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Tom Arnold defends Roseanne Barr from Chuck Lorre’s claim she ‘hated’ her show’s writers: ‘She only liked the funny ones’
Lorre’s memoir, “Sitcom,” has ignited a firestorm of controversy that shows no signs of slowing down.
Constance Wu shares new details on “Crazy Rich Asians ”show, confirms she’s read script: ‘It’s really funny’
It’s finally happening!
Constance Wu shares new details on ‘Crazy Rich Asians’ TV show
Constance Wu is sharing new details on the ‘Crazy Rich Asians’ television show, confirming that she’s read a script for it already and ‘it’s really funny.’
Doc Maker Rocky Mudaliar Signs With Verve (Exclusive)
His Abrupt Entertainment produced the celebrity documentary ‘Funny Money: The Dane Cook Story,' about the comedian and his family's stunning financial betrayal.
Ana Navarro shuts down ‘View’ cohosts for joking during tense Donald Trump discussion topic
Ana Navarro shut down ‘The View’ cohosts Sara Haines and Alyssa Farah Griffin for making light of a serious, tense topic related to Donald Trump: ‘Stop, this is not funny.’
Man’s Clever Trick After Realizing His Job Interviewer Was AI Sparks Fears For Humanity’s Future
As more and more companies replace their interviewers with AI, a frustrated comedian went viral by bringing his own “AI representative” to the meeting. Curiosities, Funny, Science & Technology, Social Issues, Society
5 movies like 'Knives Out' to scratch the funny murder mystery itch
What to watch next? We've got the best movie recommendations for Benoit Blanc fans.
Guns, F-bombs, fortune cookies. What do wild campaign ads actually say?
A single mom who shot a home intruder. A pet alpaca. Chicago voters throwing around profanities. This cycle's campaign ads are fluffy, funny and profane.
Maxx Crosby reveals what stands out when tackling Patrick Mahomes
Image Press Agency/Depositphotos Crosby shares a surprising detail about Mahomes’ reaction Maxx Crosby and Patrick Mahomes may be fierce rivals on the field, but their latest encounter has revealed a funny detail about their battles. The Las Vegas Raiders defensive end shared what he notices when he gets close enough to hit the Kansas City…
Shane Gillis degraded women on 'SNL'. We aren't angry enough
Shane Gillis is not funny. The comedian and sitcom actor, 38, has made a career out of making lowest-common-denominator jokes that are offensive, boring and lazy.
Hurricanes @ Flyers: Preview and Game Thread
The Carolina Hurricanes bring their 4-1-1 record, which puts them in first place in the Metropolitan Division, to Philadelphia, (0-4-2) where the Flyers have yet to win a game this season. They are currently last in the division. It is funny how quickly things can change in the NHL. Last season, coach Rick Tocchet was […]
Television Q&A: Do new CBS late-night shows both have studio...
CBS late-night imports “Comics Unleashed” and “Funny You Should Ask” both use studio audiences, Allen Media Group says. Also: updates on “Lioness,” “Patience” a...
Netflix’s Summer of Bummer
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) Today, I’ve got a guest post from longtime friend of the newsletter, Brandon Katz. I’ve been trying to find time all summer to look at Netflix’s straight-to-streaming film slate, but between a pre-planned trip and Nielsen moving up their streaming data timeline, I’ve been swamped. So I reached out to Brandon, one of my favorite fellow analysts, to write about it. And I feel like he captured the tone and data focus of the newsletter perfectly. You can connect with Brandon on LinkedIn and Twitter. Enjoy! Don’t worry, folks. You’re in safe hands with me. To ease any anxieties about an interloper in ESG’s domain, I’ll start by stealing one of his best framing devices: headlines. Box office flops are covered in the same way the Teenage Mutant Ninja Turtles eye pizza: with cartoonish insatiability. I would know. I’m a former reporter who wrote nearly identical headlines: Yet, intentionally or not, streaming misses get treated with kids gloves, filtered through a rosy lens: In the last six years, U.S. streaming viewership has become nearly as transparent as the box office, but the data often arrives weeks later, in a number of less intuitive metrics, and with nary an official budget to be found. This plays into the Wall Street-whispering narratives major streamers have been cultivating for years. They get a pass in a way that theatrical studios simply don’t. Subscribe Netflix’s Summer Slate Not a single Netflix original film released between May and August this year opened above 20 million U.S. TV hours, per Nielsen. That benchmark usually serves as the EntStrategyGuy’s floor for a streaming hit on Netflix. None of these films enjoyed a hit-cementing single week of 20-plus million hours during their runs. Netflix’s two best films were true crime docs, Maternal Instinct (16.5 million hours) and The Crash (19.7 million), the best overall week for a film this summer. Great for most other streamers, but not necessarily what we’re used to seeing from Netflix. For an overly-dramatic comparison, Happy Gilmore 2 opened last summer to around 47 million hours (celebrity cameos, baby!). Zooming out, the picture looks even worse. In 2026, Netflix’s five biggest scripted summer films posted the lowest average (28.6 million hours) and median (28.8 million hours) eight-week viewership totals of the past four years. Now, it’s unrealistic and unfair to expect Netflix to deliver a _KPop Demon Hunters-_sized hit every year. But it’s also not ideal to see the size of their hits shrinking over the last few summers. Let’s quickly run through some of the notable summer misses. Jennifer Lopez and Brett Goldstein’s perfectly fine romcom, Office Romance, fell off the charts after 20 million hours in its first two weeks. Top films usually last for four-plus weeks. Starry titles ideally don’t decay that fast either. Homegrown star Millie Bobby Brown couldn’t prevent the snappy Enola Holmes franchise from diminishing returns. At 14.3 million U.S. hours, the third film posted roughly half of what the first two films did in their first two weeks. What’s on Netflix calculated that per-day global views were down nearly 60% from the second movie. The Whisper Man did okay with more than 36 million hours over its first four weeks. But I expected a little more juice from a film featuring Robert De Niro, Michelle Monaghan, and Adam Scott. Kevin Hart’s Ladies First collected just 11.2 million hours total across two weeks. That’s a big miss for one of Netflix’s go-to stars. Plopping into the same bucket are Sunny Sandler’s Don’t Say Good Luck (10.3 million in two weeks) and John Cena’s Little Brother (17.5 million). Meanwhile, English-language originals Color Book (June 19), In the Hand of Dante (June 24) and Heartstopper Forever (July 17) never sniffed Nielsen’s Top 10 at all, despite needing only 2 to 5 million hours to land in the top ten most weeks. (By my count, eleven English-language scripted original films released between May and August did chart). It’s only fair to mention that Swapped (1-May) posted nearly 42 million U.S. hours over five weeks (the longest Netflix original run this summer) and is currently their eighth most-watched English-language film ever worldwide. Remarkably Bright Creatures (37 million, 4 weeks) and Voicemails for Isabelle (27 million, 4 weeks) weren’t bombs either. Still, overall, I think it’s fair to say this was a quieter summer season than we’re used to seeing from the market-leader. You might not realize that given the language commonly used in public analysis. The Twist Despite the starkly black-and-white tone of the coverage, here’s the twist: when many box office bombs arrive on streaming, their viewership looks a whole lot like many of Netflix’s supposedly successful summer releases. Hmm, where have we heard that one before? Masters of the Universe topped out at $65 million stateside against a $170 million budget_._ I’ll admit, Skeletor ripping sleeveless curls as a gym bro and bodyslamming Adam’s co-workers was funny. But, much to the chagrin of my bank account, my laughter doesn’t launch franchises. Yet the He-Man reboot opened to 19.6 million hours (from a Wednesday five-day opening instead of just one weekend), on par with Hoppers on Disney+ (19.4 million). It put up nearly 47 million hours over its first six weeks, bigger than all of Netflix’s summer releases. Pretty darn healthy and likely to land among the 25 most-watched movies on streaming this year. Sticking with Amazon, The Sheep Detectives just barely broke even at the box office with $133 million worldwide (and only $66 million domestic). I never expected cloven-hooved, cud-chewing mammals to be able to bring me to tears. Yet that’s exactly how I found myself at the end of this surprisingly affecting movie (#NoShame). It was likely the unexpected quality in a family-friendly film that powered its streaming over-performance. Sheep Detectives delivered a solid run for Prime video netting 26.2 million hours! How about franchise IP? Star Wars: The Mandalorian & Grogu had the lowest opening ($81 million) and lowest-grossing Disney-era live-action Star Wars film ($178 million domestic). One day before release, its Heat score (19.8%)—audiences who list their interest as a 7/7—fell behind blockbusters Wicked (21%), Superman (23%), Fantastic Four: First Steps (23%), Michael (23%), Toy Story 5 (26%) and Avatar: Fire and Ash (27%), according to Greenlight Analytics. The urgent enthusiasm just wasn’t there. On streaming, Mando opened to weeks of 12.1 million, 6.1 million and 2.7 million hours (21 million total) over its first three frames. Not the numbers Lucasfilm was hoping for nor the numbers of a streaming hit. But they’re in the same vicinity as some Netflix summer releases with $345 million at the global box office to offset a smidgen of the pain. Final Thoughts So why oh why does this nuance gap exist? Four key reasons: Data Literacy: A “$100 million opening” just makes sense. After decades of box office reporting, even casual movie fans are well-versed in the benchmarks of hits and home runs. There’s an immediate shorthand. But “16.5 million” hours doesn’t land nearly as cleanly. Despite leaps of progress, the streaming ratings era is still in its infancy compared to theatrical. The EntStrategyGuy and I met thanks to a late 2010s group chat of data nerds hungry to find a shred of certainty in nebulous streaming performance. I’m not surprised to see “No. 1 on Netflix” still getting misconstrued out in the wild. Timing: By Friday morning, we have the box office’s Thursday night previews totaled, allowing us to better project the weekend’s expectations. From there, ticket sales are reported daily. By Sunday, the film’s fate is usually finalized, at least in terms of public perception. In streaming, Nielsen recently improved its delay to…two weeks. The medium isn’t forced to contend with instant gratification as harshly. Financials: Theatrical film budgets are a mere Google away. Profit and loss is calculated in the cold and unforgiving naked light of day for all to see. But finding the vast majority of streaming exclusive movie budgets requires the forensic investigation skills of a Criminal Minds detective. Also, it’s very difficult to calculate how much revenue/value a straight-to-streaming films provides a streamer. This is why there are so few stories about streaming original movies “losing X amount of money”. On top of that, marketing budgets are far greater for theatrical movies than streaming exclusive movies, which leads to earlier and better awareness. This then translates to a wider pool of potential interest. Narrative Control: Netflix is the only major streaming service to publish weekly first-hand viewership data and annual engagement reports. Naturally, some headlines borrow their first-hand framing**.** Other streamers benefit from their comparative lack of transparency. They may occasionally announce vague performance platitudes such as Apple TV’s Mayday becoming its “biggest film debut on the platform to date over its first 18 days,” and that it ranked No. 1 with left-handed viewers in its first weekend. (Fine, I made up that second one). But, for the most part, they keep first-hand viewership shrouded in mystery to avoid bad press. Especially for outlets that demand multiple articles per day from their writers, it’s an easy (and understandable) way for some reporters to hit their daily article quota by just repeating what the streamers have told them. TL:DR version: Streaming-exclusive movies are asked to do different things than theatrical movies, but that doesn’t mean they should escape judgment. Both still need to draw enough eyeballs to justify their cost within the proper performance contexts. The more cleanly we can inject a little nuance into streaming analysis, the better we’ll understand the audience and content trends that drive this industry. And that’s what all of this is really about: knowing what audiences actually want! Brandon Katz is the Director of Insights & Content Strategy at Greenlight Analytics where he focuses on evaluating the ever-fluid media landscape to unearth understanding, opportunity and value. Greenlight Analytics is the entertainment intelligence consulting company redefining how Hollywood finds, understands, and activates audiences. Prior to joining Greenlight Analytics, he served as the senior entertainment industry strategist at Parrot Analytics, and as a full-time entertainment industry reporter covering the Xs and Os of Hollywood, most notably with TheWrap and the Observer.
The Battling Mind Striders is hosting their 2nd annual Mental Health Awareness Day on October 17 in Wellsville
Walk a mile with a great group and enjoy “It’s Kind of a Funny Story,” all for better mental health From Jacob Witter, founder of the Battling Mind Striders On […]
Journalism is serious business. That doesn’t mean it can’t be funny.
5 reasons humor (and memes) can help journalists inform audiences, build community and cut through the noise
Why ‘Wives’ is relevant to the times
Parvesh Cheena, actor in Jaclyn Backhaus’ play WIVES, at East West Players, co-produced with Hypokrit Live Arts. Photo by Daniel Antonio Vallejo. At a time when marginalized voices are changing the national conversation, Jaclyn Backhaus’ play Wives, featuring a South Asian American cast, is both relevant and funny. “This play offers its actors the opportunity to time travel, to play many…
Comedian Joey Clift writes funny, accessible book on Native history
Author and Cowlitz Indian Tribe member Joey Clift spoke with The Seattle Times about inspiration, representation and why he loves his tribe’s casino.
Tom Cruise Bloviates His Way Through the Aggressively Unfunny Digger
Alejandro G. Iñárritu's latest film has a million moving parks and nothing to say
5 Takeaways from Michigan’s Last-second Loss to Iowa
Funny how things work out. Michigan has now won a game it should have lost and lost a game it […]
Remind me again why we are voting on such things?
I should warn you, dear readers, that today’s column deals with two subjects that are often viewed as both boring and tedious: tax policy and voter initiatives. If you find such things interesting, please read on. If not, consider watching funny cat videos. Where was I? Oh, right … Anyone who has read my various […]
We got a sneak peek at fall’s best movies. Here are 8 worth seeing.
Our favorite films out of the Toronto International Film Festival were energetic, heartfelt and often gut-wrenchingly funny.
Carrot Top awake after suicide attempt, reports of turmoil emerge
Comedian Scott Christopher Thompson is conscious and recovering from an apparent suicide attempt that hospitalized the 61-year-old performer known professionally as Carrot Top. Thompson’s publicist Jami Schlicher said the funnyman
This Week: Phone Bank for Transit, SF Politics, Transit Tales
Here is a list of events this week. Monday/today! Phone bank with SFBike to Save Transit. The San Francisco Bicycle Coalition is phone banking and connecting with voters, explaining how vital it is to pass the Regional Transit Measure this November. Join them to help make sure our regional transit survives and thrives. Monday/today, September 21, 5-7 p.m. San Francisco Bicycle Coalition Office, 1720 Market Street, S.F. Tuesday Historic Photo Exhibit Tour. Moving San Francisco is a collaboration between the SFMTA and San Francisco Arts Commission and is on view at City Hall through November 25. During this informal tour, they will take an in-depth look at selected photos from San Francisco transit history and learn more about the stories and people behind them. Tuesday, September 22, 5-7:45 p.m. North Light Court inside City Hall, One Dr. Carlton B. Goodlett Place, S.F. Tuesday San Francisco Bicycle Coalition Board Meeting. SF Bicycle Coalition members are invited to attend all board meetings. Tuesday, September 22, 6-8 p.m. Register for Zoom link. Tuesday SF Politics 101 with Joel Engardio. SF Politics 101 is a look at how local politics work and the history that shaped San Francisco—brought to life with visuals and narrative storytelling. Tuesday, September 22, 6-7:15 p.m. SPUR Urban Center, 654 Mission Street, S.F. Register to attend. Wednesday Transit Tales: A Storytelling Night. Join SPUR and Muni Diaries at Local Economy for an evening of true stories inspired by riding transit. From unexpected encounters and meet-cutes to funny mishaps and heartfelt moments, Transit Tales celebrates the experiences that make public transportation unforgettable. Wednesday, 5:30-7 p.m. Local Economy, 6028 College Ave, Oakland. Saturday Group Ride: Richmond BART to Point Pinole. Join Bike East Bay for a family-friendly, no-drop group ride to Point Pinole Regional Shoreline. Saturday, September 26, 10:30 a.m.-3 p.m. Starts at Richmond BART Plaza, 1600 Nevin Plaza, Richmond. Saturday Shipwreck Cove Opening. Come see Sunset Dunes’s newest playground. Saturday, September 26, 3 p.m., Sunset Dunes and Kirkham, S.F. Saturday 55 Wine Line Progressive. Ride between Horsies Market & Saloon, Bar Part Time and Ruby Wine on the 55 Dogpatch bus. Saturday, September 26. Three locations in Dogpatch. See SFMTA site for more details on locations and times. Got an event we should know about? Drop us a line.
Meghan McCain slams Aidy Bryant’s ‘cruel’ impression of her on “SNL”
“I didn’t find it funny,” the conservative personality complained of her portrayal on the show back in 2018.
This cartridge-playing Game Boy clone is smaller and cheaper than Analogue’s Pocket
The FPGB Mini is only slightly wider than the original Nintendo cartridges it plays.
Was Life Better Before Cellphones? People Say Yes
"It's funny, isn't it? How we talked for hours on the phone back then, but now that we all have a phone in our pockets, we rarely talk on the phone."
Maple Leafs Share Hilarious Preseason Video on Social Media
The Toronto Maple Leafs shared a very funny video on Tuesday, Sept. 15, during the preseason. Just a few days before the preseason games begin, the Maple Leafs had a Leafs and Legends Charity Golf Classic, and it was a perfect occasion for the social media team to share a hilarious video. In this video, […] The post Maple Leafs Share Hilarious Preseason Video on Social Media appeared first on HEAVY.
Politics, Pixels and Power
The White House has turned political messaging into an arcade game, and the result is less funny that it seems. On Sept. 3, a collection of five retro-style games designed around President Donald Trump’s policies were launched on the White House’s website. The games take familiar arcade throwbacks and give them a MAGA makeover, turning...
Will Netflix’s Latest Horror Film Save Its Summer? And Introducing a New Data Source...
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) All month, I’ve been polling you, my readers, on how we think the summer’s biggest blockbusters will do when they eventually land on streaming, and I wanted to share the results. First up, how readers think The Odyssey will perform when it comes to Peacock... People are pretty bullish that The Odyssey will smash it for Peacock. I don’t know that it will have as much rewatchability as Wicked did for kids, but we’ll see. It is now Universal’s highest-grossing film of all time. One note: almost half of Christopher Nolan’s films weren’t available for streaming the week The Odyssey came to theaters, including some of his biggest films like Inception, Dunkirk, Tenet, Oppenheimer and Insomnia. If you did want to watch the others, Prime Video had Memento and The Dark Knight trilogy, HBO Max only had The Dark Knight trilogy (even though Warner Bros. produced most of Nolan’s films), Hulu had The Prestige and Interstellar, and Paramount+ had Interstellar. So you needed at least two streaming subscriptions to catch the rest. Warner Bros. whiffed right here. I know they have long term licensing deals, but they should have tried to get as many Nolan films on HBO Max for launch as possible. Here are the results for Spider-Man: Brand New Day: The audience is a bit more mixed on this one, with everyone agreeing Spider-Man will swing to a big opening, but not necessarily elite or best all time. On to this week’s issue. Netflix continues searching for a hit straight-to-streaming summer film and Lioness and Ted Lasso allow me to look at the difference between a “hit” and a ‘hit for them”. All that, plus new YA/teen melodramas on Prime Video and Netflix, the House of the Dragon finale, USA Network claims a big opening, more big NFL ratings, all the flops, bombs and misses, and a whole lot more. But we start with a fun new data announcement. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of August 3rd to August 9th, 2026. You can find a link to my terminology here.) Subscribe A New Data Source: Reelgood’s Data on Content Libraries Here’s a fun new treat for you. Reelgood—an online service and app that lets users track where shows or films are streaming—is providing data every month for the Streaming Ratings Report on the size of each streamer’s catalogue, along with the new shows and films for each streamer. Yay! Previously, I had pulled “new shows on streamers premiering on the first of the month”: While I liked that data cut, it was a big wonky since it didn’t show all of the new shows or movies that came to a streamer each month. Instead, I would have preferred something like this from Reelgood’s annual report: And now we have it! I’m going to feature Reelgood’s data monthly, showing both total catalogue size and new shows and films appearing on the charts. That’s going to make these two cool new charts. First, here’s the size of various streamers’ film catalogues… (By the way, Reelgood offered to make the charts for me, but I like doing that task by hand to understand the data better.) They also provided data back to last year. Here’s the number of films timeline: And here are the new films on each streamer for the month prior to Aug: As I get used to this data, I plan to keep tinkering with how I display it, but I’m excited to feature it monthly. Today, I’m sharing the film charts; next issue, I’m going to feature TV shows by streamer. Now, in full disclosure, Reelgood is a sponsor of this little-newsletter-that-could. But in my constant quest to figure out what streamer various shows and films are on, I was already a Reelgood user before this sponsorship. I go to their website all the time, and their data is very accurate on where shows are (or have been). Plus, I’ve been sharing their weekly top ten lists for years now, pre-sponsorship. For me, this is a great win-win, since I get to amplify a service I love, and I get a cool new data source to play with. Now, normally folks don’t usually mention their sponsors directly, but as I wrote before, as I start featuring ads in my newsletter, I plan to be extremely open about who is sponsoring my writing so you can trust what I write. Television - Two Big Returning Shows Look Set to Take Over The Charts One key question when it comes to judging streaming shows is whether a show is a “hit” or a “hit for them”. To be clear, the former means a show that’s one of the top shows on streaming, no questions asked. The latter means a show is one of the biggest, for a given streamer. That distinction makes a big difference! It’s really good to be one of the biggest shows on a streamer; it’s much better to be the biggest on streaming, despite the size of a streamer. Because, as we’ve seen now, nearly every streamer—while lacking the number of subscribers or usage of Netflix—can make hit TV shows: Paramount released Landman, whose first and second seasons were among the top two TV shows the year they came out. HBO Max’s The Pitt’s second season is the biggest show of the year so far. Love Island USA was the top show in 2025 for Peacock. And, crucially for today’s discussion: Wayyyyyyyyyyyyyyyyyyyyyyyyyy back in 2023, Ted Lasso was actually the top streaming show of the year according to Nielsen! So even Apple TV (formerly +) can make hit shows. It just doesn’t make them that often. And looking at the Nielsen charts this week, we have two prime candidates for this discussion: That’s right: Ted Lasso returned to Apple TV for its fourth season. Did it return in all its expected glory? Sure, though right now it’s still just a “hit for Apple TV”, but we’ll see how long it lasts on the charts. Its ten episodes are coming out weekly. (Smart choice, Apple!) Ted Lasso started out strong, actually making the Nielsen charts the week before new episodes dropped, which is a rare feat. (Shows like Stranger Things or Bridgerton have pulled that off. That’s terrific company to join!) On Nielsen, it opened to 14.4 million hours in its first week, and 16.6 million the week of 10-Aug. Here’s how that compares to previous seasons: Apple put out that this is their biggest TV launch through two days ever, and looking at the chart and Apple TV’s viewership history, I’d believe it. Here’s Apple’s top shows for season two and beyond: Other data tells a (mostly) similar story. Ted Lasso made Samba TV and it has elite IMDb scores, an insane 8.7 on 465K reviews. The only outlier is Luminate, where the latest season only had 7.4 million hours, and no other seasons made the top ten. As you’ll see below, that’s well below some other solid, but not spectacular shows like Sterling Point, Ride or Die or Furious. I’d be surprised if Ted Lasso isn’t bigger than those other shows, but it’s fine for different data sources to occasionally disagree. And while it’s sucky to bring this up, given that Warner Bros. produced this show, I do wonder how the streaming wars may have been different if Ted Lasso landed on HBO Max initially instead of Apple. I don’t think one show can make or break a streamer, but given HBO’s brand, it could have helped bring people to that streamer much earlier in its lifespan. (Though yeah, I don’t love calling out executives for passing on hit shows, since that’s just the nature of the job. Even the absolute best execs will pass on lots of successful shows. The key is not greenlighting the under-performers/misses.) The other show I’m thinking about in the “hit or hit for them” category is Lioness from Paramount+. Like Ted Lasso, its first season missed the charts, but it’s grown its audience since then. Here’s how season three opened: We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How Lioness did on streaming... Two new melodramas for Netflix and Prime Video... Whether Netflix’s latest horror film saved its summer... Hulu’s Furious and Prime Video’s Ride or Die continuing their strong runs... The latest high profile showrunner to flop on streaming... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. Next week, we’ve got a double issue—since the week of 17-Aug had very few notable new shows or films—so I’ll look at HBO’s Lanterns, Prime Video’s Reacher, Netflix’s Tires, Outer Banks (which posted up huge numbers four years ago), an Aussie romance, and another baseball event (that didn’t resonate). And a bunch of movies like the latest dramedy from an Adam Sandler daughter, Don’t Say Good Luck, Camp Rock 3 on Disney Channel and Disney+, Michael on Starz, and more. Later this month, we’ve got a ton of shows and films to analyze! Movies will be the big story, featuring a box office bomb (Supergirl on HBO Max) and an “underperformer” (The Mandalorian and Grogu on Disney+) contending with a bunch of star-studded straight-to-streaming films like Netflix’s The Whisper Man (Adam Scott, Michelle Monaghan and De Niro!), Mayday on Apple TV+ (Ryan Reynolds and Kenneth Branagh!), The Runner (Gal Gadot) and The Last Sunrise (Eva Longoria and Maia Reficco) on Prime Video. Plus, a ton of TV shows have sophomore seasons coming out. Will The Gentleman put up big numbers on Netflix or suffer from a sophomore slump? Leanne and Beauty in Black on Netflix seem small, but they both might be bigger than you think. Hulu has a bunch of shows: a new season of The Secret Lives of Mormon Wives (the first after all the controversy last year) and the second season of Chad Powers (from Peyton Manning’s production company and starring Glen Powell). This one flopped last year; can it score a touchdown this year? Same goes for FX’s Adults, which I didn’t track last year; will it hit this year? Peacock’s The Office spinoff, The Paper and Apple TV’s Dark Matter also return for second seasons. And Netflix has more Untold specials featuring Vince Young, Raygun (that horrible breakdancer) and Mr. T. Long term, Paramount+ is rebooting yet another franchise, Clueless, and I’m somewhat bullish on this new show. The talent attached (Alicia Silverstone) and creative Josh Schwartz and Stephanie Savage (of The O.C. and Gossip Girl) also feel solid...if they make it funny like the original.
‘I Play Rocky’ Review: Expertly Weaponized Nostalgia Makes For Rousing, Light-Hearted Entertainment [TIFF]
Peter Farrelly’s ‘I Play Rocky’ turns Sylvester Stallone’s unlikely ‘Rocky’ origin story into broad, funny, expertly weaponized nostalgia.
The core anti-Pangram constituency is phony writers
Welcome to The Closing Argument, our verdict on the news, plus everything The Argument published and appeared in this week. The Verdict, by Kelsey Piper A lot of people hate AI for drowning the internet in slop and displacing human creatives. You might think that these people would be thrilled by a program that can identify and flag AI-generated work. But many people who hate AI also hate Pangram, an impressively accurate AI detector that produces very few false positives, according to high-quality independent research. This loathing found its most recent expression in a bizarre Wired article that amplifies a wide range of false arguments from Pangram skeptics: that AI detectors are racist (they’re not) or ableist (they’re not)1 or don’t work (this one does)2. Rather than starting from the premise that it would be really valuable to have a working AI detector and scrutinizing Pangram to make sure it lives up to that promise, the article starts from the premise that Pangram obviously has bad vibes and sets out to discover why. (One answer: The CEO microwaved lunch during an interview!) Why aren’t writers who resent Pangram more eager to distinguish themselves from posters who are having ChatGPT ghostwrite all their work? There are a few different things at play, but I think one key dynamic is this: These are often the same people. A core constituency for arguments like Wired’s is “writers” who are using AI to write their posts but resent this fact being made public. They stand to lose from AI detectors because AI detectors call them out. Share When Substack announced a partnership with Pangram, a sizable fraction of the platform’s authors rose up in outrage. Some people had experience with other AI detectors that didn’t work, and some felt that AI writing ought to be encouraged — both of which are fair enough. But the fury was fueled by authors passionately insisting that Pangram kept wrongly accusing them on almost every post they published. Pangram can be wrong, especially on short passages. But in the overwhelming majority of cases where Pangram looked at a whole blog post rather than a single paragraph, the program correctly detected work as AI. Even if we can’t be 100% sure in any individual case, we can notice the trend in the aggregate. Wired quotes Sam Illingworth, a professor of critical AI literacy at Edinburgh Napier University, who said, “I don’t think [AI detectors] work. … I think that detectors are prejudiced against certain people.” This spring, he said that he used AI for research and editing; this summer he acknowledged that in addition to research and editing, he also uses it “now and then for a turn of phrase I keep.” Pangram informs us that most of his posts are 100% AI-written (some are mixed AI-and-human) and that 100% AI-written posts started appearing last year. The favorable interpretation is that, as someone whose recent work Pangram consistently mistakes for AI, Illingworth sees Pangram’s flaws firsthand. The unfavorable interpretation is that the tool’s credibility trades off against his own, because its account of who writes his posts is not consistent with his. Illingworth is not alone in insisting the detector does not work. “It’s a Monday night in late July, and I’m pasting my own Substack draft into an AI detector for the first time. Not because I’m worried. Because I’m curious. I wrote every word of it myself, the way I write everything, out loud in my head first, in a rhythm that still carries the accent of a language I learned to think in before I learned to write in this one,” begins one Substack post by an author indignant that Pangram flags her writing as AI. “That’s the part I had to sit with before I could write this.” If you, like me, have worked with AIs a lot, you won’t even need Pangram there. The author of that piece is AI. It is obviously AI! I checked 10 other posts on the blog, and they were also obviously AI! “I have spent 22 years as an award-winning author and essayist. And now this bullshit tool that learned from MY writing is going to accuse me of plagiarism,” popular Substack writer Carlyn Beccia wrote in an anti-Pangram post. “For the last and final time, AI DETECTORS DO NOT WORK.” Here’s what her writing sounded like in 2020: “Most success stories revolve around one person who believed enough in you to say — give it a try. We call these people muses, but they are so much more than that. They are the strong man giants whose shoulders we stand on so we can see the horizon. Throughout the editing process, I am sure my editor felt less like a giant of greatness and more like Atlas with the world on her shoulders.” Pangram says it was 100% human-written. (So were other articles of hers in 2020.) And here’s what it sounds like now: “And then there is the reshuffling, which sounds like paperwork until you remember that empires have always loved paperwork. The Trump regime recently moved special education oversight from the Education Department to HHS. That is not a minor bureaucratic transfer. It changes the frame.”3 Pangram says this is mostly AI. I am not convinced that Pangram is wrong. In my own experience, Pangram is very effective on long texts — if it marks a long essay as AI, the essay was either written by AI or deliberately written to sound like AI. On tweet-length or paragraph-length texts, it’s not perfectly reliable. It seems to work just as well for non-native English speakers as for native speakers. While I have seen dozens of claims of pre-2022 text returning a positive result on Pangram, I have tried repeatedly to corroborate those and have never once succeeded. To be clear, I’m absolutely not saying that complaining about Pangram suggests a writer is a cheat. There are plenty of other concerns. Most are mistakenly premised, such as the false claim that Pangram trains on work you put into it, but others are reasonable: It’s unreliable on sufficiently short text segments; it creates an internet witch-hunt mentality when there are defensible uses of AI; people who are open about their AI use are sometimes blamed, when the only people really doing something wrong are the ones who hide it; and it isn’t perfect, so a single positive result shouldn’t be taken as decisive proof of misconduct. I’m happy to concede that Pangram is imperfect and possible to over-rely on. If an author’s posts are mostly non-AI and one scans as partially AI, this could be a mistake. It’s also possible to defeat Pangram with intentional effort. If you think we need something more robust and more reliable, fine! But if you don’t like AI and don’t like Pangram, your attitude really ought to be that it’s a shame that our existing tools for AI detection are imperfect, and it’s important to invent better ones. If your stance is instead that AI is evil and so is looking for AI, then ultimately you’re contributing to the sloppification of the internet. You’re making it harder for people who write their own text to distinguish themselves, and providing cover for authors who are definitely not writing their own text. Subscribe Top stories this week, by Kobe Yank-Jacobs Commentators often worry that the decline of reading could mean the decline of liberal democracy — but deliberative governance actually predated widespread literacy. This week, Maibritt Henkel pointed out that many liberal cultures thrive on a culture of raucous, interactive debate, which can happen in-person as easily, if not more so, than in text. Read on, dear reader, to learn more. It may actually cheer you up: [ ](https://www.theargumentmag.com/p/reading-wont-save-liberalism) [ Reading won’t save liberalism ](https://www.theargumentmag.com/p/reading-wont-save-liberalism) Maibritt Henkel · Sep 1 [ Read full story ](https://www.theargumentmag.com/p/reading-wont-save-liberalism) It used to be bad to downplay climate change (if we mean denying its reality). Today, it’s actually good to downplay climate change (if we mean keeping the issue out of political fights so we can make real progress). This counterintuitive view is called “climate hushing,” and contributor Alex Trembath argued that it’s the key to enacting good policy going forward. Get up to speed on the latest in climate politics: [ ](https://www.theargumentmag.com/p/we-wont-stop-climate-change-by-talking) [ We won’t stop climate change by talking about it ](https://www.theargumentmag.com/p/we-wont-stop-climate-change-by-talking) Alex Trembath · Sep 2 [ Read full story ](https://www.theargumentmag.com/p/we-wont-stop-climate-change-by-talking) Canada’s Prime Minister Mark Carney is standing up for the forces of liberalism against Donald Trump’s assault on our closest ally. So, why is one prominent left-wing commenter attacking Carney? Columnist Matthew Yglesias explains: [ ](https://www.theargumentmag.com/p/when-economic-liberty-means-central) [ When "economic liberty" means central planning ](https://www.theargumentmag.com/p/when-economic-liberty-means-central) Matthew Yglesias · Aug 31 [ Read full story ](https://www.theargumentmag.com/p/when-economic-liberty-means-central) 🌟Abundance Wins of the Week🌟 Shout out to my home state of California, whose legislature passed two housing bills this week. One requires a housing density minimum in transit-oriented areas of the state’s most transit-rich cities (Los Angeles, Sacramento, San Francisco, Oakland, San Jose, San Diego, and Long Beach). Another bill closes two common loopholes used by third parties to delay housing projects, including an opportunity to challenge maps of a given lot created by the developer after a project has been approved. Shout out to our big-state rival, Texas, where pro-housing SB 785 took effect this week. The new state law requires municipalities to have at least one district permitted for manufactured housing without a special permit. This will promote zoning changes in 44% of municipalities. The company Fervo Energy signed a deal with Google for what is set to be the world’s largest enhanced geothermal facility, proving a technology can work at a scale that could be crucial to a decarbonized, energy-abundant economy. Share Worth watching… This week, forecasting legend Nate Silver joined Jerusalem, Matt, and Jeremiah on a crowded episode of the pod. It was a party. And speaking of parties, our round table debated the factional lines within the Democratic Party: Is it possible to be center-left and also anti-establishment? Watch or listen to find out: The Rio Grande Valley in Texas is one of the areas that swung hardest toward Trump in 2024, but musician Bobby Pulido is running to flip it back. Right now, The Argument/Split Ticket’s model has him running 1.1 points behind his Republican opponent in a district Trump won by 18 points. Tune in to find out how he differs from national Democrats and what he thinks he can to do win this seat. On Thursday, Bernie Sanders was among the first politicians to call for a ban on superintelligence. My guest this week, Andrea Miotti, has been lobbying to ban superintelligence for several years, most recently in the U.K., U.S., and Canada. I asked him how he gets legislators to take speculative risks seriously, and we dug into what plans might look like to actually pass a ban. Listen to learn more: What’s News with The Argument The Argument recommends, by Kobe Yank-Jacobs If we ever lose track of Justin Zuckerman, I’ll have the team split up and check all the movie theaters in the city. I’m shocked (and a little jealous) at how often he gets out to see good cinema. This week, he brings us It Ends, a “horror-ish movie,” which he described as a “Gen Z Waiting for Godot.” I was intrigued before he added that it was “funny, dark and existential” — at which point I was fully locked in. I guess I also had existential themes on the mind this week. One morning, a single line from a poem I read long ago just came to me: “Is death a stretch of time in which a life is just a flash?” The poem is called “From 20,000 Feet” by Heather McHugh. I suggest the version in The Vintage Book of Contemporary American Poetry, which, by tradition, my best friend and I always bring backpacking, extra weight be damned. We’ll stay thematically dark for just one more rec from senior editor John Robert Thomason, whose upcoming trip to Baltimore reminded him to suggest Michael Clune’s memoir White Out (about being addicted to heroin in Baltimore in the 1990s). Ben Lerner’s blurb called it _“_Disturbing, brilliant, hilarious—it’s as if Proust had written Jesus’ Son.” John told me this “seems accurate, with the caveat that I’ve never read Proust.” I, personally, have also shelved Proust until retirement. At this point, I was a little concerned for the team since all of us tossed out such psychologically grim material — maybe we’re all down about the end of summer — but thankfully, at least a few of us were into more upbeat selections. Milan Singh recommended Made In’s 5-quart stainless clad saucier, suggesting he had some fun in the kitchen. Jeremiah Johnson asked if he could recommend yet more Carly Rae Jepsen. Once denied, he offered up Game Changer instead_,_ calling it “the most wildly creative game show, maybe in the entire history of the genre.” Eli Richman mentioned _Lucky, “_a B-tier show with an A-tier cast and an S-tier theme song.” I suppose he was recommending the song, Horns of a Bull. Still, despite these cheerier recs, I couldn’t help but be concerned that we were subconsciously worried about racing toward summer’s end — the end of swim trunks and splashing around. Then a message landed reminding me of the three-day weekend to come. A whole extra day for sunshine. One more swim in the lake. I was grateful this called to mind yet another line from a poem, one by Mary Oliver, the patron saint of every gorgeous summer day (and about whom a documentary is now out). Speaking to God in the poem “Thirst,” she wrote: grant me, in your mercy,a little more time. Love for the earthand love for you are having such a longconversation in my heart. We have merch! We have quarter-zips, keychains, hats, and stickers. Each one is a great conversation starter in its own way. Buy them here. Subscribe More to read: [ The Opening Argument ](https://www.theargumentmag.com/p/seeing-like-an-elite)[ Seeing like an elite ](https://www.theargumentmag.com/p/seeing-like-an-elite) Kobe Yank-Jacobs · Sep 4 What do Americans hear when they watch Sen. Bernie Sanders or Vice President JD Vance rail against the elite? Are they thinking of right-wing tech billionaires? Imperious college professors? Liberal magazine writers? [ Read full story ](https://www.theargumentmag.com/p/seeing-like-an-elite) [ The Weekly Scroll ](https://www.theargumentmag.com/p/god-is-back-on-the-timeline)[ God is back on the timeline ](https://www.theargumentmag.com/p/god-is-back-on-the-timeline) Jeremiah Johnson · Sep 5 This week, we’re talking about Substack’s new religious debates, the continuing MAGA influencer scandal, how to retire from YouTube, and aura battles. [ Read full story ](https://www.theargumentmag.com/p/god-is-back-on-the-timeline) 1 This was a legitimate thing to worry about, but doesn’t seem to be a problem given the actual technology: Marijke Van Vlasselaer, Filip Van Droogenbroeck, and Bram Spruyt’s 2026 paper looks at whether Pangram is less accurate when evaluating the work of non-native speakers of English. It isn’t. That’s because Pangram isn’t really looking at how “unusual” a piece of writing is but whether it has the characteristic patterns of LLMs. The Wired article makes an odd gesture at a different Pangram-is-racist argument. There were several controversies this summer during which upcoming books were canceled after being discovered to be AI-written: “The three novels mentioned earlier — Shy Girl, Daggermouth, and Call Me, easily publishing’s biggest AI-detection scandals — were all written by writers of color.” But come on! As Zvi Mowshowitz put it: “They were not primarily written by people of color. They were primarily written by AIs.” That’s the whole problem! And as my colleague Jeremiah Johnson recently observed with respect to Cambridge’s Arday scandal, a community being unwilling to call out fraud if it’s perpetuated by people of color is not an anti-racist tendency; it is ultimately quite racist. 2 Many non-Pangram detectors don’t work, but many possible airplane designs also don’t work, and no one considers this a general argument against aviation; the thing that matters is whether any detection works. 3 The phrase “empires have always loved” mysteriously became all the rage in the last few years. See here, here, here, here and here. Before 2025, the only use of that phrase I have been able to find is a single Tweet. The logic of the sentence, too, is incoherent in an AI-characteristic way. “...sounds like paperwork, until you remember that empires have always loved paperwork”? Does remembering that make it sound less like paperwork? It’s a craft-ful sentence, but what is it actually saying??
Politics is not a spectator sport
Are you a political hobbyist or a political lobbyist? Maybe you’re a political atheist (someone who doesn’t believe in politics). There are probably other categories, but this is enough for one column. Andy Borowitz, a political satirist (another category) — best known for his “Borowitz Report,” short, fake-news, very funny dispatches — wrote a serious […]
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Whoa! Netflix is Sending Narnia Heading to Theaters...What This Means for the Future of Film
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Here’s a funny thing about the debate over whether streamers should release their movies in theaters first: Both sides think the other side represents the “conventional wisdom”. If you’ve been reading me for any amount of time, or even just scanned my front page, you know I think movies make more money by having a robust theatrical window compared to going straight-to-streaming. I’ve published thousands of words on this topic. And for years, I felt like I was standing up to a wave of opposition. See, while the “put your films in theaters to make money” take was obvious at any point before 2019, post-streaming revolution, most of the trendy thinkers took the opposite point of view. Big names argued that Netflix putting their film straight-to-streaming (“S-to-S” from here on out) actually made more money. Netflix was “disrupting” theaters, just as they disrupted Blockbuster Video, and since innovation is always good, this too was a great idea. This thinking then leaked into the mainstream business outlets like the Wall Street Journal and Bloomberg. I read many articles whose take boiled down to “Netflix makes tons of money from S-to-S releases” and “theaters were in structural decline” anyways. Covid-19 shutting down theaters and the 2023 strikes shutting down film production seemingly justified this point of view, as the box office struggled to return to 2017-2019 heights. Yet I’ve also read folks arguing the opposite point: the conventional wisdom says to put films in theaters! From some writers’ points of view, “everyone” actually agrees/agreed with my “send your films to theaters” take—especially the stodgy traditional studios—and folks still didn’t understand Netflix’s genius. I feel like, for the last two years, many people have argued this point as if it’s conventional wisdom. You know what? I may have been wrong. At this point, the “S-to-S strategy makes money” might be the minority viewpoint. Especially with the news this month that Netflix will put at least one film—Greta Gerwig’s Narnia film The Magician’s Nephew—in theaters in 2027 for a full 49-day run is big news. So that’s the story of the week, but I’ll also explain why they’re making this move now and why Netflix may not completely embrace theaters, along with other topics, like how I don’t buy Disney’s “super app” strategy, the latest good news out of the unions, my take on the latest attacks against free speech, and a whole lot more. Let’s get started. Subscribe Most Important Story of the Week - Netflix Goes to Theaters! Listen, I promise not to victory lap too hard today. As I just wrote, I’ve argued against sending films straight-to-streaming for—checks calendar—eight years now. Since 2018. Yikes. That’s a long time. And for years, others painted my thinking as “conventional” in that I was standing up for the status quo against trendy, cool disruption. And that’s not cool! But math is math, and I never could make the S-to-S numbers work. The only thing that ever enabled that model was Wall Street’s brief exuberance for it. It seems like the heads of Netflix now agree with me. (There were always rumors that former head of film for Netflix Scott Stuber argued internally for theatrical releases as well.) As they announced: “The Magician’s Nephew_—the first film in a Narnia series of films—will open on 12-Feb-2027, with a 49 day theatrical exclusive run.”_ I’m a little surprised at how little coverage this big change actually got. Credit to Bloomberg for leading with it and Matt Belloni’s The Town for highlighting it with the provocatively titled podcast “Hell Hath Frozen Over”. But after that? Instead of getting as much coverage as, say, the FCC’s latest egregious crackdown on free speech, this news story got crickets. But it’s massively more important for the future business of entertainment. So let’s start with the obvious question… Why Put Your Movies in Theaters? So…why should Netflix put (some!) of their movies in theaters? Well, I’ve already written that in a very, very, very long article from 2022: [ ](https://entertainment.substack.com/p/the-data-is-in-theatrical-films-massively) [ The Data Is In: Theatrical Films Massively Outperform Straight-To-Streaming Films ](https://entertainment.substack.com/p/the-data-is-in-theatrical-films-massively) Entertainment Strategy Guy · April 5, 2023 [ Read full story ](https://entertainment.substack.com/p/the-data-is-in-theatrical-films-massively) To summarize, theatrical runs make much more money, especially blockbusters, because they earn more money per viewing,1 and that helps boost home entertainment sales. Theatrical films also perform as well or better than the streaming-only films. Now, partially this is driven by increased marketing for said films, but said marketing ultimately boosts the awareness of the movies and drives improved streaming and library performance as well. Again, I’ve made this case after reviewing the economic models and streaming data for years. Just last week, Emily Horgan also made the case for kids films! Yes, it is probably conventional wisdom, but that’s also because it’s true! I’d also argue we’ve seen a lot of data in the various studios’ behavior. As I’ve noted before, the more a studio needs to make money, the likelier they are to put films in theaters. As such, Disney, Universal, Warner Bros., Paramount and Sony all send their major films to theaters. Even if they once made a big S-to-S push (*cough* Disney *cough*), they’ve since relented and returned to theaters. The tech companies don’t need to make money, per se, so it took them years to embrace theaters. Apple doesn’t need to make money because it doesn’t disclose their (likely) Quibi-sized losses each year. (They fear bad press more than losing money.) Amazon announced two years ago that they planned to make Amazon-MGM Studios/Prime Video profitable on its own, and guess what? Now they’re putting films in theaters. That leaves Netflix. They’re in between the “no need to make money at all” and the “desperately need to make money to offset linear TV declines”, so they had less pressure to put some films in theaters. Plus, for years, they were the sexy disruptor, and Wall Street rewarded them for that. (Honestly, they still do.) Yet, even Netflix likely saw the money they were leaving on the table (I’ve estimated it at an easy billion dollars before) so they changed their course. I heard one pundit argue that, because Netflix already makes so much money, they don’t need to make more money, which sort of goes against everything I’ve ever learned about business and economics. Again, to be super-nuanced, sending “films to theaters” does not mean EVERY film. TV movies have been a thing for decades. Lifetime films, Hallmark holiday films, Disney Channel Original Movies, and so on, don’t need theatrical runs. But films above a certain budget level (say $25 to 50 million) almost certainly need theaters to maximize their revenue. The Scenarios (with a Dose of Skepticism) Now time for some skepticism: it won’t surprise me at all if Netflix re-changes course. Specifically, Netflix announced that their Narnia film will go to theaters. And I’d bet anything we see KPop Demon Hunters 2: The Huntering2 also goes to theaters, cause it’s the surest hit outside of a Disney animated sequel right now. But how much does Netflix truly commit to theaters? They’ve already tried to emphasize that this is a one-off move. I see three broad scenarios:
Chartbook 449: Voldemort on Threadneedle street. The Bank of England and the "haunted house" of English politics.
Imagine the scene: In some Harry Potter version of 21st-century London, a group of deathless UK Treasury officials gathered from across the last century huddle over warm pints and glasses of Chardonnay. Around the table there are officials from the 1920s, the 1930s, the 1970s, 2022 and today. Inevitably, in May 2026, the subject of conversation is the disintegration of the current Labour government. Despite its huge majority in parliament, it has been reduced to tatters by catastrophic local election result. These exposed the fact that rather than having a government with a clear popular majority, the UK is like most other modern societies divided into 5 segments each of which commands between 26 and 16 percent of the vote. Perhaps unsurprisingly, the leadership at Nos 10 and 11 Downing Street - where the Prime Minister and the Chancellor (Treasury Secretary) work - seem paralyzed. They are caught between mounting discontent over unfairness and the cost of living, and tough fiscal strictures that push them into making unpopular spending decisions. In the London pub, the Treasury officials from across the ages, can barely hide their satisfaction at the latest display of democratic politics caught in the vice-grip of financial logic. “Remember the mur d’argent and the banker’s ramp?” “Just like yesterday!” There are smirks around the table. Then the representative of 2026 pipes up: “One thing you have to say about the current lot (referring to the latest hapless Labour government), you don’t have to teach them about the bond market!” There is a murmur of ascent from the Treasury Mandarins. The trauma of the fiscal crisis of September-October 2022 sits deep. Back then, in the final stages of Tory decay, a ‘mini budget’ that challenged fiscal orthodoxy led to a brief but fierce panic in one of the oldest government bond markets in the world (aka gilt market). Now all you have to do is to mention the “bond market” to hush debate. [ Paul Mason@paulmasonnews In the name of public service, and as ex-economics editor of BBC Newsnight, I offer to do a zoom call, tonight, with any Labour MP who wants to understand why bond markets do not "fall into line" with governments. 1/ 3:57 PM · May 12, 2026 · 466K Views 224 Replies · 674 Reposts · 3.93K Likes ](https://x.com/paulmasonnews/status/2054229532404519082?s=20) “And the funny thing is”, the young man in the huddle continues, “they don’t even want to talk about … ”. There is a sudden hush. Significant looks are exchanged around the table. About? One of the senior figures puts down his glass with a decisive “clink”. He-Who-Must-Not-Be-Named has entered their thoughts. Meanwhile, a few miles away in a grubby pub in Bloomsbury, two conspirators from the camp of Critical Macrofinance huddle over cans of low-alcohol IPA. They look at each other and blurt out loud: “The Bank!” “Everyone in the bloody Labour party is talking about the bond market. But why aren’t they even mentioning … the Bank of England!?” “Why is no one talking about Voldemort?” In Paul Mason’s blogpost, after much chest-thumping about basic fiscal logic, the basic point about the Bank of England is buried in the fine print at #3 in his list of suggestions as to what a radical Labour government might actually be able to do! [ Conflict & Democracy Down with the bond market! Down with gravity! It may seem unfair to focus on Labour MP Paula Barker for her off-the-cuff assertion that the bond market would have to “fall in line” with Andy Burnham, should he replace Keir Starmer as prime minister. But Burnham himself told the New Statesman that Labour had to “get beyond this thing of being in hock to the bond markets… Read more 2 days ago · 100 likes · 3 comments · Paul Mason ](https://htsf.substack.com/p/down-with-the-bond-market-down-with?utm_source=substack&utm_campaign=post_embed&utm_medium=web) Back in Bloomsbury they shake their heads and ask: “Didn’t we learn anything from the Eurozone crisis?” Meanwhile, as if summoned to the conversation by some higher force, the “pink pages” announce: “The days of ultra-cheap government borrowing have come to an end” and Martin “Whizzard” Wolf publishes the graph of the season Look at the UK in 2026, perilously positioned on the upper edge of the pack. No wonder no one in London needs any lessons about the “bond market”. But, look again. Imagine how they feel in Rome. What is London’s nightmare in 2026? The nightmare is that you end up like Italy in the early 2010s during the Eurozone crisis. Once comfortably situated in the middle of the pack, watching with horror as your ten-year yields explode to 7 percent and “spreads” become a national nightmare. One of the largest economies in Europe, a founding member of the euro, stigmatized. But the message of the Italian experience is ambiguous. After all, the stigma didn’t last. In 2026, Italy borrows at rates lower not only than the UK but the US. The US, which, as everyone knows, enjoys the “exorbitant privilege” of being the issuer of reserve, safe asets. What kind of magic is this? How did Italy, in the space of fifteen years, go from being good, to bad and back again? Which brings us back to our dissident friends in their Bloombury boozer and their memories of the Eurozone crisis. Italy never was Britain - with its ongoing fiscal deficits. Without interest payments, on primary balance, from 2000 to 2020 Italy ran a tight fiscal ship. Even in 2008 it barely went into deficit and when it was being put on the rack in the early 20210s its primary surplus matched that of austere Germany. So, what happened? How did it end up stigmatized? Of course Italian politics didn’t help. Berlusconi was at the helm and he had legal issues. But amongst friends in the Bloomsbury pub, Berlusconi is a sideshow, the name we whisper to each other is “Trichet”. From 2004 to 2011 the ECB was headed by Jean-Claude Trichet, ex of the French Treasury, more German than the Germans. After 2009 as the news of the Greek fiscal disaster broke, the European bond markets wento into panic mode and Trichet began a brutal game of cat and mouse. Between 2009 and 2011, Trichet intervened in the bond market to help, only when he thought he had compliance with austerity. When he thought they were uncooperative, he withdrew. In the summer of 2011, he even made direct suggestions to his Italian counterparts in Rome, as to how Italy should be governed. It was this cat and mouse game that drove the bond markets crazy and exposed Italy to a violent squeeze. When Mario Draghi took over the ECB at the end of 2011 and declared “whatever it takes”, the pressure on Italy, gradually eased. It is that starring role that has made Draghi into the towering figure in European politics that he remains today. So now you see why voices in London hush when it comes to the Bank of England. “The bond market” isn’t an irresistible objective force like the weather or an avalanche. It can appear like that. But that depends on the way it is being handled, or not handled by the central bank. Which is why the silence about the Bank of England in London right now is so significant. If you think this all sounds a bit fishy, coming from a left-liberal Keynesian like myself, well, let me introduce you to Robin Brooks, who, to put it mildly, plays on a different quidditch team to me. Here, from the position of a fiscal hawk is Robin’s celebratory account of the Bank of England’s role since 2022; In October 2022, at the height of the bond market blow-up in the UK, something incredible happened. Governor Andrew Bailey told British pension funds the Bank of England would end its support program for the country’s fragile gilt market, drawing a line under how much help the central bank was willing to give to exposed pension funds and - implicitly - the government. By the end of that week, Kwasi Kwarteng - the finance minister - had resigned. Prime Minister Liz Truss would soon follow. This episode is so incredible because it contrasts with what happened in the Euro zone earlier that year. Bond markets in Spain and Italy were under pressure amid high inflation and rising interest rates. In the middle of this, Mario Draghi - Italy’s Prime Minister - resigned, compounding pressure on bond markets of high-debt countries on the Euro periphery. Unlike the Bank of England, the ECB caved. It bought Italian and Spanish government bonds in an effort to cap yields and introduced a new tool that signaled to markets it might do such caps more frequently going forward. Faced with pressure on bond markets, the ECB capitulated to political pressure from high-debt countries like Italy and Spain. The Bank of England stood its ground and toppled the Truss government. This kind of thing has long-lasting consequences. It means markets price a higher probability of yield caps in the Euro zone, which keeps Italian and Spanish yields artificially low, while markets feel free to push up UK yields without fear of central bank intervention. As I flagged in yesterday’s post, this means you really can’t compare UK yields to those of other high-debt countries. The UK looks worse, but only because its central bank isn’t interfering with markets. There’s more to this than just that 2022 episode. The Bank of England has also been much more aggressive in its quantitative tightening (QT) than other central banks. If one motivation for quantitative easing (QE) is to lower bond yields - especially longer-dated ones - then it stands to reason QT pushes yields up. The left chart above shows a four-quarter moving average of UK government debt issuance (black line) in percent of GDP and which sectors absorb this issuance, including the Bank of England (blue bars). The right chart above compares the Bank of England’s accumulation or run-off of government bonds (blue line) with that of other central banks, where this blue line is the same as the blue bars in the left chart. The Bank of England was quicker and more aggressive than other central banks in downsizing its bond holdings, so UK yields will have risen more than elsewhere also for this reason, not just because of Governor Andrew Bailey’s remarks in October 2022. Back in October 2025, after a conversation in New York with friends in British politics, my sense of dysphoria was such that I raised the issue of the Bank of England openly in the FT Since 2008, the UK has slid into a deep economic and political predicament. Growth has stagnated to a degree far worse even than in the 1970s. The Tory leadership’s wager on the Brexit referendum spectacularly backfired, leaving the UK isolated from Europe and at the mercy of its special relationship with the US, many of whose political class regard the UK as a basket case. After years of austerity, the Labour party lurched to the left and then back to the centre. The Tory party has been eclipsed by the populist nationalism of Reform. Any British government should be worrying first and foremost about how to restart growth. Instead, Keir Starmer is beset by shades of the gilt market panic triggered by the Liz Truss government in 2022. The debt level is higher than in recent years, but there is no cause for panic. UK debt is at far from critical levels and of long duration. Whether you want to “take back control” or launch progressive economic policy, a democracy dogged by fear of bond market vigilantes is unhealthy. In a country that is a monetary sovereign, this climate points to one thing: a disconnect between the government and the central bank. Since 1997, the independence of the Bank of England has become a sacred cow. But independence is what you make of it. And in the wake of the gilt market crisis of September 2022, relations between the Bank of England and the UK government need a reset. In normal times, there is no doubt that an inflation-targeting independent central bank can serve a country well. But since 2008, the UK and other advanced economies have not had the luxury of such simple problems. To their credit, central bankers around the world have not stood on orthodoxy. After 2008, the US Federal Reserve rescued the global banking system and, through quantitative easing, it stabilised the Treasury market in the face of huge deficits. In Europe, things were trickier. Both the Bank of England under Mervyn King and Jean-Claude Trichet’s European Central Bank played cat and mouse with national governments. This was a high stakes wager that between 2010 and 2012 escalated bond market tension and triggered a disastrous turn to austerity. Shaken by the impact of those shocks, their successors, Mark Carney and Mario Draghi adopted a more protective stance (assuming you were not the government of Greece). Recall that Draghi’s legendary slogan, “Whatever it takes”, was uttered to face down the City of London’s bond vigilantes. In 2015, Draghi launched QE — financial repression by another name. In 2016, Carney used the authority of the Bank of England to stabilise markets following the vote for Brexit, an exemplary demonstration of how central banks can underpin democratic choice, even when those choices are wrong headed. All these were independent central bankers steeped in the best practice of the 1990s, who recognised that historic crises demanded radical action. It was the price surge of 2021-2023 that poisoned the atmosphere. Though the shock came mainly from the supply side, central banks ended up in the dock. Nowhere more so than in the UK. The Bank of England reacted with aggressive normalisation. Faced with a cost of living crisis, the governor called for workers to accept real wage cuts. In early 2022, as gas prices were at record levels and Russia’s army was poised to invade Ukraine, the Bank adopted a stringent programme of quantitative tightening, elevating interest rates. When the Truss government got itself in trouble, the Bank took almost a week to come to the rescue. Rather than enacting a charade of normality, it is time to recognise that in 2025 the UK faces a period of historic transition. To meet this challenge, what is needed is a new concordat with the Bank. This should not ignore inflationary pressures or the long-run trajectory of debt, but should affirm the priority of reviving investment-led growth. One could follow Donald Trump in demanding interest rate cuts. The Bank could shadow the ECB in its commitment to capping Eurozone yields. But the top priority should be to lay the ghost of September 2022. The Bank’s slowing of QT last month was a concession. An immediate and complete end would send the right signal. Such a concordat will not by itself restore sanity to politics, solve the housing problem or rebuild the NHS. But it would help to lift the fear of bond market crisis, which is paralysing the effort by democratic politicians to answer the fundamental questions facing the nation. Now, that call for a new concordat between government and Bank of Englands seems more urgent than ever. The problem is that in October 2025, Starmer still had some authority. Today the government is in tatters. And when you are the “under the harrow” - to echo a phrase of Montagu Norman’s from the 1920s - it is the worst possible time to consider institutional change. To make general arguments at a time of crisis can only seem like special pleading rather than a general argument for long-term change. The same, unfortunately, is also true for the other basic institutional reform that Britain urgently needs i.e. the abolition of the out-dated first past the post electoral system and its replacement by a moderated form of proportional representation. And thirdly - whilst we are saying the quiet parts out loud - Britain needs to reopen the question of EU membership. What the local election results of 2026 show is that this remains a key issue. And what they also show is that there is a clear majority that would favor a return. Until these basic features of Britain’s political economy are addressed the country will carry on its politics as though in a haunted house, governed by governments that lack actual majorities, conjuring up false constraints whilst ignoring the real ones. This one is for DG and MI. I love writing the newsletter. If you enjoy it too and fancy buying me a coffee once a month, you know what to do. Click below! Subscribe
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BigXthaPlug spent eight months in Nashville making a country-rap album that debuted at No. 7 on the Billboard 200, put “All the Way” with Bailey Zimmerman at No. 4 on the Hot 100, got him a Rolling Stone cover, and filled arenas with Jelly Roll. And then he came back to Dallas, rounded up four of his signees, and made a gangsta-rap record with N.W.A’s Straight Outta Compton on the cover. 6WA is the second group release from 600 Entertainment, named after the 600 block of Meadowridge Street in Ferris, Texas, where BigX and his people grew up. The whole thing is loaded with West Coast samples. From N.W.A.’s “8Ball,” Eazy-E’s “Real Muthaphuckkin G’s” and “Boyz-N-The-Hood,” Ice-T’s “6 in the Mornin’,” Snoop Dogg’s “Nuthin’ but a ‘G’ Thang” and more. BigX is staking his name on the lineup he built—Rosama, MurdaGang PB, Yung Hood, KevanGotBandz, KaineMusic—and claiming a lineage from 1,400 miles away while insisting Dallas is its own thing. A million dollars in cash, split and handed straight to his mother. That’s the first place BigX goes on “From the Bottom.” He’d probably still be in the streets if he didn’t have his son and daughter. He only started rapping to make life better for Carter. Couldn’t start his car back then, now people get starstruck at Starbucks, and he throws the whole field away in one sentence: “How you think we competin’? You on the same bag, I just made me some millions off country.” Goyard bags off a Nashville payday, and he wants you to know exactly how far he’s come from everybody else. “Safe to Say” does something similar but looser. It’s a straight Ice Cube “It Was a Good Day” flip, and BigX nails it. Wakes up, checks both phones, nobody’s locked up, kid accounts look good. Gets pulled over, only catches a warning. Pulls up on the squad to liquor, ladies, and haze. Rosama takes the second verse and matches him. Wakes up to his girl cleaning his cuticles, twins playing peekaboo, pays off his car, calls a cousin, sees the opps and they don’t trip. Lawyer calls, he beat his case. Rosama is the strongest voice in the 600 camp after BigX, and “Life of a Gangster” is why. Third person, riding low, blacked-out windows, snub-nose revolver. A character who chose sticking people up over selling dope. “Quick eraser like a number-two pencil.” He never breaks character, and his delivery drops lower and slower than anything he does on the group cuts, like he’s telling you something at a cookout that he probably shouldn’t. Then on “Long Live Fre$h” he’s a completely different rapper. “Short-bus diamonds, these bitches retarded,” wide-body Durango he can’t even park. That kind of range matters on a group record. MurdaGang PB’s best verse is on the title track. Feds at his door at 6 AM, cameras busted, flushing dope, ram truck putting everybody on the floor. Yung Hood on “The Hottest” just lays out four reasons to keep hustling. Who wants to be broke, women cost money, you need bail, and home has to be straight. It’s funnier and more honest than most rappers get when they’re trying to explain why they sell drugs. KevanGotBandz on “Ain’t Never Slowin’ Down” talks about his father getting caught on the dope while he’s sitting on $300K somewhere in the hills, which is a specific kind of guilt that doesn’t usually make it onto crew tapes. KaineMusic, the newest signee, takes the back half of “Who Dunnit” and introduces herself in third person—“Took flight just to show these hoes how to perform”—but it’s too short to know if she can hold a full song. The flex tracks fill the middle of the LP and mostly run together. “I Go” is Rosama and PB trading brands, guns, and food punchlines. Rosama’s “anemic, my iron tucked low in this shirt” is a slick gun bar, PB fires back with “.223 with a clip ‘bout as big as a toddler” and “I go Burger King, stay with that whopper.” Quick, funny sometimes, but it’s all shopping lists. “Dopeman” is a chant. “6ixer Party” brings Snoop Dogg, who does exactly what you’d expect Snoop Dogg to do. BigX contributes the night’s wildest overshare: “She say she brought a friend too, well, I’m tryna put sausage on her dental.” These songs move fast and don’t overstay, but three or four of them could trade verses and nobody would catch it. Midway through, The D.O.C. shows up for a spoken-word interlude. Tracy Curry. West Dallas native, former N.W.A affiliate, co-writer on a lot of the records getting sampled on this very album. He thanks BigX for the tribute and then gets direct: “This your time, this DFW time. You need to do it like we do it down here.” Leave bread crumbs so everybody behind you can eat. Keep God in your life. 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Thirty-two minutes was right for this. Nobody overstays, Tony Coles and Rance and Charley Cooks keep the production punchy, and BigX gives his signees real room instead of crowding every song. 6WA doesn’t reinvent anything. Five rappers, good beats, short clock. Most of what they say you’ve heard before. Some of it—the million to his mother, the cuticles and peekaboo, the four reasons to hustle—you won’t forget. Solid (★★★½☆) Favorite Track(s): “Safe to Say,” “From the Bottom,” “The Hottest” Subscribe
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We disagreed on politics. We agreed on wine. That was enough.
At the Virginia Governor’s Cup Gala in Richmond earlier this month, a very dapper gentleman approached me and introduced himself. In his light-colored suit and bowtie, he looked very Southern in a classical sense, the sort of Virginia Gentleman you used to see south of the Rappahannock as recently as my college days. “I’m a longtime reader and fan of your writing, if not your politics,” he said. His comment was the proverbial iron fist in a velvet glove, simultaneously conveying praise and disapproval while establishing boundaries. Man, I wish we still discoursed like this instead of shouting bromides and insults to try and “own” our opponents with a funny meme and a furrowed brow. Subscribe “Well, we’ll always have wine to share together,” I said, and thanked him for his kind words. We clinked glasses, exchanged pleasantries about the delicious gold medal-winning wines being poured that evening, and went our separate ways. Our exchange reminded me that more unites us than divides us. Wine brings people together to share a meal and a few hours of joy despite our differences.1 That’s why I refer to the wine community — including readers and consumers — rather than the wine industry. Together, we are so much more than production, distribution and sales statistics. A few minutes later the evening’s awards ceremony began. Applause grew as the 12 winemakers who made the top-scoring wines for the Governor’s Case took the stage, including a loud cheer for Jonathan Wheeler of Trump Winery and his 2018 Blanc de Noir sparkling wine. All the winemakers on stage had reason to be proud, Wheeler perhaps more so. Trump Winery was the only winery to win six gold medals in the competition this year. (Wineries are limited to six entries.) Two of Wheeler’s ciders also won gold medals in a separate competition. When you cover the labels and take the sour taste of politics off your palate, the wines are pretty darn good.2 Then Gov. Abigail Spanberger, newly elected Democrat and Virginia’s first female governor, was introduced to great applause to announce which of the 12 wines had won the Governor’s Cup. She spoke for a few minutes about the importance of wine to Virginia’s economy and tourism and the international acclaim Virginia wine has received. Just two weeks earlier, she gave the Democrats’ response to Trump’s State of the Union speech, but this night wasn’t about politics. That didn’t stop several people in the crowd from speculating on the irony should she have to present the trophy to Trump Winery. In the end, Valley Road Vineyards was displayed on the screen behind Spanberger as the winning winery. Blue Bee Cidery in Richmond took top honors for that category. The crowd cheered a female governor presenting the state’s highest trophy to a female winemaker and then resumed the evening’s festivities, united by their mutual love of wine. A whiff of politics couldn’t dim the cheer of celebration and a community united by its love of wine. In Memoriam: Michel Rolland The global wine community lost a giant March 20, with the passing of Michel Rolland. He was 78. Rolland was the original “flying winemaker,” a globe-trotting consultant who helped Bordeaux regain its mojo in the 1970s and then shaped the rise of Napa Valley cult Cabernet as consultant to Simi, Harlan, Newton, Screaming Eagle, Araujo, Dalle Valle and other wineries. He was instrumental in Argentina’s rise to prominence and even had his own winery, Clos de los Siete, in a partnership with other wine families. Rolland’s career arc paralleled that of Robert Parker, the world’s most influential critic. Parker championed many of the wines Rolland consulted on, helping build his reputation and demand for his services. It also made him a target for Parker’s critics. As W. Blake Gray wrote on Wine-Searcher in his excellent tribute to Rolland: Rolland created the type of wines Parker loved: rich body, plenty of fruit, soft tannins. He sometimes faced the accusation of creating a generic international style of red wine, where the great wines he made in Argentina were indistinguishable from the great wines he made in France. Rolland chafed at that critique, as did many of his fans. He was credited with championing green harvesting and leaf pulling, as well as careful selection of grapes in the winery, practices we nearly universally think of today for high-quality winemaking. “Michel was an incredible innovator who changed how wine was made and how grapes were grown,” Napa Valley winemaker Aaron Pott wrote on Facebook. “His work has transformed the wine trade. He created new ways of looking at wine, tasting wine, evaluating ripeness and quality. … This was not just a man with a ‘style’ that he imposed on vineyards but a man that understood how to make great wine from great sites.” Rolland started his consulting company in 1973 in Libourne, in Bordeaux, with his wife, Dany. Both had graduated the year before from Bordeaux’s Institute d’Oenologie. The couple sold their majority share in the business in 2020, according to Wine Spectator. Over his career, Rolland reportedly worked with more than 100 wineries in 20 countries. He even made it to Virginia, where he consulted for Kluge Estate in the mid-2000s. (Kluge Estate is now Trump Winery.) Reader feedback, please! Last week, I did my first WineLine Live! with Dr. Laura Catena of Catena Zapata winery in Argentina. We enjoyed a fascinating discussion about her efforts to preserve the genetic heritage of old vineyards in Mendoza. I conceived of WineLine Live! for paid subscribers, as a thank you for your financial support. And while only a few people joined live, the video now has more views than I have paid subscribers, so I guess that’s pretty good. Even so, I’m considering opening future installments to anyone on Substack to reach a broader audience. So my questions to you: Should these be public? And what format do you prefer? Live gives a chat feature with the potential for viewers to interact with me and the guest, while a video post would just be that. Another alternative is a podcast, which would just be audio, without video of my chins. Please let me know in the comments. Leave a comment In the Glass A few wines I’ve enjoyed recently: Bonny Doon Vineyard Take Me to Your Liter, Le Cigare Volant, Red Wine of the Earth. 2023, Central Coast, CA. Blend of Grenache, Syrah Cinsaut and Petite Sirah. Delightful wine with expressive red fruit flavors, casual drinking. Doon lovers of a certain age will remember Randall Grahm’s Big House Red; this is more in that style than his original Le Cigare Volant, modeled after Chateauneuf du Pape. The liter bottle makes it an even better value. I see this online at about $15. Great value. Albert Bichot Bourgogne Pinot Noir Origines 2023. 13% - Textbook pinot noir and an excellent, affordable entry (regional) Burgundy. Wine Enthusiast Top 100 Wines of 2025. $24 at Total Wine & More. Loma Larga Pinot Noir 2021 “Coastal Cool Climate Wine”, Valle de Casablanca, Chile. An older sample, showing beautifully. Spicy and fruit forward. I’m seeing widely varied pricing online, from $18-$32. At the lower end, it’s a terrific value. 13.5% Dr. Loosen Riesling Dry 2016, Mosel, Germany. Found this “in the stack.” And it stacked up well, shedding some of its youthful acidity for opulent Riesling character, including a hint of the mineral oil older Riesling often features. A great value, as I’m seeing it as low as $14 online. 12% abv. Red Tail Ridge Blau Franc Blend 2024, Sans Oak, Finger Lakes. 13.4% abv. The name is a neat portmanteau of Blaufrankisch and Cabernet Franc, thus Blau Franc. The blend is 50-50, no oak involved. The Blau dominates on the palate, with the spicy caraway seed (think New York deli rye bread). The Franc adds body. The result is juicy, energetic and joyful. Sokol Blosser Estate Rosé of Pinot Noir 2025, Dundee Hills, Willamette Valley, Oregon. This first rosé of 2025 was a welcome respite to our cold, snowy winter here in the Mid-Atlantic. Oh man, I needed this! Bright and energetic, exuberant even, it perks up the mood and goes down fast. 13%. Certified B Corp. Ingredient and nutrition labeling, and in a modest way that doesn’t occupy a lot of label space. (Since it’s not required, presumably there are no minimum font size requirements.) More wineries should follow this example. Dave McIntyre's WineLine is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Thanks for reading Dave McIntyre's WineLine! This post is public so feel free to share it. Share 1 Some restraint may be required. 2 Especially the bubblies.
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