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Livermore police responding to possibly armed suspect barricaded in business
The LPD advised the public to avoid the area and prepare for possible road closures as negotiators attempted to make contact with the suspect.
China's 780 Trillion Won R&D Outpaces U.S. Cuts
Chinas 780 Trillion Won R&D Outpaces U.S. Cuts Corporate R&D leads 77% share as basic research funding surges 13.3%
Colorado health officials confirm measles case, potential exposure at Denver International Airport
Who funded Nebraska Working People, America First parties? Law doesn’t require disclosure.
Nebraska law doesn’t require new political parties to disclose their finances until they are qualified to have candidates on the ballot.
Madison Square Garden Entertainment Corp. $MSGE Stock Bought by Assenagon Asset Management S.A.
Assenagon Asset Management S.A. grew its holdings in Madison Square Garden Entertainment Corp. (NYSE:MSGE - Free Report) by 42.4% in the 3rd quarter, according to its most recent disclosure with the Securities and Exchange Commission (SEC). The institutional investor owned 1,229,680 shares of the co
Canadian business owner says trade tensions forced closure of all U.S. shops
A Canadian small business owner is sounding the alarm over the cost of doing business across the border amid trade tensions between the U.S. and Canada.
Could Prediction Markets Be a New Hedge Against Business Risk?
Could prediction markets become a new tool for managing business risk? Event-based contracts may help firms hedge revenue uncertainty, but success depends on accurately measuring exposure, matching risks and avoiding conflicts of interest.
Justice Department eases healthcare fraud self-disclosure
Companies that self-report fraud may shield themselves from criminal prosecution.
Businesses Report Flat Summer Tourism Despite Inflation, Smoke and Airport Runway Closure
In August, when an active wildfire season in the Pacific Northwest choked the Flathead Valley in a dome of smoke, Glacier Guides and Montana Raft owner Denny Gignoux started getting cancellation requests and noticed lower demand for rafting and hiking trips at his outfitting business. While the smoky skies deterred some visitors from traveling altogether, […]
BayCare opens proton therapy center at Tampa's St. Joseph’s Hospital
Florida's west coast gets another option for the radiation option, which uses charged particles called protons to target tumors while limiting exposure to surrounding healthy tissue.
Philadelphia's first queer women's sports bar Marsha's announces closure
Philadelphia's first queer women's sports bar, Marsha's, is closing permanently this weekend, over a year after opening on South Street.
Big Las Vegas show closures mark a transitional time for Strip entertainment
A time of change can be sad, when you’re thinking about what might be lost, but it’s also a time of opportunity.
Sacramento health inspectors found 251 rodent droppings in this facility. Where?
Sacramento County Health Inspectors gave red placards to six eateries and cited 12 other facilities.
Health expert shares simple ways to help lower inflammation throughout the body
Clinical pharmacist Jim LaValle breaks down how diet, stress, medications, blood sugar, environmental exposures and even overtraining may contribute to inflammation — and why the gut-brain connection matters.
Australia: NSW Health warns against handling bats due to lyssavirus
NSW Health is advising the public not to handle, or otherwise handle bats, following a recent increase in people being bitten or scratched across the state. In the two weeks from 28 September to 10 October, 43 people were assessed by NSW Health after being bitten or scratched by bats. This includes in coastal areas in Hunter New England, the Mid North Coast, Northern NSW, and the Central Coast. This is a significant increase when compared with 10 reported cases of bat bites or scratches for the same two-week period in 2025. Keira Glasgow, Director in Health Protection at NSW Health, said, “We want people to assume that any bat could carry Australian bat lyssavirus, which is a close relative to the rabies virus and very dangerous to humans.” “If you see a bat that is injured or in distress, call your local wildlife rescue service and do not touch it. Only trained, protected and vaccinated wildlife handlers should interact with bats. “It is incredibly rare for Australian bat lyssavirus to transmit to humans, but once symptoms of lyssavirus start in people who are scratched or bitten by an infected bat, sadly there is no effective treatment. “If you are bitten or scratched by a bat, urgent medical assessment is crucial.” Rabies virus and Australian bat lyssavirus (ABLV) belong to a group of viruses called lyssaviruses. These viruses transmit via a bite from an infected ("rabid") animal. They all cause a similar illness known as rabies, which affects the central nervous system and is usually fatal. Rabies and ABLV infection cause similar symptoms. The early symptoms are flu-like, including headache, fever and fatigue. The illness progresses rapidly to paralysis, delirium, convulsions and death, usually within a week or two. Rabies cases and the three known human cases of ABLV infection have shown a wide variability in the time it takes for symptoms to appear following exposure to an infected animal (from several days to several years). The best way to protect yourself from infection is to not touch bats. If you see a bat in distress, injured or trapped on the ground, do not try to rescue it. Instead, contact trained experts. Outbreak News Today is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe
WHO urges faster action to end lead exposure which kills 3.5 million annually
Countries must accelerate efforts to prevent lead exposure, which is estimated to cause more than 3.5 million deaths globally each year and affects hundreds of millions of children, the World Health Organization (WHO) said on Thursday.
Assenagon Asset Management S.A. Acquires 268,710 Shares of Live Nation Entertainment, Inc. $LYV
Assenagon Asset Management S.A. lifted its position in shares of Live Nation Entertainment, Inc. (NYSE:LYV - Free Report) by 253.4% during the third quarter, according to the company in its most recent disclosure with the Securities and Exchange Commission. The firm owned 374,747 shares of the compa
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”.
Burning through Türkiye's GDP: The high cost of fossil fuel PM2.5 pollution on public health – Centre for Research on Energy and Clean Air
Türkiye’s reliance on fossil fuels is generating massive air pollution health costs both within the country and throughout the region. This report finds that fossil fuels account for more than half (52%) of Türkiye’s population exposure to PM2.5 air pollution. The cumulative health impacts are estimated to cost the Turkish economy approximately USD 55 billion each year, equivalent to 4.1% of national GDP in 2024. The pollution is also responsible for roughly 26,500 deaths per year in the country, including deaths from cardiovascular and respiratory diseases, lung cancer, stroke, and diabetes.The impacts begin at the very start of life, with fossil-fuel-derived PM2.5 pollution contributing to an estimated 8,000 preterm births, 8,200 low-birthweight infants, 5,100 new cases of childhood asthma, and 6,500 emergency-room visits for asthma each year in Türkiye.Beyond the estimated deaths each year in Türkiye, air pollution from the country’s fossil fuel emissions also contributes to deaths and economic losses in neighbouring countries. In 2024, these emissions were estimated to cause: 32,000 deaths and USD 2.1 billion in economic burden in Egypt; 1,700 deaths and USD 0.2 billion in economic burden in Syria; 800 deaths and USD 0.8 billion in economic burden in Iraq; 500 deaths and USD 4.5 billion in economic burden in Israel; and 400 deaths and USD 1.5 billion in economic burden in Greece.Türkiye currently has no national ambient air-quality standard for PM2.5, despite the substantial health burden associated with exposure to the pollutant. Figure — The percentage of annual PM2.5 emissions in Türkiye’s fossil fuel emissions, using the EMEP emission inventory and EMEP MSC-W chemical transport model Key findings Türkiye’s fossil fuel emissions (from domestic sources as well as international aviation and shipping) account for 52% of population exposure to PM₂.₅ nationwide. PM2.5 pollution attributable to Türkiye’s fossil fuel use is responsible for approximately 26,500 deaths in the country every year, including deaths from cardiovascular and respiratory diseases, lung cancer, stroke, and diabetes. Children are among the most affected, with fossil fuel-derived PM2.5 pollution contributing to an estimated 8,000 preterm births, 8,200 low-birth-weight infants, 5,100 new cases of childhood asthma and 6,500 emergency room visits for asthma each year. The cumulative health impacts of fossil fuel-derived PM2.5 pollution are estimated to cost the Turkish economy approximately USD 55 billion each year, equivalent to 4.1% of national GDP in 2024. Transboundary pollution attributable to Türkiye’s land-based fossil fuel emissions also leads to thousands of deaths in five neighbouring countries, with estimated economic burden per year (as of 2024) reaching USD 2.1 billion in Egypt (3,200 deaths), USD 0.2 billion in Syria (1,700 deaths), USD 0.8 billion in Iraq (800 deaths), USD 4.5 billion in Israel (500 deaths), and USD 1.5 billion in Greece (400 deaths). Türkiye currently has no national ambient air quality standard for PM2.5, despite the substantial health burden associated with exposure to the pollutant. Reducing fossil fuel use and emissions across Türkiye’s energy, transport and industrial systems would deliver substantial air quality and public health benefits by reducing exposure to PM2.5 and preventing associated illness and deaths. Figure — Annual deaths attributable to Türkiye’s land-based fossil fuel emissions in the five most affected countries, based on 2024 emissions
Bills Have Made Their Feelings on Rookie Davison Igbinosun Clear
Jim Leonhard says Bills rookie Davison Igbinosun has earned a bigger role at cornerback, but penalties and technique remain areas to improve.
Road closures near DoubleTree hotel slow business in Laredo
Road closures around the damaged DoubleTree hotel have cut off foot traffic to nearby businesses, leaving some owners with fewer customers.
Delancey Street Launches Free Two-Minute Self-Assessment for Business Owners Carrying Stacked MCA Debt
Delancey Street, a New York based MCA relief company, today released a free self-assessment that shows small business owners their exposure to merchant cash advance debt in about two minutes. It requires no credit check and carries no obligation.
Berkeley’s Nabolom Bakery blames political backlash for closure
Nabolom’s owners say an Instagram removal and backlash over its political positions hurt sales, but they also point to rising costs, staffing problems and fierce competition.
🗞️ Today's front pages: Madrid's controversial win, Barça-PSG preview
After a weekend of truly thrilling matches, a new week packed with news begins. So let's take a look at the front pages of the sports newspapers...***MARCAASSPORTMundo DeportivoSuperdeporteEstadio De...
Newsmakers: Colliers promotes Reilly
This week’s Newsmakers includes a Colliers promotion, a new CMC neurosurgeon, four hires at LMR and new trustees at Franklin Pierce University.
Mogul Capital Partners empowers people to become business owners
Mogul Capital Partners is a private equity and business acquisition company focused on acquiring established, profitable businesses while expanding access and exposure to business ownership and investing.
Beloved Lakeview Electronics Shop Where Neighbors Found 'Hidden Gems' Closing After 55 Years
Lakeview's Royal Home Entertainment is selling off its remaining inventory ahead of its closure Saturday, though owner Joe DeGuide still plans to offer custom installation services online.
Widespread power outage hits Central City, prompting several business closures
A widespread power outage in Central City has forced multiple local businesses to close their doors for the day.
Olive Garden, Long Horn Steakhouse: Check out 6 Kyle business updates
The city of Kyle is seeing new developments from Olive Garden and LongHorn Steakhouse, a new skatepark opening, a shelter partnership and recent closures.
Newport Healthcare Brings Back CEO, Lays Off Staff
Newport Healthcare’s CEO office is turning over at the same time it institutes additional layoffs and facility closures to again shrink its national
What is Glycidol methacolayte? Breaking down the health risks from Toledo chemical leak
Residents in northern Toledo are reporting varying health symptoms as a result of an active chemical leak in the area. But what's the actual exposure risk?
Cha Jun-hwan Halts National Team Activities, Eyes Entertainment Shift
Cha Jun-hwan Halts National Team Activities, Eyes Entertainment Shift After finalizing Seoul City Hall contract, speculation grows over acting comeback in tvNs Gungjeon Land
Tiger mauls man to death at U.K. animal park, evacuation ordered after guest entered enclosure
Police gave an update on the incident in a statement obtained by EW.
Mapping the Totality of Childhood Exposures: How Exposome Science Is Rewriting Pediatric Health
A new review in Pediatric Research charts how exposome science, from wearable sensors to multi-omics cohorts, is transforming the measurement and prevention of environmental risks to child health.
1,906,905 Shares in Tencent Music Entertainment Group Sponsored ADR $TME Bought by Assenagon Asset Management S.A.
Assenagon Asset Management S.A. acquired a new position in Tencent Music Entertainment Group Sponsored ADR (NYSE:TME - Free Report) in the 3rd quarter, according to the company in its most recent disclosure with the Securities & Exchange Commission. The fund acquired 1,906,905 shares of the comp
SPECIAL REPORT: Tough Business
A string of vacant restaurant buildings shows that many restaurants in the region are struggling — and several are closing By Stefan Yablonski [caption id=attachment_11132 align=alignright width=401] Smokey Bones Bar & Fire Grill on Route 31 in Clay closed its doors in April. It had been in operation since at least 2008.[/caption] By their nature, most restaurants have a limited life. An astonishing 60% go out of business within three years of opening, largely due to fundamental flaws in the planning of the operation. But even restaurants that experience years of success almost always face eventual closure. The restaurant business is very hard and because of both personal factors and external factors beyond anyone’s control, restaurants don’t last forever. For many restaurants, age is a big factor, according to Kenneth Walsleben, professor of practice, entrepreneurship and emerging enterprises at Syracuse University. “The owners have been at it for 20 or 25 years, if not longer, they want some time to themselves,” he said. Such was the case for Jocko’s Famous Ritz Diner in Oswego. Jocko Reitz bought the building in the late 1970s from Robert Shapiro. However, when he stepped away from the business, it eventually closed. [caption id=attachment_11142 align=alignright width=402] For nearly 80 years, Vona’s Restaurant passed through three generations of family in Oswego. It closed its doors on Dec. 31, 2025.[/caption] For nearly 80 years, Vona’s passed through three generations of family in Oswego. Vona’s Restaurant officially closed its doors on Dec. 31, 2025, when no family member wanted to take over. It is on the market. The Ruby Tuesday in Oswego operated for about two decades before permanently closing in April 2026. The restaurant faced multiple temporary health department closures in 2024 and 2025 due to persistent fruit fly and foundation pest issues. Management posted a final closure notice on the doors in mid-April 2026 and the building was put up for sale. The same pattern has been happening in Onondaga County. The big building once used by Smokey Bones Bar & Fire Grill on Route 31 in Clay remains empty, more than six months after the restaurant closed its doors in April. It had been in operation since at least 2008. [caption id=attachment_11130 align=alignright width=401] Ruby Tuesday in Oswego operated for about two decades before permanently closing in April 2026.[/caption] Just down the road from Smokey Bones, the popular Outback Steakhouse closed in August 2024. Another restaurant took its place, La Cocina Mexican Restaurant, but it closed shortly after. The building sits empty. Other very popular restaurants in the northern suburbs of Syracuse have recently closed. Among them, Fireside by the River in Baldwinsville and Primo Nestico’s Bistro Bar in North Syracuse. “I haven’t really paid attention to the Syracuse area. There has always been some turnover, but there probably has never been a tougher time to be a restauranter than now. It’s just brutal,” Walsleben said. In the first year, roughly 20% to 25% of restaurants close or change hands, according to the National Restaurant Association. [caption id=attachment_11122 align=alignright width=401] Outback Steakhouse closed in August 2024. Another restaurant took its place, La Cocina Mexican Restaurant, but it closed shortly after. The building sits empty.[/caption] “Depending on what statistics you look at, you’ll find that any business has a high mortality rate in the first year. That is just the nature of entrepreneurship,” Walsleben said. “There are certain ones that are getting hit hard while others are more fruitful. “And when you look at the restaurant industry you have to factor in labor which is a large part — typically a third of your expenses — and those costs are going up. And there is always turnover which means investing money to train people. Then you’ve got food costs, which is also a third of the typical restaurant budget. Since the pandemic labor has gone up 41%, food costs have gone up 35%. That’s a big tight squeeze righty there. That’s two-thirds of your budget that has gone up 35% to 40% in the last few years. And then the only way you can make that work is to raise the prices.” The National Restaurant Association reports menu prices are up 36% since February of 2020. In a survey released by the association, more than eight in 10 restaurant owners reported that their food, beverage and labor costs are now higher than before the pandemic. You have to deal with the reality of are the customers willing to pay for that? Walsleben added. Restaurants historically have very thin margins; their profit margin is about 5%. “You have a third that goes into food, a third that goes into labor and about 28%, 29% that goes into everything else — overhead, insurance etc. So that brings you down to your 5% leftover,” he said. “Everything is going up. Customer expectations are going up and people aren’t going to spend that much more. So, you have a tight squeeze here,” Walsleben continued. “Restaurants who use delivery apps, they pay a fee to those guys. Those guys don’t work for free. So, you can kind of see where the squeeze comes from.” Stuck in the middle There are pockets of opportunity; the two extremes of the market can make a profit. But the middle gets squeezed out. “If you are a low-end fast-food kind of place, there is room for that. People have changed their budgets. They are still going out, but they are not spending more,” according to Walsleben. “The high end remains positive. If you have a restaurant that brings a specific experience … a great food product or you are catering to high end customers who aren’t so budget conscious, those patrons are going to expect a high-end experience. They expect excellent food every time. They are expecting excellent service. If you can meet those expectations there is room for you at the top. It’s just the guys in the middle are getting the squeeze from both ends. Tough competition, customer expectations, costs are up. Menu items, you can’t raise the prices as much as you need to. That is why you are seeing a lot of restaurants baling out.” The ones that can adapt quickly are the ones who are doing OK. “Success is heavily dependent on the strength of a restaurant’s concept development and the planning of its execution. Eventually things aren’t always new. Things change. So, if you are in the restaurant business you have got to change your menu — keep things new, fresh and update your meals. It is very fickle industry. One year carbs are out, the next year berries are out. Everybody’s diet changes — constantly chasing the latest phase. You have got to adjust your menu and move with those modifications. If you have a static menu that you have used the last couple years that hasn’t changed except for the pricing, you’ve got a problem,” he said. A lot of times these buildings are singular purpose, he added. “You have a commercially viable kitchen and you got a seating area. There is not a lot of other businesses that cater to that type of a layout. So, it’s pretty common to see another restaurant slide in,” he said. One of the things a banker learns early on is you don’t lend money to restaurants … because they fail so quickly. It is very hard to predict who the winners will be. So, if you are a restaurant in addition to all the other challenges, it is very difficult to get loans, according to Walsleben. “You might work really well in the kitchen. But that doesn’t mean you are a great businessperson,” he said. “Restaurants can fail because the owner didn’t know how to manage things properly. There are a lot of challenges. “There is opportunity at the high end and the low end. But in the middle, that’s the death valley. There are just so many things working against you. You really need to have something that will pull people in and continue to pull people in because you to constantly have to change. Think about a theme and a product that is unique to the area people don’t travel that far these days you have to be able to deliver it in an innovative fashion and keep updating to keep people coming in the door.” Out of Business? How Fast? Do nine out of 10 restaurants fail in their first year, as commonly claimed? No. Survival analysis of 1.9 million longitudinal microdata for 81,000 full-service restaurants in a 20-year U.S. Bureau of Labor Statistics non public census of business establishments in the western US shows that only 17% of independently owned full-service restaurant startups failed in their first year, compared with 19% for all other service-providing startups, according to ResearchGate. The median lifespan of restaurants is about 4.5 years, slightly longer than that of other service businesses (4.25 years). However, the median lifespan of a restaurant startup with 5 or fewer employees is 3.75 years, slightly shorter than that of other service businesses of the same startup size (4.0 years). What Makes a Restaurant Successful? Opening and maintaining a successful restaurant is not as easy as creating a great menu and serving excellent food. It takes more than that, according to local restaurant owners who have been in business for decades in the region. They all agree that there are some guidelines to running a successful restaurant. • Quality food: Successful restaurants know exactly what they serve and who they serve it to. Delivering the same great taste every single time builds loyal customers. • Smooth operations: Friendly greetings and attentive staff make guests feel welcome from the moment they walk in. Hiring staff for personality and training for skill ensures reliable, caring service. • Smart marketing: Exceptional food and experiences naturally get people talking and sharing online. Word of mouth can help entice customers. Consistent social media and targeted advertising brings in new and repeat guests also. The menu is what keeps patrons coming back to Mimi’s Diner in Fulton, located at 201 N. Second St. “We locally source our produce and our meats. Our chicken and biscuits is a popular, popular special,” said Richard Tagliareni, the third-generation owner and general manager. “It’s all homemade. We have consistently served quality food.” His grandfather started the business more than 55 years ago. Mimi’s is engrained in the community. They cater to the community and are very involved in everything from the schools to local events. The first Mimi’s Drive-In opened in Mexico. Then a second in Oswego and then Fulton. Fulton’s Mimi’s is the only one left. “The last couple of weeks have been kind of slower than normal. October is usually a busier month for us People will start coming back around again. Also, the price of gas is affecting some things,” Tagliareni added. “We try to keep our prices in line. You go out to eat, you’re going to spend about a hundred bucks or so for two people for dinner. You come here to Mimi’s you are probably for two people for dinner it’s between $50 and $60. We are trying to keep our prices in line. We did have to increase our prices a little bit but things are looking OK.” For the Press Box, 29 E. First St., Oswego, it’s also about great food and a family atmosphere. “Our sports bar and restaurant was established in 1984,” said Alison Canale Scanlon, manager. “I think putting the time into everything makes a big difference and treating people like family when they walk into your restaurant. That’s how we have always operated since 1984.” “It’s the family oriented aspect,” she added. “Consistency, quality and presentation of our food — that’s the secret to a successful restaurant. We try to be very consistent with it. We treat people like family when they come in; because we know how we want to be treated when we go to a restaurant. We treat people the same or better.”
Political mailer sparks Vermont disclosure complaint
The attorney general is reviewing allegations that a PAC failed to disclose donors and file a required report.
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.
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There’s a Reason That Netflix’s Ad Business Has Underwhelmed
Somewhat lost in the company’s slew of firings and engagement warnings over the past few weeks was the fact that Netflix is scaling back its ad forecast for 2026 from $3 billion to $2.7 billion. That’s despite the fact that: CTV is growing by 14-15% this year This year saw a monster upfront Netflix is the biggest streamer out there this side of YouTube, and was the platform that for years brands were supposedly dying to be a part of In other words, that’s an alarming pull-back from Netflix. A Wall Street analyst I spoke with last week was blunt, calling Netflix’s ad business “disappointing.” To me, a red flag on the ad front is that Netflix has never revealed how many ad-supported subscribers it has. Because if I know anything about how big companies work, if they have a positive number that makes them look really good - they tend to share it. (How many subs does go90 have right now? We’re not saying just yet. How are ads going on ChatGPT? Oh, a billion run rate - I see). Yes, to date Netflix has shared some fuzzy ad numbers, such as the idea that the company’s ad tier ‘reaches’ 250 million users globally.’ Here’s why that figure gives me pause: a)they lead with global, and b) they don’t explain how they are calculated. (Are they based on average people in each room? Surveys of some kind?). Regardless, some insiders say that Netflix’s ad tier is scaling nicely - others not so much. Either way, one of Netflix’s biggest challenge on the ad front appears to have been its starting point. Remember, when Netflix launched ads in 2022, it had 73 million subs in the US and Canada. That’s 73 million people who were used to Netflix with zero ads. And when the ad product rolled out, the company clearly was going after new users - a limited pool of potential subscribers by default. That focus seems to have changed over time, as Netflix has tried to convert longtime subscribers to the ad tier. Historically Netflix subscribers are very sticky. But is the company’s low churn a problem? Not necessarily, according to Antenna data. Rather, Netflix’s consumer loyalty is a bit of a double-edged sword. “Netflix is the one streamer which actually has seen substantial “trade downs” but has much lower ‘win backs,’ said Antenna founder Jonathan Carson (win-backs being people who were on the ad-free plan, cancelled, then rejoined on the ad plan). “Netflix has lower churn and so has less opportunity to win back old subs with a lower cost plan option.” This all might explain why Netflix has been so slow to roll out all of these table stakes targeting options until just this week. It likely didn’t have enough users to carve up into various targets. etc. However, what really hit Netflix’s ad business was Amazon’s move a few years ago to turn on advertising for Prime Video by default. Suddenly the market was awash in premium inventory, and Netflix was playing catch-up on multiple fronts. Thus, the streaming giant appears to still be figuring out if if wants lead in ‘programmatic TV,’ or premium ‘upfront’ TV sales. “The CTV market now sorts into three businesses, and Netflix is not the leader of any of them,” wrote analyst Jack Myers. Ouch. So how does Netflix ratchet up its ads business? Get the next NFL package You’re gonna have to wait until 2030 unless one of the bigger media companies like Skydance opts out, but the easiest (not cheapest) way for Netflix to become a huge TV ads contender is to get one of the regular NFL packages, ideally Sunday afternoons. That way it can sell ads to its whole U.S. subs base overnight. Go FAST This one is risky, because to program a compelling FAST channel, you’d likely have to take some older Netflix exclusive shows and make them available for free to non-subscribers. But FASTs, for better or worse, are ad-inventory machines. Go full UGC I’m not sure I see this happening. There is something already off about Netflix carrying podcasts and shows for creators. The experience sticks out in what is such a produced, and generally non-communal environment. But Netflix could open up its platform by allowing creators to upload videos without having to be approved by the service. But that opens a whole other can of worms (policing brand safety, copyright infringement, overall quality). Make a huge RMN Deal I was going to suggest something crazy, such as ‘instead of buying Warner Brothers, Netflix should buy Target. But the company doesn’t want to be in the brick and mortar business. Yet for Netflix’s ad business to compete in an Amazon world, it needs to be able to connect ad exposures to shopping. What if, instead of letting Amazon target Netflix viewers with its DSP, Netflix inked a deal with Target, or even took control of Roundel, and created its version of the Amazon full-funnel for brands? Price us out. I hope they don’t do this, but Netflix’s price increases - while significant - haven’t been enough to push long-term customers out of the ad-free tier. But if they made those prices so prohibitive, it could push large swaths of consumers to trade down. Then again, that could also dent engagement - as binging becomes much less appealing once you bring ads into the equation. Or, they could just launch a bunch of hit shows and maybe everyone will quickly forget all this angst. More from Amazon unBoxed A few weeks ago, I recorded two podcasts live at Amazon’s unBoxed event in San Francisco. I was able to go really deep with several brand partners about how Amazon’s various data and ad products work - particularly the under appreciated Amazon Marketing Cloud. First, I talked with Laura Abadias Velilla, of the Amazon specialty agency Amerge, along with Amazon’s own Charlotte Maines, Vice President, Devices Content & Advertising, about how the two partners helped a very specific printer company Epson launch into a brand new category - high end projectors. It’s a great example of how brands connect audience data across platforms to make budget deployment decisions. Next, I chatted with Monks VP Head of Digital Investment for North America Tom Burchill about how the agency actually brought in data from Linkedin to help target B2B customers across various Amazon properties for the brand Quicken. Check it out: Check these out, or just listen:
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Streaming’s Biggest Show Returns…and a Buzzy Genre Struggles
(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.) Obviously, the big news of the week (if not month) is Netflix letting go of executive Bela Bajaria, their chief content officer. I’m going to cover this in my next “Most Important Story of the Week”, but I also have a data angle that I might publish before then. (Too much news this month, am I right?) But first, I have a bonus Streaming Ratings Report issue for you. Today’s article is a bit of a grab bag of topics I’ve wanted to write about, but couldn’t squeeze into the (already very long) Streaming Ratings Report issues. The NFL drives huge viewership numbers, so I’ve got a look at that. A whole bunch of TV shows returned to the traditional broadcast channels, and I have thoughts. And I have a quick look at adult animated shows, since a couple flopped earlier this month. Plus, the Emmys aired earlier this month, and we got some fun data bout how popular those nominated shows are and why I’m not optimistic about the show’s future. That’s a lot, so let’s dive right in. Subscribe Sports - Football Remains the King of Streaming Over the last two Streaming Ratings Reports, I sorta ignored the biggest “show” each week. (I was tempted to say “piece of content” but I know that word bugs folks.) In my database, I call these “specials”, and they sure are special. I speak of the king of American TV: football!!! Streaming football is back and, unlike some other sports, it routinely dominates all viewership. Probably the best way to show this is to update one of my favorite graphics, the “40 Million Hour Club”1 since football games have joined that club each week they’ve premiered: (Yep, that’s the data through 28-Sep, the first four weeks of the season. As a reminder, I take the average minute audience provided by Nielsen, factor out a percentage of linear TV viewers in home markets, and multiply the run time by the three-hour runtime.) Again, the numbers are huge. Let’s start with Netflix. They grabbed the rights to the bonus opening week NFL Kickoff game (which was on YouTube last year) and it put up 18.5 million viewers on average. That nets out to 47.4 million hours of estimated streaming hours. That’s good! Though, notably, it’s well below Christmas Day games from previous years. Compared to other streamers/broadcasters, that’s a bit of a mixed result. On one hand, Netflix’s 18.5 million average is about what YouTube claimed last year, though Nielsen used a bespoke methodology at that time, so I trust this viewership figure more. So that’s good. (The game also shifted from a Friday to a Thursday and that could have helped the viewership as well.) And Netflix continues to best Prime Video in total viewership—as you’ll see next—though Netflix has had much higher-profile (opening week and Christmas Day) games. NBC/Peacock’s opening game the night before averaged 25.1 million average viewers, which is just much bigger than Netflix (or Prime Video). That’s the big caveat to all streaming viewership records: even in success, they can’t compete with traditional linear TV. Previously, I called this my “hierarchy of viewership”, and the data keeps supporting that thesis. The downside for NBC is that this game’s viewership was down compared to previous years, though it may be a counting issue. Here’s a great chart from Sports Media Watch: Indeed, looking at all the opening week games across all windows, Netflix still lags the other primetime windows, but does well compared to the afternoon games: I saw a few folks make the case that streamers still lag traditional broadcasters in reach, and I’d add they really lag compared to “broadcast plus streaming” options like NBC/Peacock, ESPN/Disney+ and CBS/Paramount+. The best data I saw for this came from Samba TV, who charted reach through the 2025 season, and, wow. (Samba TV’s numbers are historically lower than Nielsen’s, so don’t compare their household figures to Nielsen’s hours, but use them as a proxy for the relative reach of the streamers.) The good news is Prime Video is NOT having a down year. Their opening Thursday Night Football game reached 18.6 million viewers (about what Netflix got), but that’s a high for Prime Video on Thursdays and the biggest Thursday night game since 2015. The TNF games the weeks of 21-Sep and 28-Sep continued this streak, getting 43.1 (16.8 million average viewers) and 42.5 total hours (16.6 million average viewers), which were both up from last year. Still, that continues the (typical) season slide: (For those new-to-streaming-football-numbers folks, the viewership declines for Thursday Night Football as the year goes along.) Overall, it appears as if Prime Video is now part of the “football habit”, be it for customers at home or out at places like bars and restaurants. And its viewership is slowly catching up to broadcast. One last chart shows this. Last season, Nielsen started adding out-of-home viewership to the charts, so I try not to do season-to-season comparisons as I did for the first few years. And while Nielsen added Big Data viewing this year, I’m going to compare the last two seasons. Here’s that chart, which shows the season-over-season gains: When it comes to streaming football, we have to keep a few seemingly contradictory thoughts in our head… First, streaming doesn’t come close to matching broadcast’s reach and, thus, viewership. Second, even with that gap, football is still the biggest “thing” on streaming. It’s very, very popular. Third, while some methodology changes have likely helped Prime Video’s numbers, their viewership does appear to be growing. Lastly, yeah, the NFL started the season off poorly, with week one dragging down the numbers in year-over-year comparisons. However—and again, methodology changes may have helped this—the viewership grew compared to previous seasons over the next couple of weeks. So football is still king. On streaming and off. Television - Adult Animation Continues to NOT Make the Streaming Charts In the last two reports, two adult-animated shows whiffed: Netflix’s animated comedy, Dang! Paramount+’s Sega-video-game-inspired fantasy/comedy, Golden Axe. Neither made the charts, but that’s usually the case for animated shows. I mean, here’s literally every animated show that’s made the Nielsen Original charts since the start of 2025: And one of those shows is G_abby’s Dollhouse_! A kids show! The problem with charts like this is that they don’t give you a sense of how many shows miss the charts. Netflix had at least eleven animated flops, including comedies like Big Mouth (a show everyone assumed was popular in the pre-Streaming Ratings Era), Long Story Short, Haunted Hotel, Mating Season, Strip Law, and Alley Cats, and action shows like Blood of Zeus, Castlevania: Nocturne, Devil May Cry, Splinter Cell: Deathwatch, and Tomb Raider: The Legend of Lara Croft. Prime Video had at least six animated misses, two in the same universe (Hazbin Hotel, Helluva Boss), three more comedies (#1 Happy Family USA, The Second Best Hospital in the Galaxy and Kevin) and an action show (The Mighty Nein). Disney+ had MCU and Star Wars animated misses (Eyes of Wakanda, Marvel Zombies, Star Wars: Visions, Star Wars: Maul – Shadow Lord, and Star Wars: Tales of the Underworld) but I can’t tell how many of those shows were geared towards adults. HBO Max had Harley Quinn and Hulu had Solar Opposites. None of these shows made the charts! That’s a lot of misses! If I remade the chart with all those misses, here’s how it would look: Listen, I know the counter arguments. First, it’s cheaper to produce animated shows than live action. Fair enough, but with viewership this low, even that cheaper price point starts to not matter. Second, just look at the acquired charts. Hit animated comedies can generate viewership for years! Shows like The Simpsons, South Park, Family Guy, and Bob’s Burgers do really, really well. Fair enough, but streaming has failed to recreate the dynamic that Fox has mastered so well. That’s a problem for streaming still. Television - Emmys! The annual Emmys broadcast was a few weeks ago, and I’ve got data on how the nominees performed on streaming, plus hot takes on this year’s viewership (and the big news about the broadcast’s, er, streamcast’s future). We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The top Emmy-nominated shows… ...why I’m worried about the future of the Emmys telecast... ...the pros of broadcast television ...and the cons... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, we’ve got a double issue (since the weeks of 21-Sep and 28-Sep were so light), but then I’ll be all caught up after a deluge of streaming ratings data from Nielsen in September. In the meantime, I’m going to try to take a look at Netflix’s stats to explain why Bela Bajaria is out. But even light weeks give me plenty to talk about. The Great British Baking Show returns to Netflix and Apple TV has a buzzy new star-studded comedy. And Netflix has a controversial-but-appears-to-be-popular new game show. Plus big films like Toy Story 5, Backrooms and The Breadwinner head to streaming. And is East of Eden a hit? After that, The Kardashians return to Hulu, Prime Video has a reboot of Carrie, and Netflix has a horror show, Below. Disclosure Day heads to Peacock, The Housemaid heads to HBO Max_,_ a new Ben Affleck film, Animals, lands on Netflix, and Apple TV has a new John Cena action film based on, checks notes, Hasbro’s Matchbox toys. Okay. Longterm, some interesting TV production news. HBO Max ordered How to Survive Without Me, starring Kaley Cuoco, Joshua Jackson, Ray Romano and Rita Wilson, for fifteen episodes! I love that some streamers (or, at least, HBO Max) are finally ordering TV shows with more than eight episodes. In less wise production news, Landman does not appear to be coming back this year, since it just started production. Frankly, I don’t love this (get your shows out on time) but Landman is so popular, I doubt it matters.
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HOW I GOT STARTED: Jim Brooker
Owner of Starlight MFG Solutions in Fulton was vice president at Otis Technology in Phoenix — until the company closed locally. He then decided to open his own shop. “We are pretty much doubling in size each year so far,” he says By Stefan Yablonski Q: When did you start this business” A: I started Starlight MFG Solutions LLC while I was working at another government contractor. I was vice president of engineering at Otis Technology at their Phoenix location until they closed that facility due to a shift in business at the end of 2023. While at Otis, I was also working on Starlight on a part-time basis. I gained a lot of exposure to a lot of different equipment. That is the kind of service we provided to Otis when we were a part of them. Now we have spun that whole concept off here. Q: How would you describe it? A: It’s a manufacturing engineering firm specializing in custom automation to serve as an outsourced engineering support for companies that need additional resources. I want to make it a sustainable business that can partner with local manufacturers to help them. Q: What is your background; did you go to college with this in mind? A: I am a graduate of Rochester Institute of Technology with both a bachelor’s and master’s degree. My B.S. from RIT was in manufacturing engineering technology and my MS from RIT was in manufacturing and mechanical systems integration with a minor in business. Q: Why this type of business? A: I identified a large gap in the market for companies that needed small to medium help with manufacturing projects. Q: What services do you offer? A: We are focusing more on manufacturing. We do a lot of robotics, we do laser marking, we do filling — pretty much anything that the customer needs. Q: Have you seen any growth since you started? A: Yes. We have been growing ever since the company started. Our specialties include robotics, vision inspection and guidance, rotary-indexing workcells, dispense systems, laser marking, machine tending and more. We provide support to companies that need additional resources. We moved to a facility in Fulton about a year and a half ago. We are leasing our space in Fulton — the former NET & Die facility. We bought our own equipment, we are leasing the space. We have been operating here since early 2024. Q: You’re ready to take on bigger jobs? A: We want to stay in the small to medium size market where the large players don’t want to play. That is kind of where we found our niche. We are expanding regionally to take on more of those projects. My customers are relatively small business. They don’t have in-house automation; engineering and development teams are not feasible. Q: Business has been doing well? A: I am pretty satisfied about where we are at. We are definitely growing year to year. We are pretty much doubling in size each year so far. We are self-sustaining. Q: How busy are you on any given day? A: How busy? That’s kind of relative. We average between three and five projects going on in the shop at any time. We have a backlog that is manageable. We have seen a great demand for laser marking. The work is very relationship-driven. Much of it is based on referrals from other customers. Q: So, you must have a pretty big staff? A: No. I have just one other full-time person, a colleague from Otis. I bring in other people as the projects dictate. I handle sales and the overall operation of the manufacturing processes. We use outside sources for some work. We aren’t afraid to take on the other jobs — but we are filling our niche pretty well. Q: Do you get tired? A: I don’t get tired, no not really. Before this I ran a facility in Phoenix for 12 years. I enjoy solving problems and that part of the job is still my favorite. I have a supportive family life at home that definitely helps a lot. I just love the challenge of it. Q: Do you still live in the area? A: Yes. I live in Phoenix, town of Lysander. Q: What is the biggest job you’ve done? A: We have done some that were pretty good size. I don’t want to get into dollar amounts, don’t want to share gross revenue. We try to use locally sourced components. It is just amazing the components you can find that are locally produced.
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NBCUniversal's Home Entertainment, Live Plays Business Segment Sees 12.7% Q3 Revenue Decline
NBCUniversal’s studios’ “other” business segment, which includes home entertainment, live plays and third-party content distribution, reported revenue of $285 million, down 12.7% from revenue of $326 million in the previous-year period. Top-selling titles in the quarter included Obsession, Disclosure Day and The Super Mario Galaxy Movie, among others. Overall studios segment operating income increased 18.6% … Continue reading "NBCUniversal’s Home Entertainment, Live Plays Business Segment Sees 12.7% Q3 Revenue Decline"
Fund Update: 208,165 $IVV shares added to Japan Science & Technology Agency portfolio
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'A uniquely direct route that might cause damage': Scientists uncover link between air pollution and eye diseases like glaucoma
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Department of Health and Human Services and the Justice Department’s Civil Division Announce Anti-Fraud Healthcare Self-Disclosure Pilot Program
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IDWeek 2026: Viral Hemorrhagic Fever Exposure and Infection Risk in Health Care Workers
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Erie County Department of Health reports potential diphtheria exposure in West Seneca schools
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Developer behind collapsed recreation complex plan in Johnston files bankruptcy
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Mice cause ‘imminent health hazard closure’ at Westminster movie theater
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Tracking tsunamis triggered by extreme weather
As much of Western Europe faced record-breaking temperatures and extended drought this summer, Croatia experienced another weather event that could also set a worrisome precedent.Over the course of two weeks, a series of meteorological tsunamis (meteotsunamis) struck Croatia’s Adriatic coast, alarming both residents and tourists. Social media posts showed flooded seaside promenades and people walking through knee-deep water. Fortunately, no deaths or major damage were reported.In a world where natural disasters seem to be increasing, meteotsunamis — tsunamis caused by rapid weather changes – rarely make headline news. But warming sea temperatures and changing atmospheric conditions may help explain why these phenomena could become more common, especially in shallower seas and inland lakes with wide coastal shelves.“We have definitely become more aware of them, and there have been a lot more reports of these events in the last 10 years,” says Jadranka Šepić, an associate professor of environmental physics at the University of Split whose research focuses on efforts to track meteotsunamis in real time. She is also one of Croatia’s ambassadors for Science Comes to Town (SCTT), a European Commission-funded programme aimed at making research more accessible to the public.Šepić sees two possible reasons for the apparent increase in meteotsunamis. One is that photos and videos shared on social media are providing more empirical evidence, while rising air and sea temperatures could also play a role. The geophysicist “cannot say with certainty” that warming is a contributing factor because research is still ongoing. “But I can say that previously in Croatia we might have had one exceptionally strong event every 10 or 15 years, and one strong event every five years, and within 15 days this summer we had five strong events,” Šepić notes. “This is not typical.”‘A fist against the sea surface’Unlike tsunamis that are triggered by underwater earthquakes or volcanoes, meteotsunamis are caused by sudden changes in atmospheric pressure combined with other rapidly developing weather events, such as thunderstorms. The effect “is like pushing a fist against the sea surface,” Šepić explains. The resulting oscillation intensifies as it reaches shallower water, and “can be far more destructive than a wind-driven wave because meteotsunamis are accompanied by very strong currents than can penetrate much deeper inland.” The meteotsunami, she continues, “then behaves the same as a tsunami — they slow down and grow as the sea shallows, and then grow further in places like harbours due to further shallowing and narrowing. When they come ashore, they can be very destructive — taking everything with them out to sea and then taking it back.”Croatian research institutions have tracked such sea oscillations since the 1930s because the relatively shallow Adriatic Sea is prone to meteotsunamis. The strongest recorded so far was in June 1978, according to the Adriatic Meteotsunami Catalogue, which is supported by the European Research Council (ERC), Croatian Science Foundation and the country’s leading research institutions. During that event, six-metre-high waves flooded the coastal town of Vela Luka on Korčula Island, causing major damage.Other meteotsunami “hotspots” in Europe include the Mediterranean Sea as well the Atlantic coastal shelves off France, Portugal and Spain. In June 2006, a meteotsunami with five-metre-high waves swept through the harbour of Ciutadella in Spain’s Balearic Islands, causing widespread damage to boats. Several less powerful events were reported in the Balearics and off the coast of Spain this summer, leading to some beach closures.Forecasting is challenging because of how quickly meteotsunamis can develop and their uncertain trajectory. Šepić is involved in two ERC-funded research projects — SHExtreme and MeD-Track — aimed in part at strengthening monitoring and real-time data collection. Access to accurate and immediate information is essential for early-warning systems.Early exposure to meteotsunamisŠepić first learned about meteotsunamis from her parents while growing up in Croatia. She later had the opportunity to investigate these events during her master and doctoral studies in geophysics at the University of Zagreb. The geophysicist has also conducted research at the Institute of Oceanography and Fisheries in Split, the University of the Balearic Islands in Palma de Mallorca and the Institute of Ocean Science in the Canadian province of British Columbia.Projects like SCTT are important to raise awareness about research and inspiring young people to pursue studies and careers in science, notes Šepić. She credits her colleagues at the University of Split and the Institute of Oceanography and Fisheries for their community outreach and engagement in the European project, which includes partner universities and institutions in Brest (France) and Kiel (Germany). As an example of town-gown collaboration, Šepić highlights her own university’s ‘Oceanographers on the Island’ programme. This initiative offers workshops and hands-on learning for children living on numerous Croatian islands.“It is a great privilege for Split to be involved in a project like Science Comes to Town, which is the first of its kind in the European Union," Šepić says. As for encouraging new generations of scientists, “This is a great effort, and I hope that we will see an effect in a few years.”Science|Business, which connects policymakers, academics and industry through its news reporting, analysis and events, is an SCTT partner.
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Financial struggles at Camden medical center reflect closure risks for Arkansas’ rural hospitals
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New closures set to begin on I-70, Colorado businesses offer travelers welcome break from traffic
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Madera County program raises awareness of childhood lead poisoning prevention
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Santa Monica election heat: Who's really behind the attacks on Doug Trussler?
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Plague is stoppable. The next health threat may not be.
The word plague is scary. Centuries ago, the Black Death killed tens of millions of people and changed the course of history. Plague still kills people around the world, and the word still evokes catastrophe. New fears of plague surfaced on October 2, when a lab worker in Irkutsk, Russia, died of pneumonia. Reports suggested that she may have contracted plague through a laboratory exposure. Understandably, people were alarmed. On October 7, the World Health Organization called for the Russian Federation to be transparent about what it knew. WHO issued an update on October 10. Russian authorities told WHO that testing did not identify plague and that investigations found no laboratory release. WHO said confidence in its risk assessment remained limited and that further clinical, epidemiological, and laboratory information was needed. The cause of the woman’s illness remains unknown, and WHO says a laboratory-associated exposure cannot be excluded. As I explained in a recent interview, this incident is very unlikely to lead to a pandemic. Plague is still active, including in the U.S., which sees a handful of cases each year. But it is a disease we can prevent and treat. Plague doesn’t spread readily, and it responds to antibiotics. The standard response—isolate the patient, trace contacts, and administer antibiotics and monitor for symptoms among contacts for seven days—works. We have even planned for antibiotic-resistant plague. At CDC, we developed a playbook for antibiotic-resistant plague and ran exercises on how to find and stop it. CDC guidance anticipates engineered resistance and recommends two different classes of antibiotics if there’s reason to suspect it. There is no evidence that resistance—or even confirmed plague—is involved in this incident. We have thought through how to address plague, but we’re not ready for the next major health threat that emerges from a lab or from animal spillover to humans. What should concern people is how little stands between the world and the next pathogen to get loose. Since peak COVID, epidemic preparedness has fallen off the political agenda, but the risk is greater than ever. More labs handle dangerous pathogens with more ways to make those pathogens deadlier, and more people live and work in close contact with animals. There are actions we can take now: We need better lab safety in every country. The number of labs that work with dangerous pathogens has increased worldwide over two decades, but there’s no enforceable international standard and no inspection regime; the Biological Weapons Convention, fifty years on, still has no verification mechanism. Labs that study dangerous germs need strong safety systems, training, and oversight. We need to reduce spillover events. Three in four emerging human infections start in animals, and there’s a lot we can do to reduce spillover risk, but the world is doing very little of it. Live-animal markets are one place to act. For instance, closing live-bird markets helped control H7N9 influenza in China. Reducing opportunities for people to encounter infected animals can prevent infections before they become outbreaks. In The Formula for Better Health, which is now out in paperback along with the hardcover, Kindle, and audiobook versions, I argue that labs do too many risky experiments with too many dangerous pathogens in too many institutions, and that every experiment should first answer one basic question: Is the likely benefit greater than the risk? Spillover risk can also be reduced: In the book, I discuss how Brazil cut its deforestation rate by 70% from 2004 to 2012 while increasing agricultural production and reducing risky contact between people and forest animals. We need faster detection and response. Delay costs lives. Strong surveillance, good labs, and trained responders can turn a single case into a small cluster of infections instead of an epidemic. Resolve to Save Lives has worked for nearly a decade to help countries find and stop outbreaks faster. The 7-1-7 target, which Resolve to Save Lives developed with partners in Uganda and elsewhere, provides a clear standard: detect within 7 days, notify within 1 day and complete all essential early response actions within 7 days. In Uganda’s Kasese district, for example, a review of a measles outbreak using 7-1-7 identified shortages of accessible funds, fuel, and vehicles that delayed the response. District leaders established funds they could access quickly. When, a few months later, the Crimean-Congo hemorrhagic fever appeared, the district detected it in three days, notified authorities in one, and mounted an effective response in two. Only one case was confirmed, and the patient survived. Because funds were available before the emergency, authorities were prepared and able to act. This kind of preparation can’t wait until the next crisis begins. Plague is an old disease we that know how to stop. The next threat may be harder to recognize, harder to treat, and easier to spread. Safer labs, less risk of spillover, and faster outbreak detection and response need sustained investment now, while we still have time to prevent the next emergency. Share
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”