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Lionsgate Studios Stock Jumps on Report of Takeover Bid by Legendary Entertainment
Lionsgate and Legendary have been in talks since last year, Bloomberg reported, citing people familiar with the matter. No price tag was reported.
Legendary Entertainment Submits Takeover Offer for Lionsgate
The move comes after the "Dune" producer first eyed a potential acquisition of the Hollywood studio last year
Legendary Entertainment Submits Takeover Offer for Lionsgate
The move comes after the "Dune" producer first eyed a potential acquisition of the Hollywood studio last year
The non-gamer CEO racing to save Microsoft’s Xbox
Asha Sharma has cut thousands of jobs, consolidated studios, and rewritten the playbook. Insiders wonder if she’s saving the brand or preparing it for a non-Microsoft future.
Gravity Media Drives Lifted Entertainment’s <i>I’m A Celebrity… The Wild Frontier</i>, Through Rapid-Deployment IP Production
Gravity Media has rapidly deployed complete IP-based broadcast infrastructure for Lifted Entertainment (part of ITV Studios) on I'm A Celebrity... The Wild Frontier, supporting production in the remote mountain environment...
Kratos Would Have Had a Different Name Were It Not for Relentless Domino's Pizza Jokes, God of War Creator Reveals
God of War's Kratos almost went by a different name, but developers at Santa Monica Studio made too many Domino's pizza jokes.
Mahjong studio opens in Blue Springs as the centuries-old Chinese game sees a surge in new players
A new Blue Springs studio, Bam Bird Social, is dedicated to teaching and playing mahjong as the game surges in popularity.
"This act is intended to demonstrate solidarity with Palestine" - Umurangi Generation studio blocks new game Penguin Colony from being sold in Israel
"In the absence of more organised sanctions," Umurangi Generations studio Origame has blocked the sale of its new game Penguin Colony in Israel.
'There's No One Person That Has This Whole Thing in Their Head' — GTA 6 Devs Had Freedom to Add Cool Features Just Like RDR2's Horse Balls
Rockstar Games gave the GTA 6 developers so much freedom to add cool details that not even the studio's top executives are aware of everything in the game.
Star Wars Battlefront 3 Could Land at Bungie, as Lucasfilm Reportedly Weighs the Halo and Destiny Studio Against EA DICE
According to a startling rumor, Lucasfilm may be considering giving Star Wars Battlefront 3 to Bungie rather than DICE.
Arc Raiders player numbers hit a six-month high following the release of the extraction shooter's huge Frozen Trails update
Embark's Studios' PvEvP phenomenon Arc Raiders is still going strong, and it's all thanks to the game's recent free weekend and huge Frozen Trails update.
Star Wars Battlefront 3 Talks In Early Stages With DICE And Bungie, Says Rumor
Star Wars Battlefront 3 might be happening. This is huge news for Star Wars gaming fans as Disney has big plans for the series. They are reportedly in talks with two game development studios over …
Edward Berger Says Movie Business "Needed Netflix To Wake Up"
'All Quiet on the Western Front' director Edward Berger has addressed the relationship between Netflix and the Hollywood studios.
Jesse Eisenberg claims he couldn’t get ‘movie studio parts anymore’ after “Batman v Superman”
The Oscar-nominated actor, screenwriter, and director said he began penning films “just to kind of keep my career afloat.”
Eumathian Club explores art, science
The Eumathian Club’s September meeting featured an art lesson with Pam Chamberlain at her studio in Hico, following lunch at the Koffee Kup and a visit to the Wiseman House
Toon2Tango to Lead Global Licensing and Merchandising for Mediawan Kids & Family Slate, Including Titles Like ‘Astro Boy’ Reboot (EXCLUSIVE)
Mediawan Kids & Family, Europe’s leading independent studio for the production and distribution of children’s and family content, and Toon2Tango, the German kids and family entertainment powerhouse, h...
Huntington Bank Introduces The 1866 Studio, an AI-Powered Small Business Operating System Built with Google Cloud
New connected experience designed to help small business owners build and scale their businesses with access to financial, operational and business management AI tools and expertise COLUMBUS,...
HMG Pop Up Paper Extends 3D Paper Engineering Into New Wholesale Stationery Lines
Hanoi manufacturer introduces pop-up business cards, affirmation cards and structural invitations while updating how it evaluates customer outco...
Album featuring Ephrata oboist, and partially recorded at Abbey Road, to get local release show
A central Pennsylvania musical duo will soon release an album featuring orchestral sessions recorded at Abbey Road Studios.
BBC Studios' Strategy for Bluey and Beyond
As the "Bluey" property gets its first feature film, Suzy Lee Raia outlines what has made the brand so successful.
JustAd Raises USD 5 Million to Accelerate Expansion into New Markets
United Arab Emirates, October 19, 2026 -- JustAd, the AI-powered marketing OS, today announced a USD 5 million investment from angel investor I...
Amazon Discounts New Mac Mini by Up to $149, Mac Studio by $200
Amazon has Apple's brand new Mac mini for up to $149 off this weekend, with deals focused on the M6 Mac mini this time around. You'll also find $200 off the M5 Max Mac Studio below. Note: MacRumors is an affiliate partner with some of these vendors. When you click a link and make a purchase, we may receive a small payment, which helps us keep the site running. One of the best deals is on the M5 Max Mac Studio with 36GB RAM and a 512GB SSD, on sale for $2,299.00, down from $2,499.00.
NMSU hosts 12th annual Health Professions Fair Nov. 4
The New Mexico State University Aggie Career Studio is scheduled to host its 12th annual Health Professions Fair on Wednesday, Nov. 4, offering students, alumni, and community members opportunities…
Battlefield 6 devs to fix "Secuty" skin typo, but five-pistol outfit was intentional
Battlefield Studios says a typo on a Season 5 skin will be fixed, but the outfit with five pistols was deliberate.
Grab Apple's 2026 Mac Studio for $2,299, now $200 off
The lowest online Mac Studio price on the 2026 line is available at Amazon, with a $200 discount on the standard model.
Castill Health Announces Plans for Philippines Digital Healthcare Launch, Supported by Craig Astill and Caason Group
Singapore, October 18, 2026 -- Singapore-based digital healthcare venture Castill Health has announced plans for its first market rollout in the...
Val Booted Next DWTS Episode, Jenna Dewan Dance With Alan
“The well-being of everyone who works on 'Dancing With the Stars' is non-negotiable. Val’s social media post was inappropriate and does not reflect the values or standards expected of anyone connected with the show. As a result, he will not participate in next week’s show," BBC Studios said in a statement.
Core Growth Group Updates HVAC Business Scaling Guide With Sequenced Growth Plan
The revised guide, updated October 1, 2026, sets out a four-step scaling sequence, a 24- to 36-month timeline, and the operational changes that ...
Milwaukee leaders spotlight community-centered health care
A new documentary explores community-led efforts to close health care gaps. Its screening and a community conversation are on Saturday, Oct. 17, at No Studios.
Berlin's High-End KaDeWe Store Opens Dedicated Health Hub
KaDeWe department store dedicates 2,000 square meters to training, recovery and exclusive fitness brands and includes biohacking and Lagree studio.
NMSU Aggie Career Studio to host 12th annual Health Professions Fair
New Mexico State University’s Aggie Career Studio will host its 12th annual Health Professions Fair from 2 to 5 p.m. Wednesday, Nov. 4, on the first floor of Corbett Center Student Union. The...
“Musk” distributor Bleecker Street acquired by Outerlight Entertainment
Outerlight Entertainment, previously First Look Entertainment, has acquired indie studio Bleecker Street Media, fresh from its release of Alex Gibney’s new documentary, Musk, on Friday (October 16). Financial terms of ...
Mental Health Awareness Week
Steve Carleton, Chief Clinical Officer with Porch Light Health joins us in studio to talk about Mental Health Awareness Week.
The Netflix series Drive to Survive inspired Star Wars: Galactic Racer
Fuse Games head Matt Webster says the studio wanted to capture the off-track intrigue and excitement of the Formula 1 show.
Remedy Boss Reacts After Control Resonant Sells 1 Million Copies, Becoming Studio's Fastest-Selling Game
Control Resonant has sold one million copies, becoming Remedy’s fastest-selling game in spite of leakers cracking the title and pirating it after its digital launch in September.
The tech backlash is now in theaters
It feels like studios are finally ready to make critical films about Big Tech’s heavyweights.
Top Agencies and Producers Want Laws Forcing Studios to Devote Half Their Budgets to Indie TV and Movies
The American Entertainment Alliance is pushing for regulation that would help return ownership of series and films back to their creators.
Bleecker Street Sells to Outerlight Entertainment
Outerlight Entertainment has bought Bleecker Street, the independent studio behind films like Spinal Tap 2 and Musk.
Bleecker Street Sells to Outerlight Entertainment
Outerlight Entertainment has bought Bleecker Street, the independent studio behind films like Spinal Tap 2 and Musk.
SMAC Entertainment, CAA, EverWonder Studio Launch Grand Slam of Flag Women’s Flag Football Series
SMAC Entertainment, Creative Artists Agency (CAA), and EverWonder Studio have launched Grand Slam of Flag, a global tournament series featuring top women’s national flag football teams and their federations. The...
Medical Alley opens studio for health innovation
Plus: Crisp & Green acquires two salad chains and Rocket55 finds a buyer.
Ubisoft to reduce workforce across Düsseldorf, Berlin, and Mainz as part of "proposed voluntary departure plan"
Approximately 100 employees may be affected by cuts, which are reportedly taking place to "best position [its] German studios for the future"
True Crime Producer Association Welcomes US Indies Gennie, Texas Crew
The Association of True Crime Producers has welcomed American Indies Gennie Studios, My Entertainment and Texas Crew along with non-UK producers.
2026 Engineering, Science and Technology Emmy Awards
IMAGE DISTRIBUTED FOR THE TELEVISION ACADEMY - Charles Leonard, right, takes the podium to accept the Philo T. Farnsworth Corporate Achievement Award along with Chapman/Leonard Studio Equipment Inc. colleagues Jim
'Reading Rainbow' host Mychal Threets shares concerning update
Viral librarian and ‘Reading Rainbow’ host Mychal Threets says he is 'trying to stay' amid ongoing mental health battles.
'Reading Rainbow' host Mychal Threets shares concerning update
Viral librarian and ‘Reading Rainbow’ host Mychal Threets says he is 'trying to stay' amid ongoing mental health battles.
Ubisoft plans cuts at German studios, adding to wave of workforce reductions
Ubisoft is planning to reduce its workforce in Germany, where it operates a trio of studios, by about 100 workers, Game File has learned. The company wants to offer employees buyouts to, should enough people accept, avoid having to lay anyone off. “In Germany, we initiated discussions with the Works Council last week regarding a proposed voluntary departure plan across Ubisoft Dusseldorf, Ubisoft Berlin & Ubisoft Mainz,” a company rep told Game File. A “works council” is a union-like group representing employees. “The voluntary plan is the primary measure being proposed to support the intended organizational changes,” the Ubisoft rep added. The company declined to confirm the scale of the potential headcount cut. Of the impacted studios, Mainz might be the best known to the public. It leads development of the Anno series and shipped the well-reviewed strategy game Anno 117: Pax Romana in November 2025. Berlin and Dusseldorf operate as support studios within Ubisoft’s creative network. Berlin recently supported the development of Rainbow Six Siege and the Rayman Legends Retold remake. Dusseldorf also contributed to those projects, as well as The Settlers and Ubisoft-branded escape rooms. Dusseldorf is the biggest of the three studios, with some 400+ workers, compared to just over 100 at the other two, a source familiar with the reductions and the teams told Game File. More than half of these new reductions of about 100 people are expected to happen at Dusseldorf. The planned cuts were announced at a town hall for the German studios on Tuesday of last week. In an email follow-up, the studio group’s managing director, Benedikt Grindel, said the cuts were intended to “best position our German studios for the future... with a clearer focus on their role, capabilities and organizational setup needed for the work ahead.” The email was an echo of the past. In January 2025, Grindel had emailed the Ubisoft developers in his region (or studio “zone”) to explain that a round of 185 cuts at the time, including about 65 at Dusseldorf, were “essential to improve our operational efficiency and ensure the long-term sustainability of our studios, the zone and the company.” A half-decade of continued job cuts Ubisoft has been aggressively cutting its headcount for years. At the end of September 2022, it had 20,729 workers. By the end of March 2026, that total was down to 16,590. Studio management is trying to trim costs as it grapples with a changing industry and a drought of releases, let alone hits. The company announced earlier this year that it had reduced its costs since 2022 by “nearly €325 million” ($362m) and planned to lower them through 2028 by another €180 million ($200m). In June the company said it was closing down its Winnipeg and Belgrade studios and cutting roles in its Barcelona team. Even commercial and creative success hasn’t spared studios from this ongoing company-wide contraction. As Game File was nailing down details around the proposed cuts in Germany, Ubisoft management was informing workers of cuts in its Singapore studio, which shipped a hit remake of Assassin’s Creed IV: Black Flag this past July. Some 70 positions in Singapore are being eliminated “to align the studio with upcoming production needs,” per a company rep’s statement to Game File. In early 2024, a large team in the Singapore studio launched the multiplayer pirate game Skull & Bones. It performed poorly but has been supported with regular content updates since. Many of Ubisoft’s studios around the world are heavily subsidized via regional grants and tax breaks. Singapore had been among them for years, but received no such local assistance in the 12 months ending this past March. News of the Singapore cuts broke today alongside word that Ubisoft is also proposing the closure of RedLynx, pending negotiations with officials. The Finnish studio behind the motorbike series Trials was founded in 2000 and sold to Ubisoft in 2011. As reported by VGC (and corroborated by Game File), Ubisoft management told employees it could not come up with a new, sustainable assignment for RedLynx. The 2025 workforce at Ubisoft Dusseldorf were straight-up cuts. This time, Ubisoft is hoping the reductions at its trio of German studios will largely come from workers taking a payout to leave. The company offered such voluntary dismissals at its Massive Entertainment studio (The Division) a year ago. For the German studios’ buyouts this time around, Ubisoft and the Works Council had discussed a formula that’d pay a worker’s monthly salary multiplied by 1.5 and by the number of years they’ve worked at the company, according to Game File sources. The formula is still subject to negotiations with the Works Council and has not yet been part of an official offer to workers. It could be adjusted up or down, and it could be supplemented with additional bonuses. Asked about the floated payout formula, a Ubisoft rep told Game File, “The terms of a potential voluntary departure program remain subject to negotiation with employee representatives. No final agreement has been reached, and we won’t comment on specific proposals while discussions are ongoing.” Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: Epic’s AI adventures Epic Games (Fortnite, the Unreal engine) is all-in on using AI to try to transform the way it makes video games and game-making tools. It’s leaders appear to be undeterred by any resistance among gamers and some game developers around generative AI—and instead emboldened by advances, particularly in AI-assisted programming. A recap of the last three days: On Monday, Bloomberg reported that Epic management told workers last week that development of an upcoming game combining Star Wars and Marvel characters would be “AI first.” Employees would be expected to use AI models such as Claude to code the game. A manager told Epic’s developers there would be “[n]o more hand-written code” and that art for the game would be “generated with full AI workflows,” per the outlet. Just ahead of that story running, Epic founder Tim Sweeney tweeted: “We have a huge pivot underway here at Epic, moving developers around to retool for maximum AI acceleration. The aim isn’t to do the same stuff with fewer people, but to enable everyone here to build MORE and BETTER stuff, and to bring the benefits to all teams using Unreal.” In a follow-up, Sweeney predicted that most game development processes would be at least three times faster a year from now than they were in January 2026, thanks to AI. To a person on X who told him he was failing to read the room, Sweeney said: “Much of the room wants it to be 2016 again, but it’s not. Our job, as the provider of tools and technology to much of the industry, is to design for the present that is and the future that will soon be.” On Wednesday, Epic announced it was releasing a faster launcher for its Epic Games Store marketplace. It did so by stating in a blog post as clear as could be that the launcher is an AI-enabled, vibe-coded project: Programming is hard. So, instead of doing that, we vibe coded a new Epic Games Launcher that’s way faster and more responsive than the current one, and has a new look. Programming is hard? That was unexpected phrasing from a company founded by a legendarily great programmer. Back in 2011, Sweeney told me that he’d picked up programming quickly as a kid and rejoiced at the power it gave him. “I could look at any program that anybody else had written and, with enough effort, build something cooler.” Item 3: The Xbox Labs experiment (and one of the people behind it) Microsoft’s Xbox division, which is flooding the zone with announcements lately, yesterday revealed a new internal tech-tinkering team called Xbox Labs. In the words of Xbox boss Asha Sharma Labs is “a small group of game makers, engineers and scientists whose job is to turn emerging ideas into things our players and developers can experience.” Conventional wisdom coming out of the announcement is that Labs is a team that’ll focus on ideas driven by generative AI. In her announcement, Sharma cited some of the dizzying achievements in tech and gaming over the past month as AI agents and other AI tools have been deployed to swiftly figure out how popular games work, then rebuild them and mix them up. She mentioned seeing ”games rapidly decompiled and rebuilt to run on hardware they were never originally designed to support” and said “[p]erhaps more surprisingly, we’ve seen many of the biggest games in the world have been remixed into the source code of another.” (Minecraft plus Elden Ring, for example, or Fortnite + Super Monkey Ball + Overwatch + Diablo + others.) Sharma also cited the work of Windows PC games being ported to run in browsers, a seeming reference to a recent AI-assisted fan port of Halo. Or perhaps Call of Duty or GTA. Sharma didn’t use the specific term “AI” in her memo, but she came close, citing AI “agents” and their potential for game-making tools that Labs could help craft: I think XBOX has an important role to play here. Coding became the first major workload for agents because they can write, run, and test software. Games share many of those same properties, and people spend more than 72 billion hours a year playing XBOX games, roughly five times the estimated time spent writing code worldwide. We’ve spent 25 years learning how to make great games, and I want our game makers to help shape what these new technologies make possible. As we learn, we’ll share the tools we build with developers across the industry, just as we always have. When I asked an Xbox rep if Labs was an AI-centric team, they said genAI was not the focus, describing it as having a broader mandate for using new tech in new ways in gaming. As an example, they pointed to Xbox’s recently launched disc-to-digital gaming usage rights program. Microsoft didn’t specifically name anyone involved full-time in Xbox Labs yesterday, but on social media and LinkedIn, I spotted Adrian Mato IDing himself as leading the creatio of tools at Labs and talking up the launch. Mato first caught my attention in late September, when he said on X that he was “starting to build a new team at Xbox focused on products and tools for how games get built and distributed as agentic tools become more capable.” At the time, he framed AI-based tools as a supplement to traditional game dev tools. “I don’t think we need to replace them,” he said. Since then, he’s publicly shown interest in AI and in games. He’s recently spent some of his X feed marveling at the power of AI agents and praising the lighting in the latest Gears of War. Following the Labs announcement yesterday, he enthused about the Xbox Labs’ stylish landing page. He wrote: “We built some fun tools to art-direct shaders in real time, experimented with interactive ASCII art, and sprinkled in lots of tiny details. “Move your mouse to leave a colorful trail that reveals the original footage, or interact with the video to trigger bursts of particles. “A lot of love went into making it all feel just right. “More to come”
Teradata Brings Elastic Python Compute to AI Studio, Unifying Data, Governance, and AI
New distributed Python capability accelerates large-scale AI operations while keeping data and compute within the Teradata platform SAN DIEGO, Oct. 14, 2026 — Teradata today announced the general availability of Elastic Python Compute within AI Studio. The capability gives enterprise data science teams a managed, distributed Python environment for scaling AI compute and machine learning […]
Zero Escape And Hundred Line Director's New Game Canceled Before He Could Announce New Studio
Kotaro Uchikoshi planned to announce new studio Crash Keys alongside its first game
Kotaro Uchikoshi establishes new studio CRASH KEYS
Zero Escape and AI: The Somnium Files creator Kotaro Uchikoshi has announced the establishment of CRASH KEYS, a new game studio headquartered in Shibuya, Tokyo, Japan.
Radial Entertainment, Content Partners Announce 20 New Episodes of Legacy True Crime Series 'Forensic Files'
Content Partners and Radial Entertainment Oct. 14 announced 20 new episodes of the landmark true crime series “Forensic Files.” Building on their existing distribution relationship, the companies will jointly finance the new season and share oversight of production, with Radial handling worldwide distribution. ITV America, part of ITV Studios, will produce the episodes. ITV America … Continue reading "Radial Entertainment, Content Partners Announce 20 New Episodes of Legacy True Crime Series ‘Forensic Files’"
Kevin Hart's Hartbeat Inks Deal With Fox Entertainment For Vertical Content, Microdramas
Fox Entertainment and Hartbeat announced a multi-faceted partnership that leverages new, original vertical series as a development pipeline for film and television content. The partnership pairs Codeblack’s record of building film and television businesses for underserved audiences with Fox Entertainment’s studio operations, worldwide sales organization and growing vertical video ecosystem. It also extends vertical storytelling … Continue reading "Kevin Hart’s Hartbeat Inks Deal With Fox Entertainment For Vertical Content, Microdramas"
BUSINESS UPDATE: Attracting World-Renowned Piercing Educators to Oswego
Growing number of renowed piercers are coming to Oswego to share knowledge at newly opened Aqua Spa Float Center piercing suite Submited by Aqua Spa Float Center & Wellness Boutique [caption id=attachment_11066 align=alignright width=450] Recent opening of Aqua Spa Float Center piercing suite.[/caption] Professional piercers and educators from countries including France, Scotland and India have come to Oswego’s Aqua Spa Float Center & Wellness Boutique to share their knowledge In the past year and a half, the Port City has become a destination for some of the industry’s most respected educators through the efforts of the Aqua Spa Float Center & Wellness Boutique. Beginning in January of 2025, Aqua Spa Float Center envisioned a new version of body piercing, one where elegance, safety and personal expression could converge. According to the Aqua Spa, piercing is no longer just a trend — it’s a refined form of personal identity, luxury styling and self-investment. It’s not only about the jewelry — it’s about the entire experience. The team welcomed first guest piercer Ruben Triguero, a senior French piercer, piercing stylist and international educator, who has over two decades of experience and has worked in some of the world’s best studios, including Paris, Rome, New York, Miami, Los Angeles and Dubai. In those studios, he offered his expertise and refined styling skills. Triguero is a prominent figure and leader in the piercing community and shares his knowledge with piercers teaching classes for the industry’s most prestigious organizations, including Latinoamérica Body Piercing Association (LBP) and Association of Professional Piercers (APP). He is currently the senior international instructor of the APP. Triguero has a passion for creating stunning, personalized piercings for clients around the world. Education and Mentorship Following a year of success and popularity, Aqua Spa Float Center hosted the grand opening of its private dedicated piercing suite in March. Aqua Spa Float Center & Wellness celebrated this next chapter with a grand opening and ribbon-cutting ceremony attended by the Oswego Mayor Robert Corradino, members of the Greater Oswego-Fulton Chamber of Commerce, local business owners and community members. The educational focus, aligned with Aqua Spa Float Center’s vision and mission, had already begun expanding beyond clients. Aqua Spa has hosted multiple workshops and continuing education opportunities for professional piercers, inviting studios from across the region to gain hands-on experience from internationally recognized instructors without the expense of traveling to national or international conferences. These educational events have welcomed nationally and internationally recognized professional piercers and educators from countries including France, Scotland, India, and throughout the United States. Aqua Spa also continues to collaborate with talented regional and local professionals, creating opportunities for education and mentorship that benefit both industry peers and clients throughout Central New York. Aqua Spa Float Center & Wellness Boutique owners — Tammy Wilkinson and Terry LeRoi — have been deeply rooted in the piercing industry with over 30 years in business as LeRoi Fine Body Jewellery. Combining that experience with holistic wellness, self-care and self-expression is the new concept with the client Luxe Piercing Experience at the Aqua Spa Float Center. “At LeRoi Fine Body Jewellery and Aqua Spa Float Center, we’ve been fortunate to work with many of the world’s most respected piercers through our involvement with the Association of Professional Piercers and by attending conferences across North America and Europe,” said LeRoi, founder of LeRoi Fine Body Jewellery and co-owner of Aqua Spa Float Center & Wellness Boutique. “Those experiences have shown us that education is what drives our industry forward. “Not every piercer or studio can travel to major conferences like the APP Conference in Las Vegas or APP Benelux in the Netherlands, so we’re committed to bringing that level of education here. Hosting internationally respected educators like Jef Saunders allows our clients to experience the highest standards of professional piercing while giving piercers throughout the Northeast the opportunity to learn from some of the very best in the profession. That’s something we’re incredibly proud to offer our community.” When asked about the client experience, Wilkinson explained that education is at the heart of every appointment as well. “Our vision is to nurture and enhance wellness, balance and harmony through a multi-modality-centered facility, and we aspire to empower sustained, positive change, well-being and self-awareness; and educate to the benefits of natural health, holistic wellness and life balance,” Wilkison explains. “Piercing is no different. The piercing experience feels just as peaceful and rejuvenating as any other spa services. From the moment our clients arrive, they are in the very best hands with our kind and professional Wellness Ambassadors and experienced APP guest piercers.” Wilkinson also explained that piercing clients receive stellar care: every Luxe Piercing appointment includes a one-on-one private piercing in Aqua Spa’s dedicated piercing suite, their choice of custom jewellery by LeRoi Fine Body Jewellery, thorough after-care instructions and complementary check-up appointment, complementary whole-body red light therapy session in the Class II NovoTHOR medical device to promote healing, and access to many rejuvenating spa services. Piercing clients get 15% off during any event. According to Wilkinson, “Health and safety are always our highest priority when you come in for a piercing or jewelry installation. Before each appointment, all tools and jewelry are sterilized in a Statim autoclave, and every surface in the piercing room is carefully disinfected. During the procedure, your piercer will wear a mask and change gloves as needed to maintain a sterile environment. Once your piercing is complete, your piercer will go over detailed aftercare instructions with you. Following these steps is crucial to ensure proper healing before you leave our sanctuary.” As a part of the experience, guest piercers include a thorough anatomy review of the client’s desired piercing to ensure the new addition will work in harmony with the existing. “Our clients are enjoying building and creating ear curations with these international professionals. It’s a unique styling event and a chance to highlight self-expression,” Wilkinson said. Clients and piercers throughout the region are flocking to this piercing destination in Upstate New York. The Luxe Piercing Experience has welcomed clients and piercers alike from around the globe. Owners Wilkinson and LeRoi hope to continue the momentum with more educational seminars with industry experts to be a hub of knowledge and expertise. They hope to establish LeRoi Fine Body Jewellery and Aqua Spa Float Center as legacy businesses known for their lasting, positive impact on the piercing and holistic wellness industries.
Mom-and-Pop Business Owners Grapple with Harsh Times
Report shows small business owners in NYS less optimistic about the economy. Taxes, inflation, labor costs and competition from larger businesses are major concerns right now, they say By Aaron Gifford [caption id=attachment_11067 align=alignright width=300] Ashley Ranslow is director for New York state at The National Federation of Independent Business (NFIB).[/caption] Owners of mom-and-pop businesses in New York state have been less optimistic lately than their peers in other parts of the country, a recent report indicates. The National Federation of Independent Business (NFIB), based on a survey of 11,000 of its members in the Empire State, reported that taxes, inflation, labor costs and competition from larger businesses are major concerns right now. “Indeed, while taxes are a major problem in New York and the United States overall, New York small businesses notably are struggling more with the state’s onerous, multi-level tax burden,” Ashley Ranslow, NFIB’s director for New York state, said in the July report. Compared with surveys of business owners in other states, far fewer New York respondents rated their businesses as in excellent or good health. The report also said labor costs here are about 25% higher than the national average and are the “single most important problem” facing businesses. One respondent to the New York-specific survey complained that too much red tape, taxes and laws that restrict high-yielding companies have stifled their operation’s growth. Others said high disability and workers’ compensation insurance costs, alarming increases in utility rates and excessive building regulations are discouraging. Statewide, New York has a gross domestic product of $2.53 trillion (third in the nation, followed by Texas, $2.90 trillion; and California, $4.25 trillion), a per capita income of $90,500 (sixth) and an unemployment rate of 4.6% (34th). There are 2.4 million small businesses that employ 3.9 million people. [caption id=attachment_11112 align=alignright width=451] Member of the Greater Liverpool Chamber of Commerce gather at one of the several functions the chamber organizes monthly. “Everyone in this business community encourages each other to shop local. Everyone just wants to see each other succeed,” says Megan Wilmot, the chamber director[/caption] “New York state boasts one of the largest, wealthiest and most diverse cities in the world — and that’s still only about half the state’s population,” the report said. “In other words, the state is both its iconic city and so much more — geographically, demographically, economically. But New York is not without its challenges, challenges that include notably high taxes and other weaknesses that impact the small business environment,” it said. The report includes an optimism index that compares responses from New York (NFIB) members with those of their peers in other states across several categories. This ranges from plans to increase employment to expectations for higher sales, to plans to increase inventory or expand. The scores for Empire State business owners were lower in most categories, but they did score higher than the national average in noting that they have current employment openings, and that they are hopeful that the economy will improve. “The metrics so far paint a picture of a state with a series of challenges for small businesses, from a slightly below national average Optimism Index to a more seriously below national business health to very substantially below national Employment Index. What is going on with businesses that are creating these differences?” the report stated. In Central New York, the regional labor force comprises nearly 398,000 workers. The median household income here is $71,463, and the gross domestic product for the region last year totaled $61.3 billion, according to the CenterState CEO economic development and research organization. About half of the region’s labor force works for small and mid-sized businesses, although the number of people employed in that sector has decreased by 7% since 2010, according to CenterState’s 2026 economic forecast report. “While record-high employment in large-scale enterprises provides a strong foundation for Central New York,” the report says, “the long-term health of communities depends on a thriving small business sector to serve as a stabilizer.” Area employers identify several barriers to Central New York’s anticipated growth, including lack of specialized or skilled workers, government regulations, unaffordable housing options and long-term construction disruptions. In the city of Syracuse, the number of jobs in retail trade decreased by 1,500 or 4.7% between July 2025 and this past July. By contrast, the number of jobs in the leisure and hospitality sector increased by 2.5% or 700 jobs, in the same annual period, according to the New York State Department of Labor. Still, there’s plenty of interest for new businesses across Central New York. U.S. Census figures show that the number of applications for new businesses in all four counties increased significantly in the past 20 years. In Cayuga County, there were 324 applications in 2005 compared to 470 last year. In Madison County, the number increased from 385 to 480; Onondaga County, from 2411 to 4132; and Oswego County, from 553 to 836. Downtown Cazenovia is exemplary of Madison County’s trend: In the past year, the village welcomed a bait shop, a thrift store, a vitamin infusion center, a pizzeria, a Pilates studio and an Italian restaurant. A candy store is scheduled to open on the main drag in the months ahead. Oswego’s list of interesting new businesses in the past year includes a bubble tea shop, a hot dog eatery in Fulton, a specialty grocery store that features New York state products in Mexico, a beauty and esthetics studio in Hannibal and a hardware and farm supply store in Sandy Creek. In Onondaga County, the Liverpool area has also enjoyed a steady stream of new shops and eateries in recent years. That suburban community is unique in that, unlike neighboring communities, most of the restaurants are family-owned and not part of a national chain. [caption id=attachment_11116 align=alignright width=300] Megan Wilmot is the executive director of the Greater Liverpool’s Chamber of Commerce.[/caption] Megan Wilmot, executive director of the Greater Liverpool Chamber of Commerce, said independent business owners in her community maintain a strong sense of pride in holding their own against national companies. The chamber helps boost morale with red carpet events, ribbon cuttings, coffee hours and five-year anniversary celebrations for participating businesses. “We have built such a strong community,” Wilmot said. “Everyone in this business community encourages each other to shop local. Everyone just wants to see each other succeed.” In Syracuse, the downtown retail occupancy rate last year was about 82%, a slight improvement from 2024, according to the Downtown Syracuse Committee’s most recent annual report. Buildings with the largest amount of vacant space included The Galleries, One Park Place, and Equitable Towers, though not all of those spaces are designated for retail use. New businesses that opened in downtown Syracuse last year: Better with Time Clothing, Dakshin Curry & Biriyani, Havana Tattoo Society, Milano Bean Café, Miss Daisy, Pausa Coffee, Sweets for Babe, The Society CNY and Yafah Beauty Studio. The Destiny USA mall’s occupancy rate decreased from 80% in 2023 to 72% by the end of 2024, according to Integra Realty Resources. That leaves more than a quarter of the mall’s retail space vacant. “Looking ahead, the retail market is expected to see minimal rent growth, with vacancy rates likely remaining stable in community and neighborhood centers but continuing to rise in enclosed malls,” Integra’s report said. “New construction activity is low and redevelopment plans for former malls like Shoppingtown and Great Northern are still in the planning stages. The proposed Micron chip plant may spur development, but challenges remain in finding co-developers for large-scale projects.” Nationally, the U.S. Chamber of Commerce expects that small businesses will remain resilient and see their sales and revenues eventually improve. That organization, in a recent national survey, found that 25% of small business owners expect the economy to improve in 2027, while 45% indicated that they plan to increase employment in the next 12 months. And 69% said they believe their small business is in good shape and 70% said they are comfortable with their current cash flow. Thirty-one percent of small businesses reported raising their prices in July and 28% are planning to raise their prices within the next three to four months, the report said. Twelve percent indicated that this is a good time to expand their business. “Small business owners voice optimism for future revenues and hiring,” the report said. “High costs continue to be a wet blanket on reinvestment.” The NFIB reported in July that Main Street, despite gas price hikes, “is OK … for now.” Its small business economics trend report said sales across the country have been strong compared to last year, but continued inflation and higher prices from mom-and-pop establishments are causing some “cracks” to show. “If costs stay this high for much longer, reduced investment will have a tangible economic impact,” the report said. “The status quo is OK, but the outlook? The outlook is uncertain.”
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When 1 + 1 = 1: The Miserable Math Behind Many Media Mergers
(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.) The last few issues of this newsletter have circled two topics: September’s streaming viewership and all the Paramount/Skydance/Warner Bros./Discovery merger news. I’m happy to say on the Streaming Ratings Report front, we’ll be all caught up by early next week, then the SRR will come out on a tight weekly schedule. Then, after today, I’ll have slayed my PSWbD dragon. It’s such a big story, it demanded multiple issues. With the announcement of a name (just Skydance) and executive team, though, I think we can almost close the book on this story. In terms of topics, it becomes just another studio to cover. So today, I have one last set of takes on that merger. As I’ve sat with it, reading about who was staying and who was going, a big worry crystallized in my brain, and I gotta get that take out. Plus, I still owe you a host of “ugliness” that didn’t fit in my previous “The Good, The Bad and The Ugly” takes. Let’s dive in! Subscribe Most Important Story of the Week - As Paramount Shuffles Deck Chairs, Will They Build or Consolidate? On social media—I try to avoid most social media platforms, but sometimes I end up checking in—the best joke I saw about the announcement of the new name of Skydance was from fellow reporter Claire Atkinson who pointed out… Yeah, I laughed out loud at that one. Later, though, I saw another Twitter response (that later got deleted, so I can’t shout the person out) that did give me pause. The person noted that the Titanic film made the better analogy: a super expensive project everyone in the town doubted that went on to conquer the globe. So yeah: on one hand, the image of the Titanic recalls the actual ship and its infamous end, but that clip is from a movie which proved the doubters wrong. So for all the skepticism of the latest massive media merger, one could wonder which way this one goes. Does it crash like the Titanic or rise to glory like Titanic, the movie? Either way, this deal is “Titanic”, looking at the massive debt required to close the deal, which is not going well when it comes to borrowing costs for Paramount… …or borrowing costs for Oracle. But I’ve started to get worried about another outcome: the sum of this merger will be smaller and weaker and less profitable than its former parts. In other words, one plus one won’t equal three or two, but an even smaller number. Skydance paid to take a traditional studio off the board, but they won’t really capture the upside. Let me explain what I mean, but first, let’s look at the series of news that inspired this thought. Skydance Sets Its Leadership Team As soon as the Paramount-Skydance-Warner Bros.-Discovery merger closed, the new leadership team announced a new name—Skydance, which I’ll use going forward—and a new executive leadership team. You’ve probably read through all the executive shuffling, but if you haven’t, here’s a quick, incomplete summary, in rough order of importance: Mattel’s CEO Ynon Kreiz—who previously ran Maker Studios—joined as co-CEO with David Ellison. HBO/HBO Max’s Casey Bloys will stay and run streaming. Former head of streaming for Paramount-Skydance Cindy Holland—who was also at Netflix—will depart. The former heads of Warner Bros.—Pam Abdy and Mike De Luca—are out. The film studios will be run by Dana Goldstein and Josh Greenstein. George Cheeks of Paramount will run Skydance TV, controlling all the TV production units. In comic book news, the DC films will still be run by Peter Gunn and Peter Safran. Lastly, the head of CNN, Mark Thompson, will stay in place. Let’s quickly opine on the particulars before diving into the broad ramifications. 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 I like and dislike in their next gigs… Why I think this consolidation will likely leave Skydance worse off… The math behind which mergers succeed and which don’t… A lot more ugliness in this merger… And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
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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.
Gears of War: E-Day sells 230K copies
Gears of War: E-Day has sold 230K copies since its advance-access launch on October 1 and full release on October 6. Steam accounts for 168K of those, with Xbox (console and PC) selling 62K. But there’s more to this story, as Xbox makes up the bulk of revenue. E-Day is the best-reviewed Gears game in nearly two decades (and the best one ever made, in my opinion). The Coalition has made a banger here (it’s currently in my top 10 of the year). Despite E-Day’s undeniable quality, this is a soft result. And it’s down to the business model, really. E-Day has made $37M so far, thanks to the Premium upgrade On Xbox, Game Pass is cannibalising much of the premium revenue. Our estimates show that 1.7M folks accessed E-Day via their subscription rather than a copy. But Xbox is having it both ways – or having it halfway, at least – via its Premium Edition Game Pass upgrade. Game Pass subscribers could pay $30 (or their local equivalent) for up to five days of early access starting October 1. Our estimates show that of the 1.7M who accessed E-Day through Game Pass, 722K paid for the upgrade. Between the review embargo lifting on October 1 and the full release, E-Day managed to shift another 250K early-access upgrades – no doubt helped by the campaign’s rave reviews. So despite selling far fewer copies on Steam, Xbox accounts for almost three-quarters of the revenue (roughly $26M of the $37M, versus about $11M on Steam). So “230K copies” undersells the paying audience. Including the 722K upgrades, nearly 950K people actually paid something for E-Day. The $30 upgrade is a halfstep from cannibalisation, but will Xbox go all the way? While E-Day is a sublime game, these are soft numbers for a flagship when Xbox badly needs revenue wins. E-Day sold 62K copies on Xbox against 722K Premium upgrades, so for every one copy sold on Xbox, nearly 12 Game Pass upgrades were sold. The $70 premium SKU is – functionally – dead on Xbox. Normally you can’t see what a Game Pass player would have paid, because the game’s just there in the subscription. But the $30 early-access upgrade estimate shows that 722K people demonstrated they’ll spend real money on this game. In a world without day-one Game Pass, many of these folks would have bought E-Day at $70. They paid $30 for five days early access to something they don’t own. Xbox is, in effect, charging its most valuable customers the least, based on a hangover from a tried-and-exhausted strategy from a previous administration. Those 722K willing-to-pay players generated about $21.7M via the upgrade. If three quarters of this group – mostly US and European audiences – bought E-Day outright, that’s nearly $40M. Of course, Game Pass does bring in meaningful recurring revenue, and E-Day is adding value for hundreds of thousands of subscribers. However, Game Pass is no longer growing, so Xbox is at a crossroads. Xbox is reportedly looking to do a Netflix and bolt on an ad-supported tier to pad it further. But that will just set a new floor, and leadership keeps telling us the priority now is revenue growth, which is subscriber-speak for ARPU. Xbox has already pulled Call of Duty from day-one Game Pass after day-one inclusion hammered its sales, with new CoD titles now arriving on the service around a year late. We know that some Microsoft executives believe the service devalues games outright, and rumours (which Microsoft has dismissed so far, to be fair) suggest that day-one releases could be taken off Game Pass. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe When a game this well-reviewed does this softly on its home platform, the model – not the game – gets brought into question. What else E-Day’s early adopters have played (including this month so far) Looking at E-Day‘s players on Xbox, most have played the franchise before (86% have played Gears 5, 76% Gears 4), and every game on the crossover list is either a shooter or a title from an Xbox-owned studio (though Game Pass is inflating those numbers, of course, more on that later): As for what else Xbox’s E-Day players have played this month, the top three are Fortnite (16%), Roblox (7%), and Call of Duty (6%). Another 5% played Minecraft Dungeons II, which is also on Game Pass and launched a couple of days before Gears‘ advance-access date. Many Game Pass players are happy to check out most big new additions. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Over on Steam, the top crossover games are also mostly shooters (slightly more PC-coded ones), including Space Marine 2, which was itself heavily inspired by Gears: Looking at what E-Day‘s Steam players are into this month shows who they are – as subscriptions don’t skew the data. The top three are Wardogs (13%), Deadlock (12%), and CS2 (10%), so you’ve got the restless shooter crowd checking out the new hotness. A little further down are Helldivers 2 and Space Marine 2, your co-op PVE shooter players who’ll feel right at home in Horde mode. Game Pass is skewing the playtime distribution on Xbox Looking at the playtime distribution in our platform, E-Day players on Steam are – relatively speaking – playing for longer: 54% of E-Day players on Xbox have played for five hours or less (versus 32% on Steam) 19% of Xbox players played for over 15 hours (versus 33% on Steam) 14% of Xbox players played for over 20 hours (22% on Steam) The absolute number of people playing for over 15, 20, and 50 hours is, of course, bigger on Xbox, thanks to the sheer volume of folks who came in through Game Pass (upgraders included). None of that is cause for alarm. Game Pass is the reason Xbox playtime skews lower, as when a game is free to try, people try it and bounce without putting in even an hour (17% under an hour on Xbox versus 6% on Steam). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe The subscription brings in tourists alongside the committed, dragging down the average even when the game is excellent (but also perhaps winning over the uninitiated). It’s standard across every subscription-included title, on PS Plus too. Forza Horizon 6, for instance, had 11% of its Xbox players bounce under an hour, versus just 2% on Steam. So, Xbox’s crossroads So there we have it. Gears of War: E-Day is an incredible game whose revenues have been stifled by subscription inclusion and exclusivity. It’s the best-reviewed entry in the series in fifteen-odd years, but it still turned into one of the year’s softer flagship launches, not because players didn’t want it, but because Xbox’s own storefront gave its most willing buyers a reason not to pay. Which leaves Xbox at a crossroads. Will it keep making Gears games when the financial returns are this thin and the margins this low? And if it does, does the next one arrive off Game Pass at day one – the way CoD now does, or even on PlayStation? I think it should. Alright, back to E-Day for me! The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
Artist opens downtown Walla Walla gallery to the public
Photographs and found-object constructions will be on display Saturdays through Nov. 28 at The Noodle Grotto Studio Gallery.
UK's Oxford Metrics warns about annual loss on entertainment industry spending cuts
Oct 9 (Reuters) - British smart sensing tech firm Oxford Metrics warned about an annual loss on Friday, hit by spending cuts and studio consolidation across the film and TV
UK’s Oxford Metrics warns about annual loss on entertainment industry spending cuts
Oct 9 (Reuters) - British smart sensing tech firm Oxford Metrics warned about an annual loss on Friday, hit by spending cuts and studio consolidation across the film and TV industry and tighter research budgets, sending its shares 15% lower. Here are...
Arc Raiders Jumps to Six-Month High Player Count With 2.0 Update and Free Weekend
Embark Studios has put in a decent amount of work maintaining and developing Arc Raiders in recent months, with the company recently announcing an upcoming co-op mode slated to launch into testing on October 13 while it continues to iterate on its anti-cheat processes and detection methods. In...
Samsung’s first AirPods Max 2 rival could be called Galaxy Studio
Samsung recently launched its first clip-on wireless earbuds, the Galaxy Buds On, and the company is reportedly working on two more audio products. One is a pai
New ASU podcast asks: What if the future of news starts with people?
Andy Pergam has spent his career thinking about journalism not only as an industry, but as a public service that has to keep earning its place in people’s lives.
Samsung’s over-ear headphones might be called ‘Galaxy Studio’
According to a fresh leak, Samsung’s upcoming over-ear headphones might be called “Galaxy Studio.” A leak earlier this year revealed...
Your Pixel can turn into a mini TV studio, now in 11 more apps
Google updates Pixel Camera Services, bringing Connected Camera multi-feed video streaming to 11 new work and messaging apps.
Open Studios Tour of Nevada County returns
The 31st annual Open Studios Tour of Nevada County is happening October 10-11 and 17-18 with over 90 studios and over 100 artists participating this year. Free tour guides are
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.
Star Wars Zero Company Studio Tries To Bring Back As Many Furloughed Devs 'As Possible' Following 'Unexpected Business Developments Outside Of Our Control'
Bit Reactor says it will have more to share on the XCOM-like strategy game's future 'soon'
Some furloughed Star Wars Zero Company developers are returning to work, studio says
Bit Reactor, the Maryland based company, behind this summer’s well-received tactical combat game Star Wars Zero Company says that “more” of its team is returning to work after being furloughed ahead of the game’s release. This is the studio’s first statement on the matter since Game File’s August report that “most” of the development team had been furloughed—technically kept as employees, but without pay or benefits—a few weeks prior to launch. Some of those furloughs ended this week. “This week, we started the process of returning more of our team back to work at Bit Reactor, an important step forward in our continued support for Zero Company, “ Bit Reactor CEO Greg Foertsch said in a statement. He continued: “Having to ask team members to step away after we navigated unexpected business developments outside of our control and so close to launch was an incredibly difficult decision, but one that was necessary to help us eventually bring as many people back as possible. “This team means a tremendous amount to me, and I am incredibly proud of what we have accomplished together. Thank you to our fans for the incredible response to the game and for supporting us along this journey. We look forward to sharing more updates regarding Bit Reactor and Zero Company soon.” Game File reported in August that Bit Reactor had retained a small team to work on updates for Zero Company. One person familiar with the situation told Game File that the returns announced today bring the studio’s pay-rolled headcount to more than half of what it had been ahead of the furloughs. That means a considerable number of people have been brought back, but that a fair number also remain without pay. While companies in the U.S. are often legally required to publicly disclose how many people they’ve laid off, furloughs can often be kept private, for a time. The United States Department of Labor requires companies to publicly report mass furloughs if they meet specific criteria, including any expectation that they will last more than six months. For those game makers who remain furloughed by Bit Reactor, it’s now been about two months. For more about Bit Reactor, the furloughs, the studio’s back-story and the ongoing lawsuit that brought this to light, read my August report. [ ‘Most’ of Star Wars Zero Company studio Bit Reactor was furloughed ahead of launch ](https://www.gamefile.news/p/star-wars-zero-company-bit-reactor-furloughs-lawsuit) Stephen Totilo · Sep 1 Last week was meant to be a moment of triumph for Bit Reactor, the Maryland-based game studio founded in 2021 with ambitions to create a great new tactical combat game. [ Read full story ](https://www.gamefile.news/p/star-wars-zero-company-bit-reactor-furloughs-lawsuit)
Build apps, workflows, and agents together | New in Copilot Studio, September 2026
Explore September 2026 Copilot Studio updates that bring apps, workflows, and AI agents together in one place to transform business processes.
Gears of War: E-Day Studio Boss Insists 'The Next Game Will Not Take Nearly as Long' to Make, Responds to Layoff Concern
The boss of Gears of War: E-Day developer The Coalition has responded to reports that staff at the studio are worried they will lose their jobs amid the ongoing cuts at Xbox, and promised the next Gears game won’t take as long to make.
You Can Get Up to $149 Off Every New Mac Mini During Prime Day
Prime Big Deal Days sales have hit Apple's brand new Mac mini and Mac Studio computers, and we're tracking up to $149 off every model of the M6 and M5 Pro Mac mini during this year's event. You'll also find $199 off the M5 Max Mac Studio below. Note: MacRumors is an affiliate partner with some of these vendors. When you click a link and make a purchase, we may receive a small payment, which helps us keep the site running.