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The Streamers Tried To Conquer Labor Day…and Whiffed
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) What? Another Streaming Ratings Report already? You betcha. Nielsen has moved up the release of their Streaming Ratings data by two weeks, which means I’ve got two extra issues to get out. But I love this change because it will make this report more timely and easier to publish regularly. This week—with the viewership data for the week of 31-Aug—we’ve got some huge, huge topics to discuss. On the film side, two theatrical films (The Mandalorian and Grogu on Disney+ and Scary Movie on Paramount+) contend with two non-Netflix straight-to-streaming films (Mayday on Apple TV and The Runner on Prime Video). The streamers went all in to win Labor Day weekend in America. And we have a bunch of TV shows to analyze, both new shows (Netflix’s The Gentleman, Hulu’s Chad Powers, and an Alix Earle reality show) and weekly shows like Reacher, Ted Lasso, House of the Dragon and Lioness. All that, plus nepotism in Hollywood, some eye-popping fantasy football stats, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of August 31st to September 6th, 2026. You can find a link to my terminology here.) Subscribe Film - A Slew of Labor Day Disappointments? A lot of streamers released big new films this week, why? My theory is that the streamers know that four-day weekends can propel streaming films to glory. But if you’ve been reading more over the last two years, you know that big holiday weekends aren’t driving big viewership numbers the way they did post-Covid. And interestingly enough, Netflix didn’t put out a big new film this week. But four other streamers did, trying to take advantage of the holiday with some (not cheap) swings, including… The Mandalorian and Grogu on Disney+ (a Star Wars film that cost $165 million and made $177 million at the US domestic box office) Mayday on Apple TV (rumored $100 million budget, no theatrical release) The Runner on Prime Video (at least a $40 million budget, but likely $50 to $80 million, no theatrical release). Scary Movie on Paramount+ ($30 million budget, made $108 million domestically). (Paramount+ also released a made-for-streaming film based on the Thundermans IP, and I’ll discuss that later.) So…how’d they do? The Mandalorian and Grogu Leads The Way (But That Isn’t Enough) Let’s start with The Mandalorian and Grogu (which I’ll abbreviate to Mando for most of this article). We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How Mando, Mayday, The Runner and Scary Movie performed on streaming... How the powerhouse weekly released shows (Reacher, Ted Lasso and Lioness) have accumulate a LOT of viewership… How House of the Dragon finished its run… The latest Netflix show to have a sophomore slump… Whether top creators can drive viewers to their shows… Nepotism in Hollywood and the music business... All the flops, bombs and misses for the week… And more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Since Nielsen has accelerated their streaming data release schedule, I’ve got a lot of Streaming Ratings Reports coming your way! Next issue, I’ll be looking at the second season of Peacock’s The Paper, the latest season of Hulu’s The Secret Lives of Mormon Wives, and a very, very expensive Daily Wire fantasy series that’s now on Prime Video. Plus Crew Girl and Dang! on Netflix, a new Tyler Perry film, and one of the biggest bombs of the summer, Supergirl. In the next two issues, I’ll take a look at the return of the NFL to streaming, Toy Story 5 on Disney+, Backrooms on HBO Max, and The Breadwinner on Netflix. On the TV side, we’ve got Netflix’s Monster: The Lizzie Borden Story, Dancing with the Stars on Disney+, Apple TV’s Slow Horses, a Reacher spinoff on Prime Video, and Paramount+’s MobLand, a Woody Harrelson and Matthew McConaughey comedy on Apple TV, a sequel to a Cosby Show spinoff on Netflix, The Great British Baking Show, and the Unabomber film. And while doing all that, I want to take a look at adult animated shows, Ride or Die’s cancellation, and Netflix’s summer films. So much great stuff! Long term, two bits of comic book news. The X-Men cast has been announced, and go ahead and color me bull-ish, if not very, very bull-ish on this bit of comic book IP. In weirder news, HBO Max ordered a “true crime” show by Jimmy Olsen about Gorilla Grodd being falsely convicted of murder. I mean, what? I don’t know, let’s see what happens.
15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. 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: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.
Kristi Noem was a font of inspiration for comedy and memes. What now?
Kristi Noem's bravado, cruelty, incompetence and commando cosplay inspired more wickedly funny material than Dick Cheney, Sarah Palin and Sean Spicer combined.
ENTERTAINMENT: Mandolin legend set for Ozark Folk Center benefit
Mandolinist Sam Bush, a member of the Bluegrass Hall of Fame and three-time Grammy Award winner, performs with his band as headliners of a 7 p.m. concert Saturday in the Ozark Highlands Theater.
Your weather app runs on satellites, supercomputers and a retired science teacher who walked to his rain gauge at 7 a.m. every day for 50 years
The forecast on your phone has a secret ingredient: 8,700 volunteers with a thermometer. Meet the Frenches, a family in Gouverneur, N.Y. Ray monitored the stats for 50 years before his son took over. The 11-year-old granddaughter is next.
Small Business Spotlight: Guitar shop aims to strike a chord
WHAT MADE YOU WANT TO OPEN STRING THEORY GUITARS INC.? ALLISON & LEE WILLIAMS: “We are lifelong musicians with a passion for playing. We love Wilmington and the live music scene here, and we wanted a way to be a part of the music community without having to start work at 9 p.m. We also want to be a destination for residents and musicians performing in and around the downtown area.” WHAT DOES YOUR BUSINESS PROVIDE, AND HOW DO YOU THINK IT HELPS CUSTOMERS? We love Wilmington and the live music scene here, and we wanted a way to be a part of the music community without having to start work at 9 p.m. We also want to be a destination for residents and musicians performing in and around the downtown areaTHE WILLIAMSES: “We’re a true basics-to-boutique destination. If you’re someone who’s just starting out, we can set you up with high-quality, brand-new equipment at a great entry-level price point. When you’re ready for your dream guitar, we can help you design and create a fully custom electric or acoustic guitar to your specifications. We have a broad selection of both guitars and amplifiers for players of every level. We also have a community board in the store to connect bands, students, instructors, repair technicians, and anyone providing a service to the local music community.” WHAT PAST EXPERIENCE DO YOU HAVE THAT LED YOU TO CREATE STRING THEORY GUITARS? THE WILLIAMSES: “Lee has played guitar for almost 40 years, from middle school band to gigging rock bands. Allison has a background in orchestra and musical theater, as well as retail management. We worked together as a husband-and-wife team in manufacturing for many years prior to moving to Wilmington. Having shopped in countless music stores over the years, we set up our shop with the goal of being welcoming and inviting. Our philosophy is ‘if it’s on display, it’s for play.’ No instrument or amplifier is out of reach in our store.” WHAT GOALS DO YOU HAVE FOR GROWTH? THE WILLIAMSES: “We would love to grow the bluegrass and folk instrument segment of our business. We carry banjos, mandolins, resonator guitars, ukuleles and related accessories. We’ve seen and heard plenty of talented bluegrass and folk musicians around Wilmington, and we look forward to expanding our selections to support this growing segment of the local music scene.” WHAT CHALLENGES ARE YOU FACING RIGHT NOW IN YOUR BUSINESS? THE WILLIAMSES: “Getting the word out about our brand and some of the unique brands we represent is a challenge for any new business. Online exposure through the Cargo District, Wilmington Downtown Inc. … and our online following is steadily growing. Our other challenge is the logistics of our streets. Our neighborhood is amazing, and you could spend the entire day walking around the Cargo District. As the District continues to grow, we’re seeing more pedestrian traffic, particularly in crossing 16th and 17th streets. We’ve seen some improvements in traffic calming, but the sooner we can improve safety with crosswalks and pedestrian signals, the more welcoming our neighborhood will be.”
Allegri counts on European 'motivation and adrenaline' for Napoli
Coach Massimiliano Allegri is hoping the arrival of Champions League football can help put Napoli on the right track after back-to-back defeats in Serie A. Victory on the opening day against Genoa has been undermined by successive defeats at the hands of Como and Inter Milan, leaving new boss Allegri looking for a reset when his side welcome Arsenal to Stadio Diego Armando Maradona on Wednesday evening.
Arsenal XI vs Napoli – Predicted lineup and team news
Arsenal open their Champions League campaign at Napoli on Wednesday, returning to the Stadio Diego Armando Maradona for the first time since their 2019 Europa League quarter-final win there. Mikel Art...
DIALOGUE: NAMI Albany invites community to support mental health at NAMIWalks
One in five Americans live with a mental illness. The Albany chapter of the National Alliance on Mental Illness wants to remind the community that no one has to face it alone. Ngina Mandouma and Kelly Wesselman joined Sunday’s Dialogue to discuss their involvement with NAMI and to invite the community to support mental health for all through NAMIWalks.
Father's Day launch for Cornwall charity mental health campaign
ManDown wants to raise funds to create more meeting groups for men to attend in the UK.
Ubisoft Keeps Far Cry 3, Far Cry 3: Blood Dragon, and Far Cry Primal Alive on Current Gen Consoles With 60 FPS Support
Far Cry Primal, Far Cry 3: Blood Dragon, and Far Cry 3 — the 2012 instalment starring Michael Mando as Vaas Montenegro in what is arguably the best game in Ubisoft's first-person shooter series — is getting a 60fps update on current gen consoles.
Not All Sitting Is Equal. One Type Was Just Linked to Better Brain Health.
A small swap for a big payoff.
Marius Mouandilmadji Could Start for Olympiacos vs. Panathinaikos
Olympiacos face Panathinaikos on Oct. 11 and Marseille on Oct. 15. Marius Mouandilmadji could start the derby, while Armando 'Hormiga' Gonzalez may return late from Mexico duty.
Olympiacos Starts European Campaign With Victory; Armando Gonzalez Emotional
Mexican and Olympiacos forward Armando González fueled a spirited comeback at Georgios Karaiskakis Stadium, dedicating a milestone European goal to his mother and country during a thrilling continental debut.
DIALOGUE: NAMI Albany invites community to support mental health at NAMIWalks
Ngina Mandouma and Kelly Wesselman discussed their involvement with NAMI on Sunday’s Dialogue
Why I Don’t Think Ride Or Die Should Have Been Cancelled (And What Company Should Save It...)
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) So…I recently came across a Reddit thread, talking about films on streaming, wondering why there are no reliable sources out there for streaming ratings data. Sigh. Honestly, as annoyed as I am that so many still don’t realize that we have streaming ratings, I somewhat get it. Until now, there was such a long delay between when a show or film came to streaming and when we got its viewership data; I understand why people were confused. (But, as you know, this just changed.) Also, even back in the day, how many people knew how well films did on television? Luckily, as a reader, you’re in the know. Okay, on to this week’s issue. I want to take a look at Prime Video cancelling Ride or Die and whether I agree with that decision. Overall, we didn’t have any breakout hits (no TV shows landed over 20 million hours according to Nielsen) but we have a lot of steady performers on the streaming charts. Plus, we’ll look at where $50 million in missing box office dollars went. (Spoiler: straight-to-streaming.) All that, plus new episodes of The Secret Lives of Mormon Wives, Supergirl heads to streaming, a new YA show does well on Netflix, the viewership for the Daily Wire’s $50 million fantasy show, what TV show hit-maker can’t make streaming hits, CD sales, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of September 7th to September 13th, 2026. You can find a link to my terminology here.) Subscribe Television - Ride or Die Is a Hit…But It Got Cancelled? What The Data “Says” I hate the phrase “here’s what the data says”, even though sometimes I find myself using it. If data just told us everything, we data folks would be out of a job! Data is often messy, complicated and nuanced. When it comes to strategy, many of the best decisions can’t actually use “data”, since it’s vastly too complicated to model. Anyways, I’ve been singing the praises of Prime Video’s Ride Or Die this summer, a show that did very well for them. And yet…it got cancelled. Now, usually when a show gets cancelled, a bunch of websites say “a hit show got cancelled”... Here’s the thing, though: in this case, they’re right! The data “says” that this show was a hit. Specifically, out of 522 first seasons to make a week on the Nielsen charts since 2020, it’s the 75th biggest. On Amazon, Ride or Die is eighth out of 41 first seasons: That’s top 15th percentile all time, almost exactly, which is my definition of a “hit”! I mean, outside of Reacher, Amazon needed a hit this summer! (Admittedly, Off Campus did well for Amazon in the spring, but Ride or Die performed even better.) So what happened? Why did Amazon cancel one of their rare 2026 bright spots? Well, Deadline reported a reason—which I’ll get to—but I’d break it down into three relevant questions: What is a given streamer’s reasoning? Is that reasoning sound? Could the stated reason not be the real reason? According to Deadline, Amazon felt the show “over-indexed” in middle-aged women. (This was based on leaks from within Amazon.) The logic is this: Amazon already reaches this demographic because of unlimited two-day shipping bundled with Prime, so they don’t really need more shows like this. Now, it’s my job to ask if that’s a good reason, and I’ll be honest, in this case, I don’t think it is. Sure, this show may “over-index” in middle-aged women—I’ll just assume that’s the case here—but I think folks often oversell how important over-indexing actually is. When a show is a “hit”, it isn’t a bit bigger than its rivals; it’s usually multiples bigger. For example, Elle only made the charts for two weeks at 8.3 million hours each. So Ride or Die was 80% bigger in its first two weeks, and likely had a much stronger hold, with its terrific 13 million hours in week three. Ride or Die was nearly three times bigger than Sterling Point through three weeks too. And that means that _Elle, Sterling Point a_nd other Amazon YA shows need to not just over-index a little with younger women (assuming that’s who Amazon prefers over middle-aged women), but massively over-index. Otherwise, more people in that demo (and a bunch more besides) likely watched Ride or Die. (I’ll try to explore this concept more in a future article.) And don’t get me started on how Ride or Die did compared to a certain (very, very popular, possibly the world’s most popular) YouTuber’s reality show…which didn’t make the charts after its first week and likely cost much, much more than Ride or Die. All to say, Amazon-MGM Studios/Prime Video can tell reporters that this show didn’t reach the right audience, but that excuse feels weak to me. So this leads to the third question: could other reasons have come into play? Yes! Renewal or cancellation decisions rarely (I’m tempted to say “never”) boil down to one variable. At its simplest, it’s two things: budget versus viewership. But often factors like critical acclaim, ownership and, yes, personal opinion come into play. In this case, Amazon has a new executive running things, and this show isn’t owned by Amazon-MGM Studios (unlike Elle). And yes, it may not have indexed with the right target viewers, too. Likely all of those factors came into play.1 My guess is ownership ended up mattering most. Amazon doesn’t own Ride or Die. It’s actually produced by another major studio. Fortunately/allegedly, this show is being shopped around. I can think of one brand new CEO who should consider it for one of his two major streamers…especially if he wants to rebuild goodwill in Hollywood. His name is on this list of exec producers of Ride or Die… If David Ellison needs some goodwill—and he does—rescue this female-led show tomorrow and grab some good headlines for a day. The data justifies it. Quick Notes on TV We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… How The Secret Lives of Mormon Wives latest season did on Hulu, post-controversy... Whether Supergirl soared on HBO Max... Why the box office is losing money due to the streamers... The viewership for the Daily Wire’s $50 million fantasy show... Updates on The Gentlemen, Lanterns, Outer Banks, King of the Hill and more... What former hit-maker has three streaming flops in a row... Whether The Mandalorian and Grogu popped in week two... All the flops, bombs and misses... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support. If you want an idea of just how much content you’d get in a full issue, check out this older issue. Coming Soon! Oh man, we’re almost caught up! We just have two more issues, then the streaming Ratings Report will be coming out just two weeks after a TV show premieres! Next issue, I’ll be looking at the first two weeks of the NFL Thursday night games on streaming, a huge new spinoff, Reacher’s Neagly on Prime Video, and the latest edition of Monster: The Lizzie Borden Story on Netflix, the return of Slow Horses on Apple and MobLand (quietly one of their biggest shows) on Paramount+, and Dancing with the Stars on both ABC and Disney+. Plus I’ll take a look at animation for adults in 2026. The week after, a ton of movies are coming to streaming: Toy Story 5 on Disney+, Backrooms on HBO Max, Jackass: Best and Last on Paramount+ and The Breadwinner on Netflix, plus a Unabomber film on Netflix and a romcom on Prime Video. Woody Harrelson and Matthew McConaughey have a show on Apple, along with a game show inspired by Willy Wonka that everyone seems to hate. Long term, some crazy (but hopefully crazy like a fox) IP news. FX ordered a new Sons of Anarchy show from Charlie Hunnam, but it’s not about the biker gang. No, it features the show’s cast playing themselves in a new “meta-thriller”. Huh. And a lot of the cast is coming back. Next, Ryan Gosling is producing a Flintstones movie about a “grown-up Bamm-Bamm Rubble”. Also, huh. This one is in “early development” so we’ll see what happens. Both projects are based on IP, but also seem to have crazy takes on the IP, which I like.
DIALOGUE: NAMI Albany invites community to support mental health at NAMIWalks
One in five Americans live with a mental illness. The Albany chapter of the National Alliance on Mental Illness wants to remind the community that no one has to face it alone. Ngina Mandouma and Kelly Wesselman joined Sunday’s Dialogue to discuss their involvement with NAMI and to invite the community to support mental health for all through NAMIWalks.
Conte: ‘I feel Napoli were under-rated this season’
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Friday Night Lights: Midland Lee vs. Eastlake
EL PASO, Texas (KTSM) — Are you ready for week 3 of high school football? Catch all the action from the Midland Lee vs. Eastlake game on KTSM+, livestreamed by the El Paso Broadcast Company and color comantary done by Mando “The Monster” Medina. The game is scheduled to begin at 6:30 p.m. on Friday, […]
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DIALOGUE: NAMI Albany invites community to support mental health at NAMIWalks
One in five Americans live with a mental illness. The Albany chapter of the National Alliance on Mental Illness wants to remind the community that no one has to face it alone. Ngina Mandouma and Kelly Wesselman joined Sunday’s Dialogue to discuss their involvement with NAMI and to invite the community to support mental health for all through NAMIWalks.
Netflix’s Summer of Bummer
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) Today, I’ve got a guest post from longtime friend of the newsletter, Brandon Katz. I’ve been trying to find time all summer to look at Netflix’s straight-to-streaming film slate, but between a pre-planned trip and Nielsen moving up their streaming data timeline, I’ve been swamped. So I reached out to Brandon, one of my favorite fellow analysts, to write about it. And I feel like he captured the tone and data focus of the newsletter perfectly. You can connect with Brandon on LinkedIn and Twitter. Enjoy! Don’t worry, folks. You’re in safe hands with me. To ease any anxieties about an interloper in ESG’s domain, I’ll start by stealing one of his best framing devices: headlines. Box office flops are covered in the same way the Teenage Mutant Ninja Turtles eye pizza: with cartoonish insatiability. I would know. I’m a former reporter who wrote nearly identical headlines: Yet, intentionally or not, streaming misses get treated with kids gloves, filtered through a rosy lens: In the last six years, U.S. streaming viewership has become nearly as transparent as the box office, but the data often arrives weeks later, in a number of less intuitive metrics, and with nary an official budget to be found. This plays into the Wall Street-whispering narratives major streamers have been cultivating for years. They get a pass in a way that theatrical studios simply don’t. Subscribe Netflix’s Summer Slate Not a single Netflix original film released between May and August this year opened above 20 million U.S. TV hours, per Nielsen. That benchmark usually serves as the EntStrategyGuy’s floor for a streaming hit on Netflix. None of these films enjoyed a hit-cementing single week of 20-plus million hours during their runs. Netflix’s two best films were true crime docs, Maternal Instinct (16.5 million hours) and The Crash (19.7 million), the best overall week for a film this summer. Great for most other streamers, but not necessarily what we’re used to seeing from Netflix. For an overly-dramatic comparison, Happy Gilmore 2 opened last summer to around 47 million hours (celebrity cameos, baby!). Zooming out, the picture looks even worse. In 2026, Netflix’s five biggest scripted summer films posted the lowest average (28.6 million hours) and median (28.8 million hours) eight-week viewership totals of the past four years. Now, it’s unrealistic and unfair to expect Netflix to deliver a _KPop Demon Hunters-_sized hit every year. But it’s also not ideal to see the size of their hits shrinking over the last few summers. Let’s quickly run through some of the notable summer misses. Jennifer Lopez and Brett Goldstein’s perfectly fine romcom, Office Romance, fell off the charts after 20 million hours in its first two weeks. Top films usually last for four-plus weeks. Starry titles ideally don’t decay that fast either. Homegrown star Millie Bobby Brown couldn’t prevent the snappy Enola Holmes franchise from diminishing returns. At 14.3 million U.S. hours, the third film posted roughly half of what the first two films did in their first two weeks. What’s on Netflix calculated that per-day global views were down nearly 60% from the second movie. The Whisper Man did okay with more than 36 million hours over its first four weeks. But I expected a little more juice from a film featuring Robert De Niro, Michelle Monaghan, and Adam Scott. Kevin Hart’s Ladies First collected just 11.2 million hours total across two weeks. That’s a big miss for one of Netflix’s go-to stars. Plopping into the same bucket are Sunny Sandler’s Don’t Say Good Luck (10.3 million in two weeks) and John Cena’s Little Brother (17.5 million). Meanwhile, English-language originals Color Book (June 19), In the Hand of Dante (June 24) and Heartstopper Forever (July 17) never sniffed Nielsen’s Top 10 at all, despite needing only 2 to 5 million hours to land in the top ten most weeks. (By my count, eleven English-language scripted original films released between May and August did chart). It’s only fair to mention that Swapped (1-May) posted nearly 42 million U.S. hours over five weeks (the longest Netflix original run this summer) and is currently their eighth most-watched English-language film ever worldwide. Remarkably Bright Creatures (37 million, 4 weeks) and Voicemails for Isabelle (27 million, 4 weeks) weren’t bombs either. Still, overall, I think it’s fair to say this was a quieter summer season than we’re used to seeing from the market-leader. You might not realize that given the language commonly used in public analysis. The Twist Despite the starkly black-and-white tone of the coverage, here’s the twist: when many box office bombs arrive on streaming, their viewership looks a whole lot like many of Netflix’s supposedly successful summer releases. Hmm, where have we heard that one before? Masters of the Universe topped out at $65 million stateside against a $170 million budget_._ I’ll admit, Skeletor ripping sleeveless curls as a gym bro and bodyslamming Adam’s co-workers was funny. But, much to the chagrin of my bank account, my laughter doesn’t launch franchises. Yet the He-Man reboot opened to 19.6 million hours (from a Wednesday five-day opening instead of just one weekend), on par with Hoppers on Disney+ (19.4 million). It put up nearly 47 million hours over its first six weeks, bigger than all of Netflix’s summer releases. Pretty darn healthy and likely to land among the 25 most-watched movies on streaming this year. Sticking with Amazon, The Sheep Detectives just barely broke even at the box office with $133 million worldwide (and only $66 million domestic). I never expected cloven-hooved, cud-chewing mammals to be able to bring me to tears. Yet that’s exactly how I found myself at the end of this surprisingly affecting movie (#NoShame). It was likely the unexpected quality in a family-friendly film that powered its streaming over-performance. Sheep Detectives delivered a solid run for Prime video netting 26.2 million hours! How about franchise IP? Star Wars: The Mandalorian & Grogu had the lowest opening ($81 million) and lowest-grossing Disney-era live-action Star Wars film ($178 million domestic). One day before release, its Heat score (19.8%)—audiences who list their interest as a 7/7—fell behind blockbusters Wicked (21%), Superman (23%), Fantastic Four: First Steps (23%), Michael (23%), Toy Story 5 (26%) and Avatar: Fire and Ash (27%), according to Greenlight Analytics. The urgent enthusiasm just wasn’t there. On streaming, Mando opened to weeks of 12.1 million, 6.1 million and 2.7 million hours (21 million total) over its first three frames. Not the numbers Lucasfilm was hoping for nor the numbers of a streaming hit. But they’re in the same vicinity as some Netflix summer releases with $345 million at the global box office to offset a smidgen of the pain. Final Thoughts So why oh why does this nuance gap exist? Four key reasons: Data Literacy: A “$100 million opening” just makes sense. After decades of box office reporting, even casual movie fans are well-versed in the benchmarks of hits and home runs. There’s an immediate shorthand. But “16.5 million” hours doesn’t land nearly as cleanly. Despite leaps of progress, the streaming ratings era is still in its infancy compared to theatrical. The EntStrategyGuy and I met thanks to a late 2010s group chat of data nerds hungry to find a shred of certainty in nebulous streaming performance. I’m not surprised to see “No. 1 on Netflix” still getting misconstrued out in the wild. Timing: By Friday morning, we have the box office’s Thursday night previews totaled, allowing us to better project the weekend’s expectations. From there, ticket sales are reported daily. By Sunday, the film’s fate is usually finalized, at least in terms of public perception. In streaming, Nielsen recently improved its delay to…two weeks. The medium isn’t forced to contend with instant gratification as harshly. Financials: Theatrical film budgets are a mere Google away. Profit and loss is calculated in the cold and unforgiving naked light of day for all to see. But finding the vast majority of streaming exclusive movie budgets requires the forensic investigation skills of a Criminal Minds detective. Also, it’s very difficult to calculate how much revenue/value a straight-to-streaming films provides a streamer. This is why there are so few stories about streaming original movies “losing X amount of money”. On top of that, marketing budgets are far greater for theatrical movies than streaming exclusive movies, which leads to earlier and better awareness. This then translates to a wider pool of potential interest. Narrative Control: Netflix is the only major streaming service to publish weekly first-hand viewership data and annual engagement reports. Naturally, some headlines borrow their first-hand framing**.** Other streamers benefit from their comparative lack of transparency. They may occasionally announce vague performance platitudes such as Apple TV’s Mayday becoming its “biggest film debut on the platform to date over its first 18 days,” and that it ranked No. 1 with left-handed viewers in its first weekend. (Fine, I made up that second one). But, for the most part, they keep first-hand viewership shrouded in mystery to avoid bad press. Especially for outlets that demand multiple articles per day from their writers, it’s an easy (and understandable) way for some reporters to hit their daily article quota by just repeating what the streamers have told them. TL:DR version: Streaming-exclusive movies are asked to do different things than theatrical movies, but that doesn’t mean they should escape judgment. Both still need to draw enough eyeballs to justify their cost within the proper performance contexts. The more cleanly we can inject a little nuance into streaming analysis, the better we’ll understand the audience and content trends that drive this industry. And that’s what all of this is really about: knowing what audiences actually want! Brandon Katz is the Director of Insights & Content Strategy at Greenlight Analytics where he focuses on evaluating the ever-fluid media landscape to unearth understanding, opportunity and value. Greenlight Analytics is the entertainment intelligence consulting company redefining how Hollywood finds, understands, and activates audiences. Prior to joining Greenlight Analytics, he served as the senior entertainment industry strategist at Parrot Analytics, and as a full-time entertainment industry reporter covering the Xs and Os of Hollywood, most notably with TheWrap and the Observer.
Punk Politics/Camp Costume is a fashion exhibition curated by (some of my) brilliant Parsons students!
I have the most amazing students. I teach Fashion Journalism at Parsons, as part of its MA Fashion Studies degree, though I have students of all different disciplines throughout the New School in my class — from fine-art photographers to investigative journalists to textile designers. And I learn about all sorts of fascinating things from them, like that designers are adding faux sweat stains to their garments now (part of a trend piece about “anatomy core”) and that real “French girl style” is actually about being “cunti cunta” (aka loud, rude, too much, liberated). So when I found out that some of my students were curating a fashion exhibition opening tonight(!!!), I just knew that it would be brilliant too. Wearable Art is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe It’s called Punk Politics/Camp Costuming1, and it’s up through May 10 at La Sudestada, the wonderful gallery and concept store in Greenpoint, Brooklyn. I asked the exhibit’s lead curator, Ella Birney (a talented costume and knitwear designer from Belfast who also happens to be in my class), all about it. This conversation has been edited for length and clarity. Tell me about the idea of this exhibition and how it came about. Ella Birney: For our Fashion Curation class, we had to pitch [exhibition] proposals to our professor, Jessica [Glasscock], and I really wanted to continue on the themes that I was exploring in my BA when I was studying in London a couple of years ago. My BA was very punk-inspired and very political. Everything I do, as you know from my writing, always has a slight Irish, political twist to it2. So in my BA project, it was looking at knitwear as a conveyor for exploring political identity in somewhere like Ireland, where identity is such a point of contention. And looking at the images that I generated from that project, there was something so camp about the whole thing. Like, it’s so playful and in bad taste to do a political message — like a knitted Union Jack — out of mohair. There’s something very camp about that. So that’s where it kind of became punk politics/camp costuming — looking at how from the 1970s to now there’s been protest through costume and clothing. What was your BA in? It was fashion textiles, knitwear. Very craft heavy, which — craft is never taken seriously either. That’s also a kind of spin [on the punk/camp thing]. The Union Jack knit that you made is included in the show — what is camp about knitting a Union Jack out of mohair? The whole ethos of camp is kind of bad taste, doing things that are tongue in cheek and a bit wink, wink, nudge, nudge. Like, this is a bit silly. Everything I do is like, this is a bit silly. Like, being from the North of Ireland, everything you do is political. So it’s like, everything is going to be looked at in a certain lens anyway, so we may as well lean into it. So the Union Jack was because I come from a mixed marriage — Protestant-Catholic. And in the North of Ireland, that’s still a big deal. And even though I’m a Catholic and brought up in a very like Catholic Nationalist family, there [were] Union Jacks [the symbol of the United Kingdom] on my street. So I was like, then I’m gonna make your Union Jack out of knitwear. And then that kind of all linked back to the punk movement that Vivian Westwood forefronted in the late 70s, [with her stores] Let It Rock and Seditionaries. How did you source your items? Once we decided on this exhibition idea, everyone in the class was put to [think about] what do you think can fit into punk politics/camp costuming and finding designers that fit that brief. Me and my co-curators, Dulcinea Flores and Allison Gramando, made a brief to send out — with a mood board and color stories, stuff like that — and then everyone kind of got to work emailing people. We reached out to other Parsons grads. Even through Instagram stories we’ve been able to reach so many people who were like, Yeah, of course, I’ll write something for this, or Please — let me submit stuff. It actually was quite easy sourcing things. … The Parsons thing gets you quite far. What were some great pieces you got? There’s a Brooklyn-based, nonbinary artist called Buzz Slutsky. I can’t even remember how I found them, but I came across this crazy, shoe thing — they had made all these different shoes out of papier-mâché, and the story behind them is so fantastic, so interesting. They were just so obliging, like, Of course, you can have these for a few weeks. I was really happy about that. And then we have art from a collective here called Art Comes First. And they lent loads of really amazing pieces that just tied everything together. You have your Union Jack knit in the show too. Any other pieces that you made? There’s three of my BA mohair knits. There’s the Union Jack. There’s a mohair with the word “No” — which is based on an old political campaign in Ireland that was “Ulster says no to sodomy.” And then there’s another one that is red, white and blue, like the Union Jack, but has the word “Catholic” on it and lots of holy medals. I’m so happy I got to include those. How many pieces are in the show? Between 49 and 52, something like that. A load of clothing and accessories, shoes. There’s a Brooklyn-based Irish photographer who’s given us photos. There’s also a shopping cart that is an art piece by Art Comes First that has gold knuckle dusters as the handles. There’s also lots of T-shirts, original pins from the 70s and 80s that were from people’s dads. I also brought my record player, and all of [co-curator] Allison’s dad’s original albums so everyone could play records. Oh my gosh! Yeah, it’s cool. Anything else you would like to add? If we get to do an exhibition, why would we not make it political in this day and age? I hope that people come. There’s a lot of history, because it starts back in the 70s. It’s not like chronological or anything, but there are historical objects. I hope people come out of it thinking, out of all the really horrendous decades of the 70s and 80s and 90s, all these amazing subcultures happened. There are horrible political times, but there’s art that comes out of it that lasts. Punk Politics/Camp Costume is on view May 1-10 at La Sudestada, 67 West St. Suite 513, Greenpoint, Brooklyn. RSVP for the opening Friday May 1 6pm-8pm here. There’s also a button-making and patch-making workshop and artist talk May 9. Follow the show’s Instagram page @punkxcamp.parsons. Special shout out to all the students who put on this show: Ella Birney (lead curator), Dulcinea Flores (curator), Allison Gramando (curator), Pierre Sanon (lead exhibition designer), Eliana Daneshvari (exhibition designer), Reilly Lowell (editor), Jess Gayo (researcher/writer), Joyce Gayo (researcher/writer), Maria Magdalena Ugarte Montero (researcher/writer), Cassidy Colarik (exhibition press officer), Shelby Shovein (educator), Sarah Mahnke-Baum (educator), Trinidy Coleman (graphic designer), and Leonie Soravia (project manager). Jessica Glasscock was the faculty advisor. 1 The website is definitely worth checking out. 2 This is true!
Thursday Night Lights: Eastwood vs. Pebble Hills
EL PASO, Texas (KTSM) — High school football action starts on Thursday, Oct. 1 and KTSM+ is the place to watch our Thursday Night Lights game! EP Broadcast Company will be livestreaming the Eastwood vs. Pebble Hills game on KTSM+, set to kick off at 7 p.m., with color commentary provided by Mando “The Monster” […]
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