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Palmetto Sports Daily: Bryce Young gears up for 50th career start
PSD returns with a preview of the Panthers looking to stay hot against the Buccaneers.
The Fitbit Edge doesn't have NFC, and Google just revealed why
The Fitbit Edge launched earlier this month, but does this new wearable have NFC? Here's what Google told us.
Google reiterates missing Fibit Air sleep breathing quality feature coming ‘soon’
Google is holding off on a sleep breathing quality feature it promised for the Fitbit Air. It launched for the...
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.
4 Cool New Features Your Fitbit Air Is Getting In October 2026
With the latest update, your Google Fitbit Air can check your blood pressure trends, measure insulin resistance trends, and automatically detect more workouts.
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.
Google debuts $180 Fitbit Edge tracker in continued health push
The new device gives Google another way to promote its redesigned health app, which debuted in May and replaced the old Fitbit user experience.
Google debuts $180 Fitbit Edge tracker in continued health push
The new device gives Google another way to promote its redesigned health app, which debuted in May and replaced the old Fitbit user experience.
Whatever you do, don't buy a Fitbit Edge on day one
Thinking of buying the Fitbit Edge? From early firmware bugs to Black Friday deals, here is why waiting for a few weeks is the smartest move.
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”.
Google’s $180 Fitbit Edge makes a bet on smartwatch fatigue
Google draws a sharper line between Fitbit and Pixel Watch.
Google Fitbit Edge hands-on: Pixel Watch Lite, take two
Google’s new Fitbit Edge tracker launches later this month and, as we get our review together, here’s a quick hands-on...
Discover the latest science on probiotics for active lifestyles
Sports nutrition is moving beyond elite performance. Discover how science-backed probiotics and postbiotics can support gut health, immunity, mental wellbeing and recovery across active lifestyles
Google Launches Women’s Health Partnership and New Fitbit
Google has launched a women’s health partnership as it deepens its footprint in the wearable fitness-tracking space. The tech giant on Monday (Oct. 12)
Google unveils new Fitbit Edge tracker as tech giant expands health monitoring ambitions
Google on Monday its debuted its second Fitbit tracker of the year, the Fitbit Edge, which sits between the screenless health tracker Fitbit Air and the more advanced Pixel Watch. | The new device also builds on Google’s health tracking ambitions by combining advanced health sensors with AI-powered insights designed to identify changes in a user’s health and translate those signals into personalized guidance.
Google’s Fitbit Air is getting a shiny new Metal Mesh band and better automatic tracking
The Fitbit Air is finally getting another band option that isn’t fabric or polyurethane. Instead, the Metal Mesh band might...
Fitbit Edge is Google’s middle ground between Fitbit Air and Pixel Watch
Google’s newest wearable costs $179.99 and has a sleek feel like the Fitbit Air but with an OLED display.
Google announces the Fitbit Edge, a middle ground between Pixel Watch 5 and Fitbit Air
The Fitbit Edge offers more than the Air, but it's not a real smartwatch.
Google Health and Fitbit Air are Getting So Many Huge Upgrades
In addition to the big news that is the Google Fitbit Edge this morning, Google also announced several major upgrades that are coming to Google Health, the Fitbit Air, and the Pixel Watch 3, 4, and 5. There’s actually more to dive into than you are probably expecting, so let’s just get straight to it....
Google Expands Automatic Activity Tracking And Brings Health Guardian To The Fitbit Air
The company announced new health features for its wearables along with a new band for the Fitbit Air.
Google announces $179 Fitbit Edge tracker with display, GPS
Google is following the Fitbit Air launched in May with a second tracker that features a screen called the Fitbit Edge.
Google's Sleek New Fitbit Edge Is Packed With Health Features And A Replaceable Battery
The Fitbit Edge will be in stores starting October 27 for $179.99.
Google Health: Evolving so you can focus on living better
What’s new from Google Health: Explore the new Fitbit Edge, expanded workout tracking, and dedicated women's health insights.
Trust TV on Instagram: ""Funds are allocated but they are not being released" Health Advocacy Specialist, Speaks on Government Budgeting and Better Healthcare. Watch Full Episode: https://youtu.be/VO1R9mUSph8 #trusttvnews #healthyliving"
0 likes, 0 comments - trusttv_news on October 11, 2026: ""Funds are allocated but they are not being released" Health Advocacy Specialist, Speaks on Government Budgeting and Better Healthcare. Watch Full Episode: https://youtu.be/VO1R9mUSph8 #trusttvnews #healthyliving".
Google Teases Its New 'Fitbit Edge' Wearable Ahead Of An October 12 Reveal
Google has seemingly confirmed the rumored "Fitbit Edge" with social media posts teasing a new wearable coming October 12.
Google officially teases Fitbit Edge tracker, confirms October 12 launch
Google has dropped an official teaser for its Fitbit Edge tracker and confirmed its launch date, and it's coming very soon.
Google Fitbit Edge: Official Teaser, Launch Date Arrives
Google confirmed today that the Fitbit Edge is indeed real and is launching much sooner than we expected. In a short teaser posted to Twitter, Google told us to get our wallets ready on Monday. For those not familiar with Fitbit Edge, this is expected to be Google’s new fitness tracker that lands somewhere between...
Google teases Fitbit Edge launch next week
Leaks may have already spoiled the Fitbit Edge.
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.
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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.
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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!
“Stopping Was Not the Answer”: Fashion Week in a Political Crisis
From Kyiv to Tbilisi and Dubai, organizers are producing globally recognized fashion weeks despite instabilities. For designers, it’s a business lifeline.
Lallemand Health Solutions showcases science-backed biotics innovations at SupplySide Global 2026
New probiotic and postbiotic solutions target healthy ageing, women’s health and active lifestyles
Broadband access predicts health tracker use, UWM research suggests
As Fitbits, Apple watches and Oura Rings grow ubiquitous, UWM research suggests digital inequity doesn't allow them to reach those who could benefit most.
Cabell-Huntington Health Department
Harley and Liz from the Cabell Huntington Health Department stopped by to talk about how you can keep you and your family safe this flu season.
News | SP Energy Networks takes 50,000 square feet at Knowsley Business Park
The letting completes Redsun Projects' speculative industrial development
I ditched Fitbit and Samsung Health tracking for this private alternative
The open-source smartwatch that does health tracking without the surveillance
Google Health's mistakes are a grave warning for Apple’s new AI-powered Health app
Fitbit users know how this turns out
Is This a New Google Fitbit Device With a Screen?
Shortly after the launch of the Pixel 11 series and the new Pixel Watch 5, marketing materials from Google included a mystery wearable device that looked like a mix of a Pixel Watch and a slimmed-down fitness tracker. Google never did say what the device was, but we may be a step closer to finding...
Possible Google device at FCC could be Wear OS-powered fitness tracker
A new piece of hardware passed through FCC certification today and the evidence points to it being a Wear OS-powered device made by Google.
The Not-So-Secret Winner in Netflix and YouTube’s Streaming Wars Battle
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Here’s a good piece of advice: when someone tells you a company has “won” the streaming wars, just assume they haven’t. Remember the narratives about the streaming media over the last few years: 2024 - Netflix has won the streaming wars! 2025 - YouTube has won the streaming wars! Yet…in 2026, I’d categorize it as… 2026 - Netflix and YouTube are battling for talent! Netflix and YouTube are aggressively fighting for top creators, marking a fierce new battle in the streaming wars. For two companies that “won”, that certainly doesn’t seem like winning behavior. If you win, you don’t have to fight for talent, because talent has to come to you. This is a good reminder that, if the streaming wars are a war—and I think they are—we should know what type of war they are. So it’s worth revisiting one of my big theories of the streaming wars, that the war these battles most represent is… The Thirty Years’ War1 I prefer this war to other, simpler wars, because, while it featured two “sides”—based on religion—and the current war has two main sides—tech versus entertainment—it also featured a lot of smaller players battling it out, sometimes switching sides. And that’s still the case for entertainment and media, despite the above headlines. I’d recommend this truism: if someone has to tell you they won the streaming wars, they probably haven’t. To wit, if someone told you they were fighting in the Thirty Years’ War—and no, they didn’t call it that at the time—and in year five, they told you they won, well, obviously they had 25 more years to go. That’s a lot of preamble to say, the story of the week is the latest battles between YouTube and Netflix. Their battle for talent says a lot about how hard this war will be to win. All that, plus The Curse of the Mogul in action, Netflix providing more (theatrical) data, whether Apple TV is in trouble, AMC getting in on distribution, and a whole lot more. Subscribe Today’s article is sponsored by… Substack is hosting a live Emmys watch party, starting at 5PM on the East Coast (2PM on the West Coast) on Monday, 14-Sep. Check it out! Tune In Most Important Story of the Week - Who’s the Big Winner in the Netflix vs YouTube Showdown? Netflix spent a lot in 2025, and then even more in 2026 adding a host of “creators”—both podcasters and YouTube stars—to their TV lineup. Frankly, for years, I’ve thought that more major studios/streamers/channels should look to YouTube as the launching pad for future stars and IP. Either by poaching proven talent—albeit at good prices—or by treating YouTube as an arena for your “A&R” reps to scout new talent and emerging voices. Netflix started executing the former strategy—which I thought was smart—while Focus Features did the latter with Obsession. So what changed? YouTube finally responded! Yikes. That’s a strong response, and stronger than I’d argue most narratives about YouTube suggest. People often describe YouTube as a self-reinforcing flywheel of success. Get on YouTube or perish. So why did YouTube have to respond? Because other folks poaching their top talent could really damage their business, implying their flywheel is a pinch more rickety than most analysis suggests. Clearly, creators can envision a life off YouTube and potentially a much more lucrative one. The Curse of the Media Mogul is Playing Out In Real Time 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… Who is the big winner in the Netflix versus YouTube battle… The biggest question about YouTube… Plus why YouTube’s saber rattling should worry talent… Why I’m skeptical that a U.S. federal tax credit for film will happen… What key change could pull Apple from the streaming business. AMC getting in on distribution… Some great reads on the Warner Bros.-Paramount merger... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
Congressional Report on Potential TBIs, Mental Health Risks in Naval Aviation
The following is “Unseen Impacts: An Investigation into the Navy’s Response to Potential Traumatic Brain Injury and Mental Health Risks in Naval Aviation” published on Sept. 8, 2026, by the House Committee on Oversight and Government Reform Subcommittee on Military and Foreign Affairs. From the Report Executive Summary Following reporting by The New York Times about an epidemic of potential brain injuries in naval aviators contributing to suicide, the House Committee on Oversight and Government Reform launched an investigation to assess the Navy’s knowledge of and actions taken regarding this issue. The findings reveal a disconnect between growing concern and
Revival of Hope returns to Winterville with national speakers, mental health workshops
The free, two-day community event will run Friday, Sept. 18, and Saturday, Sept. 19, under a large tent on East Fire Tower Road in Winterville.
The 98 Biggest TV Show Flops, Bombs and Misses in the First Half of 2026
(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.) In July, I updated my look at how the “streaming bubble” popped since 2023, showing the decline in streaming TV shows over time. But after compiling and analyzing and writing about over one hundred TV show flops in the first half of 2026—I counted 99 “nominees” and there are even more honorable mentions—I couldn’t have told you that the number of shows is going down. When it comes to scripted, English-language TV shows, it feels like we have as many bombs as ever. I don’t keep a specific count, but some streamers probably had as many flops as they’ve ever had.1 That’s right, it’s time for part two of my analysis of the biggest flops, bombs and misses on streaming in the first half of 2026. Two weeks ago, I took a look at films. Today, TV shows. If you want to read the full methodology for how I assemble this list, you can find it at the bottom of this article. In short, this list is… ...scripted and unscripted TV shows,...from the nine major streamers,...in the US (using US-only ratings),...excluding true crime, kids and foreign-language shows,...that got no/poor ratings,...from Jan-2026 to the end of June-2026. Reminder: this article does not represent my personal opinion—many of these shows are great!—but I follow the data, and a miss is a miss and a bomb is a bomb. Also, price matters. If a TV show costs north of $100 million, it needs to get lots and lots of streaming viewership to justify that budget. As with past editions, I ordered this list by streamer, going from best (fewest flops) to worst (the most misses)—taking the size of the flops into consideration—and like the last edition, three or four streamers vied to take the win/loss of having the most flops. (But the actual winner is no surprise.) I try to avoid tooting my own horn too much, but seriously, in just under 5,000 words (including the methodology section) I provide a mostly comprehensive overview of the eight major streamers (Netflix, Disney+, Prime Video, Hulu, HBO Max, Peacock, Paramount+, and Apple TV) for the first half of the year, mentioning most of their hits and all their misses. It summarizes the entire first half of 2026! If you want to support this work, please subscribe. Subscribe Tubi Big Mood Boarders The Freak Brothers Twenty Twenty Six Honorable Mentions: Busted on Bodycam, Deestroying the Pitch, Destination World Cup 2026 I don’t think that Tubi spends all that much making or (mostly) licensing these original TV shows—Big Mood, Boarders and Twenty Twenty Six all come from the UK—but they’re not free and they didn’t chart anywhere. Winner: The Freak Brothers Have you even heard of this show? It’s an animated comedy...that’s on its third season! And Pete Davidson, Woody Harrelson, John Goodman and Tiffany Haddish all provide voice talent for it. Yes, animated shows don’t cost as much as live action shows, but cheap isn’t free! So a show with this level of talent needs to perform better. Disney+ Daredevil: Born Again Star Wars: Maul – Shadow Lord Honorable Mentions: Behind the Attraction, Donna Hay Coastal Celebrations, We Call It Imagineering Disney+ doesn’t make all that many original shows anymore. They had two flops, and one was animated. Their one not-a-miss show, Wonder Man, got just good enough viewership to not be considered a “miss”...but it’s since been cancelled. At this point, Disney has pivoted entirely away from making big budget TV shows for Disney+ to making...almost nothing for Disney+? Sure, Disney’s spending circa 2019-2022 was unsustainable, but now they’re pivoting too far in the other direction. At some point, Disney needs to stop shifting strategies so wildly. Really, Disney should have made fewer shows for Disney+ at launch and the shows they did make at that time needed to be made at more reasonable budgets. And they should adopt that strategy now. Winner: Daredevil: Born Again Daredevil, the Marvel Comics character, is on my personal Mount Rushmore of favorite superheroes, so it pains me to give him the win/loss today, but this show deserves it. I’ll repeat my hot take from last spring: “Based on his popularity, Daredevil should be in movies, and probably ones that cost a lot less than the MCU’s usual price tag. Disney/Bob Iger/Ike Perlmutter (who, based on reporting, made the decision) made a huge mistake selling TV shows to Netflix in the 2010s, thus limiting this character to the small screen. Daredevil could have anchored Marvel’s post-Infinity War plans, and if he did, the MCU would probably be in a better place than it is now.” HBO Max 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… What four streamers had the most misses... HBO’s strong start to 2026… The caveat to Peacock’s turnaround this year... Paramount+’s key man problem… What country isn’t delivering hits for Netflix or Hulu... The cavalcade of stars on a streamer where no one is watching their shows... Across nearly 5,000 words of analysis… And a lot more... ...please subscribe! We can only keep doing this great work with your support. If you’d like to read more about why you should subscribe, please read this article about the Streaming Ratings Report, why it matters, why you need it, and why we cover streaming ratings best.
The new tax changes every small business needs to know
Principal Tax Research Analyst at the Tax Institute at H&R Block, Carl Breedlove, breaks down what's new for 2026 filers, from higher reporting thresholds to new forms for crypto and digital asset transactions. If you run a small business, freelance, or trade digital assets, here's what you need to know.
Sony's Tom Rothman on 'Spider-Man: Brand New Day' Blockbuster Success, Being Outbid for 'Obsession' and More
Sony's Tom Rothman took a victory lap with the studio's boffo success of 'Spider-Man: Brand New Day,' speaking at the Lumiere Summit in France.
Fitbit founders launch AI-powered wristband to monitor health of whole family
Luffu Link is a sleek, wireless wristband designed to track multiple users at once, conceived by wearable technology company Fitbit.
Scientists revive coral dying from heat using live bacteria
Researchers successfully applied probiotic and postbiotic treatments for the first time in open sea to save the marine life form. The post Scientists revive coral dying from heat using live bacteria a...
Small business guide: How to survive year one
The founders of Kemo Sabe, Slick Chicks, Sunhome Saunas and more share important lessons on surviving year one in small business. Plus, everything you need to know before the business tax filing extension deadline hits this year.
MrBeast will try to survive ‘the planet’s most unforgiving landscapes’ using Gemini and Fitbit Air in deal with Google
Google has struck a deal with MrBeast, the most popular YouTuber, to promote Gemini and Google Health, with one of...
Fitbit’s founders designed a wearable for the whole family
Luffu, a health tracking app designed for families and caregivers, just unveiled a device that rethinks the wearable.
People are sticking the Fitbit Air to their bodies, literally, and it works [Gallery]
The Fitbit Air might be one of Google’s most versatile products in a while not just because it’s so simple,...
Google’s new Fitbit Air brings Pokémon Sleep to your wrist
Google teamed up with the Pokemon Company to introduce a special-edition Fitbit Air that works with the Pokémon Sleep app.
Google launches Pokémon Sleep special-edition Fitbit Air
Can this replace your Pokéwalker?
Google announces new Fitbit Air Special Edition with Pokémon Sleep [Hands-on]
The first follow-up to the Fitbit Air is a new Special Edition that integrates with Pokémon Sleep. Available in the US and Japan...
Google Is Releasing A Special Edition Pokémon Sleep Fitbit Air In September
You can get a special Fitbit Air with a sleeping Pikachu design next month.
Rainbow Six Tactics Announced, First Single-Player Rainbow Six Game Since Vegas 2 in 2008
Ubisoft has announced Rainbow Six Tactics, an upcoming turn-based tactics game starring familiar Rainbow Six Siege Operators. Revealed at Gamescom's Opening Night Live showcase, it will retail for $49.99 and is due out in 2027 for PC, PS5, and Xbox Series X|S. It's the first single-player game in the franchise since Rainbow Six Vegas 2 for the Xbox 360 and PS3 in 2008.
Fitbit founders launch Luffu Link, an LTE health and safety band
Luffu Link combines all day health sensing, voice logging, location awareness, and the ability to get help from trusted contacts into a single device, all without needing a phone nearby.
Expert says Illinois politics are to blame for failure to secure stadium for Chicago Bears in state
Meta files patent for AI facial recognition glasses that identify people around you and record automatically
A newly published patent from Meta suggests smart glasses could recognize faces, detect laughter and more
Pixel 11 ads show a mysterious screen-equipped tracker that’s not Pixel Watch 5 or Fitbit Air [Gallery]
Google might have another fitness tracker in the works, as a pair of new ads online show off a mysterious...
Google Health Update Lets You Get Rid of the Coach
Google Health was supposed to deliver us into the future of health and fitness tracking. With a refreshed app, Apple Health syncing, and a bundle of other new features, including a Google Health...
N.J. towns, school districts owe millions to public worker health plans
Some districts that disenrolled years ago haven’t settled debts.
Google unveils Health Guardian features for Pixel Watch, Fitbit
During its Made by Google event on Wednesday, the tech giant announced new features, including insulin resistance, blood pressure and sleep breathing quality trends.
Someone Made a Terrific Deal in the Peacock/YouTube Premium Partnership…But Who?
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) I hope everyone around the world suffering from record heat waves is doing okay. The temperature is already up in Southern California, but obviously not nearly as bad as parts of Europe. With a super El Nińo coming this year, I worry it will get even worse. Yes, we know what’s causing this heat—it’s the carbon, duh—but we really aren’t making enough progress. I’m not “environmental strategy guy”, but if I were, I’d have some ideas of what I’d try. Honestly, for years I’ve been intrigued by the work of the folks at MEER—whose plan, super simply, is to put up mirrors to reflect heat (while continuing the important work of decarbonization)—but I’m frustrated this idea hasn’t made more progress. (Other geo-engineering groups seem to get better press.) With heat like this—cancelling events, hurting economies and, most importantly, killing people—it seems like the time to push solutions! The “mirrors on the ground” solution has barely been tried.1 While entertainment companies may not “feel the heat”, lots of outdoors/experiential industries—concerts, theme parks and so on—will. Even movie theaters could benefit, since mirrors could help lower AC costs, which I imagine is not an insignificant expense, especially in the hotter areas of the country. So I do think the entertainment industry should prioritize this issue. Anyways, let’s get back into the entertainment strategy. I was about to write, “Hey, this week we don’t have any mergers and entertainment news to dive into,” but that’s not really true, since we had more updates on Paramount-Skydance and Warner Bros. Discovery. But the big story of the week involves a streamer and a Big Tech platform bundling their respective streamers. So I’ll write about the updates on Paramount buying Warner Bros., Versant making some moves, and a whole lot more. But we start with a surprising deal: Peacock licensing their content to YouTube Premium. Let’s dive in! Subscribe Most Important Story of the Week - Peacock’s Pricey Premium Partnership The story of the week is Comcast’s2 NBC-Universal’s Peacock making a deal with Google’s YouTube’s YouTube Premium subscription product to embed their content. And I’ll say this up front: Someone made a terrific deal. The question is who. And I’ll be honest: I don’t know. Let me explain why, including why this deal exists, the pros and cons for each side, the biggest unknown, and what that says about the streaming wars. Customers Love Bundles (But YouTube Has Its Own Issues) 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 customers love bundles… But why I’m worried about YouTube’s integration... How Peacock is trading scale for control… And the reason they likely made this deal... The odd budget math for this deal... Whether or not I think the Paramount-Skydance/WBD deal is more likely after the latest settlement... Versant making moves and why that’s good for Hollywood… Another distributor going out of business… ...and a whole lot more! ...please subscribe! We can only keep doing this great work with your support.
I fixed my Fitbit Air's step counting with one hidden Google Health tweak
One setting made my Fitbit Air more accurate
Google’s Pixel Watch 5 takes notes from the Fitbit Air in latest leak
Google's Pixel Watch 5 is set to copy a key element from the Fitbit Air in the latest leak around the upcoming smartwatch.
MrBeast Sales Slow, Angel Stock Falls, MUBI and Neon Look for Hits, and Will an NBA Franchise Set a Sales Record?
(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.) You probably remember egg prices spiking a few years ago. This led to a lot of debate between the pro-market/pro-competition/antitrust/Neo-Brandesian crowd and the center/center-right/center-left/abundance/libertarian crowd over the cause, whether it was the avian flu outbreak or whether industry consolidation led to price fixing, using avian flu as a convenient cover. Basel Musharbash wrote a whole investigation at BIG looking at it. Well, two years later, we have our answer: it was price fixing. The Justice Department found proof, via emails, of price fixing. Indeed, just the threat of an investigation brought prices down two years ago: I bring this up because at least half a dozen of my favorite political writers and pundits, who were skeptical about price fixing at the time, haven’t written any mea culpas on this issue. It’s really dispiriting and makes it much, much harder to trust their work on other issues. If you take a hard stand on an issue, then you get it wrong, you need to explain how and why you got it wrong. Or update your priors. This is how epistemological bubbles are formed! All of which is to say, it’s time for another installment of “What I Got Right, What I Got Wrong”. Last issue, I mostly focused on the “wrong” side of the equation, so today’s is a bit more balanced, but with one big mea culpa (though I still stand by my original concerns). Let’s dive right in! Subscribe CORRECTION: UFC Didn’t Release Subscriber Data (But Seems to Have Bragged About It Internally) In my analysis of the viewership of UFC Freedom 250, I wrote... “Paramount has also released datecdotes bragging about their subscriber numbers. Earlier this year, they claimed that the first UFC fight on Paramount+ brought in 1 million subscribers.” Well, that datecdote did not come from a PR rep, but from great reporting from James Faris at Business Insider. The actual quote was this: “Paramount’s flagship streaming service generated about a million new subscribers on the day of its first-ever UFC event, Paramount product chief Dane Glasgow told employees in a town hall on Tuesday morning, three staffers who attended the meeting told Business Insider.“ This wasn’t the biggest goof in the world; even Faris emphasized to me that this is more a “clarification” than a correction. Still, it sounds like, internally, the folks at Paramount were very happy about this result—and I’m guessing they were happy with this news getting out—even though the gains didn’t last through the quarter, dropping to 700K adds. RIGHT: MrBeast’s Struggles Continue... I’m very skeptical about MrBeast’s burgeoning media “empire” and, in particular, its $5 billion valuation, as I wrote earlier this year and last year. Sure enough, according to Business Insider, regarding its “booming” consumer products division_:_ “US sales volume grew 13% year-over-year in 2025, following a 33% leap the previous year, according to a presentation deck dated May 2026....A February 2025 investor deck viewed by Business Insider showed Feastables’ net revenue more than doubled in 2024 from 2023, to $215 million, and was forecast to grow 74% in 2025, to $375 million.” [Emphasis mine.] If you told investors that you projected 74% growth but delivered 13%,1 that’s not ideal. But it’s not just MrBeast. Logan Paul and KSI’s Prime had sales drop in half for their energy drinks. It’s one thing to build a successful entertainment company and an entirely different thing to succeed in the heavily-consolidated-but-also-very-competitive consumer packaged goods space! CPGs are dominated by a few firms with very wide moats compared to YouTube, which has few barriers to entry. These businesses require different skill sets and have completely different business environments. WRONG: Does the NBA Have an $8 Billion Bidder? Almost as soon as I published my article about the NBA’s finances, casting skepticism on NBA expansion, I saw this Front Office Sports headline: One group “claims to have already raised $8 billion” for the Vegas expansion team. I mean, wow. That’s just $2 billion less than what the Los Angeles Lakers were valued at when they were sold just last year. And they’re arguably the most popular team in the NBA. (Side note: the new owner is now under an investigation for fraud in how he went about financing the Lakers and the Dodgers purchases.) So much for the “dried up” language I used in that article. (This is why I usually stick to my “Entertainment Nuance Guy” tone in articles...) I went off old information—from April, when I read/heard about the NBA downplaying expansion efforts—instead of doing a quick double-check for new news. That said...if you read the article, the market for Seattle is “slow”, with just one reported bidder. So I wasn’t entirely off. This goof has annoyed me since I first published it, mainly because it undercut that article’s real point, which I stand by: NBA franchises are really overvalued right now. Now, I get why NBA teams are overvalued. When it comes to owning sports teams, it’s basically never wrong to assume that some rich person somewhere will care more about owning a team (or just being part of a group since they’re so expensive) than the actual financials. There are only so many teams to own, and opportunities to buy in preferred markets don’t come along very often. This explains why the teams sell for such high multiples (usually above a 10 to 12.5 revenue multiple, which is very high). You only need one person to overpay! Beyond the ultra-wealthy luxury good explanation, I worry NBA teams are becoming speculative assets. More and more private equity investors are buying into NBA teams. But the value, in owning a team, comes from selling it later, not any meaningful relationship to revenue or profit growth. In other words, the newer NBA owners are increasingly expecting someone later to buy their inflated asset. That’s not sound economics; that’s the “greater fool” theory at work.2 At some point, actually making money has to matter. Especially since revenue growth is now below the growth of the stock market. (And this matters because the NBA doesn’t have easy levers to pull to drastically lower their costs—half of their revenue has to go to players and then you actually have to run a team, including coaching, training, travel, media expenses, and more—or raise revenues aside from one-off expansions in America and overseas.) I just don’t see how investors make their money back buying NBA teams, except for selling at a higher price later on down the line. But if revenue/profit growth continues to slow, at some point, someone will be left holding the bag. RIGHT: Baseball and Basketball are about equally popular. Related to the above, I wanted to cite two quick pieces of evidence for one of my other theories: that the NBA and MLB are about as popular as each other, but the NBA gets much, much better media coverage. One YouGov survey has that fans prefer basketball to baseball by 52% to 48%, which I’m guessing is within the margin of error for that poll. That’s virtually even, meaning they’re about the same popularity. Over on NBC, a recent Red Sox-Yankees game averaged 4 million viewers, higher than Sunday Night Basketball’s average of 3.4 million on the same network. A Yankees-Dodgers game averaged 3.9 million two weeks ago. Not every game averages this much, but it shows you that baseball isn’t far off from basketball, depending on the matchup. Altogether, the NBA is just slightly more popular than baseball, but NBC is paying MLB a fraction of what they pay the NBA, a point I’ve made before. RIGHT: Angel, MUBI and Neon Updates... I’ve long been skeptical about many of Hollywood’s buzziest startups/smaller indie studios. It’s not that they don’t make great movies—films like Anora and Everything Everywhere All at Once are amazing—or that they’re not (rightfully) pushing the majors to make better films, but...they get a ton of hype, and that hype often doesn’t live up to the reality or difficulty in scaling up. Starting with MUBI, well, The Wall Street Journal wrote a feature on MUBI’s struggles last April, best summarized by the subheader “After Sequoia valued Mubi at $1 billion, a left-wing revolt sent the indie film company into a tailspin”. MUBI lost $7.3 million on $200 million in revenue in Q4 2025, but reportedly hit a record 1.7 million subscribers at the end of Q1. As for Neon, Department M purchased a “significant stake” in the company earlier this year. How much is that “stake” worth? According to Deadline, “No financial figures for the Neon-Department M deal were disclosed.” So...that’s not great! If it was a big valuation, we’d hear about. Also, I found this curious: “Both Neon and Department M already have separate partnerships with Qatar. The Qatar Film Committee has a slate deal in place with the former, and a biopic production pact with the latter.” Color me skeptical about much Middle Eastern investment dollars. See: LIV Golf. Finally, as for Angel (formerly Angel Studios), their stock very, very slightly popped last month after Young Washington ($20 million budget) which made $45 million in the US, but their stock is still way down from its opening. Smaller Updates RIGHT: The WGA should focus on antitrust concerns! I’ve been on this for years. Post-WGA/AMTPT deal in 2023, I wrote an article for the Ankler calling on the WGA to focus and organize against industry consolidation. Sure enough, the WGA filed a lawsuit against the Paramount-WBD merger, and people are organizing around this issue now. I wish this energy had coalesced earlier (specifically to lobby Washington much earlier), but better late than never! WRONG: Actually, the chip shortage might be due to market manipulation. In my last “Long Reads for the Long Summer” article, I shared an article about how LLMs are causing memory chip prices to spike, which will make all electronics more expensive. Well, turns out, three RAM manufacturers control 90% of the market, and now a private lawsuit accuses them of price-fixing. So yeah. WRONG/UPDATE: The Odyssey will hold! Two weeks ago, I wrote, “As of this moment, we haven’t had a super-blockbuster, though The Odyssey, Spider-Man: Brand New Day and Avengers: Doomsday could all cross the $500 million mark. (At this point, The Odyssey would need a very strong hold to get there.)” Well, it’s safe to say it’s going to have that hold! It only dropped 30% in weekend two and IMAX screenings are sold out all month. Spider-Man: Brand New Day is also off to a great start. RIGHT: People are rushing to get shows out yearly. I’ve long been bullish on yearly, weekly-released shows, and Leslie Goldberg at The Ankler wrote about how many people in town are now listening. WRONG: Mark Carney reverses Canada’s stance on homegrown production. After writing about Canada installing domestic production quotas, Canada has backed off. WRONG: I don’t trust Spider-Man: Brand New Day’s online “views”. When I originally wrote about the latest Spider-Man film’s record-breaking trailer, I thought this was just YouTube views, but after watching this Corridor Crew video and doing more research, well, it’s all social views of the trailer globally. Really? That stat includes TikTok, Reels and YouTube Shorts views. Basically, I don’t trust it anymore. (This film will probably set record, but I trust the pre-sales data more.) RIGHT: Celebrity Production companies are still struggling. I’ve written about this for years, but the company that I didn’t track was Kevin Hart’s HartBeat, which was valued at $650 million but is struggling now and might just end soon, especially after Kevin Hart pulled his endorsement deals. And Bad Robot is moving to NYC. CORRECTION: SpongeBob is a “second run” title. In my 2025 recap article, I had _SpongeBob SquarePants_labelled as a “library” title, when it is still a “second run” show, with new episodes still coming out on Nickelodeon. CORRECTION: In my last “What I Got Right, What I Got Wrong” update, I offered a correction from Doug Creutz and misspelled TD Cowen. Thanks, Grammarly! 1 Though he could have increased prices to make up for the gap, he couldn’t have increased them that much. 2 There’s a theory, which I think that Daryl Morey created and Bill Simmons popularized, that, to be successful building your team, you only need a handful of bad GMs in the league to take advantage of. To be clear, Daryl Morey’s theory was also for signing bad contracts, that you could always get out of bad contracts. Basically, there’s always someone who will make a bad trade. It’s not the same exact thing, but similar enough to the Greater Fool Theory that I really like it.
Your Fitbit data can now connect directly to Apple Health
No more third-party workarounds.
Your Fitbit data can now connect directly to Apple Health
No more third-party workarounds.
Fitbit Data Can Finally Sync to Apple Health
The latest update to the Google Health app for iOS allows Google Health data to sync to Apple Health. Google's app is used to collect data from wearables like Fitbit trackers and the Pixel Watch. Sync to Apple Health. Share your data like your exercise records, sleep, vitals, steps, and more from Google Health to Apple Health. Google Health (previously the Fitbit app) collects fitness, sleep, and wellness data from a connected wearable device.
Google Health adds two-way Apple Health syncing on iPhone
Back in May, the Google Health app launched alongside the new line of affordable Google Fitbit Air health trackers. Google...
As the GLP-1 Era Reshapes Weight Management, METAbiotics Launches with Science Designed to Support Long-Term Success
Today, Danone subsidiary The Akkermansia Company announced the U.S. launch of METAbiotics, a science-backed postbiotic brand developed from decades of pioneering research into Akkermansia muciniphila and designed to support sustained weight management and metabolic health.
Samsung has a new AI-powered health assistant, joining a packed market
This marks Samsung's foray into an increasingly crowded space. Whoop has an AI coach built into its platform, as does the new Fitbit Air from Google.
I almost returned my Google Fitbit Air for broken sleep tracking until I changed one setting
A single tweak in Google Health revived the sleep points I'd been missing
I tracked sleep with Galaxy Watch Ultra 2, Fitbit Air, and Oura Ring 5. This is the one I'd buy
Which one should you share your bed with?
Health coach compared 4 fitness wearables: 1 was best for performance
A health coach wore an Apple Watch, Whoop, Oura Ring, and Fitbit at once to see which is best. He found a clear winner for fitness, health, and sleep.
Garmin's New Whoop Challenger Is Also a Shot at Tech's Favorite Business Model
The Circa Smartband is a deliberate counter to the subscription-gated model that defines Whoop and Fitbit's latest tracker.
Garmin Finally Made A Screenless Fitness Tracker
The Cirqa Smart Band is Garmin’s answer to Whoop and the Fitbit Air.
UFC Freedom 250 Fails to Knock Out The Ratings
(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.) If UFC fans wanted one image to say, “Hey, Paramount+ is crushing it with their UFC rights deal,” I could provide that image. Here it is: (Reminder: this is my creation of the Nielsen Top 30, since Nielsen doesn’t combine the lists or include sports. I take all three lists and combine them. Some streaming TV shows probably have higher ratings than many of the films on this list.) Look at that! UFC Freedom 250 is number one! It topped the Nielsen “Top 30” list for shows and films that made the top ten the week of 15-June. So if you’re a UFC fan or supporter of Paramount+, that’s the good news for you this week. This program topped the ratings charts for one week. Everything else is bad news, or at least a huge caveat to that story, which I’ll explain today in the first part of this week’s Streaming Ratings Report—for the weeks of 8-June and 15-June—which is a double issue since I’ve been writing on a bunch of topics recently. UFC Freedom 250 is one of the biggest streaming events of the year, and super relevant to Paramount+’s strategy, so it merited its own article. Let’s dive 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 June 8th to June 21st 2026. You can find a link to my terminology here.) Subscribe Check Out My Interview on UFC 250 at MMA Draw After you read this article, if you want even more thoughts on UFC and Paramount-Skydance/Paramount+, I did a written interview with MMA Draw. They asked me to answer some questions about UFC Freedom 250, and I was happy to chat with them. Find it here: [ The MMA Draw Newsletter Did Paramount really overpay for the UFC? What the data tells us so far If you know the history of American television, you also know that combat sports is often a leading indicator of the future… Read more a day ago · 10 likes · 1 comment · Nate Wilcox and Zach Arnold ](https://www.themmadraw.com/p/did-paramount-really-overpay-for?utm_source=substack&utm_campaign=post_embed&utm_medium=web) I never thought I’d need a combat sports newsletter in my life, but the good folks at MMA Draw publish an excellent one on UFC, MMA, pro wrestling, boxing and more, analyzing both the sports themselves and the politics, economics and antitrust issues that impact them. Check the article and their newsletter out! Paramount+ Has Its Best Sporting Event of All Time…But Was It Worth It? Before we look at the UFC Freedom 250 data in particular, let’s talk about what we can’t say. Namely, let’s start with the lack of comparisons. First off, I’d love to put a chart out comparing this fight to past UFC fights on Paramount+…but we don’t have the data. This is the first time we’ve gotten Nielsen data about a Paramount+ UFC fight. As far as I can tell, Paramount provided data for the first fight, but it was a proprietary datecdote (saying it had “an average minute audience” of 5 million “views”) and then, for two fights, we got the linear viewership numbers when they aired on CBS, but no streaming data. Everything else was crickets. We also can’t compare this fight to other fights/combat sports on streaming, in particular the MMA and boxing, because Netflix also didn’t use Nielsen to track those events, opting for TVision and VideoAmp, respectively. (This isn’t Paramount’s fault, but does still suck.) We also can’t compare to UFC’s fights that used to be on ESPN+, since we don’t have any data for that, plus Disney+ didn’t have marquee fights. The comparisons would not be apples-to-apples. Can we compare to past Pay-Per-View fights? Absolutely not. The comparisons would absolutely NOT be apples-to-apples. That didn’t stop Paramount+, though, who bragged that their UFC events have reached drastically more people than past PPV fights. Duh. Sorry, but I gotta make this point again. A basic tenet of economics is that the cheaper something becomes, the more people consume or buy it. That’s Econ 101. (Sometimes pundits call things “Econ 101” that are actually like Econ 210 or even PhD-level economics, but no, this is really like first or second class basic economics.) Yet I still see one analytics firm consistently say that more people watch films on streaming than PVOD proves streaming which means that the streaming window is more valuable than the PVOD window. No, it’s not! Same thing here. Pay-Per-View events back in the day could be really, really, really expensive! So whole groups of people pitched in to buy them. That increased the perceived value of, say, the Mike Tyson fight. Or a UFC numbered event. So yes, the fact that Paramount+ makes numbered UFC fights essentially “free” if you’re already a Paramount+ member means consumption will go up. Obviously. Same for Netflix and their boxing matches. They’re talking about fights that used to cost consumers, in some cases, $50 in 1996…which is over $100 in today’s dollars. Over 1.6 million people paid that to watch the Tyson-Holyfield fight! Again, streaming is essentially “free”. Or $10 to $20, depending on what streamer we’re talking about and what tier you’re on. No wonder more people are “watching”. (Plus, Nielsen’s out-of-home viewing also helps these numbers.) UFC Freedom 250 Did Well…But I Have A Lot of Worries So what can we compare the fights to? Well, the good news is Nielsen put out that the fight averaged 7.0 million viewers for UFC Freedom 250, which is a solid number for a fight. We also know the length, at roughly 4 and a half hours. (I saw different run times, but this seems to be the consensus considering it started at 8 pm, had a delay and then finished after midnight on the East Coast. If you assume a shorter run time, then yes, the total hours viewed would go down.) That means I have the two numbers needed to add this to my Nielsen database. And then…I can compare this viewership to the NFL: And, uh, not great. But also within striking distance, mainly because the runtime for this event was so long. I’d also add that this event had viewership equal to a regular season NFL game on streaming, but if anything, it was more comparable to an NFL playoff or Super Bowl-esque event. And you can compare viewership to the top football games on broadcast, cable and streaming, and it’s not impressive at all: We can also compare it to other sports that week, including the NBA Finals and start of the World Cup: Again, not great. The NBA generated roughly four times as many average viewers each game for its NBA Finals. The World Cup has similarly big numbers. Also, that’s just a tiny fraction of the 25 most watched sporting events each week. The NBA, NHL and FIFA World Cup had many, many more games racking up hours. We could also compare this to other streaming programs to get an idea of “is this a good investment?” and here is how it ranks compared to other top Paramount+ programs: The worry here? Well, unlike scripted programming, which has rewatchability, older fights/sporting events have very little library value. Very, very few people are rewatching these fights, especially years from now. Paramount has also released datecdotes bragging about their subscriber numbers. Earlier this year, they claimed that the first UFC fight on Paramount+ brought in 1 million subscribers. Then, in their quarterly earnings report, they only ended up with 700K subs. Not great! They claimed they dropped lower-value international subscribers, but that’s why I tend to discount subscriber additions when they’re leaked to the press.1 I expect we may see a bump again for UFC Freedom 250, but I’d caution using subscriber growth so soon after these events to judge the success, since new subs with high churn (see Peacock) aren’t great either. Also, analysts often want to attribute all subscriber growth to their favorite/pet show, and that just doesn’t make sense. The biggest caveat for UFC Freedom 250 and Paramount’s very first UFC marquee event is that these could be high watermarks for the sport. UFC Freedom 250 had an incredible amount of earned media coverage compared to most UFC fights. I mean, it had wall-to-wall national news coverage in the lead up to the event. (The first fight also had a lot of promotion from Paramount since it was first.) Other fights could reach this bar—say the Conor McGregor return to the Octagon—but they’ll be fewer and far between. Was This Deal Worth It? All to ask: is this Paramount deal worth it? In this case, I think the UFC Freedom 250 numbers are more distracting than helpful. This fight did well and compares well to other top sporting events. But we know that the first marquee event was at least a third smaller, if Paramount’s own data is to be believed. And it’s likely the other fights are much, much, much smaller. And then you get to the paycheck that Paramount-Skydance paid. FIFA’s World Cup cost about the same for Fox, but clearly generated multiples more total viewership. (Though it’s only every four years.) The NBA is much more expensive, but until the playoffs, they likely didn’t pay for itself. Even still, Disney, NBCUniversal and Amazon Prime Video likely overpaid. So, in that context, the NBA may be an overpay that makes the UFC look not so bad. But two overpays don’t make an underpay, to paraphrase the old cliché about wrongs and rights. And looking at UFC Freedom 250 as the likely ceiling of MMA on Paramount+, Paramount-Skydance likely paid too much. Share 1 I would love regular reports on subscriber additions by programs, but as is, it’s mostly leaked or rumored in haphazard ways.
Fitbit's Whoop Challenger Quietly Added a Game-Changing Upgrade
The Fitbit Air launched with great hardware and work-in-progress software. Now, a new partnership with a cult-favorite health startup may shore up the new tracker's biggest weakness.
The States Try to Topple WarnerMount…Thus Begins the Local Antitrust Era
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Well, it looks like it’s time for another strategy column. Can I finally avoid writing about M&A? No, it seems I cannot. Admittedly, I’m a week early with this column, since I usually put it out every other week. But this news couldn’t wait. This will make three “Most Important Stories” in a row with a merger or acquisition as its centerpiece. First, Roku-Fox (an acquisition), then Comcast-NBCUniversal (a divestment!), and now the State AGs and the WGA’s lawsuits against Paramount’s pursuit of Warner Bros. Discovery (antitrust). M&A is usually the “most important” topic any given week, simply because a giant company merging or breaking up (or preventing those outcomes) can have the biggest impact on the streaming board. If you think about these companies as players in a game, changing the number of players is one of the biggest changes you can make. I shouldn’t really complain, either, since this lawsuit is very good news for customers and suppliers (econ speak for talent, workers and indie studios in Hollywood). So let me answer some questions about this potential trial, along with (shudder) making some heavily caveated predictions. I’ll also look at whether Hollywood must consolidate, whether or not the states can win, trouble at X-Box, Netflix’s YouTube binge, and more. Plus, I have five images that visualize this merger and the harm, including three brand new data looks you’ve never seen before. Subscribe Most Important Story of the Week - Can The States and the WGA Stop Hollywood’s Consolidation (Crisis)? If every other newsletter and news outlet is writing about the same story, I try to avoid writing about it as well, but I can’t ignore a story this consequential. The story of the last year was the fate of Warner Bros. Discovery, and this development potentially extends that saga into 2027. As I tried to figure out my angle, I realized, like my last column, I’m again faced with a series of questions. These questions, though, are much more forward-looking. Will the states win? Will the WGA win? If so, what happens to Warner Bros. Discovery? Either way, will this chill the market for future mergers? So you know what that means: predictions. About the future, no less, the hardest thing to predict.1 Just remember: nothing here comes with a guarantee. And the more confident someone is in their predictions, the less you should trust them. This situation is incredibly fluid, nuanced, uncertain and tenuous. So let’s try to explain what may happen. Question: Why File this Lawsuit? I’ll admit, a few months back, I was fairly pessimistic about the fate of this lawsuit. Rumors had started bubbling up that the state Attorneys General (in particular California) wanted to settle with either some minor divestments (usually CNN) or behavioral remedies. And that tracked for me: the states usually settle lawsuits, like the recent John Deere right-to-repair suit. Yet, they plan to fight this. (As they did the LiveNation-Ticketmaster monopolization trial and the Nexstar-Tegna merger.) Honestly, that also makes a ton of sense. Frankly, this move is just good politics for these State AGs. Most are still running for higher and higher office in blue states—some folks have emphasized that only Democratic AGs joined this suit, but given the Ellison/Trump ties, and fears of retribution, that tracks—and a high profile case like this will help them move up the electoral ladder, especially since Paramount and its leadership (the Ellisons, father and heir) have sided with the other side of the political aisle. That makes them unsympathetic to Democratic voters and Hollywood workers in particular. Why did this lawsuit happen? In addition to the very real concerns about industry consolidation, this is why. That said, I don’t think we would have seen this lawsuit for Netflix and Warner Bros., simply because they’re more sympathetic and aligned with Democrats. But those consolidation concerns are real. The “town”—meaning Hollywood and such—really is seeing the damage of mergers on this industry. That’s why the WGA also filed its own lawsuit in defense of workers as well. (Wildcard: What about Europe? Will they try to stop the deal, too? There have been some rumors out of the UK they may try to fight the deal, and UK enforcers just stopped a Getty Images-Shutterstock tie up, so there is precedence. This argument could go either way, though. On one hand, the EU doesn’t need to step in, cause they states are handling it. On the other hand, this could make the EU’s case easier. Just imagine if both sides coordinated. I’ll simply say, “We’ll see!”) Question: Will The State AGs or the WGA Win? Can the state AGs play David to Paramount-Skydance’s Goliath here? That’s really the whole thing, isn’t it? If you know this result, you could make a lot of money. When things are uncertain, it’s tempting to shrug and say, “Eh” meaning it’s a 50/50 proposition. I wouldn’t, though. When in doubt, you should expect that the merging parties succeed. AT&T did successfully buy Warner Bros., after all, and Disney bought Fox without any challenges. Many judges are extremely sympathetic to mergers, and I’d bet the state AGs get a judge who will allow the merger. (Even Obama-appointed judges often allow mergers.) As I understand it, we’ll see two main attacks. First, theatrical films. The AGs are arguing that, when it comes to share of box office and the number of both “wide releases” and blockbuster (or “tentpole”) films, the merging parties will have over 27% market share. Now, the Supreme Court once ruled from on high that any merger that exceeds 30% is presumptively illegal, but that’s guidance, not an ironclad bar. Still, the states will have to argue that this is close to having too much power, and with that power, this will likely further worsen the theater/studio splits in particular. Indeed, as Matthew Stoller pointed out, “just five studios are responsible for 95% of all blockbusters; if this merger goes through, then Paramount and Disney will control 60% of that.” So yes, movie studios will be very concentrated after this merger. Want me to visualize some of that? Well, here’s the share of films that grossed over $200 million at the domestic box office since 2022. (Note: this isn’t all films released in over 3,000 screens, but it is a good look at market power.) First, here are the 43 films by studio: Notice all the blue (Disney), orange (Universal), and purple (Warner Bros)? Yeah, those studios are powerful, and this combines Paramount with one of them. Here’s the look by studio and share of the films that grossed over $200 million: Now, if you look at that and also think, “Huh, should we break up Disney?” I’m with you. I’ve seen some folks poo-poo this idea that this is a real category, but it is! For an upcoming article, I’ve been pulling data on the share of top 100 films at the box office as a share of total box office, and it’s massive. Here’s the chart: (This analysis looks at The-Number’s top 100 films and total domestic box office each year.) To be clear, tentpoles make up 80.7% of the box office each year, so I do think it’s a genuine market. (To be clear, films grossing over $50 million make up 80% of the domestic box office, and films grossing over $100 million make up 64.1%.) I mean, the top 100 films at the box office make up 95% of each year’s grosses. Worse, the combined studios will likely cut output to flex that market power. Everyone can just look at what happened to Disney and Fox to see the precedent. (With fewer films, the remaining theaters have to give more for those few films that remain.) Here’s an image I’ve used a lot, the share of wide-release films from Disney and Fox over time: The AGs will also argue that this consolidation will also impact the cable industry. In this case, the consolidation is actually worse, but that environment is…complicated. Paramount will argue that the cable industry is shrinking. That said, predictions that cable will “go to zero” also don’t look very well supported by the data, as the declines are shrinking, meaning “cable” or “vMVPDs” will likely stabilize at some point. Can the state Attorneys General win on those two main arguments? I honestly don’t know. Again, I’d bet no, since history in general supports that, but it depends on the judge/jury and how they interpret the arguments. Notably, Paramount won’t face accusations about monopoly power in other areas, like streaming, news, sports rights, or vertical integration. I tend to disagree with leaving out sports rights, but I also see the appeal for a simpler case. The states also aren’t really pushing novel theories about labor harm either, which should help. (By the way, Sean McNulty at The Ankler wrote a great run through of potential options, and Capitol Forum also wrote a great paper on theatrical consolidation. Both these pieces predated the lawsuit. Matthew Stoller is also out with his analysis of the pros and cons of the case too.) In some ways, the WGA’s case is even stronger. Quoting Sean McNulty’s summary: “The WGA is citing WARNAMOUNT as crossing a 30% market share in multiple sectors, a number that the Supreme Court has precedent for deeming “presumptively anticompetitive” in a market. According to the WGA numbers, WARNAMOUNT would have represented: - 35% of film writing jobs between 2021 and 2024 - 36% of TV writing projects between 2022 and 2025 - 38% of overall deals between 2021 and 2024” Notably, antitrust enforcers did win recently in the Penguin-Simon & Schuster merger by focusing on labor impact, so don’t count this thinking out. (Wildcard: Will the states try to get a jury trial? Most likely no, they’ll let a judge handle it. If I’m them, though, I’d try to put this in front of a jury. Juries tend to understand monopoly power in a more realistic way than judges faced with legions of economists.) Question: What if They Win? What if They Lose?
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