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Introducing the 2026 L’Oréal-UNESCO for Women in Science Awardees
Vox is partnering with L’Oréal UNESCO to celebrate its 2026 grant recipients.
Introducing Strands: Sports Edition, a New Daily Sports Puzzle From The Athletic | The New York Times Company
The Athletic today announced the launch of Strands: Sports Edition, a new sports-themed daily word search game crafted in collaboration with New York Times Games. Strands: Sports Edition is a sports…
THE OPTIX NETWORK ANNOUNCES NOVEMBER 1 LAUNCH, INTRODUCING A NEW DESTINATION FOR ORIGINAL ENTERTAINMENT AND INDEPENDENT STORYTELLING
/PRNewswire/ -- The Optix Network, a new premium streaming platform dedicated to original entertainment, independent storytelling and creator-focused...
Xbox follows in PlayStation's footsteps, introducing AMD FSR 4.1, targeting better graphics and performance on Series X/S
Xbox Series X and Series S are getting a new AI upscaling technology comparable to PlayStation's QSSR.
Toy Story 5, Backrooms and The Breadwinner Vie to Become the Second Biggest Film This Year...
(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.) Often, people blame “data” for ruining Hollywood, when I’d argue that hype (which can often be debunked by data) is often worse, as you can see in these two headlines. To use a common meme, here’s how it started: and how it’s going: Earlier this year, I read countless (and I mean countless) articles (in almost every mainstream media outlet) about how Heated Rivalry was a huge hit and that it “heated” interest in hockey. But Heated Rivalry wasn’t a huge viewership hit compared to the hype: [ ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) [ You Can’t Eat Buzz…Did Heated Rivalry’s Buzz Translate into Actual Viewership? ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) Entertainment Strategy Guy · Jan 22 [ Read full story ](https://entertainment.substack.com/p/you-cant-eat-buzzdid-heated-rivalrys) In this case, the hype (Heated Rivalry is really popular) belied the data (It didn’t make the top ten charts, meaning it wasn’t a huge hit.1) Even worse, every time I write about this, I get a lot of negative feedback, hence why I only sparingly mention the show these days or add lots of caveats when I write about it, but this just further cements the hype. But companies, and the executives leading them, have to determine strategy based on reality, not media coverage. The NHL committed real marketing dollars to a campaign that didn’t work. Sure enough, the latest NHL season opened to under a million viewers. At some point, you have to focus on what the data says, because real dollars are at stake. And that’s why we have the Streaming Ratings Report! To provide and analyze cold, hard data. Luckily, this week, I can be positive and take a look at a huge opening on streaming, along with a very buzzy horror film that customers kind of like, but don’t really love. And a comedy that tried to rebound on streaming. Today, I’m covering two weeks—21-Sep and 28-Sep—so we have a lot to discuss (nearly 5,000 words worth), including a series of film misses for Netflix, another argument for weekly-released TV shows on streaming, another sitcom tries to avoid the comedy curse, Netflix has two new game shows (one powered by AI), Reacher falling off the charts after a huge run, Prime Video tries its hands at the romcom game**,** a look at the WNBA’s big season, a big night for the VMAs on CBS and MTV, all the flops, bombs and misses, and a whole lot more. (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 14th to October 4th, 2026. You can find a link to my terminology here.) Subscribe Film - Two Hits and a Miss Come to Streaming… Three very interesting films came to streaming in one week, and I like comparing them since they show the range of theatrical films. One was a huge blockbuster, one was popular, and one was neither. One is a horror film, a buzzy genre; one is a comedy, a struggling genre; and one is an animated family film, the king of the box office. One went to a tiny streamer (HBO Max), one went to a second-tier streamer (Disney+), and one went to the biggest (Netflix). So… If you just went by box office, you’d expect Backrooms—the $197 million grosser, and partner of Obsession for “YouTube Horror Summer”—to dominate on streaming. If you read this report, though, you know that horror films don’t do great on streaming, and that’s the case again. Backrooms opened at 3.8 million hours according to Nielsen, and had 3.9 million hours in its second week. Here’s how that stacks up to other HBO Max films: 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 don’t buy Backrooms budget… …two new games shows arrive on streaming… …another sitcom struggles… ...another argument for putting out shows weekly on Netflix... ...and a whole lot more, nearly 5,000 words more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Next week, I’ll be taking a look at the eighth season of Hulu’s The Kardashians, answering the question: will this show ever make the charts? If Mormon wives can make it, surely one of social media’s most popular families can as well. Also, Prime Video has a new horror show based on popular IP, Carrie, Netflix has a horror show starring Josh Hartnett, Below, and Apple TV has a UK import, Small Prophets. Plus a bunch of movies like Disclosure Day heading to Peacock, The Housemaid coming to HBO Max, Ben Affleck’s latest on Apple TV, Animals, and Matchbox the Movie on Apple TV, a John Cena action comedy inspired by Hasbro’s toy cars. The week after is even busier! I’ll look at another IP-based horror show, Crystal Lake, a new MCU show on Disney+, VisionQuest, season two of The Lowdown on FX/Hulu, the fourth seasons of The Diplomat on Netflix and Tulsa King on Paramount+, another season of Love is Blind, and four straight-to-streaming films: Netflix’s Sacrifice (starring Chris Evens, Anya-Taylor-Joy, Vincent Cassel, John Malkovich, Salma Hayek. Charlie XCX), Apple TV’s Tenzing (starring Tom Hiddleston and Willem Defoe), Prime Video’s Love of Your Life (Margaret Qualley) and Masterplan (Stanley Tucci) and a whole lot more, somehow. Long term, here’s some huge IP news: a Game of Thrones movie is coming to theaters, Game of Thrones: Aegon’s Conquest in 2029, while Jon Watts (who helmed three of the most recent Spider-Man movies) is directing the next Star Wars trilogy, to be written by Simon Kinberg. I’m cautiously optimistic for both. It feels obvious to say that making good movies matters, but for bets this big (Star Wars is on a swoon, Game of Thrones hasn’t been to theaters yet), the quality has to be there.
Trump administration announces $8 billion farm relief plan as fuel, fertilizer costs bite
(CNN) — President Donald Trump announced at a Kansas rally on Monday that his administration is introducing an $8 billion aid package for farmers in the face of high diesel
Build Your Future in Healthcare: Free Workshop Opens Door to Business Ownership Team Abilities Foun
On Thursday, October 22, from 10 a.m. to 2 p.m., Rachel Jelks, founder of TEAM Abilities, will host DREAM IT. DO IT., a FREE, hands-on workshop introducing participants to the business of providing residential and community-base
Airtripmaker Expands Business and First-class Flights Network to London, Amsterdam, Frankfurt, Tokyo, Sydney by Introducing Enhanced Coverage for Global Destinations as Part of Its Ongoing Growth Strategy
Airtripmaker announces expanded business class and first class flight booking options from the United States to London, Amsterdam, Frankfurt, Tokyo and Sydney.Germantown, Maryland--(Newsfile Corp. - October 18, 2026) - Airtripmaker, an international flight booking platform, has strengthened its offerings for travelers seeking business class and first class flight tickets the USA, making premium long-haul travel more accessible, comfortable, and cost-effective.With rising demand for business...
Somon Air selects Moment’s wireless inflight entertainment platform for new 737 MAX 8 fleet
Somon Air is introducing inflight entertainment for the first time across eight new Boeing 737 MAX 8 aircraft.
AHN takes lifesaving training into western Pennsylvania classrooms
AHN's new Building Bridges program teaches students CPR, Narcan use and other lifesaving skills while introducing health care careers.
AHN takes lifesaving training into western Pennsylvania classrooms
AHN's new Building Bridges program teaches students CPR, Narcan use and other lifesaving skills while introducing health care careers.
iOS 27.2 has three new changes just added this week
iOS 27.2 is launching soon, and Apple keeps introducing new updates with each beta. Here are three changes added to iOS 27.2 this week.
Rep. Ritchie Torress Introduces Legislation to Ensure Gamers Own Their Digital Games
Democratic Congressman Ritchie Torres is introducing legislation that aims to ensure you own your digital games, rather than having a license.
SPINE ‘Customization Announce’ trailer, screenshots
Nekki has released a new trailer and screenshots for single-player story-focused action game SPINE introducing the game’s customization features.
IP Saves the Day On Streaming
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Before we get started, I wanted to highlight a new idea I saw from Real Good AI, proposing a ratings system for AI use. (H/T to Anthony Kaufman’s article highlighting this.) It would look something like this: In general, I think that this is a solid, middle-ground solution that should appease both the pro-AI camp (who love AI) and the anti-AI camp (who wants to know if what they’re watching didn’t come from humans). Regardless of your feelings on AI/LLMs—I’ll never use it for my writing—transparency is often the best solution to many problems. In general, I think way more media outlets need to be using way more AI disclosures. My quick “Yes and...” to this idea: what about ads? In particular, I hate it when I see or hear ads that are obviously AI-generated, but a person or voice says, “I used this product”. AI doesn’t use products! Just today, I watched a YouTube ad where a “person” said they use some sort of rain wind chime...but that’s not a real person! They didn’t use this product. (Especially since the video of the wind chime itself also appeared to be AI-generated...) I believe most traditional advertising already has standards like this anyway.1 Okay, on to this week’s issue. We’re covering the week of 14-Sep, and then next issue, I’ll be fully caught up with Nielsen’s new release schedule. In the future, I plan to put out Streaming Ratings Reports each Monday after Nielsen’s Thursday releases. Overall, we had some big new shows this week, like Prime Video’s Reacher spinoff_, Neagley_, which is off to a big, big start, and Netflix’s latest in its Monster anthology, which is their largest opening since June and the second-largest since One Piece came out in March. All that, plus Slow Horses returns, the trio of returning shows (Lioness, Reacher and Ted Lasso) continue to dominate the top tens, Paramount+’s latest crime drama, a big whiff for a Netflix original film and a precipitous drop for Netflix film charts, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 14th to September 20th 2026. You can find a link to my terminology here.) Subscribe Television - IP For the TV Win Can I use the dirty word of entertainment journalism right now? IP. Shhh. Don’t tell anyone I said it. But IP works at the box office, and we’ve seen some evidence it works in TV too. Not as well, and not all the time—no absolutes here!—but often enough. And glancing at the Nielsen top ten…it worked this week! Take Prime Video, who has a monster hit in the crime drama Reacher. Would a spinoff work for that show? Yep! They binge-released Neagley, about a detective from the original Reacher series, and its eight episodes debuted to 29.6 million hours. Here’s how it stacks up to Reacher, one of Prime Video’s biggest shows: That’s great. Nearly as strong as Reacher’s opening! (Both shows started with eight, binge-released episodes, so this comparison is apples-to-apples.) Notably, Prime Video scheduled the debut of Neagley to overlap with Reacher’s most recent season, to help drive tune-in. Obviously, I love smart release strategies like that. And even though I wrote “obviously”, it’s not really that obvious, since streamers don’t often take advantage of natural overlaps like this_._2 Other data backs how well Neagley performed. It opened at second place on Samba TV for two weeks and got 51.7 million hours on Luminate. That’s the eleventh biggest opening on Luminate since May of 2024 and tied with Bridgerton’s third season opening. That’s a huge opening! Its IMDb is solid too, a 7.7 on 24K reviews. Netflix’s latest edition in the “Monster” series—which started with Jeffrey Dahmer and comes from Ryan Murphy—did well too, opening to 24.7 million hours. That’s the biggest opening for Netflix since I Will Find You in June, and second biggest since March. Unlike the Reacher series, this franchise is trending downward, though. The first Monster show—Dahmer - Monster—was giant. More than anything, I think this reflects that Netflix running out of extremely popular—if that’s the right word?—serial killers to feature. Still, the data says this is a very good opening. It made it to third place on Samba TV for two weeks. It also opened to 40.0 million hours on Luminate. That’s not quite as elite as Neagley, but still very, very strong. I’ll be honest: my priors coming into any given week are that IP works to help drive buzz for new shows, but TV shows need to stand on their own even more than movies, so they will succeed or fail based on their quality. But these two spinoffs definitely worked. Quick Notes on TV The top show, film or special this week? Football, again. Specifically, Prime Video’s season opener of Thursday Night Football. The games run long (three hours) but mainly a lot of people watch each game. That adds up to a lot of viewership. Paramount released the second season of MobLand on an unusual day for that service, a Friday! Often, they put their new shows out on a Sunday, as they did last year with a run of shows (Lioness, Tulsa King and Landman). MobLand didn’t make Nielsen in its first week, but on Samba TV it got to eighth and seventh place. Luminate had a smaller opening too, only 5.3 million hours. MobLand missed the Nielsen charts for its first eight weeks, so this season is off to a stronger start. (Bonus note: the first season streams on both Prime Video and The Roku Channel, but I only have it as Paramount+ on those charts.) I’ve mentioned a few times that foreign-language originals do lower numbers than English-language originals on Netflix most of the time. But I don’t usually emphasize what country those originals come from, and observationally, they tend to be from Western or Northern European countries, in general. So credit to Not a Stranger, a Turkish Netflix original, for breaking through on Luminate, getting to 7.9 million hours in its first full week on those charts. As I mentioned last issue, Crew Girl ended up making the Nielsen charts in its second week. That’s still a soft performance compared to many shows, but again this, one looks affordable. And if you’re curious, here’s how it stacks up to some other sports romance shows: 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… …about a new data source and how it drives streaming viewership… ...what reality show is struggling in its latest season…. ...what Netflix film bombed…. ...How Reacher, Ted Lasso, and Lioness are doing on the charts… ...what obscure sport put up great viewership numbers… …how far streaming films are falling… …all the flops, bombs and misses for the last week… …and more… ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Next week, we’ve got a double issue, then we’ll be all caught up with Nielsen’s data. Yes! The goal is to have my report out on the Monday after I get Nielsen’s data. So next issue, I’m looking at East of Eden, The Great British Baking Show, a Willy Wonka game show (that people are upset uses AI, but viewers might not care), and a Cosby show spinoff reboot on Netflix, and Brothers on Apple TV (starring Woody Harrelson and Matthew McConaughey). That’s about it for TV, but who’s going to win the streaming week, The Breadwinner or Backrooms on streaming? Answer: Toy Story 5. Plus Netflix has a Unabomber film and a new Tyler Perry film, Teenage Sex and Death at Camp Miasma tries to repeat The Substance’s run on MUBI, and Paramount+ has Jackass: Best and Last. Long term, Netflix is remaking Lonesome Dove. I love this choice, but man, there are a lot of westerns on TV right now. And they’re making Sega TV shows, including a Crazy Taxi TV show and Sonic show with an “edge”.
Apple TV 4K 2022 vs. 2026 Buyer's Guide: All Differences Compared
Apple announced the fourth-generation Apple TV 4K earlier this week, introducing the A19 chip, built-in microphones for hands-free Siri, four-speaker HomePod surround sound, and an updated Siri Remote. It replaces the third-generation model introduced in 2022, bringing a number of internal changes while retaining the same basic design and most of the same entertainment features. The new model costs $299 and comes with 128GB of storage.
Ubisoft plans cuts at German studios, adding to wave of workforce reductions
Ubisoft is planning to reduce its workforce in Germany, where it operates a trio of studios, by about 100 workers, Game File has learned. The company wants to offer employees buyouts to, should enough people accept, avoid having to lay anyone off. “In Germany, we initiated discussions with the Works Council last week regarding a proposed voluntary departure plan across Ubisoft Dusseldorf, Ubisoft Berlin & Ubisoft Mainz,” a company rep told Game File. A “works council” is a union-like group representing employees. “The voluntary plan is the primary measure being proposed to support the intended organizational changes,” the Ubisoft rep added. The company declined to confirm the scale of the potential headcount cut. Of the impacted studios, Mainz might be the best known to the public. It leads development of the Anno series and shipped the well-reviewed strategy game Anno 117: Pax Romana in November 2025. Berlin and Dusseldorf operate as support studios within Ubisoft’s creative network. Berlin recently supported the development of Rainbow Six Siege and the Rayman Legends Retold remake. Dusseldorf also contributed to those projects, as well as The Settlers and Ubisoft-branded escape rooms. Dusseldorf is the biggest of the three studios, with some 400+ workers, compared to just over 100 at the other two, a source familiar with the reductions and the teams told Game File. More than half of these new reductions of about 100 people are expected to happen at Dusseldorf. The planned cuts were announced at a town hall for the German studios on Tuesday of last week. In an email follow-up, the studio group’s managing director, Benedikt Grindel, said the cuts were intended to “best position our German studios for the future... with a clearer focus on their role, capabilities and organizational setup needed for the work ahead.” The email was an echo of the past. In January 2025, Grindel had emailed the Ubisoft developers in his region (or studio “zone”) to explain that a round of 185 cuts at the time, including about 65 at Dusseldorf, were “essential to improve our operational efficiency and ensure the long-term sustainability of our studios, the zone and the company.” A half-decade of continued job cuts Ubisoft has been aggressively cutting its headcount for years. At the end of September 2022, it had 20,729 workers. By the end of March 2026, that total was down to 16,590. Studio management is trying to trim costs as it grapples with a changing industry and a drought of releases, let alone hits. The company announced earlier this year that it had reduced its costs since 2022 by “nearly €325 million” ($362m) and planned to lower them through 2028 by another €180 million ($200m). In June the company said it was closing down its Winnipeg and Belgrade studios and cutting roles in its Barcelona team. Even commercial and creative success hasn’t spared studios from this ongoing company-wide contraction. As Game File was nailing down details around the proposed cuts in Germany, Ubisoft management was informing workers of cuts in its Singapore studio, which shipped a hit remake of Assassin’s Creed IV: Black Flag this past July. Some 70 positions in Singapore are being eliminated “to align the studio with upcoming production needs,” per a company rep’s statement to Game File. In early 2024, a large team in the Singapore studio launched the multiplayer pirate game Skull & Bones. It performed poorly but has been supported with regular content updates since. Many of Ubisoft’s studios around the world are heavily subsidized via regional grants and tax breaks. Singapore had been among them for years, but received no such local assistance in the 12 months ending this past March. News of the Singapore cuts broke today alongside word that Ubisoft is also proposing the closure of RedLynx, pending negotiations with officials. The Finnish studio behind the motorbike series Trials was founded in 2000 and sold to Ubisoft in 2011. As reported by VGC (and corroborated by Game File), Ubisoft management told employees it could not come up with a new, sustainable assignment for RedLynx. The 2025 workforce at Ubisoft Dusseldorf were straight-up cuts. This time, Ubisoft is hoping the reductions at its trio of German studios will largely come from workers taking a payout to leave. The company offered such voluntary dismissals at its Massive Entertainment studio (The Division) a year ago. For the German studios’ buyouts this time around, Ubisoft and the Works Council had discussed a formula that’d pay a worker’s monthly salary multiplied by 1.5 and by the number of years they’ve worked at the company, according to Game File sources. The formula is still subject to negotiations with the Works Council and has not yet been part of an official offer to workers. It could be adjusted up or down, and it could be supplemented with additional bonuses. Asked about the floated payout formula, a Ubisoft rep told Game File, “The terms of a potential voluntary departure program remain subject to negotiation with employee representatives. No final agreement has been reached, and we won’t comment on specific proposals while discussions are ongoing.” Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: Epic’s AI adventures Epic Games (Fortnite, the Unreal engine) is all-in on using AI to try to transform the way it makes video games and game-making tools. It’s leaders appear to be undeterred by any resistance among gamers and some game developers around generative AI—and instead emboldened by advances, particularly in AI-assisted programming. A recap of the last three days: On Monday, Bloomberg reported that Epic management told workers last week that development of an upcoming game combining Star Wars and Marvel characters would be “AI first.” Employees would be expected to use AI models such as Claude to code the game. A manager told Epic’s developers there would be “[n]o more hand-written code” and that art for the game would be “generated with full AI workflows,” per the outlet. Just ahead of that story running, Epic founder Tim Sweeney tweeted: “We have a huge pivot underway here at Epic, moving developers around to retool for maximum AI acceleration. The aim isn’t to do the same stuff with fewer people, but to enable everyone here to build MORE and BETTER stuff, and to bring the benefits to all teams using Unreal.” In a follow-up, Sweeney predicted that most game development processes would be at least three times faster a year from now than they were in January 2026, thanks to AI. To a person on X who told him he was failing to read the room, Sweeney said: “Much of the room wants it to be 2016 again, but it’s not. Our job, as the provider of tools and technology to much of the industry, is to design for the present that is and the future that will soon be.” On Wednesday, Epic announced it was releasing a faster launcher for its Epic Games Store marketplace. It did so by stating in a blog post as clear as could be that the launcher is an AI-enabled, vibe-coded project: Programming is hard. So, instead of doing that, we vibe coded a new Epic Games Launcher that’s way faster and more responsive than the current one, and has a new look. Programming is hard? That was unexpected phrasing from a company founded by a legendarily great programmer. Back in 2011, Sweeney told me that he’d picked up programming quickly as a kid and rejoiced at the power it gave him. “I could look at any program that anybody else had written and, with enough effort, build something cooler.” Item 3: The Xbox Labs experiment (and one of the people behind it) Microsoft’s Xbox division, which is flooding the zone with announcements lately, yesterday revealed a new internal tech-tinkering team called Xbox Labs. In the words of Xbox boss Asha Sharma Labs is “a small group of game makers, engineers and scientists whose job is to turn emerging ideas into things our players and developers can experience.” Conventional wisdom coming out of the announcement is that Labs is a team that’ll focus on ideas driven by generative AI. In her announcement, Sharma cited some of the dizzying achievements in tech and gaming over the past month as AI agents and other AI tools have been deployed to swiftly figure out how popular games work, then rebuild them and mix them up. She mentioned seeing ”games rapidly decompiled and rebuilt to run on hardware they were never originally designed to support” and said “[p]erhaps more surprisingly, we’ve seen many of the biggest games in the world have been remixed into the source code of another.” (Minecraft plus Elden Ring, for example, or Fortnite + Super Monkey Ball + Overwatch + Diablo + others.) Sharma also cited the work of Windows PC games being ported to run in browsers, a seeming reference to a recent AI-assisted fan port of Halo. Or perhaps Call of Duty or GTA. Sharma didn’t use the specific term “AI” in her memo, but she came close, citing AI “agents” and their potential for game-making tools that Labs could help craft: I think XBOX has an important role to play here. Coding became the first major workload for agents because they can write, run, and test software. Games share many of those same properties, and people spend more than 72 billion hours a year playing XBOX games, roughly five times the estimated time spent writing code worldwide. We’ve spent 25 years learning how to make great games, and I want our game makers to help shape what these new technologies make possible. As we learn, we’ll share the tools we build with developers across the industry, just as we always have. When I asked an Xbox rep if Labs was an AI-centric team, they said genAI was not the focus, describing it as having a broader mandate for using new tech in new ways in gaming. As an example, they pointed to Xbox’s recently launched disc-to-digital gaming usage rights program. Microsoft didn’t specifically name anyone involved full-time in Xbox Labs yesterday, but on social media and LinkedIn, I spotted Adrian Mato IDing himself as leading the creatio of tools at Labs and talking up the launch. Mato first caught my attention in late September, when he said on X that he was “starting to build a new team at Xbox focused on products and tools for how games get built and distributed as agentic tools become more capable.” At the time, he framed AI-based tools as a supplement to traditional game dev tools. “I don’t think we need to replace them,” he said. Since then, he’s publicly shown interest in AI and in games. He’s recently spent some of his X feed marveling at the power of AI agents and praising the lighting in the latest Gears of War. Following the Labs announcement yesterday, he enthused about the Xbox Labs’ stylish landing page. He wrote: “We built some fun tools to art-direct shaders in real time, experimented with interactive ASCII art, and sprinkled in lots of tiny details. “Move your mouse to leave a colorful trail that reveals the original footage, or interact with the video to trigger bursts of particles. “A lot of love went into making it all feel just right. “More to come”
Sony ECM-W5 Wireless Microphone System with Audio Recording
Sony has announced the ECM-W5 Wireless Microphone System with audio recording. The system pairs two transmitters with one receiver.
HomePod Mini vs. HomePod Mini 2 Buyer's Guide: All Differences Compared
Apple yesterday announced the HomePod mini 2, introducing the compact smart speaker's first major hardware update in six years. The new model retains the original's spherical design, but adds an S10 chip, faster wireless connectivity, Sound Glow lighting, new Mac and home theater capabilities, and support for Siri AI in a future software update. The HomePod mini 2 costs $149 in the United States, $20 more than its predecessor's last Apple price of $129.
Serie A: Sassuolo vs. Milan
Ruben Amorim appears to have gone with a new formation for Milan’s upcoming Serie A clash away against Sassuolo on Sunday evening, swapping to a back four and re-introducing the in-form Diego Morier...
MedStar Health introduces new helicopter to expand critical care capabilities
MedSTAR Transport, MedStar Health’s critical care transport program, is introducing a new Airbus H145 D3 helicopter to strengthen its ability to transport critically ill and injured patients across the Washington,
MedStar Health Introduces New Airbus H145 D3 Helicopter to Expand Critical Care Capabilities Across the Region
/PRNewswire/ -- MedSTAR Transport, MedStar Health's critical care transport program, is introducing a new Airbus H145 D3 helicopter to strengthen its ability...
Why Fermented Foods Are Important for Maintaining a Healthy Gut
Maintaining a healthy gut is a vital way to lower risks of illnesses like heart disease and dementia. Gastrointestinal health expert Dr. Trisha Pasricha joins the 3rd Hour of TODAY to share tips to improve gut health, including eating more fiber, diversifying fruits and vegetables in meals, and introducing fermented foods into your diet.
Introducing Air Canada Embarq, a New Self-Serve Business Travel Platform for Canadian Small and Medium-Sized Enterprises
New Air Canada for Business platform helps companies manage, optimize and reward business travel from one convenient platformAir Canada partnered with ZS, a global management consulting and technology firm and Traverse, powered by ARC, to deliver the technology to support Air Canada EmbarqAir Canada is putting business travel management tools and benefits that have traditionally been used by large enterprise customers directly in the hands of Canadian small and medium-sized businesses and non-pr
Who Won August and September: Original Films or Franchises?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) I just heard someone say that if you’re reading a pundit or data analyst, and they don’t tell you that they got anything wrong, they’re not a pundit but an “influencer”. I agree with that. You have to tell your audience when you get things wrong, or they won’t (or shouldn’t) trust you as much. Today, we’ve got another edition of “What I Got Right, What I Got Wrong”. In general, I’m patting myself on the back (and patting very hard) about a few things like IP at the box office, LIV golf, horror films, crowdfunding movies, superheroes, and old people going to the theaters. That said, I also made a couple of data mistakes on the streaming bubble popping and HBO’s datecdotes, so I’m not perfect. But first, I need your feedback... Subscribe Follow-Ups: What Should We Call Mid-Budget Movies Which Aren’t Cinematic Enough for Theaters But Are Too Expensive to Make Money on Streaming? After I asked for feedback on what we should call straight-to-streaming films that are too big to pencil out on streaming but not really big enough to resonate in theaters, I got some great suggestions from you all, including... “Moldilocks” from John Aboud “Little Big Indie” from Travis Frick1 “Midflicks” from Jonathan Funke. “Extra-Medium” from Jona Nwuke. (Read the explanation in the footnote.) Between these and Brandon Katz—who suggested “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”—we’ve got some excellent suggestions. And they’re better than my suggestion, the “Streaming Budget Dead Zone”, so let’s take a poll! The winning entry becomes the new term. Loading... RIGHT: LIV Golf is Fully Bankrupt…Is Anyone Else Next? A few years ago, I was always a bit perplexed at all the articles I’d read praising LIV Golf and their strategy to disrupt the PGA. LIV Golf, a brand new professional golf league, offered PGA stars ten times what they made on the PGA Tour to join their new league. And folks praised this strategy for its initial “success” in that a lot of big names did indeed leave the PGA. Yeah, of course the players came over. LIV Golf paid them so, so, so much more! But LIV Golf hadn’t discovered a way to increase potential revenue. So think about this in basic business terms… They paid much more in costs… …but had no real way to increase revenue. That’s not a strategy! That’s deficit financing. It won’t work unless you bankrupt the competition (and then turn around and pay those same golfers much, much less). It’s not a sustainable strategy and only lasts as long as the company/person/nation backing it decides they’re cool with losing money. For LIV Golf, that meant Middle East oil wealth, in particular Saudi Arabian money. Clearly, the current Iran War has hurt Middle East finances, so they need to trim their more exorbitant spending. And LIV Golf was part of that trimming. This should be a major warning for others. TGL’s parent company, TMRW Sports, just got a $1 billion valuation, despite TGL’s (the indoor golf league) horrible TV viewership of less than half a million viewers per match. Unrivaled, the women’s basketball league, just secured a $650 valuation, despite its horrible TV viewership and a new rival (Project B) entering the scene next year. To relate this to streaming, Hollywood should ask which streamers may have wealthy patrons funding their losses. (Let’s be clear: Google, Amazon and Apple.) Could those patrons lose their appetite? For Amazon, probably not. But Apple has a new boss, so maybe! WRONG: My Analysis of the Streaming Bubble Was Missing a Week I’m going to be congratulating myself a lot today, but I make mistakes too, like this data goof. When I last compiled the data on the decline in TV shows, I was missing one week at the end of June. If you look at the first image, you can see that one week was mislabelled as “July”. Mainly, this image got updated to show a 27% decline, not 29%: This change doesn’t really impact the overall analysis, but it is two percent better. By the way, through the third quarter, the decline increased and it’s now a 30% decrease since 2022. (I’ll write/visualize this in an upcoming article.) But I want you to trust me and my data. Especially these days, when many people are using LLMs that I know are inserting faulty data into their charts, I want to keep earning my audience’s faith. So that’s the accurate data. RIGHT: IP Remains Very, Very Popular In July, I wrote a giant (and I mean giant) article on Backrooms, Obsession, and the box office, going over what we know, what we don’t know about what works in theaters, looking at YouTubers, IP, the horror genre, comic book movies, and a whole lot more. The month of August really tested a lot of my theses and, being honest, mostly supported my arguments. Let’s start with IP. Looking at 8-Aug (the weekend after Spider-Man: Brand New Day came out) to 18-Sep (the weekend that Resident Evil came out, which I think provides a nice bookend to this time period), there were seven films based on pre-existing IP: Resident Evil (2026) ($126 million) Practical Magic 2 ($65 million) _Insidious: Out of the Furthe_r ($65 million) Coyote Vs. Acme ($59 million) Paw Patrol: The Dino Movie ($53 million) Tony ($15 million) Super Troopers 3 ($7 million) Compare those to the notable original films from the past month—I actually could have included more movies, but here are just thirteen, bringing us to an even twenty films—including.... The End of Oak Street ($54 million) Buddy ($26 million) Mutiny ($15 million) By Any Means ($15 million) The Dog Stars ($14 million) Runner ($14 million) One Night Only ($11 million) Hope ($8 million) Spa Weekend ($7 million) The Uprising ($6 million) Teenage Sex and Death at Camp Miasma ($6 million) Onslaught ($3 million) Eli Roth’s Ice Cream Man ($2.8 million) Here’s that in chart form: Five of the top six films in this time period were all based on IP. I made a big chart of films that grossed over $200 million at the box office before Spider-Man: Brand New Day and The Odyssey hit theaters. Let’s update that chart! By the way, if you want to see how I categorized each film—so another bar chart—here it is: I know that many of my fellow critics/pundits/analysts dislike films based on IP and how Hollywood is making so many of them. And I’m sympathetic to this point of view. As I’ve written many, many times before, you need a balance between existing franchises, new IP, and original films. And Hollywood clearly needs to make more films like Resident Evil (a well-made film from a visionary director) and fewer Practical Magic 2’s (which didn’t get critical or customer buzz). But at some point, critics and pundits need to contend with what audiences are telling them: Movie-goers aren’t showing up to original films. Audiences are speaking with their dollars, telling you they want more IP and franchises. You can try to convince studio heads to make fewer IP-based films and franchises, but the data and numbers aren’t there. Instead, critics need to work harder to convince audiences to show up for original films. Aim your ire/concern at the average person, not studio heads.2 Because they’re just making the films that audiences are telling them to make. WRONG: Original Horror Films Didn’t Break Out I’ll be honest, even though I wrote an article casting some skepticism on the horror genre in July, if you asked me to make a prediction, I would have predicted that, in August, a new, original horror film would have blown up. No, seriously, I just assumed that Obsession and Backrooms presaged a change in audience behavior. But none of the buzzy new original horror films from August—Teenage Sex and Death at Camp Miasma, Onslaught (not an action film in spite of the ads), The End of Oak Street, Eli Roth’s Ice Cream Man, or _Buddy—_broke out. To be clear, exactly one of those films (Buddy) had good “ROI”, but again—I try to be specific in my language—none were “popular” in any broad sense of the word. None of them will be “saving” movies theaters like Backrooms or _Obsession_helped save the summer. The new Insidious film and Resident Evil, both based on IP, were far and away the biggest horror films since July. (We’ll see if this changes in October/Halloween season.) RIGHT: Stay Skeptical about Crowdfunding... I’ve long been skeptical about crowd-investing platforms as one of Hollywood’s saviors, mainly because there’s so much hype/buzz. People need to stay more skeptical about more things, explaining both the potential upside but also the downsides. In particular, the media often hypes crowdfunding at the start and never checks in on the actual results after they’ve come in later. And August gave us our first update! _Ice Cream Man—_directed by Eli Roth—grossed $6 million off of a $5.5 million budget. This is a production of The Horror Section, which was one of the first “crowd investing” studios with 2,400 investors, which means that 2,400 investors probably lost money. They certainly aren’t getting as great of returns as if they had just invested their dollars in the stock market. Hopefully Stiletto (Tagline: “Someone’s Going to Make it Rain Blood!”) does better next month. WRONG: Another Data Goof Here’s another data error. When the first episode of House of the Dragon came out, HBO put out that it had 21.5 million viewers in the first three days, and I read that to mean in the US…but no, it was global. So my US-only datecdotes charts shouldn’t have included it. We never got US-only numbers for the first episode, but for the final episode, HBO put out that it had 11 million US viewers. (And that global dropped to 21 million viewers.) Here’s the updated chart (which I’ve since used in the Streaming Ratings Report): Still, this show is absolutely huge. RIGHT: Superhero Films Remain Very, Very Popular After Supergirl flopped, I read a few takes that “comic book movies are going the way of the Western”. Post-Spider-Man: Brand New Day, that take didn’t age well. To be fair, I have a very nuanced take on the superhero genre right now; it’s down right now, for a lot of reasons. But it’s not “dead”. Maybe _Spider-_Man is just a really popular character? I saw that take, and it’s a fair counter-argument. (But pundits arguing that superhero movies were dead should have mentioned this $1.5 billion counter-argument…) But is it just Spider-Man? The next Avengers film already has $50 million in pre-sales (and I was skeptical that that film would do well) and the Avengers: End Game re-release topped the box office two weekends ago (over three original films). And I wouldn’t bet against Batman or Superman. So maybe it’s just Spider-Man, Batman, Superman and the Avengers. Oh, and Deadpool, of course. And Black Panther. And Wolverine. And probably the X-Men. Plus a well-made Wonder Woman or the Hulk film could break out. But that’s it! It’s just those ten characters/teams. Oh, what’s that? Lanterns is also doing well on HBO? (See previous section…) To be fair, I’m actually pretty sympathetic to the argument that more popular characters—like Spider-Man and Batman—anchor more popular films. In fact, I made that exact argument three years ago when I first wrote about the “Marvel-cession”. In many ways, you can blame The Guardians of the Galaxy for fooling Marvel Studios (and the rest of us) into believing that any character could pop. It turns out, the list of iconic characters is probably smaller than most people think. But it’s probably too early to say that superhero films and comic book movies are dead unless “death” means a slight decline over a longtime. RIGHT: Who Killed Theaters? Old People I get frustrated whenever I see headlines or analysis about how young people are “returning” to theaters. As I’ve detailed(for years), young people have always powered the US box office, despite narratives about “kids these days” and their “phones”. Really, what’s changed post-2020/pandemic is that old people aren’t going to the movies nearly as much. This summer, I saw a movie (from an older director) in a theater near a retirement community, and multiple older people at the theater were talking about how this was their first time seeing a movie in years. I dislike personal anecdotes, so YouGov can fill in the data, best summarized by this headline: “Who killed movie theaters? Not the youths”. According to them, 64% of people aged 18-29 have seen a movie in the last year, but only 30% of 65-and-older. 20% of 18-29 have seen a movie in theaters in the last week and 42% in the last month. Here’s the polling data: Most concerning? Many Americans (17%) think theaters are a worse or much worse experience than watching films at home. Slight WRONG: Hadestown Opens Big A live theater capture of the Broadway musical, Hadestown, made $20 million at the US box office, which begs the question: was I wrong to be skeptical about musicals a few years ago? Yes and no. On the one hand, $20 million is a far cry from being “popular”, so yeah, the genre isn’t that popular overall and Hadestown is one of the more popular musicals from recent years (i.e. the “Taylor Swift Data Fallacy” in action). On the other, I doubt filming this cost all that much, and I don’t think that they spent much on marketing, so this is a good source of ancillary revenue. Smaller Updates WRONG: As I mentioned in a Streaming Ratings Report, I underestimated the budget for Enola Holmes 3. It probably cost more like $50 million, if not more. But... I’m not sure that it really matters? At sub-10 million hours, prices have to come down to make this work. WRONG: Netflix is giving Ink a 27-day in theaters! To quote the kids/YouTubers these days, let’s go! Now I might actually have a chance to see Danny Boyle’s latest in theaters. I’d complained about this in a “Coming Soon” section, but I was heartened to read that Netflix is giving multiple films longer theatrical windows this year. RIGHT: Netflix is sending 4-5 films per year to theaters. Netflix is slowly but surely sending more and more films to theaters, as I cautiously predicted earlier this year. For now, it’s just three big films and a number of awards contenders, but still, this is great news. And they’ll be releasing box office grosses! Just this week, Ted Sarandos confirmed that KPop Demon Hunters 2 will come to theaters (and my guess is it performs in the box office top ten at a minimum). WRONG: Angel has 3 million subscribers! How do I know this? Well, they told Deadline, who reported it. I marked this as “wrong”, since they’ve doubled their subscribers in one year but, you know, they don’t really have a hit film to speak of and they’re still losing money. WRONG: Furious was only renewed for one more season. I accidentally wrote “two more seasons” in my latest “Renewals, Cancellations, Un-Orders and Removals Update”. RIGHT: House of David is ending with its third season. In July, Prime Video renewed House of David for a third season, as I just wrote in my latest “Renewals and Cancellations” report. Well, now it’s ending after that third season. Why? As I’ve been writing, its viewership wasn’t great. I got feedback that this show didn’t cost very much, but it cost enough that its limited viewership didn’t save it. WRONG: Adults was a Hulu original! So I missed Adults when it first came out last year; I saw that it aired on FX and just assumed that it was a linear-first program. Turns out, it aired three episodes on FX, but binge-released the rest of its episodes the next day on Hulu. Huh. So I should have covered it last year! But I just wrote about it. 1 “When I was a kid in the 90s, if you wore a t-shirt to school that wasn’t too big and also wasn’t too small, but somehow didn’t quite fit, we’d say you were wearing an “extra-medium” shirt.” 2 As always, a huge exception is Disney, which barely makes anything original anymore.
Introducing: The Seiko Panda Watch That Stole The Show In 2024 Is Finally Here
One of the standout creations from Seiko's 2024 power design project—an irresistibly charming chronograph designed to look like an actual panda—has officially entered production.
Why I Don’t Think Ride Or Die Should Have Been Cancelled (And What Company Should Save It...)
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) So…I recently came across a Reddit thread, talking about films on streaming, wondering why there are no reliable sources out there for streaming ratings data. Sigh. Honestly, as annoyed as I am that so many still don’t realize that we have streaming ratings, I somewhat get it. Until now, there was such a long delay between when a show or film came to streaming and when we got its viewership data; I understand why people were confused. (But, as you know, this just changed.) Also, even back in the day, how many people knew how well films did on television? Luckily, as a reader, you’re in the know. Okay, on to this week’s issue. I want to take a look at Prime Video cancelling Ride or Die and whether I agree with that decision. Overall, we didn’t have any breakout hits (no TV shows landed over 20 million hours according to Nielsen) but we have a lot of steady performers on the streaming charts. Plus, we’ll look at where $50 million in missing box office dollars went. (Spoiler: straight-to-streaming.) All that, plus new episodes of The Secret Lives of Mormon Wives, Supergirl heads to streaming, a new YA show does well on Netflix, the viewership for the Daily Wire’s $50 million fantasy show, what TV show hit-maker can’t make streaming hits, CD sales, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 7th to September 13th, 2026. You can find a link to my terminology here.) Subscribe Television - Ride or Die Is a Hit…But It Got Cancelled? What The Data “Says” I hate the phrase “here’s what the data says”, even though sometimes I find myself using it. If data just told us everything, we data folks would be out of a job! Data is often messy, complicated and nuanced. When it comes to strategy, many of the best decisions can’t actually use “data”, since it’s vastly too complicated to model. Anyways, I’ve been singing the praises of Prime Video’s Ride Or Die this summer, a show that did very well for them. And yet…it got cancelled. Now, usually when a show gets cancelled, a bunch of websites say “a hit show got cancelled”... Here’s the thing, though: in this case, they’re right! The data “says” that this show was a hit. Specifically, out of 522 first seasons to make a week on the Nielsen charts since 2020, it’s the 75th biggest. On Amazon, Ride or Die is eighth out of 41 first seasons: That’s top 15th percentile all time, almost exactly, which is my definition of a “hit”! I mean, outside of Reacher, Amazon needed a hit this summer! (Admittedly, Off Campus did well for Amazon in the spring, but Ride or Die performed even better.) So what happened? Why did Amazon cancel one of their rare 2026 bright spots? Well, Deadline reported a reason—which I’ll get to—but I’d break it down into three relevant questions: What is a given streamer’s reasoning? Is that reasoning sound? Could the stated reason not be the real reason? According to Deadline, Amazon felt the show “over-indexed” in middle-aged women. (This was based on leaks from within Amazon.) The logic is this: Amazon already reaches this demographic because of unlimited two-day shipping bundled with Prime, so they don’t really need more shows like this. Now, it’s my job to ask if that’s a good reason, and I’ll be honest, in this case, I don’t think it is. Sure, this show may “over-index” in middle-aged women—I’ll just assume that’s the case here—but I think folks often oversell how important over-indexing actually is. When a show is a “hit”, it isn’t a bit bigger than its rivals; it’s usually multiples bigger. For example, Elle only made the charts for two weeks at 8.3 million hours each. So Ride or Die was 80% bigger in its first two weeks, and likely had a much stronger hold, with its terrific 13 million hours in week three. Ride or Die was nearly three times bigger than Sterling Point through three weeks too. And that means that _Elle, Sterling Point a_nd other Amazon YA shows need to not just over-index a little with younger women (assuming that’s who Amazon prefers over middle-aged women), but massively over-index. Otherwise, more people in that demo (and a bunch more besides) likely watched Ride or Die. (I’ll try to explore this concept more in a future article.) And don’t get me started on how Ride or Die did compared to a certain (very, very popular, possibly the world’s most popular) YouTuber’s reality show…which didn’t make the charts after its first week and likely cost much, much more than Ride or Die. All to say, Amazon-MGM Studios/Prime Video can tell reporters that this show didn’t reach the right audience, but that excuse feels weak to me. So this leads to the third question: could other reasons have come into play? Yes! Renewal or cancellation decisions rarely (I’m tempted to say “never”) boil down to one variable. At its simplest, it’s two things: budget versus viewership. But often factors like critical acclaim, ownership and, yes, personal opinion come into play. In this case, Amazon has a new executive running things, and this show isn’t owned by Amazon-MGM Studios (unlike Elle). And yes, it may not have indexed with the right target viewers, too. Likely all of those factors came into play.1 My guess is ownership ended up mattering most. Amazon doesn’t own Ride or Die. It’s actually produced by another major studio. Fortunately/allegedly, this show is being shopped around. I can think of one brand new CEO who should consider it for one of his two major streamers…especially if he wants to rebuild goodwill in Hollywood. His name is on this list of exec producers of Ride or Die… If David Ellison needs some goodwill—and he does—rescue this female-led show tomorrow and grab some good headlines for a day. The data justifies it. Quick Notes on TV We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How The Secret Lives of Mormon Wives latest season did on Hulu, post-controversy... Whether Supergirl soared on HBO Max... Why the box office is losing money due to the streamers... The viewership for the Daily Wire’s $50 million fantasy show... Updates on The Gentlemen, Lanterns, Outer Banks, King of the Hill and more... What former hit-maker has three streaming flops in a row... Whether The Mandalorian and Grogu popped in week two... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Oh man, we’re almost caught up! We just have two more issues, then the streaming Ratings Report will be coming out just two weeks after a TV show premieres! Next issue, I’ll be looking at the first two weeks of the NFL Thursday night games on streaming, a huge new spinoff, Reacher’s Neagly on Prime Video, and the latest edition of Monster: The Lizzie Borden Story on Netflix, the return of Slow Horses on Apple and MobLand (quietly one of their biggest shows) on Paramount+, and Dancing with the Stars on both ABC and Disney+. Plus I’ll take a look at animation for adults in 2026. The week after, a ton of movies are coming to streaming: Toy Story 5 on Disney+, Backrooms on HBO Max, Jackass: Best and Last on Paramount+ and The Breadwinner on Netflix, plus a Unabomber film on Netflix and a romcom on Prime Video. Woody Harrelson and Matthew McConaughey have a show on Apple, along with a game show inspired by Willy Wonka that everyone seems to hate. Long term, some crazy (but hopefully crazy like a fox) IP news. FX ordered a new Sons of Anarchy show from Charlie Hunnam, but it’s not about the biker gang. No, it features the show’s cast playing themselves in a new “meta-thriller”. Huh. And a lot of the cast is coming back. Next, Ryan Gosling is producing a Flintstones movie about a “grown-up Bamm-Bamm Rubble”. Also, huh. This one is in “early development” so we’ll see what happens. Both projects are based on IP, but also seem to have crazy takes on the IP, which I like.
Bladen Community College to host “So You Want to Start a Small Business” class and preview Pitch It Bladen 2027
The Small Business Center at Bladen Community College invites aspiring entrepreneurs to attend “So You Want to Start a Small Business” on Tuesday, Oct. 13, 2026, from 6:00 p.m. to 8:00 p.m. in Building 14, Room 104. This class will help participants explore what it takes to become an entrepreneur and take the first steps toward turning a business idea into reality.Participants will explore the entrepreneurial mindset and consider whether they have the interests, characteristics, motivation and willingness to take on the challenges of business ownership. The class will encourage attendees to examine their personal goals, expectations, strengths and readiness to pursue entrepreneurship.Attendees will also gain insight into the realities of starting and operating a small business, including the commitment, planning, decision-making and perseverance required to build a successful venture. Whether participants are just beginning to consider business ownership or already have an idea they want to pursue, this class will provide a foundation for determining their next steps.In addition to the class instruction, attendees will receive advance information about the upcoming Pitch It Bladen 2027 Business Competition, including the application form and details about the program. Individuals who are ready to move forward may submit their applications early and have the opportunity to receive advance acceptance into the program.Pitch It Bladen helps aspiring and emerging entrepreneurs develop their business ideas through structured instruction in business planning, financial management, cash-flow projections, marketing and operations. Participants work toward completing a business plan and preparing a business pitch, with the opportunity to compete for cash prizes.Last year's Pitch It Bladen program demonstrated the value of investing in local entrepreneurs by helping participants strengthen their business knowledge, develop their business plans and prepare to present their ideas. The competition showcased the creativity and potential of Bladen County's small-business community and provided participants with practical tools to move their business goals forward.Building on that success, Pitch It Bladen 2027 will provide another opportunity for local entrepreneurs to gain knowledge, build confidence and take meaningful steps toward launching or growing a business.“The Small Business Center wants to help individuals make informed decisions about entrepreneurship before they take the leap into business ownership,” said Theresa Dennison, Small Business Center director, in a press release. “This class gives participants an opportunity to evaluate whether entrepreneurship is right for them while also introducing them to Pitch It Bladen 2027 and the resources available to help them succeed.”Registration: Visit www.ncsbc.net and search for the class by name, or contact the Small Business Center at 910-879-5572 for additional information.
God Packs are Officially Coming to Magic: The Gathering
Magic: The Gathering booster packs have gone through a lot of changes in the last decade, some of which have been awful. But Wizards of the Coast are introducing 'God Packs' to MTG, which could feel like winning the lottery.
Choosing Between Good And Evil: The Omega Seamaster Diver 300M James Bond And Spectre Collection
✓ Introducing the Omega Seamaster 300M James Bond And Spectre Collection ✓ A tough choice between good and evil ✓ Check it out ✓
Introducing: The New Omega Seamaster Diver 300M James Bond & Spectre Editions (Live Pics)
The brand commemorates this year's James Bond Day with some special new Seamasters.
The Roost expands with a third Reno location, introducing three different business models
Explore The Roost's expansion in Reno with its new locations on Robb Drive and in the ROC facility, plus a look back at its Booth Street roots.
Gemini app limiting what models free & AI Plus users can access, AI Pro adding Deep Think
Following the compute-based usage change in May, Google is introducing limits on what Gemini models free and AI Plus users can access.
Introducing: The Raymond Weil Millesime Jubilee Chronograph 50th Anniversary
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Not Completely Out Of The Blue: Introducing The Longines Spirit Pilot And Spirit Pilot Flyback With Blue Dials
✓ Not completely out of the blue ✓ Introducing the Longines Spirit Pilot and Spirit Pilot Flyback with blue dials in fan-favorite sizes ✓
URI to launch new computational social science doctoral program
KINGSTON, R.I. – Oct. 1, 2026 – The University of Rhode Island is introducing a new Computational Social Science Ph.D. program, citing a growing demand for trained social scientists who can ethically use advanced computational methods to study complex social problems and inform evidence-based decisions. Set to launch in the fall of 2027, URI’s new […]
Introducing the 2026 Wahine Issue
October always brings a bit of magic. Not just the fall season, but the Wāhine Forum, Hawaiʻi’s largest leadership and career development conference for
Threads Dance Project marks 15 years with 'Love Evolving'
Threads Dance Project is marking its 15th anniversary this fall with Love Evolving, a retrospective celebrating the Minneapolis dance company's history while introducing new work shaped by stories from the
Reintroducing ‘By The Horns,’ a Column for the Local Government Nerd in You
INDY’s Justin Laidlaw is here to help readers get a grip on politics and civic life in Durham.
Prose Makes Skin Science Deeply Personal with New Custom Eye Care and a Next-Generation Custom Serum
/PRNewswire/ -- Prose, the global leader in personalization, today unveiled its new made-to-order skincare routine, introducing an upgraded Custom Serum, new...
UAMS Conference Introduces College Students to World of Behavioral Health Careers
The University of Arkansas for Medical Sciences (UAMS) Psychiatric Research Institute is holding a free conference Oct. 24 aimed at introducing college students to the world of behavioral health careers.
Could Taking the Pressure Off Grades Improve Students’ Mental Health?
The University of Michigan is introducing pass/fail grades for first-semester students to ease them into college life. Do you wish your school would do the same?
'Revolutionary scenario' - German women's Bundesliga mulls play-offs
The German women's Bundesliga is considering introducing play-offs for the championship, promotion and relegation after launching the sale of media rights for the first time since announcing a split from the German Football Federation. The split will fully come into force at the start of next season and the Bundesliga has issued TV rights tenders including a "revolutionary scenario" featuring play-off games for the first time.
The Streamers Tried To Conquer Labor Day…and Whiffed
(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.) What? Another Streaming Ratings Report already? You betcha. Nielsen has moved up the release of their Streaming Ratings data by two weeks, which means I’ve got two extra issues to get out. But I love this change because it will make this report more timely and easier to publish regularly. This week—with the viewership data for the week of 31-Aug—we’ve got some huge, huge topics to discuss. On the film side, two theatrical films (The Mandalorian and Grogu on Disney+ and Scary Movie on Paramount+) contend with two non-Netflix straight-to-streaming films (Mayday on Apple TV and The Runner on Prime Video). The streamers went all in to win Labor Day weekend in America. And we have a bunch of TV shows to analyze, both new shows (Netflix’s The Gentleman, Hulu’s Chad Powers, and an Alix Earle reality show) and weekly shows like Reacher, Ted Lasso, House of the Dragon and Lioness. All that, plus nepotism in Hollywood, some eye-popping fantasy football stats, 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 August 31st to September 6th, 2026. You can find a link to my terminology here.) Subscribe Film - A Slew of Labor Day Disappointments? A lot of streamers released big new films this week, why? My theory is that the streamers know that four-day weekends can propel streaming films to glory. But if you’ve been reading more over the last two years, you know that big holiday weekends aren’t driving big viewership numbers the way they did post-Covid. And interestingly enough, Netflix didn’t put out a big new film this week. But four other streamers did, trying to take advantage of the holiday with some (not cheap) swings, including… The Mandalorian and Grogu on Disney+ (a Star Wars film that cost $165 million and made $177 million at the US domestic box office) Mayday on Apple TV (rumored $100 million budget, no theatrical release) The Runner on Prime Video (at least a $40 million budget, but likely $50 to $80 million, no theatrical release). Scary Movie on Paramount+ ($30 million budget, made $108 million domestically). (Paramount+ also released a made-for-streaming film based on the Thundermans IP, and I’ll discuss that later.) So…how’d they do? The Mandalorian and Grogu Leads The Way (But That Isn’t Enough) Let’s start with The Mandalorian and Grogu (which I’ll abbreviate to Mando for most of this article). 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 Mando, Mayday, The Runner and Scary Movie performed on streaming... How the powerhouse weekly released shows (Reacher, Ted Lasso and Lioness) have accumulate a LOT of viewership… How House of the Dragon finished its run… The latest Netflix show to have a sophomore slump… Whether top creators can drive viewers to their shows… Nepotism in Hollywood and the music business... All the flops, bombs and misses for the week… And more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Since Nielsen has accelerated their streaming data release schedule, I’ve got a lot of Streaming Ratings Reports coming your way! Next issue, I’ll be looking at the second season of Peacock’s The Paper, the latest season of Hulu’s The Secret Lives of Mormon Wives, and a very, very expensive Daily Wire fantasy series that’s now on Prime Video. Plus Crew Girl and Dang! on Netflix, a new Tyler Perry film, and one of the biggest bombs of the summer, Supergirl. In the next two issues, I’ll take a look at the return of the NFL to streaming, Toy Story 5 on Disney+, Backrooms on HBO Max, and The Breadwinner on Netflix. On the TV side, we’ve got Netflix’s Monster: The Lizzie Borden Story, Dancing with the Stars on Disney+, Apple TV’s Slow Horses, a Reacher spinoff on Prime Video, and Paramount+’s MobLand, a Woody Harrelson and Matthew McConaughey comedy on Apple TV, a sequel to a Cosby Show spinoff on Netflix, The Great British Baking Show, and the Unabomber film. And while doing all that, I want to take a look at adult animated shows, Ride or Die’s cancellation, and Netflix’s summer films. So much great stuff! Long term, two bits of comic book news. The X-Men cast has been announced, and go ahead and color me bull-ish, if not very, very bull-ish on this bit of comic book IP. In weirder news, HBO Max ordered a “true crime” show by Jimmy Olsen about Gorilla Grodd being falsely convicted of murder. I mean, what? I don’t know, let’s see what happens.
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Intel Panther Lake Teardown, 18A, BSPD, GAAFET, SemiAnalysis STEEL
Panther Lake debuts the first commercial implementation of backside power delivery (BSPDN), introduces Intel’s first iteration of gate-all-around (GAA) transistors, and showcases their advanced packaging capabilities with its Foveros-S assembly. With Panther Lake, Intel’s manufacturing arc has shifted from nebulous roadmaps to shipped silicon, a significant milestone on their long road back to competitive semiconductor manufacturing. To evaluate the extent of Intel’s comeback, we tore down Panther Lake. The SemiAnalysis STEEL teardown lab breaks down advanced datacenter and AI hardware. To learn more about our pipeline or to commission a teardown, contact sales@semianalysis.com. WE’RE HIRING: Architecture, floorplan, packaging, manufacturing, and labs experts. Opportunities from system to transistor and everywhere in between. Check out our Careers page. Our teardown traces 18A from its four-sheet RibbonFETs (Intel’s marketing name for GAAFETs) and gate stacks through contacts, frontside and backside wiring, and the bonded carrier. We explain how these material and integration choices improve gate control and reduce resistance, while adding capacitance, thermal resistance, and process complexity. Our measurements put Panther Lake’s 18A compute logic and TSMC N3E GPU logic at similar logic density. However, 18A does not lead TSMC N3P, N2 or Samsung SF2 in peak density. Panther Lake’s CPU cores are incremental updates, and the high-end GPU still uses TSMC N3E. Panther Lake assembles one compute tile, one GPU tile, and one I/O tile atop a passive base tile using Intel’s Foveros-S advanced packaging. Both compute tile variants use Intel 18A. The Xe3 GPU options are a 4-core GT1 tile on Intel 3 and a larger 12-core GT2 tile on TSMC N3E. Both I/O tile variants use TSMC N6. [1], [2] Our analysis centers on the PTL-U compute tile, both the 4-core and 12-core GPU tiles, as well as the 12-lane I/O tile. In conventional chips, power and signal are routed through the same frontside metal stack towards the device frontend. Power rails consume scarce routing resources near the transistors, while tall via stacks carry VDD and VSS from the coarse upper wires to local rails. Backside power delivery (BSPD) moves the main power network behind the transistor layer, to the backside, separating it from frontside signal routing. We covered BSPD and its impacts in 2024. [3], [4], [5] Intel’s BSPD implementation, branded as “PowerVia”, routes power through dedicated backside metals to nano-TSVs, which connect those rails to local source/drain (S/D) contacts. Implementing that separation requires Intel to build the interconnect stacks from both sides of the wafer. The frontside comprises the M0-M14 signal stack, while the backside comprises the BM0-BM5 power stack. M0 and BM0 are closest to the transistors. The nano-TSVs connect the two sides, but Intel patterns and etches each via from the front after forming the contacts. A narrow via runs from the side of the contact deep into the silicon substrate. Intel then completes the frontside signal metal stack, bonds the wafer to a carrier, flips it and removes the original substrate until the buried via tips are exposed. The backside metal stack is then deposited directly on the revealed vias. The nano-TSV and backside-via profiles taper in opposite directions because Intel forms them from opposite sides of the wafer. The transistor structures form the FEOL. Local contacts and nano-TSVs connect them to the wiring. M0 begins the frontside interconnect stack. The silicon carrier remains attached above the frontside interconnects. It supports the device wafer during substrate removal and backside processing and remains part of the finished chip’s thermal path. PowerVia removes the main power distribution from the congested frontside metals, routing supply through shorter and wider backside wires. Its lateral landing still occupies area in the standard cell, so it recovers less cell area than a direct backside contact. [3] Nano-TSVs beside the logic devices carry VDD or VSS from the backside power network, while signal connections continue upward through the frontside metals. Backside Interconnects Samsung SF2 data is included for comparison to Panther Lake’s within this article. SF2 is the incumbent GAA foundry node but lacks BSPD, serving as a useful reference to evaluate 18A. A full teardown of Samsung’s S26 products, processed on SF2, will be shared soon.Nanosheet-cut EDS comparison. The PowerVia supply path runs from the backside Cu rails through Mo-lined W nano-TSVs to the local transistor contacts. In this cross section, the tapered connection spans roughly 150 nm from the contact level to BM0. The Ta liner confines Cu and promotes adhesion to the surrounding stack; the AlOₓ etch stop controls the next dielectric etch above the rail. Dielectric beneath the ribbons electrically separates the devices from the backside wiring and removes the conducting silicon body below the channel. [6] AlOₓ serves as an etchstop (ES), enabling endpointing and protecting the underlying layers. Low-volatility aluminum fluoride reaction products resist the fluorinated plasma, allowing a thin AlOₓ film to protect the metal while the surrounding low-k dielectric is removed. [6], [7]. While the BM0 and layers above the M1 lines show double AlOx layers, Our SMIC N+3 teardown showed single AlOₓ layers. SMIC uses a simpler local AlOₓ substack, while the remaining cap and etch sequence provide the required landing protection. So why double layers? The closely spaced AlOₓ doublets provide two protected endpoints in the etch sequence. Intel documents an AlOₓ/SiN/AlOₓ stack that explains the benefit. The main dielectric plasma etch stops on the first AlOₓ film; a selective wet clear opens that film; a second plasma etch removes the intermediate SiN and stops on the second AlOₓ film. The final wet clear exposes the metal landing surface. SiN is the intermediate dielectric in Intel’s published example. [8] The second stop protects the metal through a cap breakthrough. Wide openings can etch faster than narrow ones, and etch depth varies across the wafer. Metal under an early-clearing opening would otherwise be exposed while other openings still need more etching. Staged protection widens the process window and reduces metal erosion, corrosion and void formation. [8] TSMC documents AlN/AlOₓ/SiOC/AlOₓ above Cu, with AlN blocking Cu diffusion, and a simpler AlN/SiOC/AlOₓ variant that omits one AlOx film. [9] Levels with different opening sizes, aspect ratios, pattern densities and cap materials need different etch margins. A double AlOx stop is useful where another protected endpoint justifies the added processing. The extra film adds formation, selective opening and cleaning steps, plus another set of interfaces to control adhesion, moisture, and stress. These blanket films are opened through the existing via pattern, so each film does not require another lithography mask. AlOₓ adds parasitic capacitance when it replaces lower-k dielectric; two thin AlOₓ films can nevertheless contain less AlOₓ than one thick film. Total thickness, placement, and theintermediate dielectric determine the electrical cost. Deposition chemistry also changes AlOx permittivity and residual hydroxyl content, which can oxidize the underlying metal. [7], [8], [10], [11] The backside stack separates into relatively fine BM0-BM2 wiring near the devices and coarser BM3-BM5 power distribution. The largest pitch increase occurs between BM2 and BM3. BM0’s pitch closely matches the logic-row height, fitting local power delivery to the cell rows. Higher levels aggregate current through larger conductors: routing density becomes less important than low resistance and current capacity as the network approaches the package. This hierarchy provides wide power wiring for the power delivery network without consuming scarce frontside signal-routing resources. [3] The SemiAnalysis STEEL teardown lab breaks down advanced datacenter and AI hardware. To learn more about our pipeline or to commission a teardown, contact sales@semianalysis.com. WE’RE HIRING: Architecture, floorplan, packaging, manufacturing, and labs experts. Opportunities from system to transistor and everywhere in between. Check out our Careers page. Frontside Interconnects Intel 18A combines Mo-lined W contacts and nano-TSVs with a separate backside Cu power network. Samsung SF2 keeps power on the frontside, using Ti-based contact interfaces and Ta-based barriers and Co liners around Cu wiring. In 18A standard-cell rows, backside power rails supply the devices through nano-TSVs within the cells, freeing frontside routing resources. Samsung’s M0 accommodates both power and signal connections. From the device toward M0, the connection runs through a Ti-based S/D interface, W contact fill, a Mo-lined W via, and the Cu M0 wire. Mo supplies a conductive nucleation and adhesion layer for W, replacing the resistive TiN liner used in conventional W integration. This increases the effective conduction volume within the feature while retaining W fill and its established polishing, cleaning and etching processes. Intel’s Mo/W patent describes this integration tradeoff. The nano-TSV uses the same Mo-lined W construction in the backside supply path. [12] The move from TiN to Mo is an incremental change. While a full Co or Mo fill can also reduce the volume lost to liners in very small features, it requires new integration schemes that increase complexity and risk. Cu remains attractive for wider wires due to its low resistance. As wires and vias shrink, the diffusion barrier consumes an increasing fraction of their cross-section. [12], [12], [14] Intel uses Co/Ru liners at M0-M1, Co at M2-M4, and Nb at M5-M9. The lower-level liners help Cu adhere and reduce void formation during trench fills. Applied Materials’ Endura has new thermal control that facilitate wetting process, so the thin film continuity is good enough that good capillary pressure will drive Cu atoms to the via bottom without voiding. Intel’s choice to use Nb is particularly interesting. Intel’s Nb patent describes a conductive diffusion barrier intended to reduce the barrier’s contribution to resistance relative to conventional Ta-based barriers, particularly at via bottoms where all current crosses the barrier. The patent pairs Nb in coarser levels with the option of lower-cost PVD processing. [15], [16] The upper metal layers support thicker barriers formed through physical vapor deposition (PVD) despite its worse coverage and uniformity. Meanwhile, the lower metal layers require thinner barriers deposited through conformal atomic layer deposition (ALD). Co/Ru adds another material interface and requires controlled deposition and Cu fill. Changing liners and barriers by metal layer allows Intel to optimize interconnect resistance, process complexity, and reliability. [15, 16] RibbonFET, Intel’s name for its gate-all-around FETs (GAAFETs), replaces the FinFET’s vertical fins with four stacked horizontal silicon nanosheets, allowing the gate to surround the channel on every side. The path to GAAFET begins with the planar transistor. A planar MOSFET places the gate above the channel between its source and drain. Pairing an NMOS with a PMOS transistor creates a CMOS inverter, in which the NMOS pulls the output low for a high input, and the PMOS pulls it high for a low input. The gate must retain electrostatic control of the channel to ensure clean switching. As gate lengths shrank, the drain began to compete with the gate for that control, increasing off-state leakage. Electrostatic control was restored through an architectural evolution that raised the channel into a vertical fin and wrapping the gate around three sides. Called “FinFET”, this new architecture packed more effective channel width into a smaller footprint. Further scaling made it harder to maintain both drive current and leakage within smaller cells, and reintroduced the same problems planar MOSFETs faced. Nanosheet GAAFETs close the fourth side by replacing the vertical fin with a stack of horizontal nanosheets, each surrounded by the gate. The tighter electrostatic control suppresses leakage at shorter gate lengths while stacking adds effective channel width within the cell footprint. In a FinFET process, channel width changes in discrete steps as designers must add or remove whole fins. Nanosheet width can instead be adjusted continuously within the process’s design rules. Wider sheets increase drive current, while narrower sheets reduce capacitance at the cost of drive current. Intel 18A uses stacks of four nanosheets each and varies their widths across logic and SRAM. At the process level, adding more sheets to each stack increases effective channel width and drive current, but complicates fabrication. RibbonFET vs MBCFET Samsung began GAAFET production in 2022 with SF3E, following with SF3 and now SF2. Its ‘MBCFET’ provides a useful structural comparison with Intel’s first RibbonFET implementation. [17] STEEL is digging deeper into SF2, used in the Exynos 2600, and TSMC’s GAAFET N2, used in Apple’s A20 Pro, in upcoming newsletter articles. We’re throwing some teasers on X. Let’s compare Samsung SF2’s MBCFET with Intel 18A’s RibbonFET. Subscribe Even to the untrained eye, Intel’s extra nanosheet is obvious. Intel stacks four ribbons to Samsung’s three. Samsung’s sheets are much wider in these fields, so both sheet count and width matter to the available channel perimeter. Sheet width also changes which silicon surfaces carry current. On conventional (001) silicon, wide nanosheets emphasize the broad top and bottom surfaces, favoring electron transport; the larger sidewall contribution in a narrow sheet favors hole transport. Thinner sheets improve gate control but increase confinement and scattering. This makes width and thickness part of the NMOS/PMOS balance, alongside strain and threshold voltage. [18], [19] GAAFET designs like 18A use different work-function-metal (WFM) stacks for NMOS and PMOS. Around each ribbon, a thin SiOx interfacial layer separates the silicon channel from the HfOx high-k dielectric, with La providing dipole tuning and the WFM wrapping the dielectric. NMOS uses a TiAl-based stack, while PMOS uses TiN WFM. W fills the remaining gate trench, providing a lower-resistivity path where the work-function layers are no longer needed. In this field, the PMOS stacks leave room for W between ribbons, while the NMOS stacks occupy more of those gaps. A silicon-based dielectric marks the P/N boundary, allowing the PMOS and NMOS gates, sharing the same gate trench, to be processed sequentially. Fast logic paths, retention circuits, and SRAM need a family of threshold options. Changing threshold without substantially changing device dimensions, capacitance or fabrication complexity is valuable. FinFET processes typically use different work-function-metal stacks. In a four-ribbon GAA stack, the narrow sheet-to-sheet gap limits how much WFM can fit around each channel. La in the gate dielectric creates interfacial dipoles at the SiOx/HfOx boundary, shifting effective work function and tuning threshold voltage. This gives Intel another control alongside its NMOS and PMOS WFM stacks. Low-threshold devices improve critical-path drive; higher thresholds reduce leakage elsewhere. Dipole tuning is especially useful in GAA because it changes threshold without consuming the narrow intersheet gap with thicker WFM. Precise control of La incorporation, diffusion and interface quality has long been a challenge, limiting viability in high volume production but is now seen from every leading-edge foundry. Intel’s patent describes depositing a dipole-forming oxide above HfOx and annealing it toward the interfacial oxide before completing the work-function and fill metals. This separates threshold tuning from the space available for metal. Newer research addresses the thermal cost: imec’s 2026 dipole-middle research inserts the shifter between two HfOx depositions, shortening the diffusion path while protecting SiOx during patterning. [20], [21]Matched-cut EDS, Intel 18A (left) vs. Samsung SF2 (right). Intel retains raised source/drain epi beneath its contacts, while Samsung recesses W deep into the epi to form a V-shaped Ti-lined interface. The deeper contact increases metal-to-semiconductor area and shortens the current path from the lower sheets, reducing contact and spreading resistance. It also removes epi volume and brings the contact etch closer to the channel ends. Retaining more epi preserves the material available for strain transfer, especially from SiGe into PMOS. These geometries balance contact access against stress engineering and etch margin. [22], [23] Samsung stacks three sheets to Intel’s four ribbons, and both processes use sheet width to tune drive strength. In our Samsung cross-sections, widths range roughly from 19 to 30 nm in the NPU rows and 37 to 50 nm in the CU cell. The Samsung nanosheets taper, with the widest sheet at the bottom and the narrowest at the top. Both processes use HfOx gate dielectric and Ti-based work-function stacks, with Al in the NMOS stack. In the Samsung devices shown here, the dielectric and WFM occupy the intersheet gaps, leaving W above the top sheet. Intel’s PMOS stack leaves more room between ribbons, and W fills those gaps while the thicker NMOS stack leaves W mainly in the upper trench. Gate-stack EDS maps. The W between Intel’s PMOS ribbons provides a conductive path close to the lower gates. Where WFM fills the entire gap, the gate still surrounds the channel, but voltage reaches it through the more resistive work-function films. Thinner WFM and dipole tuning preserve room for low-resistivity fill; Mo and Ru are alternative fill metals being developed for further scaling. [24] A masked, sequential WFM flow explains the different gate heights and inter-nanosheet fill. The proposed sequence below shows how separate NMOS and PMOS work-function steps produce that geometry. Enabled by the BSPDN process, Intel replaces the dense-logic silicon subfin with dielectric, removing the parasitic conduction path below the ribbons and reducing substrate-related capacitance. A retained silicon body as in classical, non-SOI, planar and FinFET designs needs junction and punchthrough-stop engineering to suppress leakage. Dielectric isolation makes that leakage less sensitive to the subfin doping profile but adds removal and fill steps. It also weakens the direct thermal path through silicon, making the contacts, metal stacks and package more important for heat extraction. [24], [26] Fluorine is concentrated around selected Intel device structures in the maps. WF6 is a standard precursor for W nucleation and fill, while barrier films protect adjacent dielectrics from fluorine attack. Low-fluorine W processes reduce the residual-F burden. Chloride-based precursors avoid introducing F during W deposition, but require control of chlorine attack, nucleation and fill quality. The integration target is a continuous, low-resistance W path with a thin protective liner and minimal chemical damage to the surrounding stack. [20], [27], [28] The SemiAnalysis STEEL teardown lab breaks down advanced datacenter and AI hardware. To learn more about our pipeline or to commission a teardown, contact sales@semianalysis.com. WE’RE HIRING: Architecture, floorplan, packaging, manufacturing, and labs experts. Opportunities from system to transistor and everywhere in between. Check out our Careers page. We measured cell height, gate pitch, metal geometry, and ribbon dimensions at the XTEM sites shown below. The tables group these dimensions by site and device polarity. Our “sheet cuts” cross the silicon channel and show the ribbons end-on. “gate cuts” run along the channel through successive gates. The 18A logic cell dimensions point to a five-track logic library while the N3E and Intel 3 cell dimensions evidence a seven-track logic library. The DDR-PHY uses wider M0 wires and much larger spacing than core logic. That trades routing density for lower wire resistance and weaker coupling between neighboring nets. The geometry suits the current delivery and coupling requirements of analog, clock, and I/O circuitry. PowerVia lets 18A combine a compact cell height with wider M0 geometry by moving the main power rails off the signal-routing tracks. That relaxes local wire scaling while preserving a small cell footprint. Cell height and gate pitch set the geometric density; pin access and routability determine how much of it a real block can use. [29] The biggest takeaway from our gate-pitch measurements is that Intel 18A compute logic and TSMC N3E GPU logic have similar density in the Bohr representative-cell model. The 18A example is 18.6% denser than the Intel 3 GPU example. Gate pitches are nearly identical across the three sites, so cell height drives most of the difference. The Bohr model combines a four-transistor NAND2 spanning three gate pitches and a 32-transistor scan flip-flop (SFF) spanning nineteen pitches, weighting their densities 60:40. The sensitivity column shows how independently changing cell height and gate pitch by ±1 nm changes the result. This compares representative cell geometries; whole-die density also depends on cell mix and placement. The 18A P-core gives M0 substantially more metal cross section than the N3E vector engine. Treating each profile as a trapezoid gives 2.63 times the area per line and 1.84 times the area after normalization by routing pitch. The larger section reduces the geometric contribution to line resistance and lowers current density for a given current. Taller and wider wires also add capacitance, so circuit delay depends on the balance of resistance and capacitance. The DDR-PHY has less metal area per routing width than the 18A core fields, while remaining above N3E. [30] Area = height × (top CD + bottom CD) / 2, including liners. Area/pitch normalizes by routing width. Taper is the symmetric sidewall angle from vertical, with the largest angle belonging to the DDR-PHY. Compute tile The measurements show how ribbon dimensions and gate-stack geometry vary across the compute tile and between NMOS and PMOS to balance channel drive, gate load and the space needed for the dielectric/WFM stack across logic, SRAM and the DDR-PHY. Width mainly changes available channel perimeter; thickness also changes electrostatic control and carrier confinement. Gate-stack thickness then determines the space left for low-resistivity fill P-core and LP E-core logic Both the P-core and LP E-core use multiple nanosheet widths. Widths are measured on high-magnification XTEMs while wider-field images demonstrate additional width choices within the LP E-core. Multiple widths are expected even within an LP E-core. Timing-critical paths, buffers and cells with different fanout need different drive strengths. The lower-magnification fields show this width diversity beyond the sites quantified in the table. L2 and L3 SRAM GAA gives SRAM designers another way to balance the pull-up (PU), pass-gate (PG), and pull-down (PD) transistors. FinFET bitcells set device strength through fin count while GAA adds nanosheet width as a sizing knob. In a 6T SRAM cell, a strong pull-down relative to the pass-gate limits read disturbance, while a strong pass-gate relative to the pull-up improves writability. During a write, the pass-gate and write driver pull the node storing “1” below the inverter trip point. During a read, the pull-down holds the node storing “0” low. Bias, threshold voltage, mismatch and assist circuitry set the remaining margin. FinFET high-current cells commonly use a PU:PG:PD fin-count pattern of 1:2:2, a device-sizing ratio rather than a current ratio. Ribbon width lets Intel balance SRAM strengths without adding whole fins. The L2 cell uses its narrowest ribbons for PU and widest for PD, improving writability and read stability respectively. Intel’s disclosed HCC operates without assist; its denser HDC uses negative-bitline write assist. Pulling the selected bitline briefly below ground increases pass-gate overdrive so it can overpower the pull-up at lower supply voltage. That buys density and low voltage writability at the cost of boosting circuitry, switching energy, and additional voltage stress that must be controlled. [31], [32] Four rectangular ribbons give the perimeter = 8 × (width + thickness), before corner rounding. PG/PU is 1.49 and PD/PG is 1.16. The L3 structures closely resemble L2 in layout and cell height. Fewer L3 nanosheet widths are tabulated because fewer high-magnification images were available. DDR PHY The DDR-PHY trades density for controlled analog behavior and reliable off-chip signaling. It contains drivers, receivers, delay circuits, and calibration logic that set drive strength, sampling time, and voltage margin. Repeated four-sheet devices with similar widths fit the use of regular transistor units for matching and programmable drive. Its wider local wiring provides room for current delivery and separation of sensitive signals, while consuming more area than a dense core-logic grid. The layout serves the memory channel’s electrical requirements as well as digital logic density. [33] The SemiAnalysis STEEL teardown lab breaks down advanced datacenter and AI hardware. To learn more about our pipeline or to commission a teardown, contact sales@semianalysis.com. WE’RE HIRING: Architecture, floorplan, packaging, manufacturing, and labs experts. Opportunities from system to transistor and everywhere in between. Check out our Careers page. Intel 3 GPU devices Vector engine logic Intel 3’s XVE logic uses two-fin PMOS and NMOS devices with power rails in M0. Its cell height and M0 pitch give a seven-track geometry, two tracks more than the 18A logic. One-fin groups also appear among the two-fin devices. Intel 3 L2 SRAM The Intel 3 L2 SRAM uses the familiar HCC sizing pattern: one PU fin, two PG fins, and two PD fins. N3E GPU devices Vector engine logic The N3E XVE field contains repeated two-fin devices with seven-track cell geometry. N3E remains a FinFET process, giving Panther Lake a direct FinFET-to-RibbonFET comparison. N3E L2 SRAM The N3E L2 SRAM uses the same PU:PG:PD fin-count pattern of 1:2:2. Panther Lake-U follows Lunar Lake’s floorplan quite closely. Both pair 4 P-cores with 4 LP E-cores and NPU, media and display engines in similar locations. Lunar Lake also uses Xe2, the direct predecessor to Panther Lake’s Xe3 GPU. This makes Lunar Lake the most direct basis for our comparisons. Arrow Lake differs in core count and uses the older Xe-LPG GPU architecture, so we only use it where it offers a more direct component-level comparison. Compute tile Panther Lake compute-tile floorplans remain sparse even months after launch. Intel 18A’s backside metal and dielectric stack must be removed without damaging the underlying structures before a clean transistor-level floorplan can be imaged. Most published die shots hide or heavily process the background, but we are quite proud of the die shot we achieved and are excited to show the work we have done. We measured the areas of the key components on the compute tile and compared them with their Lunar Lake predecessors on TSMC N3B. These help us to capture changes in block area and compare the two chips across process nodes and designs. Our total tile areas exclude the scribe-line area. The compute-plus-GPU subtotal below uses the PTL-U compute tile and GT1 GPU; it excludes the I/O tile and passive base. Individual block areas use the boundaries marked on the floorplans The compute-plus-GPU row is recomputed from the displayed PTL-U and GT1 areas. Component rows use their stated per-region counts and are not an additive partition of the whole tile. The P-core area remains almost unchanged between Lunar Lake and Panther Lake, despite L2 capacity increasing from 2.5 MiB to 3 MiB. Arrow Lake uses the same Lion Cove core as Lunar Lake but also has a 3 MiB L2. Cougar Cove fits 20% more L2 into the same P-core area. The larger private cache keeps more of each core’s working set close to its execution units, reducing access to shared L3 and DRAM. Extra capacity adds storage leakage and lookup energy, so designers balance it against avoided lower-level accesses. The shared P-core L3 cache also shrank by 14.8%. [2] Cougar Cove combines a similar footprint with Intel’s reported power-efficiency improvements. RibbonFET’s tighter channel control reduces leakage, while PowerVia reduces supply droop and allows tighter voltage guardbands. [1] Darkmont’s four-core LP E-core cluster is 5.0% smaller than Skymont’s on Lunar Lake, with most of the reduction in its L2 regions. The 1 MiB region shrank by 8.4% and the 1.5 MiB region by 14.9%. The tag arrays also use one fewer visible row. Tags identify which memory addresses the data array holds, so rearranging them changes the cache’s layout and wiring without requiring less data capacity. [2] The LP E-cores share one L2. This pools capacity and avoids duplicating all the cache machinery, but the four cores contend for its banks and bandwidth. Their separate cluster also keeps light work away from the performance cluster and its L3, allowing that larger domain to sleep. [1], [2] Cache area includes more than the storage cells. Tags identify each line, decoders select rows, sense amplifiers read the small bitline signal, and wires connect to the banks. Splitting an array into smaller sections shortens wordlines and bitlines, improving access speed, but duplicates peripheral circuits. Panther Lake’s smaller cache regions therefore reflect the complete memory implementation, including how much of each region is devoted to storage. [34] Unlike Meteor Lake and Arrow Lake, Panther Lake has no separate SoC tile. The NPU, LP E-cores, memory controllers, PHYs, media and display engines now share the compute tile. This removes an active die and keeps CPU memory traffic on one die. The cost is moving PHY and I/O-related circuitry onto 18A: drivers, receivers and analog circuits must still meet external voltage, loading and signal-integrity requirements, so their area does not shrink like dense digital logic. [1], [2] The biggest shrink comes from the NPU, which occupies 36.9% less area. NPU 5 consolidates the same total INT8 MAC count into half as many neural compute engines. Each of the three NCEs has a larger MAC array to make the complete NCE envelope 22.6% larger than an NPU 4 engine. Consolidation also halves the number of scratchpads and SHAVE DSPs, from 12 to 6. The MAC array handles matrix multiplication and convolution, while SHAVE executes vector and custom operations that fit the array poorly. [1], [2], [35] The paired floorplans identify each NCE envelope and its scratchpad, MAC, and SHAVE regions. Each measured MAC polygon is counted once per NCE in the area accounting below. The scratchpads store weights, activations, and intermediate results near the MAC arrays, allowing repeated use without fetching them again from DRAM. Halving their number delivers the largest measured area saving but leaves less local storage for the same total MAC count. Layers that no longer fit locally require smaller working tiles or more transfers of intermediate data. The benefit depends on keeping the enlarged arrays busy while managing that tighter storage budget. [36] NPU 5 also adds native FP8. Using half the operand width of FP16 reduces storage and transfer demand, helping workloads fit the smaller local memory budget. Lower precision and format-dependent range make scaling and model validation part of deployment. Hardware activation functions further reduce work that would otherwise occupy the programmable DSPs. [1], [2] Microsoft requires an NPU to deliver at least 40 TOPS for Copilot+ PCs. Both Lunar Lake and Panther Lake meet this threshold, but Panther Lake uses significantly less silicon. GPU tiles Panther Lake is Intel’s first product with Xe3, its latest GPU architecture. It offers two different GPU tiles: a smaller GT1 tile with 4 Xe3 cores on Intel 3 and a larger GT2 tile with 12 Xe3 cores on TSMC N3E. Panther Lake allows us to compare the same GPU architecture across both Intel 3 and TSMC N3E. Wildcat Lake adds a third Xe3 implementation on Intel 18A. A future newsletter will detail Xe3 and its implementation differences across all three process nodes. GT2 scales Xe3 to a different physical layout, with render slices arranged vertically instead of GT1’s horizontal arrangement. Slice placement sets the distances to shared cache banks and the D2D interface. Those wires consume area and add delay, so scaling the number of Xe cores also requires a new balance of cache placement, routing and timing. [1] What’s immediately obvious is that the GT2 tile on TSMC N3E has much smaller Xe cores than GT1. These block areas include logic, caches, and routing. An Xe core on the GT1 tile is ~69% larger than one on Lunar Lake, and ~55% larger than one on GT2. Intel 3 therefore uses substantially more area per Xe core. The block-area gap exceeds the measured logic and SRAM density gaps, bringing routing, timing targets, cell mix, and floorplan allocation into the comparison. The measured vector/matrix engine region is almost unchanged between Lunar Lake and Panther Lake’s GT2 tile. Xe3 retains eight 512-bit vector engines and eight 2048-bit XMX engines per core. Its gains also come from feeding those engines more effectively: more resident threads hide stalls, and variable register allocation lets shaders trade registers per thread against the number of threads kept active. [1] The shared L1/SLM capacity increased by 33% from 192 KiB to 256 KiB, while its area increased only 5%, raising effective density by 27%. L1 retains reused cache lines, while software-managed SLM lets a thread group share data locally. Both reduce traffic to more distant memory. Allocating more SLM per group can also limit how many groups reside on a core at once. [1], [37] The GT1 tile carries 4 MiB of L2 against 16 MiB on the GT2 tile. GT1 divides its L2 cache into four 1 MiB banks, while GT2 uses eight 2 MiB banks. Each bank contains 128 macros, but each N3E macro stores 16 KiB, twice the Intel 3 macro’s 8 KiB capacity. The N3E macro is only 54% larger while holding twice as many bits, giving it 30% higher density: ~23.7 Mbit/mm² versus 18.3 Mbit/mm². Including bank-level circuitry, the gap widens to ~16.9 Mbit/mm² on GT2 versus ~10.4 Mbit/mm² on GT1. GT2 gains density with its macros storing more bits per unit area, and those macros occupy more of each cache bank. Larger macros spread decoder and sense-amplifier overhead across more storage, while a more compact bank layout reduces the share spent on control and routing. The compromise is longer wordlines and bitlines that carry more capacitance. [34] I/O tile Panther Lake uses two I/O tile variants, both fabricated on TSMC N6. The smaller one provides 4 PCIe 5.0 and 8 PCIe 4.0 lanes and serves lower-tier systems as well as those without a discrete GPU, while the larger one adds 8 PCIe 5.0 lanes, bringing the total to 20 lanes, for discrete-GPU connectivity. Panther Lake SKUs with the larger 10- or 12-Xe GPUs use the smaller I/O tile. [38] The smaller I/O tile adds a PCIe 4.0 block and a Thunderbolt block to Lunar Lake’s I/O layout, providing four additional PCIe 4.0 lanes and another Thunderbolt 4 port. Its repeated N6 blocks retain nearly identical areas and layouts. Reusing these proven PHYs and controllers avoids porting and requalifying external interfaces on 18A, where faster digital logic offers less benefit to circuits constrained by the off-chip link. [38] SemiAnalysis’s teardown lab (STEEL) dives deep into the world’s advanced datacenter and AI hardware. To learn more about our pipeline or to commission a teardown, contact sales@semianalysis.com. We’re hiring technical experts from system to transistor and everywhere in between. Check out our Careers page. Panther Lake offers scalability and modularity through its disaggregated packaging that partition compute, GPU, and I/O silicon into separate tiles allowing for a suite of tile configurations. This partitioning makes the package part of Intel’s node economics as it determines how much leading-edge wafer area each product consumes, which functions can remain on other processes, and how much configuration freedom Intel can offer from a shared set of tiles. Furthermore, fabricating the compute and GPU tiles separately confines the new 18A process to the compute tile and allows graphics and I/O to use other, more established, and more cost-effective processes. For Panther Lake, the GPU and I/O tiles are assembled alongside the compute tile on a passive silicon base using Foveros-S. Intel’s current technology brief lists a nominal 36 µm pitch for Foveros-S. Through-silicon vias (TSVs) in the base connect the fine wiring above to the larger package connections below. The functional tiles sit side by side on that passive base in a 2.5D configuration. [39] Our cross-section through the compute and GPU tiles shows the package’s wiring hierarchy. Microbumps connect each active tile to the passive silicon base; its fine redistribution layer (RDL) carries the short, dense tile-to-tile links. TSVs carry connections through the base to the package substrate, which fans them out to the much coarser motherboard solder joints. The base supplies interconnect, while computation remains in the active tiles above it. [39] At the compute-tile edge, the higher-magnification inset shows a local microbump spacing of approximately 25.24 µm and a feature width of 12.33 µm. These local spacings are finer than Intel’s nominal Foveros-S value. The X-ray fields further confirm tighter neighboring bumps, consistent across every die-to-die area found on each tile. Additional X-ray analysis is offered after the paywall. Putting the memory controller beside the CPU removes the D2D transfer that CPU memory requests required in Meteor Lake and Arrow Lake. This avoids the extra transmitter, receiver, and link traversal, saving interface energy and latency. Panther Lake’s separate GPU still crosses a D2D link to reach DRAM, so its larger local caches also help contain package traffic. [1], [40] Smaller dies are less likely to contain a random fatal defect, and screening them before assembly prevents one bad tile from consuming a complete package of good silicon. Reuse also spreads design and qualification work across more products. Against those gains, Intel pays for the passive base, D2D circuits, extra bonding and test steps, and losses during assembly. Cost per working product across the portfolio captures the combined effect of wafer yield, reuse, test, and assembly. [29] Wildcat Lake packaging Intel launched Core Series 3, formerly Wildcat Lake, on 16 April 2026 for value mobile and edge systems. Wildcat Lake keeps 18A but removes the passive base and combines more functions on one die to simplify the package. The two products therefore reveal two distinct ways to commercialize the same leading-edge process. [41] Wildcat Lake’s 18A die combines up to two Cougar Cove P-cores, four Darkmont LP E-cores, two Xe3 cores and a smaller NPU. A separate platform-controller die supplies I/O, connected through UCIe, Intel’s first processor implementation of the standard. Consolidating graphics remove a tile boundary and the passive base, reducing assembly complexity for a modest-bandwidth value product. It also ties CPU and graphics scaling to the same die, giving up Panther Lake’s ability to swap in a much larger GPU. [42], [43] In July 2021, Intel CEO Pat Gelsinger set out an ambitious process roadmap aimed at regaining performance leadership by 2025, later described as five nodes in four years. Five years and one CEO later, Intel’s comeback story is not as unambiguously positive as Pat may have hoped. [44], [45] Intel once set the pace for process technology, bringing high-k metal gate technology and FinFETs into volume production years ahead of the rest of the industry. Its 22 nm FinFET process reached consumers with Ivy Bridge in 2012. [46] Intel’s integrated device manufacturing (IDM) model allowed its architects and process engineers to co-optimize products and processes. Starting with Sandy Bridge, Intel dominated x86, while AMD struggled with Bulldozer. That lead faltered at 14 nm and broke at 10 nm. Intel targeted a massive 2.7× density increase, but the node arrived years late and required several revisions before it could support Intel’s full lineup. This delay forced Intel to stretch 14 nm across six generations, while TSMC moved ahead in process technology and AMD recovered in x86. By 2019, Intel was still shipping 14 nm across most of its product stack, with its 10 nm client ramp focused on Ice Lake mobile processors. Meanwhile, TSMC was shipping N7 and N7+, and AMD’s Zen 2 compute chiplets used N7 to raise core counts and improve efficiency. Intel’s process failures were central to its decline, but unsound business decisions furthered their downward slide. Product delays compounded product mistakes, pushing client, server, and FPGA roadmaps off schedule. Several attempts to enter AI (Nervana and Gaudi) and networking (Tofino) also failed to establish lasting businesses. Intel’s recovery has focused on consumer CPUs and advanced packaging. Tiger Lake, Alder Lake, Lunar Lake and now Panther Lake have restored Intel’s consumer roadmap. On the process side, Intel 4 shipped with Meteor Lake, Intel 3 with Granite Rapids and Sierra Forest, and Intel 18A with Panther Lake. Intel has also made advanced packaging part of its foundry offering. However, Intel is still playing catch-up in servers. Several Xeon generations arrived years late and trailed contemporary AMD and Arm server CPUs in performance, efficiency, and core count. The process roadmap is back, but Intel does not hold the same process-technology leadership position it held prior to 10 nm. The introduction of gate-all-around nanosheets and backside power delivery are two of the biggest changes to transistor integration in a decade. Intel took on both changes at once: 18A paired its first RibbonFET with PowerVia in Panther Lake. Panther Lake is a substantial manufacturing milestone. Our cross-sections show how RibbonFET and PowerVia reshape local contacts and wiring, while the floorplans show where architectural consolidation and process choices save area. A sustained competitive lead depends on product performance, cost, yield, and the next implementation. The SemiAnalysis STEEL teardown lab breaks down advanced datacenter and AI hardware. To learn more about our pipeline or to commission a teardown, contact sales@semianalysis.com. WE’RE HIRING: Architecture, floorplan, packaging, manufacturing, and labs experts. Opportunities from system to transistor and everywhere in between. Check out our Careers page.. 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NBC's 'Line of Fire' is what happens when you combine a procedural TV show with a soap opera
TV creator Joshua Safran is introducing "Line of Fire," a new NBC show blending elements of a crime procedural with a soap opera | WBBM Newsradio 780 AM & 105.9 FM
NBC's 'Line of Fire' is what happens when you combine a procedural TV show with a soap opera
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NBC's 'Line of Fire' is what happens when you combine a procedural TV show with a soap opera
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The Big Holes in Wearable Heart Rate Variability And Readiness Scores
On September 9th, Apple announced it was revamping its Apple Watch Health Sensing System, rolling out a Readiness score (0 to 10), and increasing the frequency of heart rate variability (HRV) outputs 24-fold. This can be viewed as upping its competition with various other consumer wearable sensors. These “readiness scores” as a composite of multiple metrics, with heart rate variability (HRV) being front and center for most. The majority of Americans are now using wearable sensors, which equates to well over 100 million adults. HRV and Readiness scores are increasingly being marketed as a measurement of autonomic nervous system health, a digital marker for future disease, a clock for biological age, and a holistic metric to promote healthspan and even longevity. (Apple also introduced a new longevity tab and “Health Age”.) None of this has been proven. In this edition of Ground Truths I am going to review what we know about heart rate variability and readiness scores. Heart Rate Variability HRV is the variation in normal heart cycle timing. The variability of the heart rate, the barely perceptible millisecond changes in time between consecutive heart beats (see R-R intervals in the Figure below, left panel), is due to interplay between the sympathetic and parasympathetic (vagal nerve) inputs. Distinct from heart rate, individuals with the same heart rate can have very different HRVs. It is a rough reflection of the autonomic nervous system (ANS) activity, inadequate to say whether a person’s ANS function is abnormal. For more than three decades, heart rate variability (HRV) has been measured and several studies have found an association of low HRV and clinical outcomes, particularly a link with higher all-cause and cardiovascular mortality. There have also been less well established links of low HRV to risk of early cognitive impairment, dementia, mental illness, Type 2 diabetes and substance abuse. An important reminder is that HRV is a surrogate marker without any established cause-and-effect relationship. If you increase your HRV, that doesn’t mean it will improve health outcomes. In fact, there is no hard evidence for that. All that work linking to health outcomes was done with electrocardiogram (ECG) derived HRV. Now, in the era of consumer wearables, this is getting assessed differently, by optical pulse (yes, the lights you see) plethysmography (PPG) or what is called pulse rate variability (PRV). They are not the same, as shown below (right panel) and only concordant when the delay between the ECG and pulse is kept constant, which basically means at rest. I should mention there’s also what I will call MPV, a mattress mechanical movement sensor, a derived heart rate variability, that companies like Eight Sleep use, even further away from directly measuring HRV. HRV has not one uniform measurement but many different types of quantification, such as RMSSD, the magnitude of difference between successive R-R intervals of normal sinus beats (N-N) or SDNN, the standard deviation of NN intervals, both in milliseconds. SDNN is one of the so-called frequency domain HRVs (others are LF, HF, LF/HF). Different wearable sensors use different metics; Apple has relied on SDNN and nearly all of the others use RMSSD, which is generally considered the more accurate metric. There’s also the different length of time measured, such as for a matter of minutes, all day, or an overnight’s sleep. Short measurements are especially problematic since they don’t capture enough of respiratory modulation and other factors that influence HRV. Share Ground Truths How well does HRV correlate with PRV? There are very limited studies, especially independently done. One that is commonly cited was conducted by Air Force researchers in only 13 healthy adults assessing Oura ring 3 and 4, Whoop 4.0, and Garmin Fenix 6 and showed a correlation coefficient of 0.88 to 0.97 and a mean absolute percentage error from 6 to 10%. The correlation is not a perfect 1.0, but there’s at least a fairly high level of correlation. HRV is supposed to increase during the night due to takeover of the parasympathetic nervous system, and higher during deep sleep. A recent example of my 1 week, all day “HRV,” and one during sleep is shown below. As you can see, the N of 1 data are inconsistent for the same days from different sensors (Oura, AppleWatch, Fitbit Air, and Eight Sleep) by patterns, absolute numbers, and comparison with prior days and weeks. The largest study in over 8 million Fitbit users (the old version, not Google Fitbit Air, introduced in May 2026) gives you a sense of the effect of age, sex, and the 2 different main HRV (here PRV) metrics, with RMSSD on the left and SDRR (=SDNN) on the right below. That study, from data collected in 2018, is a major outlier, since all the more recent ones are tiny with respect to sample size. Many of the companies have not had independent evaluation of their HRV, such as Eight Sleep, but have published a low standard error on their website. There are some other published studies on the correlation between HRV and PRV, but they are all small and only in healthy adults. A scoping review emphasized the lack of study in underrepresented individuals, including the aged, people of color (which affects the PPG signal), and individuals who are underweight or obese. Add the typical adult age 60 plus with one or more chronic diseases. For example, one study in over 900 adults found poor correlation of HRV and PRV, non-uniformly underestimated across many chronic diseases (cardiovascular, endocrine, neurological, respiratory, and others), concluding PRV is “an invalid surrogate for HRV.” A recent systematic review of 43 studies comparing HRV and PRV found reasonable pooled absolute standardized error (HRV as gold standard) but only 10 of the studies provided quantitative synthesis in ideal conditions. Their main conclusion was similarly cautious: “PPG-derived HRV [PRV] should not be regarded as universally interchangeable with ECG-derived HRV across all devices, populations, and recording contexts.” Factors Affecting HRV and PRV That gets me to the long list of factors that affect HRV (and PRV) besides the device, the type of measurement (RMSSD, SDNN or others), the person’s signal, the sensor site, the duration of data capture, if weighting by sleep stage is used, how artifact is processed and corrected. And this list is not complete!: Oura puts out data from their community of users (who input data) on what affects their overnight HRV. The factors currently provided are: no alcohol (increase 8%), melatonin (increase 2%, float tank (increase 2%), wine (decrease 4%), and party (decrease 14%) in overnight HRV. Must be some big parties! Subscribe What is a PRV measurement good for? It has been falsely characterized as an index of “autonomic balance” and a specific indicator of stress. A 2018 review of the studies available for HRV and its relationship to stress, not using any of the current wearables, found that stress can lower HRV. But so can many other factors. The non-specificity of the signal, indexed to the table above, is striking. Evidence from a UK Biobank study of over 46,000 participants with actual HRV looked at genetically predicted HRV, a genetic risk score, that failed to show the expected HRV-mortality link, indicating that _HRV is likely not causa_l, but rather a reflection of person’s physiologic state. A review of consumer wearable HRV data from 5 longitudinal studies showed that nighttime PRV was not associated with perceived stress, and surprisingly higher HRV, in the largest cohort (N=717 participants), was correlated with higher stress. An Oura ring cohort of 525 first-year college students found a link between overnight PRV and perceived stress, but that was also seen with resting heart rate, sleep, and respiratory rate. Several very small studies have examined the relationship of HRV and athletic injuries or guiding training with mixed, and predominantly negative results. HRV biofeedback training with paced breathing had no significant effect on reducing stress or raising HRV, as demonstrated with sham controlled trials. When HRV for multiple days showed a decline in conjunction with body temperature, the Oura ring published data for prediction of Covid. The WHOOP company sponsored an observational study, published in 2026, of 30,000 users for 72 weeks, without a control group, that reported reduced alcohol intake (5.8 % points) by self-report. That doesn’t tell us much, and particularly about the merits of HRV for behavioral change. If you use the same device and conditions as longitudinal trends for multiple (at least 2-3) weeks that may be the one way to get something useful from the measurements. Data for overnight sleep with minimal motion and using RMSSD is the best proxy for real HRV. The reason to look at trends rather than any given night is that it more likely represents something, even though you won’t know with certainty what the “it” is. Keep in mind there are no data, no peer-reviewed evidence, to show that HRV fluctuation in-person has any correlation with health outcomes. Share Readiness Scores These are proprietary scores that integrate different metrics for each of the wearables: no algorithms have been disclosed. They are unvalidated against health outcomes. In a review of 14 composite health scores of readiness and recovery, HRV contributed 86% to the scores, followed by reading heart rate (79%), physical activity and sleep duration (both at 71%). That review noted the substantial variability in measurement protools and lack of standardization. Sleep staging is notoriously inconsistent and inaccurate by these sensors, which adds further to the HRV uncertainties for what the scores, which use sleep stage data, mean. Only resting heart rate has been shown consistently across devices to be extremely accurate. I’ve made a Table to summarize what we know about which metrics are included, the scores, any peer-reviewed studies that compared the readiness score with health outcomes, and the corresponding (if any, NA-not available) citation. You will note that some companies do not use the term “readiness," such as WHOOP for recovery, and Garmin, which has 2 different scores, one of which is Body Battery. Eight Sleep uses the term “Fitness Score.” They all include HRV; Apple includes a new metric they call “Recovery HRV” which among other components uses 7-days of sleep, but it is unclear what this means or how it is differentiated from other scores (there are clearly no data for outcomes). We have no knowledge of how the different components are weighted or whether any of these scores are better than resting heart rate, HRV alone, physical activity, or any other single metric. Since none of these are standardized, they are not interchangeable, so if you get a 90 for Oura that has no relationship to a 90 on a Google Fitbit Air. Notably, the company can update its algorithm for readiness score at any point without notification to device users. Without any useful evidence of actionability for these scores or established relationship with health outcomes, it is hard to make a case for their value. At the Apple recent announcement they showed their Readiness score (0-10) on the watch (Figure below) but there are no published data on this score, not even on their website. It’s available only on their new Watch Series 12 or Ultra 4 [of course, ;-)]. That exemplifies the problems with these scores, lack of data and evidence for being meaningful to promote health. Perhaps the best study (which isn’t saying much) is the WHOOP Recovery for golfer performance, because it did correlate with an objective outcome, even though there was no control group and the authors were all from the company. Among the 389 pro golfers, an absolute 10-per cent point increase in Recovery score was associated with about 0.5 fewer strokes per round. But that’s hardly a health outcome! WHOOP is also conducting a study in over 2,700 runners to see if their recovery score will be linked to less injuries and improved performance, but that is not yet published and has no control group or randomization. Putting This in Context For two decades I’ve been enthusiastic about the potential for digital health and particularly wearable biosensors. Over the years, we’ve seen some great progress for their ability to promote physical activity and accurately detect atrial fibrillation (the first FDA cleared deep learning AI for consumers). That work was the subject of rigorous research. But there are holes in the data and evidence for other metrics. One notable one is the “VO2 max” story that I wrote about earlier this year. At that time many subscribers asked me to cover heart rate variability, which I finally got to here. When I dived into the research and publication for HRV and readiness scores, I expected to find at least some that were of high quality and demonstrated their utility by linkage to health outcomes. To my surprise, I found none. The wearable sensor measurements for HRV (PRV) are, for the most part, accurate, but that validation work has only been done in small studies of healthy adults and does not take into account the long list of factors, from the device, software side, and the user side, that affect HRV measurements. Moreover, this metric chiefly relies on optical sensing and, as we have learned for heart rate PPG sensing, may be less accurate in people of color. Keep in mind that all of the health outcome association evidence comes from ECG-derived HRV; none are from wearable sensor data. I will repeat the key point: there's no peer-reviewed evidence to show that in-person HRV fluctuation—or efforts to raise your HRV— has any correlation with health outcomes. For those of you who look at your HRV on awakening, or even 2+ week trends of it being low, I hope this context helps to relieve any anxiety. Yes, low HRV (not PRV) has been shown to increase risk of some diseases as summarized above. But efforts to raise your HRV—a surrogate metric— has not been established for improving any health outcomes. HRV does not have any evidence of causality (the genetic evidence actually goes against this possibility). In this summary, I have not included data for other wearable sensors such as Polar, Samsung, Withings, Suunto, Amazfit, Coros, Ultrahuman, or additional mattress sensors. These are beyond my first-hand experience, and as far as I know from my in-depth review none have any peer-reviewed published data that differ from the 6 sensors I’ve reviewed here. From the points I’ve gone over above, we’re not ready for readiness scores. Besides being proprietary, they are predominantly based on metrics that have their own issues. It’s compounding the problem, like building a house without a solid foundation that has never undergone a rigorous inspection, and then selling it. Like I mentioned for PRV, you can look at trends over weeks rather than any single day, to get a handle, but even that may not be helpful. There’s simply no evidence that these scores meaningfully relate to health outcomes. I’d emphasize they might, but that requires doing prospective or randomized studies to prove it. None exist. There’s great promise for HRV/PRV utility_. For example**,**_ Prof Maiken Nedergaard, who discovered the brain glymphatics that are essential in eliminating metabolic waste products from the brain during sleep, has posited that HRV could be a non-invasive marker for neuromodulator oscillations, brain-body regulatory circuits, and brain clearance. That would be extremely useful, but like everything else on HRV and readiness scores it requires solid research and validation. The lay media isn’t helping much to get the story straight. Earlier this year The Economist published a piece entitled “The most useful indicator of your overall health” which ordained HRV as an “accumulated stress score.” That’s akin to the false assertion about VO2max: “V02 max is the singular most powerful marker for longevity.” As I’ve summarized here, that is not established. The fact is that so many things can lower HRV, including physical exercise (especially an intense workout), reduced sleep quality, stress, the list above, no less the device, signal, and software. Whatever fluctuations observed have not been correlated with any health outcome. Sadly, “datamaxxers” are widely using HRV and readiness scores that have never been validated to mean anything. We already know that for some people using the sensors for sleep metrics, it can induce “orthosomnia,” an obsession to get high sleep quality, with associated high levels of anxiety. In an experiment done by a company to promote sleep quality for its employees, “For those employees who did use the trackers, many reported feeling perfectly rested until their tracker told them they had had a terrible night. Others were told that they had slept like a baby when they had actually been lying awake worrying about the quality of their sleep. “ The same problem can result from preoccupation with HRV or readiness scores, with anxiety that would lead to further reduction in both. It you are using a wearable like >100 million American adults, it’s OK to look at these data, but contextualized with the major caveats reviewed here. If you are one to require evidence that HRV or readiness scores are linked to health outcomes, you may not even want to look. The companies make it hard to turn them off! Let me end with the companies that make and sell wearables. Apple’s doubling down on HRV (24-fold more reporting and heart rate very 5 seconds) and introduction of a Readiness score tells us that consumers have bought into these metrics and they are joining the club. However, all of this is occurring with a backdrop of tens millions of users, claims about the data that are not backed up by adequate evidence, marketing way out in front of whatever limited data exists, and not being transparent about their readiness score algorithms. The companies can well afford to do the research that is needed to connect these metrics with health outcomes show, once and for all, that increasing HRV or using readiness scores promotes our health. If they believed and invested in the products they are selling, we’d not be in this position of not knowing. That’s essentially where we are with HRV and readiness scores. Perhaps someday this will change and we’ll have good reason to embrace them. NB: I wrote this post. No AI. I have no conflicts of interest with any of its content. Loading... Ground Truths has 215,000 subscribers from every US state and 214 countries. There are over 300,000 followers of Ground Truths so more than 90,000 folks who can easily convert to be free subscribers. Your subscription to these free essays and podcasts makes my work in putting them together worthwhile. If you’re not a subscriber, please join! If you found this interesting PLEASE share it! Share Ground Truths The proceeds from all voluntary paid subscriptions go to support our summer internship program. It enabled us to accept and support a record number of 62 summer interns that joined us in 2026! These are high school, college and medical students selected from thousands of applicants. We couldn’t do this expanded program without the funds coming in through Ground Truths. Thank you!
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16th Asian Chief Dental Officers Meeting: Advancing universal health coverage for oral health in the WHO Western Pacific and South-East Asia Regions
Session 3 of the 100-Day Sprint BackgroundOral diseases remain among the most prevalent noncommunicable diseases (NCDs) across Asia, affecting people throughout the life course and placing a significant burden on individuals, families and health systems. Countries across the World Health Organization (WHO) Western Pacific Region and South-East Asia Region have committed to strengthening oral health through regional action plans and by advancing universal health coverage (UHC). The 16th Asian Chief Dental Officers Meeting (ACDOM) serves as a regional platform for Chief Dental Officers in Asia to exchange experiences, strengthen collaboration and accelerate implementation of oral health commitments. For the first time, the meeting is being jointly organized by the WHO Regional Offices for South-East Asia and for the Western Pacific and the ACDOM Secretariat. This year's meeting introduces a 100-Day Sprint, bringing together oral health and UHC leads and technical experts to support countries in strengthening integration of oral health within national UHC benefit packages. Through the Sprint, participating countries will develop, refine, cost and operationalize country-specific essential oral health-care benefit packages using WHO tools, including the Service Package Delivery and Implementation (SPDI) Platform. The in-person 16th Asian Chief Dental Officers Meeting represents Session 3 and the midpoint of the 100-Day Sprint, providing an opportunity for countries to review progress, exchange experiences, identify challenges and refine their approaches before continuing with the remaining Sprint sessions. 100-Day SprintSession Date Format Title Session 1 (Day 0) 19 Aug Virtual Setting the Scene and Introducing Key Principles and Frameworks Session 2 16 SepVirtual Introduction to the SPDI Platform and Initial Mapping Exercise Session 3 27-29 Sep In-person, 16th Asian Chief Dental Officer Meeting, Malaysia Review and Refinement of Oral Health Service Packages Session 4 14 Oct Virtual Finalizing National Essential Oral Health Services Packages and Costing Exercise Session 5 (Day 100) 26 Nov Virtual Country Presentations and Closing of the 100-Day Sprint ObjectivesLeverage the 100-Day Sprint to define priority implementation actions for oral health in countries; Strengthen national capacity to design, cost and operationalize country-specific essential oral health care packages using SPDI platform; andExplore cross-country collaboration to expand access to essential oral health supplies and products, including harmonized specifications and pricing, and improve supply chains for essential dental preparations and medicines.Expected outcomesA draft country-specific essential oral health care benefit package developed using the SPDI platform and aligned with WHO’s Essential Oral Health Care packageA strengthened regional network in Asia of oral health and UHC leaders, fostering collaboration among South-East Asia and Western Pacific countries, WHO offices and WHO Collaborating Centres to support sustained implementation beyond the meetingParticipantsChief Dental Officers and national oral health programme leads;National focal points responsible for universal health coverage, health financing and health systems;Representatives from WHO country offices, regional offices and headquarters;WHO Collaborating Centres; andAcademic institutions and technical partners.
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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.
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