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This Terrifying New Series Just Might Be Your Next Spooky Season Obsession
A new take on a legendary horror story just arrived in time for spooky season, and viewers are already giving it major praise. Here’s why fans are calling the latest adaptation a must-watch.
Why we love to dress for the job we don’t have
Today, most of us probably work from behind a desk. Yet our obsession with clothes from a different kind of working life just won’t quit.
Bills' Anderson has new 'obsession' with football, mental health awareness
Alec Anderson is in his fifth NFL season, but this one feels different as he takes on new challenges.
Dear business students, career obsession is killing your curiosity
Each year, top- and mid-tier firms have become increasingly predatory and pushed recruitment timelines earlier into our academic careers. The situation is so dire that it has become a joke among bu…
Best horror movies of 2026, and where to watch them now
From "Obsession" and "Backrooms" to the scary under-seen gems you can't miss.
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.
Today’s Papers: Esposito obsession, Malago replaces himself
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The Big Holes in Wearable Heart Rate Variability And Readiness Scores
On September 9th, Apple announced it was revamping its Apple Watch Health Sensing System, rolling out a Readiness score (0 to 10), and increasing the frequency of heart rate variability (HRV) outputs 24-fold. This can be viewed as upping its competition with various other consumer wearable sensors. These “readiness scores” as a composite of multiple metrics, with heart rate variability (HRV) being front and center for most. The majority of Americans are now using wearable sensors, which equates to well over 100 million adults. HRV and Readiness scores are increasingly being marketed as a measurement of autonomic nervous system health, a digital marker for future disease, a clock for biological age, and a holistic metric to promote healthspan and even longevity. (Apple also introduced a new longevity tab and “Health Age”.) None of this has been proven. In this edition of Ground Truths I am going to review what we know about heart rate variability and readiness scores. Heart Rate Variability HRV is the variation in normal heart cycle timing. The variability of the heart rate, the barely perceptible millisecond changes in time between consecutive heart beats (see R-R intervals in the Figure below, left panel), is due to interplay between the sympathetic and parasympathetic (vagal nerve) inputs. Distinct from heart rate, individuals with the same heart rate can have very different HRVs. It is a rough reflection of the autonomic nervous system (ANS) activity, inadequate to say whether a person’s ANS function is abnormal. For more than three decades, heart rate variability (HRV) has been measured and several studies have found an association of low HRV and clinical outcomes, particularly a link with higher all-cause and cardiovascular mortality. There have also been less well established links of low HRV to risk of early cognitive impairment, dementia, mental illness, Type 2 diabetes and substance abuse. An important reminder is that HRV is a surrogate marker without any established cause-and-effect relationship. If you increase your HRV, that doesn’t mean it will improve health outcomes. In fact, there is no hard evidence for that. All that work linking to health outcomes was done with electrocardiogram (ECG) derived HRV. Now, in the era of consumer wearables, this is getting assessed differently, by optical pulse (yes, the lights you see) plethysmography (PPG) or what is called pulse rate variability (PRV). They are not the same, as shown below (right panel) and only concordant when the delay between the ECG and pulse is kept constant, which basically means at rest. I should mention there’s also what I will call MPV, a mattress mechanical movement sensor, a derived heart rate variability, that companies like Eight Sleep use, even further away from directly measuring HRV. HRV has not one uniform measurement but many different types of quantification, such as RMSSD, the magnitude of difference between successive R-R intervals of normal sinus beats (N-N) or SDNN, the standard deviation of NN intervals, both in milliseconds. SDNN is one of the so-called frequency domain HRVs (others are LF, HF, LF/HF). Different wearable sensors use different metics; Apple has relied on SDNN and nearly all of the others use RMSSD, which is generally considered the more accurate metric. There’s also the different length of time measured, such as for a matter of minutes, all day, or an overnight’s sleep. Short measurements are especially problematic since they don’t capture enough of respiratory modulation and other factors that influence HRV. Share Ground Truths How well does HRV correlate with PRV? There are very limited studies, especially independently done. One that is commonly cited was conducted by Air Force researchers in only 13 healthy adults assessing Oura ring 3 and 4, Whoop 4.0, and Garmin Fenix 6 and showed a correlation coefficient of 0.88 to 0.97 and a mean absolute percentage error from 6 to 10%. The correlation is not a perfect 1.0, but there’s at least a fairly high level of correlation. HRV is supposed to increase during the night due to takeover of the parasympathetic nervous system, and higher during deep sleep. A recent example of my 1 week, all day “HRV,” and one during sleep is shown below. As you can see, the N of 1 data are inconsistent for the same days from different sensors (Oura, AppleWatch, Fitbit Air, and Eight Sleep) by patterns, absolute numbers, and comparison with prior days and weeks. The largest study in over 8 million Fitbit users (the old version, not Google Fitbit Air, introduced in May 2026) gives you a sense of the effect of age, sex, and the 2 different main HRV (here PRV) metrics, with RMSSD on the left and SDRR (=SDNN) on the right below. That study, from data collected in 2018, is a major outlier, since all the more recent ones are tiny with respect to sample size. Many of the companies have not had independent evaluation of their HRV, such as Eight Sleep, but have published a low standard error on their website. There are some other published studies on the correlation between HRV and PRV, but they are all small and only in healthy adults. A scoping review emphasized the lack of study in underrepresented individuals, including the aged, people of color (which affects the PPG signal), and individuals who are underweight or obese. Add the typical adult age 60 plus with one or more chronic diseases. For example, one study in over 900 adults found poor correlation of HRV and PRV, non-uniformly underestimated across many chronic diseases (cardiovascular, endocrine, neurological, respiratory, and others), concluding PRV is “an invalid surrogate for HRV.” A recent systematic review of 43 studies comparing HRV and PRV found reasonable pooled absolute standardized error (HRV as gold standard) but only 10 of the studies provided quantitative synthesis in ideal conditions. Their main conclusion was similarly cautious: “PPG-derived HRV [PRV] should not be regarded as universally interchangeable with ECG-derived HRV across all devices, populations, and recording contexts.” Factors Affecting HRV and PRV That gets me to the long list of factors that affect HRV (and PRV) besides the device, the type of measurement (RMSSD, SDNN or others), the person’s signal, the sensor site, the duration of data capture, if weighting by sleep stage is used, how artifact is processed and corrected. And this list is not complete!: Oura puts out data from their community of users (who input data) on what affects their overnight HRV. The factors currently provided are: no alcohol (increase 8%), melatonin (increase 2%, float tank (increase 2%), wine (decrease 4%), and party (decrease 14%) in overnight HRV. Must be some big parties! Subscribe What is a PRV measurement good for? It has been falsely characterized as an index of “autonomic balance” and a specific indicator of stress. A 2018 review of the studies available for HRV and its relationship to stress, not using any of the current wearables, found that stress can lower HRV. But so can many other factors. The non-specificity of the signal, indexed to the table above, is striking. Evidence from a UK Biobank study of over 46,000 participants with actual HRV looked at genetically predicted HRV, a genetic risk score, that failed to show the expected HRV-mortality link, indicating that _HRV is likely not causa_l, but rather a reflection of person’s physiologic state. A review of consumer wearable HRV data from 5 longitudinal studies showed that nighttime PRV was not associated with perceived stress, and surprisingly higher HRV, in the largest cohort (N=717 participants), was correlated with higher stress. An Oura ring cohort of 525 first-year college students found a link between overnight PRV and perceived stress, but that was also seen with resting heart rate, sleep, and respiratory rate. Several very small studies have examined the relationship of HRV and athletic injuries or guiding training with mixed, and predominantly negative results. HRV biofeedback training with paced breathing had no significant effect on reducing stress or raising HRV, as demonstrated with sham controlled trials. When HRV for multiple days showed a decline in conjunction with body temperature, the Oura ring published data for prediction of Covid. The WHOOP company sponsored an observational study, published in 2026, of 30,000 users for 72 weeks, without a control group, that reported reduced alcohol intake (5.8 % points) by self-report. That doesn’t tell us much, and particularly about the merits of HRV for behavioral change. If you use the same device and conditions as longitudinal trends for multiple (at least 2-3) weeks that may be the one way to get something useful from the measurements. Data for overnight sleep with minimal motion and using RMSSD is the best proxy for real HRV. The reason to look at trends rather than any given night is that it more likely represents something, even though you won’t know with certainty what the “it” is. Keep in mind there are no data, no peer-reviewed evidence, to show that HRV fluctuation in-person has any correlation with health outcomes. Share Readiness Scores These are proprietary scores that integrate different metrics for each of the wearables: no algorithms have been disclosed. They are unvalidated against health outcomes. In a review of 14 composite health scores of readiness and recovery, HRV contributed 86% to the scores, followed by reading heart rate (79%), physical activity and sleep duration (both at 71%). That review noted the substantial variability in measurement protools and lack of standardization. Sleep staging is notoriously inconsistent and inaccurate by these sensors, which adds further to the HRV uncertainties for what the scores, which use sleep stage data, mean. Only resting heart rate has been shown consistently across devices to be extremely accurate. I’ve made a Table to summarize what we know about which metrics are included, the scores, any peer-reviewed studies that compared the readiness score with health outcomes, and the corresponding (if any, NA-not available) citation. You will note that some companies do not use the term “readiness," such as WHOOP for recovery, and Garmin, which has 2 different scores, one of which is Body Battery. Eight Sleep uses the term “Fitness Score.” They all include HRV; Apple includes a new metric they call “Recovery HRV” which among other components uses 7-days of sleep, but it is unclear what this means or how it is differentiated from other scores (there are clearly no data for outcomes). We have no knowledge of how the different components are weighted or whether any of these scores are better than resting heart rate, HRV alone, physical activity, or any other single metric. Since none of these are standardized, they are not interchangeable, so if you get a 90 for Oura that has no relationship to a 90 on a Google Fitbit Air. Notably, the company can update its algorithm for readiness score at any point without notification to device users. Without any useful evidence of actionability for these scores or established relationship with health outcomes, it is hard to make a case for their value. At the Apple recent announcement they showed their Readiness score (0-10) on the watch (Figure below) but there are no published data on this score, not even on their website. It’s available only on their new Watch Series 12 or Ultra 4 [of course, ;-)]. That exemplifies the problems with these scores, lack of data and evidence for being meaningful to promote health. Perhaps the best study (which isn’t saying much) is the WHOOP Recovery for golfer performance, because it did correlate with an objective outcome, even though there was no control group and the authors were all from the company. Among the 389 pro golfers, an absolute 10-per cent point increase in Recovery score was associated with about 0.5 fewer strokes per round. But that’s hardly a health outcome! WHOOP is also conducting a study in over 2,700 runners to see if their recovery score will be linked to less injuries and improved performance, but that is not yet published and has no control group or randomization. Putting This in Context For two decades I’ve been enthusiastic about the potential for digital health and particularly wearable biosensors. Over the years, we’ve seen some great progress for their ability to promote physical activity and accurately detect atrial fibrillation (the first FDA cleared deep learning AI for consumers). That work was the subject of rigorous research. But there are holes in the data and evidence for other metrics. One notable one is the “VO2 max” story that I wrote about earlier this year. At that time many subscribers asked me to cover heart rate variability, which I finally got to here. When I dived into the research and publication for HRV and readiness scores, I expected to find at least some that were of high quality and demonstrated their utility by linkage to health outcomes. To my surprise, I found none. The wearable sensor measurements for HRV (PRV) are, for the most part, accurate, but that validation work has only been done in small studies of healthy adults and does not take into account the long list of factors, from the device, software side, and the user side, that affect HRV measurements. Moreover, this metric chiefly relies on optical sensing and, as we have learned for heart rate PPG sensing, may be less accurate in people of color. Keep in mind that all of the health outcome association evidence comes from ECG-derived HRV; none are from wearable sensor data. I will repeat the key point: there's no peer-reviewed evidence to show that in-person HRV fluctuation—or efforts to raise your HRV— has any correlation with health outcomes. For those of you who look at your HRV on awakening, or even 2+ week trends of it being low, I hope this context helps to relieve any anxiety. Yes, low HRV (not PRV) has been shown to increase risk of some diseases as summarized above. But efforts to raise your HRV—a surrogate metric— has not been established for improving any health outcomes. HRV does not have any evidence of causality (the genetic evidence actually goes against this possibility). In this summary, I have not included data for other wearable sensors such as Polar, Samsung, Withings, Suunto, Amazfit, Coros, Ultrahuman, or additional mattress sensors. These are beyond my first-hand experience, and as far as I know from my in-depth review none have any peer-reviewed published data that differ from the 6 sensors I’ve reviewed here. From the points I’ve gone over above, we’re not ready for readiness scores. Besides being proprietary, they are predominantly based on metrics that have their own issues. It’s compounding the problem, like building a house without a solid foundation that has never undergone a rigorous inspection, and then selling it. Like I mentioned for PRV, you can look at trends over weeks rather than any single day, to get a handle, but even that may not be helpful. There’s simply no evidence that these scores meaningfully relate to health outcomes. I’d emphasize they might, but that requires doing prospective or randomized studies to prove it. None exist. There’s great promise for HRV/PRV utility_. For example**,**_ Prof Maiken Nedergaard, who discovered the brain glymphatics that are essential in eliminating metabolic waste products from the brain during sleep, has posited that HRV could be a non-invasive marker for neuromodulator oscillations, brain-body regulatory circuits, and brain clearance. That would be extremely useful, but like everything else on HRV and readiness scores it requires solid research and validation. The lay media isn’t helping much to get the story straight. Earlier this year The Economist published a piece entitled “The most useful indicator of your overall health” which ordained HRV as an “accumulated stress score.” That’s akin to the false assertion about VO2max: “V02 max is the singular most powerful marker for longevity.” As I’ve summarized here, that is not established. The fact is that so many things can lower HRV, including physical exercise (especially an intense workout), reduced sleep quality, stress, the list above, no less the device, signal, and software. Whatever fluctuations observed have not been correlated with any health outcome. Sadly, “datamaxxers” are widely using HRV and readiness scores that have never been validated to mean anything. We already know that for some people using the sensors for sleep metrics, it can induce “orthosomnia,” an obsession to get high sleep quality, with associated high levels of anxiety. In an experiment done by a company to promote sleep quality for its employees, “For those employees who did use the trackers, many reported feeling perfectly rested until their tracker told them they had had a terrible night. Others were told that they had slept like a baby when they had actually been lying awake worrying about the quality of their sleep. “ The same problem can result from preoccupation with HRV or readiness scores, with anxiety that would lead to further reduction in both. It you are using a wearable like >100 million American adults, it’s OK to look at these data, but contextualized with the major caveats reviewed here. If you are one to require evidence that HRV or readiness scores are linked to health outcomes, you may not even want to look. The companies make it hard to turn them off! Let me end with the companies that make and sell wearables. Apple’s doubling down on HRV (24-fold more reporting and heart rate very 5 seconds) and introduction of a Readiness score tells us that consumers have bought into these metrics and they are joining the club. However, all of this is occurring with a backdrop of tens millions of users, claims about the data that are not backed up by adequate evidence, marketing way out in front of whatever limited data exists, and not being transparent about their readiness score algorithms. The companies can well afford to do the research that is needed to connect these metrics with health outcomes show, once and for all, that increasing HRV or using readiness scores promotes our health. If they believed and invested in the products they are selling, we’d not be in this position of not knowing. That’s essentially where we are with HRV and readiness scores. Perhaps someday this will change and we’ll have good reason to embrace them. NB: I wrote this post. No AI. I have no conflicts of interest with any of its content. Loading... Ground Truths has 215,000 subscribers from every US state and 214 countries. There are over 300,000 followers of Ground Truths so more than 90,000 folks who can easily convert to be free subscribers. Your subscription to these free essays and podcasts makes my work in putting them together worthwhile. If you’re not a subscriber, please join! If you found this interesting PLEASE share it! Share Ground Truths The proceeds from all voluntary paid subscriptions go to support our summer internship program. It enabled us to accept and support a record number of 62 summer interns that joined us in 2026! These are high school, college and medical students selected from thousands of applicants. We couldn’t do this expanded program without the funds coming in through Ground Truths. Thank you!
Is Trump’s AI obsession walking the world into disaster?
Jonathan Freedland speaks to Guardian US tech editor Blake Montgomery about the calls for a slowdown in artificial intelligence, and why President Trump is not moved by the doomsday predictions | Politics Weekly America
Aura Entertainment on Life After Distributing Obsession
A year after the biggest Toronto sale in history, the founders of the indie distributor open up about staying disciplined, choosing "the movie no one else sees," and why the market gap is still original content.
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Our cultural obsession with Verne's predictive abilities ignores the real critical nuance and power of his writing, to everyone's detriment.
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The Not-So-Secret Winner in Netflix and YouTube’s Streaming Wars Battle
(Welcome to the “Most Important Story of the Week”, my bi-weekly strategy column analyzing the most important (but often not buzziest) news story of the last two weeks. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. Please subscribe.) Here’s a good piece of advice: when someone tells you a company has “won” the streaming wars, just assume they haven’t. Remember the narratives about the streaming media over the last few years: 2024 - Netflix has won the streaming wars! 2025 - YouTube has won the streaming wars! Yet…in 2026, I’d categorize it as… 2026 - Netflix and YouTube are battling for talent! Netflix and YouTube are aggressively fighting for top creators, marking a fierce new battle in the streaming wars. For two companies that “won”, that certainly doesn’t seem like winning behavior. If you win, you don’t have to fight for talent, because talent has to come to you. This is a good reminder that, if the streaming wars are a war—and I think they are—we should know what type of war they are. So it’s worth revisiting one of my big theories of the streaming wars, that the war these battles most represent is… The Thirty Years’ War1 I prefer this war to other, simpler wars, because, while it featured two “sides”—based on religion—and the current war has two main sides—tech versus entertainment—it also featured a lot of smaller players battling it out, sometimes switching sides. And that’s still the case for entertainment and media, despite the above headlines. I’d recommend this truism: if someone has to tell you they won the streaming wars, they probably haven’t. To wit, if someone told you they were fighting in the Thirty Years’ War—and no, they didn’t call it that at the time—and in year five, they told you they won, well, obviously they had 25 more years to go. That’s a lot of preamble to say, the story of the week is the latest battles between YouTube and Netflix. Their battle for talent says a lot about how hard this war will be to win. All that, plus The Curse of the Mogul in action, Netflix providing more (theatrical) data, whether Apple TV is in trouble, AMC getting in on distribution, and a whole lot more. Subscribe Today’s article is sponsored by… Substack is hosting a live Emmys watch party, starting at 5PM on the East Coast (2PM on the West Coast) on Monday, 14-Sep. Check it out! Tune In Most Important Story of the Week - Who’s the Big Winner in the Netflix vs YouTube Showdown? Netflix spent a lot in 2025, and then even more in 2026 adding a host of “creators”—both podcasters and YouTube stars—to their TV lineup. Frankly, for years, I’ve thought that more major studios/streamers/channels should look to YouTube as the launching pad for future stars and IP. Either by poaching proven talent—albeit at good prices—or by treating YouTube as an arena for your “A&R” reps to scout new talent and emerging voices. Netflix started executing the former strategy—which I thought was smart—while Focus Features did the latter with Obsession. So what changed? YouTube finally responded! Yikes. That’s a strong response, and stronger than I’d argue most narratives about YouTube suggest. People often describe YouTube as a self-reinforcing flywheel of success. Get on YouTube or perish. So why did YouTube have to respond? Because other folks poaching their top talent could really damage their business, implying their flywheel is a pinch more rickety than most analysis suggests. Clearly, creators can envision a life off YouTube and potentially a much more lucrative one. The Curse of the Media Mogul is Playing Out In Real Time 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… Who is the big winner in the Netflix versus YouTube battle… The biggest question about YouTube… Plus why YouTube’s saber rattling should worry talent… Why I’m skeptical that a U.S. federal tax credit for film will happen… What key change could pull Apple from the streaming business. AMC getting in on distribution… Some great reads on the Warner Bros.-Paramount merger... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
'Toy Story 5' Secures Third Consecutive No.1 on Weekly U.K. Home Entertainment Sales Chart Through Sept. 9
Disney/Lucasfilm’s Toy Story 5 continues its winning streak on the Official Film Chart, securing a third consecutive week at No 1 on the weekly U.K. home entertainment sales chart through Sept. 9. There were no chart changes among the top six from the previous week. Universal’s Obsession remained at No. 2 in its 10th week … Continue reading "‘Toy Story 5’ Secures Third Consecutive No.1 on Weekly U.K. Home Entertainment Sales Chart Through Sept. 9"
Obsession Was A Huge Success. I Just Found Out Another Studio Totally Lost The Film
Sony Pictures just wanted Obsession to love them more than anything in the world.
Sony's Tom Rothman on 'Spider-Man: Brand New Day' Blockbuster Success, Being Outbid for 'Obsession' and More
Sony's Tom Rothman took a victory lap with the studio's boffo success of 'Spider-Man: Brand New Day,' speaking at the Lumiere Summit in France.
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The Fierce Battle For Kids’ Eyeballs...Plus Two “Devils” Face Off
(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.) During the week of this report, Spider-Man: Brand New Day hit theaters and went on to become one of the biggest films of all time. So, you know what that means! It’s time for a poll! Recently, Project Hail Mary came to Prime Video and became a top five film for them, but didn’t smash streaming records, a feat I cautiously thought it could accomplish. Can Spider-Man 4 do better? To set the stakes, some of the biggest films of all time do just okay on streaming. Wicked, Top Gun: Maverick, and Barbie come to mind... But unlike those films, Spider-Man: Brand New Day is a Sony film which means it’s headed to Netflix, the world’s largest streamer. Now, per friend of the newsletter and my go-to Netflix expert, Kasey Moore of What’s on Netflix, Sony films usually appear on Netflix 120 days after they premiere, which means Spidey 4 would land on Netflix on, checks notes, 28-November, one of the two biggest streaming weekends of the year! But Sony occasionally delays its biggest hits for a bit longer, to give them more time to make money on PVOD, so Spider-Man: Brand New Day might not swing onto Netflix until late December or even February 2027. Loading... Okay, on to this week’s issue. Since The Super Mario Galaxy Movie made its way to Peacock, I’m looking at the true workhorse of streaming viewership: kids films. And the surprising film that bested most Netflix animated movies. All that, plus Hulu has a new show that might be a hit (for them…?), two “Devils” square off on streaming, Zendaya tries to find some streaming magic, Netflix’s I Will Find You continues to do well, House of the Dragon tries to break into the season three top ten, some big NBC sports and summer programs, what friendly neighborhood Spider-Man character actually generates the most viewership on streaming, 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 27th to August 2nd, 2026. You can find a link to my terminology here.) Subscribe Film - As The Super Mario Galaxy Movie Hits Peacock, How Have Kids Films Fared in 2026? Like Mario hopping on a Koopa, The Super Mario Galaxy Movie landed on Peacock on 30-July. (Yeah, I kinda forced that Mario reference.) How did it do? Great, just like the first film. It got 13.0 million hours on its opening, and that’s good enough to take second place among Peacock films on the Nielsen charts all time: As I mention all the time, Peacock just isn’t the world’s biggest streamer—in fact, nowhere close—so its films struggle to put up numbers like Netflix (or even Prime Video and Disney+). So this is a solid debut for that streamer. And as we saw last time, The Super Mario Bros. Movie had a HUGE second life on Netflix when it moved streamers. This chart doesn’t even show how long the first Mario lasted on Netflix: a whopping, KPop-esque 31 weeks. For NBCUniversal, though, the big win was the second Mario movie grossing $429 million in America and over $1 billion globally. But yeah, to add a very strong streaming performance only makes its success even greater. Illumination pretty clearly has another hit franchise on their hands. This is a good time, though, to check in on kids films so far in 2026. We’ve had a few big, big titles, a rare Netflix success, and some disappointments. Let’s start with the top animated films since November of 2025, over their first four weeks on the charts, along with a few of the “best all time” animated films: (As a reminder, if a film doesn’t make the Nielsen top ten lists, I don’t have data for it, so it gets a “zero” in terms of viewership. Now, it had some viewership, but I don’t know what it is, so it gets a zero.) I added a few titles to get an idea of what the best of the best looks like in terms of animation. And you can see, through four weeks, Zootopia 2 can now claim “one of the biggest streaming films of all time” titles. GOAT too did surprisingly well, besting Netflix’s biggest films (Swapped and In Your Dreams) through four weeks. When I’ve talked about how films can have varying performances on streaming compared to their box office, this is what I mean. Goat just managed to gross even $103 million at the box office—so it’s popular, but just barely—but did very well on streaming. Of course, what set Encanto and KPop Demon Hunters apart from the rest was their absolutely insane longevity. Here are the kids film charts through eight weeks to show that: And really KPop Demon Hunters just kept going, and no 2025 or 2026 kids films have had that sort of longevity. I can’t wait to see the sequel in theaters. Film - Two Devils and a Drama As I wrote last week, in the past, theatrical-first film flops weren’t eligible for “Miss of the Week” or “Miss of the Year” honors/dishonors, but since so many more films go to theaters first these days, I’ve made them eligible now! But it’s complicated. You see, this is a Streaming Ratings Report, emphasis on streaming, which makes analyzing this week’s two biggest streaming misses—The Drama on HBO Max (A24’s dramedy starring Zendaya and Robert Pattinson) and Prime Video’s The Devil Mouth (a killer shark movie starring young attractive people)—somewhat tricky. The Drama isn’t eligible for Luminate, but The Devil’s Mouth only had 1.5 million hours in its first week: The Devil’s Mouth notched 5.2 million hours according to Nielsen. Meanwhile, The Drama missed the charts entirely. Not great! But Prime Video is a much bigger streamer than HBO Max. That said, HBO Max titles are on Prime Video, but I think Prime Video prioritizes their original/exclusive titles, which helps boost their viewership. Complicating this further, The Drama made $48 million in the US—while A24 sells foreign distribution; the $57 million of overseas grosses helps A24 sell overseas rights for money in the future—off of a $28 million budget (which seems low for Zendaya and Pattinson, so they might have backend). The Devil’s Mouth, though, had zero dollars at the box office. The other stats for The Devil’s Mouth are bleak, and by “bleak”, I mean horrendous: a 4.7 on 15K reviews on IMDb (yikes) and a 46 on Metacritic (double yikes). The Drama, though buzzy online, only has a solid (but far from elite) 7.1 IMDb score on 121K reviews and a 59 on Metacritic (which is far, far lower than I’d have guessed). So which film is the “Miss of the Week”? I’m giving it to The Devil’s Mouth for one simple reason: it’s a horror film. And almost all horror films, even poorly reviewed horror films, should get a shot in theaters to at least try to recoup some of their budgets. The Drama made money at the box office and The Devil’s Mouth didn’t. It’s just like the situation last issue with Obsession and Masters of the Universe. Sure, Obsession didn’t pop on the streaming charts, but at least it already made it money at the box office. And as we’ve been seeing for years now and we’ll see all fall, theatrical films just do better on streaming. After all, the big “devil” winner this week was actually The Devil Wears Prada 2 with 14.8 million hours according to Nielsen. That’s right, The Devil Wears Prada 2—one of the box office success stories of May—came to streaming and parlayed its $220 million box office into 14.8 million Nielsen hours. Disney also put out a datecdote that it had 15.2 million “views” globally in five days, but again we don’t have a lot of great context for what that means. Here’s how it stacks up to other Hulu films, since I’m categorizing this mainly as a Hulu title (though it was also on Disney+): Share Quick Notes on Film 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… Whether Hulu has a new hit show on its hands... The top first and third seasons of all time and which shows are climbing those charts… What version of Spidey is the most popular... What sport and TV show are performing better on NBC than the NBA... All the flops, bombs and misses... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, wow, things stay so busy. One of streaming’s biggest shows of all time, Ted Lasso, returns along with new YA-ish shows from Hulu (The Shards, from Ryan Murphy) and Prime Video (Sterling Point). The Challenge moves to Paramount+, plus My Life with the Walter Boys returns to Netflix and Futurama returns to Hulu. And Netflix has a new horror film, The Last House. Lots to talk about! All month, things stay busy. We’re talking Reacher on Prime Video! Outer Banks and Tires on Netflix! Lanterns on HBO Max! UFC 330 on Paramount+ and the MLB Field of Dreams game on Netflix. And a ton of smaller films come to streaming. Long term, the VMAs are back on 27-Sep! I feel like I haven’t heard much about this show in past years, but I’m seeing more news coverage and buzz for this show than in past years. I’m curious to see how it does.
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LOS ANGELES — "Obsession," the indie horror movie written and directed by Curry Barker, has proved to be one of this year's most successful films. Made for a reported budget
'Toy Story 5' Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2
Disney/Pixar’s Toy Story 5 remained No. 1 on the Official Film Chart, the weekly U.K. home entertainment sales chart through, through Sept. 2. The rest of the top four remains unchanged this week, with Focus Features’ supernatural horror film Obsession holding at No. 2 in its ninth week on the chart, and Universal’s animated adventure … Continue reading "‘Toy Story 5’ Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2"
'Toy Story 5' Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2
Disney/Pixar’s Toy Story 5 remained No. 1 on the Official Film Chart, the weekly U.Sk. home entertainment sales chart through, through Sept. 2. The rest of the Top 4 remains unchanged this week, with Focus Features’ supernatural horror Obsession holding at No. 2 in its ninth week on the chart, and Universal’s animated adventure Minions … Continue reading "‘Toy Story 5’ Continues Reign Atop Weekly U.K. Home Entertainment Sales Chart Through Sept. 2"
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.
The surprising science behind Japan’s vending machine obsession
The country’s machines can serve hot ramen, spot fake coins, and even withstand earthquakes.
2026 fall TV preview: Every show you should know about
What TV show will be your fall obsession?
Round out your summer reading with these 4 thrillers and mysteries
In these four darkly funny and deeply unsettling novels, obsession loosens buried secrets and accountability rarely lands where it should.
Vampire Survivors Meets Spelunky Is My Newest Obsession
Messhof's latest turns bullet heaven into a neat and chaotic platformer
Natalie Harp's brother says she has 'unhealthy obsession' with Trump
Preston Harp alleged sister, Trump aide Natalie Harp, has unhealthy infatuation with the president.
'X-Men' lures Adam Driver as archvillain, 'Obsession' star Inde Navarrette
ANAHEIM, Calif. — The X-Men are finally assembling in the Marvel Cinematic Universe, with a surprising archvillain.
Theme Park Controversy Proves Obsession Broke Everyone’s Brains
A controversial Halloween Horror Nights decision has fans debating whether a horror victim should be turned into a terrifying scare actor.
Upstate N.Y. teen wins junior disc golf world title
A boring afternoon turned into a full-blown obsession for Ethan Hadders, and years of practice later, he's now a junior world champion.
Living in Italy cured my 10,000-step obsession
After moving to Florence, I realized walking didn't have to be something I constantly tracked or optimized to be healthy.
Home Entertainment Guide July 2026: Obsession, The Drama, Is God Is, More
The latest on Blu-ray includes The Christophers, The Devil Wears Prada 2, and Criterion editions of The Crying Game and Hud.
Fauci invokes Fifth Amendment, declines to testify in COVID-19 Senate hearing
In his opening statement, Fauci said Paul has an "obvious obsession with calling for my prosecution"
Europe is warming to America's obsession with AC
As Europe recorded its hottest June on record, Europeans flocked to buy AC units, eroding a decades-old divide with America.
I Only Needed One Episode of This Show to Know We're in for Some Messy Chaos
Looking for your next TV obsession? This binge-worthy series delivers messy drama, unforgettable personalities and a premiere that ends on a major cliffhanger. Find out more here.
The One Thing I Hate About Almost Every Jeep Since 1941
I’m so obsessed with Jeeps that I studied engineering to become a Jeep engineer, then I became a car journalist who has basically been writing about his Jeep projects for over a decade; recently, I assembled a WWII Jeep from scratch. It’s a deep, deep obsession, but it’s not a blind one; I know Jeeps […]
Science can serve dark as well as light
I’m not sure how many of you are watching “Star City,” Apple TV’s spin-off of its “For All Mankind” program (2019-present), but it’s one of the better sci-fi series I’ve seen in a while, with an impressively dark political message. (Some light spoilers below.) For the uninitiated, “For All Mankind” presented a slightly tweaked history of the U.S. space program in which it was the USSR that landed on the Moon first in 1969, and shortly thereafter put a woman cosmonaut on the lunar surface. This sparks an ongoing space race that, in the original series, yields a lot of benefits for humanity. President Nixon’s insistence on a female astronaut corps to compete with the Soviets boosts the feminist movement of the 1970s and the ERA passes. New fuels generated for the space program create clean and cheap energy around Earth. There are also some darker changes — the USSR is thriving well into the 2000s, there are terrorist counter-technology movements around the globe, laborers on Mars work in nightmarish conditions and organize strikes and riots, etc. the @smotus report is a reader-supported publication. To support this work, please become a paid subscriber. Subscribe That show offers glimpses into the subtle ways this Earth is different. Teddy Kennedy never went to Chappaquidick because he was racing back to Washington to deal with the space program crisis; he gets elected President in 1972. John Lennon survives his early 1980s shooting but Pope John Paul II does not. The Apple Newton succeeded. Pretty much the whole of season 4 is a setup for an Al Gore joke. Again, mostly, the vision that “For All Mankind” presents is a positive one, with technology advancing many human interests. “Star City” goes in a very different direction. This spin-off show is about the same set of events but from the Soviet perspective. As we meet them, the team of scientists and cosmonauts responsible for the lunar landing are still basking in their hero status, but their program is embedded deep in the Soviet security state of the late 1960s. Everyone’s apartment is bugged. Whole teams of clerical staff spend their days transcribing recordings of people’s lives. People in the program, including respected cosmonauts, are regularly arrested. An incredibly menacing Colonel Lyudmilla Raskova (Anna Maxwell Martin) forces confessions and tortures and kills, expressing little more than annoyance in the process. Meanwhile, the space program’s highly respected Chief Designer (Rhys Ifans) has a vision for the program that he knows the government will not approve. He insists that they need to think past the Moon to focus on colonizing the solar system, starting with Venus. (This is a rough parallel to the Americans’ pivot to Mars in the original show.) He essentially builds a secret space program within the space program, calculating that the government will embrace the mission after it has succeeded. (As an aside, I’m not sure why the Venus obsession, as a successful mission can’t produce the biggest public relations payoff: a cosmonaut standing on the surface holding the Soviet flag. Anyone standing on Venus would be immediately crushed by the 92-bar atmosphere and then cremated in the 900°F temperatures. But in a country with no free press perhaps the visual payoff was less valued.) But the overall vision is that the technological advances have only amplified the most fearsome aspects of the Soviet system. The state is paranoid (but not incorrect) about American spies and does monstrous things to protect its secrets. People are terrified to trust each other. Classic banality-of-evil figures order people to harm those they care about; those people comply rather than get shot. Others are forced into criminal behavior to protect loved ones. We’re reminded all the time these days of what happens when a government despises science. It manifests in the defunding of schools, the elevation of fossil fuels as the rest of the world pivots to solar, outbreaks of measles and diarrhea, etc. But “Star City” offers a vision of a bad government that likes science. It’s not encouraging. It’s not yet clear if there will be a season two of this show. But I strongly recommend season one. It’s both thoughtful and gripping. Share
Did this scientist solve humanity’s biggest mystery? The surprising theory explained - Futura-Sciences
From behind the Iron Curtain Gánti was born in Vác, Hungary, on September 10, 1933. He grew up during World War II and the subsequent Soviet occupation. Though he trained as a chemical engineer and worked in industrial biochemistry, his lifelong obsession was a fundamental question: what actually defines something...
Whole Hog Politics: Trump’s election obsession is a midterm loser
It isn’t that Republicans couldn’t pass a single major piece of immigration legislation in the 18 months that their party has had unified control of Washington. It’s that they wouldn’t. None other than the late Sen. Lindsey...
A Trump Obsession That Carries a Cost for Democracy
In demanding steps to address the integrity of voting, President Trump persisted in relitigating his 2020 election defeat while finding ways to cast doubt on the 2026 outcome.
After six years, Trump brings his election obsession to primetime at the White House
President Donald Trump is making a primetime address to the nation that's expected to include discussion of election issues | KNSS Radio
Home Entertainment Slate for July 14 Includes 'Michael,' 'Obsession,' 'The Mummy' on Disc, 'Backrooms,' 'The Breadwinner' Digitally
Home Entertainment new releases for July 14 include Michael, Obsession, Lee Cronin’s The Mummy and Normal on Blu-ray, while Backrooms and The Breadwinner become available digitally. The hit music biopic Michael will be available on DVD, Blu-ray and 4K Ultra HD disc July 14 from Lionsgate. The 4K Ultra HD combo pack with regular Blu-ray Disc and … Continue reading "Home Entertainment Slate for July 14 Includes ‘Michael,’ ‘Obsession,’ ‘The Mummy’ on Disc, ‘Backrooms,’ ‘The Breadwinner’ Digitally"
I Bought the $3,000 Fitness Suit That Electrocutes You. I’m Sending It Back
Celebrities like George Clooney have praised the expensive Katalyst suit. For me, it derailed my other exercises and made me reassess my obsession with fitness and efficiency.
Software engineer decided to pursue nursing after a layoff and AI
She spent a year trying to stay in tech. The industry's obsession with AI drove her to pursue a career in nursing.
Joe Klein: At 80, Here’s What I’ve Learned About Politics—and Life
I am 80 years old, this year of our 250th anniversary, and I find myself a cliché. My life has been a common political journey, from left to center. I recently took the Pew Research Center’s “political typology” test and found that I was a “pragmatic and polite conservative,” which seemed a rather abstruse basket: A politically mixed (though Republican-tilting) group, they lean conservative on economics and the role of government, while tilting more liberal on issues related to race and foreign policy. They prize civility and cooperation in politics. Well, that sounds pretty mushy—and I find it hard to square with the strong opinions I have on many issues. I’ve voted for Democrats in federal elections, but I grow more Republican the closer I get to local politics. Democrats, I’ve found, simply aren’t very good at running things, especially school systems, where they are in the thrall of the teachers unions. My friends joke about my obsession with the unions. They know all my lines. If industrial unions are organized against the power of capital, who are the public employees organized against? But enough of that. I’ve ranted that rant too often, and my political journey has been more complicated than that one issue. It has been empirical, based on actual experience—on a lifetime of reporting and a lot of reading. An early example: I was a journalist with the underground press in Boston at the turn of the 1970s and considered myself a member of the antiwar and civil rights movements. The first big issue I covered was busing to achieve school integration. Yes, the white bigots were disgusting. But I couldn’t find any black parents who favored the plan to bus their children to schools outside their neighborhoods either. Black activists and politicians—and white liberals—were gung ho, but not actual parents of black kids in school. Busing was a form of social engineering imposed from on high, by a judge—W. Arthur Garrity—who lived in a wealthy liberal suburb. Wealthy liberal suburbs were not affected by his plan, of course. I began to see that there were limits to what government could do, especially when it came to changing a society’s culture.
Men found ‘Love Island.’ Then they started betting on it.
Prediction market apps are turning America's hottest dating show into a different obsession — and bringing a new audience into the villa.
The 10 best movies of 2026 (so far)
From the horror and thrills of 'Obsession' and 'Send Help' to an animated blockbuster and a space adventure, see which movies we think are the 10 best of 2026...so far. Even a 'king' makes our list.
The 10 best movies of 2026 (so far)
From the horror and thrills of "Obsession" and "Send Help" to an animated blockbuster and a space adventure.
Liver health is the latest wellness obsession
Interest in liver health and sales of liver-focused supplements is soaring as people become more aware of the organ's role in overall health, and rates of liver disease rise.
What to Stream: 'Enola Holmes 3,' Madonna and the 'Legally Blonde' prequel series 'Elle'
New streaming entertainment options for the week of June 29 include “Enola Holmes 3" and a new Madonna album. The Associated Press highlights some top picks. “Obsession,” a film with
An au pair made my family obsessed with Argentina's World Cup run
What started as childcare turned into a friendship, a World Cup obsession, and a connection that spans two continents.
The NHL's Obsession With No-Trade Clauses: Why Hockey Is The Outlier In North American Sports
No-trade and no-move clauses have become so commonplace in the NHL that many fans assume they are simply part of the business of sports. They aren’t.
How Trump’s Political Agenda Is Shaped by His Own Obsessions
President Trump’s priorities seem increasingly detached from the concerns of voters and his party.
Meta glasses need to be stylish to succeed, Zuckerberg says
Mark Zuckerberg's latest obsession is fashion, which he sees as key to getting more people to wear Meta's AI glasses as more than tech gadgets.
Greg Gutfeld: Algae is the perfect analogy of left-wing politics
‘The Five’ panelists criticize Democrats’ obsession with algae in the Lincoln Memorial Reflecting Pool.
Where might we find life in our solar system?
While life on Mars (and Venus) has long been an obsession for those wondering if we're alone, there are other places in our solar system that could support life in some form.
From YouTube to Hollywood: Digital creators are remaking the movie business
Some of the most promising young filmmakers in the movie business are arriving in Hollywood already experts at entertaining audiences and going viral. The twin sensations of “Obsession” and “Backrooms”
“Disclosure Day ”lands out-of-this-world opening weekend with $93 million at global box office
While Steven Spielberg's extraterrestrial drama invades the world, 24-year-old Curry Barker's low-budget horror "Obsession" achieves a rare domestic feat.
'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.
Steven Spielberg's 'Disclosure Day' opens No. 1, while 'Obsession' sensation continues
Steven Spielberg’s “Disclosure Day,” billed as his first popcorn movie in years, launched with $44 million in domestic theaters. “Disclosure Day” opened largely as expected, collecting $92.9 million worldwide over
Steven Spielberg’s ‘Disclosure Day’ opens No. 1, while ‘Obsession’ sensation continues
NEW YORK (AP) — Steven Spielberg’s “Disclosure Day,” billed as his first popcorn movie in years, launched with $44 million in domestic theaters, according to studio estimates Sunday. “Disclosure Da…
Steven Spielberg's 'Disclosure Day' opens No. 1, while 'Obsession' sensation continues
Steven Spielberg’s “Disclosure Day,” billed as his first popcorn movie in years, launched with $44 million in domestic theaters.
Steven Spielberg's 'Disclosure Day' opens No. 1, while 'Obsession' sensation continues
NEW YORK — Steven Spielberg’s “Disclosure Day,” billed as his first popcorn movie in years, launched with $44 million in domestic theaters, according to studio estimates Sunday.
NYC congressional candidate laments ‘obsession’ with Israel in politics
Micah Lasher says he is 'exhausted' with incessant discourse surrounding Jewish state, urges more focus on domestic issues
After 'Backrooms' and 'Obsession,' these YouTubers could hit Hollywood
A pair of YouTuber-helmed horror films scored big at the box office, and others could follow as Hollywood turns to creators.
Horror hits 'Backrooms' and 'Obsession' Beat Star Wars at box office
Low-budget horror films "Backrooms" and "Obsession" are leading the box office, showing the power of internet native culture on the big screen.
YouTuber box office boom: ‘Backrooms’ and ‘Obsession’ draw Gen Z to theaters
An indie horror with internet origins has beaten the legacy franchise Star Wars at the box office this weekend.
YouTuber box office boom: ‘Backrooms’ and ‘Obsession’ draw Gen Z to theaters
An indie horror with internet origins has beaten the legacy franchise Star Wars at the box office this weekend.
YouTuber box office boom: ‘Backrooms’ and ‘Obsession’ draw Gen Z to theaters
An indie horror with internet origins has beaten the legacy franchise Star Wars at the box office this weekend.
Political obsession disorder is a real thing
I am an avid reader of advice columns. I don’t read the responses, but I do like to read about other people’s issues maybe because it makes me feel better about my own situation. Lately...
These Producers Built a Business Working With First-Time Directors. It Paid Off Big With ‘Obsession’
Tea Shop's James Harris and Mark Lane are the prime movers behind Curry Barker's hit movie, and they pride themselves on taking a chance on newcomers.
Google’s AI Search is pushing users away, and Bing has a rare opening it has not seen in years. What happens next is up to Microsoft.
As competitor search engines surge on Google's AI obsession, Microsoft should exploit the situation. But it'll go against everything it's been doing up until now.
‘Mandalorian and Grogu’ tops charts and ‘Obsession’ grows in second weekend
After nearly seven years away from the big screen, a new Star Wars movie drew healthy but not record-breaking crowds to global theaters this weekend.
Box Office: ‘Mandalorian and Grogu’ tops charts and ‘Obsession’ grows in second weekend
Studio estimates on Sunday say “Star Wars: The Mandalorian and Grogu,” has made $82 million in ticket sales in the U.S. and Canada over the weekend.
Box Office: ‘Mandalorian and Grogu’ tops charts and ‘Obsession’ grows in second weekend
Studio estimates on Sunday say “Star Wars: The Mandalorian and Grogu,” has made $82 million in ticket sales in the U.S. and Canada over the weekend.
New movies to watch this weekend: See 'Obsession' in theaters, rent 'Project Hail Mary,' stream 'Marty: Life is Short' on Netflix
The "Top Gun" films head back to theaters, while Ryan Gosling's latest hit heads to home screens.
BioShock creator says Nintendo Switch 2 proves gaming graphics are hitting "diminishing returns"
Ken Levine, creator of BioShock, recently used the Nintendo Switch 2 as an example while criticizing the gaming industry’s increasing obsession with graphical realism, arguing that the medium has reached a point of “diminishing returns” when it comes to visuals. Speaking with IGN, Levine discussed how modern games continue to chase photorealism, but believes players and developers alike are starting...
Guelph, Ont., student's squirrel obsession earns her spot at Canada-wide science competition
Kira Egete and her family are obsessed with squirrels. Turns out, it's not such a nutty passion. Now, the Grade 10 student, whose project examines how squirrels see colour, will be among 400 participa...
The science behind social media’s peptide obsession
As peptide “stacking” takes over social media feeds, we separate the science from the hype of the Internet’s latest wellness obsession
Anti-woke Vivek Ramaswamy confronts racism in his run for Ohio governor
Vivek Ramaswamy built a political brand casting racism as an obsession of Democrats. As a Republican running for Ohio governor, he’s facing racism on the right.
Trump's Truth Social lays bare narrow obsessions of an extremely online president
The bulk of the president's social media posts don't make news. But taken together they show what's on his mind as he leads the nation through war and domestic turmoil.