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Netflix’s Summer of Bummer
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) Today, I’ve got a guest post from longtime friend of the newsletter, Brandon Katz. I’ve been trying to find time all summer to look at Netflix’s straight-to-streaming film slate, but between a pre-planned trip and Nielsen moving up their streaming data timeline, I’ve been swamped. So I reached out to Brandon, one of my favorite fellow analysts, to write about it. And I feel like he captured the tone and data focus of the newsletter perfectly. You can connect with Brandon on LinkedIn and Twitter. Enjoy! Don’t worry, folks. You’re in safe hands with me. To ease any anxieties about an interloper in ESG’s domain, I’ll start by stealing one of his best framing devices: headlines. Box office flops are covered in the same way the Teenage Mutant Ninja Turtles eye pizza: with cartoonish insatiability. I would know. I’m a former reporter who wrote nearly identical headlines: Yet, intentionally or not, streaming misses get treated with kids gloves, filtered through a rosy lens: In the last six years, U.S. streaming viewership has become nearly as transparent as the box office, but the data often arrives weeks later, in a number of less intuitive metrics, and with nary an official budget to be found. This plays into the Wall Street-whispering narratives major streamers have been cultivating for years. They get a pass in a way that theatrical studios simply don’t. Subscribe Netflix’s Summer Slate Not a single Netflix original film released between May and August this year opened above 20 million U.S. TV hours, per Nielsen. That benchmark usually serves as the EntStrategyGuy’s floor for a streaming hit on Netflix. None of these films enjoyed a hit-cementing single week of 20-plus million hours during their runs. Netflix’s two best films were true crime docs, Maternal Instinct (16.5 million hours) and The Crash (19.7 million), the best overall week for a film this summer. Great for most other streamers, but not necessarily what we’re used to seeing from Netflix. For an overly-dramatic comparison, Happy Gilmore 2 opened last summer to around 47 million hours (celebrity cameos, baby!). Zooming out, the picture looks even worse. In 2026, Netflix’s five biggest scripted summer films posted the lowest average (28.6 million hours) and median (28.8 million hours) eight-week viewership totals of the past four years. Now, it’s unrealistic and unfair to expect Netflix to deliver a _KPop Demon Hunters-_sized hit every year. But it’s also not ideal to see the size of their hits shrinking over the last few summers. Let’s quickly run through some of the notable summer misses. Jennifer Lopez and Brett Goldstein’s perfectly fine romcom, Office Romance, fell off the charts after 20 million hours in its first two weeks. Top films usually last for four-plus weeks. Starry titles ideally don’t decay that fast either. Homegrown star Millie Bobby Brown couldn’t prevent the snappy Enola Holmes franchise from diminishing returns. At 14.3 million U.S. hours, the third film posted roughly half of what the first two films did in their first two weeks. What’s on Netflix calculated that per-day global views were down nearly 60% from the second movie. The Whisper Man did okay with more than 36 million hours over its first four weeks. But I expected a little more juice from a film featuring Robert De Niro, Michelle Monaghan, and Adam Scott. Kevin Hart’s Ladies First collected just 11.2 million hours total across two weeks. That’s a big miss for one of Netflix’s go-to stars. Plopping into the same bucket are Sunny Sandler’s Don’t Say Good Luck (10.3 million in two weeks) and John Cena’s Little Brother (17.5 million). Meanwhile, English-language originals Color Book (June 19), In the Hand of Dante (June 24) and Heartstopper Forever (July 17) never sniffed Nielsen’s Top 10 at all, despite needing only 2 to 5 million hours to land in the top ten most weeks. (By my count, eleven English-language scripted original films released between May and August did chart). It’s only fair to mention that Swapped (1-May) posted nearly 42 million U.S. hours over five weeks (the longest Netflix original run this summer) and is currently their eighth most-watched English-language film ever worldwide. Remarkably Bright Creatures (37 million, 4 weeks) and Voicemails for Isabelle (27 million, 4 weeks) weren’t bombs either. Still, overall, I think it’s fair to say this was a quieter summer season than we’re used to seeing from the market-leader. You might not realize that given the language commonly used in public analysis. The Twist Despite the starkly black-and-white tone of the coverage, here’s the twist: when many box office bombs arrive on streaming, their viewership looks a whole lot like many of Netflix’s supposedly successful summer releases. Hmm, where have we heard that one before? Masters of the Universe topped out at $65 million stateside against a $170 million budget_._ I’ll admit, Skeletor ripping sleeveless curls as a gym bro and bodyslamming Adam’s co-workers was funny. But, much to the chagrin of my bank account, my laughter doesn’t launch franchises. Yet the He-Man reboot opened to 19.6 million hours (from a Wednesday five-day opening instead of just one weekend), on par with Hoppers on Disney+ (19.4 million). It put up nearly 47 million hours over its first six weeks, bigger than all of Netflix’s summer releases. Pretty darn healthy and likely to land among the 25 most-watched movies on streaming this year. Sticking with Amazon, The Sheep Detectives just barely broke even at the box office with $133 million worldwide (and only $66 million domestic). I never expected cloven-hooved, cud-chewing mammals to be able to bring me to tears. Yet that’s exactly how I found myself at the end of this surprisingly affecting movie (#NoShame). It was likely the unexpected quality in a family-friendly film that powered its streaming over-performance. Sheep Detectives delivered a solid run for Prime video netting 26.2 million hours! How about franchise IP? Star Wars: The Mandalorian & Grogu had the lowest opening ($81 million) and lowest-grossing Disney-era live-action Star Wars film ($178 million domestic). One day before release, its Heat score (19.8%)—audiences who list their interest as a 7/7—fell behind blockbusters Wicked (21%), Superman (23%), Fantastic Four: First Steps (23%), Michael (23%), Toy Story 5 (26%) and Avatar: Fire and Ash (27%), according to Greenlight Analytics. The urgent enthusiasm just wasn’t there. On streaming, Mando opened to weeks of 12.1 million, 6.1 million and 2.7 million hours (21 million total) over its first three frames. Not the numbers Lucasfilm was hoping for nor the numbers of a streaming hit. But they’re in the same vicinity as some Netflix summer releases with $345 million at the global box office to offset a smidgen of the pain. Final Thoughts So why oh why does this nuance gap exist? Four key reasons: Data Literacy: A “$100 million opening” just makes sense. After decades of box office reporting, even casual movie fans are well-versed in the benchmarks of hits and home runs. There’s an immediate shorthand. But “16.5 million” hours doesn’t land nearly as cleanly. Despite leaps of progress, the streaming ratings era is still in its infancy compared to theatrical. The EntStrategyGuy and I met thanks to a late 2010s group chat of data nerds hungry to find a shred of certainty in nebulous streaming performance. I’m not surprised to see “No. 1 on Netflix” still getting misconstrued out in the wild. Timing: By Friday morning, we have the box office’s Thursday night previews totaled, allowing us to better project the weekend’s expectations. From there, ticket sales are reported daily. By Sunday, the film’s fate is usually finalized, at least in terms of public perception. In streaming, Nielsen recently improved its delay to…two weeks. The medium isn’t forced to contend with instant gratification as harshly. Financials: Theatrical film budgets are a mere Google away. Profit and loss is calculated in the cold and unforgiving naked light of day for all to see. But finding the vast majority of streaming exclusive movie budgets requires the forensic investigation skills of a Criminal Minds detective. Also, it’s very difficult to calculate how much revenue/value a straight-to-streaming films provides a streamer. This is why there are so few stories about streaming original movies “losing X amount of money”. On top of that, marketing budgets are far greater for theatrical movies than streaming exclusive movies, which leads to earlier and better awareness. This then translates to a wider pool of potential interest. Narrative Control: Netflix is the only major streaming service to publish weekly first-hand viewership data and annual engagement reports. Naturally, some headlines borrow their first-hand framing**.** Other streamers benefit from their comparative lack of transparency. They may occasionally announce vague performance platitudes such as Apple TV’s Mayday becoming its “biggest film debut on the platform to date over its first 18 days,” and that it ranked No. 1 with left-handed viewers in its first weekend. (Fine, I made up that second one). But, for the most part, they keep first-hand viewership shrouded in mystery to avoid bad press. Especially for outlets that demand multiple articles per day from their writers, it’s an easy (and understandable) way for some reporters to hit their daily article quota by just repeating what the streamers have told them. TL:DR version: Streaming-exclusive movies are asked to do different things than theatrical movies, but that doesn’t mean they should escape judgment. Both still need to draw enough eyeballs to justify their cost within the proper performance contexts. The more cleanly we can inject a little nuance into streaming analysis, the better we’ll understand the audience and content trends that drive this industry. And that’s what all of this is really about: knowing what audiences actually want! Brandon Katz is the Director of Insights & Content Strategy at Greenlight Analytics where he focuses on evaluating the ever-fluid media landscape to unearth understanding, opportunity and value. Greenlight Analytics is the entertainment intelligence consulting company redefining how Hollywood finds, understands, and activates audiences. Prior to joining Greenlight Analytics, he served as the senior entertainment industry strategist at Parrot Analytics, and as a full-time entertainment industry reporter covering the Xs and Os of Hollywood, most notably with TheWrap and the Observer.
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.
The Streamers Tried To Conquer Labor Day…and Whiffed
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) What? Another Streaming Ratings Report already? You betcha. Nielsen has moved up the release of their Streaming Ratings data by two weeks, which means I’ve got two extra issues to get out. But I love this change because it will make this report more timely and easier to publish regularly. This week—with the viewership data for the week of 31-Aug—we’ve got some huge, huge topics to discuss. On the film side, two theatrical films (The Mandalorian and Grogu on Disney+ and Scary Movie on Paramount+) contend with two non-Netflix straight-to-streaming films (Mayday on Apple TV and The Runner on Prime Video). The streamers went all in to win Labor Day weekend in America. And we have a bunch of TV shows to analyze, both new shows (Netflix’s The Gentleman, Hulu’s Chad Powers, and an Alix Earle reality show) and weekly shows like Reacher, Ted Lasso, House of the Dragon and Lioness. All that, plus nepotism in Hollywood, some eye-popping fantasy football stats, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of August 31st to September 6th, 2026. You can find a link to my terminology here.) Subscribe Film - A Slew of Labor Day Disappointments? A lot of streamers released big new films this week, why? My theory is that the streamers know that four-day weekends can propel streaming films to glory. But if you’ve been reading more over the last two years, you know that big holiday weekends aren’t driving big viewership numbers the way they did post-Covid. And interestingly enough, Netflix didn’t put out a big new film this week. But four other streamers did, trying to take advantage of the holiday with some (not cheap) swings, including… The Mandalorian and Grogu on Disney+ (a Star Wars film that cost $165 million and made $177 million at the US domestic box office) Mayday on Apple TV (rumored $100 million budget, no theatrical release) The Runner on Prime Video (at least a $40 million budget, but likely $50 to $80 million, no theatrical release). Scary Movie on Paramount+ ($30 million budget, made $108 million domestically). (Paramount+ also released a made-for-streaming film based on the Thundermans IP, and I’ll discuss that later.) So…how’d they do? The Mandalorian and Grogu Leads The Way (But That Isn’t Enough) Let’s start with The Mandalorian and Grogu (which I’ll abbreviate to Mando for most of this article). We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How Mando, Mayday, The Runner and Scary Movie performed on streaming... How the powerhouse weekly released shows (Reacher, Ted Lasso and Lioness) have accumulate a LOT of viewership… How House of the Dragon finished its run… The latest Netflix show to have a sophomore slump… Whether top creators can drive viewers to their shows… Nepotism in Hollywood and the music business... All the flops, bombs and misses for the week… And more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Since Nielsen has accelerated their streaming data release schedule, I’ve got a lot of Streaming Ratings Reports coming your way! Next issue, I’ll be looking at the second season of Peacock’s The Paper, the latest season of Hulu’s The Secret Lives of Mormon Wives, and a very, very expensive Daily Wire fantasy series that’s now on Prime Video. Plus Crew Girl and Dang! on Netflix, a new Tyler Perry film, and one of the biggest bombs of the summer, Supergirl. In the next two issues, I’ll take a look at the return of the NFL to streaming, Toy Story 5 on Disney+, Backrooms on HBO Max, and The Breadwinner on Netflix. On the TV side, we’ve got Netflix’s Monster: The Lizzie Borden Story, Dancing with the Stars on Disney+, Apple TV’s Slow Horses, a Reacher spinoff on Prime Video, and Paramount+’s MobLand, a Woody Harrelson and Matthew McConaughey comedy on Apple TV, a sequel to a Cosby Show spinoff on Netflix, The Great British Baking Show, and the Unabomber film. And while doing all that, I want to take a look at adult animated shows, Ride or Die’s cancellation, and Netflix’s summer films. So much great stuff! Long term, two bits of comic book news. The X-Men cast has been announced, and go ahead and color me bull-ish, if not very, very bull-ish on this bit of comic book IP. In weirder news, HBO Max ordered a “true crime” show by Jimmy Olsen about Gorilla Grodd being falsely convicted of murder. I mean, what? I don’t know, let’s see what happens.
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' comes to Disney+
"Toy Story 5," the final season of "Outlander," and crime-comedy "I Love Boosters” head to streaming. (Source: WALT DISNEY STUDIOS HOME ENTERTAINMENT, NEON, SONY PICTURES HOME ENTERTAINMENT, CNN via CNN Newsource)
'Toy Story 5' is coming to Disney+. See streaming release date
The toys are coming home with the streaming release of "Toy Story 5."
List of DVD release dates for Sept. 22 and beyond
Following is a partial schedule of coming movies on DVD. Release dates are subject to change: SEPTEMBER 22: Toy Story 5 22: Scary Movie 22: Young Washington 22: Evil Dead
What to stream: ‘A Different World,’ ‘Toy Story 5’ and Kenny Chesney
The Disney+ debut of “Toy Story 5” and a new album from Kenny Chesney are some of the new television shows, films, music and games headed to a device near you.
What to stream: 'A Different World,' 'Toy Story 5' and Kenny Chesney
The Disney+ debut of “Toy Story 5” and a new album from Kenny Chesney are some of the new television shows, films, music and games headed to a device near you.
What to stream: 'A Different World,' 'Toy Story 5' and Kenny Chesney
Disney+ is adding “Toy Story 5" to its lineup this week. The film about toys battling tech for Bonnie's attention arrives on the service on Wednesday. HBO Max is offering
When is ‘Toy Story 5’ streaming? Here’s how to watch at home.
See your favorite toys take on technology from home.
New on DVD: Schedule a playdate with 'Toy Story 5'
The return of Pixar's popular playthings tops the DVD releases for the week of Sept. 22. "Toy Story 5": Woody, Buzz and co. tackle technology in the franchise's fifth entry
'Toy Story 5' Secures Third Consecutive No.1 on Weekly U.K. Home Entertainment Sales Chart Through Sept. 9
Disney/Lucasfilm’s Toy Story 5 continues its winning streak on the Official Film Chart, securing a third consecutive week at No 1 on the weekly U.K. home entertainment sales chart through Sept. 9. There were no chart changes among the top six from the previous week. Universal’s Obsession remained at No. 2 in its 10th week … Continue reading "‘Toy Story 5’ Secures Third Consecutive No.1 on Weekly U.K. Home Entertainment Sales Chart Through Sept. 9"
'Toy Story 5' Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2
Disney/Pixar’s Toy Story 5 remained No. 1 on the Official Film Chart, the weekly U.K. home entertainment sales chart through, through Sept. 2. The rest of the top four remains unchanged this week, with Focus Features’ supernatural horror film Obsession holding at No. 2 in its ninth week on the chart, and Universal’s animated adventure … Continue reading "‘Toy Story 5’ Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2"
'Toy Story 5' Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2
Disney/Pixar’s Toy Story 5 remained No. 1 on the Official Film Chart, the weekly U.Sk. home entertainment sales chart through, through Sept. 2. The rest of the Top 4 remains unchanged this week, with Focus Features’ supernatural horror Obsession holding at No. 2 in its ninth week on the chart, and Universal’s animated adventure Minions … Continue reading "‘Toy Story 5’ Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2"
‘Toy Story 5’ deleted scene reveals cut Jessie, Emily reunion (exclusive)
‘Toy Story 5’ deleted scene reveals the emotional reunion between Jessie and older Emily. The director explain why they cut it from the film.
Disney's strong quarter driven by 'Toy Story 5' and the draw of its US theme parks
Disney’s solid third quarter was driven by a $1 billion box office haul from “Toy Story 5” and the draw of its U.S. theme parks that helped to offset continued weakness from international...
Disney's strong quarter driven by 'Toy Story 5' and the draw of its US theme parks
Disney managed a solid showing in its third quarter, bolstered by movies like “Toy Story 5” and ongoing strength from its U.S. theme parks that made up for continued weakness from international tourism.
Disney's strong quarter driven by 'Toy Story 5' and the draw of its US theme parks
Disney managed a solid showing in its third quarter, bolstered by movies like “Toy Story 5” and ongoing strength from its U.S. theme parks that made up for continued weakness from international tourism.
Disney's 'Toy Story 5' fuels streaming business and merchandise sales for June quarter
Disney said the blockbuster success of "Toy Story 5" extended beyond the box office for the June quarter, as the hit film fueled sales of merchandise, added to engagement on the Disney+ streaming service, and attracted more visitors to its theme parks.
Disney Streaming Q3 2026 Earnings, Parks AI Tool Use
Disney touted the success of "Toy Story 5" when it reported its latest quarterly earnings results for the June 2026 quarter.
UC San Diego expert available: The business of Hollywood—from Toy Story to the Paramount-Warner merger
As Hollywood continues to reshape itself through blockbuster franchises and industry consolidation, UC San Diego associate professor of communication Shawna Kidman is available to provide context on the forces transforming the entertainment business. Kidman studies media industries, intellectual property, mergers and acquisitions, and the business strategies behind Hollywood's biggest successes. Her research examines how companies build enduring franchises, why media consolidation matters to co
Arts and Entertainment Agenda, July 31 to Aug. 6
Aspen Isis Theatre, July 31 to Aug. 4 The Isis Theatre in Aspen will screen five new releases from July 31 through Aug. 4: “Spider-Man: Brand New Day,” “Hadestown: The Musical,” “The Odyssey,” “Toy Story...
“The Odyssey” remains unchallenged as it sails to box office victory with $639 million global tally
Meanwhile, “Toy Story 5” just became the third $1 billion movie of the year.
Pixar reportedly loses 150 jobs in new round of Disney layoffs
Pixar absorbed a large share of Disney’s latest studio layoffs, according to industry reports, even as “Toy Story 5” approaches another major box-office milestone.
“Moana” capsizes with bumpy $43 million U.S. debut, while “Michael” breaks record with $1 billion at global box office
Disney’s live-action remake of the 2016 blockbuster failed to launch, marking a severe downturn after the success of “Toy Story 5.”
'Minions & Monsters' knocks out 'Toy Story 5' out in animated brawl at Fourth of July box office
It was an animated blood bath at the box office this weekend, and though 'Minions & Monsters' bested 'Toy Story 5,' its $36.4 million premiere marks a franchise low by a wide margin.
'Minions & Monsters' tops Fourth of July holiday box office
The Minions have taken down “Toy Story 5" at the July Fourth weekend box office, but not by much
'Minions & Monsters' tops Fourth of July holiday box office
The Minions have taken down “Toy Story 5" at the July Fourth weekend box office, but not by much
'Minions & Monsters' tops Fourth of July holiday box office
The Minions have taken down “Toy Story 5" at the July Fourth weekend box office, but not by much
“Toy Story 5 ”soars past “Supergirl”'s bumpy $38 million takeoff at the box office
D.C. and Warner Bros. were hoping for a $50–55 million return on their $170 million investment into the standalone supheroine flick.
'Toy Story 5' crushes the box office on opening weekend
"Toy Story 5" grossed an estimated $160 million domestically and $152 million internationally after debuting in theaters on Friday.
\'Toy Story 5\' rakes in the biggest box-office debut of the year with a franchise-best $160 million
“Toy Story” still has a friend in moviegoers. The fifth installment in the Pixar series debuted with $160 million in domestic ticket sales, according to studio estimates Sunday. That easily
'Toy Story 5' is the movie of the summer, stuns with record opening
Let's hear it for the toys! Woody, Buzz and the gang are sending the summer box office to infinity and beyond.
'Toy Story 5' opening weekend box office to set franchise record
The latest 'Toy Story' earns one of Pixar's biggest openings ever.
The definitive ranking of every Pixar movie (including 'Toy Story 5')
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From Toy Story 5 to The Bear: your complete entertainment guide to the week ahead
Pixar’s enduring animated favourites battle a rogue tablet, and Disney’s anxiety-inducing kitchen drama returns for a final series
“Toy Story 5”, “House of the Dragon”, and “Widow's Bay ”top this week's Must List
"Maddie's Secret" and Curtis Mayfield's "Super Fly" album round out our picks for the weekend of June 19.
Tom Hanks weighs in on the future of 'Toy Story': 'It better be worthwhile' (exclusive)
As 'Toy Story 5' opens in theaters, Tom Hanks is wondering if the future of the franchise could take place without his active participation.
The 'Toy Story 5' moment that 'shattered' Tom Hanks
Spoiler alert! We're discussing an important plot point in “Toy Story 5” (in theaters now), so beware if you haven’t seen it yet.
New movies to watch this weekend: See 'Toy Story 5' in theaters, rent 'Pressure,' stream 'Project Hail Mary' on MGM+
The "Toy Story" franchise still holds up, but Brendan Fraser's World War II weather drama is ho-hum.
We ranked Pixar's 'Toy Story' movies
You've got a friend in Woody. And Buzz Lightyear. And Jessie. And Slinky Dog. And, of course, Forky.
Taylor Swift wrote her 'Toy Story 5' song in unbelievable time
Chalk it up to the “songwriter zoomies.”
It's a tech 'Toy Story'
It's not Rock 'Em Sock 'Em Robots or a round of Hungry Hungry Hippos, yet there's definitely a battle to be had in "Toy Story 5."
'Toy Story 5' did not miss a crucial Easter egg. Yep, it's the Pizza Planet truck.
Did you catch it?
Does 'Toy Story 5' have a credits scene?
To leave the cinema or not to leave the cinema...
'Toy Story 5' has an iPad-like villain. As a parent, I loved it.
As a parent who strictly limits screens, I left 'Toy Story 5' feeling unexpectedly validated by its message.
Jessie steals Pixar's heartfelt, relatable 'Toy Story 5'
It’s a cowgirl’s time to mosey into the “Toy Story” spotlight.
Why “Toy Story 5” star Tom Hanks doesn't think there needs to be a Best Voice Acting Oscar category
Hanks won back-to-back Academy Awards in 1994 and 1995.
‘Toy Story 5’ stars Tom Hanks and Tim Allen reveal biggest AI fears
As “Toy Story 5” reunites the franchise’s original stars Tom Hanks and Tim Allen, they weigh in on one of Hollywood’s most urgent debates.
Porsche Turned Toy Story Characters Into Real Cars—And They're Incredible
Buzz, Jessie, and Woody each get their own custom 911s ahead of the premiere of Toy Story 5.
Taylor Swift's 'Toy Story 5' song is one of her savviest business moves yet
Taylor Swift is tying her commercial and promotional power to "Toy Story 5" with an original song for the film's soundtrack. It's a smart business move.
Toy Story 3 Complete Edition announced for PS5, Xbox Series, Switch 2, PS4, Switch, and PC
Publisher Atari and developer Digital Eclipse have announced Toy Story 3 Complete Edition, the modern remaster of the Toy Story 3 video game, for PlayStation 5, Xbox Series, Switch 2, PlayStation 4…
Toy Story: Retro Roundup, Toy Story 3 Complete Edition announced for Nintendo Switch 2 and Switch
Toy Story: Retro Roundup and Toy Story 3 Complete Edition were just revealed for Nintendo Switch 2 and Switch - learn about both here.
Digital Eclipse Reveals Toy Story Retro Collection And Toy Story 3 Remaster
There are thowbacks in my boots!
Taylor Swift releases 'Toy Story 5' country song inspired by Jessie
Taylor Swift has returned to her country roots with her new song 'I Knew It, I Knew You' for 'Toy Story 5,' inspired by the character Jessie.
After 11 years away from red carpets, Joan Cusack returns for ‘Toy Story 5’
Joan Cusack's red carpet return isn't a comeback story — it's a context story.
Biggest summer movies hitting Florida theaters from May to August 2026
From "Star Wars," "Toy Story" and "Spider-Man," to original titles and literary adaptations, the biggest blockbuster movies coming out this summer.
RFK Jr. Swaps Vaccine Rhetoric for Story Time as GOP Woos Voters
By Amanda Seitz | KFF Health News TOLEDO, Ohio — The little boy, dressed in a Toy Story sweatshirt, wrapped himself around the nation’s health secretary. “What do you guys want to be when you grow up?” Health and Human Services Secretary Robert F. Kennedy Jr. asked a carpet full of preschoolers. “A ...
Growing up with ‘Toy Story’: Andrew Stanton on 30+ years with Woody and Buzz
Andrew Stanton has spent over half his life with “Toy Story.” | Talk 1370
'Toy Story 5' faces tech age as a Pixar legend comes full circle (exclusive)
'Toy Story 5' faces the tech age more than 30 years after the first movie, while animation legend Andrew Stanton contemplates his final Pixar film.
Woody Sports a Bald Spot in New Trailer for 'Toy Story 5'
A new trailer is out for “Toy Story 5” which shows the iconic characters, including Woody, Buzz and Rex all back together, with Woody even sporting a bald spot. The movie hits theaters in June.