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Senate Science Funding Proposals Revealed
Senate appropriators propose modest budget increases for NSF and NASA science, in contrast to the House, ahead of the Dec. 11 funding deadline.
What men need to know after a major update to prostate cancer guidelines
Middle-aged men should undergo regular screening for prostate cancer, the American Cancer Society said Thursday in a major change to its guidelines.
‘No money left’: Colorado faces $1.6 billion budget deficit
With close to 60 days left in his term, Gov. Jared Polis outlined his final proposed spending plan for the state Tuesday to the Joint Budget Committee, emphasizing fiscal sustainability and targeted investments in education and healthcare for the coming 2027-28 fiscal year.
Lower attendance and budget gap prompt more cuts at the Science Museum
More than a year after cutting positions, the Science Museum of Minnesota is trimming jobs again to close a $4.64 million gap amid lower attendance.
When NC faced one of its worst budget crises
A look at what was happening in NC politics 25 years ago.
Political notebook: Alders say no to mayor’s budget; Rahm takes 2028 ambitions to New Mexico
Highland Park staff proposes business grant for local grads, while also scaling back other business incentives
Highland Park businesses have had several opportunities to receive support from the City, and the future of those opportunities were under review this week as the city prepares its 2027 budget. At Monday’s Committee of the Whole session, City councilmembers heard updates on the existing four financial incentives and a proposed fifth, the proposed Giant […]
Can Micro-Budget Productions Create a New Path Into Entertainment? This Founder Is Betting on It
When work got scarce, she found a new way forward.
State agency requests kick off budget process
New Hampshire’s process for crafting a new two-year state budget reached a milestone in October.
Canada to merge export credit agency and business development bank
Canada is planning to merge Export Development Canada (EDC) and the Business Development Bank of Canada (BDC) into a single federal development bank, according to the 2026 Budget tabled by finance minister François-Philippe Champagne last week. The Canadian Commercial Corporation (CCC), the country’s contracting agency, will become a subsidiary of export credit agency EDC as part of…
ITV Cutting £30M From Budget Due To Weak Advertising Market
At ITV's Q3 results, the 'Love Island' network revealed it is cutting £30M from its budget due to a weak advertising market.
Fort Smith Board reviews convention center budget, catering request
The general manager of the Fort Smith Convention Center told the Fort Smith Board of Directors Tuesday (Nov. 10) that progress is being made on reducing the facility’s annual deficit,...
Moana, The Invite and “What Customers Want”
(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 going, I wanted to acknowledge that two of the most important figures in sports media (at least to me and my team) are stepping back from two of the best sports shows of all time. First off, Ernie Johnson will no longer host possibly the greatest studio show in the history of all sports, Inside the NBA. (Charles Barkley has said in the past that he’s retiring when Ernie does, which would be even worse!) EJ is one of the greatest to ever do it, and the NBA won’t be the same without him. Next, Michael Wilbon is taking a leave of absence from PTI, my favorite sports news show. I’ve been listening to the podcast for this show since the 2010s, if not earlier, treating it as my daily sports page. Wilbon, along with his co-host Tony Kornheiser, is also one of the greatest to ever do it. The sports media landscape will be worse without these two in it! Wishing all the best to Wilbon and EJ. Okay, on to this week’s issue. We’ve got two big shows—the second season of Prime Video’s The Terminal List and the third season of Netflix’s _Nobody Wants This—_but both were bested by an acquired title landing on Netflix. All that, plus an Original film from Mexico makes the charts but a formerly huge foreign TV show does not, a notable creator’s latest standup special flops, Ted Lasso finishes as a top season four series of all time, big numbers for the NBA’s new season (finally), the top animated shows on linear and streaming, movie budgets, and all the flops, bombs and misses, and a whole lot more. But first, on the film side, I’m taking a look at Moana and A24’s buzzy film from last summer. 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 October 19th to October 25th, 2026. You can find a link to my terminology here.) Subscribe Film - What Do Customers Want? If I could remove one phrase from entertainment journalism, it would be “what customers want”. It’s not that it’s not wrong per se, but I read a lot of articles that use that phrase, but then don’t provide evidence of what customers actually want.1 For example, look at the bar chart below. It shows customer interest as measured by how much customers actually spent at the American box office, comparing four films to four others. Which films would you say represent “interest” the most? The one on the left certainly seems bigger, right? So it seems like “customers” wanted to see those films more. So here’s that chart with names attached: That’s right, four very buzzy films—The Invite, You Can See Everything, Teenage Sex and Death at Camp Miasma and Primetime—went up against four notable “flops” or underperformers—Moana, Disclosure Day, Minions and Monsters, and Supergirl—and the latter clearly had more interest. That doesn’t mean they’re more profitable2 or well-liked by critics, but if you’re asking what customers want to spend their money on, it’s those movies. I’d especially argue that You Can See Everything had about as much media coverage as a film can get—I saw/read about it constantly; whenever random NBA podcasts are talking about it, you know it’s everywhere—and yet Moana will likely best it. I bring this up, because this week features a showdown between a notable box office flop, Moana on Disney+, and a buzzy dramedy, The Invite on HBO Max. Moana was widely considered to be a flop, and it was a disappointment at the box office, only earning $126 million domestically (and $323 million globally). For the budget, that’s a big miss, down from Moana 2’s heights of $1 billion globally. But as I’ve written a few times this summer, we often confuse “this film is profitable” with “more customers want to watch this film”, which is not the same thing. But that’s the box office. Let’s look at the streaming numbers, starting with the Moana live-action reboot. Where, yes, Moana (2026) also disappointed. It made Nielsen, but under 10 million hours, which is low for kid-skewing Disney+ films: It did make Samba TV, but at tenth place for only one week: Those numbers stand in stark contrast to some of Moana’s previous superlatives on streaming. Moana (the original animated film) has made the Nielsen charts 130 times since 2021. Moana 2 opened to 33.3 million hours on Nielsen. Moana was the biggest film on streaming in 2023 and 2024, second in 2020 and 2021, and top six in 2022 and 2025. Moana 2 was second overall in 2025. To be clear, the Moana live-action reboot didn’t work, given how much it cost to make. It’s absolutely a disappointment. But more families paid to see it than people paid to see most of A24’s buzzy films this year, with one notable (horror film) exception. Okay, on to The Invite, A24’s buzzy summer release, which just came to HBO Max. Mainly, I’m curious: Who made money from this film? Or who lost money: the stars of The Invite or A24? No, seriously, read this Deadline article for the details. The Invite’s budget was allegedly “under $15 million” (so...$14 million?) then A24 bought it for “a sum north of $10 million”, which I saw elsewhere as over $12 million (so...$13 million?), but then it just made $26 million in the US. So basically, The Invite’s investors only made money after they sold foreign territories—it made $33 million overseas—but A24 might just make its money back in the US in the theatrical window, assuming it had $0 in marketing. I read one article analyzing this film’s marketing campaign which assumed no marketing spend, even though that article went on to detail how much marketing and PR and ads this film had. For what it’s worth, I saw a lot of marketing for it. A24 will likely just break even after factoring in other windows, but no matter what, this isn’t a hugely profitable juggernaut from Hollywood’s most-heralded film studio. (And, I’d note, most coverage of IP or superhero failures doesn’t account for profitability in future windows.) Really, I’m guessing that the stars—Olivia Wilde, Seth Rogen, Ed Norton and Penelope Cruz—had or kept their backend, hence why they did so much press for this film, which brings me to my actual takeaway, which I just mentioned two weeks ago about Backrooms: I don’t trust A24’s reported film budgets anymore. Either A24 is strategically releasing low numbers to get good press or they’ve really cracked the code on how to make movies at prices no one else can approach. But I’m skeptical about that last point. You don’t keep elite talent happy by keeping budgets in check—see: Dan Lin getting fired—and by all accounts, A24 keeps talent very happy. There’s another option: not paying big name actors their actual quotes upfront by giving away back end/profit participation. Offering backend is one great way to keep the reported budget lower than it actually is, but it makes the film less profitable for A24. (By the way, I’m still running down the numbers on Backrooms’ budget. If you know its actual budget—not the reported $10 million number—reach out to me on my contact page. I’ve heard rumblings I’m on to something, but would love something more concrete.) Okay, enough asking questions about A24’s business model. To the streaming ratings! The Invite came to HBO Max on 23-Oct, so we could look at the streaming numbers now… …and I don’t have any for you since it didn’t make any of the charts I track. And that’s pretty much the moral of the streaming story. Even though it disappointed on streaming, Moana wins this round, too. Quick Notes on Film The only other notable new straight-to-streaming film was S_urviving Hurricane Otis_, a Mexican Original on Netflix. It made Nielsen with 3.4 million hours and Luminate with 4.8 million hours. Overall, I’d call that very solid for a foreign-language title, but still far from a hit. Overall, the Luminate and Nielsen charts felt very light this week. Gladiator II also came to Netflix non-exclusively (it’s still streaming on Paramount+) and had 5.0 million hours according to Nielsen. That’s up from the 3.7 million hours it had when it premiered on Paramount+ a year and a half ago. Netflix’s Animals fell to 4.9 million hours according to Nielsen and fell off the Samba TV charts. Peacock/Universal’s Disclosure Day actually made it for a third week, but only at 2.8 million hours. Apple TV’s Sacrifice was down to 2.7 million from 3.2 million. Still, for an Apple TV film to make two weeks is solid (for them). Toy Story 5 made a fifth week on the charts. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… ...how The Terminal List did after a four-year break... ...what acquired surprising title topped the charts… …where Ted Lasso finished in the all-time charts… ...big NBA opening week ratings... …a controversial new reality show that missed the charts... ...what very notable foreign TV show flopped... ...all the flops, bombs and misses... ...and a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue.
Iowa Economy recap: Leaders watch appointments, budget
After the mid-term elections on Nov. 3, including Rob Sand’s election as governor and changes to the Legislature, Iowa business leaders will be monitoring the governor-elect’s transition team, appointments to state agencies and the priorities outlined in his first legislative agenda. On the latest episode of the Iowa Economy Podcast, hosted by BPC President Chris…
GTA 6 Is About to Break Every Record. Millions of Fans Did Its Marketing for Free In the Process
Discover the real marketing lessons behind GTA 6. Learn how scarcity, patience, and community-driven hype can scale any business on a budget.
City Council majority draws line against $400 million in Johnson tax plans
A majority of Chicago aldermen oppose Mayor Brandon Johnson's proposed head tax and lease tax hike, putting roughly $400 million of his 2027 budget plan at risk.
FSU doesn't budge in new USA TODAY Sports' college football re-rank
In the newest USA TODAY Sports re-rank of all 138 FBS teams, Florida State stayed at No. 60, the 10th best in the ACC.
“Doesn’t Hurt That You Have $50M+”: Kyle Whittingham Shifts Attention to Oregon’s Massive Recruiting Budget Ahead of Ducks Clash
Michigan football is at a crossroads as it aims to rescue its college football season, and the pressure is on Kyle Whittingham. The Wolverines’ head coach made the decision to fire offensive coordinator Jason Beck after an unsatisfactory run of performances, but he still needs to win games to keep his own job secure.
Why homebuilders need business plans that test scenarios
Scott Cox argues that five-year plans should test scenarios, not tie to budgets, and shares two tests, the 11x17 and assumptions page.
Health Coverage Is Out of Reach for Many Californians
Explore five facts about health coverage in California, including Medi-Cal enrollment declines, persistent racial disparities, and barriers to accessing care.
Amid budget cuts and a campus closure, Adelphi taps foreign visa workers to teach science, PE
Adelphi University applied to sponsor a foreign worker for an assistant professor of physical education role paying $76,000 per year, one of five positions the school slated for the H-1B visa program…
HBO Max and Paramount+ are officially combining in 2027
The streaming landscape is about to undergo another massive transformation, and your monthly subscription budget might finally get some relief. Following Skydance’s historic entertainment merger, medi...
Scoop: Accounting error could cost Washington state $654M, staff says
The errors involve children's health insurance, and state officials disagree on the budget impact.
The State of Politics: For First Time in 18 Years, Democrats Control Budget Process
Which legislators will serve on two key committees deciding how to spend $114 billion?
Bill Hader’s $92M Comedy Stumbles at Box Office Despite No. 2 Opening
Bill Hader’s $92 million animated comedy just hit theaters, and Warner Bros. might already be sweating. The studio’s latest big-budget release opened at No. 2 domestically, and early numbers suggest i...
SpaceX Wants To Turn AI Compute Into A $500B Business Next Year – And Elon Musk Says NASA’s Annual Budget Is No Match
Baron touted $50 billion in annual rental revenue from $35 billion data-center investments.
Paul Blackburn is testing the Yankees’ bullpen budget
Paul Blackburn made himself much more expensive to replace than the Yankees probably expected a year ago. I’d make a […]
Chile Congress committee sends science budget with negative opinion
Chile’s joint congressional budget committee sent the 2027 Science Ministry budget item to the Chamber of Deputies with a negative opinion after no government amendments were submitted.
Expecting a baby? Five tips to help you prepare for pregnancy costs
Out-of-pocket maternity expenses are difficult to estimate. Here are ways to budget for the myriad medical bills.
Sen. Chris Murphy’s stroke at 53 highlights a trend: Strokes among younger adults have risen
Researchers found that the stroke incidence rate among adults from 1993-94 nearly doubled in 2020, jumping from 33.90 cases per 100,000 people to 62.18 cases.
Rep. Brendan Boyle talks Democrat priorities, negotiating with Trump
With Democrats taking control of the U.S. House, Congressman Brendan Boyle is poised to be the chair of the House Budget Committee. Just days after the midterm election, he talked to political reporter Lauren Mayk about his new role, Democrats’ priorities, negotiating with the Trump White House and his decision not to run for U.S. Senate in 2028.
How Much Would It Cost To Build A High-End Gaming PC In 2026?
Buying a high-end gaming PC isn't entirely impossible, but even when making certain compromises, you should expect to stretch your budget into the thousands.
A Flag for Every Hero: Local Business Gives Back This Veterans Day
Budget Flag and Banner is planning a 20-hour installation marathon to honor local veterans with free flag services on Nov. 11.
When politics meets motherhood: The disruption of a patriarchal system
From Ségolène Royal to Marine Tondelier, balancing the expectations of motherhood and a political career challenges a political world shaped by and for men.
Grand Theft Auto VI set to break all entertainment launch records
The development budget for GTA VI has reached over $1 billion, higher than any prior game or movie, with first-week sales projected at billions
St. Tammany Parish budget hearing sparks emotional debate over mental health services
A public hearing in St. Tammany Parish revealed concerns over budget cuts that could impact nonprofit mental health services, with tense exchanges between community members and officials.
Johnson tells Crain’s: Election strengthens the case for taxing the wealthy
In a post-election interview, the mayor argues voters have endorsed his approach to raising revenue. But City Council opponents say he still needs to rewrite his $17.6 billion budget.
1115 Waiver Watch: A Look at Budget Neutrality Policy Changes
This brief discusses key Medicaid policy changes included in CMS budget neutrality guidance and identifies open questions about how the policy changes may be clarified and how they may affect states with existing 1115 waivers or states interested in applying for new ones.
When papers become currency: a Chinese debate about trust in science
Last Saturday, 31 October, I went to the University of Hong Kong’s Beijing Centre for its Talent Forum. It was the fourth stop in the series this year, following events in Shanghai’s Zhangjiang, Shenzhen’s Qianhai, and on HKU’s main campus. The programme covered a remarkable distance in one afternoon. HKU’s Xiao-Jing Wang discussed computational neuroscience, intelligence, and the prefrontal cortex—before even delivering his inaugural public lecture to students back in Hong Kong. His colleague Bing Zhang took us from the Big Bang to artificial intelligence. Tsinghua’s Xue Lan asked how AI might reshape the institutional infrastructure underpinning higher education. There were lively panels featuring industry leaders from JD.com, Xiaomi, Haier—and Kaiser Y Kuo on the closing panel discussing innovation and international connections. I cannot pretend to have followed every detail of the brain models or the astrophysics. The talk that stayed with me was closer to something we have covered before: Zhou Zhonghe 周忠和 on papers, evaluation, and scientific trust. Zhou is a palaeontologist, an Academician of the Chinese Academy of Sciences, and an international member of the US National Academy of Sciences. He is also editor-in-chief of The Intellectual (知识分子), China’s leading science commentary platform. His subject was uncomfortable enough for a room full of successful academics: what happens when the system for recognising good science starts rewarding something else? Part of my interest came from our sister newsletter, The East is Read, which covered the controversy around “Geng Tongxue” in May. A PhD dropout from Beihang University, Geng has publicly challenged papers by prominent researchers through detailed online allegations of manipulated images and fabricated data. At Tongji University, an investigation into a challenged Nature paper found academic misconduct, and the dean of its life sciences school was removed. The affair brought doubts about academic integrity well beyond laboratories and university committees. How could someone outside the established hierarchy spot problems in papers that had passed through prestigious journals and institutions? And what, exactly, had all that prestige guaranteed? Zhou approached these questions through two essays published in July by The Intellectual: one by Wang Xiaodong, director of the National Institute of Biological Sciences, Beijing, and a response by Wang Liming, of Shanghai’s Shangsi Institute of Natural Sciences. Both began with the controversy over Geng. Their arguments deserve a wider audience, so I want to put parts of them alongside what Zhou said on Saturday. Wang Xiaodong’s starting point is evolution. A research system selects for the behaviour it rewards. Grants, jobs, journals, talent programmes, and prizes collectively determine which scientists prosper and which practices get passed down from advisors to students. “Whatever the system rewards is what it will evolve to produce,” he writes, citing the ancient Chinese saying: The King of Chu loved slender waists, and many in the palace starved to death. That is a more demanding diagnosis than saying there are dishonest people in science. Punishing a fraudster does not change the selective environment that made a particular kind of research profitable. His account also gives scientific success an awkward role in the story. As Zhou put it on Saturday, science became a victim of its own success. Once research became central to industry, national power, and economic growth, universities and laboratories expanded, and public money followed. That created an administrative need for rapid decisions: who should get the next grant, the next laboratory, the next appointment? The difficulty is that the true value of a discovery may take years or decades of testing and building to become clear. Resource allocation cannot wait that long. Publication counts, journal prestige, impact factors, and citations therefore become convenient ways to make an instant judgement. “The real problem is not that these indicators have no value,” Wang Xiaodong writes, “but that they are trying to answer a question that only time can answer.” Telling administrators simply to stop counting papers will never be enough. They still have budgets to distribute and appointments to make. Something has to replace the shortcut. Zhou described the consequences inside publishing. Papers acquire ever more requirements: a complete story, polished presentation, extensive datasets, and accessibility to readers beyond the immediate field. Individually, those demands sound reasonable. Together, he warned, they produce formulaic “eight-legged” papers 八股文 and rigid reviewing, while genuinely original or non-consensus work struggles to get past journal editors—some of whom wield immense gatekeeping power despite having limited laboratory experience themselves. Meanwhile, the demands for sprawling, “complete” narratives have fuelled a wider replication crisis. Wang Xiaodong uses a mahjong metaphor to describe the result: put the complex papers published by the exact same lab over several years side by side, and they often look like “Thirteen Orphans” (十三不靠)—every tile completely unrelated to the next, and none of them reproducible by outsiders. Zhou also spoke frankly as an editor who has trouble finding reviewers. Everyone wants someone else to review their work; qualified senior researchers have little time to return the favour. The labour is anonymous, unpaid, and brings almost no institutional recognition, so it increasingly gets passed down to postdocs and graduate students. And while anonymity protects reviewers from rank and personal favours, hyper-specialisation means an author’s most qualified reviewer is often a direct competitor, shielded from accountability. The protection and the problem coexist. Wang Liming takes the argument a step further. The decisive change, in his essay, is the instant conversion of academic honour into material resources. Once a paper can be cashed in for funding, a job, students, commercial investment, or even a company valuation, scientists are alienated from their work: they must keep minting this “research currency” to keep their teams alive. He is careful not to romanticise the past. The old world of gentleman scientists—financially independent figures like Boyle and Darwin who needed nothing from external funders—was also a closed club that excluded people without inherited wealth, women, and much of humanity outside the West. Professional science allowed ordinary people, himself included, to become researchers. Nobody should want to undo that. The problem, in his account, is an exchange system that becomes too uniform and too difficult to correct. His most pointed Chinese example is the “hat” (帽子): the prestigious talent designation that brings continuing access to money, laboratory space, students, and institutional influence. “If papers are the circulating currency of the research system, then a ‘hat’ is a bond that pays interest over the long term,” he writes. A paper at least requires another round of peer review. A title in the Chinese context can lock in a judgement made years ago and turn it into permanent status rent, regardless of whether its holder is still doing good science. Here, official institutions hire, organise, and evaluate scientists. Unlike honours awarded by autonomous academic communities in the West, a Chinese “hat” blends non-scientist administrative power with state authority. Once granted, it turns a past judgement into permanent status rent that is nearly impossible to revoke—because taking a hat off would imply that official authority erred in putting it on. Both Wangs see China as experiencing, at compressed speed, pressures present across global science. Research expansion, rising investment, publication growth, and elaborate evaluation metrics arrived in China within two or three decades rather than two or three centuries. Zhou agreed with that international framing—noting that recent US White House science policy documents and the new president of the US National Academy of Sciences, a fellow palaeontologist who recently visited Zhou’s institute in Beijing, have raised strikingly similar warnings about consensus-bound peer review, short-term project grants, and the replication crisis. Still, Zhou emphasised that China’s traditional hierarchy, personal networks (guanxi), and the ethos that “a good scholar becomes an official” (学而优则仕) amplify those pressures at home. So what would change things? Here Zhou’s tone differed from the call for a revolution in scientific trust in Wang Xiaodong’s essay. As an evolutionary biologist, Zhou favoured patchwork repair (修修补补). Living systems survive through accumulated adjustments; dramatic mutations are usually fatal. Science cannot return to a small, slow-moving pastoral era, especially after the successive accelerations of professionalisation after the Second World War, the internet, and now artificial intelligence. But it can alter the local environment in which researchers work. He pointed to domestic experiments designed to support unconventional research and diversify funding, including Tencent’s New Cornerstone Investigator Program, the Xplorer Prize, and the Future Science Prize. He also mentioned participating in reviews for “major non-consensus projects” under the National Natural Science Foundation of China. One guiding principle he recalled was wonderfully direct: “Failure is allowed; corruption is not” (允许失败，不允许腐败). That distinction would mean quite a lot if taken seriously. An honest attempt that fails should not have to disguise itself as a success to survive an assessment. Wang Liming’s essay adds a sharp caveat to the optimism about new domestic funders. Multiple organisations do not automatically produce multiple ways of judging science. If the same pool of senior domestic scientists makes the decisions through the same two-round review procedures, it is still “fake diversity.” He argues for three distinct kinds of money: broad baseline funding governed by fair procedures; patient funding for questions that take ten years; and non-consensus funding based on individual taste, deliberately empowering a few genuine experts to make biased, contrarian bets on eccentric ideas that would inevitably be averaged out by a committee. Replacing one monopoly with another achieves little; a healthy ecosystem needs variance. Zhou’s proposals for publishing were similarly concrete: strip papers of their resource-allocation burden and return them to recording discoveries and establishing priority; separate dissemination from evaluation, as eLife and Peer Community In do; adopt more modular “micro-publications” and real-name endorsements; recognize the labour of editors and reviewers; and give replication work proper credit rather than treating it as an unpublishable dead end. AI makes every part of this debate more urgent—and Zhou wove it throughout his talk. In his own preparation, he used AI to survey the declining influence of academic monographs, noting how tools are already changing how scholars gather information. More fundamentally, he placed AI as the latest great acceleration in scientific history: just as the internet sped up the pace of research and tightened external resource pressures, AI is compressing the cycle again. In the essays Zhou cited, AI cuts both ways. Wang Xiaodong expects large language models to erase much of the English-writing disadvantage long faced by Chinese scientists, further swelling the flood of papers coming out of Chinese labs. Wang Liming sees AI accelerating both ends of the trust crisis: it lowers the cost of paper mills and fabricated images just as quickly as it lowers the cost of automated image forensics, data auditing, and code reproduction. “Whoever builds the verification layer wins,” Wang Liming writes. His proposed alternative to the static, packaged “story paper” is a continuously versioned “unit of discovery” containing a falsifiable claim, raw data, analysis code, experimental parameters, and an ongoing log of independent checks—where negative results and failed replications are recorded rather than buried. Zhou ended his keynote by bringing AI back to the question of scientific honour and credit. Citing a recent Intellectual discussion on “What AI Means for Mathematics” featuring Fields Medalist Deng Yu 邓煜—at a moment when AI is already batch-solving mathematical conjectures, as HKU Vice-President Lin Chen noted in his opening remarks—Zhou agreed that human researchers must remain the principal agents: AI is a tool that frees scientists from tedious calculation to think about deeper, messier real-world problems. Yet that partnership creates a thorny new evaluation problem. When a breakthrough is made with AI, what is the human contribution and what is the machine’s? And since AI models distil centuries of accumulated human scholarship, is it right that the credit and value flow so heavily to the private AI companies building the tools? The old struggle over how to assign scientific honour is acquiring a whole new layer. What I took away was a serious discussion of how science can remain trustworthy as its scale, incentives, and tools change. These were scientists with real standing inside China’s system questioning how that standing is produced, and proposing changes that would affect their own institutions and peers. That made the afternoon at HKU’s Beijing Centre worthwhile. At the close, Wang Feng, Director of Communications and Public Affairs at HKU, said the value of the forum series—which heads to Hangzhou in December and cities like Chengdu early next year—would lie in the real cooperation it helped bring about. The university has plenty to celebrate: this week it topped the QS Asia rankings for a second consecutive year, alongside its 11th-place position in the QS World University Rankings 2027. For me, bringing this debate to an audience beyond the people who review papers and allocate grants was a useful contribution. Share [ The East is Read PhD dropout’s exposé forces an academic fraud reckoning in China A former doctoral student turned blogger has shaken China’s academic establishment by publicly accusing prominent university scholars of fabricating data and manipulating papers, triggering investigations at several leading institutions and drawing rare attention from state media… Read more 5 months ago · 43 likes · 8 comments · Yuxuan JIA ](https://www.eastisread.com/p/phd-dropouts-expose-forces-an-academic?utm_source=substack&utm_campaign=post_embed&utm_medium=web&embedding_publication_id=47580)
Moore talks Maryland budget, redistricting, Democrats’ future after reelection
Gov. Wes Moore is heading into a second term promising to make Maryland more affordable, but a projected $2.5 billion budget shortfall will test how he delivers on that pledge.
Eastern requests more state funding for Integrated Science Building after receiving bids
Construction of EIU’s Integrated Science Building is awaiting the state’s decision to allocate more funds after projected expenses exceeded the current budget. The bids are for a new three-story academic science building for the biology and chemistry departments to the south of the Tarble Museum of Art, along with a new greenhouse. The university has currently received bids from four different...
Gifford Health Care raises rates and reduces hours on its employee daycare center
Gifford Medical Center faces a difficult tradeoff as it prepares to hike daycare rates to close a budget deficit.
Pritzker won big. Now comes the hard part.
With a third term secured and a possible White House bid looming, Pritzker faces tough fights over Illinois' budget, the Bears and data centers.
Benefits Can Help Older Adults Stretch Their Budgets and Protect Their Health
Every year, older adults leave $58 billion in benefits unused, money that could help cover groceries and prescriptions.
Problems at health trust buildings could cost additional £20m
The maternity building on the Royal Victoria Hospital site is already tens of millions of pounds over budget.
The Last Disney+ Original?
(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 going, I wanted to remind readers about how I plan to keep your trust while I add advertising to this newsletter. As you’ve no doubt noticed, I’m running ads now, but the danger is that it could impact my analysis and writing. I have a list of sponsors on my About Page, so if you think I’m biased, you can check out who’s sponsored this newsletter! This is something that I’m not sure anyone else in digital media does (if you’re a writer or media outlet and you do this, let me know and I’ll shout you out!) but it’s something I’d love to see embraced by the entire industry. Sunlight, i.e. transparency, is often the best disinfectant. Okay, on to this week’s issue. We (finally) have another major Disney+ TV show to talk about, so that’s my main focus for today. Plus, we had a lot of new shows come out, including the fourth seasons of The Diplomat and Tulsa King! And Love is Blind! The Lowdown! Also, four (four!) straight-to-streaming films came out this week, featuring a lot of big names and celebrities, so I’m going to look at those. All that, mixed news for the WNBA, Reacher ends its run on the charts, Skydance does well in September viewership, NYU’s Sundance dominance, 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 October 12th to October 18th, 2026. You can find a link to my terminology here.) Subscribe Television - Disney+’s Porridge Problem Listen, per my headline, VisionQuest isn’t the last Disney+ Original. At least, I’m pretty sure it’s not. They have other MCU shows in development. Well, maybe one: But it sure feels like the end of an era. I’d call it their “porridge too hot” era, to quote myself from The Ringer. I told Ben Lindbergh that Disney+ seemingly couldn’t figure out the right amount of content. In the heights of the Streaming Bubble Era (circa 2019 to 2022), they started releasing an insane amount of TV shows. After their growth slowed, they’re down to two or three shows a year, and that might be down to 1 by 2027. Here’s my TV shows by year chart: Even at the time, I thought Disney was making too many shows (that cost too much). Today? They’re definitely making too few shows (though the budgets are more in check, at least according to the reporting). Porridge too hot, porridge too cold; too many shows, now not enough. Which makes evaluating VisionQuest so interesting. This show didn’t have a great lead-in, whether it be a Marvel Cinematic Universe film (the last non-Sony-produced-Spider-Man flick came out The Fantastic Four from July of 2025) or Marvel Cinematic Universe TV show (the two this year were Wonder Man back in January and _Daredevil: Born Again_in May, both of which underwhelmed). And so far, VisionQuest hasn’t quite recaptured the MCU Originals glory, but it has some signs of sparks. First, it made Samba TV, though at a lowly ninth place. At least it made it, a feat some other Marvel shows didn’t accomplish. (Ironheart landed on the Samba TV charts one week at tenth place, but Wonder Man and Daredevil: Born Again both missed.) VisionQuest also made Luminate, though with only 3.0 and 7.6 million hours. But it missed Nielsen in its first week. The best news might be its 7.8 on IMDb, on 12K reviews so far, great numbers, even for a superhero show. Looking at those numbers, this show will really need to pick up in future weeks—and it may since it’s coming out weekly—or Disney will have another disappointment on its hands. Disney+ binge-released their last few shows to try to boost numbers, but that meant shows like Iron Heart and Wonder Man didn’t last long on the charts. _Daredevil: Born Again’s_last season missed entirely (though it came out weekly). Here’s the Disney+ Originals by totals: And for a fun new look, here are those same shows, rearranged by the years they came out: That really shows that, in addition to Disney+ releasing fewer shows, those shows just don’t hit like they once did. If I had to offer one main explanation, it’s that Marvel Studios moved away from characters who starred in the Avengersmovies (The Scarlett Witch, Vision, Hawkeye, Loki, Falcon, Winter Soldier) to characters who didn’t (Moon Knight, She-Hulk, Iron Heart, Wonder Man, Daredevil). It sounds trite, but more popular IP tends to do better than less popular IP. In Marvel’s case, beloved, decades-old characters trump newer ones. And yes, I think this is a problem for Disney. The failure of Marvel TV shows to linger for weeks on the charts, unlike in 2021 and 2022, explains why Disney’s share of the charts has plummeted: That’s a strategic issue. Yes, these shows are really expensive, but without them, Disney+ will struggle, especially if Disney+ keeps raising prices AND licenses out its shows non-exclusively. My recommendation? Return to the core value proposition, which is Disney+ as “genre HBO”. The goal is six shows a year, coming out weekly, spaced out throughout the year. When a show hits, keep it coming back. Make three to four of those shows Marvel or Star Wars, and fill out the rest with IP swings like Percy Jackson, Goosebumps or something like National Treasure. And make YA-skewing shows like Coven Academy to fill out the schedule. Disney, you can get this porridge just right, er, make the right number of shows. Quick Notes on TV Netflix’s sophomore, er, junior, er, senior season slump abated very, very slightly this week. I speak of The Diplomat, which returned for its fourth season on 15-Oct. Credit where credit is due, this show debuted in April of 2023, and has put out new seasons every year since. Has that helped the viewership? Not really. This season opened to 16.4 million hours, which is down significantly from the first season (21.7 million hours) and down somewhat from the second season (18.0 million hours), but it is up from last year’s 14.2 million hours opening. On Samba TV, it opened to third place; that’s also very good. On Luminate, it opened to 25.0 million hours, which is good, but over thirty million hours is a hit on that platform. Netflix wisely renewed it, since it’s steady and, frankly, Netflix needs hits.1 Paramount+ put out Tulsa King’s fourth season on a Friday. After putting out most of their big, usually-Taylor Sheridan-scripted shows out on Sundays last year, they’ve clearly moved to Fridays going forward. Was this a thought-out strategic change, Netflix mimicry, or a data-inspired move? Tough to say. Fridays are crowded with new movies, but so are Sundays with new shows. Anyways, this one is coming out weekly, and we haven’t seen it hit the Nielsen or Luminate charts yet. But it did make Samba TV at fifth place, which is a good opening. Still, if this doesn’t make Luminate or Nielsen next week, I’d call it a disappointment. Netflix had two unscripted shows hit the charts this week, one a docu-series and one a reality competition show. Tyson is a four-episode docu-series about one of boxing’s most popular fighters, and it made both the Samba TV and Luminate charts, but not Nielsen. That’s a solid run for only four episodes (assuming it didn’t cost an arm and a leg to produce). Netflix’s latest season of Love Is Blind also returned for its eleventh season, which opened to 10.0 million hours, down from previous seasons. It also had 11.0 million hours according to Luminate, roughly in line with the Nielsen numbers. Last issue, I analyzed the triple successes of Below, Carrie and Crystal Lake, noting that all three have done well. I mostly used Nielsen, but all three shows also made Samba TV (see above). Crystal Lake in particular did very well on Luminate, getting 35.0 million hours, top for Peacock among first seasons: The top “show” of the week would have been Thursday Night Football again, at 41.7 million hours. This is still above last year’s game, but it continues the season’s overall downward trend, which happens every year. (Though a big week is coming, based on the news stories I’ve seen.) As I said before, I’ll do a deeper dive on all the October games later this month, with comparisons to previous years. One company is quietly on a roll, when you consider the shows it makes and streams. I speak of Skydance—a point Variety made—noting that it produces Neagley and Reacher for Amazon, along with Paramount+’s Lioness, which means it produced three of the top four shows of September according to Nielsen. By the way, Neagley fell off the Nielsen charts after four weeks, which is a pinch short for how well it started, but it’s still a huge success. (Interestingly, it finished just 7.3 million hours ahead of the cancelled Ride or Die.) The point, though, which I’ve made before, is that Prime Video still has a problem with how many co-productions it buys, most notably _The Boys_from Sony and Reacher/Jack Ryan from Skydance. It’s not a critical flaw—everyone licenses shows—but Amazon still struggles to make its own hits. Reacher finally fell off the Nielsen charts, so here’s its final rank for season four: 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… ...An example of the algorithm NOT picking a film… …whether or not Netflix buys shows simply for the movie poster… ...if East of Eden is above the Obliterated Line... ...what four star-studded straight-to-streaming films didn’t chart... ...and a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue.
Russia's Poorer Regions Facing Brunt Of Health-Care Cuts As Military Spending Soars
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Georgia Football Needs a Strong Economy, Not an Uncertain Business Climate Under Keisha Lance Bottoms
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This brilliant budget 3D printer is the one I'd buy if I were getting into the hobby
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The real problem with Britain’s Political Traitors show is that no one is very faithful to anything for long
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North Dakota Health and Human Services Responds to 2025 Biennial Audit | Health and Human Services North Dakota
Bismarck, ND (October 29, 2026) - North Dakota Health and Human Services is pleased to say the 2025 biennial audit released by the State Auditor’s Office shows strong overall performance across its programs, safeguards and operations. In a biennial budget of nearly $6 billion, auditors identified only seven findings, which demonstrates effective oversight and responsible program management.
Global Health & WASH
The US National Institutes of Health reopened its center and program-project machinery in force. NIGMS is funding Collaborative Program Grants for interdisciplinary teams, NIAID opened both its Immune Tolerance Network and a next-generation R&D call, the NCI runs its Carcinogen Hazard Assessment Monographs program, the National Library of Medicine is funding institutional training in biomedical AI and data science, and NIH reopened its Centers for AIDS Research. The tell: these pay for standing centers and multi-year consortia at institutions with an existing funded research base, not one-off projects, so the fit is an established US research institution, not a single investigator. Disease-specific foundations are again funding the researcher, not just the research. The Parkinson’s Foundation opened its Paul Oreffice Innovations in Care Award and the National Ataxia Foundation its Research Seed Money Grant. The tell, the same one we flagged last cycle, is a named early-career or seed award that builds a pipeline of scientists committed to one condition, so what wins is a researcher willing to specialize. The post-USAID global-health money is routing through a State Department program statement and multilateral innovation funds. The US Department of State’s Bureau of Global Health Security and Diplomacy opened its Advancing Global Health Annual Program Statement, Grand Challenges Canada opened Nexa Lighthouse for climate and health innovation in Asia and the Pacific at USD $250,000 to $2,000,000, and CEPI opened a rolling call on vaccine-manufacturing analytics. The tell: the largest health money this cycle sits in a standing program statement and in staged innovation vehicles, not in a single bilateral grant. Total Estimated Funding Pool: ~$35.4M across discrete grants. (Separately, large national-formula envelopes not counted in this total: U.S. Department of State, Bureau of Global Health Security and Diplomacy (GHSD).) This post is for paid subscribers. This helps support the time and effort it takes to curate and organize these opportunities. Subscribe To keep this accessible to everyone who needs it, we’re happy to offer pay what you can rates. You can find more details here. New opportunities: Paul Oreffice Innovations in Care Award, Parkinson’s Foundation. *New!* *Closing soon!* The Parkinson’s Foundation created the Paul Oreffice Innovations in Care Award to fund clinicians rethinking how people with Parkinson’s disease receive care. The Foundation is using pilot funding to move promising ideas into testable projects, backing work across four lanes: strengthening community clinician capability, redesigning care models, building patient-centered technologies, and defining the minimum clinical datasets that make better standards possible. It wants hypothesis-driven, clinically grounded projects that can generate evidence strong enough to attract further funding. By opening the door to clinicians at every career stage and strongly preferring projects that involve people with Parkinson’s in their design, the Foundation signals that it values practical, patient-shaped innovation over prestige. The strongest fits are US-licensed clinicians with a focus on Parkinson’s and an institutional home for applied care research. Geographies: united states. Who can apply: Clinicians of all career stages, from fellows to established faculty, who are licensed to care for patients in the United States and have a significant focus on Parkinson’s disease. Physicians must have completed a neurology residency (or justify how their training pathway benefits people with PD); allied health professionals must hold an advanced degree, typically a PhD. Fellows, those in mentored positions, and those within two years of starting an independent position require a mentor and a mentor support letter. The sponsoring institution’s grants office is the authorized recipient and funds are disbursed to the institution. Funding amount: Maximum of $200,000 over two years; up to three awards. Targeted Sectors / SDGs: Health; Innovation; Science & Technology. Deadline: November 1, 2026. Learn more and apply here. Design and Deliver the Next EIT Health Bootcamps, EIT Health. *New!* *Closing soon!* EIT Health is opening its call for consortia to design and deliver the next generation of its health start-up bootcamps, funding the curriculum, masterclasses, mentoring, and investor engagement that turn early health ventures into fundable companies. The organization is using these learning paths to strengthen Europe’s health innovation pipeline across digital health evidence, deep tech and AI commercialization, cross-border investment, and patient access. What EIT Health wants to back is not a single course but durable delivery capacity built by partners who span industry, education, and research. Requiring multi-country consortia and a revenue-sharing stake in the programs signals that EIT Health expects these bootcamps to outlast the grant. The strongest fits are established training providers, universities, and industry partners with proven reach into health entrepreneurs. Geographies: Europe. Who can apply: Consortia only (individuals cannot apply), comprising a minimum of two and a maximum of five independent legal entities. Partners must cover at least two sides of the Knowledge Triangle (industry, education, research), including at least one industry organisation, and at least two entities must be legally established in different Horizon Europe countries. Funding amount: Foundational Learning Path: up to EUR €112,000; Thematic Learning Paths: up to EUR €124,500 per path (up to four thematic projects); up to EUR €610,000 total EIT Health funding available under the call. Targeted Sectors / SDGs: Health; Innovation; Science & Technology; Economic Development & Livelihoods. Deadline: November 2, 2026. Learn more and apply here. Technology Transfer Offices & Entrepreneurship Support Call (Beyond the Lab: From Research to Venture), EIT Health. *New!* *Closing soon!* EIT Health is opening its Technology Transfer Offices and Entrepreneurship Support Call to fund consortia that will deliver the Beyond the Lab: From Research to Venture program for healthcare researchers. EIT Health is using the grant to build local capacity for turning laboratory science into incorporated start-ups, paying experienced technology transfer offices and entrepreneurship support providers to run masterclasses, structured mentoring, and a closing Pitch Day across two cohorts. It wants to back organizations that can walk researchers from discovery to company formation, not just teach theory. Requiring two transfer offices plus one venture-building provider signals that EIT Health values proven commercialization experience alongside academic reach. The strongest fits are European research-commercialization teams with a track record of moving health innovations toward investable ventures. Geographies: Europe. Who can apply: A consortium of two Technology Transfer Offices (representing higher education institutions or research organisations) and one Entrepreneurship Support Provider with demonstrated experience in venture building and start-up support. Applicants may apply for more than one learning path where they can demonstrate the required expertise and capacity for each. Funding amount: Up to EUR €77,000 in 2027 and up to EUR €77,000 in 2028 (up to EUR €154,000 total per consortium over two years). Targeted Sectors / SDGs: Health; Innovation; Science & Technology; Economic Development & Livelihoods. Deadline: November 2, 2026. Learn more and apply here. EIT Health RIS Country Representatives Call (2027-2028), EIT Health. *New!* *Closing soon!* EIT Health is seeking organizations to serve as Country Representatives across eleven Regional Innovation Scheme countries in central and eastern Europe for the 2027 to 2028 period. The money funds a national anchor in each country, an organization that maps the local health innovation ecosystem, connects startups and researchers to EIT Health programs, and builds the stakeholder relationships that let health ventures grow. EIT Health is backing local capacity rather than individual projects, which is why it accepts both single organizations and national consortia that span education, research, and industry. The requirement for co-financing signals that it wants representatives already embedded in their national systems. The strongest fits are established ecosystem builders with deep ties to health innovation stakeholders in one eligible country. Geographies: Croatia; Czech Republic; Estonia; Greece; Hungary; Latvia; Malta; Romania; Serbia; Slovenia; Turkey. Who can apply: Registered legal entities established in one of the eligible EIT RIS countries. Single organisations or national consortia may apply. Consortia must include at least two sides of the Knowledge Triangle (education, research and industry), and all consortium partners must be established in the same eligible country. Suitable applicants have demonstrated experience in healthcare innovation ecosystem development, innovation support and entrepreneurship, start-up acceleration, technology transfer, research and higher education, business support, and stakeholder engagement, with strong links to national innovation stakeholders. Funding amount: Up to EUR €182,000 per Country Representative (maximum funding per project); total call budget up to EUR €1,274,500; EIT Health funds up to 60% of total eligible project costs. Targeted Sectors / SDGs: Health; Innovation; Science & Technology; Economic Development & Livelihoods. Deadline: November 2, 2026. Learn more and apply here. Architects of Trust: Community-Driven Demand Creation for New TB Vaccines, Treatment Action Group (TAG). *New!* *Closing soon!* Treatment Action Group, with funding from Wellcome, is opening its Architects of Trust call to help communities prepare for the new tuberculosis vaccines now moving through late-stage trials. The money backs civil society and community-based organizations to raise awareness, surface local questions and concerns, and press policymakers toward equitable national rollout. By pairing each grantee with an advocacy mentor and running a strategy workshop alongside the Global TB Vaccine Forum, Treatment Action Group is building a durable advocacy bench rather than funding one-off outreach. The two-stage design, starting with a short expression of interest, signals that fit and community rootedness matter more than polished proposals. The strongest fits are locally trusted groups with real TB, immunization, or health advocacy experience and a committed project lead. Geographies: Brazil; Ethiopia; India; Indonesia; Kenya; Malawi; Mozambique; Nigeria; Peru; Philippines; South Africa; Tanzania; Vietnam; Zambia. Who can apply: National, subnational, or regional civil society organizations (CSOs) or community-based organizations based in one of the 14 eligible countries or in Eastern Europe/Central Asia regional networks, with experience in TB, immunization, or other health advocacy and in community engagement or policy advocacy; well integrated into stakeholder networks with membership or affiliation to other CSO or community networks; naming a dedicated project lead (’architect of trust’) who can attend the April 2027 Zaragoza forum in person; and holding (or committing to adopt) organizational policies on safeguarding (bullying, harassment, abuse, and harm), equity, diversity and inclusion, and legal compliance, research practice and governance. Funding amount: Grants of up to US$45,000 will be awarded to 8 CSO partners across 14 high-TB-burden countries plus regional networks in Eastern Europe and Central Asia; each grant funds 12 months of work. Targeted Sectors / SDGs: Health; Governance; Policy & Advocacy. Deadline: November 4, 2026. Learn more and apply here.
'We need help for small businesses, not punishment'
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Japan seeks Korea join neutrino project as Seoul cuts 2025 science budget to zero
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Foundations Health Solutions Enters Federal Lobbying on Health
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As families rethink entertainment spending, Chuck E Cheese leans into play
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Animals Starves while the Kardashians Miss the Charts Again
(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 going, I’d like to offer congratulations to Jonathan Funke, whose suggestion “midflicks” won the poll for what I should call straight-to-streaming films which aren’t big or cinematic enough to go to theaters but seem too expensive for a TV movie. It’s so useful a term, I just used it last week! Now I just need to add this term to my data dictionary! Okay, on to this week’s issue. We’re starting out looking at Netflix/Ben Affleck’s latest crime thriller, Animals. I’ll also look at Disclosure Day heading to Peacock (it did better than you’d remember in theaters...) and a new movie based on toys. Plus, a long-time streaming flop returns for its eighth season...will it finally chart? (No.) Will anyone at Disney care? Probably not. All that, plus another look at new shows landing on streaming on 1-Oct from Reelgood, what streamer hasn’t had a film make the Luminate charts since August, Reacher’s long run on the charts, M_onster: The Lizzie Borden Story’s_ short run, the top shows in 2026 according to Samba TV, all the flops, bombs and misses, and a whole lot more. And I mean that last part: putting this week’s issue together, I assembled OVER 25 images, most of which are bespoke looks I made just for this report. Really, publishing articles like this takes the work of writing two articles: one is the narrative and the other is making charts/graphs. 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 week of October 5th to October 11th, 2026. You can find a link to my terminology here.) Subscribe Film - Netflix’s Latest Star-Studded Thriller Goes For Glory The tempting angle for anyone writing about streaming film this month, like yours truly, is to ask, “Is this why Dan Lin lost his job at Netflix?” Take Animals, the Ben Affleck-starring-and-directing, Artists Equity-produced crime thriller that opened on 9-Oct. (Kerry Washington and Gillian Anderson are also in it.) If it did really well, then one could argue that Lin has another success on his resume. If it underperformed, then it’s another example of a Netflix underperformance this year. So where did Animals fall? Kinda in the middle, but that means it’s more “not a hit” than “big hit”. On Nielsen, it opened to 12.0 million hours, and here’s how that stacks up for 2026 films so far this year: Obviously, that’s not great. It’s both under my 15 million opening bar for “fine” for a Netflix film and 20 million bar for “great” opening. It did a bit better on Samba TV, getting to first place. That’s very, very good, though again, looking at the Nielsen data, it probably means that it was a light week overall. Luminate’s data is a bit closer to Samba TV’s, tied for 17th all time for single weeks since May of 2024: To top it off, no one seemed to like it. It has a 33 on Metacritic and only a 5.7 on IMDb. Both of these numbers could have been impacted by the stories about Affleck’s comments about using AI to make the film. Given the controversy, the film might not have been as bad as the ratings suggest, but it’s also not a bullish sign. All to say…yeah, on net this film isn’t a point in Dan Lin’s favor. At this point, Netflix’s slide has been long enough—going on since February—that I’m almost tempted to lower the bar for what a “hit” is on streaming. Post-February of 2026 or so, it seems like straight-to-streaming films just haven’t hit the same heights as they did from 2022 to 2025. Before we head onto the “Quick Hits” for film, I want to shout out a fellow newsletter whose articles I’ve been loving this year, LA Material, a new LA-based news outlet. For just a highlight of my favorite articles since July... I loved this article on Ghost Town, a group on Venice that clears homeless encampments. As a Los Angeleno, obviously I adore their articles on LA parking issues. Their article on illegal parking tickets got the City Council to address the issue! Also check out their article on people parking in medians. Check out their deep dive on what went wrong with the LA Jazz Festival and how it fell apart, or what’s wrong with USC’s finances. Finally, they wrote up a voter guide on voter guides for the LA General Election. So meta! In search of a city? L.A. Material is an independent news outlet covering the people, politics, culture and glorious chaos shaping Los Angeles. L.A. Material brings you intel on the city you can’t get anywhere else. From exploring how Reddit short stories became Hollywood’s hottest commodity to reporting on the survival jobs keeping entertainment workers afloat. And answering, once and for all, why the AMC Burbank escalator is always broken. Through their newsletters, podcast, videos, events, and member community, L.A. Material is designed to help Angelenos connect to Los Angeles and each other. Sign up now for the free weekday newsletter. Quick Notes on Film Steven Spielberg’s latest film, Disclosure Day, came to Peacock on 9-Oct, and I’ll admit that, after pulling its stats, I did a pinch of a double take. As I wrote throughout my deep, deep, deep dive on summer box office/Obsession/Backrooms/IP/superheroes, oftentimes the film media discusses films as “flops” or “misses” or “hits” without clarifying what they specifically mean. Since Disclosure Day didn’t make $250 million in the US or $500 million globally, it was definitely a disappointment by Spielbergian standards, who is the highest-grossing director of all time, and arguably even more ahead in adjusted grosses. But it did make $245 million globally on a $115 million budget, so it isn’t as big of a miss as I remember. That’s still probably not enough to break even in the theatrical window, when you factor in marketing costs…but it’s close. And it grossed a lot more even in the US than some titles with about ten times more coverage. Anyways, lots of preamble to say this one only did 4.5 million hours according to Nielsen, so it did make the charts, but on the low end. Here’s how it stacks up to other Peacock titles: Apple TV (née +) followed up their “success for them” Mayday with Matchbox The Movie. This one doesn’t look like a success even for them, but at least it’s not a miss. Apple/Skydance clearly tried to take advantage of the success of Barbie at the box office—let’s greenlight all the toy properties!!!—but of course, this didn’t make it to theaters. And it stars John Cena, who, as I argued earlier this summer, NEEDS to get his movies back in theaters. Anyways, this one has mixed-to-bad numbers. It missed the Samba TV and Nielsen charts in its first week, but did make Luminate with 7.1 million hours. That’s just enough to not be an outright miss, and about half what Mayday did earlier this summer. Speaking of Apple Studio’s Mayday, it ended up lasting five weeks on Luminate, which isn’t bad for Apple TV. On Nielsen, it had a three-week run, racking up 13.5 million hours total. Again, like Matchbox, the issue is the budget; I doubt that this viewership earned enough to justify that budget. Also, to be clear, neither of these films are “midflicks”; both should have gone to theaters. Toy Story 5 is not hanging around on the streaming charts on Disney+, so it’s not as leggy as either Zootopia 2 or Moana 2, and definitely not in the same class as Encanto. (It did make all the money at the box office, so Disney is going to be fine…) The Breadwinner on Netflix (from Sony) is down to 3.9 million hours in its third week. It only lasted for one week on the Samba TV charts. Netflix’s Doing Life had a smaller-than-normal binge release curve bounce, only going to 7.1 million hours from 6.0 to start, but it made Samba TV at fifth place in its second week. The Netflix documentary, The Widower: Til’ Death Do Us Part, also had a small binge release curve bounce to 6.5 million hours, but did make a second week on Samba TV. Meanwhile, Netflix’s Unabomber fell off after two weeks on Nielsen—which is not great at all—and Demon Slayer fell off after just one week. Over on Luminate, the two smaller titles The Swan: Behind the Mirror and Kill. Bury. Print both fell out of the Luminate top ten charts. The story of library film at the first of the month is the arrival of the Ice Age films on Netflix. Now, here’s a small example of optimizing your library that even Netflix could do better. Say you want to rent/license a new film series from Disney**.** A streamer could pay a big paycheck and then drop each Ice Age film on the exact same day of the month, the fourth of October. That’s one choice. In contrast, the streamer could have released each film one week apart, and make each one a mini-event for folks watching Ice Age films. Or even roll them out monthly. Netflix opted for the former strategy, and as a result, only three of the films made the Nielsen charts this week. The “Miss of the Week” goes to Tubi’s YA-ish horror film_, R.L. Stine’s Pumpkinhead 2_, which didn’t even make the Luminate charts like Tubi films usually do, or, should I say, “used to”? Tubi films, most of which are straight-to-streaming, used to reliably make the Luminate film charts (which only covers straight-to-streaming films), but a Tubi film hasn’t made it since August. The first Pumpkinhead got 1.4 million hours last year according to Luminate. As I wrote about this film before, it seems to be a bit muddled in terms of age: too scary for young kids but probably not scary enough for older kids. Speaking of Luminate, Netflix’s latest doc about a comic (expect more docs about comedians all month), Who Is Martin Mull?, flopped, getting just 200K and 700K hours according to Luminate. Three other film/special misses belonged to Hulu, including a standup special, Jamie Foxx: Take Care of Yourself, Neon’s latest horror film, Hokum, which made $17 million in the US, and a Family Guy Halloween special. (That last one was only 22 minutes, so it’s not a surprise it missed.) Finally, another Netflix standup special missed the charts, Mojo Brookzz: I Know You Lying missed too. I can confirm last week’s misses, most notably Paramount+’s Jackass: Best and Last, MUBI’s Teenage Sex and Death at Camp Miasma and HBO Max’s Evil Dead Burn. Television - I Can’t Visualize Nothing: The Kardashians Story Normally, in the mini-dive essays that open the Streaming Ratings Report, I focus on shows that do well or, at the very least, make the charts. Why? Because as I’ve said time and again, I can’t visualize nothing like, say, the Kardashians’ TV shows. Here’s the TV debuts chart for this week with a missing spot for The Kardashians, whose eighth season just landed on Hulu:
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Britain's Prime Minister Andy Burnham, right, and Chancellor of the Exchequer John Healey meet ahead of the UK budget at 11 Downing Street in London, Monday, Oct. 26, 2026. (AP
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Netflix’s Leadership Shake Up…Explained
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Well, I had a simple article planned for this week. Called “Whoa, I Missed It!”, I’d take a gander at a few important-but-under-the-radar stories I didn’t cover while I wrote about all things “Skydance. (Formerly known as “the saga of Netflix trying to buy Warner Bros., but not Discovery, then Paramount-Skydance bought all of Warner Bros. Discovery”.) Alas, that article will have to wait. Netflix made news. Ironically, my “Whoa, I Missed It!” article would have mostly been about “content” strategy decisions, which is also what today’s article is about. But instead of the entire industry, this article will only cover Netflix’s decision to upend their film and TV content teams. Just that! So that’s the full topic of the day. I’m going to tackle the issue in the opposite direction of the way “stuff” flows: uphill. We’ll start at film, then move onto TV, and then onto the CEOs themselves, and the strategy questions that still remain. But we start with the numbers driving this. Let’s dive in. Subscribe Most Important Story of the Week - Netflix Upends Their Corporate Hierarchy I’ve got a lot of thoughts, but we’ll start with the most common response to yesterday’s article. Let’s Talk Stock Price More than one person, responding to what I published two days ago, pointed out that, well, actually, the thing driving Netflix’s actions is this: In short, stock price! Even if Netflix isn’t obsessed with their own share price—they probably are, but, for the record, my strategic advice to every CEO is to absolutely ignore stock prices, which will, ironically, probably help the stock price long-term—most everyone thinks they are. By the way, I prefer market capitalization to stock prices, because it’s a more apples-to-apples way to compare companies: But there’s an even better way to look at it, and it kinda casts some doubt on the entire push here: price-to-earnings. I have a long list of articles that I wish I had written, and chief among them is an article titled, “Am I Still a Netflix ‘Bear’?” meaning someone who thinks Netflix’s stock is overvalued. As of last summer, Netflix had solved their biggest problem—which for me (circa 2019) was the lack of free cash flow—but their stock was CRAZY overvalued. That’s this chart here: Why did Netflix’s stock price increase to a price-to-earnings ratio of 50 last summer? What financial metric changed so quickly? Nothing. Given that, historically, mature entertainment companies average 10 to 20, with 16 being the average, that increase made little sense. Netflix’s stock swoon these last eight or so months wasn’t irrational; the stock price rise last year was. So if you want a really hot Netflix take, here it is: Netflix’s stock price has been going down because the financial industry recovered its senses, not because of any strategic mistake. Yes, that would imply that cleaning house may have been a mistake. That’s why the charts yesterday are so important, because they show that Netflix did have a strategic problem (a lack of hits) and that’s what they moved to address. (One could also argue the industry drastically overrated Netflix’s growth prospects, but that’s a financial industry problem, not a Netflix strategy problem per se. Some growth estimates are just crazy. *cough* AI *cough*) Now, the last time Netflix’s stock price crashed—circa 2022—it gave them an opening. I’d argue Netflix insiders knew they needed to expand post-COVID-19 crisis, adding advertising, cracking down on password sharing, and dabbling in sports. But if they had done that when their stock price was high, it would give folks a reason to second guess their strategy. (Arguably, last year, when Netflix pursued the Warner Bros. merger, it gave the industry a chance to review their business.) Instead, after the 2022 fall, they had the opening to make strategic changes. We may see Netflix pivot again following this latest slide. For example, the “binge versus weekly” conversation is alive and well again. Same for expanding into theaters even more. And adding both linear channels and streaming bundles. And maybe more either social, user-generated, vertical, or creator content. But the first shift came with who is making the content calls. A Message from Our Sponsor Last winter Pulp Fiction was on Netflix. For those same 90 days, it was also free, with ads, on Pluto TV and the Roku Channel. That is not a glitch, and it is not rare. The title has run on 20 different US streaming services since 2019, across 80 separate windows, and for more than 600 of those days it sat on a paid subscription service and a free ad-supported one at the same time. Almost nobody can see this, because when a title leaves a service, the record that it was ever there tends to leave with it. Reelgood keeps that record, dated to the day rather than the month: 4MM+ movie, show and episode titles across 300+ services globally, with timestamped arrivals, departures and moves across SVOD, AVOD, TVOD and vMVPD. Licensing teams price against every prior window. Rights teams check what a licensee actually delivered, and when. Pick a title you think you know: data.reelgood.com/title-availability Film - Dan Lin Want to know why I don’t opine on individual film or TV executives, especially new hires? Dan Lin. As I always caution, it’s really, really, really tough to predict which executives will succeed in new roles and which won’t. The successful head of co-production/finance partner, Rideback, Lin was considered for the head of DC Studios job before taking the job as the head of Netflix. By all accounts at the time, this was a smart hire. (That’s my read of the news coverage anyways.) But now that Netflix has fired Dan Lin, we got a slew of news stories about how he was doing a terrible job. In sports media, Bryan Curtis, new Substack writer/podcaster from The Ringer, calls this the “now you tell us” story, when you only hear the bad news after a star athlete leaves a sports team. In this case, now they tell us that Dan Lin was bad with talent after he got kicked out the door. So was Dan Lin a flop? It’s actually tough to say. While film moves faster than TV, even two years isn’t really enough time to evaluate a person’s output. The new head hasn’t really taken control. As Emily Horgan noted, it takes much longer than two years to produce animated films, so yeah, it’s definitely too early to judge in that domain. As for live-action films, I just published an article by Brandon Katz called “Netflix’s Summer of Bummer”, but I’d point out Netflix had a bad summer two years ago too. Arguably, their best summer came from KPop Demon Hunters last year and Happy Gilmore 2, the latter of which I saw credited to Lin. Then, the stories came out that Dan Lin clashed with talent, both Ben Affleck and Greta Gerwig, classic “now they tell us” factoids to explain his firing. This may have been true, but also should have been expected given that he was given the mandate to bring budgets back in check, especially after Rebel Moon. So if he made folks upset, well, that’s what he was hired to do! But also, he was described as “well-liked” at his hiring! In that case, I’m a bit sympathetic to Lin, since he may have been undercut by senior leadership, as often happens. Basically, a CEO hires a subordinate to be their “bad cop” and keep budgets in check, but then when talent complains, the CEO ends up undercutting them. That’s how I think you end up with a Narnia movie as expensive as any of the other flops, along with a film executive the town no longer likes. As a result, I think that Netflix is now executing a classic “hire the opposite” move by hiring Peter Rice. This phrase comes from my experience following football and basketball coaching decisions, where teams generally hire the opposite of who they just had. If you have an offense-minded head coach, hire the defensive guy. Or in college football, if you have a strong recruiter, then you pivot to an “X’s and Os” type of guy. Or in pro basketball, if you have a very analytically minded coach, you hire the player-friendly guy. I see that here. After dropping Scott Stuber—arguably a talent-friendly executive with lax budget control—Netflix hired the business guy to keep costs in check. Now Netflix is pivoting back to Peter Rice and presumably a more talent-friendly regime. (Disney, by the way, has done this twice: hiring business guys to succeed talent-friendly Bob Iger. It didn’t work out last time.) When it comes to Peter Rice…we’ll see! Maybe he works out, but maybe he doesn’t. I’d actually say the biggest problem is that Netflix still hasn’t solved its “IP Problem”, in that they don’t own much IP, so they just have a lower hit rate. The new executive won’t solve that. (Though buying Lionsgate would help.) Share “Content” - Bela Bajaria I almost published yesterday’s article after this column, but ended up flipping the order, because it told the story so well. So if you want the data for why Netflix is looking at TV to fix their problems, it’s in that article, this graph in particular: I know I just wrote that it’s often hard to judge executives, but Bajaria ran TV for six years and film for three and a half more. That’s more than enough to judge hit rates, and Netflix needs more hits. That’s the story. Since 2023, Netflix hasn’t had as many hit shows as it used to, and many of its previous power house TV shows have ended their runs (Stranger Things most of all). Also, many shows from 2020 to 2022 probably pre-dated Bajaria’s tenure. (That said, one thing may have been outside of Bajaria’s control, which I explain below.) Let’s lump some content strategy thoughts about Netflix and TV into one place: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Why I partially blame Squid Game for Netflix’s latest troubles… What is “the football trap”... Why it might not be the TV shows or films’ fault at all… What change I don’t think Netflix will make... How Bela Bajaria evolved Netflix’s TV strategy in smart ways… Whose departure likely submarined Bajaria’s final few years… One sneaky explanation for Netflix’s content struggles... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
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There’s a Reason That Netflix’s Ad Business Has Underwhelmed
Somewhat lost in the company’s slew of firings and engagement warnings over the past few weeks was the fact that Netflix is scaling back its ad forecast for 2026 from $3 billion to $2.7 billion. That’s despite the fact that: CTV is growing by 14-15% this year This year saw a monster upfront Netflix is the biggest streamer out there this side of YouTube, and was the platform that for years brands were supposedly dying to be a part of In other words, that’s an alarming pull-back from Netflix. A Wall Street analyst I spoke with last week was blunt, calling Netflix’s ad business “disappointing.” To me, a red flag on the ad front is that Netflix has never revealed how many ad-supported subscribers it has. Because if I know anything about how big companies work, if they have a positive number that makes them look really good - they tend to share it. (How many subs does go90 have right now? We’re not saying just yet. How are ads going on ChatGPT? Oh, a billion run rate - I see). Yes, to date Netflix has shared some fuzzy ad numbers, such as the idea that the company’s ad tier ‘reaches’ 250 million users globally.’ Here’s why that figure gives me pause: a)they lead with global, and b) they don’t explain how they are calculated. (Are they based on average people in each room? Surveys of some kind?). Regardless, some insiders say that Netflix’s ad tier is scaling nicely - others not so much. Either way, one of Netflix’s biggest challenge on the ad front appears to have been its starting point. Remember, when Netflix launched ads in 2022, it had 73 million subs in the US and Canada. That’s 73 million people who were used to Netflix with zero ads. And when the ad product rolled out, the company clearly was going after new users - a limited pool of potential subscribers by default. That focus seems to have changed over time, as Netflix has tried to convert longtime subscribers to the ad tier. Historically Netflix subscribers are very sticky. But is the company’s low churn a problem? Not necessarily, according to Antenna data. Rather, Netflix’s consumer loyalty is a bit of a double-edged sword. “Netflix is the one streamer which actually has seen substantial “trade downs” but has much lower ‘win backs,’ said Antenna founder Jonathan Carson (win-backs being people who were on the ad-free plan, cancelled, then rejoined on the ad plan). “Netflix has lower churn and so has less opportunity to win back old subs with a lower cost plan option.” This all might explain why Netflix has been so slow to roll out all of these table stakes targeting options until just this week. It likely didn’t have enough users to carve up into various targets. etc. However, what really hit Netflix’s ad business was Amazon’s move a few years ago to turn on advertising for Prime Video by default. Suddenly the market was awash in premium inventory, and Netflix was playing catch-up on multiple fronts. Thus, the streaming giant appears to still be figuring out if if wants lead in ‘programmatic TV,’ or premium ‘upfront’ TV sales. “The CTV market now sorts into three businesses, and Netflix is not the leader of any of them,” wrote analyst Jack Myers. Ouch. So how does Netflix ratchet up its ads business? Get the next NFL package You’re gonna have to wait until 2030 unless one of the bigger media companies like Skydance opts out, but the easiest (not cheapest) way for Netflix to become a huge TV ads contender is to get one of the regular NFL packages, ideally Sunday afternoons. That way it can sell ads to its whole U.S. subs base overnight. Go FAST This one is risky, because to program a compelling FAST channel, you’d likely have to take some older Netflix exclusive shows and make them available for free to non-subscribers. But FASTs, for better or worse, are ad-inventory machines. Go full UGC I’m not sure I see this happening. There is something already off about Netflix carrying podcasts and shows for creators. The experience sticks out in what is such a produced, and generally non-communal environment. But Netflix could open up its platform by allowing creators to upload videos without having to be approved by the service. But that opens a whole other can of worms (policing brand safety, copyright infringement, overall quality). Make a huge RMN Deal I was going to suggest something crazy, such as ‘instead of buying Warner Brothers, Netflix should buy Target. But the company doesn’t want to be in the brick and mortar business. Yet for Netflix’s ad business to compete in an Amazon world, it needs to be able to connect ad exposures to shopping. What if, instead of letting Amazon target Netflix viewers with its DSP, Netflix inked a deal with Target, or even took control of Roundel, and created its version of the Amazon full-funnel for brands? Price us out. I hope they don’t do this, but Netflix’s price increases - while significant - haven’t been enough to push long-term customers out of the ad-free tier. But if they made those prices so prohibitive, it could push large swaths of consumers to trade down. Then again, that could also dent engagement - as binging becomes much less appealing once you bring ads into the equation. Or, they could just launch a bunch of hit shows and maybe everyone will quickly forget all this angst. More from Amazon unBoxed A few weeks ago, I recorded two podcasts live at Amazon’s unBoxed event in San Francisco. I was able to go really deep with several brand partners about how Amazon’s various data and ad products work - particularly the under appreciated Amazon Marketing Cloud. First, I talked with Laura Abadias Velilla, of the Amazon specialty agency Amerge, along with Amazon’s own Charlotte Maines, Vice President, Devices Content & Advertising, about how the two partners helped a very specific printer company Epson launch into a brand new category - high end projectors. It’s a great example of how brands connect audience data across platforms to make budget deployment decisions. Next, I chatted with Monks VP Head of Digital Investment for North America Tom Burchill about how the agency actually brought in data from Linkedin to help target B2B customers across various Amazon properties for the brand Quicken. Check it out: Check these out, or just listen:
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