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Carrie Ann Inaba curses live on“ Dancing With the Stars ”while praising underdog’s salsa
The judge couldn’t hold in her enthusiasm for this athlete’s agile salsa to “Uptown Funk” by Mark Ronson and Bruno Mars.
Justin Baldoni makes rare appearance in ‘DWTS’ audience after Blake Lively drama
Eagle-eyed fans spotted Justin Baldoni in the ‘Dancing With the Stars’ audience during ‘Super Bowl Night’ on Tuesday after his ‘It Ends With Us’ legal battle.
Ryan Coogler's 'reimagining' of 'The X-Files' is picked up by Hulu
Hulu announced that it picked up Ryan Coogler's "The X-Files" project, which stars Danielle Deadwyler and Himesh Patel, to series.
Starstuff: A Festival of Solo Artists returns to Seattle’s Kerry Hall
Astro Lab Productions presents the second-annual Starstuff, a theater festival celebrating solo artists, audiences and the connections between them.
Mark Harmon and Michael Weatherly are reuniting on next week’s “NCIS: Origins”
The “NCIS” stars have not shared the screen in a decade.
Animosity in North Carolina, and MA shooting stars
In this edition of Health Care Inc., we examine the controversy around the health plan covering North Carolina's public workers and retirees, and more.
Braves’ Ronald Acuña Jr. Trade Chatter is Different
When most superstars are involved in trade rumors, it feels like the bidding market is populated by the big-market teams. And sure, if the trade speculation about Atlanta Braves outfielder Ronald Acuña Jr. is true, it could feel a decent amount like that for him, too. There’s something different about Acuña, though, which could make […] The post Braves’ Ronald Acuña Jr. Trade Chatter is Different appeared first on HEAVY.
Review: Resident Evil 3 (Switch 2) - An Impressive Port Of A Subpar Remake
Stars don't shine
Notre Dame Fighting Irish vs BYU Cougars: Recruiting Comparison
Blue-chip pedigrees clash with developmental stars as the Irish travel to Provo. Discover why star ratings take a backseat to on-field production in this high-stakes trenches battle.
“Baywatch” reboot trailer introduces Stephen Amell’s nepo-baby lifeguard and his own nepo-baby lifeguard
The “Arrow” alum stars as the son of David Hasselhoff’s OG character.
‘Baywatch’ reboot trailer introduces Stephen Amell’s nepo-baby lifeguard
Stephen Amell stars as the son of David Hasselhoff’s character in the first trailer for the ‘Baywatch’ reboot series.
Brett Fischer, Kelly Jones, Chris Lee, Maruf Rahman, RWJBarnabas Health Leaders, Named Becker’s 2026 Rising Stars
Four rising leaders at RWJBarnabas Health have been named to Becker’s Hospital Review’s 2026 Rising Stars: 188 Healthcare Leaders Under 40 list! Congratulations to Brett Fischer, Kelly Jones, Christopher Lee and Maruf Rahman on this national recognition of their leadership, innovation and commitment to advancing healthcare.
Travel talk explores adventure without the typical stress
There is a particular kind of luxury that has nothing to do with thread counts, Michelin stars or the size of a hotel suite. Sometimes, luxury is simply knowing that
China-US astronomy team may have found possible relic of a recent ‘gold factory’
Mystery glow seen in the Milky Way could be the result of a violent collision between two orbiting neutron stars, according to scientists.
‘Breaking Bad’ stars Bryan Cranston, Dean Norris mourn death of RJ Mitte
RJ Mitte’s “Breaking Bad” co-stars are taking to social media to mourn the young actor’s death. TMZ first reported Mitte’s death, citing a county official in Texas who told the outlet that Mitte di…
'Breaking Bad' stars remember RJ Mitte after his death at 34
RJ Mitte's "Breaking Bad" costars paid tribute to the actor and advocate for disability representation, who died at 34.
Pat Fitzgerald and Aidan Chiles Speak on Their Revenge Game
Dismissed legends and benched stars collide as Pat Fitzgerald and Aidan Chiles face their former programs in a high-stakes Big Ten clash fueled by redemption and legacy.
3 Bold Takes for SEC Basketball in 2026-27
With the 2026-27 college basketball season just under a month away, it's time to take a glimpse of the future and look beyond the standard expectations. SEC Basketball is full of established stars, true contenders, and teams capable of exceeding expectations. 3 Bold Takes for SEC Basketball in 2026-27 The question remains: which teams can …
Brett Fischer, Kelly Jones, Chris Lee, Maruf Rahman, RWJBarnabas Health Leaders, Named Becker’s 2026 Rising Stars
Four rising executives at RWJBarnabas Health have been named to Becker’s Hospital Review’s Rising Stars: 188 Healthcare Leaders Under 40 list for 2026. They are: Brett Fischer, Senior Vice President of Business Development; Kelly Jones, Director of Revenue Cycle; Christopher Lee, Assistant Vice President of Public Policy and External Affairs; and Maruf Rahman, Vice President of Population Health and Community Health.
Matt Duchene Injury Update from the Dallas Stars
The Dallas Stars have some tough news to break on this holiday Monday. From general manager Jim Nill, it seems the veteran forward Matt Duchene injury update is in, and it isn't great. The 35-year-old is set to miss around three months, as he had to have surgery on his core muscles. Let's discuss what …
“Miami Vice ‘85” first look reveals Michael B. Jordan, Austin Butler as classic detective duo
The stars will play Tubbs and Crockett, roles made famous by Philip Michael Thomas and Don Johnson on the original TV show.
‘Dancing with the Stars: Live’ 2027 tour making two Upstate NY stops
For the first time, the full "DWTS" troupe is joining the pros on the road, and Madison Square Garden is on the schedule.
The Future of Entertainment 25: New Stars, Studios & Storytellers
MrBeast. Bad Bunny. YouTube bosses. Ben Affleck. Hollywood doesn't make the rules now — and showbiz has never looked wilder
‘Dancing with the Stars’ tour tickets on sale soon; look back at Lancaster connections
Need something to look forward to after the recent eliminations on “Dancing with the Stars”?
Where New Orleans Pelicans Stars Landed in Top 150 Fantasy Basketball Ranking
This is where the New Orleans Pelicans stars fell on a top 150 fantasy basketball ranking ahead of the season beginning.
The Black British Business Awards 2026: Meet the winning leaders, innovators and changemakers shaping UK industry
Celebrating the brilliance, visibility and impact of Black British talent, this year's winners of The Black British Business Awards 2026 were chosen from Senior Leaders and Rising Stars spanning STEM, Fashion, Beauty & Consumer, Arts & Media, Entrepreneurs, Financial Services, Professional Services and Retail & Hospitality, underlining what can be achieved when organisations champion and amplify Black talent and allow it to #SHINE.
Jessica Lange says FX was ‘too f---ing cheap’ to do 1 key thing for “American Horror Story ”stars on set
“That’s still a bone of contention for me,” Lange said while seated next to Sarah Paulson at a PaleyFest event.
Jessica Lange says FX was ‘too f---ing cheap’ to do 1 key thing for ‘AHS’ stars on set
Jessica Lange says FX was ‘too f---ing cheap’ to do one key thing for ‘American Horror Story’ actors on set: ‘That’s still a bone of contention for me,’ she said.
Kaley Cuoco Played A '70s Icon In The Behind-The-Scenes Brady Bunch TV Movie
At age 14, before Kaley Cuoco became a star herself, she portrayed one of the stars of The Brady Bunch in a TV movie about the making of the show.
'Children of Blood and Bone' cast reveals the family drama at the heart of the fantasy epic
At NYCC, the stars of the upcoming adaptation opened up about the love, betrayal, and grief driving the film's central families.
Vote for high school football Super 25 Playmaker of Week 8
These Super 25 high school football stars delivered huge Week 8 performances. See their stats and vote for the Super 25 Playmaker of the Week.
Kylie Jenner Stars in Hulu’s 'Bachelorette Weekend'
The reality star takes on her first major scripted role as a bride whose closest friends become suspects after a deadly getaway.
TV’s most famous ghost hunters: Where are they now?
The investigators who defined TV’s golden age of ghost hunting spent the 2000s and early 2010s turning our fear into dark appointment viewing. See what the stars of ‘Ghost Hunters’ and other hit paranormal shows are up to now.
When will DeVonta Smith return? Latest injury updates on Eagles WR
The Eagles are not at full strength, and wide receiver DeVonta Smith is among their injured stars. Here's the latest injury update on the receiver.
‘New Girl’ Stars Reunite — in a Slightly Different Way Than Max Greenfield Claimed
Zooey Deschanel, Max Greenfield, Jake Johnson, Lamorne Morris, Hannah Simone and Damon Wayans Jr. stepped out together as they were honored at the Chrysalis Butterfly Ball on Saturday.
24 Pop Stars Who Proved They're Just As Successful In Business
I'm already wondering what they'll do next.
Line Combinations: Stars at Penguins
Riding consecutive shutouts into Pittsburgh, Dallas looks to extend their dominance over a struggling Penguins squad as Tyler Seguin searches for his first point of the season.
José Mourinho sends warning to Real Madrid stars
Real Madrid head coach José Mourinho has this weekend fired something of a warning shot the way of his players in Spain’s capital. This comes amid the assurance that the Portuguese will show no he...
Eagles Face Massive Injury Crisis Heading Into London
The Eagles are losing stars like Saquon Barkley and DeVonta Smith. Read why the depth of the roster will be tested against the Jaguars in London.
“Newlyweds” showrunner fired before series premiere, calls series ‘the most joyous TV experience of my life’
Gail Lerner co-created the NBC sitcom, which stars Téa Leoni and Tim Daly, with Jamie Lee Curtis.
‘Newlyweds’ showrunner fired before series premiere, calls series ‘the most joyous TV experience of my life’
The co-creator of the new comedy ‘Newlyweds,’ which stars Téa Leoni, Tim Daly, and Jamie Lee Curtis, says she’s been fired ahead of its premiere.
Donnie Wahlberg tears up over ‘healing’ reunions with ‘Blue Bloods’ costars on ‘Boston Blue’
Donnie Wahlberg warned he’d need to ‘get the Kleenex’ before tearing up while discussing his ‘Blue Bloods’ costar’s warm reception of his new ‘Boston Blue’ family: ‘There’s something healing that happens.’
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.
Olympiacos Welcome Internationals Back Ahead of Derby Clash Against Panathinaikos
Olympiacos manager Imanol Alguacil regains a full-strength squad as key stars return from international duty, providing a crucial fitness boost just days before the heated eternal enemies derby against Panathinaikos.
Four Tigers Rookies Break Into MLB’s Top 50
Led by Kevin McGonigle’s top-ranked campaign, Detroit’s rising stars dominated the 2026 rankings, signaling a powerful youth movement and a bright future for the rebuilding franchise’s core.
First Look: Fantasia And Tank Celebrate The Power Of Faith In Tyler Perry’s ‘The Gospel Of Christmas’
In an exclusive conversation with ESSENCE, the film’s stars talk about sharing the screen with their musical heroes and the personal significance of the upcoming Netflix film.
Joe Buck to guest star on ‘Dancing with the Stars’
Disney knows no bounds when it comes to promoting the fact that ABC and ESPN are showing the Super Bowl this year. And that includes one of their longest-running entertainment franchises, Dancing with...
Mitoma Update: Brighton Confirmed Team News for Sunderland
Fabian Hürzeler navigates a persistent injury crisis as the Seagulls travel north, missing key stars like Kaoru Mitoma while facing a resilient, counter-attacking Sunderland side.
In brief: 'Stick' season 2 trailer and more
Bill Murray stars in the official trailer for A Course Called Ireland. The six-part documentary series premieres on Paramount+ on Oct. 25. The show follows Murray and his friends as they travel across the island to explore Northern Ireland and the Republic of Ireland's best fairways ...The Die Hard films are getting a brand-new home media release. All five of the movies will be released on physical media in 4K Ultra HD on Dec. 1. Bruce Willis stars as John McClane in all of the Die Hard films. The original movie finds the New York City policeman taking on terrorists after he flies to Los Angeles to be with his estranged wife and two children on Christmas ... TNCMS.AdManager.render({region: 'fixed-big-ad-top-asset', slot: 1, fold: "above"}); The trailer for Stick season 2 is here. Owen Wilson stars as the talented golfer who strives for second chance in the sophomore season. Peter Dager, Timothy Olyphant, Rhea Seehorn, Marc Maron, John Higgins and Billy Zane also make up the cast of the new season. The Apple TV series premieres its first two episodes on Nov. 4. A new episode drops weekly every Wednesday that follows until the season finale airs on Dec. 30 ...Copyright © 2026, ABC Audio. All rights reserved. Thank you for reading kmaland.comAt KMA, we attempt to be accurate in our reporting. If you see a typo or mistake in a story, please contact us by emailing kmaradio@kmaland.com.
What's Whatnot? Culver City startup sparks controversial spending spree and mints new stars
A California e-commerce platform is fueling the rise of live shopping in the United States, taking on giants such as TikTok and tackling concerns that the app is draining people's bank accounts.
South Korean sports stars gloated about missing military service. Now comes the backlash
The Korean public is losing sympathy with stars who avoid military service with 'easy' Asian Games wins
Daredevil Star Charlie Cox Confirms He's in an Unannounced Sega Game
Daredevil star Charlie Cox has confirmed that he is starring in another video game, this one for Sega.
‘Crazy Rich Asians’ returning for HBO sequel series with original stars
‘Crazy Rich Asians’ is finally back, with four of the original movie’s stars returning for a sequel series.
SpaceX calls for better coordination in orbit after near-misses with Starlink
These led to conjunctions of tens of meters to hundreds of meters. Way too close to comfort."
‘Daredevil: Born Again’ stars preview Defenders reunion with final season teaser
Marvel’s ‘Daredevil: Born Again’ stars staged a Defenders reunion at New York Comic Con to preview the final season of the superhero show.
Some Hollywood stars retreat from political debate
'The Big Money Show' panel discusses the growing trend of Hollywood A-listers, including Glen Powell and Dwayne 'The Rock' Johnson, choosing to stay out of political discourse to avoid dividing audiences.
Izzo, Fears and Carr to Represent Spartans at Media Day
Veteran coach Tom Izzo joins high-stakes stars Jeremy Fears Jr. and Coen Carr to address national expectations and the program's evolution ahead of a pivotal Big Ten campaign.
Thursday Morning Links
Morning, all! The Rangers are facing some pretty big questions this offseason, like what are they going to do with their aging, expensive superstars? Are the young guys going to take a step forward? What about the bullpen? And that’s about all I’m seeing this morning.
Stars of “Carrie”, “Primetime”, “Off Campus”, and more to be “Entertainment Weekly”’s Breaking Big honorees at 2026 SCAD Film Festival
EW partners with the Savannah College of Art and Design annually to celebrate the best in Hollywood.
Fidelis Care Earns 4 Stars in NCQA's Medicaid Health Plan Ratings 2026
/PRNewswire/ -- Fidelis Care, a statewide health plan with more than 2 million members in New York State and a Centene Corporation company, announced today its...
Trump, a Cowboy and a Science Guy: Who’s taking sides in Senate race
Ken Paxton and James Talarico are drawing support from politicians, sports stars, entertainers and some surprising crossovers.
Sporticast: Can the Premier League Thrive With Fewer Stars?
On the 593rd Sporticast episode, Lev Akabas, Justin Birnbaum and Jacob Feldman fill in for Scott and Eben to discuss a week’s worth of sports business news. Justin recently published Sportico‘s annual list of the world’s highest-paid soccer players, with Cristiano Ronaldo leading the way with roughly $300 million in earnings. Only one of the …
Hanoi native finds food science passion through UGA research
A UGA student is turning her love for family meals into a career developing products for major food brands.
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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