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Push to increase access in N.Y. to mental health treatments
The announcement is in the wake of President Donald Trump’s April 2026 executive order accelerating medical treatments for serious mental illness.
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.
ENTERTAINMENT: Magic Screams at Magic Springs; MacArthur Museum hosts 13th Vintage Vehicle Military Show
Magic Springs Theme and Water Park brings back its annual Magic Screams, billed as Arkansas’ largest Halloween festival.
Sean Sweeney Already Building Strong Culture With Orlando Magic
From Seattle workouts to intensive two-a-days, the new assistant coach is cementing player buy-in through personalized development plans and a relentless commitment to rapport-building in Orlando.
What Will the Best Version of the Magic Look Like Under Sean Sweeney?
The Orlando Magic will get their first dose of game action on Wednesday against the Memphis Grizzlies, and it will be a preview for how they will look under coach Sean Sweeney.
Musicians host a magical, free concert
RANCHO CORDOVA — Something wicked this way comes. The Rancho Cordova River City Concert Band invites the community to an evening of musical mayhem, monstrous melodies, and magical mischief at
Greensboro Science Center Winter Wonderlights
The magic of the holiday season is back! Winter Wonderlights, presented by Cone Health, returns to the Greensboro Science Center for Year 7, November 18 through January 3.Experience the wonder of the holidays surrounded by more than one million twinkling lights, handcrafted lanterns and the iconic g...
Greensboro Science Center Winter Wonderlights
The magic of the holiday season is back! Winter Wonderlights, presented by Cone Health, returns to the Greensboro Science Center for Year 7, November 18 through January 3.Experience the wonder of the holidays surrounded by more than one million twinkling lights, handcrafted lanterns and the iconic g...
'Bring the magic' - Scotland's Ross eyes World Cup dream
Scotland assistant coach Leanne Ross never played at a World Cup but thinks the current squad has what it takes to get through the play-offs for Brazil 2027.
Pixar exhibit brings movie magic to Frost Science
Buzz Lightyear may have doubts about humans and space travel, but when it comes to bringing Pixar characters to life, filmmakers take technology to infinity and beyond.
Pixar exhibit brings movie magic to Frost Science
Discover The Science Behind Pixar at Phillip and Patricia Frost Museum of Science in Miami — interactive exhibits that explain animation, rigging, simulations and STEM.
Disney World raises prices of annual passes, tickets
An already expensive visit to the “Most Magical Place on Earth” is about to get even costlier as Walt Disney World raises prices for annual passes and some single-day tickets.
Can Desmond Bane be Even Better for the Orlando Magic?
Orlando Magic guard Desmond Bane showed last season why trading for him was the right choice, but can he be an even better version of himself in the upcoming season?
Mama Mia Magic Celebrates 20+ Years of Bringing Magic and Entertainment to South Florida
Miami magician Mama Mia Magic celebrates more than 20 years of bringing magic shows, characters and party entertainment to South Florida.
God Packs are Officially Coming to Magic: The Gathering
Magic: The Gathering booster packs have gone through a lot of changes in the last decade, some of which have been awful. But Wizards of the Coast are introducing 'God Packs' to MTG, which could feel like winning the lottery.
Holiday magic returns with sugar sparkle at holiday event
Holiday magic is getting a storybook twist when Quantum House brings back Sugar Plum Dreams.
⚾️ Y! Sports AM: Magic in Milwaukee
Jackson Chourio played the hero on Sunday, lifting the Brewers to an epic victory.
Honor Magic 9 series global launch scheduled for January 2027
Honor Magic 9 series is set to hit the global launch stage in January 2027. As per the company’s official announcement, the flagship smartphone is coming to overseas markets, starting in Europe early next year after a successful Chinese launch. Magic 9 series made its debut in China last week, and Honor has begun preparing […]
Magic's Jevon Carter Praises Team Chemistry, Work Ethic
Orlando Magic guard Jevon Carter had a lot of good things to say about the team following the fifth day of training camp.
Orlando Magic's Jalen Suggs Details Key Differences in Coaching Staff
Jalen Suggs reveals how a lifelong bond with new head coach Sean Sweeney is fueling a systemic shift in Orlando, prioritizing disciplined efficiency over past habits.
A familiar figure, a new voice: Meryl Streep’s Aslan stirs gender debate over Gerwig’s ‘Narnia’
Director Greta Gerwig's film adaptation from "The Chronicles of Narnia" is sparking controversy over casting of Meryl Streep to voice Aslan the divine lion in "Narnia: The Magician’s Nephew.".
A familiar figure, a new voice: Meryl Streep's Aslan stirs gender debate over Gerwig's ‘Narnia’
Director Greta Gerwig's film adaptation from "The Chronicles of Narnia" is sparking controversy over casting of Meryl Streep to voice Aslan the divine lion in "Narnia: The Magician’s Nephew." Some...
A familiar figure, a new voice: Meryl Streep's Aslan stirs gender debate over Gerwig's ‘Narnia’
Director Greta Gerwig's film adaptation from "The Chronicles of Narnia" is sparking controversy over casting of Meryl Streep to voice Aslan the divine lion in "Narnia: The Magician’s Nephew." | WBBM Newsradio 780 AM & 105.9 FM
Orlando Magic's Jalen Suggs Ready for 'Fresh Start' This Season
Bolstered by an elite defensive reputation and a rigorous offseason, Orlando’s versatile guard embraces a new coaching staff and reduced offensive pressure to anchor the team’s resurgence.
Ace Combat 8 Secretly Has the Best Video Game Music of the Year
Give it up for Purple Magic
White Sox vs. Guardians: Two Keys to Winning the ALDS
The White Sox face a familiar rival in Cleveland as they look to keep their magical postseason run alive and advance to the ALCS. Here’s how they can do it.
Getting a taste of stage-door magic at \'Oh, Mary!\' on Broadway [column]
Before this year, the last time I set foot in a Broadway theater was 2007.
Man used Facebook Marketplace to advertise business selling magic mushrooms: HCSO
A Riverview man was arrested on Friday after authorities said he was running a business selling hallucinogens on Facebook Marketplace.
Colossal Biosciences' Ben Lamm on AI and the science of de-extinction
Ben Lamm, Colossal Biosciences Co-founder and CEO, told CNBC's Julia Boorstin at the 2026 CNBC AI Forum about how AI helps make "magic" happen when it comes to de-extinction.
Orlando Magic's Franz Wagner Ready to Take 'Advantage' of Opportunity
Fresh off an injury-plagued season, the versatile wing prioritizes physical longevity and a heightened sense of urgency to push Orlando beyond the first round of the playoffs.
New Black Cat Theater Cafe brings live entertainment to Tulsa’s Studio Row
The new Studio Row venue will feature family matinees, live theater, magic shows, comedy and other entertainment alongside a full cafe and bar.
Orlando Magic's Nikola Vučević Draws Flattering Comparison for Sean Sweeney
The veteran center praises new head coach Sean Sweeney’s collaborative style, drawing a high-stakes parallel to the coach who sparked the best seasons of his storied career.
Affordable entertainment just steps off Moab's Main Street: Backyard Theater turns 13
Moab's Backyard Theater turns 13 with free Wednesday bluegrass and Rick Boretti's Saturday magic show, kept going by donations and a magician's rent.
Introducing the 2026 Wahine Issue
October always brings a bit of magic. Not just the fall season, but the Wāhine Forum, Hawaiʻi’s largest leadership and career development conference for
Magic's Sweeney Speaks Highly of Roster, Talks Significance of Leadership
Orlando Magic coach Sean Sweeney had a lot of nice things to say about his players during media day while also underlining the importance of leadership.
Capitalizing on the 'magic pill for health': Bernardston Senior Center distributes 45 Fitbits to encourage activity
The Bernardston Senior Center distributed 45 Fitbits to local seniors via a Mass COA grant to encourage fitness and healthy aging.
Paolo Banchero is Set to Lead With Vengeance
Fueled by a bitter playoff exit, Orlando’s cornerstone demands collective urgency and peak efficiency to transform the Magic from first-round mainstays into legitimate Eastern Conference powerhouses.
California's Six Flags Magic Mountain closes X2 coaster permanently after history of injuries
LOS ANGELES — Six Flags Magic Mountain’s famous X2 roller-coaster ride is permanently closed, following a history of injuries, including some that led to deaths, park officials announced Tuesday. The
Why Paolo Banchero is Ready to 'Dominate Every Single Night'
Armed with elite conditioning and a refined interior presence, Orlando’s cornerstone enters his third season hunting consistency and a superstar leap to lead the Magic through the East.
California's Six Flags Magic Mountain closes X2 coaster permanently after history of injuries
LOS ANGELES — Six Flags Magic Mountain's famous X2 rollercoaster ride is permanently closed, following a history of injuries, including some that led to deaths, park officials announced on Tuesday.
Six Flags permanently closing X2 roller coaster after over 100 brain injury claims
Six Flags Magic Mountain will permanently close the X2 roller coaster after over 100 allegations of brain injuries stemming from the controversial California ride.
Magic in Store: This month, a witchy business will put you in the right spirit
Abby Minnich is a planetary scientist who puts complex concepts into plain language. “I like to connect with the earth,” she said. “Trying to figure out how things came to be. I would say that is my purpose, almost, trying to figure it out and sharing it.” Which leads her to visit metaphysical shops like […]
PNB’s ‘Serenade’ made the audience gasp
PNB's 54th season began with the magical "Serenade" and a cast that didn't disappoint.
Why Paolo Banchero Needs Massive Leap Into Superstardom
Orlando must shatter a cycle of first-round exits, demanding that their cornerstone hunter trades jump-shot settling for interior dominance and elite efficiency to join the league's elite.
Business Breakdown series being revived in Greenfield
Greenspace CoWork is reviving its Business Breakdown series on Oct. 1 with guest Victoria Tubbs of Magic Wings Butterfly Conservatory.
Enagic rep tells moms to disinfect with 'magic water,' and the science falls apart
Effective disinfection depends on proven products, clear instructions, and a little skepticism, especially when a sales pitch starts sounding more like a chemistry magic trick.
Enagic rep tells moms to disinfect with 'magic water,' and the science falls apart
And when a claim is packaged inside an MLM pitch, even more caution is warranted.
Can Orlando Magic Answer One Major Question This Season?
Injuries frequently derail Orlando’s momentum, leaving fans wondering if a stable roster and veteran continuity can finally transform this young core into a resilient postseason threat.
Schmear We Go Again: New York BagelFest Rolls Out Its Judges, Industry Talks and Entertainment
Acclaimed judges, bagel industry icons, world-class magic and live art join an international lineup of leading bagel makers.
Honor’s Magic 9 Pro Max has a big camera and a bigger battery
The phone borrows Arri’s “three-lens turret” design.
Honor Magic 9 Pro Max debuts with stylish design, dual 200MP camera, 8800mAh battery
It’s September 28, and Honor debuts the Magic 9 Pro Max with a stylish design and a mesmerizing upgrade over the previous-generation handset. From name and appearance to internal specifications, the company has given a complete makeover to its annual flagship. It’s time to explore the top-tier smartphone. Magic 9 Pro Max debuts as the […]
Full Court Magic Episode 35: Major Takeaways Before Media Day
New head coach Sean Sweeney faces immense pressure to instill discipline as Jeff Weltman bets big on roster continuity and a veteran reunion to escape postseason stagnation.
The Difference in Challenges, Expecations for Orlando Magic
The upcoming season will be a lot different for the Orlando Magic. Can they make the most of it?
What's a pumpkin concierge? Meet the southern Indiana business delivering fall magic
"Hello Pumpkin LLC" is a luxury pumpkin concierge service that delivers pumpkins to your front porch, creates a porch display for you and removes them at the end of the season.
The 6 Best Science Fantasy Books Released Since 2000, Ranked
From The Fifth Season to The City of Brass, these science fantasy novels blend magic, mythology, technology, and unforgettable worlds.
Can a nuclear bomb really save Earth? Scientists are testing the unthinkable - Futura-Sciences
A Nuclear Bomb in Space: Not Science Fiction Anymore Chinese researchers have just published a remarkable study outlining a radical plan to shield Earth from a giant asteroid: burying a nuclear bomb right into the cosmic boulder. We’re not talking movie magic here—it’s physics, simulations, and cold, hard calculations. The...
Full Court Magic Spark Notes: The Core is Set
The Orlando Magic are entering the 2026-27 season with mostly the same group as last year. Will it pay off?
My favorite Pixel 11 Pro feature is something no other Android phone can match
It's been about 3 years since Google revamped Face Unlock on Pixel phones, and the Pixel 11 Pro reminded me just how magical it is.
Volunteers needed for 2026 haunted science laboratory
Idaho State University and the Kiwanis Club of Pocatello seek volunteers to help set up and staff the 2026 Haunted Science Laboratory in October.
World of Warcraft: Forever has recaptured the original MMO's magic, something I thought was impossible
World of Warcraft: Forever's beta has set a high bar for the new iteration of the classic MMO, and having played it over the past few days, I'm utterly smitten
Optimism, Skepticism and Pessimism Regarding the Orlando Magic's Upcoming Season
There are things to be excited about, things to wonder about, and things to be concerned about as it pertains to the Orlando Magic in 2026-27.
UConn Alum Helps Chicago White Sox Make Historic Turnaround
Anthony Kay was part of the White Sox magical 2026 season, appearing in more than 30 games so far.
Cubs’ Final Series Might Be Forced To New Location
The magic number for the Chicago Cubs to clinch their spot in the 2026 MLB postseason is one, as they need either just one more victory or a loss by the Arizona Diamondbacks. The Cubs, who are playing their series finale against the Miami Marlins, have one more series remaining on the road against the […] The post Cubs’ Final Series Might Be Forced To New Location appeared first on HEAVY.
Paolo Banchero Plummets in Latest NBA Player Rankings
Despite elite production and playoff heroics, efficiency concerns and inconsistent decision-making have sparked a significant slide for Orlando’s cornerstone as he faces a pivotal make-or-break season.
Activision’s New Halo Must Leave Behind Xbox’s 15-Year Quest To Recapture Bungie’s Magic – It’s Time for a Doom-Style Rethink
Xbox has struggled to recapture Bungie's Halo magic for 15 years. Activision's new game needs to give the series a Doom (2016) style rethink.
Send us your Scotland World Cup memories of Boston
BBC Scotland is looking for Scotland supporters to send us their videos, audio and memories of that magical week or so in Boston at the World Cup.
Enzo Le Fée: Five More Years, Five Moments Of Magic
With our French magician having signed a new contract, Dean McDonald looks back at his finest moments in red and white.
Cubs’ Kevin Gausman Departs With Potential Injury: Latest Updates
The magic number for the Chicago Cubs to punch their ticket to the MLB postseason is one, but they’re certainly hoping right now that they’re not dealing with an injury to one of their most important players. During Wednesday evening’s contest at Wrigley Field against the Miami Marlins, starting pitcher Kevin Gausman dove to make […] The post Cubs’ Kevin Gausman Departs With Potential Injury: Latest Updates appeared first on HEAVY.
Phillies playoff tracker: Wild Card race, clinching scenarios and seeding
Track the Phillies’ path to another Red October, including their magic number, Wild Card standings, remaining schedule and potential playoff matchups
The Veteran Shooter the Magic Should Pursue
The Orlando Magic need 3-point shooting help, and one veteran may soon be available who can help address the issue.
Regent Bank Amphitheater Opens Its Doors This December, Marking VENU's Entry into the Oklahoma Live Entertainment Market
BROKEN ARROW, Okla., September 23, 2026--Venu Holding Corporation ("VENU" or the "Company") (NYSE AMERICAN: VENU), an owner, operator, and developer of premium live entertainment destinations, today announced that Regent Bank Amphitheater will open to the public on December 4 and 5, 2026 with its Winter Preview, featuring A Magical Cirque Christmas. Fans can sign up at regentbankamphitheater.com to be the first to know when tickets go on sale.
Padres Open Pivotal Series vs. Dodgers With Plenty At Stake
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How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
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