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BKL Nightly: Greg Connors on the Bills, Business and Life Behind the Curtain
Connors & Ferris co-founder Greg Connors joins Thad on BKL Nightly to talk Buffalo Bills football, from the team’s early-season start to the players making an impact. Connors also takes viewers behind the curtain of his longtime relationship with the Bills as a business partner and shares more about the career and community work that have shaped his life.
BKL Nightly: Greg Connors on the Bills, Business and Life Behind the Curtain
Connors & Ferris co-founder Greg Connors joins Thad on BKL Nightly to talk Buffalo Bills football, from the team’s early-season start to the players making an impact. Connors also takes viewers behind the curtain of his longtime relationship with the Bills as a business partner and shares more about the career and community work that have shaped his life.
How 'Murphy Brown' Turned an Unplanned Controversy Into a 44 Million-Viewer Business Lesson
A controversy with the former Vice President boosted the show into the stratosphere.
‘Thursday Night Football’ opener secures 18.6M for Lions-Bills
Opening night in the new Highmark Stadium set a new high mark for a Thursday Night Football opener on Prime. 18.60 million viewers tuned in for the Buffalo Bills’ win over the Detroit Lions that christened the new Highmark Stadium in Orchard Park, marking a five percent increase over last year’s TNF opener between the Washington…
Can 'A Different World' sequel change lives like the original series? Hillman is back in session
Netflix’s new “A Different World” sequel arrives with high expectations. The original series inspired many viewers in their college and career choices. Kadeem Hardison, who played Dwayne Wayne, still hears
Rating and TRP for Rohit Sharma's TV show: Family Full House with Rohit Sharma
Family Full House with Rohit Sharma rating: Check the latest IMDb score, TRP rating and official television viewership figure.
Sauce Gardner Injury Update Isn’t Best News For Colts
The Indianapolis Colts had already lost Alec Pierce to a heel injury on Sunday Night Football. They really didn’t need to see anyone else go down. That’s when Sauce Gardner got hurt, though — with the NBC broadcast quickly going to commercial as Mike Tirico informed viewers that Gardner had an injury. It quickly created […] The post Sauce Gardner Injury Update Isn’t Best News For Colts appeared first on HEAVY.
1983 TV Movie Drew Over 100 Million Viewers, More Than Most Super Bowls
Decades later, this TV movie is still the most-watched TV movie in history.
1983 TV Movie Drew Over 100 Million Viewers, More Than Most Super Bowls
Decades later, this TV movie is still the most-watched TV movie in history.
How much does playoff viewership increase from round to round?
When the Seattle Mariners and Toronto Blue Jays faced off in the Wild Card Series in 2022, just 1.76 million people tuned in. Yet, three years later, when the same two teams met in the American League Championship Series, Game 1 featured an audience of 5.19 million people. You can see this in all major…
AMD's first 192GB laptop reaches reviewers with Ryzen AI Max+ PRO 495
HP's new ZBook Ultra G3a combines Ryzen AI Max+ PRO 495 with 192GB of unified memory. Earlier 192GB laptops we found were based on Intel platforms.
Where is 'The Traitors: New Blood' filmed? Inside the historic castle with secrets of its own.
The reality show's Scottish home is real — but what viewers see on TV is only part of the picture.
Can researchers trust that AI models won’t leak their ideas?
Research funders are asking how they can stop confidential scientific ideas in grant proposals from leaking out through large language models (LLMs), for example if reviewers use AI to help them judge applications. Last week, a row erupted in mathematics after OpenAI announced it had solved a notoriously difficult problem, only for another mathematician to demand answers over whether the company had used ideas he had fed into its models. The spat, and the broader issue of idea leakage through AI models, was discussed by funders at an R&D policy conference held in Paris on September 14. At worst, it threatens to undermine the correct attribution of breakthroughs, one of the foundations of modern science. The mathematics dispute around OpenAI is “certainly something we're looking at” Jason Gallo, head of the newly established Office of Metascience at the US National Science Foundation (NSF), told the Blue Sky Forum, hosted by the Organisation for Economic Co-operation and Development. The controversy started on September 8, when OpenAI announced it had cracked a mathematical problem that had gone unsolved for 90 years. Using a swarm of AI agents, millions of dollars’ worth of computing power and a new internal model, the company said it had finally proved that a long-used formula for modelling fluid dynamics breaks down under certain conditions. However, Tristan Buckmaster, a New York University mathematician who had been independently working with collaborators on the same problem using OpenAI’s Codex tool, hit back with a statement questioning whether the company had snooped on his Codex sessions to gain an advantage. OpenAI has always denied it looked up the “specific user data” of Buckmaster and colleagues. However, the company initially admitted that “while unlikely, we cannot rule out that de-identified data derived from their usage of our products helped improve our models,” although its proofs “differ significantly” from Buckmaster’s. The firm later said that, following an investigation, it concluded that Buckmaster’s Codex prompts “could not have influenced the [OpenAI] system in any way, including through training.”Funder concernYet OpenAI’s initial admission that its model might have ingested Buckmaster’s ideas, then spat them out to its own mathematicians, has scientistsworriedthat their work could leak out if shared with AI. Some AI tools give users an opt-out option to stop their sessions from training the model. If such guarantees can be trusted, this gives scientists some confidence they can use an LLM to develop an idea without the risk of it leaking out.But there’s a bigger potential vulnerability. To win money to investigate ideas, scientists have to share them with funding bodies. These grant proposals are normally kept strictly confidential, to prevent other scientists from scooping them, or to protect commercially valuable intellectual property. To preserve this confidentiality, when the NSF uses AI models, “we have to be sure that it's not making server calls out to an external party, leaking that data,” said Gallo to delegates in Paris. Leaks through reviewersHowever, funders normally use external academic reviewers to assess proposals. And there are growing worries that these reviewers are feeding grant ideas into AI models to help them make a judgement. Research funders have noticed that peer review reports and funding recommendations have “suddenly become much longer, more detailed and complex,” said Diogo Machado, head of the data science unit at Technopolis, a science and technology-focused consultancy. “The sense is that reviewers are increasingly using generative AI in their review work, even where guidelines sometimes forbid it,” he told Science|Business. “This is very difficult for funders to control or prove.” Happening at scaleThis sharing of confidential proposals with AI models is “happening at scale already,” said James Wilson, executive director of the Research on Research Institute, based at University College London, during the debate in Paris. In response, Gallo said the NSF had “strict guidance” around the uploading of proposals to AI models. But he added the NSF was mulling new types of assessment to make sure applicants were truly the originators of their ideas, such as following a short-form proposal with an oral presentation, which would allow the foundation to “really interrogate the investigator on their intellectual contribution.” Related articlesHow can Europe cope with a flood of AI-assisted research grant proposals?The risks and benefits of AI in screening research grant proposals Viewpoint: AI could make scientific overload worse“For us as funders, a lot of the ways to ensure that the application remains the applicant's own intellectual contribution, those ways are quite regressive,” Peter Clifford, head of strategy at Research Ireland, told delegates. “They're maybe ten or 15 or 20 years old, and they don't scale particularly well.” Disputes over the origin of ideas are as old as modern science. Isaac Newton and Gottfried Wilhelm Leibniz spent more than a decade arguing over who invented calculus, for example. And long before LLMs emerged, academics would agonise over how much of their early work to reveal at conferences, in case their colleagues scooped them, Jack Leahy, a senior metascience advisor to the UK government, told delegates. But AI was “accelerating” the “problems of the system,” he said.
Emmy Awards score 6.7 million viewers, down 10% from last year
After two straight years of increases, the telecast of the 78th Emmy Awards on Sunday slid 10% to 6.7 million viewers on NBC, according to Nielsen data. The ceremony at
The Emmys Lost 15 Million Viewers. It’s a Warning for Every Successful Business
The Emmy Awards used to be one of television's biggest events. The broadcast's fall is a lesson for ever entrepreneur.
Fans loved Jason Kelce’s look. One detail changed the conversation.
Jason Kelce’s ESPN debut during Monday Night Football sparked debate among NFL fans after viewers noticed one detail about his outfit.
Ohio State-Texas sets Week 2 ratings record with 14 million viewers, but down from last year
Week 2 of the 2026 college football season featured two high-profile SEC-Big Ten matchups, with Ohio State-Texas setting records for ESPN. On Saturday, Texas’s improbable comeback win over Ohio State averaged 14.0 million viewers on ABC, peaking at 16.4 million, according to ESPN PR. That is the most-watched regular-season college football game on ESPN networks…
Emmy Awards ratings down nearly 10% from last year
Ratings for the Emmy Awards have dropped nearly 10% from last year. About 6.7 million viewers tuned in to watch the 78th primetime Emmy Awards on NBC. That's according to
Emmy Awards ratings down nearly 10% from last year
Ratings for the Emmy Awards have dropped nearly 10% from last year. About 6.7 million viewers tuned in to watch the 78th primetime Emmy Awards on NBC. That's according to
Networks Get Mixed Results With Week 1 NFL Viewership
CBS sees some viewership attrition, while NBC rebounded on Sunday night.
An overhauled ‘60 Minutes’ sheds viewers in season premiere
Paramount’s overhaul of “60 Minutes,” and all the outrage that followed, did not spur many new viewers to check out the season premiere.
Ratings for the Sunday premiere of '60 Minutes' see steep drop from last year's opener
Despite a major promotional push, the program's 7.9 million viewers was well below last season's average.
'60 Minutes' ratings tanked in first season debut under Bari Weiss
"60 Minutes" suffered a major viewership decline in its season debut following updates from lead producer Nick Bilton and top editor Bari Weiss.
Emmy-winning ‘The Pitt’ hits close to home for San Diego healthcare workers
Healthcare workers say the medical drama gives viewers a true glimpse inside the ER.
NFL Wednesday night season opener was major viewership bust
The NFL's season-opening kickoff saw a notable dip in viewership after the league moved the annual event to Wednesday night. While 25.1 million viewers still represents a massive audience, the decline raises questions about streaming, scheduling and potential football fatigue.
Will Netflix’s Latest Horror Film Save Its Summer? And Introducing a New Data Source...
(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.) All month, I’ve been polling you, my readers, on how we think the summer’s biggest blockbusters will do when they eventually land on streaming, and I wanted to share the results. First up, how readers think The Odyssey will perform when it comes to Peacock... People are pretty bullish that The Odyssey will smash it for Peacock. I don’t know that it will have as much rewatchability as Wicked did for kids, but we’ll see. It is now Universal’s highest-grossing film of all time. One note: almost half of Christopher Nolan’s films weren’t available for streaming the week The Odyssey came to theaters, including some of his biggest films like Inception, Dunkirk, Tenet, Oppenheimer and Insomnia. If you did want to watch the others, Prime Video had Memento and The Dark Knight trilogy, HBO Max only had The Dark Knight trilogy (even though Warner Bros. produced most of Nolan’s films), Hulu had The Prestige and Interstellar, and Paramount+ had Interstellar. So you needed at least two streaming subscriptions to catch the rest. Warner Bros. whiffed right here. I know they have long term licensing deals, but they should have tried to get as many Nolan films on HBO Max for launch as possible. Here are the results for Spider-Man: Brand New Day: The audience is a bit more mixed on this one, with everyone agreeing Spider-Man will swing to a big opening, but not necessarily elite or best all time. On to this week’s issue. Netflix continues searching for a hit straight-to-streaming summer film and Lioness and Ted Lasso allow me to look at the difference between a “hit” and a ‘hit for them”. All that, plus new YA/teen melodramas on Prime Video and Netflix, the House of the Dragon finale, USA Network claims a big opening, more big NFL ratings, all the flops, bombs and misses, and a whole lot more. But we start with a fun new data announcement. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of August 3rd to August 9th, 2026. You can find a link to my terminology here.) Subscribe A New Data Source: Reelgood’s Data on Content Libraries Here’s a fun new treat for you. Reelgood—an online service and app that lets users track where shows or films are streaming—is providing data every month for the Streaming Ratings Report on the size of each streamer’s catalogue, along with the new shows and films for each streamer. Yay! Previously, I had pulled “new shows on streamers premiering on the first of the month”: While I liked that data cut, it was a big wonky since it didn’t show all of the new shows or movies that came to a streamer each month. Instead, I would have preferred something like this from Reelgood’s annual report: And now we have it! I’m going to feature Reelgood’s data monthly, showing both total catalogue size and new shows and films appearing on the charts. That’s going to make these two cool new charts. First, here’s the size of various streamers’ film catalogues… (By the way, Reelgood offered to make the charts for me, but I like doing that task by hand to understand the data better.) They also provided data back to last year. Here’s the number of films timeline: And here are the new films on each streamer for the month prior to Aug: As I get used to this data, I plan to keep tinkering with how I display it, but I’m excited to feature it monthly. Today, I’m sharing the film charts; next issue, I’m going to feature TV shows by streamer. Now, in full disclosure, Reelgood is a sponsor of this little-newsletter-that-could. But in my constant quest to figure out what streamer various shows and films are on, I was already a Reelgood user before this sponsorship. I go to their website all the time, and their data is very accurate on where shows are (or have been). Plus, I’ve been sharing their weekly top ten lists for years now, pre-sponsorship. For me, this is a great win-win, since I get to amplify a service I love, and I get a cool new data source to play with. Now, normally folks don’t usually mention their sponsors directly, but as I wrote before, as I start featuring ads in my newsletter, I plan to be extremely open about who is sponsoring my writing so you can trust what I write. Television - Two Big Returning Shows Look Set to Take Over The Charts One key question when it comes to judging streaming shows is whether a show is a “hit” or a “hit for them”. To be clear, the former means a show that’s one of the top shows on streaming, no questions asked. The latter means a show is one of the biggest, for a given streamer. That distinction makes a big difference! It’s really good to be one of the biggest shows on a streamer; it’s much better to be the biggest on streaming, despite the size of a streamer. Because, as we’ve seen now, nearly every streamer—while lacking the number of subscribers or usage of Netflix—can make hit TV shows: Paramount released Landman, whose first and second seasons were among the top two TV shows the year they came out. HBO Max’s The Pitt’s second season is the biggest show of the year so far. Love Island USA was the top show in 2025 for Peacock. And, crucially for today’s discussion: Wayyyyyyyyyyyyyyyyyyyyyyyyyy back in 2023, Ted Lasso was actually the top streaming show of the year according to Nielsen! So even Apple TV (formerly +) can make hit shows. It just doesn’t make them that often. And looking at the Nielsen charts this week, we have two prime candidates for this discussion: That’s right: Ted Lasso returned to Apple TV for its fourth season. Did it return in all its expected glory? Sure, though right now it’s still just a “hit for Apple TV”, but we’ll see how long it lasts on the charts. Its ten episodes are coming out weekly. (Smart choice, Apple!) Ted Lasso started out strong, actually making the Nielsen charts the week before new episodes dropped, which is a rare feat. (Shows like Stranger Things or Bridgerton have pulled that off. That’s terrific company to join!) On Nielsen, it opened to 14.4 million hours in its first week, and 16.6 million the week of 10-Aug. Here’s how that compares to previous seasons: Apple put out that this is their biggest TV launch through two days ever, and looking at the chart and Apple TV’s viewership history, I’d believe it. Here’s Apple’s top shows for season two and beyond: Other data tells a (mostly) similar story. Ted Lasso made Samba TV and it has elite IMDb scores, an insane 8.7 on 465K reviews. The only outlier is Luminate, where the latest season only had 7.4 million hours, and no other seasons made the top ten. As you’ll see below, that’s well below some other solid, but not spectacular shows like Sterling Point, Ride or Die or Furious. I’d be surprised if Ted Lasso isn’t bigger than those other shows, but it’s fine for different data sources to occasionally disagree. And while it’s sucky to bring this up, given that Warner Bros. produced this show, I do wonder how the streaming wars may have been different if Ted Lasso landed on HBO Max initially instead of Apple. I don’t think one show can make or break a streamer, but given HBO’s brand, it could have helped bring people to that streamer much earlier in its lifespan. (Though yeah, I don’t love calling out executives for passing on hit shows, since that’s just the nature of the job. Even the absolute best execs will pass on lots of successful shows. The key is not greenlighting the under-performers/misses.) The other show I’m thinking about in the “hit or hit for them” category is Lioness from Paramount+. Like Ted Lasso, its first season missed the charts, but it’s grown its audience since then. Here’s how season three opened: 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 Lioness did on streaming... Two new melodramas for Netflix and Prime Video... Whether Netflix’s latest horror film saved its summer... Hulu’s Furious and Prime Video’s Ride or Die continuing their strong runs... The latest high profile showrunner to flop on streaming... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. Next week, we’ve got a double issue—since the week of 17-Aug had very few notable new shows or films—so I’ll look at HBO’s Lanterns, Prime Video’s Reacher, Netflix’s Tires, Outer Banks (which posted up huge numbers four years ago), an Aussie romance, and another baseball event (that didn’t resonate). And a bunch of movies like the latest dramedy from an Adam Sandler daughter, Don’t Say Good Luck, Camp Rock 3 on Disney Channel and Disney+, Michael on Starz, and more. Later this month, we’ve got a ton of shows and films to analyze! Movies will be the big story, featuring a box office bomb (Supergirl on HBO Max) and an “underperformer” (The Mandalorian and Grogu on Disney+) contending with a bunch of star-studded straight-to-streaming films like Netflix’s The Whisper Man (Adam Scott, Michelle Monaghan and De Niro!), Mayday on Apple TV+ (Ryan Reynolds and Kenneth Branagh!), The Runner (Gal Gadot) and The Last Sunrise (Eva Longoria and Maia Reficco) on Prime Video. Plus, a ton of TV shows have sophomore seasons coming out. Will The Gentleman put up big numbers on Netflix or suffer from a sophomore slump? Leanne and Beauty in Black on Netflix seem small, but they both might be bigger than you think. Hulu has a bunch of shows: a new season of The Secret Lives of Mormon Wives (the first after all the controversy last year) and the second season of Chad Powers (from Peyton Manning’s production company and starring Glen Powell). This one flopped last year; can it score a touchdown this year? Same goes for FX’s Adults, which I didn’t track last year; will it hit this year? Peacock’s The Office spinoff, The Paper and Apple TV’s Dark Matter also return for second seasons. And Netflix has more Untold specials featuring Vince Young, Raygun (that horrible breakdancer) and Mr. T. Long term, Paramount+ is rebooting yet another franchise, Clueless, and I’m somewhat bullish on this new show. The talent attached (Alicia Silverstone) and creative Josh Schwartz and Stephanie Savage (of The O.C. and Gossip Girl) also feel solid...if they make it funny like the original.
NFL Kickoff posts worst viewership since 2022
The NFL’s 2026 Wednesday opener ended up being a bit of a disappointment, both in terms of quality of play and viewership. Wednesday’s New England Patriots-Seattle Seahawks opener averaged 25.1 million viewers on NBC and Peacock. That is the worst audience for an opener since 2022 and down 12% from the Dallas Cowboys-Philadelphia Eagles game…
In Gen Z Romance Shows Like Crew Girl, Sports Are the New Sex
A new generation of hit romance shows set among sweaty athletes suggests that for younger viewers, getting physical is no longer just about sex
TiVo launches Agent TiVo for AI entertainment discovery
Viewers could spend less time searching and more time watching as TiVo adds conversational AI search across fragmented TV and streaming catalogues.
The Craft of Peer Review
Peer Review Week provides an opportunity to recognize the volunteer reviewers whose time and expertise are essential to the scientific publishing process. To mark the occasion, AMS asked recipients of…
The ‘Off Campus’ fandom is under fire for invasive shipping. This behavior isn’t new.
Some viewers are treating the show’s fictional romance like reality — fueling feud rumors and dragging the cast’s real-life partners into the drama.
TiVo Bows AI-Powered 'Agent TiVo' Entertainment Guide
TiVo Platform Technologies has launched “Agent TiVo,” a new conversational AI-powered entertainment software designed to transform how operators and entertainment platforms help consumers discover and engage with content across television and streaming environments. The platform, unveiled at IBC 2026 in Holland, lets viewers interact naturally by voice or text, helping them find content in the … Continue reading "TiVo Bows AI-Powered ‘Agent TiVo’ Entertainment Guide"
Amazon makes it easier to buy what you see on Prime Video
Amazon is expanding shopping integrations across Prime Video, letting viewers discover products tied to thousands of shows, movies, and live sports through X-Ray, its shopping app, and a new Lens-powered “Shop the Scene” feature.
How the WNBA became a political prop in the culture wars
Despite record viewership and attendance, and amazing talent across the league, the WNBA has been caught up in the national conversation about the culture wars. Sportswriter Sabreena Merchant says, “everything in the WNBA seems to take on a political lens far beyond what is actually happening on the court.” Merchant spoke with Fresh Air guest interviewer Sam Fragoso (host of Talk Easy) about the expansion of the WNBA, the race and gender politics consuming the narrative, and the departure of commissioner Cathy Engelbert. Merchant writes for The Athletic, from the New York Times.Also, film critic Justin Chang reviews Practical Magic 2. Subscribe to our free weekly newsletter Follow us on Instagram Subscribe to our YouTube channel Check out the Fresh Air Archives
What to watch: College football Week 2 viewer's guide
No. 1 Ohio State visits No. 4 Texas after beating the Longhorns in 2025.
Johnsonville Votes For Sausage Over Political Ads - Midland
Johnsonville has jumped back into electoral politics, this time asking people to vote for something sensible: affordable protein for dinner. The humorous campaign targets viewer fatigue, as record spending on political ads threatens to drain the fun out of every last game, sitcom and streaming pleasure. This time, the company is throwing its hat in the ring for Dinner 2026. Backed by research it conducted with Harris Polls, Johnsonville has learned Americans are already overwhelmed by both politics and meal planning. Sausage is running the dinner race on a core promise to simplify dinner decisions, the company says.
What are you going to watch tonight, football or politics?
The NFL's first game of the season and the Republican Party's first-ever midterm convention vie for viewership.
Prediction: Netflix's Advertising Business Passes $6 Billion in 2027
Netflix collects about a dollar a month in ad revenue per viewer. Is that low enough to power another doubling?
‘Last Seen’ review: Apple TV mystery thriller gets lost down under
For a show that began as potentially darkly poetic or challenging, "Last Seen" (which premieres Wednesday on Apple TV) plays it far too safe, writes our reviewer.
The 98 Biggest TV Show Flops, Bombs and Misses in the First Half of 2026
(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.) In July, I updated my look at how the “streaming bubble” popped since 2023, showing the decline in streaming TV shows over time. But after compiling and analyzing and writing about over one hundred TV show flops in the first half of 2026—I counted 99 “nominees” and there are even more honorable mentions—I couldn’t have told you that the number of shows is going down. When it comes to scripted, English-language TV shows, it feels like we have as many bombs as ever. I don’t keep a specific count, but some streamers probably had as many flops as they’ve ever had.1 That’s right, it’s time for part two of my analysis of the biggest flops, bombs and misses on streaming in the first half of 2026. Two weeks ago, I took a look at films. Today, TV shows. If you want to read the full methodology for how I assemble this list, you can find it at the bottom of this article. In short, this list is… ...scripted and unscripted TV shows,...from the nine major streamers,...in the US (using US-only ratings),...excluding true crime, kids and foreign-language shows,...that got no/poor ratings,...from Jan-2026 to the end of June-2026. Reminder: this article does not represent my personal opinion—many of these shows are great!—but I follow the data, and a miss is a miss and a bomb is a bomb. Also, price matters. If a TV show costs north of $100 million, it needs to get lots and lots of streaming viewership to justify that budget. As with past editions, I ordered this list by streamer, going from best (fewest flops) to worst (the most misses)—taking the size of the flops into consideration—and like the last edition, three or four streamers vied to take the win/loss of having the most flops. (But the actual winner is no surprise.) I try to avoid tooting my own horn too much, but seriously, in just under 5,000 words (including the methodology section) I provide a mostly comprehensive overview of the eight major streamers (Netflix, Disney+, Prime Video, Hulu, HBO Max, Peacock, Paramount+, and Apple TV) for the first half of the year, mentioning most of their hits and all their misses. It summarizes the entire first half of 2026! If you want to support this work, please subscribe. Subscribe Tubi Big Mood Boarders The Freak Brothers Twenty Twenty Six Honorable Mentions: Busted on Bodycam, Deestroying the Pitch, Destination World Cup 2026 I don’t think that Tubi spends all that much making or (mostly) licensing these original TV shows—Big Mood, Boarders and Twenty Twenty Six all come from the UK—but they’re not free and they didn’t chart anywhere. Winner: The Freak Brothers Have you even heard of this show? It’s an animated comedy...that’s on its third season! And Pete Davidson, Woody Harrelson, John Goodman and Tiffany Haddish all provide voice talent for it. Yes, animated shows don’t cost as much as live action shows, but cheap isn’t free! So a show with this level of talent needs to perform better. Disney+ Daredevil: Born Again Star Wars: Maul – Shadow Lord Honorable Mentions: Behind the Attraction, Donna Hay Coastal Celebrations, We Call It Imagineering Disney+ doesn’t make all that many original shows anymore. They had two flops, and one was animated. Their one not-a-miss show, Wonder Man, got just good enough viewership to not be considered a “miss”...but it’s since been cancelled. At this point, Disney has pivoted entirely away from making big budget TV shows for Disney+ to making...almost nothing for Disney+? Sure, Disney’s spending circa 2019-2022 was unsustainable, but now they’re pivoting too far in the other direction. At some point, Disney needs to stop shifting strategies so wildly. Really, Disney should have made fewer shows for Disney+ at launch and the shows they did make at that time needed to be made at more reasonable budgets. And they should adopt that strategy now. Winner: Daredevil: Born Again Daredevil, the Marvel Comics character, is on my personal Mount Rushmore of favorite superheroes, so it pains me to give him the win/loss today, but this show deserves it. I’ll repeat my hot take from last spring: “Based on his popularity, Daredevil should be in movies, and probably ones that cost a lot less than the MCU’s usual price tag. Disney/Bob Iger/Ike Perlmutter (who, based on reporting, made the decision) made a huge mistake selling TV shows to Netflix in the 2010s, thus limiting this character to the small screen. Daredevil could have anchored Marvel’s post-Infinity War plans, and if he did, the MCU would probably be in a better place than it is now.” HBO Max 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… What four streamers had the most misses... HBO’s strong start to 2026… The caveat to Peacock’s turnaround this year... Paramount+’s key man problem… What country isn’t delivering hits for Netflix or Hulu... The cavalcade of stars on a streamer where no one is watching their shows... Across nearly 5,000 words of analysis… And a lot more... ...please subscribe! We can only keep doing this great work with your support. If you’d like to read more about why you should subscribe, please read this article about the Streaming Ratings Report, why it matters, why you need it, and why we cover streaming ratings best.
Is the news stressing you out? MS NOW partners with Calm
MS NOW wants to offer news viewers a break when they feel overwhelmed. The Versant-owned progressive-leaning news outlet announced Tuesday that it has entered a partnership with Calm, the San
Six decades of politics (but little government)
The first aired episode of “Star Trek,” entitled “The Man Trap,” premiered on September 8, 1966 — 60 years ago today. I’m actually editing a political science fiction issue of The Forum right now, and it’s prompted to me think a lot about the ways that Trek deals with politics and government and what it’s offered us as commentary. The @smotus report is a reader-supported publication. To support this work, please become a paid subscriber. Subscribe The original TV series ran from 1966 to 1969. It had a loyal but modest following, but the audience grew substantially with the series in syndication for years after that. The franchise developed its first motion picture in 1979, followed by five sequels, and then a whole other series of films built around the “Next Generation” series that first aired in 1987. In recent decades, several more TV series have built up around it, including the current “Strange New Worlds,” now in its fourth season. Throughout the past six decades, the franchise has offered us a good many insights into US politics and international relations, although often disguised as science fiction yarns. The original series was largely a Cold War fable, with the United Federation of Planets (a stand-in for the US) perpetually at odds with the Klingon Empire (a stand-in for the USSR). The “Let That Be Your Last Battlefield” episode (1969) posited a planet divided into two races, largely indistinguishable to outsiders, but nonetheless constituting a brutal racial hierarchy. “Patterns of Force” (1968) showed a struggling planet where the leader had attempted to construct a benevolent dictatorship — literally Nazism without bigotry — and found that authoritarianism could not exist apart from hierarchy and oppression. (Relatedly, I’d put “Star Trek VI: The Undiscovered Country,” high on a list of dad films about the end of the Cold War, near “The Hunt for Red October.”) Get 20% off for 1 year Indeed, the original series itself was something of a political statement, with a multi-racial crew running the Enterprise, a diverse and largely peaceful Federation mostly free from want and oppression, and protected by Starfleet, an armed force whose scientific mission was at least as important as its military one. Famously, when Nichelle Nichols wanted to walk away from the role of Uhura on the original series, none other than Martin Luther King, Jr. met with her and urged her to remain on the show, discussing the importance of viewers seeing an intelligent Black woman as part of the command team three centuries hence. Later series in the Trek franchise offered a good deal of political commentary on their own, but probably none as explicitly and incisively as “Deep Space Nine,” which ran from 1993 to 1999. The episodes surrounding the Dominion War, especially the “In The Pale Moonlight” (1998), showed the compromises, sacrifices, and moral rot associated with winning even a just war — probably better than any series would until “Andor” (2022-25). In “Far Beyond The Stars” (1998), Captain Benjamin Sisko is somehow transplanted to the role of a science fiction writer in 1950s New York. The writer is frequently sidelined and his ideas stolen because publishers don’t want to credit a Black writer. Several series have depicted the secretive Section 31 — an unacknowledged black ops security force operating within Starfleet. These episodes often end up using Section 31 as a foil to show the dangers of a lawless group within a lawful society, even (especially) when that group posits itself as essential for everyone else’s freedom to continue. The current “Strange New Worlds” has played with a few political themes. I found the first two seasons of this show among the best that the Trek franchise has produced in decades, but this season and the last have really been struggling for ideas. Yet one interesting thread is the idea that the diplomatic and enlightened leadership style of Captain Christopher Pike will not work in all situations. “A Quality of Mercy” (2022), which I wrote about here, puts Pike in the middle of a battle with a Romulan vessel in an alternate timeline, and finds that Pike’s conciliatory style would actually make a lengthy and deadly war more likely, while a quick and more violent approach might have prevented the war. This season’s opener, “Valles Marineris,” shows a pre-lightspeed civilization locked in a war to the death with a neighboring planet. The idea of an alliance or a federation hasn’t even occurred to them — their ship’s commander is curious but doesn’t see it as an option. For a franchise as political as “Star Trek,” one thing we almost never see is the government. We get occasional glimpses of Starfleet’s council — mostly uniformed people at a rectangular table — but almost no sense of how the Federation is governed. Are there elections? Who is in the legislature? How much power does the president have? What kind of factional divisions do they wrestle with and how? The shows and films are pretty silent on this. We’ve seen a few military tribunals within Starfleet, but little about how civilians deal with crime and injustice. With recent years seeing some of the franchise’s more interesting plot lines and casts, it seems clear that Star Trek is still full of energy and ideas. Given the erosion of American democracy and the reshuffling of the international order, there’s no shortage of material for future shows to comment on. I’m not sure we should toast to 60 more years, but cheers to a show that continues to teach us about ourselves. Share
From Academia to Industry: Hongbian Li on Wearable Electronics, AI, and the Changing Landscape of Materials Science
Hongbian Li shares her experience as a reviewer, shifting to industry, and on translating materials research into real-world applications.
15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.
The Fierce Battle For Kids’ Eyeballs...Plus Two “Devils” Face Off
(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.) During the week of this report, Spider-Man: Brand New Day hit theaters and went on to become one of the biggest films of all time. So, you know what that means! It’s time for a poll! Recently, Project Hail Mary came to Prime Video and became a top five film for them, but didn’t smash streaming records, a feat I cautiously thought it could accomplish. Can Spider-Man 4 do better? To set the stakes, some of the biggest films of all time do just okay on streaming. Wicked, Top Gun: Maverick, and Barbie come to mind... But unlike those films, Spider-Man: Brand New Day is a Sony film which means it’s headed to Netflix, the world’s largest streamer. Now, per friend of the newsletter and my go-to Netflix expert, Kasey Moore of What’s on Netflix, Sony films usually appear on Netflix 120 days after they premiere, which means Spidey 4 would land on Netflix on, checks notes, 28-November, one of the two biggest streaming weekends of the year! But Sony occasionally delays its biggest hits for a bit longer, to give them more time to make money on PVOD, so Spider-Man: Brand New Day might not swing onto Netflix until late December or even February 2027. Loading... Okay, on to this week’s issue. Since The Super Mario Galaxy Movie made its way to Peacock, I’m looking at the true workhorse of streaming viewership: kids films. And the surprising film that bested most Netflix animated movies. All that, plus Hulu has a new show that might be a hit (for them…?), two “Devils” square off on streaming, Zendaya tries to find some streaming magic, Netflix’s I Will Find You continues to do well, House of the Dragon tries to break into the season three top ten, some big NBC sports and summer programs, what friendly neighborhood Spider-Man character actually generates the most viewership on streaming, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 27th to August 2nd, 2026. You can find a link to my terminology here.) Subscribe Film - As The Super Mario Galaxy Movie Hits Peacock, How Have Kids Films Fared in 2026? Like Mario hopping on a Koopa, The Super Mario Galaxy Movie landed on Peacock on 30-July. (Yeah, I kinda forced that Mario reference.) How did it do? Great, just like the first film. It got 13.0 million hours on its opening, and that’s good enough to take second place among Peacock films on the Nielsen charts all time: As I mention all the time, Peacock just isn’t the world’s biggest streamer—in fact, nowhere close—so its films struggle to put up numbers like Netflix (or even Prime Video and Disney+). So this is a solid debut for that streamer. And as we saw last time, The Super Mario Bros. Movie had a HUGE second life on Netflix when it moved streamers. This chart doesn’t even show how long the first Mario lasted on Netflix: a whopping, KPop-esque 31 weeks. For NBCUniversal, though, the big win was the second Mario movie grossing $429 million in America and over $1 billion globally. But yeah, to add a very strong streaming performance only makes its success even greater. Illumination pretty clearly has another hit franchise on their hands. This is a good time, though, to check in on kids films so far in 2026. We’ve had a few big, big titles, a rare Netflix success, and some disappointments. Let’s start with the top animated films since November of 2025, over their first four weeks on the charts, along with a few of the “best all time” animated films: (As a reminder, if a film doesn’t make the Nielsen top ten lists, I don’t have data for it, so it gets a “zero” in terms of viewership. Now, it had some viewership, but I don’t know what it is, so it gets a zero.) I added a few titles to get an idea of what the best of the best looks like in terms of animation. And you can see, through four weeks, Zootopia 2 can now claim “one of the biggest streaming films of all time” titles. GOAT too did surprisingly well, besting Netflix’s biggest films (Swapped and In Your Dreams) through four weeks. When I’ve talked about how films can have varying performances on streaming compared to their box office, this is what I mean. Goat just managed to gross even $103 million at the box office—so it’s popular, but just barely—but did very well on streaming. Of course, what set Encanto and KPop Demon Hunters apart from the rest was their absolutely insane longevity. Here are the kids film charts through eight weeks to show that: And really KPop Demon Hunters just kept going, and no 2025 or 2026 kids films have had that sort of longevity. I can’t wait to see the sequel in theaters. Film - Two Devils and a Drama As I wrote last week, in the past, theatrical-first film flops weren’t eligible for “Miss of the Week” or “Miss of the Year” honors/dishonors, but since so many more films go to theaters first these days, I’ve made them eligible now! But it’s complicated. You see, this is a Streaming Ratings Report, emphasis on streaming, which makes analyzing this week’s two biggest streaming misses—The Drama on HBO Max (A24’s dramedy starring Zendaya and Robert Pattinson) and Prime Video’s The Devil Mouth (a killer shark movie starring young attractive people)—somewhat tricky. The Drama isn’t eligible for Luminate, but The Devil’s Mouth only had 1.5 million hours in its first week: The Devil’s Mouth notched 5.2 million hours according to Nielsen. Meanwhile, The Drama missed the charts entirely. Not great! But Prime Video is a much bigger streamer than HBO Max. That said, HBO Max titles are on Prime Video, but I think Prime Video prioritizes their original/exclusive titles, which helps boost their viewership. Complicating this further, The Drama made $48 million in the US—while A24 sells foreign distribution; the $57 million of overseas grosses helps A24 sell overseas rights for money in the future—off of a $28 million budget (which seems low for Zendaya and Pattinson, so they might have backend). The Devil’s Mouth, though, had zero dollars at the box office. The other stats for The Devil’s Mouth are bleak, and by “bleak”, I mean horrendous: a 4.7 on 15K reviews on IMDb (yikes) and a 46 on Metacritic (double yikes). The Drama, though buzzy online, only has a solid (but far from elite) 7.1 IMDb score on 121K reviews and a 59 on Metacritic (which is far, far lower than I’d have guessed). So which film is the “Miss of the Week”? I’m giving it to The Devil’s Mouth for one simple reason: it’s a horror film. And almost all horror films, even poorly reviewed horror films, should get a shot in theaters to at least try to recoup some of their budgets. The Drama made money at the box office and The Devil’s Mouth didn’t. It’s just like the situation last issue with Obsession and Masters of the Universe. Sure, Obsession didn’t pop on the streaming charts, but at least it already made it money at the box office. And as we’ve been seeing for years now and we’ll see all fall, theatrical films just do better on streaming. After all, the big “devil” winner this week was actually The Devil Wears Prada 2 with 14.8 million hours according to Nielsen. That’s right, The Devil Wears Prada 2—one of the box office success stories of May—came to streaming and parlayed its $220 million box office into 14.8 million Nielsen hours. Disney also put out a datecdote that it had 15.2 million “views” globally in five days, but again we don’t have a lot of great context for what that means. Here’s how it stacks up to other Hulu films, since I’m categorizing this mainly as a Hulu title (though it was also on Disney+): Share Quick Notes on Film 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… Whether Hulu has a new hit show on its hands... The top first and third seasons of all time and which shows are climbing those charts… What version of Spidey is the most popular... What sport and TV show are performing better on NBC than the NBA... All the flops, bombs and misses... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, wow, things stay so busy. One of streaming’s biggest shows of all time, Ted Lasso, returns along with new YA-ish shows from Hulu (The Shards, from Ryan Murphy) and Prime Video (Sterling Point). The Challenge moves to Paramount+, plus My Life with the Walter Boys returns to Netflix and Futurama returns to Hulu. And Netflix has a new horror film, The Last House. Lots to talk about! All month, things stay busy. We’re talking Reacher on Prime Video! Outer Banks and Tires on Netflix! Lanterns on HBO Max! UFC 330 on Paramount+ and the MLB Field of Dreams game on Netflix. And a ton of smaller films come to streaming. Long term, the VMAs are back on 27-Sep! I feel like I haven’t heard much about this show in past years, but I’m seeing more news coverage and buzz for this show than in past years. I’m curious to see how it does.
MLB thrilled with NBC’s first season of ‘Sunday Night Baseball’
NBC closed out its first season of Sunday Night Baseball on Sunday with Reds-Cubs, which drew 2.8 million viewers across NBC and Peacock. Across the full season, NBC and Peacock averaged 2.7 million viewers over 14 primetime broadcasts, the most-watched Sunday Night Baseball season since 2007, and that average holds even when factoring in NBC’s…
Entertainment platform aTwist launches with microseries as Hollywood chases mobile viewers
Sept 3 (Reuters) - Microseries platform and studio aTwist launched on Thursday with 10 original series and curated library content, as shifting entertainment preferences drive a wave of demand for mobile-first short-form storytelling. Microdramas are...
Entertainment platform aTwist launches with microseries as Hollywood chases mobile viewers
Microseries platform and studio aTwist launched on Thursday with 10 original series and curated library content, as shifting entertainment preferences drive a wave of demand for mobile-first short-form storytelling.
Entertainment platform aTwist launches with microseries as Hollywood chases mobile viewers
Microseries platform and studio aTwist launched on Thursday with 10 original series and curated library content, as shifting entertainment preferences drive a wave of demand for mobile-first short-form storytelling.Microdramas are gaining popularity as Hollywood production shrinks and streaming com…
John Gillispie: Sheep characters unravel a mystery
Movies & More reviewer John Gillispie shares his thoughts on “The Sheep Detectives,” which is rated PG and available on DVD.
Women’s Sports Leagues Have Exploded Around the Nation
Money is flowing into start-ups in softball, baseball, volleyball and basketball, and TV viewership is following.
What Box Office Bomb Crushed Obsession on Streaming?
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Before we get into this week’s issue, let me ask you for some suggestions. At the risk of coining too many names for too many things (hence my dictionary of terms...), I need a name for straight-to-streaming films that are too expensive to justify a straight-to-streaming release, but not big enough to justify a theatrical release. Like some of the films I highlighted in last week’s tally of the biggest film flops of 2026 so far: Hulu’s Mike & Nick & Nick & Alice, Pizza Movie or Never Change! They don’t feel like “made for TV movies” (think Hallmark and Lifetime movies, cheap Netflix romcoms, or Disney Channel Original movies, for example) but they don’t feel big enough for the big screen. They’re not “cinematic” enough, so to speak. As I wrote... “I still need a name for this middle zone of film that’s too expensive to go straight-to-streaming but too small to justify a theatrical release (with all the PR, distribution, marketing and whatnot costs that go along with it), the Goldilocks zone of streaming film death.” Friend of the newsletter Brandon Katz has suggested the “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”. I love that first one. I’d offer up the much wordier “The Streaming Budget Dead Zone” or “the Goldilocks Zone of streaming film death” but that last one isn’t accurate since, unlike Goldilocks’ porridge, these films are the opposite of “just right”. That’s the problem! Anyway, if you have any suggestions, let me know! On to today’s Streaming Ratings Report. As you can tell by today’s headline, things are going to be spicy! I’m looking at a box office bomb that did really, really well on streaming, somewhat challenging a few different narratives. And another Netflix series declined in its second season. All that, plus Wicked: For Good switching streamers, The Hawk continuing its strong run, _The Bear’_s finale season finally dropping off the charts, the WNBA posting a big viewership number, “shallow libraries”, a sitcom spinoff failing to launch, more big budget IP flopping on Paramount+, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 20th to July 26th, 2026. You can find a link to my terminology here.) Subscribe Film - The Latest Theatrical Success Story on Streaming In the latest edition of “Flops, Bombs and Misses of the First Half of 2026”, I made a crucial change: I started including theatrical films with the streaming misses. The streamers have collectively—including Netflix, but not to as big of an extent—stopped making a lot of straight-to-streaming films, and the ones they do make aren’t as expensive as in the heyday of the streaming bubble. After the following two films bombed in theaters, you’d guess that they’ll be included in my next collection of flops, bombs and misses six months from now: Masters of the Universe on Prime Video (only $64 million domestic box office) Mortal Kombat II on HBO Max ($79 million domestic) But you’d be wrong! Masters of the Universe, a reboot of the He-Man franchise, a toy from the 1980s, came to streaming on 22-July and did great! This long-gestating project—it’s been at every studio for years, and came close to getting a greenlight at Netflix—then finally came to theaters in June, and showed up on streaming less than two months later. (I don’t love this short theatrical window.) It surprisingly grabbed nearly 20 million hours on its debut: That means, wait for it, Masters of the Universe is currently the eighth biggest film on streaming through two weeks. My rough bar for “hit” is shows or films in the top 15%. Ergo…Masters of the Universe is a legit, streaming hit! (One quick caveat: if it falls out of the top ten next week, it will move to 13th overall, just on the edge of the top 15.) Of course, that’s the data for just 2026. Here’s how it stacks up to Prime Video’s theatrical films: That drop into its second week is typical for Amazon films, but also a worrying sign. I have a feeling interest in this film is front-loaded and we’ll see it drop off after this. As for Mortal Kombat II, in this case, the viewership numbers roughly match the theatrical outing, with only 4.1 million hours in its first week. Here’s how it stacks up to other HBO Max films: The best defense of this number is that, as a relatively violent rated-R film, Mortal Kombat II never had a good chance at breaking out. So now it’s time for a little big of “Entertainment Nuance Guy”: First, yeah, my headline is obviously facetious, since Masters of the Universe besting Obsession says more about horror as a genre than it does that film. Second, I read and listened to quite a few “nobody wanted this IP” takes about Masters of the Universe, and that’s not really true. At least enough people wanted it to power a 20 million+ hour debut! Third, both this film and Mortal Kombat II were considered “average” by viewers, but not great films, with a 6.4 and 6.3 respectively on IMDb. That’s just shy of the level needed to be a word-of-mouth hit. Fourth, in the olden days, strong word of mouth could transform a box office miss into a cable/DVD hit, like Austin Powers or The Shawshank Redemption. We haven’t seen a lot of examples of that on streaming, though. And there are far fewer ways to monetize the post-theatrical life of a film these days. Fifth, Prime Video has shown an ability to push their own titles well, likely because they control the Amazon Fire TV ecosystem. Add it all up, and here’s my nuanced take on Masters of the Universe: it was a box office bomb, but, shockingly, a streaming hit. Unfortunately, while being a theatrical hit saves your film financially, being a streaming hit does not. Both Masters of the Universe and Mortal Kombat II had big budgets and needed to make more money in theaters to justify them. So…Straight-to-Streaming or Theaters? We’ve hit a really fun point in the streaming calendar, since the films that came out in theaters in April, May, and June are now arriving on streaming. So the “Do theatrical releases help streaming performances?” question is gonna get a fresh round of updates nearly every week. No single week will answer the question, but we may get some insights. For example, so far in 2026, it looks like theatrical films are lasting longer on the weekly Nielsen film charts. Here’s a list of films that have made the charts in their fourth or fifth week of release, separated by “for kids” and “general entertainment”: It certainly seems like theatrical films are lasting just a pinch longer on the charts, with Project Hail Mary being the current five-week champion. One Battle After Another did well for HBO Max too, and even The Sheep Detectives made it four weeks. The only exception to this trend? Obsession, which only lasted two weeks on the charts. You might tempted to overreact to this news. Don’t. Obsession is a huge horror hit, but horror just doesn’t do as well on streaming. By the way, here’s the Google Trends for various theatrical and stremaing films: Plus, when it comes to Netflix in four months, Obsession may have another big boost. Quick Notes on Film Note that when I write, “the streamers have pulled back on straight-to-streaming films” that doesn’t mean “abandoned” because Netflix is gonna Netflix. On 24-July, they released 72 Hours, a Kevin Hart comedy. Along with Eddie Murphy, Mark Wahlberg, John Cena and Adam Sandler, Kevin Hart is a streaming film star now. Did this latest one work? Not really. It only garnered two weeks of 13.2 and 12.2 million hours on its debut, well below the 20-million-hour hit threshold. It also was poorly received critically—a 44 on Metacritic—and by customers—a 5.4 on IMDb on 21K IMDb reviews. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The latest Netflix true crime doc to pop on the charts… How The Bear finished its run… Netflix’s latest Western to return to streaming… What Paramount+ animated film flopped… And what sitcom also missed… All the flops, bombs and misses… And a whole lot more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! I’m behind by a week, so we’ve got two issues coming your way this week, including one in a couple of days or so, then we’ll be all caught up**.** Next issue, inspired by The Super Mario Galaxy Movie coming to Peacock, I’m going to take a look at the workhouse of streaming TV: kids films. Plus The Devil Wears Prada 2 continues theatrical films’ big run on streaming. All that, plus another surprise hit on Hulu, Lioness on CBS, and a whole lot more. Long term, LeBron James is filming his own “Last Dance”-style docu-series, surprising no one. But as I’ve been writing about a lot this summer, this genre is really overrated, so whoever ends up buying it (reportedly ESPN) really shouldn’t pay too much for it.
Poll: What grade would you give mental health services in your community?
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GTA VI Extended Gameplay Preview Attracted Over 4 Million Live Viewers
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Inside California Politics: Newsom campaigns for midterms, state Republicans pick new senate minorty leader
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Scientists Release Biggest 2D Map of the Universe
Key Takeaways The DESI Legacy Imaging Surveys combined more than 263,000 telescope exposures to make the largest 2D map of the universe in visible and near-infrared light. Astronomers can pair the Legacy Surveys map with their own observations to explore our universe and search for rare phenomena. The 2D map serves as the foundation for the Dark Energy Spectroscopic Instrument survey to measure the universe in 3D and investigate dark energy. Hold on to your telescopes: the DESI Legacy Imaging Surveys team has released the largest-ever 2D color map of the universe. The 5.6-trillion-pixel map contains nearly 4 billion celestial objects, primarily stars and galaxies. The data is available for all to use and publicly viewable through the Legacy Survey Sky Viewer. Astronomers and citizen scientists can explore the map or combine it with their own observations to better understand our universe. Researchers can search for rare phenomena like gravitational lenses, observe fleeting events like supernovae, and investigate two of physics’ biggest mysteries: dark matter, the invisible substance that accounts for most of the mass in our universe, and dark energy, the force driving our universe’s accelerating expansion. The new map builds on earlier versions from the DESI Legacy Imaging Surveys that have already proved invaluable. To date, more than 1,800 science papers that reference the Legacy Surveys data have been published. “It’s part of the fabric of astronomy research now,” said David Schlegel, a co-lead of the Legacy Surveys and scientist at the Department of Energy’s Lawrence Berkeley National Laboratory (Berkeley Lab). “When you’re working with astronomical objects today, you often start by pulling up the Legacy Imaging Viewer to see what you’re looking at.” Covering roughly 75% of the sky in visible and near-infrared light, the updated map provides a deep view of the extragalactic universe not blocked by the dust and stars of our own Milky Way. Researchers expect it will remain the most comprehensive 2D map of our universe for years to come. More than 160 scientists contributed to data collection for the project, and a team of 20 produced the final dataset released today. It was built by combining 263,407 telescope exposures from three ground-based sky surveys: the Dark Energy Camera Legacy Survey (DECaLS) at NSF Cerro Tololo Inter-American Observatory, the Mayall z-band Legacy Survey (MzLS) at NSF Kitt Peak National Observatory, and the Beijing-Arizona Sky Survey (BASS) at the University of Arizona’s Steward Observatory. That was supplemented by years of data from NASA’s Wide-field Infrared Survey Explorer (WISE) satellite mission and additional public data. “For our team, these data are fundamental to our investigation of the expansion history of the universe and the formation of our galaxy,” said Arjun Dey, co-lead of the Legacy Surveys and an astronomer at NSF NOIRLab. “But the skies belong to everyone, and this survey gives everyone the chance to explore the sky and marvel at its wonders.” Here be galaxies The DESI Legacy Imaging Surveys were originally conducted to prepare for the Dark Energy Spectroscopic Instrument (DESI) survey. The Legacy Surveys’ 2D map is essentially a deep photograph of the sky; it records where galaxies and stars appear and how bright they appear. This crucial step enables DESI to select objects and measure their light in different wavelengths to determine their distances, building the largest high-resolution 3D map ever made. Scientists study the way galaxies have clustered at different ages of the universe to track dark energy over time. In April 2026, DESI completed its original five-year survey ahead of schedule and with vastly more objects than expected. The early results have shown surprising hints that dark energy’s impact may be weakening over time — a paradigm shift that could potentially shape the predicted fate of our universe. DESI expects to publish improved results using their first five years of data in 2027 and is continuing observations into 2028. DESI was so efficient at observing galaxies, the Legacy Surveys map needed to expand. Early on, “it became clear we might run out of galaxies to look at and run out of sky, and we better start doing something about that,” said Schlegel, who also works on DESI. The new Legacy Surveys map has been used to select DESI targets since June 2026 and will guide the telescope’s operations over the coming years. Computing the cosmos Merging hundreds of thousands of images taken on 2,285 nights, each with unique atmospheric and telescope conditions, was a massive computational effort. It took about a year to develop the computer code and eight weeks to process all the images at the Perlmutter supercomputer at the National Energy Research Scientific Computing Center (NERSC) at Berkeley Lab. Beyond supporting DESI, the Legacy Surveys will be a foundational reference for the next generation of telescopes. As new observatories like the NSF-DOE Vera C. Rubin Observatory (jointly funded by NSF and DOE’s Office of Science) and NASA’s Nancy Grace Roman Space Telescope come online, researchers can compare their observations with one of the deepest and most comprehensive views of the sky ever assembled. The Legacy Surveys data will also help scientists train artificial intelligence tools to analyze petabytes of astronomical data and accelerate new discoveries. It will be among the datasets used in an astrophysics pilot project within the American Science Cloud, part of the DOE’s Genesis Mission. The DESI Legacy Imaging Surveys are supported by the U.S. Department of Energy’s Office of High Energy Physics; the National Energy Research Scientific Computing Center, a DOE Office of Science user facility; the U.S. National Science Foundation, Division of Astronomical Sciences; and the partner institutions. DESI is supported by the DOE Office of Science and NERSC. Additional support for DESI is provided by the NSF; the Science and Technology Facilities Council of the United Kingdom; the Gordon and Betty Moore Foundation; the Heising-Simons Foundation; the French Alternative Energies and Atomic Energy Commission (CEA); the Secretariat of Science, Humanities, Technology and Innovation (SECIHTI) of Mexico; the Ministry of Science and Innovation of Spain; and by the DESI member institutions. ### Lawrence Berkeley National Laboratory (Berkeley Lab) is committed to groundbreaking research focused on discovery science and solutions for abundant and reliable energy supplies. The lab’s expertise spans materials, chemistry, physics, biology, earth and environmental science, mathematics, and computing. Researchers from around the world rely on the lab’s world-class scientific facilities for their own pioneering research. Founded in 1931 on the belief that the biggest problems are best addressed by teams, Berkeley Lab and its scientists have been recognized with 17 Nobel Prizes. Berkeley Lab is a multiprogram national laboratory managed by the University of California for the U.S. Department of Energy’s Office of Science. DOE’s Office of Science is the single largest supporter of basic research in the physical sciences in the United States, and is working to address some of the most pressing challenges of our time. For more information, please visit energy.gov/science.
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Ben Jones, ‘Dukes of Hazzard’ star-turned-congressman, dies at 84
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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.
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The new "science golden age" looks suspiciously like a grift
This edition of PN is made possible by paid subscribers. Become one ⬇️ 🚀 Subscribe to PN 🚀 The Trump regime is trying to usher in a “Golden Age in Science” where scientific research is run like a Trump family business, artificial intelligence is all that matters, profit is everything, and expertise is for chumps. Or at least that’s the vision emerging from a new 123-page “Report to the President” from Michael Kratsios, the Director of the White House Office of Science and Technology Policy. In a normal administration, you could probably skip over learning about a science policy document — but this is no normal administration, and this is no normal science policy document. Instead, it’s Trump’s attempt to end the actual golden age of science that was kicked off in 1945 with the publication of '“The Endless Frontier” by Vannevar Bush. [ ](https://www.publicnotice.co/p/harmeet-dhillon-portland) [ Harmeet Dhillon demonstrates danger of posting through it ](https://www.publicnotice.co/p/harmeet-dhillon-portland) Liz Dye · Jul 29 [ Read full story ](https://www.publicnotice.co/p/harmeet-dhillon-portland) Bush, at President Franklin Delano Roosevelt’s request, laid out a vision of federal support for science that centered on funding universities to do basic research, saying that as long as those institutions were “vigorous and healthy and their scientists are free to pursue the truth wherever it may lead, there will be a flow of new scientific knowledge to those who can apply it to practical problems in Government, in industry, or elsewhere.” Kratsios’s report is supposed to be the successor to Bush’s, and even apes the format, but this isn’t really a document about science policy. It’s one about ending science research as we know it in favor of shoveling cash at big tech companies. While it might be temping to wave this away as an aspirational policy document, Trump has already begun to shift billions in research funds to AI projects and has taken a hatchet to science funding across the board. He’s teed up the shift Kratsios proposes here, and since neither Congress nor the Supreme Court seem inclined to stop him from doing whatever he wants with taxpayer money, it isn’t doomering or hyperbole to say we are staring down the barrel of a world where the only “science” the government intends to support is for-profit tech and defense advancements. Science for dummies Part of how you can tell this isn’t a document about science is that you are immediately faced with an absolute wall of business-speak of the worst sort. Did you know we must “tightly couple our science and technology enterprises to ensure that groundbreaking ideas invented in the United States are rapidly prototyped, tested, manufactured, and scaled domestically”? You do now! That tone isn’t surprising, because Kratsios has no background in science or research. He has a bachelor’s in political science and spent most of his career working for Peter Thiel at Thiel Capital. After a stint in the first Trump administration as Chief Technology Officer, where he also did not do any science, Kratsios was tasked in 2020 with overseeing the Pentagon’s research budget for a brief time, a position that, as the Wall Street Journal put it, “carries a great deal of power in terms of dictating investment allocations.” He spent the Biden years at Scale AI as “head of strategy,” which you will also note is neither a science nor a research job. But Scale AI has contracts with the Department of Defense and, as the Washington Post wrote in 2023, “has been aggressively pitching itself as the company that will help the US military in its existential battle with China.” And now you have the necessary background for our new golden age, which is going to be a golden age of taking money away from scientists and universities and giving it to companies like Scale AI. A note from Aaron: Working with brilliant contributors like Lisa takes resources. If you aren’t already a paid subscriber, please become one to support our work. 👇 Subscribe In a genuinely galling move, Katsios spends a lot of time slamming universities because of “administrative burdens on researchers” and the “well-documented inefficiencies” in academia, the message being that those damn universities waste the time of amazing researchers with paperwork. Except it’s the administration that is attempting to impose inefficient, unnecessary burdens on those researchers with a proposed Office of Management and Budget rule that would require senior political appointees to approve every science grant and ensure it aligns with Trump’s personal priorities. Researchers would also have to seek prior government approval to attend conferences or publicize their research. And political appointees could terminate any grant at any time if they feel like it. [ ](https://www.publicnotice.co/p/omb-rule-science-funding) [ The murder of expertise ](https://www.publicnotice.co/p/omb-rule-science-funding) Lisa Needham · Jun 11 [ Read full story ](https://www.publicnotice.co/p/omb-rule-science-funding) But when it comes to AI, we’re going to “restore permissionless innovation.” The report proposes to give lucky ducky innovators a pile of cash up front for grants lasting five years or longer, saying “awards should be fully-funded in year one, with all resources earmarked upfront, to minimize administrative burdens and reduce pressure for researchers to generate intermediate results to secure continued funding.” Yeah, wouldn’t want to have to make the Very Special Tech Bros show results or get money parceled out year by year like the plebes at universities. The report also proposes that we should have “fast grants” with “simplified applications requiring just a few pages of writing” because that is definitely how science works, just writing a bit off the dome and getting some cash. [ ](https://www.publicnotice.co/p/trump-ai-action-plan-altman-llms) [ Tech elites are turning AI into ChatGPTrump ](https://www.publicnotice.co/p/trump-ai-action-plan-altman-llms) Paul Waldman · July 29, 2025 [ Read full story ](https://www.publicnotice.co/p/trump-ai-action-plan-altman-llms) Oh, and we should have prizes and challenges, where multiple teams compete. The proposed prizes include incentives like “advance procurement commitments,” which means the federal government agrees to buy whatever is being developed. There’s also “regulatory fast-tracking,” making sure all those great AI thingies don’t have to wait too long to be unleashed on a market. These aren’t incentives to do science. These are incentives to develop things with tax dollars that you can then sell to the government for more tax dollars. In the suggestion that might be the most unhinged, the most very opposite of how both government and research work, our new age will include “golden tickets.” That’s where an individual reviewer in an agency — yes, just one person — can “recommend unconventional proposals that may not pass consensus-driven review panels” because somehow this will “surface valuable ideas too divisive for committees and attract higher quality reviewers by empowering them to exercise independent scientific judgment.” Yes, that’s saying that a random person in an agency should be able to shovel money at some idea even if it can’t pass a review panel, and that the opportunity to do so will attract better employees because apparently all the best minds in science are chomping at the bit to be allowed to unilaterally fund AI research based on their personal vibes. But that isn’t at all how actual science works, and actual scientists aren’t unhappy about review panels. They work collaboratively, not siloed in some secret race to create the next AI chatbot. A 2020 study by the National Bureau of Economic Research examined whether peer review panels succeed in helping agencies predict which research ideas will best advance science. Peer review was better at finding “diamond in the rough” applicants than a single government program official. How about that. Trump always wants a taste It’s painfully clear that what Katsios is trying to do here is turn the whole of government science research and funding into the sort of “move fast and break things” paradigm that is the hallmark of big tech. That method works to line the pockets of tech executives, but it isn’t science. There’s a reason the government funds different kinds of research than private tech companies do. What Katsios either fails to understand or deliberately ignores is that the federal government is the main funder of basic research precisely because it can take a long time for it to bear fruit and is not intended to be profitable as such. “Basic” here does not mean rudimentary or simple, but rather research that is designed to advance scientific knowledge instead of achieving a specific outcome or product. Big tech companies don’t widely fund that sort of research, because it doesn’t make them money. Industry dollars account for only about 20 percent of basic research funding, while the government contributes around 60 percent. Big tech companies and startups do, however, rely on and benefit from that basic research. A 2019 study found that 35 percent of all patents obtained by venture-backed startups from 1976 to 2016 cited federally supported research. Basic research funded by the NIH contributed to every single drug the FDA approved from 2010 to 2016. [ ](https://www.publicnotice.co/p/trump-saudi-nuclear-deal) [ The Saudi nuclear farce and governance by whim and meme ](https://www.publicnotice.co/p/trump-saudi-nuclear-deal) Noah Berlatsky · Jul 27 [ Read full story ](https://www.publicnotice.co/p/trump-saudi-nuclear-deal) Unlike inventing the next ChatGPT, actual science is slow and iterative. Government funding of research that, on its face, would not appear to lead to any big new invention is actually what underpins those big new inventions. If the government hadn’t funded research into desert lizard venom, we wouldn’t know about semaglutide, and we wouldn’t have Ozempic. If research scientists hadn’t studied how bees optimize nectar foraging within a colony, we wouldn’t have the algorithm that assigns internet traffic across computer servers. The report assiduously ignores that a symbiotic, profitable relationship between the federal government, universities, and private companies already exists. Each federal research dollar generates about $1.50 to $3.00 in long-term economic benefits. The $36 billion the government awarded in NIH research funding in fiscal year 2025 generated $94 billion in new economic activity. Trump’s proposed new golden age is intended to strip those billions from universities, resulting in the dismantling of departments and the shuttering of labs. But Katsios has a plan for that: Universities should just become trade schools to churn out no-show STEM degrees! “Require universities and community colleges to embed practical technical training and externships into STEM curricula. Let hands-on experience and industry credentials count toward degrees.” It’s quite the feat to, on the one hand, strip schools of funding for scientific research while simultaneously demanding to control what is taught and, oh, also, colleges need to give degrees to employees at big tech companies just for being employees at big tech companies. The new golden age would also exacerbate the brain drain Trump’s policies have already caused. Nature found that in the first quarter of 2025, US scientists submitted 32 percent more job applications abroad than in 2024. A March 2025 poll by Nature of roughly 1,600 scientists found that over 1,200 said they were considering leaving the country. Europe is investing $565 million to make it a “magnet for researchers” and provide funding for scientists who relocate. The new golden age is also about embedding Trump’s xenophobia into the fabric of American science. The report complains of an “over-reliance on foreign students” that “creates a security challenge our institutions are ill-equipped to address” and that a “reliance on foreign talent sidelines American students.” This is, to put it mildly, nonsense. International students pay far higher tuition and often receive no financial aid. Their tuition dollars are what make it possible for American students to get financial aid. In the 2023-2024 school year alone, international students contributed $43.8 billion to the US economy and supported over 378,000 jobs. Those 1.1 million international students accounted for only six percent of the total number of students in higher education that year, but were such an economic engine that for every three international students, one job was created or supported. It’s impossible not to wonder whether part of Trump’s loathing for universities and their leading role in scientific research is that there is no way for him to corrupt the process and make money off it in the same way he can by giving millions and billions to Silicon Valley types who, in turn, give him millions in cash. There’s no way for his children to invest in universities that the government then gives no-bid contracts to, fattening the family’s bottom line, which is pretty much the Trump sons’ current venture capital practice. Trump and Katsios’s view of science is narrow, cramped, and wrong. We’re not in a crisis, we’re not a failed state. We’ve been a science superpower for decades, and the only thing that threatens that is Donald Trump. Tech bros are already living high off the hog in this administration. They don’t need any more of our tax dollars. Hopefully this new golden age never comes to pass. Thanks for reading Public Notice. This post is public so feel free to share it. Share We’ll be back with more tomorrow. If you appreciate today’s PN, please do your part to keep us free by signing up for a paid subscription. 🚀 Subscribe to PN 🚀 Thanks for reading, and for your support.
The US ‘golden age’ science strategy: what Europeans need to know
The US has unveiled what officials claim is the most radical overhaul of the public R&D system in a generation, which if implemented could have significant implications for transatlantic research collaboration. Science: A New Golden Age derides universities as “legacy institutions” and instead wants to prioritise funding on technological challenges, new research labs and funding that follows individual scientists, rather than being linked to their institutions. “Too much of our research enterprise has come to serve itself rather than the scientists within it,” writes Michael Kratsios, director of the White House’s Office of Science and Technology Policy (OSTP), the only named author of the report. “Federal funding agencies should support a broader range of performers.” But some critics argue that the strategy is a smokescreen, using genuine problems in academia as an excuse to further weaken US universities, which US vice-president JD Vance has labelled “the enemy..”Even as it talks of a “golden age” for science, the White House has proposed halving the 2027 budget of the US National Science Foundation (NSF), and has put forward double-digit cuts for other funding bodies, such as the National Institutes for Health. It asked for similarly steep savings in 2026, but Congress stopped them going through. Science: A New Golden Age says success will be measured by the extent to which scientists are “free” to pursue the most “vital questions,,” painting academia as currently hidebound by bureaucracy, sluggishness and consensual conservatism. And yet the Trump administration is simultaneously planning new rules that will hand political appointees unprecedented powers to screen and cancel grants. The report has pretentions to be the successor to Science: The Endless Frontier, the seminal 1945 document in which presidential science advisor Vannevar Bush set out the case for post-war government funding of basic research, helping to spur the creation of funders such as the NSF. Even the title page font is the same. But it remains unclear if the latest report will leave anything like as lasting a legacy.Here, Science|Business explains some of the biggest proposed changes in Science: A New Golden Age, and how Europeans think it might change the landscape of their biggest science partner.Universities under fireA key target of the report are US universities, which it repeatedly suggests are outmoded as research institutions. It criticises the NSF for channelling resources “overwhelmingly to a single type of performer, the university-based, principal investigator-led research group..” Universities “extract” money from researchers’ grants to support “growing administrative bloat,” alongside legitimate uses. The Trump administration has been trying to cut the overhead costs in federal research grants that flow to universities. Instead, new institutions are being built. In May, the NSF announced it would spend $1.5 billion on two new so-called X-Labs, focused on scientific instrumentation and quantum systems. The idea is that they fill a niche in the landscape, tackling problems that are too big for a university lab, but too early stage for private start-up funding. Parallel with Europe?This shift to new research organisations parallels moves in Europe to set up new innovation agencies, such as Germany’s Sprind, the UK’s Advanced Research and Invention Agency, and the EU’s European Innovation Council. The Dutch and French governments are looking to set up their own entities too. There’s now an emerging consensus, evident in a number of new strategies, that public R&D needs to be shaken up, Charles McIvor, an economist at the OECD, has written in response to Kratsios’s plans. “What stands out for me across these strategies [in the US, Germany, South Korea and Japan] is that governments are realising that the old ways of delivering STI [science, technology and innovation] programming no longer works,” he said in a LinkedIn post. Metascience wins?The document is, at least on the face of it, also a big win for some policy thinkers in the US who want far more experimentation with new forms of research grant and institution.It name-checks a litany of new public R&D ideas, from focused research organisations and advance market commitments to “golden tickets,” which allow grant reviewers the power to hand applicants money without requiring the consensus of other review panellists.Related articlesEuropean researchers sound the alarm that Trump rule changes will hit cooperationFocused research organisations: what are they, and how do you set them up? NIH turmoil risks reciprocal EU-US access to health research funding In addition, every federal research funding agency should set up a metascience unit, the strategy says, “with authority to run controlled experiments on review and funding mechanisms.” The UK has already set one up, the strategy points out. This mirrors recommendations to the European Commission. In 2024, a report led by former Portuguese science minister Manuel Heitor also advised the EU to set up an “experimental unit” to test out new methods of funding research. So far, however, Brussels hasn’t put forward any plans to do so. Bypass universitiesBut there’s a worry that the Trump administration is using the metascience movement to justify an overhaul of public R&D that punishes universities, which it sees as centres of political resistance. Last year, it threatened to cut Harvard University’s federal funding unless it hired and admitted a “critical mass” of new faculty and students to create “viewpoint diversity” across campus. It’s also attempted to strip academics of funding for working on politically forbidden areas, like LGBTIQ people’s health.The new strategy appears to be a “move to bypass the power of universities full stop and allow funders and political bureaucracies to handpick the projects and people who will execute them,” said Jean-Claude Burgelman, a former senior official in the Commission’s research directorate, on LinkedIn.The EU’s science counsellor in Washington, Florent Bernard, wrote that the plans risk diverting public research funding so that it “solely serves private interests.” “Who, if not independent universities, will do research that demonstrates the impact of tobacco on lung cancer or the role of human activities in our current climate crisis?” he wrote.Should we take it seriously?“I would view the overall document as a bad faith argument,” said Cole Donovan, director of science policy at the campaigning group Stand Up for Science, and a former OSTP official. “I don’t see the project itself as something that can be isolated from the broader attack on the system.” He thinks the argument that academia has become dysfunctional and in need of radical reform is being deployed as part of a “PR argument” to legitimate moves against US scientists. The strategy presents ideas like metascience units as new, whereas there were moves to set them up at the NSF during the previous administration of Joe Biden, Donovan said. The other caveat here is that the OSTP has limited power to carry out any of these recommendations. While Kratsios has issued a memo to research agencies telling them to implement the recommendations in the report, he doesn’t have direct budgetary control. “As a former OSTPer myself, this does not seem like a document that is realistic,” said Donovan.
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