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The Not-So-Secret Winner in Netflix and YouTube’s Streaming Wars Battle
(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.) Here’s a good piece of advice: when someone tells you a company has “won” the streaming wars, just assume they haven’t. Remember the narratives about the streaming media over the last few years: 2024 - Netflix has won the streaming wars! 2025 - YouTube has won the streaming wars! Yet…in 2026, I’d categorize it as… 2026 - Netflix and YouTube are battling for talent! Netflix and YouTube are aggressively fighting for top creators, marking a fierce new battle in the streaming wars. For two companies that “won”, that certainly doesn’t seem like winning behavior. If you win, you don’t have to fight for talent, because talent has to come to you. This is a good reminder that, if the streaming wars are a war—and I think they are—we should know what type of war they are. So it’s worth revisiting one of my big theories of the streaming wars, that the war these battles most represent is… The Thirty Years’ War1 I prefer this war to other, simpler wars, because, while it featured two “sides”—based on religion—and the current war has two main sides—tech versus entertainment—it also featured a lot of smaller players battling it out, sometimes switching sides. And that’s still the case for entertainment and media, despite the above headlines. I’d recommend this truism: if someone has to tell you they won the streaming wars, they probably haven’t. To wit, if someone told you they were fighting in the Thirty Years’ War—and no, they didn’t call it that at the time—and in year five, they told you they won, well, obviously they had 25 more years to go. That’s a lot of preamble to say, the story of the week is the latest battles between YouTube and Netflix. Their battle for talent says a lot about how hard this war will be to win. All that, plus The Curse of the Mogul in action, Netflix providing more (theatrical) data, whether Apple TV is in trouble, AMC getting in on distribution, and a whole lot more. Subscribe Today’s article is sponsored by… Substack is hosting a live Emmys watch party, starting at 5PM on the East Coast (2PM on the West Coast) on Monday, 14-Sep. Check it out! Tune In Most Important Story of the Week - Who’s the Big Winner in the Netflix vs YouTube Showdown? Netflix spent a lot in 2025, and then even more in 2026 adding a host of “creators”—both podcasters and YouTube stars—to their TV lineup. Frankly, for years, I’ve thought that more major studios/streamers/channels should look to YouTube as the launching pad for future stars and IP. Either by poaching proven talent—albeit at good prices—or by treating YouTube as an arena for your “A&R” reps to scout new talent and emerging voices. Netflix started executing the former strategy—which I thought was smart—while Focus Features did the latter with Obsession. So what changed? YouTube finally responded! Yikes. That’s a strong response, and stronger than I’d argue most narratives about YouTube suggest. People often describe YouTube as a self-reinforcing flywheel of success. Get on YouTube or perish. So why did YouTube have to respond? Because other folks poaching their top talent could really damage their business, implying their flywheel is a pinch more rickety than most analysis suggests. Clearly, creators can envision a life off YouTube and potentially a much more lucrative one. The Curse of the Media Mogul is Playing Out In Real Time 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 is the big winner in the Netflix versus YouTube battle… The biggest question about YouTube… Plus why YouTube’s saber rattling should worry talent… Why I’m skeptical that a U.S. federal tax credit for film will happen… What key change could pull Apple from the streaming business. AMC getting in on distribution… Some great reads on the Warner Bros.-Paramount merger... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
Virginia Beach sailor pardoned by Trump after weapons conviction
NORFOLK, Va. — A Virginia Beach sailor was pardoned by President Donald Trump last week after spending four years in federal prison for possessing and selling unregistered weapons. Patrick Tate
Suffolk Health Department warns of rabies after raccoon tests positive
SUFFOLK, Va. (WAVY) — The Suffolk Health Department announced that a raccoon recently tested positive for rabies within the city limits. According to officials, the raccoon was picked up by a…
Mission Historical Museum to Celebrate Día de los Muertos
The Mission Historical Museum will invite the community to celebrate culture, remembrance and tradition during its annual Día de los Muertos Folklife Festival on Saturday, Oct. 24, 2026.
Entertainment briefs | Fortuna Concert Series show planned
North Carolina folk musician Joseph Decosimo will be visiting Arcata Tuesday to perform at the Moss Oak Commons, 1905 Alliance Road, at 7 p.m.
Report calls for support for perinatal mental health in Suffolk
One in four women in Suffolk may have a mental health issue before, during or after birth, report says.
'We could have scored more'
Norwich City boss Phillippe Clement speaks to BBC Radio Norfolk after the 2-1 win over Birmingham
Small Business Spotlight: Guitar shop aims to strike a chord
WHAT MADE YOU WANT TO OPEN STRING THEORY GUITARS INC.? ALLISON & LEE WILLIAMS: “We are lifelong musicians with a passion for playing. We love Wilmington and the live music scene here, and we wanted a way to be a part of the music community without having to start work at 9 p.m. We also want to be a destination for residents and musicians performing in and around the downtown area.” WHAT DOES YOUR BUSINESS PROVIDE, AND HOW DO YOU THINK IT HELPS CUSTOMERS? We love Wilmington and the live music scene here, and we wanted a way to be a part of the music community without having to start work at 9 p.m. We also want to be a destination for residents and musicians performing in and around the downtown areaTHE WILLIAMSES: “We’re a true basics-to-boutique destination. If you’re someone who’s just starting out, we can set you up with high-quality, brand-new equipment at a great entry-level price point. When you’re ready for your dream guitar, we can help you design and create a fully custom electric or acoustic guitar to your specifications. We have a broad selection of both guitars and amplifiers for players of every level. We also have a community board in the store to connect bands, students, instructors, repair technicians, and anyone providing a service to the local music community.” WHAT PAST EXPERIENCE DO YOU HAVE THAT LED YOU TO CREATE STRING THEORY GUITARS? THE WILLIAMSES: “Lee has played guitar for almost 40 years, from middle school band to gigging rock bands. Allison has a background in orchestra and musical theater, as well as retail management. We worked together as a husband-and-wife team in manufacturing for many years prior to moving to Wilmington. Having shopped in countless music stores over the years, we set up our shop with the goal of being welcoming and inviting. Our philosophy is ‘if it’s on display, it’s for play.’ No instrument or amplifier is out of reach in our store.” WHAT GOALS DO YOU HAVE FOR GROWTH? THE WILLIAMSES: “We would love to grow the bluegrass and folk instrument segment of our business. We carry banjos, mandolins, resonator guitars, ukuleles and related accessories. We’ve seen and heard plenty of talented bluegrass and folk musicians around Wilmington, and we look forward to expanding our selections to support this growing segment of the local music scene.” WHAT CHALLENGES ARE YOU FACING RIGHT NOW IN YOUR BUSINESS? THE WILLIAMSES: “Getting the word out about our brand and some of the unique brands we represent is a challenge for any new business. Online exposure through the Cargo District, Wilmington Downtown Inc. … and our online following is steadily growing. Our other challenge is the logistics of our streets. Our neighborhood is amazing, and you could spend the entire day walking around the Cargo District. As the District continues to grow, we’re seeing more pedestrian traffic, particularly in crossing 16th and 17th streets. We’ve seen some improvements in traffic calming, but the sooner we can improve safety with crosswalks and pedestrian signals, the more welcoming our neighborhood will be.”
Ray LaMontagne topples over onstage in Nashville, where the high hits 101
On Sept. 5, the 53-year-old folk singer fell while performing his popular track 'Jolene' in front of a sold-out Nashville show, according to fan footage.
Charlie’s Beat: Creating an experience in Madison
I love talking with newcomer folks like Ally and Chad Fife, owners of the Book Haven store on Main Street. They came to Madison just over three years ago, and
NYC voters give Mamdani high marks, say mayor is doing better than expected
A new Suffolk University poll also finds New York voters disagree with GOP calls for Mayor Zohran Mamdani to stay away from 9/11 memorial.
30 years after her death, Gilda embodies Argentina’s enduring faith in folk saints
Thirty years after Argentine cumbia star Gilda died in a tour bus crash, the beloved singer has become something more to many fans: a miracle-working folk saint.
SUV accidentally crashes into business on Azalea Garden Road
A business on Azalea Garden Road in Norfolk was damaged Sunday afternoon after a driver mistakenly accelerated into it while attempting to park.
ODU Football set to retire Taylor Heinicke’s #14 jersey
NORFOLK, Va. (COURTESY OF ODU ATHLETICS) – Former Old Dominion quarterback and the 2012 Walter Payton Award winner Taylor Heinicke will have his jersey retired by Old Dominion University during halftime of the Thursday night game on October 15 against Georgia Southern, Old Dominion Athletics Director Dr. Wood Selig announced on Saturday. “I can think of no other […]
Car crashes into front of business on Azalea Garden Road in Norfolk
An SUV crashed into a business on Azalea Garden Road in Norfolk Sunday evening after the driver mistakenly accelerated while trying to park, according to police.
Why UTSA must beat Texas State to rediscover old magic
Give Jeff Traylor an ounce of buzz, and he can multiply it for the masses. Remember five years ago, when the downtown skyline lit up in blue and orange, and folks crammed into the Alamodome all the way to the top row? Remember how, for the first time in its history, one of the biggest cities in the country rallied around a college football team?
Business Notes: Norfolk honored for financial reporting; 6 appointed to Hampton Roads GO Virginia council
View business milestones in Hampton Roads.
New Gym in Paris Helps Homeless Improve Their Health And Habits
A Finnish gym company brought physical fitness to the homeless folks of Paris, installing a gym in the shady courtyard of a homeless shelter.
Liverpool's Iraola: A fit Isak will 'produce the numbers'
Liverpool manager Andoni Iraola has no doubt Liverpool's £125 million ($169 million) forward Alexander Isak will "produce the numbers" this season after a brace inside nine minutes inspired a 2-0 win at Ipswich. All eyes were on summer arrival Bradley Barcola in Suffolk, but after Iraola named the France forward on the bench, Isak showed why the Reds paid such a hefty fee to prize him away from Newcastle last summer.
Analysis: Lift-off for Isak
It was a night that was supposed to belong to Liverpool's latest blockbuster signing, Bradley Barcola, but Alexander Isak had other ideas. The Swede has endured a difficult, injury-hit first 12 months at Anfield, but he used the familiar surroundings of Portman Road to fully launch his Liverpool career. The last time he made the trip to Suffolk to face the Tractor Boys, he left with the match ball after scoring a hat-trick in Newcastle United's thumping 4-0 victory.
Ipswich Town v Liverpool: Key stats and talking points
BBC Sport examines some of the key themes before Friday's Premier League match (20:00 BST), with Liverpool heading to Suffolk in search of a first win under Andoni Iraola. Ipswich announced their 14th and final signing of the transfer window on deadline day, with striker Zian Flemming joining from Burnley.
Downtown Norfolk businesses expect boom in business as Cousinz Fest comes to town
NORFOLK, Va. (WAVY) — The Cousinz Fest is going to be a family affair in Downtown Norfolk all weekend, and local businesses are excited to get in on the fun. For instance, the Granby Street Flow Ju…
Entertainment
Ross Gallabrese Faire May brought the sound of folk music to the lounge area at this month’s Wednesdays in Wintersville. Wednesday’s edition brought the monthly street festival to a close. It carried a fall festival theme and featured a display of pumpkins f all sizes and shapes. several food trucks were part of the evening, […]
Entertainment
Ross Gallabrese Faire May brought the sound of folk music to the lounge area at this month’s Wednesdays in Wintersville. Wednesday’s edition brought the monthly street festival to a close. It carried a fall festival theme and featured a display of pumpkins f all sizes and shapes. several food trucks were part of the evening, […]
Millions Will Lose Medicaid Because They Aren't Able To Get Enough Work Hours, Study Predicts
By Dennis Thompson HealthDay ReporterWEDNESDAY, Sept. 2, 2026 (HealthDay News) — About 1 in every 5 eligible adults in Medicaid expansion states might lose their benefits due to new work requirements that take effect in 2027, a new study says. These folks likely will be unable to fulfill the minimum ...
gamescom 2026’s Steam wishlist winners
gamescom wrapped up last weekend, and it was bloody fantastic. It really felt like the industry had a spring in its step again. The show itself was BUZZING, with 368K attendees (+3% over last year), maxed-out exhibit space, and Opening Night Live pulling over 78M online views (+7.5%). Let’s have a look at the games at the event that brought in the most new Steam wishlists between August 23 and 30. One quick thing before we start, and stop me if you’ve heard this one before, but wishlists are NOT a barometer for launch sales (they’re bookmarks, not baskets is what we always say over here at Alinea). With that aside, wishlists are a nice gauge of hype, so let’s dive in. Witche(r)s and Warlocks take the top two spots The biggest game of the event (by new wishlists, anyways) wasn’t a game at all. It was an expansion. The Witcher 3: Wild Hunt’s upcoming expansion, Songs of the Past, nabbed 451K Steam wishlists by the end of the weekend. It’s a big example of something we bang on about constantly: proven IP with built-in fandom is the most powerful force in this market. But said IP can also ripple into other external success stories (more on that later!). Anyway, Songs of the Past debuted at Opening Night Live, and it’s the first Witcher 3 expansion in over a decade, landing next year after a full Witcher 3 remaster (free for existing owners!) arrives next month. The Witcher 3 has sold around 66M copies, and I’ll be one of those owners jumping back in to refresh myself on the core game (like there isn’t enough to play!), then play the expansion next year. This is all part of CDPR’s plan. The studio is clearly whetting everyone’s appetite for The Witcher 4 in 2028 via a classic bridge strategy. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Releasing a free 4K remaster next month – followed by a proper expansion in 2027 – keeps IP top-of-mind across a huge gap between content (games-wise, anyway). It kind of echoes Capcom’s evergreen catalogue strategy. And outsourcing co-development to Fool’s Theory (a studio led by trusted Witcher 3 veterans) keeps CDPR’s internal headcount focused on The Witcher 4. #2 by wishlists between Aug 23 and 30 went to another giant IP: Warlock: Dungeons & Dragons, published by Wizards of the Coast and developed by Invoke Studios (a team of ex-Far Cry, Watch Dogs, and Splinter Cell devs). It’s due to launch in 2027, and it looks brilliant so far. It’s a dark-fantasy open world with third-person spell-slinging. It’s a very Witcher-ish aesthetic. As you might expect, 48% of Warlock’s Steam wishlisters have played Baldur’s Gate 3, and 46% have played The Witcher 3. One to watch. For sure! Mash-ups: Anime GTA (!?) and a city-builder for kids (and adults) Ananta took #3 with 302K new wishlists. It’s an open-world game that looks like GTA and Persona had a baby. It was published by NetEase, developed by Naked Rain, and got a trailer at Opening Night Live. I got hands-on at the show, and it wears its influences openly; there’s literal web-slinging (very Spider-Man) and a LOAD of mini-games (Like a Dragon). It’s free-to-play and out in January. For Ananta, Naked Rain is taking the free-to-play, cosmetics-only route. That’s certainly a choice for a single-player open-world game. Without gacha mechanics driving high ARPU, Ananta is betting purely on top-of-funnel reach and long-term retention. This puts pressure on skin appeal when there’s no multiplayer lobby to flex in (although, co-op is reportedly coming later). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Then there’s Lego Skylines (273K wishlists between Aug 23 and 30), which does exactly what it says on the tin. It’s a cosy Lego twist on the city-builder genre, as shallow or as deep as you fancy (five min quick sesh or ten-hour no-lifer session; latter for me). There’s some family-friendly stuff in there like couch co-op, which is only really viable on console. Iceflake Studios, which Paradox acquired back in 2020 is developing this one. So Paradox is probably looking for a family-friendly onramp to its rad Cities: Skylines games. The overlap there is plain, with 33% of Lego Skylines wishlisters having played Cities: Skylines and 16% Skylines II. There’s no doubt plenty of parents here (and uncles, ahem) planning to indoctrinate the next gen of city-builders. I’ll definitely be playing with my youngest nephew. This one could be big and educational. I’m very curious to see more. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Mature IP, new and old, rounds out the list As for the rest of the list of gamescom games by new wishlists between Aug 23 and 30: Heroes of Might & Magic III Remake got 189K new wishlists. It remakes the iconic 1999 turn-based-strategy classic in full 3D and 4K. It follows this year’s Heroes of Might & Magic: Olden Era (~1.8M copies sold, as per our estimates), and around a quarter of the III Remake wishlisters have played Olden Era, including 7% of them this month. Wardogs – a $40 PvP shooter – added another 146K to an already massive pile (nearly 1.6M total). It’s published by Team17 and made by Bulkhead. It plays somewhere between the tactical squad stuff of … Squad and the all-out-chaos battlefield of … Battlefield. It’s up to 100 players, and it’s out in about 10 days. It’s already pre-sold over 500K copies on Steam ($16.6M), boosted by a pre-order-only beta. It sold another 70K copies during gamescom, too. Afterworld managed 121K new wishlists. It’s a Paradox-made post-apocalyptic grand-strategy game, and it was announced at the show. It’s a departure from Paradox’s usual historical stuff, and the studio’s first new setting in over a decade. The Paradox purists are into it, with over half its wishlisters having played Hearts of Iron IV (19% this month) and 41% Crusader Kings III (17% this month). Metro 2039 got 110K during the show, tunnelling its total past 1.3M. Nearly 40% of wishlisters have played 2020’s Metro Exodus, the previous mainline title in the series. The Metro novels are Russian, dev 4A Games is Ukrainian, and it’s set in Moscow, so it’s unsurprising that – after the US (17.3% of wishlisters) – the next two countries are Russia (12.7%) and Ukraine (10.0%). The Blood of the Dawnwalker drew in (the blood of) 108K new wishlisters, now totalling an impressive 1.7M (at a $70 price point, though). It’s an open-world dark-fantasy action-RPG set in 14th-century Europe (with vampires!), made by some former Witcher devs at Rebel Wolves. Again, it shows. Over half of Blood of the Dawnwalker’s wishlisters have played The Witcher 3, and its #2 market is Poland, home of Rebel Wolves. That’s that hometown-hero effect we keep banging on about again! And Blood of the Dawnwalker plays very well, by the way. While it looks like a Witcher clone on the surface, it actually brings a lot to the table mechanics-wise. I love the whole time-as-a-currency spin on RPG gameplay. It gives the game a different, refreshing pace. Essentially, you start Blood of the Dawnwalker with a pool of 480 action points spread across 30 days and 30 nights. As for how the game performs, we’ll be posting some numbers next week, so hit subscribe below to get that in your inbox when it’s ready. Subscribe The Witcher’s legacy ripples Make no mistake: on a high level, this was The Witcher‘s gamescom. The #1 game by wishlisters was a Witcher 3 DLC. Warlock is clearly Witcher-inspired – as is Blood of the Dawnwalker, which was made by ex-Witcher devs. There was a lot of other cool stuff on the floor that we’ll no doubt be covering in subsequent newsletters, though! As always, wishlists went through the roof for sequels, remakes, DLC, and licensed IP. As always, though, these wishlists will likely convert to about 5% to 10% of launch-day buyers, with the probable exception of The Witcher DLC – the exception that proves the rule. Either way, we’ve got a nice, diverse list here – one that is very Witcher-y, Paradox-y, and – if you’re a fan of great games on Steam – a bloody good list. We even got a bunch of new IP to get excited for. Great gamescom! Even if we are still processing that unfathomable number of mini Kölsch beers! One more thing: GTA 6 broke the internet (again) Move aside, Spider-Man and The Odyssey (I love you both, really). But the decade’s defining entertainment zeitgeist is round the corner. Unless you’ve been living under a rock, you’ll know that Rockstar dropped an extended look at GTA 6 last week. It was INSANE, the most impressed I’ve ever been by a showcase like this. You can see the budget seeping through every second of the extended look, and this level of game is unobtainable for any other publisher. Everyone’s going nuts, and rightly so. GTA 6 is out in holiday 2026, and it’ll be the biggest entertainment release ever, full stop. For those without a PS5 or Xbox Series console, a $500-$900 console is a big ask in this economy, but GTA will pull a lot of last-generation-console fence sitters over the current-gen fence either way: The autumn timing puts GTA 6 on (digital) shelves for the holidays, meaning a PS5 or Xbox (let’s be honest, mostly the former) will be on many a Christmas and Hanukkah list. Demand will outweigh the struggling supply, though, and PS5 Pros are already sold out and being sold at a markup via scalpers. Every console that isn’t on a shelf is a sale deferred or lost, and worse, it hands scalpers the margin. GTA has cultural clout that reaches everyone. It’s been a mainstream fixture since 2001’s GTA III and its clout has only grown exponentially since then. There’s a touchpoint for every generation alive. The FOMO-word-of-mouth double punch does the rest. Loading... It’ll reactivate the lockdown cohort, the millions who picked up gaming in 2020-21 and churned. GTA 6 will bring them back. Remember when College Football 25 brought a bunch of US gamers to current-gen consoles? GTA will do that globally. Once they’re back (or upgraded), and all GTA’d out, the fresh current-gen-console folks will check out the rest of the current-gen catalogue they missed. GTA Online, if not free to play, will also lead to a boost for PS+ and Xbox Game Pass, another boost for the ecosystem players. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Even some of the smug PCMR 60FPS crew won’t be able to resist their FOMO and will bite the bullet on a console to play this one early (then double dip). The consoles cost the same as a decent stick of RAM these days anyway lmao… Don’t get me wrong, though. GTA 6 is no silver bullet for the mature console market, but it does prime the current gen for a couple of strong swan-song years. And it’ll also give the consoles more users from which to maximise ARPU. ‘’We are in the latter half of the lifetime cycle of [the PS5],’’ said Sony President and CEO Hiroki Totoki in a Wall Street Journal interview. ‘’That means we do not need to aggressively sell the console today; rather than that, we are focusing on the current revenue from the current user base.’’ The biggest, best premium games always arrive late in a console cycle, so getting more players aboard now, ahead of that content storm (the new current-gen-only Call of Duty included), is a clear win for the platforms. On the Netflix thing, though: let’s all chill out a bit, like. Half my LinkedIn feed was going bonkers treating the reveal debuting on Netflix like it’s the future of entertainment. It wasn’t. It was a six-hour head start, and Netflix left that detail out of the “first-of-its-kind partnership” press release. The extended look hit Netflix at 3pm ET on 27 August, then went up on YouTube and Rockstar’s site for everyone six hours later. And it was all over social immediately, anyways. This reveal was going to reach an untold number of people whether it debuted on Netflix, YouTube, a Times Square screen, or a group chat. The last trailer did nearly half a billion views in a day with no gatekeeper at all. Netflix just stood next to that audience for six hours, borrowing it. It’s was a tidy deal for Netflix, sure. But every outlet on earth was breaking the thing down frame by frame by the evening anyway. Anyway. I’m hype. And we’ll be covering some GTA numbers on the newsletter soon. So hit subscribe below to get that in your inbox when it’s ready! Subscribe The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
Live updates on the Massachusetts 2026 primary election
Follow along for our coverage of Massachusetts’ Markey-Moulton Senate matchup, the challengers to longtime House representatives and the Suffolk district attorney showdown.
Business Notes: New leader at Gloucester-Mathews Humane Society; $750K awarded for Norfolk rail project
See who’s getting promoted and which businesses are celebrating milestones in Hampton Roads.
Duo to bring sounds of Québec to House Party
Roy-James, a dynamic Montreal duo that weaves together the musical traditions of Québec, Balfolk and New England, will perform an intimate evening of song and strings at Bagaduce Music’s 2nd
Seattle Black Nerd Festival offers place where ‘nerding out is fun’
Seattle Black Nerd Festival, happening Aug. 28-30, is where folks can connect over their shared love of cosplay, comics, anime, gaming, music, movies and more.
Red Sox Minor Lines: Trevor Story continues to struggle
Worcester: L, 7-1 (BOX SCORE) Okay, folks, I’ll say it: Since 2022 I’ve disliked the Trevor Story contract. And in 2026, I’m worried about Trevor Story being brought back into this iteration of the Boston Red Sox, a playoff team who can make rallies appear out of thin air. Since arriving in Triple-A, Trevor Story […]
Howey: When disaster strikes, Hoosiers need FEMA, not politics
In not a single instance did one of our first responders ask these folks whether they were a Republican or Democrat before stepping onto the boat.
Building the beat: How New Orleans can grow the business behind the music
People dance to the music of the TBC Brass Band Photo by Michael DeMocker / The Times-Picayune This week New Orleans hosts the annual Cutting Edge CE Conference, which brings together members of the music industry, musicians, lawyers and others to learn about and discuss the latest changes in the business of making, producing and selling music. googletag.cmd.push(function() { googletag.display('ad-1492300'); }); The conference comes as AI and streaming are causing upheavals in the industry. Meanwhile, we’ve seen at least a partial collapse of the global festival industrial complex which has long been a key financial lifeline for many artists.All of that can feel a bit removed from life in New Orleans. After all, we are a city filled with music. On any given day or night, there are dozens of shows across the city, ranging from jazz and blues to hip-hop, bounce and house. Whereas in other cities kids dream of being the star of their local sports team, in New Orleans more often than not they dream of leading their own band.And music is a huge part of our economy. Before New Orleans was known as a foodie destination, it was already drawing millions of visitors from around the globe to experience our jazz, soul and funk scenes firsthand.But the reality is, if you want to make it big, you’re probably going to end up leaving the city. We’ve seen major performers like Lil Wayne, Master P and Jon Batiste (though he’s back on the Northshore) decamp to Los Angeles, Miami and New York. Likewise, up-and-coming musicians like Greer Grimsely, $leazy EZ and Lucky Daye have also left town in search of more profitable pastures.Meanwhile, our local universities train some of the best producers and engineers in the business — only to see them head to one of the big music industry cities after graduation.It’s not a new phenomenon, though the reasons have changed over the years. Like a lot of early jazz musicians, Louis Armstrong famously left New Orleans, first for Chicago before ultimately settling in New York City. But while those early migrations had more to do with racism, in today’s day and age, musicians end up leaving because New Orleans doesn’t have the industry infrastructure necessary to sustain the kind of growth and, well, success, a lot of folks dream of.It’s a hard, but very real, truth. Artists have to go to Nashville for publishing, Los Angeles for production, Atlanta to join a label or New York for representation. That, in turn, is a drain not only on the city’s talent pool but on money that could be staying here at home.Not being an industry town inevitably makes it that much harder for musicians who don’t leave to get the recognition and success they deserve. It also undoubtedly plays a part in keeping the wages working musicians in New Orleans make at their gigs here lower than in places like Austin or Nashville.That’s not to say we don’t have any of the infrastructure needed to make New Orleans a music industry town. We’ve got live music venues, studios, record labels, management companies, copyright attorneys ... all the various building blocks are there. We just haven’t ever built upon that solid foundation. googletag.cmd.push(function() { googletag.display('ad-1492297'); }); The question is how do we do that in a way that supports our existing industry and artists, respects our cultural traditions and ensures the wealth generated is equitably distributed so it isn’t just C-suite executives who end up reaping the benefits. And the time to start figuring out the answers is now: next year the legislature will focus on taxes and spending, making it vital that New Orleans leaders have a plan to try and secure funding to help grow our industry.So we asked a group of New Orleanians to give us their thoughts, ranging from industry attorneys and venue operators to working musicians and cultural advocates. Their answers point toward turning New Orleans into a music industry city without leaving musicians behind or abandoning what makes us the greatest music city on earth.If a dusty city like Austin can transform itself into a major hub not just for music but the industry behind it, surely the birthplace of jazz — and pretty much all modern music by extension — can figure it out as well. +3 Mailbox Money: The Recording Academy’s Reid Wick on supporting, and growing, New Orleans’ music industry Reid Wick has been a part of the New Orleans music landscape from virtually every angle. He'… California Dreaming: Pell discusses his time in L.A. and how New Orleans can help young musicians In 2015, New Orleans-born rapper Pell decided to make the move to Los Angeles. He was fresh … +2 Up from the street: To build a stronger music industry, support community first. At MaCCNO, most of our team aren’t just advocates, we’re also working musicians. Here are a … +2 Live and direct: Public investment in independent venues is key to a robust music economy. I’ve spent most of my adult life looking at the New Orleans music business from every side o… +2 Helping Hand: New Orleans doesn’t need more talent. It needs more infrastructure. People love to call New Orleans a music town. And they’re right. +2 \We out here: New Orleans doesn't need to be Austin. It's already a music industry city. +2 Futureshock: New Olreans has the music talent. Now it needs the innovation. New Orleans has long been known as a place for music creation and innovation. People travel … .donate-gambit-article-module-container { text-align: center; padding: 10px; /* background-color: #24da6d; */ background-color: rgb(153, 0, 0); margin-bottom: 20px; } .donate-gambit-article-module-title { font-weight: bold; color: #fff; } .donate-gambit-article-module-copy { color: #fff !important; font-size: 16px; } .donate-gambit-article-module-button { background-color: black; width: 50%; border-color: black; font-size: 16px; } .donate-gambit-article-module-button:hover { background-color: black; } @media only screen and (max-width: 600px) { .donate-gambit-article-module-button { font-size: 14px; width: 100%; } .donate-gambit-article-module-copy { font-size: 14px; } } BECOME A GAMBIT MEMBER AND JOIN OUR KREWE TODAY For more than 40 years, Gambit has covered New Orleans, for New Orleans. We’ve stood up to city hall with you, cheered the Saints with you, danced in the streets with you and cried over our collective loss with you. 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Score Predictions: We Go Again - Can SAFC Prevail in Suffolk?
The Lads are back and so are Roker Report’s predictions! First up, a tricky-looking trip to Portman Road.
4-alarm Arlington, Texas fire damaged businesses, restaurants
Beirut Grill, Smash Toast and Folklore Grove Bookstore among shops damaged by 4-alarm fire in Arlington.
2 new Seattle plays use Filipino folklore to explore culture, community
Two world-premiere Seattle plays, the horror play “Blood/Sucker” and the more sitcom-esque “Nanay,” explore Filipino culture and much more.
Judy Collins: ‘The Betty White of the folk music revival’
Grammy-winning singer-songwriter Judy Collins, 87, is looking forward to her forthcoming tour, which stops Wednesday, Aug. 26, at the Englert Theatre in Iowa City.
Get closer? Aurora looks at when to tell neighbors about new business development
"We have heard a lot from folks who are not adjacent property owners who feel like 'Oh, this just got thrown down in my community and no one was going to tell me anything about it'"
The extortion trial of Suffolk County Sheriff Tompkins begins next week. Here's what to know
Suffolk County Sheriff Steven Tompkins pleaded not guilty to extorting a top executive at a cannabis company. The trial is expected to begin Aug. 24 and last around two weeks
Balm in Gilead hosts free health forum at local church to educate folks about lung cancer
The goal was to educate the community on the symptoms and side effects of lung cancer, and to keep them in tune with their bodies.
'A decisive moment in the game'
Norwich City head coach Philippe Clement speaks to BBC Radio Norfolk after his side's 2-1 defeat by West Bromwich Albion.
Arsenal vs. Manchester City Community Shield match thread
We’ve made it, folks! Arsenal start their 2026-27 season in earnest today with the Community Shield against Manchester City. For those of you unaware, the Community Shield is the annual match played the week before the season between the Premier League Champions and the FA Cup winner. The Gunners have won the Shield the second-most […]
Convention Center hotel hits a roadblock: 'I'll vote against it,' Senate president says
"I'm adamantly opposed to putting anything related to Omni on next week's agenda," Senate President Cameron Henry said. "I will be there, and if it's on the agenda, I will vote against it. The financing isn't in place, and we don't have a deal that's good for the state. I've been talking to the Omni folks, but we need to keep talking to find something that works."
Free Play Days – Gears of War: E-Day Open Beta, Sunderfolk and Asdivine Cross
This weekend, XBOX Game Pass members can hop into the Gears of War: E-Day Open Beta, Sunderfolk and Asdivine Cross.
The Norfolk Department of Public Health to host Back to School Clinic event
NORFOLK, Va. (WAVY) — The Norfolk Department of Public Health will host a Back to School Clinic event next Thursday so families can be prepared for the upcoming school year, according to a pr…
APT’s Two ‘Gentlemen’ of Verona plays like a teen drama
Playwright and director Aaron Posner spins “Two ‘Gentlemen’ of Verona” into a heartsick teen romance with a folk music score.
Someone Made a Terrific Deal in the Peacock/YouTube Premium Partnership…But Who?
(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.) I hope everyone around the world suffering from record heat waves is doing okay. The temperature is already up in Southern California, but obviously not nearly as bad as parts of Europe. With a super El Nińo coming this year, I worry it will get even worse. Yes, we know what’s causing this heat—it’s the carbon, duh—but we really aren’t making enough progress. I’m not “environmental strategy guy”, but if I were, I’d have some ideas of what I’d try. Honestly, for years I’ve been intrigued by the work of the folks at MEER—whose plan, super simply, is to put up mirrors to reflect heat (while continuing the important work of decarbonization)—but I’m frustrated this idea hasn’t made more progress. (Other geo-engineering groups seem to get better press.) With heat like this—cancelling events, hurting economies and, most importantly, killing people—it seems like the time to push solutions! The “mirrors on the ground” solution has barely been tried.1 While entertainment companies may not “feel the heat”, lots of outdoors/experiential industries—concerts, theme parks and so on—will. Even movie theaters could benefit, since mirrors could help lower AC costs, which I imagine is not an insignificant expense, especially in the hotter areas of the country. So I do think the entertainment industry should prioritize this issue. Anyways, let’s get back into the entertainment strategy. I was about to write, “Hey, this week we don’t have any mergers and entertainment news to dive into,” but that’s not really true, since we had more updates on Paramount-Skydance and Warner Bros. Discovery. But the big story of the week involves a streamer and a Big Tech platform bundling their respective streamers. So I’ll write about the updates on Paramount buying Warner Bros., Versant making some moves, and a whole lot more. But we start with a surprising deal: Peacock licensing their content to YouTube Premium. Let’s dive in! Subscribe Most Important Story of the Week - Peacock’s Pricey Premium Partnership The story of the week is Comcast’s2 NBC-Universal’s Peacock making a deal with Google’s YouTube’s YouTube Premium subscription product to embed their content. And I’ll say this up front: Someone made a terrific deal. The question is who. And I’ll be honest: I don’t know. Let me explain why, including why this deal exists, the pros and cons for each side, the biggest unknown, and what that says about the streaming wars. Customers Love Bundles (But YouTube Has Its Own Issues) 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 customers love bundles… But why I’m worried about YouTube’s integration... How Peacock is trading scale for control… And the reason they likely made this deal... The odd budget math for this deal... Whether or not I think the Paramount-Skydance/WBD deal is more likely after the latest settlement... Versant making moves and why that’s good for Hollywood… Another distributor going out of business… ...and a whole lot more! ...please subscribe! We can only keep doing this great work with your support.
Nominations sought for Norfolk Area Business Hall of Fame
Entering its 10th year, the Norfolk Area Business Hall of Fame is seeking nominations for the 2026 inductees as well as the “emerging business” award.
Vintage shoppers support local businesses at New Haven Flea
NEW HAVEN, Conn. (WTNH) — For a lot of folks in New Haven, the second weekend of August is the perfect time to find a new fit. The New Haven Flea hosted its first-ever Summer Vintage Crawl on…
Business Notes: Norfolk shipyard honored; state chamber of commerce names new CEO
View which businesses are celebrating milestones and who is getting accolades.
How rising healthcare costs are impacting schools on Long Island and across the country
School districts have seen annual increases of 10% or more in health insurance premium costs, said Bob Vecchio, executive director of the Nassau-Suffolk School Boards Association.
MrBeast Sales Slow, Angel Stock Falls, MUBI and Neon Look for Hits, and Will an NBA Franchise Set a Sales Record?
(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.) You probably remember egg prices spiking a few years ago. This led to a lot of debate between the pro-market/pro-competition/antitrust/Neo-Brandesian crowd and the center/center-right/center-left/abundance/libertarian crowd over the cause, whether it was the avian flu outbreak or whether industry consolidation led to price fixing, using avian flu as a convenient cover. Basel Musharbash wrote a whole investigation at BIG looking at it. Well, two years later, we have our answer: it was price fixing. The Justice Department found proof, via emails, of price fixing. Indeed, just the threat of an investigation brought prices down two years ago: I bring this up because at least half a dozen of my favorite political writers and pundits, who were skeptical about price fixing at the time, haven’t written any mea culpas on this issue. It’s really dispiriting and makes it much, much harder to trust their work on other issues. If you take a hard stand on an issue, then you get it wrong, you need to explain how and why you got it wrong. Or update your priors. This is how epistemological bubbles are formed! All of which is to say, it’s time for another installment of “What I Got Right, What I Got Wrong”. Last issue, I mostly focused on the “wrong” side of the equation, so today’s is a bit more balanced, but with one big mea culpa (though I still stand by my original concerns). Let’s dive right in! Subscribe CORRECTION: UFC Didn’t Release Subscriber Data (But Seems to Have Bragged About It Internally) In my analysis of the viewership of UFC Freedom 250, I wrote... “Paramount has also released datecdotes bragging about their subscriber numbers. Earlier this year, they claimed that the first UFC fight on Paramount+ brought in 1 million subscribers.” Well, that datecdote did not come from a PR rep, but from great reporting from James Faris at Business Insider. The actual quote was this: “Paramount’s flagship streaming service generated about a million new subscribers on the day of its first-ever UFC event, Paramount product chief Dane Glasgow told employees in a town hall on Tuesday morning, three staffers who attended the meeting told Business Insider.“ This wasn’t the biggest goof in the world; even Faris emphasized to me that this is more a “clarification” than a correction. Still, it sounds like, internally, the folks at Paramount were very happy about this result—and I’m guessing they were happy with this news getting out—even though the gains didn’t last through the quarter, dropping to 700K adds. RIGHT: MrBeast’s Struggles Continue... I’m very skeptical about MrBeast’s burgeoning media “empire” and, in particular, its $5 billion valuation, as I wrote earlier this year and last year. Sure enough, according to Business Insider, regarding its “booming” consumer products division_:_ “US sales volume grew 13% year-over-year in 2025, following a 33% leap the previous year, according to a presentation deck dated May 2026....A February 2025 investor deck viewed by Business Insider showed Feastables’ net revenue more than doubled in 2024 from 2023, to $215 million, and was forecast to grow 74% in 2025, to $375 million.” [Emphasis mine.] If you told investors that you projected 74% growth but delivered 13%,1 that’s not ideal. But it’s not just MrBeast. Logan Paul and KSI’s Prime had sales drop in half for their energy drinks. It’s one thing to build a successful entertainment company and an entirely different thing to succeed in the heavily-consolidated-but-also-very-competitive consumer packaged goods space! CPGs are dominated by a few firms with very wide moats compared to YouTube, which has few barriers to entry. These businesses require different skill sets and have completely different business environments. WRONG: Does the NBA Have an $8 Billion Bidder? Almost as soon as I published my article about the NBA’s finances, casting skepticism on NBA expansion, I saw this Front Office Sports headline: One group “claims to have already raised $8 billion” for the Vegas expansion team. I mean, wow. That’s just $2 billion less than what the Los Angeles Lakers were valued at when they were sold just last year. And they’re arguably the most popular team in the NBA. (Side note: the new owner is now under an investigation for fraud in how he went about financing the Lakers and the Dodgers purchases.) So much for the “dried up” language I used in that article. (This is why I usually stick to my “Entertainment Nuance Guy” tone in articles...) I went off old information—from April, when I read/heard about the NBA downplaying expansion efforts—instead of doing a quick double-check for new news. That said...if you read the article, the market for Seattle is “slow”, with just one reported bidder. So I wasn’t entirely off. This goof has annoyed me since I first published it, mainly because it undercut that article’s real point, which I stand by: NBA franchises are really overvalued right now. Now, I get why NBA teams are overvalued. When it comes to owning sports teams, it’s basically never wrong to assume that some rich person somewhere will care more about owning a team (or just being part of a group since they’re so expensive) than the actual financials. There are only so many teams to own, and opportunities to buy in preferred markets don’t come along very often. This explains why the teams sell for such high multiples (usually above a 10 to 12.5 revenue multiple, which is very high). You only need one person to overpay! Beyond the ultra-wealthy luxury good explanation, I worry NBA teams are becoming speculative assets. More and more private equity investors are buying into NBA teams. But the value, in owning a team, comes from selling it later, not any meaningful relationship to revenue or profit growth. In other words, the newer NBA owners are increasingly expecting someone later to buy their inflated asset. That’s not sound economics; that’s the “greater fool” theory at work.2 At some point, actually making money has to matter. Especially since revenue growth is now below the growth of the stock market. (And this matters because the NBA doesn’t have easy levers to pull to drastically lower their costs—half of their revenue has to go to players and then you actually have to run a team, including coaching, training, travel, media expenses, and more—or raise revenues aside from one-off expansions in America and overseas.) I just don’t see how investors make their money back buying NBA teams, except for selling at a higher price later on down the line. But if revenue/profit growth continues to slow, at some point, someone will be left holding the bag. RIGHT: Baseball and Basketball are about equally popular. Related to the above, I wanted to cite two quick pieces of evidence for one of my other theories: that the NBA and MLB are about as popular as each other, but the NBA gets much, much better media coverage. One YouGov survey has that fans prefer basketball to baseball by 52% to 48%, which I’m guessing is within the margin of error for that poll. That’s virtually even, meaning they’re about the same popularity. Over on NBC, a recent Red Sox-Yankees game averaged 4 million viewers, higher than Sunday Night Basketball’s average of 3.4 million on the same network. A Yankees-Dodgers game averaged 3.9 million two weeks ago. Not every game averages this much, but it shows you that baseball isn’t far off from basketball, depending on the matchup. Altogether, the NBA is just slightly more popular than baseball, but NBC is paying MLB a fraction of what they pay the NBA, a point I’ve made before. RIGHT: Angel, MUBI and Neon Updates... I’ve long been skeptical about many of Hollywood’s buzziest startups/smaller indie studios. It’s not that they don’t make great movies—films like Anora and Everything Everywhere All at Once are amazing—or that they’re not (rightfully) pushing the majors to make better films, but...they get a ton of hype, and that hype often doesn’t live up to the reality or difficulty in scaling up. Starting with MUBI, well, The Wall Street Journal wrote a feature on MUBI’s struggles last April, best summarized by the subheader “After Sequoia valued Mubi at $1 billion, a left-wing revolt sent the indie film company into a tailspin”. MUBI lost $7.3 million on $200 million in revenue in Q4 2025, but reportedly hit a record 1.7 million subscribers at the end of Q1. As for Neon, Department M purchased a “significant stake” in the company earlier this year. How much is that “stake” worth? According to Deadline, “No financial figures for the Neon-Department M deal were disclosed.” So...that’s not great! If it was a big valuation, we’d hear about. Also, I found this curious: “Both Neon and Department M already have separate partnerships with Qatar. The Qatar Film Committee has a slate deal in place with the former, and a biopic production pact with the latter.” Color me skeptical about much Middle Eastern investment dollars. See: LIV Golf. Finally, as for Angel (formerly Angel Studios), their stock very, very slightly popped last month after Young Washington ($20 million budget) which made $45 million in the US, but their stock is still way down from its opening. Smaller Updates RIGHT: The WGA should focus on antitrust concerns! I’ve been on this for years. Post-WGA/AMTPT deal in 2023, I wrote an article for the Ankler calling on the WGA to focus and organize against industry consolidation. Sure enough, the WGA filed a lawsuit against the Paramount-WBD merger, and people are organizing around this issue now. I wish this energy had coalesced earlier (specifically to lobby Washington much earlier), but better late than never! WRONG: Actually, the chip shortage might be due to market manipulation. In my last “Long Reads for the Long Summer” article, I shared an article about how LLMs are causing memory chip prices to spike, which will make all electronics more expensive. Well, turns out, three RAM manufacturers control 90% of the market, and now a private lawsuit accuses them of price-fixing. So yeah. WRONG/UPDATE: The Odyssey will hold! Two weeks ago, I wrote, “As of this moment, we haven’t had a super-blockbuster, though The Odyssey, Spider-Man: Brand New Day and Avengers: Doomsday could all cross the $500 million mark. (At this point, The Odyssey would need a very strong hold to get there.)” Well, it’s safe to say it’s going to have that hold! It only dropped 30% in weekend two and IMAX screenings are sold out all month. Spider-Man: Brand New Day is also off to a great start. RIGHT: People are rushing to get shows out yearly. I’ve long been bullish on yearly, weekly-released shows, and Leslie Goldberg at The Ankler wrote about how many people in town are now listening. WRONG: Mark Carney reverses Canada’s stance on homegrown production. After writing about Canada installing domestic production quotas, Canada has backed off. WRONG: I don’t trust Spider-Man: Brand New Day’s online “views”. When I originally wrote about the latest Spider-Man film’s record-breaking trailer, I thought this was just YouTube views, but after watching this Corridor Crew video and doing more research, well, it’s all social views of the trailer globally. Really? That stat includes TikTok, Reels and YouTube Shorts views. Basically, I don’t trust it anymore. (This film will probably set record, but I trust the pre-sales data more.) RIGHT: Celebrity Production companies are still struggling. I’ve written about this for years, but the company that I didn’t track was Kevin Hart’s HartBeat, which was valued at $650 million but is struggling now and might just end soon, especially after Kevin Hart pulled his endorsement deals. And Bad Robot is moving to NYC. CORRECTION: SpongeBob is a “second run” title. In my 2025 recap article, I had _SpongeBob SquarePants_labelled as a “library” title, when it is still a “second run” show, with new episodes still coming out on Nickelodeon. CORRECTION: In my last “What I Got Right, What I Got Wrong” update, I offered a correction from Doug Creutz and misspelled TD Cowen. Thanks, Grammarly! 1 Though he could have increased prices to make up for the gap, he couldn’t have increased them that much. 2 There’s a theory, which I think that Daryl Morey created and Bill Simmons popularized, that, to be successful building your team, you only need a handful of bad GMs in the league to take advantage of. To be clear, Daryl Morey’s theory was also for signing bad contracts, that you could always get out of bad contracts. Basically, there’s always someone who will make a bad trade. It’s not the same exact thing, but similar enough to the Greater Fool Theory that I really like it.
Out and About
1. L to R: Port of Virginia CEO Sarah McCoy, Gov. Abigail Spanberger and state Secretary of Transportation Nick Donohue gathered at Norfolk International
For Shark Week, fins, facts and fascination at New England Aquarium
Shark Week is a time celebrate all things shark. At New England Aquarium, it's a time to showcase a creature that swims in folklore as well as fact.
Linda Perhacs found ‘safe’ 8 months after 82-year-old folk singer went missing
Linda Perhacs, a pioneering psychedelic folk musician, has been found safe eight months after she was discharged from a Los Angeles-based residential care facility.
Gillian Welch and David Rawlings keep lost art of harmonizing alive
Grammy Award-winning folk duo Gillian Welch and David Rawlings will perform Wednesday, Aug. 5, at Hancher Auditorium in Iowa City.
Folk singer Linda Perhacs, 82, has been missing for 8 months
Linda Perhacs, the psychedelic folk artist known for her rediscovered album "Parallelograms," has been missing for nearly eight months as her loved ones seek out answers.
Suffolk judge orders a third mental health evaluation for Nesconset teen charged with killing ex-girlfriend Emily Finn
The New York State Office of Mental Health found Austin Lynch, 18, was not competent to stand trial after he was charged with the second-degree murder in the killing of Emily Finn, who had visited him at his home to return his belongings following a breakup.
Folk music pioneer Linda Perhacs declared missing as loved ones seek public’s help
Linda Perhacs, the pioneering psych-folk musician whose dormant career underwent a renaissance in the mid-2010s, is missing. Perhacs’ friends and collaborators are seeking the public’s help in locating her.
Health officials warn of heat-related illnesses as heat wave continues across Iowa
The Polk County Health Department says folks need to take a break if they start seeing signs of dizziness, nausea and heavy sweating.
'Yo-yo' Weight Loss Linked To Decline In Muscle Mass
By Dennis Thompson HealthDay ReporterMONDAY, July 27, 2026 (HealthDay News) — Middle-aged folks have a higher risk of muscle loss if their weight “yo-yos” due to inconsistent dieting, a new study says. People who repeatedly dropped and regained weight wound up losing nearly four times as much thigh ...
Will Newport residents say 'enough is enough' to tourism this election?
Tourism brought the city back after the Navy fleet left, but how many tourists can residents endure?
The Shade Room (@theshaderoom)
11K likes, 1,827 comments - theshaderoom on July 25, 2026: "Ohkay! The folks are all up in #KeyshiaCole’s business after photos she and rapper #Skrilla recently shared resurfaced. KC 44, and Skrilla 27, popped out to LIV on July 12th for the XXL Freshman Class 2026 party. #Roomies is it giving bae 👀 SWIPE ✍🏾#TSRStaffAS".
Mamdani's 'small-biz' plan is a complete bait-and-switch
It shouldn’t surprise you that Mayor Zohran Mamdani’s new “help small businesses” plan won’t do much for what most folks think “small business” means....
Entertainment for everyone
Sarah Gross, fresh off releasing her fourth studio album earlier this month, leads the entertainment coming to local and regional venues over the next couple of weeks. The folk/Americana singer-songwr...
Broadway magic of ‘Hadestown: The Musical heads to theaters
A Tony-winning Best Musical that continues as a Broadway hit, “Hadestown” transforms a pair of ancient Greek tragedies into a dazzling mix of American folk and New Orleans-inspired jazz.
Joint School of Public Health Earns National Accreditation
July 20, 2026, NORFOLK, Va. — The Joint School of Public Health at Old Dominion University and Norfolk State University has earned accreditation from the Council on Education for Public Health (CEPH).
Locals continue to enjoy Curve entertainment
Even though the stadium is in Altoona, Bedford folks just can’t resist making the trip to watch the Curve team play baseball.
'A very infectious person'
Keegan - who died on Monday - signed Mathie for Newcastle in 1993. Mathie told BBC Radio Suffolk's The Blue Hour: "Very sad, really very sad. They've lost a football great there as a player, a manager and a person.
UFC Freedom 250 Fails to Knock Out The Ratings
(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.) If UFC fans wanted one image to say, “Hey, Paramount+ is crushing it with their UFC rights deal,” I could provide that image. Here it is: (Reminder: this is my creation of the Nielsen Top 30, since Nielsen doesn’t combine the lists or include sports. I take all three lists and combine them. Some streaming TV shows probably have higher ratings than many of the films on this list.) Look at that! UFC Freedom 250 is number one! It topped the Nielsen “Top 30” list for shows and films that made the top ten the week of 15-June. So if you’re a UFC fan or supporter of Paramount+, that’s the good news for you this week. This program topped the ratings charts for one week. Everything else is bad news, or at least a huge caveat to that story, which I’ll explain today in the first part of this week’s Streaming Ratings Report—for the weeks of 8-June and 15-June—which is a double issue since I’ve been writing on a bunch of topics recently. UFC Freedom 250 is one of the biggest streaming events of the year, and super relevant to Paramount+’s strategy, so it merited its own article. Let’s dive 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 June 8th to June 21st 2026. You can find a link to my terminology here.) Subscribe Check Out My Interview on UFC 250 at MMA Draw After you read this article, if you want even more thoughts on UFC and Paramount-Skydance/Paramount+, I did a written interview with MMA Draw. They asked me to answer some questions about UFC Freedom 250, and I was happy to chat with them. Find it here: [ The MMA Draw Newsletter Did Paramount really overpay for the UFC? What the data tells us so far If you know the history of American television, you also know that combat sports is often a leading indicator of the future… Read more a day ago · 10 likes · 1 comment · Nate Wilcox and Zach Arnold ](https://www.themmadraw.com/p/did-paramount-really-overpay-for?utm_source=substack&utm_campaign=post_embed&utm_medium=web) I never thought I’d need a combat sports newsletter in my life, but the good folks at MMA Draw publish an excellent one on UFC, MMA, pro wrestling, boxing and more, analyzing both the sports themselves and the politics, economics and antitrust issues that impact them. Check the article and their newsletter out! Paramount+ Has Its Best Sporting Event of All Time…But Was It Worth It? Before we look at the UFC Freedom 250 data in particular, let’s talk about what we can’t say. Namely, let’s start with the lack of comparisons. First off, I’d love to put a chart out comparing this fight to past UFC fights on Paramount+…but we don’t have the data. This is the first time we’ve gotten Nielsen data about a Paramount+ UFC fight. As far as I can tell, Paramount provided data for the first fight, but it was a proprietary datecdote (saying it had “an average minute audience” of 5 million “views”) and then, for two fights, we got the linear viewership numbers when they aired on CBS, but no streaming data. Everything else was crickets. We also can’t compare this fight to other fights/combat sports on streaming, in particular the MMA and boxing, because Netflix also didn’t use Nielsen to track those events, opting for TVision and VideoAmp, respectively. (This isn’t Paramount’s fault, but does still suck.) We also can’t compare to UFC’s fights that used to be on ESPN+, since we don’t have any data for that, plus Disney+ didn’t have marquee fights. The comparisons would not be apples-to-apples. Can we compare to past Pay-Per-View fights? Absolutely not. The comparisons would absolutely NOT be apples-to-apples. That didn’t stop Paramount+, though, who bragged that their UFC events have reached drastically more people than past PPV fights. Duh. Sorry, but I gotta make this point again. A basic tenet of economics is that the cheaper something becomes, the more people consume or buy it. That’s Econ 101. (Sometimes pundits call things “Econ 101” that are actually like Econ 210 or even PhD-level economics, but no, this is really like first or second class basic economics.) Yet I still see one analytics firm consistently say that more people watch films on streaming than PVOD proves streaming which means that the streaming window is more valuable than the PVOD window. No, it’s not! Same thing here. Pay-Per-View events back in the day could be really, really, really expensive! So whole groups of people pitched in to buy them. That increased the perceived value of, say, the Mike Tyson fight. Or a UFC numbered event. So yes, the fact that Paramount+ makes numbered UFC fights essentially “free” if you’re already a Paramount+ member means consumption will go up. Obviously. Same for Netflix and their boxing matches. They’re talking about fights that used to cost consumers, in some cases, $50 in 1996…which is over $100 in today’s dollars. Over 1.6 million people paid that to watch the Tyson-Holyfield fight! Again, streaming is essentially “free”. Or $10 to $20, depending on what streamer we’re talking about and what tier you’re on. No wonder more people are “watching”. (Plus, Nielsen’s out-of-home viewing also helps these numbers.) UFC Freedom 250 Did Well…But I Have A Lot of Worries So what can we compare the fights to? Well, the good news is Nielsen put out that the fight averaged 7.0 million viewers for UFC Freedom 250, which is a solid number for a fight. We also know the length, at roughly 4 and a half hours. (I saw different run times, but this seems to be the consensus considering it started at 8 pm, had a delay and then finished after midnight on the East Coast. If you assume a shorter run time, then yes, the total hours viewed would go down.) That means I have the two numbers needed to add this to my Nielsen database. And then…I can compare this viewership to the NFL: And, uh, not great. But also within striking distance, mainly because the runtime for this event was so long. I’d also add that this event had viewership equal to a regular season NFL game on streaming, but if anything, it was more comparable to an NFL playoff or Super Bowl-esque event. And you can compare viewership to the top football games on broadcast, cable and streaming, and it’s not impressive at all: We can also compare it to other sports that week, including the NBA Finals and start of the World Cup: Again, not great. The NBA generated roughly four times as many average viewers each game for its NBA Finals. The World Cup has similarly big numbers. Also, that’s just a tiny fraction of the 25 most watched sporting events each week. The NBA, NHL and FIFA World Cup had many, many more games racking up hours. We could also compare this to other streaming programs to get an idea of “is this a good investment?” and here is how it ranks compared to other top Paramount+ programs: The worry here? Well, unlike scripted programming, which has rewatchability, older fights/sporting events have very little library value. Very, very few people are rewatching these fights, especially years from now. Paramount has also released datecdotes bragging about their subscriber numbers. Earlier this year, they claimed that the first UFC fight on Paramount+ brought in 1 million subscribers. Then, in their quarterly earnings report, they only ended up with 700K subs. Not great! They claimed they dropped lower-value international subscribers, but that’s why I tend to discount subscriber additions when they’re leaked to the press.1 I expect we may see a bump again for UFC Freedom 250, but I’d caution using subscriber growth so soon after these events to judge the success, since new subs with high churn (see Peacock) aren’t great either. Also, analysts often want to attribute all subscriber growth to their favorite/pet show, and that just doesn’t make sense. The biggest caveat for UFC Freedom 250 and Paramount’s very first UFC marquee event is that these could be high watermarks for the sport. UFC Freedom 250 had an incredible amount of earned media coverage compared to most UFC fights. I mean, it had wall-to-wall national news coverage in the lead up to the event. (The first fight also had a lot of promotion from Paramount since it was first.) Other fights could reach this bar—say the Conor McGregor return to the Octagon—but they’ll be fewer and far between. Was This Deal Worth It? All to ask: is this Paramount deal worth it? In this case, I think the UFC Freedom 250 numbers are more distracting than helpful. This fight did well and compares well to other top sporting events. But we know that the first marquee event was at least a third smaller, if Paramount’s own data is to be believed. And it’s likely the other fights are much, much, much smaller. And then you get to the paycheck that Paramount-Skydance paid. FIFA’s World Cup cost about the same for Fox, but clearly generated multiples more total viewership. (Though it’s only every four years.) The NBA is much more expensive, but until the playoffs, they likely didn’t pay for itself. Even still, Disney, NBCUniversal and Amazon Prime Video likely overpaid. So, in that context, the NBA may be an overpay that makes the UFC look not so bad. But two overpays don’t make an underpay, to paraphrase the old cliché about wrongs and rights. And looking at UFC Freedom 250 as the likely ceiling of MMA on Paramount+, Paramount-Skydance likely paid too much. Share 1 I would love regular reports on subscriber additions by programs, but as is, it’s mostly leaked or rumored in haphazard ways.
The Norfolk Department of Public Health launches new Front Door platform
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Wayne County Fair gears up for another year of family entertainment
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Our friend Marvin has curated a rigorous entertainment program
Music for the People has become synonymous with Humboldt Folklife Society (HFS). The word “folk” comes from Germanic roots and simply means “of the people.” That certainly defines HFS and its mission as a showcase of local musicians in a community driven display of traditional and roots music for all of us to enjoy.
The States Try to Topple WarnerMount…Thus Begins the Local Antitrust Era
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Well, it looks like it’s time for another strategy column. Can I finally avoid writing about M&A? No, it seems I cannot. Admittedly, I’m a week early with this column, since I usually put it out every other week. But this news couldn’t wait. This will make three “Most Important Stories” in a row with a merger or acquisition as its centerpiece. First, Roku-Fox (an acquisition), then Comcast-NBCUniversal (a divestment!), and now the State AGs and the WGA’s lawsuits against Paramount’s pursuit of Warner Bros. Discovery (antitrust). M&A is usually the “most important” topic any given week, simply because a giant company merging or breaking up (or preventing those outcomes) can have the biggest impact on the streaming board. If you think about these companies as players in a game, changing the number of players is one of the biggest changes you can make. I shouldn’t really complain, either, since this lawsuit is very good news for customers and suppliers (econ speak for talent, workers and indie studios in Hollywood). So let me answer some questions about this potential trial, along with (shudder) making some heavily caveated predictions. I’ll also look at whether Hollywood must consolidate, whether or not the states can win, trouble at X-Box, Netflix’s YouTube binge, and more. Plus, I have five images that visualize this merger and the harm, including three brand new data looks you’ve never seen before. Subscribe Most Important Story of the Week - Can The States and the WGA Stop Hollywood’s Consolidation (Crisis)? If every other newsletter and news outlet is writing about the same story, I try to avoid writing about it as well, but I can’t ignore a story this consequential. The story of the last year was the fate of Warner Bros. Discovery, and this development potentially extends that saga into 2027. As I tried to figure out my angle, I realized, like my last column, I’m again faced with a series of questions. These questions, though, are much more forward-looking. Will the states win? Will the WGA win? If so, what happens to Warner Bros. Discovery? Either way, will this chill the market for future mergers? So you know what that means: predictions. About the future, no less, the hardest thing to predict.1 Just remember: nothing here comes with a guarantee. And the more confident someone is in their predictions, the less you should trust them. This situation is incredibly fluid, nuanced, uncertain and tenuous. So let’s try to explain what may happen. Question: Why File this Lawsuit? I’ll admit, a few months back, I was fairly pessimistic about the fate of this lawsuit. Rumors had started bubbling up that the state Attorneys General (in particular California) wanted to settle with either some minor divestments (usually CNN) or behavioral remedies. And that tracked for me: the states usually settle lawsuits, like the recent John Deere right-to-repair suit. Yet, they plan to fight this. (As they did the LiveNation-Ticketmaster monopolization trial and the Nexstar-Tegna merger.) Honestly, that also makes a ton of sense. Frankly, this move is just good politics for these State AGs. Most are still running for higher and higher office in blue states—some folks have emphasized that only Democratic AGs joined this suit, but given the Ellison/Trump ties, and fears of retribution, that tracks—and a high profile case like this will help them move up the electoral ladder, especially since Paramount and its leadership (the Ellisons, father and heir) have sided with the other side of the political aisle. That makes them unsympathetic to Democratic voters and Hollywood workers in particular. Why did this lawsuit happen? In addition to the very real concerns about industry consolidation, this is why. That said, I don’t think we would have seen this lawsuit for Netflix and Warner Bros., simply because they’re more sympathetic and aligned with Democrats. But those consolidation concerns are real. The “town”—meaning Hollywood and such—really is seeing the damage of mergers on this industry. That’s why the WGA also filed its own lawsuit in defense of workers as well. (Wildcard: What about Europe? Will they try to stop the deal, too? There have been some rumors out of the UK they may try to fight the deal, and UK enforcers just stopped a Getty Images-Shutterstock tie up, so there is precedence. This argument could go either way, though. On one hand, the EU doesn’t need to step in, cause they states are handling it. On the other hand, this could make the EU’s case easier. Just imagine if both sides coordinated. I’ll simply say, “We’ll see!”) Question: Will The State AGs or the WGA Win? Can the state AGs play David to Paramount-Skydance’s Goliath here? That’s really the whole thing, isn’t it? If you know this result, you could make a lot of money. When things are uncertain, it’s tempting to shrug and say, “Eh” meaning it’s a 50/50 proposition. I wouldn’t, though. When in doubt, you should expect that the merging parties succeed. AT&T did successfully buy Warner Bros., after all, and Disney bought Fox without any challenges. Many judges are extremely sympathetic to mergers, and I’d bet the state AGs get a judge who will allow the merger. (Even Obama-appointed judges often allow mergers.) As I understand it, we’ll see two main attacks. First, theatrical films. The AGs are arguing that, when it comes to share of box office and the number of both “wide releases” and blockbuster (or “tentpole”) films, the merging parties will have over 27% market share. Now, the Supreme Court once ruled from on high that any merger that exceeds 30% is presumptively illegal, but that’s guidance, not an ironclad bar. Still, the states will have to argue that this is close to having too much power, and with that power, this will likely further worsen the theater/studio splits in particular. Indeed, as Matthew Stoller pointed out, “just five studios are responsible for 95% of all blockbusters; if this merger goes through, then Paramount and Disney will control 60% of that.” So yes, movie studios will be very concentrated after this merger. Want me to visualize some of that? Well, here’s the share of films that grossed over $200 million at the domestic box office since 2022. (Note: this isn’t all films released in over 3,000 screens, but it is a good look at market power.) First, here are the 43 films by studio: Notice all the blue (Disney), orange (Universal), and purple (Warner Bros)? Yeah, those studios are powerful, and this combines Paramount with one of them. Here’s the look by studio and share of the films that grossed over $200 million: Now, if you look at that and also think, “Huh, should we break up Disney?” I’m with you. I’ve seen some folks poo-poo this idea that this is a real category, but it is! For an upcoming article, I’ve been pulling data on the share of top 100 films at the box office as a share of total box office, and it’s massive. Here’s the chart: (This analysis looks at The-Number’s top 100 films and total domestic box office each year.) To be clear, tentpoles make up 80.7% of the box office each year, so I do think it’s a genuine market. (To be clear, films grossing over $50 million make up 80% of the domestic box office, and films grossing over $100 million make up 64.1%.) I mean, the top 100 films at the box office make up 95% of each year’s grosses. Worse, the combined studios will likely cut output to flex that market power. Everyone can just look at what happened to Disney and Fox to see the precedent. (With fewer films, the remaining theaters have to give more for those few films that remain.) Here’s an image I’ve used a lot, the share of wide-release films from Disney and Fox over time: The AGs will also argue that this consolidation will also impact the cable industry. In this case, the consolidation is actually worse, but that environment is…complicated. Paramount will argue that the cable industry is shrinking. That said, predictions that cable will “go to zero” also don’t look very well supported by the data, as the declines are shrinking, meaning “cable” or “vMVPDs” will likely stabilize at some point. Can the state Attorneys General win on those two main arguments? I honestly don’t know. Again, I’d bet no, since history in general supports that, but it depends on the judge/jury and how they interpret the arguments. Notably, Paramount won’t face accusations about monopoly power in other areas, like streaming, news, sports rights, or vertical integration. I tend to disagree with leaving out sports rights, but I also see the appeal for a simpler case. The states also aren’t really pushing novel theories about labor harm either, which should help. (By the way, Sean McNulty at The Ankler wrote a great run through of potential options, and Capitol Forum also wrote a great paper on theatrical consolidation. Both these pieces predated the lawsuit. Matthew Stoller is also out with his analysis of the pros and cons of the case too.) In some ways, the WGA’s case is even stronger. Quoting Sean McNulty’s summary: “The WGA is citing WARNAMOUNT as crossing a 30% market share in multiple sectors, a number that the Supreme Court has precedent for deeming “presumptively anticompetitive” in a market. According to the WGA numbers, WARNAMOUNT would have represented: - 35% of film writing jobs between 2021 and 2024 - 36% of TV writing projects between 2022 and 2025 - 38% of overall deals between 2021 and 2024” Notably, antitrust enforcers did win recently in the Penguin-Simon & Schuster merger by focusing on labor impact, so don’t count this thinking out. (Wildcard: Will the states try to get a jury trial? Most likely no, they’ll let a judge handle it. If I’m them, though, I’d try to put this in front of a jury. Juries tend to understand monopoly power in a more realistic way than judges faced with legions of economists.) Question: What if They Win? What if They Lose?
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A few thoughts on returning home
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Politics aside, Mexico and Ecuador fans keep World Cup rivalry friendly
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Netflix and Superheroes Are Having a Rough Stretch on Streaming....
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) I have a quick prediction before we start today’s article: You might see this data in future news articles. Not my specific charts or analysis, but the core trend I’ve been monitoring—Netflix is having a lackluster Q2—will become inescapable. Often, folks want to know “What does the data say?” Well, that’s what it says. I haven’t seen this analysis hit the trades really yet, but I have a feeling some other outlets are going to start making this case soon. Remember, you read it here first. You probably have read about the problems facing superhero films at the box office this weekend. Well, this week, I explore whether superheroes are dying on TV as well! And the data says: definitely maybe! We have a lot to cover in today’s Streaming Ratings Report, which covers the two weeks of 18-May and 25-May. Today, I’m just looking at TV, like Netflix’s disappointing Q2, superhero shows underwhelming, a few TV shows dropping off the charts, The Pitt finally ending its epic run on the viewership charts (and whether “view counts” change its status as one of the biggest shows of all time), all the flops, bombs and misses, and a whole lot more. Tomorrow, I’ve got a great rundown of the film side of things. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, Showlabs, TV Time trend data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of May 18th to May 31st, 2026. You can find a link to my terminology here.) Subscribe Television - Netflix’s Q2 Slump Continues Having analyzed streaming ratings for going on half a decade, I have learned to trust my gut, but I’m always relieved when I can find actual data to back it up. For example, after a string of very popular shows like Stranger Things, Bridgerton, The Lincoln Lawyer and The Night Agent came out, week after week, in January and February, my gut wondered if Netflix had enough new and returning TV shows to sustain them throughout the year. Since then, Netflix’s post-March slate of shows has not impressed me. This week seemed to feature a potential new hit, but then, like a classic Duffer Bros. TV show, there was a twist. I speak of The Boroughs, Netflix’s latest (and last) Duffer Bros. produced show. The pitch is “Stranger Things with older actors”. And it topped the Nielsen charts: With just two weeks of viewership, The Boroughs would have been a top 25 debut show last year: But here’s the twist: Netflix has already cancelled The Boroughs! What happened? Likely a few things. First, the show didn’t do as well globally as it did in the US. As What’s on Netflix showed, it lagged behind several other shows that got cancelled. Second, its completion rate was likely low; after an initial burst of interest, it quickly dropped off on the Samba TV and Luminate charts. Third, the Duffer Bros. left Netflix for Paramount, and that may have factored into Netflix’s decision here. (Though I tend to believe that if a show is doing well, Netflix would have kept greenlighting seasons.) Still, just because I can explain why Netflix may have cancelled this show doesn’t mean I’m justifying it. In particular, as I’ve noted before, Netflix is losing a lot of their bigger shows as they reach their natural ends, and they need to replace those shows. This show had the hallmarks of a big new genre show, and it’s their biggest hit of the last few months (in the US at least), but now it’s done. Netflix’s other show this week—The Four Seasons, the second season of the “hit” show from last year—definitely disappointed. Its sophomore season had about half the viewership of the first, only 12.7 million hours. It also only had a two week run on Samba TV, and its numbers were all down on Luminate too. In other words, even with two successes, the Q2 slump for Netflix looks real: I could add to the list of disappointments: Both Lord of the Files and Man on Fire had short runs on the Nielsen charts. Running Point’s sophomore season also opened to about half its viewership, similar to The Four Seasons. A Good Girl’s Guide to Murder’s second season—see below—didn’t even make any of the three viewership charts I track, unlike the first season. Netflix is absolutely having a dismal second three months of 2026. If this Nielsen data is any indication, and I think it is, I think this will show up in Netflix’s engagement report, and maybe even their financial outcomes. And the rest of June doesn’t look much better. We have two hit shows coming back—Sweet Magnolias, one of their quietest big shows, and Avatar: The Last Airbender, a big hit for them in 2024—but the other big swings are limited series crime thrillers i.e. no future season potential. Like I said above, sometimes when I uncover a juicy nugget like this, other outlets end up writing very similar articles mimicking the data without credit. We’ll see if that happens this time! Share Television - The State of Superhero Shows on Streaming When I first heard the pitch for Spider-Noir—a Sony TV show on Prime Video that binge-released eight episodes first on MGM+ then on Prime Video two days later—I had my doubts. It’s a live-action Spider-Man show set in the 1930s, starring Nicholas Cage, based on a cameo of a character in Spider-Man: Into the Spider-Verse. No, seriously, that’s the pitch. That could either go terrifically well or horribly wrong. Great because, Spider-Man. He’s the biggest superhero we have. I’ve seen tracking numbers that put the new _Spider-Man: Brand New Da_y as the blockbuster of the year and initial pre-sales back that up. And yet this Spider-Noir pitch feels very esoteric. (Also, the eight-episode binge release feels very “Amazon copying Netflix” again.) So what’s the data say? And what does this say about the future of superhero shows?
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