to his own acumen but also to the vitality of the field that he was able to do so. Nearly two decades later, The World as We Know It returns to the questions broached in The Intelligibility of Nature. Like Dear’s earlier study, it begins with the Newtonian cosmos and ends with debates between Einstein and Bohr on quantum physics. Beyond its terminal figures, many of the same characters appear in both studies, including the naturalists John Ray and the Comte de Buffon; the chemists Étienne François Geoffroy, Antoine Lavoisier, and John Dalton; as well as Charles Darwin and Michael Faraday, among others. Its subject is nearly identical: As in The Intelligibility of Nature, The World as We Know It considers natural philosophy as opposed to instrumentality, here defined as the “desire to create a picture of what the world is really like — the world as God knows it — rather than simply having instrumental or operational control over it.” The two books also overlap in insights — and sometimes even in language. The reader who has learned in The Intelligibility of Nature that Buffon’s method of classifying animals “reflected his belief in the importance of the senses and empiricism in learning about nature (a doctrine associated with Newton and the philosopher John Locke)” will experience a sense of déjà vu on reading, in The World as We Know It, that the classification “reflects Buffon’s commitment to the epistemological stance of Newton and his philosophical underlaborer John Locke, who stressed the role of the senses in creating natural knowledge.” Later in the passage, we read that, “because of its stress on understanding the ways of life of animals in their environments, Buffon’s approach could almost be labeled (anachronistically) as ‘ecological.’” And again, “an anachronistic way of putting it would be to say that Buffon recommends an ecological mode of understanding.” Likewise, in The Intelligibility of Nature we read of Dalton that he was initially drawn to meteorology, and that: He did a bit of experimental work on these things, especially having to do with the water-holding capacity of gases, but his real interest lay in understanding what, at an underlying natural-philosophical level, was really going on physically.” Whereas, in The World as We Know It: He did experimental work on these things, especially concerning the water-holding capacity of gases — although not at a very refined level quantitatively — but he was continually trying to develop a theoretical conception of what was happening physically. The final full chapter of each book closes on the same resigned note. Intelligibility: These days, most serious work on the natural philosophical underpinnings and implications of quantum mechanics is performed not by physicists but by philosophers of science. Among scientific practitioners themselves, Bohr’s attempt to use instrumentality as sufficient grounds for a respectable science has met with a high degree of success. And again, in The World as We Know It: Bohr’s and Einstein’s concerns are now questions that are mostly discussed by philosophers of science rather than by physicists themselves. The marginalization of these sorts of questions amounts to the demise of natural philosophy, at least in physics, in the 20th century. Quantum mechanics “works,” and that’s good enough for most scientists who encounter it. Examples could be multiplied. When handling the same subject matter, some echoes are inevitable. Scholars should not feel that because they have written “Isaac Newton died in 1727” in one book, in the next they must describe him as perishing, expiring, or meeting his maker. But the repetitions of language and arguments (not to mention six reproduced images) threaded throughout The World as We Know It are more extensive than that. They should have been caught by Princeton University Press or its reviewers, and revised. Because the two books have so much in common, it is easy to see where they diverge. The World as We Know It is a less theoretical work than its predecessor. The sociology of knowledge that organized The Intelligibility of Nature has been reduced in scale and folded into readings and examples. The taut interplay between history and theory, which gave the earlier study so much interest, is there, but it is subtle. In the earlier book, the case studies demonstrated theoretical claims about the character and development of science. In the later work, each narrative of discovery is an end in itself. Insights emerge from the history, but they do not control the organization of the study. With the theory muted, it can be hard to understand the logic uniting Dear’s sprawling history of more than two centuries of scientific knowledge. The 16 brisk chapters cover an enormous amount of material. But the closer the volume edges to comprehensiveness, the more obvious the missing elements become. A chapter on “Institutions and Pedagogy,” describing the birth of the research university, illustrates the problem. Inserted roughly halfway through the book, the unnumbered chapter is designed as an “entr’acte,” in acknowledgement that it does not fit the study’s organization around scientific discoveries. Yet as Dear is well aware, no general history of the development of modern science can bracket its 19th-century institutionalization and professionalization. It was the 19th-century university, after all, that gave us the “scientist,” a term coined by the Cambridge philosopher William Whewell. Dear’s history of scientific discoveries implies a wider social and institutional history, but it remains largely subterranean, only occasionally extruded under the pressure of the narrative. It must be said that the balance is not all on the side of the earlier study. There are some advantages to the more historical, less theoretical organization of The World as We Know It. Dear’s accounts of paradigm shifts are remarkably lucid, no small accomplishment given that they span fields and centuries. He makes excellent use of the wealth of new scholarship on Darwin and his influences, to which he has himself contributed. It is satisfying to see puzzle pieces from Buffon’s natural history, Georges Cuvier’s animal taxonomy, Thomas Robert Malthus’s demography, and Charles Lyell’s geology recombined seamlessly in the Darwinian jigsaw. Likewise, Dear’s discussion of stellar nebulae, divided between chapters two and 15, shows vividly how Newton, Kant, Herschel, and Hubble reimagined insights and observations as they sought to discover whether the diffuse light that filtered through early telescopes was a glowing, gaseous substance or discrete but distant stars. Yet despite such pleasures, the book remains a more modest work than The Intelligibility of Nature. Dear has clearly not changed his views about the history of science. But in the two decades that have elapsed, the discipline and the world around it have changed, making it harder to write a sociologically and philosophically ambitious history of science for the general reader. That is a shame, because in the age of Silicon Valley and biotechnology, both the reciprocity and the tensions Dear identified between the epistemological and instrumental ambitions of science are more evident than ever. In recent years, some of the most exciting new books on the history of science in early modernity have focused precisely on this pressure point. Important studies such as Pamela H. Smith’s From Lived Experience to the Written Word (2022), James Poskett’s Horizons: The Global Origins of Modern Science (2022), and Vera Keller’s The Interlopers: Early Stuart Projects and the Undisciplining of Knowledge (2023) all shed new light on how early modern science negotiated the relationship between its instrumental and epistemological ambitions, or in Russell’s phrase, knowing and doing. There is every opportunity for a philosophically informed approach to draw new insights from this wealth of material. Dear, unfortunately, has not done so in The World as We Know It. But for future scholars of the history of science, his body of work over nearly four decades may provide just the model. Julianne Werlin is an associate professor of English at Duke University. 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Thank you for opening your Chartbook email. RALPH BALSON. 1890—1964. Oil and enamel, signed. Source: Gavekal This going to hurt - the two 7s in the US: diesel and mortgage rates Source: Gavekal In the US housing market, costs are soaring and the role of corporate, private equity-backed buyers is high on the mid-term election agenda. HEY READERS, THANK YOU for opening the Chartbook email. I hope it brightens your day. I enjoy putting out the newsletter, but tbh, what keeps this flow going is the generosity of those readers who clicked the subscription button. If you are persuaded to click, please consider the annual subscription of $60. It is both better value for you and a much better deal for me, as it involves only one credit card charge. Why feed the payments companies if we don’t have to. Subscribe It is striking how, since 2020, big banks have dropped out of the political spotlight in the US. For contributing subscribers only. Subscribe Rates of the lung disease pneumoconiosis among working US coal miners have risen to levels not seen in nearly 40 years Source: Bloomberg Chinese Clean Technology Exports For contributing subscribers only. Subscribe Ralph Balson (1939) Portrait of Grace Crowley Cole, G. O. & Haseman, S. M., (2023) “‘The Substance of Paint’: Class and Materiality in the Work of Ralph Balson”, Open Library of Humanities 9(2). Ralph Balson (1890–1964) was an English plumber and house painter who emigrated to Australia in 1913 and subsequently became a key member of Sydney’s artistic avant-garde. He is credited with having the first solo exhibition of purely abstract painting in Australia in 1941. Despite his role in developing Australian non-objective painting, Balson remained principally a house painter, working on his art practice at weekends. In 1955 he retired on a state pension and became a full-time artist. Balson’s artistic education and methods were critically shaped by his working-class background. He did not travel abroad until 1960 and was an avid auto-didact. His materials, palette, techniques and compositional strategies were likewise informed by his trade. Balson’s profession as a painter-decorator made him conspicuous within the predominantly middle-class Sydney art scene, though his painting partner Grace Crowley considered it an advantage in their pursuit of constructive painting. This paper explores the impact of Balson’s trade on his trajectory towards pure abstraction. While his art was at odds with the predominantly figurative mode of class-conscious art in Australian Modernism, we argue that it is embedded in the experience of class through its creative adaptation of labour into aesthetics. Source: OLH Svetlana Alexievich, The Art of Oral History No. 1 Paris Review Issue 257, Fall 2026 Interviewed by Elena Kostyuchenko INTERVIEWER How were you able to go to Chernobyl? Did you need special papers? ALEXIEVICH It was a time of chaos. They let me right into the zone. … More than anything, there was confusion. Adamovich [Ales Adamovich, the Soviet Belarusian writer], I remember, persuaded Gorbachev to send in the scientists, who showed up without even bringing their shaving kits. They were told that there had been an explosion at a nuclear power plant, but for some reason they thought that they’d be there for only a day or two. The first time I went was several months later, and people kept telling me about things they didn’t understand—how the fishermen couldn’t find worms, because they’d burrowed deep into the earth, how the milk wouldn’t curdle at the cheese factories. The honeybees wouldn’t come out of their hives. The evacuations started, I think, in the first month. The old women hid, they wouldn’t leave. I mentioned radiation to one of them and she said, “I’ve seen that radiation, all right! It’s yellow with green in it. I saw puddles of it in my garden, and I told the other women, and we ran and looked, and she had it in her garden, and the other one, too!” God, it was wild, the way the mind made sense of it. There was a story going around about Gorbachev telling the scientists to show him the radiation. “We can’t, it’s invisible.” “But I want to see it!” I also ran into the soldiers who’d been flown in on helicopters from Afghanistan. I asked them, “What are you doing here with your machine guns?” They said, “We’re collecting the radiation, that’s what.” So you had some of them running around with their guns, others out in the village washing off firewood or burying soil in the soil. These were the kinds of things that exploded our worldview. They made you realize that culture was just a chest filled with old manuscripts. There were no books in there that could help me. Our philosophers turned out to be useless when faced with the unprecedented. Derrida, Baudrillard—philosophy fell silent. What was happening? How would we live with it? That’s when I decided it simply needed to be witnessed. Which is what I did. INTERVIEWER I wanted to ask about how you talk to people. … ALEXIEVICH Yes, we sit and we talk—about what interests me and about life in general. About love, about everything in the world. That way, what comes out is three-dimensional. If you cut straight to the part you need, which is what journalists do, it won’t be interesting, and it won’t be the truth, either. Not the whole truth. INTERVIEWER Do people always open up when you ask questions, or can questions get in the way? ALEXIEVICH You have to ask questions, of course. Your job is to scour away the banality and return people to their true selves, to make them face what they rarely tap into. With every new person, you have to find a new way to do it. When you ask an interesting question or you share what happened to you, you help people really think about what they’re saying and not just repeat whatever they’ve picked up from the newspaper. But not everybody is capable of it, not everyone wants to put themselves through that. Either the chemistry starts to kick in or it doesn’t. A person might be wonderful, but you can tell that the conversation just isn’t going to happen. You can try to push it, but it will be a product of your own intellect, rather than of that mysterious connection. Life doesn’t come from the mind. Some people I can call two years after our last conversation, and they’ll say, “Oh, Svetochka! I think of you all the time,” and we’ll start talking again. With others, that won’t happen. That doesn’t mean they’re not extraordinary people, just that you can’t connect with them. They might have some insight, but you don’t have the right antenna to pick up their signal. Source: The Paris Review Colorized Franco-Prussian war … the ruins of Strasbourg with a French photographer and his mobile dark room. Ralph Balson (1961) Matter Painting If you’ve scrolled this far, you know you want to click: Subscribe
The Streamers Tried To Conquer Labor Day…and Whiffed
(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.) What? Another Streaming Ratings Report already? You betcha. Nielsen has moved up the release of their Streaming Ratings data by two weeks, which means I’ve got two extra issues to get out. But I love this change because it will make this report more timely and easier to publish regularly. This week—with the viewership data for the week of 31-Aug—we’ve got some huge, huge topics to discuss. On the film side, two theatrical films (The Mandalorian and Grogu on Disney+ and Scary Movie on Paramount+) contend with two non-Netflix straight-to-streaming films (Mayday on Apple TV and The Runner on Prime Video). The streamers went all in to win Labor Day weekend in America. And we have a bunch of TV shows to analyze, both new shows (Netflix’s The Gentleman, Hulu’s Chad Powers, and an Alix Earle reality show) and weekly shows like Reacher, Ted Lasso, House of the Dragon and Lioness. All that, plus nepotism in Hollywood, some eye-popping fantasy football stats, 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 August 31st to September 6th, 2026. You can find a link to my terminology here.) Subscribe Film - A Slew of Labor Day Disappointments? A lot of streamers released big new films this week, why? My theory is that the streamers know that four-day weekends can propel streaming films to glory. But if you’ve been reading more over the last two years, you know that big holiday weekends aren’t driving big viewership numbers the way they did post-Covid. And interestingly enough, Netflix didn’t put out a big new film this week. But four other streamers did, trying to take advantage of the holiday with some (not cheap) swings, including… The Mandalorian and Grogu on Disney+ (a Star Wars film that cost $165 million and made $177 million at the US domestic box office) Mayday on Apple TV (rumored $100 million budget, no theatrical release) The Runner on Prime Video (at least a $40 million budget, but likely $50 to $80 million, no theatrical release). Scary Movie on Paramount+ ($30 million budget, made $108 million domestically). (Paramount+ also released a made-for-streaming film based on the Thundermans IP, and I’ll discuss that later.) So…how’d they do? The Mandalorian and Grogu Leads The Way (But That Isn’t Enough) Let’s start with The Mandalorian and Grogu (which I’ll abbreviate to Mando for most of this article). 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 Mando, Mayday, The Runner and Scary Movie performed on streaming... How the powerhouse weekly released shows (Reacher, Ted Lasso and Lioness) have accumulate a LOT of viewership… How House of the Dragon finished its run… The latest Netflix show to have a sophomore slump… Whether top creators can drive viewers to their shows… Nepotism in Hollywood and the music business... All the flops, bombs and misses for the week… And more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Since Nielsen has accelerated their streaming data release schedule, I’ve got a lot of Streaming Ratings Reports coming your way! Next issue, I’ll be looking at the second season of Peacock’s The Paper, the latest season of Hulu’s The Secret Lives of Mormon Wives, and a very, very expensive Daily Wire fantasy series that’s now on Prime Video. Plus Crew Girl and Dang! on Netflix, a new Tyler Perry film, and one of the biggest bombs of the summer, Supergirl. In the next two issues, I’ll take a look at the return of the NFL to streaming, Toy Story 5 on Disney+, Backrooms on HBO Max, and The Breadwinner on Netflix. On the TV side, we’ve got Netflix’s Monster: The Lizzie Borden Story, Dancing with the Stars on Disney+, Apple TV’s Slow Horses, a Reacher spinoff on Prime Video, and Paramount+’s MobLand, a Woody Harrelson and Matthew McConaughey comedy on Apple TV, a sequel to a Cosby Show spinoff on Netflix, The Great British Baking Show, and the Unabomber film. And while doing all that, I want to take a look at adult animated shows, Ride or Die’s cancellation, and Netflix’s summer films. So much great stuff! Long term, two bits of comic book news. The X-Men cast has been announced, and go ahead and color me bull-ish, if not very, very bull-ish on this bit of comic book IP. In weirder news, HBO Max ordered a “true crime” show by Jimmy Olsen about Gorilla Grodd being falsely convicted of murder. I mean, what? I don’t know, let’s see what happens.
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