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'Disclosure Day' lands out-of-this-world opening weekend with $93 million at global box office
Steven Spielberg's alien oddity 'Disclosure Day' conquered the world this weekend with a $93 million gross, while the ultra low-budget horror 'Obsession' continues to surge in its fifth weekend in theaters.
Meep, meep. ‘Coyote vs. Acme’ opens with $15.5 million, 'Spider-Man' stays No. 1 for fifth weekend
Three years after Warner Bros.
Meep, meep. ‘Coyote vs. Acme’ opens with $15.5 million, 'Spider-Man' stays No. 1 for fifth weekend
Three years after Warner Bros.
Meep, meep. ‘Coyote vs. Acme’ opens with $15.5 million, 'Spider-Man' stays No. 1 for fifth weekend
Three years after Warner Bros. abruptly canned the Looney Tunes feature “Coyote vs. Acme,” it has a new lease on life thanks to Ketchup Entertainment. The movie debuted with an estimated $15.5...
Business - Oil rises, stocks fall as Iran war enters fifth week and further escalation looms
Box Office: ‘28 Years Later: The Bone Temple’ opens behind ‘Avatar: Fire and Ash’
James Cameron’s “Avatar: Fire and Ash” continues to dominate the North American box office, topping charts for the fifth weekend with $13.3 million in sales.
Moana, The Invite and “What Customers Want”
(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 going, I wanted to acknowledge that two of the most important figures in sports media (at least to me and my team) are stepping back from two of the best sports shows of all time. First off, Ernie Johnson will no longer host possibly the greatest studio show in the history of all sports, Inside the NBA. (Charles Barkley has said in the past that he’s retiring when Ernie does, which would be even worse!) EJ is one of the greatest to ever do it, and the NBA won’t be the same without him. Next, Michael Wilbon is taking a leave of absence from PTI, my favorite sports news show. I’ve been listening to the podcast for this show since the 2010s, if not earlier, treating it as my daily sports page. Wilbon, along with his co-host Tony Kornheiser, is also one of the greatest to ever do it. The sports media landscape will be worse without these two in it! Wishing all the best to Wilbon and EJ. Okay, on to this week’s issue. We’ve got two big shows—the second season of Prime Video’s The Terminal List and the third season of Netflix’s _Nobody Wants This—_but both were bested by an acquired title landing on Netflix. All that, plus an Original film from Mexico makes the charts but a formerly huge foreign TV show does not, a notable creator’s latest standup special flops, Ted Lasso finishes as a top season four series of all time, big numbers for the NBA’s new season (finally), the top animated shows on linear and streaming, movie budgets, and all the flops, bombs and misses, and a whole lot more. But first, on the film side, I’m taking a look at Moana and A24’s buzzy film from last summer. 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 October 19th to October 25th, 2026. You can find a link to my terminology here.) Subscribe Film - What Do Customers Want? If I could remove one phrase from entertainment journalism, it would be “what customers want”. It’s not that it’s not wrong per se, but I read a lot of articles that use that phrase, but then don’t provide evidence of what customers actually want.1 For example, look at the bar chart below. It shows customer interest as measured by how much customers actually spent at the American box office, comparing four films to four others. Which films would you say represent “interest” the most? The one on the left certainly seems bigger, right? So it seems like “customers” wanted to see those films more. So here’s that chart with names attached: That’s right, four very buzzy films—The Invite, You Can See Everything, Teenage Sex and Death at Camp Miasma and Primetime—went up against four notable “flops” or underperformers—Moana, Disclosure Day, Minions and Monsters, and Supergirl—and the latter clearly had more interest. That doesn’t mean they’re more profitable2 or well-liked by critics, but if you’re asking what customers want to spend their money on, it’s those movies. I’d especially argue that You Can See Everything had about as much media coverage as a film can get—I saw/read about it constantly; whenever random NBA podcasts are talking about it, you know it’s everywhere—and yet Moana will likely best it. I bring this up, because this week features a showdown between a notable box office flop, Moana on Disney+, and a buzzy dramedy, The Invite on HBO Max. Moana was widely considered to be a flop, and it was a disappointment at the box office, only earning $126 million domestically (and $323 million globally). For the budget, that’s a big miss, down from Moana 2’s heights of $1 billion globally. But as I’ve written a few times this summer, we often confuse “this film is profitable” with “more customers want to watch this film”, which is not the same thing. But that’s the box office. Let’s look at the streaming numbers, starting with the Moana live-action reboot. Where, yes, Moana (2026) also disappointed. It made Nielsen, but under 10 million hours, which is low for kid-skewing Disney+ films: It did make Samba TV, but at tenth place for only one week: Those numbers stand in stark contrast to some of Moana’s previous superlatives on streaming. Moana (the original animated film) has made the Nielsen charts 130 times since 2021. Moana 2 opened to 33.3 million hours on Nielsen. Moana was the biggest film on streaming in 2023 and 2024, second in 2020 and 2021, and top six in 2022 and 2025. Moana 2 was second overall in 2025. To be clear, the Moana live-action reboot didn’t work, given how much it cost to make. It’s absolutely a disappointment. But more families paid to see it than people paid to see most of A24’s buzzy films this year, with one notable (horror film) exception. Okay, on to The Invite, A24’s buzzy summer release, which just came to HBO Max. Mainly, I’m curious: Who made money from this film? Or who lost money: the stars of The Invite or A24? No, seriously, read this Deadline article for the details. The Invite’s budget was allegedly “under $15 million” (so...$14 million?) then A24 bought it for “a sum north of $10 million”, which I saw elsewhere as over $12 million (so...$13 million?), but then it just made $26 million in the US. So basically, The Invite’s investors only made money after they sold foreign territories—it made $33 million overseas—but A24 might just make its money back in the US in the theatrical window, assuming it had $0 in marketing. I read one article analyzing this film’s marketing campaign which assumed no marketing spend, even though that article went on to detail how much marketing and PR and ads this film had. For what it’s worth, I saw a lot of marketing for it. A24 will likely just break even after factoring in other windows, but no matter what, this isn’t a hugely profitable juggernaut from Hollywood’s most-heralded film studio. (And, I’d note, most coverage of IP or superhero failures doesn’t account for profitability in future windows.) Really, I’m guessing that the stars—Olivia Wilde, Seth Rogen, Ed Norton and Penelope Cruz—had or kept their backend, hence why they did so much press for this film, which brings me to my actual takeaway, which I just mentioned two weeks ago about Backrooms: I don’t trust A24’s reported film budgets anymore. Either A24 is strategically releasing low numbers to get good press or they’ve really cracked the code on how to make movies at prices no one else can approach. But I’m skeptical about that last point. You don’t keep elite talent happy by keeping budgets in check—see: Dan Lin getting fired—and by all accounts, A24 keeps talent very happy. There’s another option: not paying big name actors their actual quotes upfront by giving away back end/profit participation. Offering backend is one great way to keep the reported budget lower than it actually is, but it makes the film less profitable for A24. (By the way, I’m still running down the numbers on Backrooms’ budget. If you know its actual budget—not the reported $10 million number—reach out to me on my contact page. I’ve heard rumblings I’m on to something, but would love something more concrete.) Okay, enough asking questions about A24’s business model. To the streaming ratings! The Invite came to HBO Max on 23-Oct, so we could look at the streaming numbers now… …and I don’t have any for you since it didn’t make any of the charts I track. And that’s pretty much the moral of the streaming story. Even though it disappointed on streaming, Moana wins this round, too. Quick Notes on Film The only other notable new straight-to-streaming film was S_urviving Hurricane Otis_, a Mexican Original on Netflix. It made Nielsen with 3.4 million hours and Luminate with 4.8 million hours. Overall, I’d call that very solid for a foreign-language title, but still far from a hit. Overall, the Luminate and Nielsen charts felt very light this week. Gladiator II also came to Netflix non-exclusively (it’s still streaming on Paramount+) and had 5.0 million hours according to Nielsen. That’s up from the 3.7 million hours it had when it premiered on Paramount+ a year and a half ago. Netflix’s Animals fell to 4.9 million hours according to Nielsen and fell off the Samba TV charts. Peacock/Universal’s Disclosure Day actually made it for a third week, but only at 2.8 million hours. Apple TV’s Sacrifice was down to 2.7 million from 3.2 million. Still, for an Apple TV film to make two weeks is solid (for them). Toy Story 5 made a fifth week on the charts. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… ...how The Terminal List did after a four-year break... ...what acquired surprising title topped the charts… …where Ted Lasso finished in the all-time charts… ...big NBA opening week ratings... …a controversial new reality show that missed the charts... ...what very notable foreign TV show flopped... ...all the flops, bombs and misses... ...and a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue.
What Box Office Bomb Crushed Obsession 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 into this week’s issue, let me ask you for some suggestions. At the risk of coining too many names for too many things (hence my dictionary of terms...), I need a name for straight-to-streaming films that are too expensive to justify a straight-to-streaming release, but not big enough to justify a theatrical release. Like some of the films I highlighted in last week’s tally of the biggest film flops of 2026 so far: Hulu’s Mike & Nick & Nick & Alice, Pizza Movie or Never Change! They don’t feel like “made for TV movies” (think Hallmark and Lifetime movies, cheap Netflix romcoms, or Disney Channel Original movies, for example) but they don’t feel big enough for the big screen. They’re not “cinematic” enough, so to speak. As I wrote... “I still need a name for this middle zone of film that’s too expensive to go straight-to-streaming but too small to justify a theatrical release (with all the PR, distribution, marketing and whatnot costs that go along with it), the Goldilocks zone of streaming film death.” Friend of the newsletter Brandon Katz has suggested the “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”. I love that first one. I’d offer up the much wordier “The Streaming Budget Dead Zone” or “the Goldilocks Zone of streaming film death” but that last one isn’t accurate since, unlike Goldilocks’ porridge, these films are the opposite of “just right”. That’s the problem! Anyway, if you have any suggestions, let me know! On to today’s Streaming Ratings Report. As you can tell by today’s headline, things are going to be spicy! I’m looking at a box office bomb that did really, really well on streaming, somewhat challenging a few different narratives. And another Netflix series declined in its second season. All that, plus Wicked: For Good switching streamers, The Hawk continuing its strong run, _The Bear’_s finale season finally dropping off the charts, the WNBA posting a big viewership number, “shallow libraries”, a sitcom spinoff failing to launch, more big budget IP flopping on Paramount+, 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 July 20th to July 26th, 2026. You can find a link to my terminology here.) Subscribe Film - The Latest Theatrical Success Story on Streaming In the latest edition of “Flops, Bombs and Misses of the First Half of 2026”, I made a crucial change: I started including theatrical films with the streaming misses. The streamers have collectively—including Netflix, but not to as big of an extent—stopped making a lot of straight-to-streaming films, and the ones they do make aren’t as expensive as in the heyday of the streaming bubble. After the following two films bombed in theaters, you’d guess that they’ll be included in my next collection of flops, bombs and misses six months from now: Masters of the Universe on Prime Video (only $64 million domestic box office) Mortal Kombat II on HBO Max ($79 million domestic) But you’d be wrong! Masters of the Universe, a reboot of the He-Man franchise, a toy from the 1980s, came to streaming on 22-July and did great! This long-gestating project—it’s been at every studio for years, and came close to getting a greenlight at Netflix—then finally came to theaters in June, and showed up on streaming less than two months later. (I don’t love this short theatrical window.) It surprisingly grabbed nearly 20 million hours on its debut: That means, wait for it, Masters of the Universe is currently the eighth biggest film on streaming through two weeks. My rough bar for “hit” is shows or films in the top 15%. Ergo…Masters of the Universe is a legit, streaming hit! (One quick caveat: if it falls out of the top ten next week, it will move to 13th overall, just on the edge of the top 15.) Of course, that’s the data for just 2026. Here’s how it stacks up to Prime Video’s theatrical films: That drop into its second week is typical for Amazon films, but also a worrying sign. I have a feeling interest in this film is front-loaded and we’ll see it drop off after this. As for Mortal Kombat II, in this case, the viewership numbers roughly match the theatrical outing, with only 4.1 million hours in its first week. Here’s how it stacks up to other HBO Max films: The best defense of this number is that, as a relatively violent rated-R film, Mortal Kombat II never had a good chance at breaking out. So now it’s time for a little big of “Entertainment Nuance Guy”: First, yeah, my headline is obviously facetious, since Masters of the Universe besting Obsession says more about horror as a genre than it does that film. Second, I read and listened to quite a few “nobody wanted this IP” takes about Masters of the Universe, and that’s not really true. At least enough people wanted it to power a 20 million+ hour debut! Third, both this film and Mortal Kombat II were considered “average” by viewers, but not great films, with a 6.4 and 6.3 respectively on IMDb. That’s just shy of the level needed to be a word-of-mouth hit. Fourth, in the olden days, strong word of mouth could transform a box office miss into a cable/DVD hit, like Austin Powers or The Shawshank Redemption. We haven’t seen a lot of examples of that on streaming, though. And there are far fewer ways to monetize the post-theatrical life of a film these days. Fifth, Prime Video has shown an ability to push their own titles well, likely because they control the Amazon Fire TV ecosystem. Add it all up, and here’s my nuanced take on Masters of the Universe: it was a box office bomb, but, shockingly, a streaming hit. Unfortunately, while being a theatrical hit saves your film financially, being a streaming hit does not. Both Masters of the Universe and Mortal Kombat II had big budgets and needed to make more money in theaters to justify them. So…Straight-to-Streaming or Theaters? We’ve hit a really fun point in the streaming calendar, since the films that came out in theaters in April, May, and June are now arriving on streaming. So the “Do theatrical releases help streaming performances?” question is gonna get a fresh round of updates nearly every week. No single week will answer the question, but we may get some insights. For example, so far in 2026, it looks like theatrical films are lasting longer on the weekly Nielsen film charts. Here’s a list of films that have made the charts in their fourth or fifth week of release, separated by “for kids” and “general entertainment”: It certainly seems like theatrical films are lasting just a pinch longer on the charts, with Project Hail Mary being the current five-week champion. One Battle After Another did well for HBO Max too, and even The Sheep Detectives made it four weeks. The only exception to this trend? Obsession, which only lasted two weeks on the charts. You might tempted to overreact to this news. Don’t. Obsession is a huge horror hit, but horror just doesn’t do as well on streaming. By the way, here’s the Google Trends for various theatrical and stremaing films: Plus, when it comes to Netflix in four months, Obsession may have another big boost. Quick Notes on Film Note that when I write, “the streamers have pulled back on straight-to-streaming films” that doesn’t mean “abandoned” because Netflix is gonna Netflix. On 24-July, they released 72 Hours, a Kevin Hart comedy. Along with Eddie Murphy, Mark Wahlberg, John Cena and Adam Sandler, Kevin Hart is a streaming film star now. Did this latest one work? Not really. It only garnered two weeks of 13.2 and 12.2 million hours on its debut, well below the 20-million-hour hit threshold. It also was poorly received critically—a 44 on Metacritic—and by customers—a 5.4 on IMDb on 21K IMDb reviews. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The latest Netflix true crime doc to pop on the charts… How The Bear finished its run… Netflix’s latest Western to return to streaming… What Paramount+ animated film flopped… And what sitcom also missed… All the flops, bombs and misses… And a whole lot more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! I’m behind by a week, so we’ve got two issues coming your way this week, including one in a couple of days or so, then we’ll be all caught up**.** Next issue, inspired by The Super Mario Galaxy Movie coming to Peacock, I’m going to take a look at the workhouse of streaming TV: kids films. Plus The Devil Wears Prada 2 continues theatrical films’ big run on streaming. All that, plus another surprise hit on Hulu, Lioness on CBS, and a whole lot more. Long term, LeBron James is filming his own “Last Dance”-style docu-series, surprising no one. But as I’ve been writing about a lot this summer, this genre is really overrated, so whoever ends up buying it (reportedly ESPN) really shouldn’t pay too much for it.
Meep, meep. ‘Coyote vs. Acme’ opens with $15.5 million, 'Spider-Man' stays No. 1 for fifth weekend
Three years after Warner Bros. abruptly canned “Coyote vs. Acme,” the Looney Tunes feature film that was given a new lease on life by Ketchup Entertainment debuted with an estimated $15.5 million in ticket sales over the weekend. For the fifth weekend in a row, “Spider-Man: Brand New Day” topped…