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Athletics, CBA and everything MLB in between
Cardinals on My Time is back for the winter in a little different capacity! With the offseason and winter looking questionable at best and the Cardinals sitting in an awkward spot, I decided to take the opportunity to expand my podcast a little bit. Since writing all things St. Louis Cardinals for the past few […]
Protecting elections and play ball?
As I approach 10 years of writing these columns for Colorado Politics, I suspect that only my kindly and long-suffering editor has read all roughly 600-plus of my missives. But regular readers will likely recall I can be easily distracted (squirrel!) and that I often report on multiple items in a column that, in theory, […]
The Page That Doesn't Judge: What Science Reveals About Writing Through Difficult Times
Why putting painful experiences into words may help us understand them—and why writing is not always healing.
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”.
Iowa City author Lori Erickson’s new book blends travel, art
Travel writer Lori Erickson is trying something new in her fifth book, “Travels with the Muse” — pairing her writings on art and spirituality with her own original sketches. Catch her at the Iowa City Book Festival this Saturday, Oct. 24.
There Is One Thing Verity Does Better In The Movie Than In The Book That I Wouldn't Have Expected
The writing process makes more sense in the movie.
Axa XL to begin writing business through dedicated E&S insurer
Axa XL on Wednesday said it will begin writing business through its dedicated excess and surplus lines insurance company next year as it expands its U.S. wholesale operations.
Cover to Cover: ‘Hollywood, Ending’ offers a witty, compassionate critique of the entertainment industry
In his long-awaited return to fiction, John Green tackles art, love and celebrity culture with his signature empathy and humor in his new novel, “Hollywood, Ending.” Published Sept. 22, “Hollywood, Ending” is Green’s first adult novel after a career of primarily writing teen classics like “The Fault in Our Stars” and “Looking for Alaska.” The...
Bipartisan lawmakers criticize Trump's diesel deal with Russia
On Monday, the president defended the deal, writing on Truth Social that he "made the right choice for the American People"
Maven’s Kate Ryder on using AI to help solve long-unanswered questions in women’s health-care
Maven CEO and founder Kate Ryder says AI has already dramatically lowered administrative costs and is writing all of the health benefits’ company’s code, but for patients, the greater promise of AI is in closing information gaps, a particularly frustrating issue women have always faced when seeking care.
Letters | Business barriers
I am a voter and resident of Shiprock, and the owner of Shiprock Windows and Glass LLC. I started my business in September 2020.
Mathews: Gulf Coast Business Council is elevating the Coast's most important conversation
For nearly two years, I’ve been writing about a compelling case for action: Coastal Mississippi has the assets of a much bigger economy and the habits of a
Bishop’s computer science chair says AI is eliminating ‘grunt work’ and reshaping digital jobs
Dr. Russell Butler, chair of Bishop’s University’s Department of Computer Science, says artificial intelligence is increasingly taking over routine digital “grunt work,” changing the skills students and workers may need in the years ahead. Photo courtesy of Bishop’s University. Click here to read our platform! Get local news like this every morning. Subscribe free below. Subscribe Pulse Newsroom Artificial intelligence is already taking over some of the routine digital work once performed by entry-level employees, according to Bishop’s University Computer Science chair Dr. Russell Butler — a shift he believes will make expertise, judgement and the ability to evaluate AI-generated work increasingly important. Butler described the change as automation reaching what he calls the “bottom of the cognitive pyramid” during an interview with The Pulse about AI, university education and the future of digital work. His argument is not that humans are disappearing from the workplace. Instead, he sees their role changing as AI becomes capable of handling more of the repetitive tasks involved in computer-based work. “Everything’s converging on just AI basically doing all the grunt work,” Butler said. The bottom of the cognitive pyramid Butler is from Lennoxville, completed his undergraduate studies at Bishop’s and later earned his PhD at the Université de Sherbrooke. He joined Bishop’s in 2019 and now chairs its Department of Computer Science. He uses AI in research, teaching and other creative work, and said the technology is increasingly capable of handling routine digital tasks that once required substantial human time. “You’ve got the grunt work, like moving things around in Excel, doing basic programming tasks,” Butler said. “That’s like the bottom grunt work that the entry-level worker would have done two or three years ago.” Butler went further, saying in his view that much of this type of work has already been absorbed by AI tools. He connected that change to a shift he sees taking place in computer science, where entry-level roles have declined while experienced workers can use AI to increase what they can produce. “A senior developer now has access to essentially an unlimited amount of junior developers on demand,” Butler said. He was describing AI systems metaphorically, not literal employees. His point was that one experienced developer can now ask AI tools to produce code or other technical work that might previously have been assigned to more junior workers. That raises a broader question for universities and employers. If some of the simpler work traditionally given to newcomers can now be done by machines, how do people gain the experience needed to become senior workers themselves? Students doing work that once required years of programming Butler said he is already seeing the change inside his classroom. He created a Bishop’s course called CS208, Coding in Plain English, to show students — including those without traditional programming backgrounds — what they can accomplish using AI. Some come from disciplines such as psychology or neuroscience with no previous programming experience. “What I’m finding is that students who have zero programming experience, they come in from another discipline like psychology or neuroscience or something, they are now able to get up and running with real data sets,” Butler said. Butler’s own doctoral work involved neuroimaging, and he said he has assigned students work he considers comparable to the kinds of analysis he performed during his PhD. He described giving students a real dataset, an expected result and instructions to use AI to complete the analysis. Butler said those students have been able to carry out work at a level he associates with tasks he once performed after years of programming experience. That does not mean a student using AI instantly acquires the same knowledge as an experienced computer scientist. But Butler sees it as evidence that AI can dramatically lower the technical barrier between having a problem to solve and producing a working result. The role of the person using the system then changes. They need to know what to ask for, understand enough about the subject to judge the answer and take responsibility for what is ultimately produced. What about AI hallucinations? One persistent concern surrounding generative AI is hallucination — when a system produces information that sounds convincing but is false or unsupported. Butler said that problem has improved substantially in newer systems and is not as severe as it was with earlier models. He pointed in particular to newer AI systems’ ability to search the web, consult scientific databases and return source links rather than simply generating a citation from their internal model. Butler nevertheless said users should verify what AI produces. “You should verify,” he said while discussing citations generated with AI. His position is that hallucinations have become less common in the systems he uses, not that incorrect AI output is impossible. Human checking remains part of the process. Hours of work compressed Butler offered another example from his administrative work at Bishop’s. The university has been comparing CEGEP courses with first-year Bishop’s courses to determine where students may qualify for advanced standing. Traditionally, Butler said, that means reviewing two sets of course descriptions and manually matching one institution’s courses with another’s. As department chair, that could require hours of reading and comparison. He said AI can now be given both sets of material and asked to generate an initial mapping automatically. “It saves me hours and hours of work,” Butler said. Butler said the AI-generated mapping can also produce a better result than he would produce himself. He sees similar opportunities in businesses. A company may receive specifications, drawings, emails or other digital material from customers and then have employees convert that information into an internal format before anything can be manufactured or delivered. AI can increasingly perform parts of that intermediate processing. In Butler’s view, the employee does not necessarily disappear. Instead, the job becomes more about checking the result. “The human is still there,” he said. Judgement could become more valuable That change is central to Butler’s view of where digital work may be headed. If AI can produce a first draft, write basic code, compare documents or process large amounts of information, he argues that knowledge and judgement become increasingly important. “The real scarce resource going forward is going to be domain knowledge, expertise, and… credentials, authority, the ability to work with other people,” Butler said. He is therefore encouraging students not only to learn AI tools but also to broaden their education. He mentioned acting, fine art and photography as examples of courses that can help develop what he described as taste and intuition — the ability to recognize what is good, what is not and what should be changed. “And that’s the skill that they need now because the grunt work has been automated and now it’s about evaluating what the AI produces and telling it how to improve or expand the output,” Butler said. That does not remove the need for technical knowledge. Butler’s argument is that the emphasis may shift away from manually completing every step of a task and toward directing, checking and improving work produced with AI assistance. He also stressed that humans remain responsible for final decisions. “At the end of the day, the human has to make the final call,” Butler said, pointing to the question of accountability. Physical work may be different Butler draws a distinction between digital work and jobs requiring people to manipulate the physical world. He expects AI to continue advancing quickly in tasks performed almost entirely on computers. He is more cautious about claims that humanoid robots will soon be able to replace workers such as plumbers or electricians. Butler said those trades would not be replaced “anytime soon” in his view and described some current robotics demonstrations as overhyped. He described the situation as counterintuitive. “It’s almost like we solved the highest level first,” he said, contrasting advances in digital AI with the harder problem of building robots capable of operating reliably in the physical world. Butler’s argument is that some digital occupations could face automation sooner than trades requiring complex physical work. The wider AI shift in the Townships Butler’s comments come as local institutions are increasingly grappling with how AI should be used. The federal government recently announced up to $162 million over five years for 10,000 AI-related placements through Mitacs. The Université de Sherbrooke told The Pulse that the number of its collaborative research and innovation projects supported through Mitacs has approximately doubled since 2018-19, while the number of placements has approximately tripled. UdeS also said it already has projects involving both AI adoption and the application of AI to other fields. At Bishop’s, Butler said part of his role involves building the Computer Science department’s local presence, connecting students with regional partners and strengthening relationships with the Sherbrooke technology ecosystem. Those developments put universities in a difficult position. They have to prepare students to use the tools employers increasingly have available while also making sure graduates understand enough to recognize when those tools are wrong, incomplete or being applied to the wrong problem. The risk of losing human skills Butler does not see AI as risk-free. Later in the interview, he raised a separate concern: as AI becomes better at reading, writing, programming and other cognitive tasks, people could lose some of the underlying skills that historically helped produce new ideas. “The other danger is that we’re going to lose the human skills,” Butler said. He specifically mentioned reading and writing and argued that people could lose some of the lower-level understanding that contributes to breakthroughs. Butler said AI systems are based on existing human knowledge and argued that they become much more powerful when paired with a capable person. That tension runs through his view of the technology. AI can remove hours of routine work. It can allow beginners to perform tasks that once required substantial technical training. It can give experienced workers significant leverage. But the more capable the technology becomes, the more important it may be for people to develop the judgement needed to decide what should be done in the first place. For Butler, that is where education may have to change. Students still need to understand their field. They still need to know when something is wrong. And they still need to be able to make the final decision. But if AI increasingly handles the bottom of the cognitive pyramid, the value of a worker may depend less on how quickly they can perform the grunt work and more on whether they understand what the work is supposed to accomplish. Don’t miss the next story that affects your community. Join thousands of readers getting The Pulse every morning—plus breaking news alerts when it matters most. If you value this kind of local journalism, consider supporting it. Subscribe, share and like! Subscribe Share
Ubisoft plans cuts at German studios, adding to wave of workforce reductions
Ubisoft is planning to reduce its workforce in Germany, where it operates a trio of studios, by about 100 workers, Game File has learned. The company wants to offer employees buyouts to, should enough people accept, avoid having to lay anyone off. “In Germany, we initiated discussions with the Works Council last week regarding a proposed voluntary departure plan across Ubisoft Dusseldorf, Ubisoft Berlin & Ubisoft Mainz,” a company rep told Game File. A “works council” is a union-like group representing employees. “The voluntary plan is the primary measure being proposed to support the intended organizational changes,” the Ubisoft rep added. The company declined to confirm the scale of the potential headcount cut. Of the impacted studios, Mainz might be the best known to the public. It leads development of the Anno series and shipped the well-reviewed strategy game Anno 117: Pax Romana in November 2025. Berlin and Dusseldorf operate as support studios within Ubisoft’s creative network. Berlin recently supported the development of Rainbow Six Siege and the Rayman Legends Retold remake. Dusseldorf also contributed to those projects, as well as The Settlers and Ubisoft-branded escape rooms. Dusseldorf is the biggest of the three studios, with some 400+ workers, compared to just over 100 at the other two, a source familiar with the reductions and the teams told Game File. More than half of these new reductions of about 100 people are expected to happen at Dusseldorf. The planned cuts were announced at a town hall for the German studios on Tuesday of last week. In an email follow-up, the studio group’s managing director, Benedikt Grindel, said the cuts were intended to “best position our German studios for the future... with a clearer focus on their role, capabilities and organizational setup needed for the work ahead.” The email was an echo of the past. In January 2025, Grindel had emailed the Ubisoft developers in his region (or studio “zone”) to explain that a round of 185 cuts at the time, including about 65 at Dusseldorf, were “essential to improve our operational efficiency and ensure the long-term sustainability of our studios, the zone and the company.” A half-decade of continued job cuts Ubisoft has been aggressively cutting its headcount for years. At the end of September 2022, it had 20,729 workers. By the end of March 2026, that total was down to 16,590. Studio management is trying to trim costs as it grapples with a changing industry and a drought of releases, let alone hits. The company announced earlier this year that it had reduced its costs since 2022 by “nearly €325 million” ($362m) and planned to lower them through 2028 by another €180 million ($200m). In June the company said it was closing down its Winnipeg and Belgrade studios and cutting roles in its Barcelona team. Even commercial and creative success hasn’t spared studios from this ongoing company-wide contraction. As Game File was nailing down details around the proposed cuts in Germany, Ubisoft management was informing workers of cuts in its Singapore studio, which shipped a hit remake of Assassin’s Creed IV: Black Flag this past July. Some 70 positions in Singapore are being eliminated “to align the studio with upcoming production needs,” per a company rep’s statement to Game File. In early 2024, a large team in the Singapore studio launched the multiplayer pirate game Skull & Bones. It performed poorly but has been supported with regular content updates since. Many of Ubisoft’s studios around the world are heavily subsidized via regional grants and tax breaks. Singapore had been among them for years, but received no such local assistance in the 12 months ending this past March. News of the Singapore cuts broke today alongside word that Ubisoft is also proposing the closure of RedLynx, pending negotiations with officials. The Finnish studio behind the motorbike series Trials was founded in 2000 and sold to Ubisoft in 2011. As reported by VGC (and corroborated by Game File), Ubisoft management told employees it could not come up with a new, sustainable assignment for RedLynx. The 2025 workforce at Ubisoft Dusseldorf were straight-up cuts. This time, Ubisoft is hoping the reductions at its trio of German studios will largely come from workers taking a payout to leave. The company offered such voluntary dismissals at its Massive Entertainment studio (The Division) a year ago. For the German studios’ buyouts this time around, Ubisoft and the Works Council had discussed a formula that’d pay a worker’s monthly salary multiplied by 1.5 and by the number of years they’ve worked at the company, according to Game File sources. The formula is still subject to negotiations with the Works Council and has not yet been part of an official offer to workers. It could be adjusted up or down, and it could be supplemented with additional bonuses. Asked about the floated payout formula, a Ubisoft rep told Game File, “The terms of a potential voluntary departure program remain subject to negotiation with employee representatives. No final agreement has been reached, and we won’t comment on specific proposals while discussions are ongoing.” Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: Epic’s AI adventures Epic Games (Fortnite, the Unreal engine) is all-in on using AI to try to transform the way it makes video games and game-making tools. It’s leaders appear to be undeterred by any resistance among gamers and some game developers around generative AI—and instead emboldened by advances, particularly in AI-assisted programming. A recap of the last three days: On Monday, Bloomberg reported that Epic management told workers last week that development of an upcoming game combining Star Wars and Marvel characters would be “AI first.” Employees would be expected to use AI models such as Claude to code the game. A manager told Epic’s developers there would be “[n]o more hand-written code” and that art for the game would be “generated with full AI workflows,” per the outlet. Just ahead of that story running, Epic founder Tim Sweeney tweeted: “We have a huge pivot underway here at Epic, moving developers around to retool for maximum AI acceleration. The aim isn’t to do the same stuff with fewer people, but to enable everyone here to build MORE and BETTER stuff, and to bring the benefits to all teams using Unreal.” In a follow-up, Sweeney predicted that most game development processes would be at least three times faster a year from now than they were in January 2026, thanks to AI. To a person on X who told him he was failing to read the room, Sweeney said: “Much of the room wants it to be 2016 again, but it’s not. Our job, as the provider of tools and technology to much of the industry, is to design for the present that is and the future that will soon be.” On Wednesday, Epic announced it was releasing a faster launcher for its Epic Games Store marketplace. It did so by stating in a blog post as clear as could be that the launcher is an AI-enabled, vibe-coded project: Programming is hard. So, instead of doing that, we vibe coded a new Epic Games Launcher that’s way faster and more responsive than the current one, and has a new look. Programming is hard? That was unexpected phrasing from a company founded by a legendarily great programmer. Back in 2011, Sweeney told me that he’d picked up programming quickly as a kid and rejoiced at the power it gave him. “I could look at any program that anybody else had written and, with enough effort, build something cooler.” Item 3: The Xbox Labs experiment (and one of the people behind it) Microsoft’s Xbox division, which is flooding the zone with announcements lately, yesterday revealed a new internal tech-tinkering team called Xbox Labs. In the words of Xbox boss Asha Sharma Labs is “a small group of game makers, engineers and scientists whose job is to turn emerging ideas into things our players and developers can experience.” Conventional wisdom coming out of the announcement is that Labs is a team that’ll focus on ideas driven by generative AI. In her announcement, Sharma cited some of the dizzying achievements in tech and gaming over the past month as AI agents and other AI tools have been deployed to swiftly figure out how popular games work, then rebuild them and mix them up. She mentioned seeing ”games rapidly decompiled and rebuilt to run on hardware they were never originally designed to support” and said “[p]erhaps more surprisingly, we’ve seen many of the biggest games in the world have been remixed into the source code of another.” (Minecraft plus Elden Ring, for example, or Fortnite + Super Monkey Ball + Overwatch + Diablo + others.) Sharma also cited the work of Windows PC games being ported to run in browsers, a seeming reference to a recent AI-assisted fan port of Halo. Or perhaps Call of Duty or GTA. Sharma didn’t use the specific term “AI” in her memo, but she came close, citing AI “agents” and their potential for game-making tools that Labs could help craft: I think XBOX has an important role to play here. Coding became the first major workload for agents because they can write, run, and test software. Games share many of those same properties, and people spend more than 72 billion hours a year playing XBOX games, roughly five times the estimated time spent writing code worldwide. We’ve spent 25 years learning how to make great games, and I want our game makers to help shape what these new technologies make possible. As we learn, we’ll share the tools we build with developers across the industry, just as we always have. When I asked an Xbox rep if Labs was an AI-centric team, they said genAI was not the focus, describing it as having a broader mandate for using new tech in new ways in gaming. As an example, they pointed to Xbox’s recently launched disc-to-digital gaming usage rights program. Microsoft didn’t specifically name anyone involved full-time in Xbox Labs yesterday, but on social media and LinkedIn, I spotted Adrian Mato IDing himself as leading the creatio of tools at Labs and talking up the launch. Mato first caught my attention in late September, when he said on X that he was “starting to build a new team at Xbox focused on products and tools for how games get built and distributed as agentic tools become more capable.” At the time, he framed AI-based tools as a supplement to traditional game dev tools. “I don’t think we need to replace them,” he said. Since then, he’s publicly shown interest in AI and in games. He’s recently spent some of his X feed marveling at the power of AI agents and praising the lighting in the latest Gears of War. Following the Labs announcement yesterday, he enthused about the Xbox Labs’ stylish landing page. He wrote: “We built some fun tools to art-direct shaders in real time, experimented with interactive ASCII art, and sprinkled in lots of tiny details. “Move your mouse to leave a colorful trail that reveals the original footage, or interact with the video to trigger bursts of particles. “A lot of love went into making it all feel just right. “More to come”
Talking Business with Tina Hamilton: The warehouse-remote office divide
The Lehigh Valley is a hub for both logistics and remote office jobs.
Stone Kite Is A New Studio From Halo, Destiny Creator Jason Jones And Author Margaret Stohl, And Its First Project Is About Rogue AI Robots
Stohl is perhaps best known for writing the Beautiful Creatures series of books. - Game Informer
How the Zelda Ocarina of Time remake changes the classic game’s script
At the start of the iconic 1998 Nintendo 64 game The Legend of Zelda: The Ocarina of Time, our playable hero Link wakes up in his tree cabin, heads outside and is greeted by his friend Saria. “Yahoo! Hi, Stotil!" she says. In other people’s copies of the games, she might say “Hi, Link!” or “Hi, Brick!” or use whatever other name the player was allowed to input when first launching the game. The more important point is that she starts with a “Yahoo!” In Nintendo’s 2011 remake of Ocarina of Time for the 3DS handheld, Saria greets Link with that same word. But for the 2026 Switch 2 re-remake of Ocarina of Time, out November 5, Saria’s salutation has changed: “Hello, Link!” she exclaims. There’s no “Yahoo” to be heard. Last month, in an official Nintendo video preview, Zelda series producer Eiji Aonuma described the remake as a “faithful interpretation using modern technologies.” Faithful means the gameplay hasn’t changed much. Dungeons, quests, and just generally what you do in the game doesn’t seem to have changed, not based on what Nintendo has shown nor the hour of the game I played in New York City a couple of weeks ago. The graphics have been overhauled. The controls have been tweaked. Players can now manually control the camera and make Link jump with the press of a button, both notable differences from the original 1998 design. But Link’s journey appears to take the same path, with the same obstacles in its way. The remake’s biggest alteration to Ocarina of Time that I’ve spotted so far just might be the script. About the game’s story, Aonuma said in September, “We’ve added quite a lot of new dialogue for the characters, so that their personalities shine even more.” Earlier this month, I played a chunk of the Ocarina of Time remake at a Nintendo showcase. In the game’s earliest moments, I made a point of talking to characters and recording what they said. I found the script to be more colorful, more natural in its phrasing, more careful to establish its characters, and certainly more wordy even with the removal of that one “Yahoo!”. I’ve got some very early-game examples, so you can judge the new writing for yourself.
Flick’s Barcelona and the value of entertainment
What makes a TV show or movie ‘entertaining’? An exciting and dynamic cast roster? Some compelling writing? A creative head pulling all these strings together in one direction? What about a hooked audience? Take one look at FC Barcelona 2026/27, and how is the season so far any different? Or if it is lacking any […]
Chuck Lorre says Roseanne Barr ‘fundamentally hated’ her show’s writers: ‘It was malice’
Chuck Lorre, who got his start writing on ‘Roseanne’ in the ’80s, says Roseanne Barr ‘fundamentally hated’ her sitcom’s writers, because as a stand-up, ‘she made herself a superstar based on her words.’
Bipartisan lawmakers criticize Trump's diesel deal with Russia
On Monday, the president defended the deal, writing on Truth Social that he "made the right choice for the American People"
Nobel medicine prize goes to 3 scientists for research into brain activity
The Nobel committee lauded their work, writing on X that the method “is now being used in laboratories around the world to reveal the brain’s mysteries.”
Ranking Member Markey: SBA Administrator Loeffler, Trump Administration are Refusing to Answer to America’s 36+ Million Small Businesses and Workers, Leaving Main Street Behind
Loeffler canceled her scheduled Sept. 30 appearance before the Senate Small Business Committee, has not appeared before SBC in more than a year (Washington, September 28) – Ranking Member Edward J. Markey (D-Mass.) today released the following statement after Small Business Administration (SBA) Administrator Kelly Loeffler canceled her scheduled Wednesday appearance before the Small Business and Entrepreneurship Committee. Administrator Loeffler has not appeared before the committee in more than a year and has consistently refused to provide substantial answers to committee members in person, in writing, or via requested briefings. In June, Ranking Member Markey led every Democratic member of the committee in calling on Administrator Loeffler to appear before the committee to answer for the Trump administration’s cruel attacks on American small businesses, entrepreneurs, and workers. The Democratic lawmakers still have not received a response from Administrator Loeffler. “It is unacceptable that Administrator Loeffler chose to cancel her appearance before the Senate Small Business and Entrepreneurship Committee. The Trump administration is once again ignoring the more than 36 million American small businesses, entrepreneurs, and workers who drive our economy and enrich our communities by refusing to answer questions about this administration’s reckless economic policies. It has been more than a year since Administrator Loeffler has appeared before our committee and answered questions from both Democrats and Republicans. Since then, the Trump administration’s attacks on Main Street have only worsened. “Small businesses are facing record high gas and diesel prices, skyrocketing healthcare costs, and never-ending uncertainty from Trump’s trade war with the world. Trump has terrorized Main Streets across the country with violent ICE raids, destroying families, communities, and local economies. Meanwhile, Administrator Loeffler and the Trump SBA have been in a Witness Protection Program, ignoring the Pain on Main Street that they have created. They have chosen to make drastic cuts to SBA funding and essential, bipartisan programs, including the closure of the SBA office in Springfield and removal of the SBA office from Boston; directly attacked immigrant small business owners and destroyed the promise of the American Dream; and proposed shortsighted small business size rules that would benefit billion-dollar businesses over actual small businesses. “It’s clear that Administrator Loeffler, President Trump, and their CEO billionaire buddies want to turn the Small Business Administration into the Big Business Administration, tear down our economy, and abandon Main Street. If that is indeed this administration’s goal, Administrator Loeffler must answer to the millions of small businesses, workers, and families in Massachusetts and across the country that this administration is leaving behind.” ###
'Tip Toe' is one of 2026's most talked-about TV shows. Russell T Davies 'would love to be wrong' about it.
"In writing this, in saying what I believed about the state of the world, there was part of me hoping I was wrong."
'Office Space' star Richard Riehle dies at 78
Actor Richard Riehle arrives at the premiere of New Line Cinema's 'A Very Harold & Kumar 3D Christmas' at Grauman's Chinese Theatre on November 2, 2011 in Hollywood, California. (Jason Merritt/Getty Images)Richard Riehle, known for his role in the 1999 film Office Space, has died. He was 78.A statement shared by Artists & Representatives and Wright Entertainment, Inc. announced Riehle's passing on Monday, writing, "Our industry has lost an exceptional talent, and our community has lost a truly wonderful man.""We are deeply saddened to confirm the passing of our beloved client, Richard Riehle, this past weekend," the statement said. "A remarkable actor whose career in theater, film, and television spanned nearly five decades and more than 400 projects, Richard leaves behind an extraordinary legacy."The statement continued, "Beyond his immense talent, he will be remembered for his genuine goodness, boundless kindness, and unwavering generosity, particularly toward emerging actors and filmmakers, whom he encouraged and supported at every opportunity."Born on May 12, 1948, Riehle starred in many television series and films over the years.Notable projects include Casino, The Man from Earth and Deuce Bigalow: Male Gigolo.He got his start as an actor at the University of Notre Dame, where he was involved in the University Theatre and starred in several stage productions. He went on to earn a Master of Fine Arts in acting and directing from the University of Minnesota.While he's played characters that have an "average Joe" presence, he always made the most of his brief screen time.Some roles that he is remembered for include The Quartermaster in Glory, the train guard in The Fugitive, Reverend Scroggins in Fried Green Tomatoes and Bill Cozbi in Bridesmaids.On television, he starred as Principal Ed Rooney in the 1990 series Ferris Bueller and as grandfather Walt Finnerty in the early 2000s sitcom, Grounded For Life.In 2023, he also played Warden Reynolds in Barry.Riehle is survived by his wife, Jane Latham, and their four children.Copyright © 2026, ABC Audio. All rights reserved.
Rams vs. Cardinals odds: Opening lines for Week 6 matchup
The Los Angeles Rams host the Arizona Cardinals next week, and FanDuel has the Rams favored at the time of this writing by 12.5 points. 12.5 points is a rather large spread, so keep you eye on that line to move, though it’s no real surprise the Rams are favored even after their rather tough […]
Nobel Prize in Economics, Wolf Prize, Blavatnik Awards, and More Accolades for Columbians
From science to engineering, writing to social sciences, here are the Columbians who received awards recently.
More older vessels on seas raise underwriting risks
Declining ship demolition rates have pushed the average age of merchant ships on their final voyages to 22 years, increasing pressure on underwriters, according to Ilias P. Tsakiris…
Northeastern Pennsylvania schools embrace the Science of Reading
Amid a nationwide decline in literacy, teachers across Pennsylvania — including educators in Northeastern Pennsylvania — are rewriting the rules on reading.
Stripe to Power Small Business Underwriting With FedEx Supply Chain Data
FedEx Dataworks, the insights and intelligence subsidiary of FedEx Corp., and Stripe plan to leverage their respective platforms to expand access to
Flick’s Barcelona and the value of entertainment
What makes a TV show or movie ‘entertaining’?An exciting and dynamic cast roster? Some compelling writing? A creative head pulling all these strings together in one direction? What about a hooked ...
We Live In A Cold, Dead Universe, Virtually Devoid Of Life. This Is The Most Optimistic Scenario Available
Take it from someone constantly writing about the Fermi paradox; a cold, dead universe is the best we can hope for.
Sitcom king Chuck Lorre says Roseanne Barr ‘fundamentally hated’ her show’s writers: ‘It was malice’
Lorre, who created hits like “Two and a Half Men” and “The Big Bang Theory,” got his start writing for the tempestuous stand-up on “Roseanne.”
New Apple TV 4K and HomePod Mini to Ship on October 30
The new upcoming Apple TV 4K and HomePod mini models will launch on Friday, October 30, according to Bloomberg's Mark Gurman. Writing in his Power On newsletter, Gurman said the devices will ship to customers and arrive in stores on that day. Apple is expected to announce the new devices at its October 13 "Welcome home" event, which will also debut "Homeview" – the company's new smart home hub, whose name was first spotted by MacRumors in a trademark filing.
PUBLISHER’S NOTE: Busy Fall
We have a busy fall ahead of us—and that’s always good news. We like to stay busy. We’re working on two special annual publications: the CNY Business Guide and the CNY Winter Guide. Both publications are designed to reach specific audiences in the community. We’re excited about these new editions and would like to share a few details about them. Let’s begin with the Winter Guide. Winter can be challenging, but it also offers plenty to celebrate. The new CNY Winter Guide will help readers embrace the season and make it more fun and enjoyable. This year’s annual publication will feature an extensive calendar of events, compelling stories, and curated lists of things to do and see throughout the winter. This will be our 31st annual issue. It is one of the few publications—if not the only one—devoted exclusively to winter in Central New York. For advertisers, it offers a valuable opportunity to reach readers across the region. As we tell prospective advertisers, one ad works for them all season long. Rates start in the low $200s. The guide will be available at hundreds of high-traffic locations, including all Wegmans stores and select Price Chopper and Tops Friendly Markets locations. It will also be available online, with every ad hyperlinked so readers can click directly through to the advertiser’s website or Facebook page. Our network of drivers will also deliver the guide to hundreds of high-traffic locations several times throughout the winter. The publication will be out by Thanksgiving. The CNY Business Guide is a one-of-a-kind publication that many readers use as a reference. Unlike the books of lists published by business journals across the country, it comes in a glossy, full-color magazine format. It also ranks employers in four counties, with a particular emphasis on Oswego and Onondaga and substantial information about Cayuga and Jefferson. It is an ambitious project that requires extensive research, phone calls, careful fact-checking, writing and design. In short, it takes a great deal of work—and we’re glad to take on the challenge. The guide is widely distributed to business and professional readers throughout Central New York. The Business Guide gives companies an excellent opportunity to highlight their growth and expansion, showcase new products, and share other noteworthy developments. For readers, it provides a valuable snapshot of companies across the region, including what they do and who leads them. The guide will be published in early December. We invite companies to advertise in both publications. Advertising costs are relatively low, and each guide offers access to a broad audience across Central New York. Wagner Dotto is the editor and publisher of Oswego County Business Magazine.
Rebecca Skloot, Author of "The Immortal Life of Henrietta Lacks", Receives the 2026 NYU/Axinn Foundation Prize
Prize coincides with $5.2 million foundation gift to endow the prize and to support creative writing students at NYU
Enterprise AI Impact Report 2026: Transforming Business, AI in the Enterprise
Artificial intelligence has moved out of the lab and into the boardroom. What began as a novelty for writing emails and summarising documents is fast becoming
Opus 5.5 loves to tell you 'this matters' (and other AI writing tells)
Opus 5.5’s biggest tell is the word “dependable,” which pops up 23 times more often than in human samples.
Drake Bell Slams SAG-AFTRA for Losing Health Insurance: Don't Be Actor
Drake Bell has slammed SAG-AFTRA after losing his health insurance, writing 'Do not become an actor.'
New AI trade group launches with focus on health sector
A new trade group launched this week to give artificial intelligence companies in the health, human services and life sciences worlds a collective voice in anticipation of state government writing …
Hudson Williams says he’s writing a film but ‘getting tripped up’ over a “Heated Rivalry” parallel (exclusive)
The actor, who’s written multiple short films, talks about getting in his head about a character who’s an ex-hockey player.
New Tools Let Users Edit and Load Modified VBIOS on GeForce RTX GPUs Without Flashing
A developer who goes by Panchovix has released three tools that let NVIDIA GeForce RTX 50, RTX 40, and RTX 30-series owners run a modified VBIOS without writing anything to the card's flash chip. The first is a VBIOS editor for Windows and Linux that can change power limits, voltage ceilings,...
Mapping the Totality of Childhood Exposures: How Exposome Science Is Rewriting Pediatric Health
A new review in Pediatric Research charts how exposome science, from wearable sensors to multi-omics cohorts, is transforming the measurement and prevention of environmental risks to child health.
Elevance Health (ELV): Conviction Pays Off as Underwriting Disciplines Stabilize Margins
Cambiar Opportunity Fund, managed by Cambiar Investors, published its Q2 2026 investor letter. The letter can be downloaded here. U.S. equity markets experienced a significant rebound in Q2, with the S&P 500 rising 15.2% and the Russell 2000 up 21.5%. Growth stocks outperformed value, although value retained a year-to-date lead. The market’s rise was fueled […]
James Patterson is writing a romantasy with this Scottish author
Like millions of readers worldwide, James Patterson loves Sarah J. Maas' "A Court of Thorns and Roses" and Rebecca Yarros' "Fourth Wing."
TWICE’s Jihyo Departs JYP Entertainment After 21 Years + Launches New Agency EMITHAUS
Jihyo is beginning a journey with a new company! On October 21, the TWICE member took to her Instagram to share the following handwritten letter: Hello, this is Jihyo. I’m writing today because there’s something I’d like to share with you. After 21 years, my journey with JYP Entertainment, which began when I was just a child, has come to an end. Trying to put 21 years into just a few words is harder than I thought it would be.From childhood through my teenage years and into adulthood, I’ve spent most of my life at JYP.There were good days and difficult ones, but one thing I know for certain is that every one of those moments has shaped who I am today.I want to express my sincere gratitude to everyone at JYP who has been by my side and helped me grow over the years.I will always cherish the time we shared and the memories we made together. To me, independence is not so much a conclusion about the time that has passed, but a choice about how I want to live going forward.As the first step in this new chapter, I have established my own company, EMITHAUS.Just as “EMIT” means to “express or release,” I hope this will be a place where I can freely explore and bring to life even the possibilities within me that I have yet to discover.As I step away from a familiar environment and begin working in new ways, I will approach every decision and every endeavor with even greater thoughtfulness and responsibility. I also want to make it clear that this decision does not mean saying goodbye to the team I’ve been part of for so long.TWICE is an irreplaceable part of my life.Just as I cherish all the years we’ve shared, I look forward to all the moments still ahead of us.I will continue to stand on stage with my members and keep building more memories together for many years to come. Above all, I want to thank ONCE for believing in me and standing by my side for the past 11 years.I know that watching someone grow and change through so many stages of life and continuing to support them along the way is never something to be taken for granted.Thank you for giving me the courage to keep moving forward through your unwavering trust, love, and support.I will continue to fill the years ahead with choices and efforts that stay true to who I am and keep growing as an artist who lives up to all the love and support you’ve given me. Thank you. https://www.instagram.com/p/DevZGTkmTD2/ Jihyo is the third TWICE member to officially leave JYP Entertainment following Jeongyeon and Chaeyoung. Wishing Jihyo all the best on her new start!
Kentucky Wesleyan to present Ellie Magnuson Lecture in Literature and Science: “The Power of Still Becoming: Using Reflection and Writing to Evolve”
OWENSBORO, Ky. -- Stacy Hawkins Adams will present the Ellie Magnuson Lecture in Literature and Science on Sat...
At Anvil City Science Academy, learning goes analog
In Rachel Ventress’ writing class on September 23 at Anvil City Science Academy, middle schoolers pulled papers out of binders and pencils out of cases, along with their thick assignment packets.
Trump to fly 3,400 miles to Alaska in hopes of saving a Senate seat
With Republicans all but writing off their chances of winning Senate races in states such as North Carolina and Georgia, Alaska has become a crucial battleground this fall.
Flick’s Barcelona and the value of entertainment
What makes a TV show or movie ‘entertaining’?An exciting and dynamic cast roster? Some compelling writing? A creative head pulling all these strings together in one direction? What about a hooked ...
Is it possible to preserve your memories before dying? The science is moving beyond science fiction
For most of history, preserving someone’s memories after death meant relying on photographs, letters, stories and the recollections of other people. Technology is now pushing that idea much further. Scientists can record parts of brain activity linked to memory, researchers are mapping the neural networks that store experiences, and digital systems can preserve enormous amounts of a person’s voice, writing, images and personal history. That still falls far short of copying a mind. No technology
How to define ‘best sports writing’? This reporter made the tough decisions
The Athletic's Mirin Fader was given the assignment to select the top long-form sportswriting of the last year for a prestigious anthology.
Griffin William Sherry to bring folk, country, rock to The Grand
Join Maine-born singer-songwriter Griffin William Sherry and friends for an evening of powerful songwriting and live music at The Grand on Nov. 6 at 7 p.m. Experience Sherry's unique blend of folk, country, and rock and roll, rooted in his rural Maine upbringing. Get your tickets now for this unforgettable musical event.
Bad interpretation of the Bible creates stupid conflicts between science and religion. (It’s poetry, not a textbook.)
Scripture functions best when it stays in its lane. The authors of the Christian scriptures were writing the gospel. The gospel was meant to be “good news” for all, not bad news for most. But somehow…
Richie Floyd: Bernie’s 2016 Campaign Changed My Life
In 2021, Richie Floyd was elected to the St Petersburg City Council, becoming the first openly socialist elected official in Florida in over a century. Writing in Jacobin, Floyd explains how Bernie’s ...
Northeastern Pennsylvania schools embrace the Science of Reading
Amid a nationwide decline in literacy, teachers across Pennsylvania — including educators in Northeastern Pennsylvania — are rewriting the rules on reading.
‘Honky Tonk Highway’ brings country musical to Cedar Rapids
In an interview ahead of the show’s Oct. 15-18 run at CSPS, composer Rob Nassif talked about the inspiration for “Honky Tonk Highway,” the challenges of writing country music and his hopes for the SPT Theatre production.
Inde Navarrette studied anime to learn screenwriting. She's onto something.
Turns out, watching "Jujutsu Kaisen" really can count as homework.
Awbury enters Japan’s credit insurance market
Bermuda-based Awbury Insurance Ltd.’s Awbury Syndicate 2025 has expanded into Japan and began underwriting credit and financial risks on Oct. 1, The Royal Gazette reported.
What healthcare CEO Kate Ryder of Maven is telling her kids every day amid the AI education threat
Kate Ryder's Maven has AI writing all of its code and the CEO sees huge promise for the tech in women's healthcare. But there's one thing she won't cede to AI.
Gulfshore Playhouse presents the world goes ’round musical
Gulfshore Playhouse introduces the cast of “The World Goes ’Round,” a celebration of the music of Tony Award-winning songwriting team John Kander and Fred Ebb, running Oct. 20 through Nov.
Sundar Pichai: Google’s Frontier Imperative, Compute Scarcity Dilemmas, Future AI Products and Businesses
Alphabet CEO Sundar Pichai has little patience for doubts about Google’s willingness or capacity to compete at the frontier of AI. His company’s latest Gemini 4 Argon model — long-promised and recently delivered — beats OpenAI and Anthropic’s latest public models on coding, math, science, and knowledge-work benchmarks and has placed Google’s AI back among the world’s best. Amid chatter that Google was fine with good-enough lightweight ‘Flash’ models, Pichai pushed back hard against any suggestion that company is limiting its research ambitions. “We won’t do it any other way,” he told me in a Big Technology Podcast interview recorded this week at Google’s Mountain View headquarters. Pursuing cutting-edge research is costly for Google, requiring compute and chips that otherwise could be sold at a high markup by its cloud business. But Pichai said allocating resources to frontier AI development is “ground zero” for Google. “Our cloud business is at any given moment in time forgoing short-term revenues because we are making compute trade-offs to support frontier AI development,” Pichai told me. In our conversation, we discussed Argon (which Pichai says processed three times as many tokens as Gemini 3 in the 72 hours after launch), AI’s role in developing better models, the AI interface of the future, competition with OpenAI, Google’s partnerships with Anthropic and Apple, data centers in space, and the nature of his optimism. You can read the full conversation, lightly edited for length and clarity, below, or listen to it on Apple Podcasts, Spotify, YouTube, or your podcast app of choice. Alex Kantrowitz: Google is back at the frontier with Gemini 4 Argon, which beats OpenAI’s and Anthropic’s public models on benchmarks spanning coding, math, science, and knowledge work. The conventional wisdom was that Google had given up on the frontier to focus on fast, good-enough models for its products. That was wrong? Sundar Pichai: Very wrong. Look, we are so committed to being at the frontier. It’s in our DNA. We won’t do it any other way. We’ve been thinking about the AI frontier for well over a decade now. The frontier is very dynamic. It’s very competitive. It’s very exciting. I couldn’t be more pleased with how Argon has come together. We took our time with it. We made sure we tested it safely and deployed it carefully. We took a bit longer than our other models, given its capabilities. Across the board, be it for agentic work, knowledge work, coding, creative tasks, Argon is one of the really good frontier models. The first 72 hours since we launched, it’s almost up to 25 trillion tokens used, which is about three times what Gemini 3.0 had in the first 72 hours. And we are capacity constrained as we are serving it. Excited, but there are always areas….. You know, the frontier is very dynamic, and you have to keep evolving the models. There are areas which we can see we need to improve as well. We’ll be at work on all of that as well. Which areas? On any given model, Argon would be across the board better at everything if you just look even two months back. But the space is so evolving. Even on coding, for example, there are pockets where we know we need to do better, and there’s clear feedback. We’ll make it better. The argument for standard models is that they’re already good enough to build great products, with the frontier valuable only for certain tasks. Meta built Muse with good models rather than the best, and Google could put standard models into Maps, Gmail, and Search. Why isn’t that sufficient? It’s definitely not how I have thought about it at all. We are deeply committed to driving the state of the art and actually pushing where this technology can go, all the way from transformers. That’s a journey we’ve been on. You will see us continue to do that. When you’re at the frontier, you get an earlier look into the emerging capabilities, earlier than others, which helps you better prepare for the future. We are fortunate to have a wide set of opportunities across consumer and enterprise. Some of our cloud customers, for sure, want the model at the frontier. The frontier models will be better at developing the next set of models in an era of recursive self-improvement. I would argue it matters there. Internally, we have definitely seen a steep point of inflection by deploying Argon to our developers. It definitely tackles problems which our previous models could not do. Being at the frontier puts you at the innovation frontier and helps you drive that as well. There is room for models of all sizes and capabilities. That’s why we did Flash, Flash-Lite, etc. I agree with you that you can develop very good product experiences with not necessarily the most frontier model, because they tend to be slower and more expensive too. But we care about the Pareto frontier, and we’re committed to doing all of that. You said developing frontier models gives you a look at what’s coming. What do you see on the horizon? What makes this moment so exciting is you build something which you think is a culmination of months of work, and you put it out. You already see clear headroom ahead. We’ve all been working on these agentic, long-horizon capabilities, but clearly the frontier is going to have multiple of these agents working together to do things. That’s an example of an exciting paradigm underway. It’s also clear to me that users, both in consumer and enterprise, will have access to some multi-agent framework for them, working all the time doing things. It feels like a moment of infinite possibilities. Sergey Brin said one of Argon’s core innovations was relying more on the model to help develop the model. Yet incidents involving OpenAI’s bots breaking containment and Google’s bots accessing a site they shouldn’t have suggest these systems still aren’t perfectly aligned. Isn’t there reasonable cause for concern about accelerating toward recursive self-improvement? There are three parts to your question. Let’s first talk about RSI itself. You’re right, Sergey mentioned RSI being a critical contributor as we are developing Argon. But to be very clear, today, in a continuum, we are pretty far from the end state of RSI or something like that. The right way to describe it is you have RSI loops along with AI researchers in various aspects of model development. You almost have agents helping AI researchers in some automated way work together to build these models. It’s good to at least understand where we are today, and it’s super exciting. I expect that continuum to keep making progress as we go into next year. The second question is around safety. Security comes from defense in depth. You’re talking about alignment, obviously. We all are doing a lot of work to make sure the models are as aligned as possible. But it’s an active area of research, and there are clear gaps. That’s not the only thing we rely on. You have the work you do on alignment, but beyond that, we put a lot of effort into real-time monitoring as these models are working. Making sure you have good telemetry into what’s happening so that you can intervene in real time if you see unexpected behaviors. How you do that, the architecture with which you do that, how you make sure it’s all sandboxed and isolated in a way that it can continue doing its job during real-time monitoring — these are all areas of investment. Obviously, when we deploy these models, giving customers, enterprises, control, both with real-time monitoring, but their ability to decide where they deploy, what type of data which models ever have access to, etc. All that work is very, very important, and we are doing a lot of that. As an industry, we need to constantly up our game and take the time to do all this stuff, including dedicating the compute required to make sure you can safely deploy these models. The third part is: Is it all enough? This is why there are a lot of conversations in the industry, and I think it’s reasonable to be worried. The right way to approach something you worry about is early on thinking about what more we can do. As an industry, you’re definitely seeing increased levels of work on alignment, testing for safety, etc., as we deploy these models. The next step would be developing better standards so there are cross-industry standards of how we do these things, including the ability to evaluate using independent evaluators. If you look at areas like financial controls, we have accounting standards, we have independent auditors. Those are all the next natural steps for us as an industry to work toward, and regulation will end up playing a role as we go through all of that as well. Google pursues both language models and world models, while some other AI companies like OpenAI have focused more heavily on LLMs as the path to AGI. Why is world-model research important to you? As humans, you obviously perceive the world around you, and you’re taking all those inputs. Making sure these models are able to understand the laws of physics, simulate the world in high fidelity. All that, I think, are key enabling blocks for intelligence. We are working across all possible applications of this. Take an area like robotics. It’s not an accident: If you look at embodied reasoning benchmarks, Argon is state of the art. That all comes from our experience building world models. Inherently, I would expect there will be architectures which will converge all of this in the future. But for us, we view this as, today, this jagged frontier that is intelligence. We want to be at the frontier of all the possible approaches, and that will help us both drive better research, better insights, and develop a much better AGI model, is how we think about it. Some people argue Google should focus on selling its computing resources rather than using them for AI research. Cloud wants to sell compute at a high markup, while researchers need a very big computer to build the best models. How do you balance those demands? Ground zero for us is making sure we are investing in the compute that’s needed to be at the AI frontier. In 2015, I set the company to be AI-first. AI is that key horizontal ingredient across everything we do, all the way from Search to Cloud to Waymo. That is ground zero for us, making sure both for research and developing the models that we have enough compute needed. Beyond that, we have these independent businesses which each have their own long-range plans. They’re using those long-range plans to project forward, and we plan for compute for all of them. The cloud team, they have a business and they have a projection and they have demand signals. They have committed contracts. With that help, we can plan on a long-term compute trajectory for them. We’re fortunate to have this wide set of opportunities. There’s no company in the world which isn’t making trade-offs at any given moment in time. But the first principles we operate on is making sure we have enough compute to invest in the frontier, and that’s non-negotiable, and everything else works on top. Remember, we are building our own compute, our own data centers. There are long lead times. The compute we have today is a function of decisions I made in 2024. Even if you think back to a year from today, last year the agentic coding takeoff hadn’t happened. Today, obviously, when you sit and look at anything, everyone is short—not just us, other companies—and everyone wishes you had two times what you had planned for. That comes with the territory. At any given moment in time, we are planning for what we would need two to three years out in the future. You’re going to find some decisions you make may look suboptimal two years out, depending on where the state of the art is. I don’t spend too much time thinking about it. The way I think about compute allocation is making sure Google DeepMind, both for research and frontier model development, is cutting edge in terms of compute access. After that, we plan for all our businesses. It’s great we can provide our compute to other people too, like we have done. It allows us to scale that up, get real tests for it in the widest application set possible, test it in the real world, and make sure we are at the cutting edge of technology at every layer of our AI stack as well. Ben Horowitz relayed on a podcast that Andy Jassy had said compute was sold out until 2028. Are you seeing the same thing? If today a customer is coming out and asking us for compute in ’27, that is incredibly difficult to do. Even last year we went out and leased some short-term compute to accommodate some customers and help them out. But yes, we are all dealing with similar timelines. Every major technology shift seems to involve overbuilding, from railroads to fiber. Do you think that’s happening here? It depends on the time frames you’re looking at. This level of build, if I take a long enough time frame, it makes complete sense to me. We are at early stages of the most consequential technology ever, and this is not like fiber. It’s not dark. We are using it. We are capacity constrained on a daily basis. The applications, the underlying technology is improving rapidly. But running a company, the way I work through the moment is you look at your demand signals. You look at your committed revenue opportunities that you’re getting in the form of contracts. You balance that with the underlying technical capability, or internally you balance how we are using it internally, the model trajectories. Based on all that, you take a disciplined approach—a confident, aggressive, but disciplined approach—to plan out compute. But when you talk about the broader economy as a whole, you’re having people operate with various levels of risk. I focus on what I can control as a company and plan through it. If your question is, can there be an overbuild? Yes, because you can have some constrained components. Remember, what matters is a set of everything you need to build out that compute. Memory, electricity, electricians…. Land. Like 2,000 components or more. You could get constrained at some point. There could be things which cause bottlenecks, and then you could have overbuilds. There could be external shocks to the economy. There are macro risks. All that is possible at any given time. But am I confident that the compute we are planning for, we will have uses for it given enough time? Absolutely, yes. I was in the room when you said AI would be as profound as fire and electricity. If you believe that, shouldn’t you give researchers the biggest possible computer, even at the expense of today’s cloud profits? We’re all doing some form of that. Our cloud business is at any given moment in time forgoing short-term revenues because we are making compute trade-offs to support frontier AI development. What you’re seeing is true already. But you want to be thoughtful. Even our AI researchers have some constraints, which are also good. That’s what inspires creativity. That’s what helps you come up with a more efficient algorithmic breakthrough, maybe to use less memory. What we are committed to is to invest what’s needed to stay at the frontier. OpenAI President Greg Brockman told me a few months ago that the ideal AI product might have no interface at all—just as natural as conversation. What do you think the interface looks like in the age of AI? Computing historically has been humans adapting to computing. With AI, it’ll be the other way around. The technology will adapt seamlessly to how humans live and go about their day-to-day life. You want to be able to speak to that AI when you want to. It has context. It can be persistently running somewhere, give you continuity. You’re not dealing with a lot of complexity. It’s natural. All that makes sense to me. That doesn’t mean it won’t have any interface, however. Nowadays, even on my phone, Gemini voice models are so good. I can just press the microphone button. I can just ramble. That’s why we call it Rambler. I can ramble. It intelligently corrects with my personal context. Even my friends’ names, weird names, it gets it right, even if it first guesses it wrong. It’s amazing. I’m not going in, backspacing, editing once I finish saying it. It’s remarkable how good it’s gotten. But there are going to be moments you will need an interface. You may want to entertain yourself. You may want to watch a video. You may ask your AI to create something, and you want to watch it, consume it. The way I think about it is, you want it to be as seamless and as natural as possible, and that you are not doing the hard work adapting to whatever the interface is. The technology is adapting to how you’re working at any given moment in time. When I asked Sam Altman about competition from Google, he argued that OpenAI was building AI-native products and implied Google was bolting AI onto existing ones. Do you accept that framing, and can a “bolt-on” compete with an AI-native product? First of all, it’s a very dynamic moment. We are all pushing each other. OpenAI has pushed us as a company too. This is not just we are doing something to them. Far from it. Yes, Google went into its own version of a code red too. In the AI moment, all of us have to respond with varying levels of urgency at any given moment in time. We are constantly building new products as well. Gemini was built from the ground up as a product—the Gemini app I’m talking about. Or tomorrow, as all of us are adapting to agents, are you bolting agents onto ChatGPT, or are they building it natively? How would you think about that? You can always put these questions back. I don’t think of it that way. I think of it as you want to build world-class product experiences that are AI-native and they are winning. Some of it is adapting products, some of it is rethinking new experiences. They will all be part of how you approach this moment. How do you expect to make money from these AI interfaces? If an agent recommends a product and I buy it, should it take a cut of the sale, even if that’s disclosed? I’m going to put enterprise aside. Consumers are going to increasingly value this technology. Take software developers today. Developers are willing to pay for these coding models because it really helps make them more productive. Nobody would want to code the way they were coding three years ago, or even the same time last year. When you’re delivering value, there’s value to be had. I’ve never seen examples where consumer products really scale to billions of users, where people are using it intensely, and haven’t had monetization to go along with it. If you’re providing value to people, there is inherent value to be had. The nature of it may change. You’re asking a scenario in which agents are doing stuff for you. At the end of the day, you will have commercial needs. The agents need to fulfill those commercial needs. The providers on the other side are going to see value in that. There’s going to be some mechanism by which it gets fleshed out. That’s what an efficient system does. But what matters is that you’re building those world-class consumer experiences. I promised myself one product feature request: Can you make Gemini-powered search in Gmail as good as searching Gmail through ChatGPT? What’s going on here? One of the exciting things we announced recently is the unified Gemini agent for enterprise, and we’re bringing that to consumers. These are persistent agents which run 24/7 in the cloud. We’re spinning up a micro VM effectively for every query, and from the runtime, the harness, the model—it’s all a headless service. It’ll work everywhere, and it has your context with you. You can address this agent whether you’re in Workspace, in Search, in Gemini. Agents are going to drive this unification from a customer experience, which people are looking for. When you have a broad product portfolio and you’re moving forward fast, there are always areas where you’re moving forward faster than some other areas. That’s valid feedback. But we are putting a lot of time and effort into making sure, as we build out our agentic experience, that unification and that capability works well across all these services. People have asked where Google’s equivalent of Muse or Dots is. Do you anticipate creating a new product to compete with them? Our goal with Gemini is to be a personal, proactive, and powerful assistant. That’s what we are working toward. You saw us describe the early versions of it at Google I/O this year with Spark. Effectively, already, if you open the Gemini app as a Pro or an Ultra user, you see Chat and Task, and they start giving you that agentic experience. With Argon now, that capability is dramatically accelerated. What we announced recently in our enterprise event, we are bringing that to consumers as well. Soon in Gemini, you will be able to ask something, and it’s a continuum. You don’t need to think about whether you’re asking a chat or an agentic task. It’ll just automatically do the right thing, and it can work persistently in the background securely and get things done for you. Already, empirically, when I look at what’s coming into Gemini in our app, last year you would have tagged them and most of them would have been chats. But a steadily growing percentage is already agentic tasks in Gemini. Yes, we are going to bring personal agents to our consumers. It’ll work in the Gemini app. It’ll work in Google Search. It’ll work in Gmail. You can address it, call it, etc. We want to make sure we’re getting it right. It’ll be powered by Argon, and we are very excited to bring it to our users. Google has invested and committed tens of billions of dollars to Anthropic. What do you see in Dario Amodei that makes you want such a deep investment and partnership? Very early on, when we looked at the founding team of Anthropic, it was very clear to us this was a world-class team which was involved in some of the earliest GPT models. We were quickly able to assess that they would be at the frontier. We’ve always tried to identify and partner with companies which would be at the cutting edge of technology. We’ve done that with SpaceX. We’ve done that with Anthropic. That’s what we saw, and we had a chance to partner. Is your partnership with Apple to license Gemini for Siri expanding, contracting, or standing still? For both us and Apple, that partnership was about translating the capabilities of AI into better experiences for users. I thought Apple has done a phenomenal job of incorporating—they customize these models and build it into Siri—and it’s been great to see the reception. We are committed to doing more. You’re going to do more with them? There’s nothing specific to comment, but it’s a partnership. It’s working well. What have you learned so far about the feasibility of data centers in space? It’s a very exciting project. Projects like this remind me—I still recall that moment in the desert for the DARPA Grand Challenge, watching the Stanley car compete in it, which ended up being the basis for Waymo. With all these technologies, you’re at a moment in time where it looks a bit like sci-fi, but 10 to 20 years down the line, it’s actually working in a meaningful way. I feel the same in space. We’ve always believed in betting big on these technologies. Quantum has been a great example of it. We’re probably 10 years into the journey. Waymo, we are almost 20 years into the journey. Space, we are two to three years into the journey. It’s clear to me that it’s an approach which will make a lot of sense in the future. Being in sub-synchronous orbits with 24/7 access to the most abundant form of energy we have access to will make a lot of sense for this exponential increase in compute that we are going to need. Having said that, this is a challenging project. The team has disciplined milestones. It was a super exciting milestone to send the TPUs up to space. Sometime, as we are speaking, we are expecting a “hello world” moment from them. I look forward to seeing that happen, and we’ll continue investing here too. You previously said 25% of the code written within Google was written by AI. What’s the number today? That number in our world today is meaningless in the sense that every part of what we now touch is influenced by AI deeply. What we are tracking with Argon, for example, it’s been a point of inflection. People are using Argon to really go tackle complex projects, including projects which affect millions of lines of code. In the four weeks since we have launched Argon, we have seen a 30% increase in CLs, and more importantly, almost a similar increase—a one-third decrease in rollbacks. People are writing code more productively and better code with it. We are tracking it with newer metrics now. How are you dealing with opposition to data centers? If you can’t build in the U.S. the way you want to, where else do you go? We’re very committed to building our data centers very responsibly. When I look at our largest data centers in some of the communities where we have been the longest, I visit them, I talk to people. There are people who come and tell us their kids have gone to college because of our investments in these communities, and we’ve grown in those communities. To me, this is about doing it right. Engaging with the communities early, doing it transparently. We are committed to making sure we are bringing incremental power, and we cover 100% of the cost of our power needs for these projects. It’s understanding the impact on neighborhoods and making sure you’re working thoroughly to address them. Done rightly, you can continue making progress. But we are constantly taking feedback into account. I do worry not everyone operates the same way. People have been surprised by data centers showing up in their backyard. Those are all important. As an industry, we should continue to do better. But part of the reason, in a 20-year time frame, we are thinking about things like data centers in space is making sure we are able to put these data centers where maybe the trade-offs will be different. What unproven area of AI is Google working hardest to crack? Is it continual learning—getting models to keep updating after release—or something else? There are multiple parallel paths. You saw with Argon we have a million output tokens. With our Gemini models early on, we had a one-million context window on the input side. These are all examples of breakthroughs we are constantly working on. How do you think about synthetic data? How do you think about continual learning? How do you think about more efficient architectures? We do dedicate a meaningful percentage of our compute to these research bets too. It always goes hand in hand, including our world models. Those are all bets we are placing. Sometimes, as part of these bets, there are ideas that emerge which just make their way into the mainline models. Maybe we don’t fully talk about it, but we have multiple steps in these areas. Working in technology requires optimism that building something will improve the world, but those bets can leave real consequences when they fail. I recently returned to a town in El Salvador where enthusiasm for Bitcoin had given way to unfinished construction and something resembling a ghost town. How do you maintain the optimism you spoke about in your Stanford commencement address while accounting for those risks? I genuinely have a deep conviction that improving technology and improving access to technology makes people’s lives better. It’s been my personal experience in my life, out of which comes that deep conviction, optimism. But with that, I’ve always felt humanity’s journey is always about working hard to harness that technology to make it work well for society. The optimism is not an optimism that you just build whatever you want, whenever. You work hard to make sure you’re building technology in the service of humanity, to make the human condition better. That’s got to be the defining goal as we are approaching it. With that framework, I’m very, very optimistic. We are in very early stages of the kind of progress that we are going to see on many areas. We’re all talking about areas like healthcare. A lot of the progress is ahead. The ability to make things in a fundamentally cheaper way on many things where things have been getting expensive for a long, long time, discovering new materials, etc., which really bend the curve—it’s tough to step today and understand the impact of all that, but they’re going to be very profound. I’m very optimistic, but we have to be rightfully concerned about all the ways this technology can go wrong. Sundar, I know you don’t do many of these. Thank you. Thanks, Alex. Appreciate it.
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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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Chris Koza album release concert Oct. 24
Lanesboro Arts is thrilled to celebrate the release of Chris Koza’s latest album, “Millsmoke on the Skyline,” with a concert at the St. Mane Theatre at 7 p.m. on October 24. Chris Koza is a composer and performer based in Denver and Minneapolis. In his writing, Koza both honors and builds on the vast genre of Americana music. For every song that sounds like it could be strummed from a boxcar clacking slowly across a grassy midwestern plain, there’s a tune sailing from a city rooftop, echoing across a valley of streets and traffic, or a melody twisting and shimmering like a dim frequency deep into the starry night.Both as a solo artist and with his band Rogue Valley, Koza has supported and shared the stage with artists such as Brandi Carlile, Gordon Lightfoot, Ingrid Michaelson, The Jayhawks, Neko Case, Kathleen Edwards, Dan Wilson, and many more. His music regularly appears on ABC’s “General Hospital,” “60 Minutes,” and “Good Morning America.” Koza’s song, “Be Wild,” was also featured in a state of Minnesota tourism campaign.#placement_932485_0_i{width:100%;max-width:550px;margin:0 auto;}var rnd = window.rnd || Math.floor(Math.random()*10e6);var pid932485 = window.pid932485 || rnd;var plc932485 = window.plc932485 || 0;var abkw = window.abkw || '';var absrc = 'https://ads.empowerlocal.co/adserve/;ID=181918;size=0x0;setID=932485;type=js;sw='+screen.width+';sh='+screen.height+';spr='+window.devicePixelRatio+';kw='+abkw+';pid='+pid932485+';place='+(plc932485++)+';rnd='+rnd+';click=CLICK_MACRO_PLACEHOLDER';var _absrc = absrc.split("type=js"); absrc = _absrc[0] + 'type=js;referrer=' + encodeURIComponent(document.location.href) + _absrc[1];document.write('');Koza’s latest offering, “Millsmoke on the Skyline,” grants the newfound outsider perspective of the rich life and golden fleeting days throughout the rural Midwest. Weaving melody and lyrics into vignettes and narratives set in places where love is powerful, dreams are vast, and life is beautiful.The St. Mane Theatre box office will open at 6 p.m. on the day of the concert. Tickets will be sold in person at the door or can be purchased online at lanesboroarts.org. Seating at the St. Mane theatre is first come, first served. Tickets are on sale now for $25 for general admission or $22 for Lanesboro Arts members.The 2026 performing arts season at Lanesboro Arts is made possible by our season sponsor, Poet Refinery, as well as our concert level sponsors, High Court Pub, Krage Insurance Agency & Preble Farmers Mutual, Stone Mill Clothing & Gifts, E2 Boutique/Amish Experience, and The Cottage House Inn, and community sponsors, VIS Plumbing, Granny’s Liquor, Kingsley Mercantile, Batstone CPA, Clara’s Eatery, IGA, Niagara Cave, and Huntington Electric. This event is made possible by the voters of Minnesota through a Minnesota State Arts Board grant, thanks to a legislative appropriation from the Arts and Cultural Heritage Fund. #placement_932489_0_i{width:100%;max-width:550px;margin:0 auto;}var rnd = window.rnd || Math.floor(Math.random()*10e6);var pid932489 = window.pid932489 || rnd;var plc932489 = window.plc932489 || 0;var abkw = window.abkw || '';var absrc = 'https://ads.empowerlocal.co/adserve/;ID=181918;size=0x0;setID=932489;type=js;sw='+screen.width+';sh='+screen.height+';spr='+window.devicePixelRatio+';kw='+abkw+';pid='+pid932489+';place='+(plc932489++)+';rnd='+rnd+';click=CLICK_MACRO_PLACEHOLDER';var _absrc = absrc.split("type=js"); absrc = _absrc[0] + 'type=js;referrer=' + encodeURIComponent(document.location.href) + _absrc[1];document.write('');
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Can AI solve our mental health access problem?
Last week I asked you what worries you most about AI in health. It was close, but your top answer was “AI giving bad health advice.” Last week’s poll results: You’re in good company. This concern was top of mind at a conference I joined at Stanford last week, where researchers, clinicians, and people who build AI systems spent a day debating trust and safety in health AI. Stepping back, I’m also hearing your emerging concerns about AI’s impact on our well-being generally. I see this as a matter of public health, and we’ll take it in pieces as we learn together. Today we’ll focus on AI chatbots used for therapy for mental health. Early this month, Governor Newsom vetoed Senate Bill 903, California’s most ambitious attempt to regulate AI use for mental health. It’s at the center of active debate, and raises the questions patients, family members, citizens, and voters will face as AI moves deeper into health care. Let’s work through it. What is “AI-based therapy”? It’s really two things: purpose-built mental health apps designed to deliver structured support, and general chatbots like ChatGPT, Claude, and Gemini that people increasingly use for emotional support—even if they weren’t built for it. Spoiler alert: I don’t know whether the shift toward AI therapy is good or bad. The evidence isn’t there yet. But I do know it’s already happening, and I have some ideas about how we can roll it out with safety in mind. The therapy dilemma, in a nutshell Mental health challenges are common, and strain health and well-being across populations. Therapy (interactive dialogue with a trained, empathetic practitioner) helps many people heal. The demand for licensed therapists far exceeds the supply in California, and AI-based therapy can narrow that gap. AI-based therapy remains novel, unproven, and not well tested. Right off the bat, we can see we’re dealing with trade-offs here. Since the main driver of demand for therapy from a robot is lack of access to therapy from a human, we’ll start there. It’s too hard to find and afford a human therapist California is short roughly 55,000 licensed, non-prescribing therapists and counselors, about 40% of what we need. Psychiatrists, who rely on talk therapy as a complement to prescribed medications, are even more scarce. Eight counties have none, and density ranges from 1.7 per 100,000 residents in San Benito County, to 68.1 in Marin County. My wife is a psychiatrist in Marin, and even here access is tight. If it’s hard in the best-supplied county, imagine rural Sierra County, or the San Joaquin Valley. In 2024, more than half of Californians who tried to make a mental health appointment struggled to find a provider who took their insurance, compared with 14% for physical health care. When Senate staff posed as “secret shopper” patients and called 120 mental health providers in Medicare Advantage networks, they landed an appointment less than once for every five tries. Insurers pay behavioral health clinicians about 22% less than medical and surgical clinicians for comparable office visits. On top of that, billing denials and prior authorizations hit hardest at the solo and small practices common in mental health. Psychiatrists opt out of Medicare at the highest rate of any specialty. In many places, a cash practice for therapy fills quickly with patients paying $250 or more an hour, with no insurance paperwork at all. Families who can pay cash find providers more easily. Those who rely on insurance, including Medi-Cal enrollees, older adults, rural residents, and non-English speakers, compete for what’s left. So we can’t pretend the human system works, and we can’t blame people for turning to AI for support when they’re in distress. AI is filling the gap It’s estimated that roughly a quarter of AI users use it for mental health support. If you have internet, it’s available 24/7, it’s cheap, and it speaks your language. Uninsured adults are about twice as likely as insured adults to do it (30% vs. 14%). It feels anonymous in ways that may enable people to ask things they’re unsure or embarrassed about. The largely hidden, personal use makes it hard to study whether it’s actually helping people with their mental health issues, but researchers are trying. Does AI therapy work? A 2026 analysis of nearly 40 randomized trials found chatbots showed a real but small reduction in depression symptoms. But most of these trials were compared to an alternative of no therapy, not a human therapist. So the benefit of AI therapy is probably real, but modest, and mostly untested against the alternative of human contact. We need more studies. Serious concerns OpenAI’s own estimate is that more than a million ChatGPT users each week show signs of suicidal planning or intent. These are high stakes encounters, and AI doesn’t always get it right. That’s partly because a chatbot can sound like a therapist, but it has no license, no duty of care, and it’s not clear who to hold accountable when it gets things wrong. AI is also designed to help users in whatever task they’re seeking to accomplish. People may feel like they’re getting therapy, but they’re mainly getting a convincing conversation. It’s easy for an AI companion to wander into gray areas, like playing along with “creative writing” that may be about the user’s own suicidal intent. Courts are driving safety conversations A wave of lawsuits have been filed on behalf of families claiming that chatbots pushed people they loved toward self-harm, including teens who died by suicide. The first settlements came this year. OpenAI is headquartered in San Francisco, and dozens of cases alleging that ChatGPT drove users to suicide or self-harm are now before a San Francisco judge. Character.ai has filed for bankruptcy after several states brought lawsuits accusing the chatbot of pushing dangerous content to kids. But the technology seems to be improving. Last month, an independent evaluation found that newer AI models “almost never endorse suicide.” That’s progress, but our societal appetite for even one preventable death is very low. So how do we move forward? Finding a middle ground Earlier this month the governor vetoed Senate Bill 903, a bill designed to place guardrails on the use of AI for therapy. The bill would have prohibited any AI-based platform from being advertised as psychotherapy, and would have required a licensed professional to review and approve each encounter where AI was used to support therapeutic decisions. Newsom called it overly broad, since even routine screening questions would have needed clinician sign-off. Knowing we’re already short on mental health providers, requiring human review of AI encounters may not relieve our access problems. Still, the answer isn’t no oversight. Here’s one feasible short term solution. Rather than reviewing each encounter, a licensed clinician can design the guardrails: what counts as a crisis, what triggers an immediate handoff to a human, and what gets sampled for audit each month. The AI runs inside that structure. Conversations get checked, failures get reported, and a real clinician owns the framework. Medicine already has models to learn from. The FDA process for rolling out newly approved medications is an example. After a product reaches patients, we keep watching for adverse events. Patient-facing AI needs the same “digital pharmacovigilance”: systematic tracking of harms, near misses, and the types of groups that get hurt and why. It’s also critical that users know that they can reach a human if they’re in crisis. Most chatbots now include messages like these: Bottom line The rush to use unproven AI tools for mental health support is mostly a workaround, a sign of a health system people can’t get into. We need better access to proven care from licensed clinicians. That takes reimbursement that makes accepting insurance viable, and a bigger workforce. But, built and tested well, AI could be part of the answer. It could be the 2 a.m. check-in when no one else is awake, or a way for patients to practice skills their therapist taught them. It could be the first step to get someone the right level of care, and take paperwork off clinicians’ plates so they spend more time with patients. None of this is simple. The SB 903 veto doesn’t end the debate, and the legislature will be back. In the meantime, those of us using these tools need to stay informed, ask hard questions, and hold the companies building them accountable. I’ll try to do my part, and we’ll keep learning together. Love,Matt P.S. If you or someone you know is struggling with mental health challenges, emotional distress, substance use problems, or just needs to talk, call or text 988- you’ll reach a real person— or chat at 988lifeline.org 24/7. Dr. Matt Willis is the author of Your Local Epidemiologist in California. A California native, he’s served as a primary care physician, CDC epidemiologist, and public health officer for Marin County, where he guided the pandemic response. He lives in Marin with his family and their dogs, Teddy and Ramona. Thank you Cynthia He, MD, PhD, and Parnika Saxena, MD, for their guidance in preparing this article. Cynthia works in an outpatient mental health clinic, treating patients who have Medi-Cal or, sometimes, no insurance. Parnika works in an inpatient psychiatric unit, treating patients with public or private insurance or self-pay ability. All opinions are their own and do not represent their employers.
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