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Movie studio, amusement park planned for huge site near Phoenix
A prominent local real estate investor has unveiled a plan for a development an hour west of Phoenix that could include a movie production studio.
Cecile Azarcon honored with new tribute song
Cheska CK with Cecile Azarcon Photo from Facebook/@BaleKuCafe ‘The Songs Came Home’ celebrates the veteran songwriter behind enduring OPM favorites Veteran Filipino songwriter Cecile Azarcon-Inocentes is the subject of a new tribute song honoring a career that has produced some of Original Pilipino Music’s enduring compositions. “The Songs Came Home,” released by TrueStoriesSung Creative Studio, features…
LeaseAssured Introduces AI-Assisted Commercial Lease Platform With Solicitor Review
The new online service provides landlords and businesses in England and Wales with a guided way to create commercial lease documentation, combin...
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.
‘Wheel of Fortune’ announcer fired after airline laptop incident
Sony Pictures Television has fired Wheel of Fortune announcer Jim Thornton over an incident on a Los Angeles-bound flight involving his participation in an online chatroom, TMZ reported Friday. “Following a thorough investigation, Jim Thornton’s employment with Wheel of Fortune has been terminated, effective immediately,” a studio spokesperson told TMZ. The incident unfolded in May […]
The Most Political Moments at the Venice Film Festival 2026
George Clooney, Maggie Gyllenhaal, Martin McDonagh, and other stars are spicing up the press conferences with comments on everything from humanitarian crises to AI to studio mergers.
The Blood of Dawnwalker Handheld Performance Review
The Blood of Dawnwalker is a new RPG from Rebel Wolves, a studio built by veteran developers from the Witcher franchise. Powered by Unreal Engine 5 and looking demanding, it is a strong test for some of the most popular handheld PCs on the market.
Arizona Land Consulting Eyeing W. Phoenix for Massive Entertainment-Themed Development
Arizona Land Consulting revealed plans for a development west of Phoenix that could include a movie production studio, amusement park, hotels, retail and a data center campus. The Phoenix Business Journal reports roughly 900 acres off Interstate 10 and 411th Avenue have been set aside for the development, with costs estimated between $6 billion and ...
Sasha Farber seemingly visits “DWTS” studio after claiming season 35 absence was ‘not my choice’
Farber was last seen as a pro on season 33 with celebrity partner Jenn Tran.
Artist-In-Residence Offering Story-based Events In St. Johnsbury
ST. JOHNSBURY — 560 Railroad Community Artist and Vermont Studio Center alum Lori Lee will host several community engagement events in September and October as part of her upcoming St.
Miguel Studios Expands Beyond Podcasting
Miguel Studios, a Fort Worth-based content studio and digital marketing agency, announced an expanded business model designed to help companies solve an i
Sony's PlayStation disc plant is losing 10 percent of its volume in 2028, not 90
Sony’s PlayStation disc plant is losing 10 percent of its volume in 2028, not 90 Sony won’t license disc pressing to anyone else, Microsoft does, and a former PlayStation boss thinks that’s the whole problem. When Sony DADC chief Dietmar Tanzer spoke with an Austrian broadcaster in July about PlayStation disc production at the Thalgau plant, a number of press outlets misunderstood the report, writing that production would fall to a tenth of current levels. It won’t. Sony DADC confirmed to Game this week that the figure is a 10 percent decline, not a decline to 10 percent. “To clarify and avoid any misleading information: in that statement Dietmar anticipated an overall product volume decline by 10 percent, not a decline down to 10 percent,” a spokesperson with Sony DADC told Game. That figure covers 2028. Tanzer didn’t put a number on the years after, and the spokesperson declined to comment further. What we do know is that on July 1, PlayStation announced that physical game disc production for all new games releasing on PlayStation consoles will be discontinued starting January 2028 and that the transition has no impact on games that have already released in disc format or will be releasing in disc format prior to that month. “So, there will be reorders going to the market after January 2028,” the Sony DADC spokesperson said. “For details around that I would ask you to liaise with the PR team from PlayStation, as we can’t speak or comment on their behalf.” PlayStation officials did not respond to questions about reorders or other disc-related matters. But I did recently speak with Shawn Layden, Game Industry Strategic Advisor and former chairman of SIE Worldwide Studios, who called a future without physical PlayStation discs “depressing, but solvable.” then added, “I think.” The chief hurdle to third-party manufacturing of collector’s editions or any other version of a PlayStation game disc is that Sony owns the proprietary process to press those discs, Layden said. “And unless they decide or determine a way to license that to some of these bespoke disc manufacturers, there’s no way to make it happen,” he said. Layden was careful to add that he understands the concept but doesn’t have “line of sight on the particulars.” “Depressing but solvable, I think.” — Shawn Layden Microsoft already licenses replication to outside plants. Xbox discs are pressed by manufacturers Microsoft certifies as Authorized Replicators, a term defined in its publisher agreements, with the approved list set at the company’s sole discretion and Microsoft retaining the right to halt manufacture. The structure is still in place today: publishers select an Authorized Replicator in Partner Center and submit a bill of materials created with a Microsoft representative. Sony, by contrast, presses PlayStation discs through Sony DADC, its own manufacturing subsidiary. No one I spoke with said they were in discussions with Sony about doing that, and PlayStation hasn’t responded to questions about whether it would be open to a licensing deal. There is an obvious reason Sony might not want to. Niko Partners analyst Daniel Ahmad pointed it out on the day of the announcement: it’s a platform-led decision, he wrote, designed to cut costs, eliminate the resale market, and drive all revenue through the PlayStation Store. The math is not subtle. On a $70 third-party game sold through the PlayStation Store, Sony keeps $21. Sold at retail, Ahmad says, it earns about half that. Licensing disc replication to an outside manufacturer might not be worth it. And even if it were, it seems unlikely that such a deal would come from boutique companies like iam8bit, which sells collector’s editions of video games. “We would absolutely love to find a way forward to continue making physical PlayStation games,” said Jon Gibson, co-owner and co-creative director of the company. “We are big believers in giving humans the option to truly own media. If we can play a role in helping make that a reality for the future of PlayStation games, count iam8bit in!” If it were to happen, it would most likely be with a company like Conectiv Supply Chain Solutions, a Memphis-based manufacturer of optical discs and vinyl records that also runs third-party logistics, fulfillment and distribution for packaged media. The company, which was formed in 2025 when Los Angeles private equity firm Variant Equity Advisors purchased Vantiva’s Supply Chain Solutions division, traces its lineage back to Technicolor. When it sold the division, Vantiva described the business as having served video game creators for more than 25 years. Conectiv is also buying, not shrinking. Last month it acquired SDS, the distributor for Universal and Warner Bros. home entertainment, consolidating those studios’ packaged-media pipeline from pressing plant to retail shelf. I reached out to Conectiv and its CEO, but haven’t heard back. Layden pointed to music and books in our discussion about the ongoing value of physical media. “No one ever saw the comeback of cassette tape,” he said. “And vinyl didn’t so much come back. The flame went down, the fire’s dying, but the ember was always there, and it just kind of came back. Much like the book business. We thought we’d all be on Kindles right now. “I believe that physical media is crucial and important. One of the things that makes us gamers, one of the core game mechanics, going back to the beginning of time, is collecting stuff. “Did you get all the diamonds in Crash Bandicoot? Did you get all the stars in Mario? And we like to collect our games. And we have a game shelf. And we put all our boxes up there. And if you’re super hardcore, when you buy a game, you buy two copies, right? One stays in the shrink wrap, and you play the other one. What happens to that important cultural part of the gaming world? You know, we buy the steelbook and the three-disc Final Fantasy set and the figurine and, you know, you can’t download any of that. “What happens to that?” And Layden believes it shouldn’t have been a revenue question for PlayStation. “This was a core thing to the experience of our most devoted fans,” he said. “Yeah, it’s fan service. Why would we take that away? Well, we can’t afford to. It’s already 120 bucks, you know, limited edition special purchase onyx box version of whatever, and those sell at a higher rate than the box selling at $69.99 does. So yeah, the market has said they will continue to buy them. You’re just saying you just don’t want to make them anymore.” Layden said he was recently talking with someone about these sorts of business decisions and how they’re made. Too often, he said, it’s all about the financials and nothing else. “OK, we can do this and save this much money, or we can invest this to look at that outcome, or we can do this and have this happen over there, or move this team to Sri Lanka,” he said. “But each one of those, someone also has to have a ledger there saying, ‘OK, what is the brand impact from that move?’ “Iif you can’t resell it, do you really own it?” — Shawn Layden “If we do that, dollars and cents work out. I get it. That’s just math. But what’s the brand impact? Are people going to say, ‘Good move, you guys?’ Or are they going to say, ‘We hate you guys. Quit doing that.’ And sometimes they say, ‘We hate you.’ Then you take a note and say, OK, how much of that can we live with? How much ‘we hate you’ is OK. And when does it go over the line? “I see a lot of companies making decisions which, objectively speaking, I don’t know what the dollar end of that was for you, Mr. Company, but your brand value just dropped 30 percent. So I hope it was worth it.” Of course, shifting to a digital-only model for games raises other issues beyond simply wanting to collect. The biggest is ownership. Layden pointed out that once you go to a streaming-only or download-only model, it’s just a digital footprint on a hard drive. “What does ownership mean anymore?” he said. “It’s a genuine question. Well, in fact, it’s not even a question anymore. It’s like you are shifting the model from ownership to accessibility. “And what’s always been true, which people forget, is you’ve never been able to sell your iTunes library. And you can’t sell your PlayStation download library. So if you can’t resell it, do you really own it?” The touching tribute found in the credits for Star Wars Zero Company. Resonance: A Plague Tale Legacy Interview and Hands-On with a Minoan Masterpiece Star Wars Zero Company hands-on: Attack Astromechs, permadeath, and delightfully fatal Rube Goldberg tactics Control Resonant opens up as you get stronger — and as characters start trusting you
Banner flies over Paramount Studios calling CEO David Ellison ‘Trump’s b----’
Paramount’s attempted purchase of Warner Bros. Discovery has recently thrust Ellison into the spotlight.
Banner flies over Paramount Studios calling CEO David Ellison ‘Trump’s ‘b----’
Amid furor over Paramount’s attempted acquisition of Warner Bros. Discovery, a plane flew a banner over Paramount Studios in Los Angeles referring to CEO David Ellison as ‘Trump’s b----.’
Black River Entertainment To Host Imagination Library Benefit Event
Black River Entertainment is opening its Sound Stage Studios on Sept. 19 for the inaugural Studios [...]
Until Dawn 2's sun-kissed horror gets a PS5 release date - and the studio behind last year's brilliant Dispatch is involved
Sony has shared more details about the sequel to its acclaimed cinematic horror Until Dawn, which is due to arrive early next year.
Guild Wars 3's devs think they've found an answer to one of MMOs' biggest problems, but can ArenaNet pull it off?
I saw a hands-off demo for Guild Wars 3 at Gamescom, where studio head Colin Johanson and combat lead Kevin Stocker talked me through the new momentum feature.
‘Halloween: The Game’ Review – Stealth, Stalking, and Michael Myers Shine In An Uneven Horror Exp…
The latest from IllFonic, the studio that has carved out a niche for itself as the ultimate authority on multiplayer horror with Friday the 13th,
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…
Look out, Hollywood. Influencers are taking over Burbank
As traditional film and TV production keeps shrinking in Los Angeles, YouTube creators are expanding into Burbank's soundstages.
Planet Coaster Maker Announces Disney Game Development, Opening Doors to a Disneyland Park Creator
Frontier Developments, the studio behind Jurassic World Evolution, Planet Zoo, and Planet Coaster, has inked a deal with Disney to develop an upcoming game.
Planet Coaster studio Frontier Developments announces new title based on Disney IP
UK-based studio to fund, develop, and publish the title using experience in creative management simulation genre
Leak lists Zelda: Ocarina of Time remake developer as Xenoblade Chronicles studio
A retailer may have inadvertently leaked information about the Ocarina of Time remake. Elkjøp specifies Monolith Soft as the lead developer for the Switch 2 game. While the Xenoblade Chronicles studio has supported Nintendo EPD in recent Zelda projects, its leverage over the franchise has grown.
SPIRITED AWAY: LIVE ON STAGE Joins Fathom Entertainment’s Studio Ghibli Fest 2026
GKIDS and Fathom Entertainment have announced that SPIRITED AWAY: Live On Stage will join this year’s Ghibli Fest lineup. Coming to US theaters in its original Japanese with English subtitles for two nights only on October 1 and 8, the live theatre capture was filmed during the hit production’s 2022 run. Presented by Toho Co., […]
Mad Science: Soda Can Experiments
Radiant Randy is back in the My KC Live studio to share a few experiments with soda cans.
Dishonored's Creator Explains What So Many Games Are Missing
The co-creator of new studio Black Pony Immersive tells us about defying expectations in the most underserved genre
Owen Thiele, Este Haim Join Variety Entertainment & Technology Summit
Leadership from WPP Media, NBCUniversal Entertainment, Netflix, Amazon, Paramount, Hallmark, and more are scheduled to speak.
Exhibition at URI illuminates art and science collaboration
KINGSTON, R.I. – Sept. 2, 2026 – Art League RI and the University of Rhode Island are featuring the collaborative works of artists and scientists in a new exhibition titled “Environmental Currents: Art and Science Explore our Changing World” from Sept. 10 through Nov. 18 at Studio Blue on the URI Narragansett Bay Campus. With […]
Studio71 Alum Joseph Marchese Joins Bent Pixels as Head of Creator Strategy and Business
Joseph Marchese has joined creator network Bent Pixels as executive VP of creator strategy and business as the firm revs up its portfolio of support services offered to attention-economy clients. Marc...
Apple Launching Eight New Products This Month
Apple last month announced a new Mac mini and a new Mac Studio. Both machines start shipping on Tuesday, September 22, which means they will launch in the same month as new iPhones, Apple Watches, and AirPods. Apple is expected to introduce the unannounced products at its annual iPhone fall event, which is this year carrying the tagline "Surprise and shine". The event takes place on Wednesday, September 9, making this month one of the busiest Apple has had in a while.
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.
Josh Allen follows wife Hailee Steinfeld into entertainment, launches 'Out of Pocket Studios'
The Buffalo Bills quarterback is expanding his off-field ambitions with a new production company while preparing for his ninth NFL season
'Spirited Away: Live on Stage' Is Coming Back to the Big Screen
GKids and Fathom Entertainment will showcase two different filmed performances as part of the ongoing Studio Ghibli Fest 2026.
gamescom 2026’s Steam wishlist winners
gamescom wrapped up last weekend, and it was bloody fantastic. It really felt like the industry had a spring in its step again. The show itself was BUZZING, with 368K attendees (+3% over last year), maxed-out exhibit space, and Opening Night Live pulling over 78M online views (+7.5%). Let’s have a look at the games at the event that brought in the most new Steam wishlists between August 23 and 30. One quick thing before we start, and stop me if you’ve heard this one before, but wishlists are NOT a barometer for launch sales (they’re bookmarks, not baskets is what we always say over here at Alinea). With that aside, wishlists are a nice gauge of hype, so let’s dive in. Witche(r)s and Warlocks take the top two spots The biggest game of the event (by new wishlists, anyways) wasn’t a game at all. It was an expansion. The Witcher 3: Wild Hunt’s upcoming expansion, Songs of the Past, nabbed 451K Steam wishlists by the end of the weekend. It’s a big example of something we bang on about constantly: proven IP with built-in fandom is the most powerful force in this market. But said IP can also ripple into other external success stories (more on that later!). Anyway, Songs of the Past debuted at Opening Night Live, and it’s the first Witcher 3 expansion in over a decade, landing next year after a full Witcher 3 remaster (free for existing owners!) arrives next month. The Witcher 3 has sold around 66M copies, and I’ll be one of those owners jumping back in to refresh myself on the core game (like there isn’t enough to play!), then play the expansion next year. This is all part of CDPR’s plan. The studio is clearly whetting everyone’s appetite for The Witcher 4 in 2028 via a classic bridge strategy. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Releasing a free 4K remaster next month – followed by a proper expansion in 2027 – keeps IP top-of-mind across a huge gap between content (games-wise, anyway). It kind of echoes Capcom’s evergreen catalogue strategy. And outsourcing co-development to Fool’s Theory (a studio led by trusted Witcher 3 veterans) keeps CDPR’s internal headcount focused on The Witcher 4. #2 by wishlists between Aug 23 and 30 went to another giant IP: Warlock: Dungeons & Dragons, published by Wizards of the Coast and developed by Invoke Studios (a team of ex-Far Cry, Watch Dogs, and Splinter Cell devs). It’s due to launch in 2027, and it looks brilliant so far. It’s a dark-fantasy open world with third-person spell-slinging. It’s a very Witcher-ish aesthetic. As you might expect, 48% of Warlock’s Steam wishlisters have played Baldur’s Gate 3, and 46% have played The Witcher 3. One to watch. For sure! Mash-ups: Anime GTA (!?) and a city-builder for kids (and adults) Ananta took #3 with 302K new wishlists. It’s an open-world game that looks like GTA and Persona had a baby. It was published by NetEase, developed by Naked Rain, and got a trailer at Opening Night Live. I got hands-on at the show, and it wears its influences openly; there’s literal web-slinging (very Spider-Man) and a LOAD of mini-games (Like a Dragon). It’s free-to-play and out in January. For Ananta, Naked Rain is taking the free-to-play, cosmetics-only route. That’s certainly a choice for a single-player open-world game. Without gacha mechanics driving high ARPU, Ananta is betting purely on top-of-funnel reach and long-term retention. This puts pressure on skin appeal when there’s no multiplayer lobby to flex in (although, co-op is reportedly coming later). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Then there’s Lego Skylines (273K wishlists between Aug 23 and 30), which does exactly what it says on the tin. It’s a cosy Lego twist on the city-builder genre, as shallow or as deep as you fancy (five min quick sesh or ten-hour no-lifer session; latter for me). There’s some family-friendly stuff in there like couch co-op, which is only really viable on console. Iceflake Studios, which Paradox acquired back in 2020 is developing this one. So Paradox is probably looking for a family-friendly onramp to its rad Cities: Skylines games. The overlap there is plain, with 33% of Lego Skylines wishlisters having played Cities: Skylines and 16% Skylines II. There’s no doubt plenty of parents here (and uncles, ahem) planning to indoctrinate the next gen of city-builders. I’ll definitely be playing with my youngest nephew. This one could be big and educational. I’m very curious to see more. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Mature IP, new and old, rounds out the list As for the rest of the list of gamescom games by new wishlists between Aug 23 and 30: Heroes of Might & Magic III Remake got 189K new wishlists. It remakes the iconic 1999 turn-based-strategy classic in full 3D and 4K. It follows this year’s Heroes of Might & Magic: Olden Era (~1.8M copies sold, as per our estimates), and around a quarter of the III Remake wishlisters have played Olden Era, including 7% of them this month. Wardogs – a $40 PvP shooter – added another 146K to an already massive pile (nearly 1.6M total). It’s published by Team17 and made by Bulkhead. It plays somewhere between the tactical squad stuff of … Squad and the all-out-chaos battlefield of … Battlefield. It’s up to 100 players, and it’s out in about 10 days. It’s already pre-sold over 500K copies on Steam ($16.6M), boosted by a pre-order-only beta. It sold another 70K copies during gamescom, too. Afterworld managed 121K new wishlists. It’s a Paradox-made post-apocalyptic grand-strategy game, and it was announced at the show. It’s a departure from Paradox’s usual historical stuff, and the studio’s first new setting in over a decade. The Paradox purists are into it, with over half its wishlisters having played Hearts of Iron IV (19% this month) and 41% Crusader Kings III (17% this month). Metro 2039 got 110K during the show, tunnelling its total past 1.3M. Nearly 40% of wishlisters have played 2020’s Metro Exodus, the previous mainline title in the series. The Metro novels are Russian, dev 4A Games is Ukrainian, and it’s set in Moscow, so it’s unsurprising that – after the US (17.3% of wishlisters) – the next two countries are Russia (12.7%) and Ukraine (10.0%). The Blood of the Dawnwalker drew in (the blood of) 108K new wishlisters, now totalling an impressive 1.7M (at a $70 price point, though). It’s an open-world dark-fantasy action-RPG set in 14th-century Europe (with vampires!), made by some former Witcher devs at Rebel Wolves. Again, it shows. Over half of Blood of the Dawnwalker’s wishlisters have played The Witcher 3, and its #2 market is Poland, home of Rebel Wolves. That’s that hometown-hero effect we keep banging on about again! And Blood of the Dawnwalker plays very well, by the way. While it looks like a Witcher clone on the surface, it actually brings a lot to the table mechanics-wise. I love the whole time-as-a-currency spin on RPG gameplay. It gives the game a different, refreshing pace. Essentially, you start Blood of the Dawnwalker with a pool of 480 action points spread across 30 days and 30 nights. As for how the game performs, we’ll be posting some numbers next week, so hit subscribe below to get that in your inbox when it’s ready. Subscribe The Witcher’s legacy ripples Make no mistake: on a high level, this was The Witcher‘s gamescom. The #1 game by wishlisters was a Witcher 3 DLC. Warlock is clearly Witcher-inspired – as is Blood of the Dawnwalker, which was made by ex-Witcher devs. There was a lot of other cool stuff on the floor that we’ll no doubt be covering in subsequent newsletters, though! As always, wishlists went through the roof for sequels, remakes, DLC, and licensed IP. As always, though, these wishlists will likely convert to about 5% to 10% of launch-day buyers, with the probable exception of The Witcher DLC – the exception that proves the rule. Either way, we’ve got a nice, diverse list here – one that is very Witcher-y, Paradox-y, and – if you’re a fan of great games on Steam – a bloody good list. We even got a bunch of new IP to get excited for. Great gamescom! Even if we are still processing that unfathomable number of mini Kölsch beers! One more thing: GTA 6 broke the internet (again) Move aside, Spider-Man and The Odyssey (I love you both, really). But the decade’s defining entertainment zeitgeist is round the corner. Unless you’ve been living under a rock, you’ll know that Rockstar dropped an extended look at GTA 6 last week. It was INSANE, the most impressed I’ve ever been by a showcase like this. You can see the budget seeping through every second of the extended look, and this level of game is unobtainable for any other publisher. Everyone’s going nuts, and rightly so. GTA 6 is out in holiday 2026, and it’ll be the biggest entertainment release ever, full stop. For those without a PS5 or Xbox Series console, a $500-$900 console is a big ask in this economy, but GTA will pull a lot of last-generation-console fence sitters over the current-gen fence either way: The autumn timing puts GTA 6 on (digital) shelves for the holidays, meaning a PS5 or Xbox (let’s be honest, mostly the former) will be on many a Christmas and Hanukkah list. Demand will outweigh the struggling supply, though, and PS5 Pros are already sold out and being sold at a markup via scalpers. Every console that isn’t on a shelf is a sale deferred or lost, and worse, it hands scalpers the margin. GTA has cultural clout that reaches everyone. It’s been a mainstream fixture since 2001’s GTA III and its clout has only grown exponentially since then. There’s a touchpoint for every generation alive. The FOMO-word-of-mouth double punch does the rest. Loading... It’ll reactivate the lockdown cohort, the millions who picked up gaming in 2020-21 and churned. GTA 6 will bring them back. Remember when College Football 25 brought a bunch of US gamers to current-gen consoles? GTA will do that globally. Once they’re back (or upgraded), and all GTA’d out, the fresh current-gen-console folks will check out the rest of the current-gen catalogue they missed. GTA Online, if not free to play, will also lead to a boost for PS+ and Xbox Game Pass, another boost for the ecosystem players. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Even some of the smug PCMR 60FPS crew won’t be able to resist their FOMO and will bite the bullet on a console to play this one early (then double dip). The consoles cost the same as a decent stick of RAM these days anyway lmao… Don’t get me wrong, though. GTA 6 is no silver bullet for the mature console market, but it does prime the current gen for a couple of strong swan-song years. And it’ll also give the consoles more users from which to maximise ARPU. ‘’We are in the latter half of the lifetime cycle of [the PS5],’’ said Sony President and CEO Hiroki Totoki in a Wall Street Journal interview. ‘’That means we do not need to aggressively sell the console today; rather than that, we are focusing on the current revenue from the current user base.’’ The biggest, best premium games always arrive late in a console cycle, so getting more players aboard now, ahead of that content storm (the new current-gen-only Call of Duty included), is a clear win for the platforms. On the Netflix thing, though: let’s all chill out a bit, like. Half my LinkedIn feed was going bonkers treating the reveal debuting on Netflix like it’s the future of entertainment. It wasn’t. It was a six-hour head start, and Netflix left that detail out of the “first-of-its-kind partnership” press release. The extended look hit Netflix at 3pm ET on 27 August, then went up on YouTube and Rockstar’s site for everyone six hours later. And it was all over social immediately, anyways. This reveal was going to reach an untold number of people whether it debuted on Netflix, YouTube, a Times Square screen, or a group chat. The last trailer did nearly half a billion views in a day with no gatekeeper at all. Netflix just stood next to that audience for six hours, borrowing it. It’s was a tidy deal for Netflix, sure. But every outlet on earth was breaking the thing down frame by frame by the evening anyway. Anyway. I’m hype. And we’ll be covering some GTA numbers on the newsletter soon. So hit subscribe below to get that in your inbox when it’s ready! Subscribe The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
‘Most’ of Star Wars Zero Company studio Bit Reactor was furloughed ahead of launch
Last week was meant to be a moment of triumph for Bit Reactor, the Maryland-based game studio founded in 2021 with ambitions to create a great new tactical combat game. On Thursday, August 27, Bit Reactor’s debut title, Star Wars Zero Company, released to stellar reviews. And, from the Gamescom show in Cologne, Germany, studio co-founder Greg Foertsch was giving interviews discussing what the studio’s next game may be. But for many developers on the game, launch has been bittersweet. Fans love it. Critics prefer it to most recent Star Wars games. Zero Company, which is out for PS5, Xbox Series consoles and PC, is the top-selling game on Steam. Much of the team that made it, however, is currently going without pay. They were furloughed, just weeks ahead of the game’s launch. A rep for Bit Reactor confirmed to Game File today that the studio had furloughed many of its workers prior to the game’s release. They said it was a difficult decision and one that had been made before it was clear how launch would go. The rep emphasized that the call to do this was Bit Reactor’s alone (meaning not from publisher EA nor Star Wars license holder Disney). While the rep declined to comment on the scale of the furloughs, a previously unreported lawsuit brought by studio co-founder Alison Kelly in 2024 noted in a filing from August 12 of this year that Bit Reactor “has furloughed most of its employees and terminated contractors…” One source told Game File the furloughs impacted 80% of the team; another referred to there only being a skeleton crew left on Bit Reactor’s active payroll, ready to address any of Zero Company’s post-launch bugs. The issue is that Bit Reactor, a studio formed in 2021, had run out of most of its money just ahead of the launch of its first game. Over the weekend, Zachariah Scott, a senior technical artist who worked at Bit Reactor from early 2023 until an acrimonious exit this past May, said on LinkedIn that the studio was “concealing the fact that the team was Furloughed weeks ago.” Reached by phone today, Scott told Game File that he spoke to nearly a dozen Bit Reactor workers over the weekend. “Everybody has essentially the same story, which is, ‘Yeah, I got furloughed three weeks ago.” The Bit Reactor rep told Game File that the studio hoped to bring furloughed workers back, suggesting that a successful launch of the game could be impactful. Scott told Game File that workers he spoke to were less confident that even if there were returns, that all who were furloughed would get their old jobs again. A heated dispute Bit Reactor’s mid-2026 was almost even more tumultuous. The lawsuit by co-founder Alison Kelly that first revealed the furloughs was initially slated to go to trial in June. The suit is a she-said/he-said about whether Kelly, until 2024 the chief operating officer of Bit Reactor, was a co-owner of the studio or whether it was solely owned by Greg Foertsch. In July 2024, Kelly sued, saying she was pushed out by Foertsch. She first sued in federal court and later refiled in Maryland’s Baltimore County, alleging breach of contract and that Foertsch had unjustly enriched himself. Kelly cited damages of over $20 million, on the basis of Bit Reactor allegedly being worth more than double that. Foertsch’s side has said Kelly was never a co-owner and has countered with claims about her job performance (which she has denied). The June trial was postponed until early 2027, as both sides have been deposing witnesses and filing more claims and denials along the way. Amid all of that, filings in the lawsuit reviewed by Game File paint a picture about Bit Reactor’s origins, early aspirations around tactics games, the team’s breakthrough in drawing the attention of Electronic Arts with the help of a pitch tied to one of EA’s non-Star Wars franchises, and early fractures among its co-founders. The real story about the company behind Zero Company
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How Apple Stumbled Into AI Hardware Success With the Mac
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GTA 6 Takes Around 80 Hours To Complete, Says Developer
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Grand Theft Auto 6's map is significantly larger than Rockstar's previous games; here's how it compares to the studio's other titles.
Caesars Entertainment Launches Ball Rush Jackpots™ in New Jersey, the Latest Proprietary Online Title from Empire Creative™
New ball-and-peg style online casino game combines customizable gameplay, layered bonus features and dynamic jackpot opportunities LAS VEGAS (Aug. 28, 2026) Caesars Entertainment, Inc. (NASDAQ: CZR) (Caesars) today announced the launch of Ball Rush Jackpots(tm) , a new ball-and-peg style online casino game developed by Empire Creative(tm), the Company's in-house game development studio. Now live in New Jersey across Caesars Palace Online Casino, Caesars Sportsbook Casino and Horseshoe Online Casino, Ball Rush Jackpots is expected to become available in additional jurisdictions where Caesars offers online casino gaming following regulatory approval. The title expands Caesars' growing portfolio of proprietary online casino titles, following the successful launch of Ca$hline(tm) earlier this year and further diversifying the Company's lineup beyond traditional slots and table games. Ball Rush Jackpots follows the traditional ball-drop gameplay
The View’s Sunny Hostin Makes Risky AI Move That Could Change Everything
Sunny Hostin is taking a new approach to adapting her writing for the screen. The View co-host has signed a licensing agreement with AI entertainment company Fountain 0, giving the studio access to he...
2025 vs. 2026 Mac Studio Buyer's Guide: All Upgrades Compared
Apple this week announced a new Mac Studio with the M5 Max and M5 Ultra chips, discontinuing the M4 Max and M3 Ultra models that had been on sale since March 2025. The machine's design is unchanged for a fifth consecutive year, with all of the upgrades being internal. The table below details everything that changed regardless of whether you choose a Max or an Ultra chip. The two tables that follow break down the differences within each tier.
Apple's New Macs to Ship With macOS Golden Gate
The new Mac mini and Mac Studio models announced by Apple this week are "slated to ship" with macOS Golden Gate, according to Daring Fireball's John Gruber. Apple's product pages for the new Mac mini and Mac Studio models mention macOS Golden Gate features such as Siri AI, providing further evidence that the computers will ship with the latest operating system, instead of macOS Tahoe.
Blake Griffin to host new late night sports talk show
The weekly talk show will debut Oct. 20, opening day of the NBA regular season, and was recorded in front of a live studio audience.
Blake Griffin to host new late night sports talk show
The weekly talk show will debut Oct. 20, opening day of the NBA regular season, and was recorded in front of a live studio audience.
Sunnyboy Entertainment Expands with Atlanta Office and 2 Senior Hires
Little Black Book, Bicoastal entertainment company grows Atlanta studio to handle burgeoning unscripted slate
New Mac Mini and Mac Studio Add Genlock Support for Camera Syncing
Apple's new Mac mini and Mac Studio feature genlock support over USB-C, allowing users to precisely synchronize a display with a camera such as the iPhone 17 Pro, without the need for additional equipment. Apple's new Mac mini and Mac Studio feature genlock support over USB-C, allowing users to precisely synchronize a display with a camera such as the iPhone 17 Pro, without the need for additional equipment.
There's a $300 gotcha in an M5 Max Mac Studio upgrade
There was a pleasant surprise in yesterday’s announcement of the Mac Studio with M5 Max chip: the starting price is...
CD PROJEKT RED teams up with Blizzard Entertainment
The team at CD PROJEKT RED is incredibly proud to team up with Blizzard and the Diablo IV team, kicking off a partnership between two studios with a deep passion for immersive worlds and memorable RPGs that players never forget. And what better way to begin, than by bringing the dark fantasy world of The Witcher to Battle.net?
Warlock: Dungeons & Dragons gameplay reveal trailer, screenshots
Publisher Wizards of the Coast and developer Invoke Studios have released the eight-minute gameplay reveal trailer for third-person single-player action adventure game Warlock: Dungeons & Drago…
Genshin Impact Studio Lean Into Elden Ring In Its New Action-RPG
Nodus Fall takes place in a world where 'divine authority has crumbled'—sound familiar?
Apple to Release 13 More New Products Later This Year
Looking past the new Mac mini and Mac Studio models unveiled today, Apple still has plenty of other new products on its roadmap for this year. It is nearly September, and that means the iPhone 18 Pro, iPhone 18 Pro Max, and the first-ever foldable iPhone are just around the corner. Other products expected later this year include the Apple Watch Series 12 with a ceramic case option, AirPods 5, an all-new Apple home hub, new Apple TV and HomePod mini models, and more.
Sci-fi action platformer Elta: Defy All Gods announced for PS5, Xbox Series, and PC
Publisher Focus Entertainment and Dreamscaper developer Afterburner Studios have announced Elta: Defy All Gods, an “adrenaline-fueled action platformer blending free-form melee combat, fluid …
Medical Drama ‘Diplomatic Immunity’ Lands Greenlight At USA Network
The series, from Matt Corman & Chris Ord, marks the first major external live-action scripted sale from Fox Entertainment Studios.
Apple releases new Magic Keyboards with one notable change
Today Apple launched minor updates to its Magic Keyboard accessories, a revision timed with the latest Mac mini and Mac Studio releases.
Apple releases new Polishing Cloth for $9
Not to be overshadowed by the new Mac mini and Mac Studio, Apple today has also released an updated version...
Maverick Games partners with Focus Entertainment to publish debut racing title Clutch
Amazon Game Studios ended its publishing agreement with Maverick for the then-unannounced game earlier this year
Apple Unveils New Mac Studio With M5 Max and M5 Ultra Chips
Apple today announced new Mac Studio models with the M5 Max and M5 Ultra chips, the latter of which is the company's most powerful chip ever. The M5 Ultra chip includes an up to 36-core CPU that contains 12 super cores and 24 performance cores. It delivers up to 1.25x higher single-threaded performance and up to 1.3x higher multithreaded performance than the M3 Ultra from the previous generation Mac Studio.
Apple announces new Mac Mini and Mac Studio models with AI upgrades
"With these frameworks and new chips, developers can run and fine-tune large AI models locally on their Mac," Apple said.
Apple launches new Mac Studios with its ‘most powerful chip ever’
Two new Studios. M5 to the Max — and Ultra.
CinéShow Exhibitor Marketing of the Year Award: Cinergy Entertainment
The last few years have been an exciting time for in-theater marketing. Gen Z’s enthusiasm for FOMO-inducing events and social media–friendly menu items, together with the unfortunate culling of marketing personnel and resources on the studio side, have set the stage for a surge of creativity among cinema marketing professionals, At the top of the […]
The Witcher 4 Gets 2028 Release Window but No Gamescom Gameplay Preview
It's now been over a year since CD Projekt Red, the game studio behind the Witcher franchise, revealed that The Witcher 4 would likely launch "after 2026." Now, in a recent announcement, CD Projekt Red revealed that it would be showing off The Witcher 3: Wild Hunt—Songs of the Past at Gamescom...
Canceled Iron Man Game Footage From Just Cause and Mad Max Developer Leaks Online
Alleged footage from Avalanche Studios' canceled Iron Man game has surfaced online.
Warhammer 40k: Space Marines Codex Moves 16 Units To Legendary Status!
Some universe-shaking changes are coming for Space Marines this fall. Just an hour after the reveal of the new Outrider Captain, a full preview of the new Codex: Space Marines is here! The studio kicked things off with a brief video overview of what to expect, so take a few minutes to watch and let’s […]
Economic Development Forum returns to Downtown Memphis Aug. 25-27
The Economic Development Forum will be at the Renansant Convention Center from Aug. 25 through Aug. 27.
Fanta Brings Halloween to Life with an All-New Entertainment Universe
, , , , • This Halloween, Fanta is unleashing Fanta’s Haunted Universe - a new world of four original characters inspired by classic horror legends, bringing fans a season packed with spooky surprises. , , , , , , , , , , • Launching today with an introductory cinematic trailer, Fanta’s Haunted Universe has been developed with entertainment studio GRAiL, bringing together leading creative talent and new technology to build an original world for a new generation of Halloween and Horror fans. , , , , , ...
New Universal roller coaster sends thrills and noise into nearby neighborhood
They say the noise coming from the new ride is disturbing and disruptive
Building the beat: How New Orleans can grow the business behind the music
People dance to the music of the TBC Brass Band Photo by Michael DeMocker / The Times-Picayune This week New Orleans hosts the annual Cutting Edge CE Conference, which brings together members of the music industry, musicians, lawyers and others to learn about and discuss the latest changes in the business of making, producing and selling music. googletag.cmd.push(function() { googletag.display('ad-1492300'); }); The conference comes as AI and streaming are causing upheavals in the industry. Meanwhile, we’ve seen at least a partial collapse of the global festival industrial complex which has long been a key financial lifeline for many artists.All of that can feel a bit removed from life in New Orleans. After all, we are a city filled with music. On any given day or night, there are dozens of shows across the city, ranging from jazz and blues to hip-hop, bounce and house. Whereas in other cities kids dream of being the star of their local sports team, in New Orleans more often than not they dream of leading their own band.And music is a huge part of our economy. Before New Orleans was known as a foodie destination, it was already drawing millions of visitors from around the globe to experience our jazz, soul and funk scenes firsthand.But the reality is, if you want to make it big, you’re probably going to end up leaving the city. We’ve seen major performers like Lil Wayne, Master P and Jon Batiste (though he’s back on the Northshore) decamp to Los Angeles, Miami and New York. Likewise, up-and-coming musicians like Greer Grimsely, $leazy EZ and Lucky Daye have also left town in search of more profitable pastures.Meanwhile, our local universities train some of the best producers and engineers in the business — only to see them head to one of the big music industry cities after graduation.It’s not a new phenomenon, though the reasons have changed over the years. Like a lot of early jazz musicians, Louis Armstrong famously left New Orleans, first for Chicago before ultimately settling in New York City. But while those early migrations had more to do with racism, in today’s day and age, musicians end up leaving because New Orleans doesn’t have the industry infrastructure necessary to sustain the kind of growth and, well, success, a lot of folks dream of.It’s a hard, but very real, truth. Artists have to go to Nashville for publishing, Los Angeles for production, Atlanta to join a label or New York for representation. That, in turn, is a drain not only on the city’s talent pool but on money that could be staying here at home.Not being an industry town inevitably makes it that much harder for musicians who don’t leave to get the recognition and success they deserve. It also undoubtedly plays a part in keeping the wages working musicians in New Orleans make at their gigs here lower than in places like Austin or Nashville.That’s not to say we don’t have any of the infrastructure needed to make New Orleans a music industry town. We’ve got live music venues, studios, record labels, management companies, copyright attorneys ... all the various building blocks are there. We just haven’t ever built upon that solid foundation. googletag.cmd.push(function() { googletag.display('ad-1492297'); }); The question is how do we do that in a way that supports our existing industry and artists, respects our cultural traditions and ensures the wealth generated is equitably distributed so it isn’t just C-suite executives who end up reaping the benefits. And the time to start figuring out the answers is now: next year the legislature will focus on taxes and spending, making it vital that New Orleans leaders have a plan to try and secure funding to help grow our industry.So we asked a group of New Orleanians to give us their thoughts, ranging from industry attorneys and venue operators to working musicians and cultural advocates. Their answers point toward turning New Orleans into a music industry city without leaving musicians behind or abandoning what makes us the greatest music city on earth.If a dusty city like Austin can transform itself into a major hub not just for music but the industry behind it, surely the birthplace of jazz — and pretty much all modern music by extension — can figure it out as well. +3 Mailbox Money: The Recording Academy’s Reid Wick on supporting, and growing, New Orleans’ music industry Reid Wick has been a part of the New Orleans music landscape from virtually every angle. He'… California Dreaming: Pell discusses his time in L.A. and how New Orleans can help young musicians In 2015, New Orleans-born rapper Pell decided to make the move to Los Angeles. He was fresh … +2 Up from the street: To build a stronger music industry, support community first. At MaCCNO, most of our team aren’t just advocates, we’re also working musicians. Here are a … +2 Live and direct: Public investment in independent venues is key to a robust music economy. I’ve spent most of my adult life looking at the New Orleans music business from every side o… +2 Helping Hand: New Orleans doesn’t need more talent. It needs more infrastructure. People love to call New Orleans a music town. And they’re right. +2 \We out here: New Orleans doesn't need to be Austin. It's already a music industry city. +2 Futureshock: New Olreans has the music talent. Now it needs the innovation. New Orleans has long been known as a place for music creation and innovation. People travel … .donate-gambit-article-module-container { text-align: center; padding: 10px; /* background-color: #24da6d; */ background-color: rgb(153, 0, 0); margin-bottom: 20px; } .donate-gambit-article-module-title { font-weight: bold; color: #fff; } .donate-gambit-article-module-copy { color: #fff !important; font-size: 16px; } .donate-gambit-article-module-button { background-color: black; width: 50%; border-color: black; font-size: 16px; } .donate-gambit-article-module-button:hover { background-color: black; } @media only screen and (max-width: 600px) { .donate-gambit-article-module-button { font-size: 14px; width: 100%; } .donate-gambit-article-module-copy { font-size: 14px; } } BECOME A GAMBIT MEMBER AND JOIN OUR KREWE TODAY For more than 40 years, Gambit has covered New Orleans, for New Orleans. We’ve stood up to city hall with you, cheered the Saints with you, danced in the streets with you and cried over our collective loss with you. And we’re plannin’ on being here for 40 more. To do that, we need your help. Become a Gambit member today and help us continue our mission SUPPORT GAMBIT
Arc Raiders' fifth Expedition will be its last until early 2027
Embark Studios has confirmed the fifth Arc Raiders Expedition will be the last for a while, as it takes time to rework the system's core issues.
Could another Hollywood mega-merger cost California thousands of jobs?
Former studio execs warn industry uncertainty could pause production and already cost Hollywood jobs
Proposed Paramount-Warner Bros. merger threatens 4,500 Los Angeles County entertainment jobs
Local officials and labor leaders warn that proposed studio consolidation could wipe out billions in business revenue and devastate local vendors. By A new economic report warns the proposed Paramount-Warner Bros. Discovery merger puts 4,500 direct Los Angeles County jobs and billions in revenue at risk.
Double Fine Owns IP and Publishing Rights for All of Its Games Following Xbox Split, Psychonauts Studio Confirms
Psychonauts and Brutal Legend developer Double Fine Productions has confirmed it has regained the IP and publishing rights for all of its games released under Microsoft following its split from Xbox.
ARC Raiders Cancels Expeditions Until Early 2027
Embark Studios has announced that the fifth Expedition coming to ARC Raiders will be the last until at least early 2027.
Compulsion Games officially separates from Xbox – "The team told me we would rather eat rocks and drink gasoline than be split up"
Studio regains ownership of its IP and is transferring publishing rights back
Keystone Cooperative ag business invests in Indianapolis-based One Health Studio
Indianapolis-based agriculture and energy business Keystone Cooperative has become a corporate partner and investor in One Health Studio, an Indianapolis venture studio that launched late last year.
Watch Post-Strike Movie Supply is Driving Theatre Demand, Vue Entertainment CEO says
Vue Entertainment CEO Tim Richards says the chain may see its strongest summer box office since the pandemic. "What we are seeing this year is all the movies in the post-strike period now hitting out screens. But we are also seeing the studios and content-makers producing and releasing movies at unprecedented levels." He speaks to Bloomberg's Guy Johnson, Tom Mackenzie, and Skylar Montgomery Koning.
‘We would rather eat rocks and drink gasoline than be split up’: Compulsion Games has completed its buyout from Xbox
The South of Midnight studio now officially owns all its IP…
This app makes the Pixel 11’s HiLight feature actually useful
Devs are already doing what Google won’t.
How Michael Jackson and Richard Pryor helped ease racial concerns over “E.T. ”(exclusive)
The upcoming book “Stranded on Earth: How Night Skies Became E. T. the Extra-Terrestrial” details how the two entertainers helped the studio before the movie’s release.
Asking the next question: Orton peels back curtain of science in new UGA podcast
The tiny studio is dark and cramped as Ginger Orton settles into her seat, the long arm of a microphone stand stretching toward her as if an overeager cub reporter hanging on her every word. In many ways, she’s surprised to be here. For one, she never really expected to be a faculty member at
This app does with Pixel 11 Pro's HiLight what Google should have done in the first place
Pixel 11 Pro's HiLight LED is heavily restricted in functionality, but the HiLight Studio app turns it into a proper notification system.
The ReTerminal Sticky Is An E-Paper Display Begging You To Hack It
While companies like Xteink have found an unlikely audience with hackers and tinkerers, Seeed Studio is actively cultivating one.
'Michael' Remains Atop Weekly U.K. Home Entertainment Sales Chart Through Aug. 19
Lionsgate/Universal’s Michael Jackson biopic Michael continues its Official Film Chart run, spending a fifth non-consecutive week atop the weekly U.K. home entertainment sales chart through Aug. 19. Also making a return at No. 2 in its 10th week on the chart was Amazon MGM Studios’ Project Hail Mary, starring Ryan Gosling as science teacher who … Continue reading "‘Michael’ Remains Atop Weekly U.K. Home Entertainment Sales Chart Through Aug. 19"