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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.
PEAK Announces 2026 Writers Fellowship Class
The Pasifika Entertainment Advancement Komiti (PEAK) has named the third cohort of its annual PEAK Writers Fellowship.
Why Chloe Troast was relieved to be fired from “SNL”
The comedian and actress said she was thankful for the support that she received from her fellow cast members and the show’s writers after being cut.
Brazil: Lessons from a Disaster
By Antonio Martins (Outras Palavras) Defeats become deeper and more prolonged when we misunderstand what caused them, avoid correcting course, and embrace “solutions” that only compound our mistakes. Lula’s government and the Brazilian left suffered a disaster in Sunday’s election. Contrary to every poll, the president finished the first round 2.2 million votes behind Flávio Bolsonaro—and, more significantly, 3.4 million votes below his total four years ago, when the machinery of the state was working against him and in favor of his opponent. His vote share declined in 98 percent of Brazil’s municipalities. The PL, the main party of the far right, elected 121 deputies and 28 senators, becoming the largest caucus in both houses of Congress. The parties aligned with the Centrão—Brazil’s bloc of transactional center-right parties—were somewhat diminished, but will still hold roughly 250 seats in the Chamber of Deputies and 35 in the Senate. That will make it easier to assemble the majorities needed to amend the Constitution or impeach Supreme Federal Court justices. If elected, Flávio Bolsonaro could appoint four members of the Court, substantially altering its internal balance of power. What produced these results? How can the far right be prevented from consolidating them into a prolonged political hegemony? And what is the essential change of direction the left now needs? Explaining the Disaster Across the commercial media and the exuberant chaos of digital platforms, interpretations are multiplying. Some focus on specific episodes: Lula’s absence from the Globo debate, his very close relationship with Alexandre de Moraes, or his emphasis on issues supposedly remote from most people’s everyday concerns, such as rare earth minerals. Among the more systemic interpretations, three seem especially questionable. One argues that the principal defeat was not the left’s, since its congressional representation declined only slightly. The decisive movement captured at the ballot box, according to this view, was a shift within the right itself—from the more moderate and transactional forces of the Centrão toward the more ideological and radicalized forces of the PL and Novo. A second interpretation holds that the nature of electoral and political processes has changed. The material interests and aspirations of society, it argues, no longer play the central role they once did; they have given way to forms of subjective self-identification that the left has yet to understand. And a third concludes that, because of these two developments, we should expect a political winter: a prolonged period in which the far right and the broader right dominate Brazilian political life. There are important elements in all three interpretations. The problem lies in what they deny or leave out: Lula’s third government was a small-bore government. It offered the majorities that elected it neither a clearly better life nor reasons to believe again in politics and its power to transform society. These failures flowed from two fatal accommodations, which I will examine below. As a result, the government suffered a slow but steady erosion of support. And, as has happened in so many Western countries, it gave the far right the opportunity to present itself as anti-system and to benefit from popular frustration and distress. The interpretation that emphasizes the migration of votes from the center-right and traditional right toward the far right has been advanced, among others, by the courageous journalist Leonardo Sakamoto. In his UOL column on Monday, October 5, he highlights the miserable behavior of the traditional conservative parties. Over the past four years, they repeatedly joined forces with the “neo”-fascists, helping to “normalize” them—a criticism that could equally be directed at almost the entire corporate media. Believing they could use the far right as a stepping stone, they instead ended up partly devoured by it. This was especially true in the Senate, where the PL’s gain of 13 senators and Novo’s gain of two came at the expense of the PSD, which lost nine; the MDB, which lost two; the PSDB, which lost two; and the PP, which lost one. Sakamoto’s observation is accurate and necessary, but it leaves uncomfortable questions unanswered. Why did the erosion of the Centrão benefit the far right rather than, for example, producing growth for the left—as has happened so many times before, both in Brazil and elsewhere? The answer is not difficult. Throughout its four years in office, Lula’s third government was almost invariably associated with the Centrão. Here lies its first accommodation: accepting the limits imposed by conservative institutions; avoiding, as much as possible, any attempt to strain those limits through popular pressure; and believing only in the modest changes that could be squeezed through openings in Congress. The failure of the campaign to end the six-day workweek is emblematic. Lula could have electrified the presidential race by pairing it with a popular campaign for passage of the measure. Instead, he chose to place his hopes in the hands of Senate president Rodrigo Alcolumbre. He generated no mass mobilization, did not force his opponents onto an uncomfortable defensive, and won no victory. In September 2025, the government squandered the greatest of its many opportunities to shake up conservative power in Congress. Popular opposition to the so-called Shielding Amendment—which, if approved, would have restricted criminal proceedings against members of Congress—brought crowds into the streets, mobilized primarily by artists and social movements. This opened the possibility for a broader political education: a campaign that could begin exposing the limits and dysfunctions of Brazil’s political system while putting Bolsonaro’s movement on the defensive for its predictable support of political privilege. The amendment was defeated. But the executive branch then backed away from the fight. It remained associated with an institutional world widely seen as corrupt, elitist, and indifferent to ordinary people’s struggles. In doing so, it forfeited its credibility as a vehicle for the protest vote. On Sunday, it reaped the bitter fruits. Are We Doomed? Taking a different approach from Sakamoto, the philosopher Moysés Pinto Neto and other writers have drawn attention, in their first analyses of October 4, to the fragmentation of the public sphere produced by Big Tech platforms. Through their algorithms, these platforms present each person with a different view of social reality. As a consequence, it becomes much harder to identify common material problems and demands—for example, the fight for labor rights or for a properly funded public health system. Voters no longer embrace such demands, these authors argue, because they no longer see themselves as part of a collective. Instead, they tend to value the identities assigned to them by neoliberal subjectivity—the role of the entrepreneur, for example. On this interpretation, the left’s possible error lies in clinging to outdated illusions. Moysés’s warning is highly relevant and resonates with arguments such as Naomi Klein and Astra Taylor’s “Apocalyptic Fascism and the Billionaires’ Bet.” Unlike a century ago, the far right no longer promises a radiant future. It concentrates instead on resentment—especially that of young men. “They belong to a generation that fears it may never own a home, but compensates with the pleasure it gets from constantly provoking progressives online. Convinced their future has been stolen, they share memes romanticizing historical authoritarian regimes,” the authors write. But Moysés seems to confuse this danger with inevitability. He fails to see that the left’s answer cannot be adaptation. On the contrary, it must strengthen the possibility of politics as collective action. Nor does he recognize that precisely such a reversal is already becoming possible in some of the most promising mobilizations of the twenty-first century: the election, at the end of 2025, of the young Muslim Zohran Mamdani as mayor of New York, on a platform centered on the intensely material fight for an affordable city; the Left Party’s victory in Berlin two weeks ago, built around the demand to expropriate private real-estate corporations; and the very recent wave of demonstrations in Spain—including an occupation of Madrid’s Puerta del Sol—in which tens of thousands of young people mobilized by the Tenants’ Union have demanded limits on rents. By putting itself in the straitjacket of the “fiscal framework” in the first months of 2022, Lula’s third government adopted the second fatal accommodation of its term. Faced with conservative institutions and a country devastated by four years of Bolsonaro, increased public investment was the government’s remaining weapon for offering a more dignified life to the majority and forging an anti-conservative pact with them. The same state that disburses 1 trillion reais a year to enrich a small class of rentiers could instead spend money to extend the Family Health Strategy to every Brazilian, at a cost of 30 billion reais; provide full-day public schooling and childcare to all adolescents and children—and, especially, relief to their mothers; achieve universal sanitation while cleaning up polluted urban rivers; multiply metro systems; begin transforming the urban peripheries; and undertake many other urgently needed projects. In April 2023, an article in Outras Palavras warned that the fiscal framework could “shrink the Lula government and preserve the forces that condemn the country to inequality and regression.” A year later, another article showed that restraints on public spending were strangling policies vital to ordinary people and undermining the president’s popularity. In November 2024 came a reality check, in the form of the government’s humiliating defeat in the municipal elections. Even then, the fiscal lock was neither removed nor loosened. On the contrary: throughout the government’s four years, fiscal restraint remained central to its political narrative. The administration proudly proclaimed that it had “put the state’s accounts in order,” without grasping either how misleading that phrase was—given the payment of 1 trillion reais in interest—or how badly the message was hurting it politically. Lula finally woke up in September 2026. The increase in Bolsa Família benefits, after four years of being frozen; the announcement that anti-obesity drugs would be offered through Brazil’s public health system; and the ban on online betting showed that the state has the power to act decisively on behalf of the majority when those in government are willing to confront obstacles. The huge marches that closed the campaign in Fortaleza, Salvador, Rio de Janeiro, and São Paulo on the eve of October 4 showed how such initiatives can mobilize activists and the broader public. But it was too late—and too little to change the outcome of the first round. History has not ended The possibility of a turnaround in the three weeks leading up to November 25 cannot be ruled out. It will not be simple or easy. Lula must not only make up a deficit of 2.2 million votes; he must also offset the movement of voters who backed other right-wing candidates in the first round, most of whom are likely to move toward Flávio Bolsonaro. Pulling that off will require a broad, grassroots effort to win over voters, potentially reinforced by new initiatives from Lula. The coming hours and days will be decisive. If Bolsonaro’s movement also wins the presidency, the result will create a high-risk situation for Brazilian sovereignty and democracy. The enormous challenges posed by such an outcome would require the left to reexamine, in depth and with a genuine willingness to engage in self-criticism, its political projects—or its lack of them—and its practices. But would that mean we are condemned to the long winter of far-right hegemony that some analyses are beginning to forecast? It is far too early to say, suggests a recent text by Álvaro García Linera, the thinker who served as vice president of Bolivia under Evo Morales. His central hypothesis is that this political current will prove short-lived. At a moment when the entire world is once again talking about sovereignty and protecting national economies, the far right offers a stale, recolonizing neoliberalism. Its submission to the United States is as blatant and pathetic as Flávio and Eduardo Bolsonaro’s overtures to Donald Trump. Its project amounts to something like every man for himself: greater inequality, capitalism without limits, devastation, and supremacism. Will it work? In the United States, just two years into his second term, Trump himself is reaching record levels of unpopularity and may be on the verge of losing Republican control of both the House and Senate in November. Every new beginning is difficult. Whatever the outcome of the second round, the defeats of October 4 show how profoundly the Brazilian left will have to rethink and rebuild. But just as it would be foolish to underestimate the seriousness of its mistakes, it would be equally foolish to conclude that rebuilding a political project is no longer possible. History has not ended. The times are moving faster than ever. Originally published in Portuguese by Outras Palavras. English translation by Eric Blanc; I’ve added the subtitles. More We can’t stop the far right at home or abroad without a revitalized labor movement, which is yet another reason why you should become a sustaining supporter of the Emergency Workplace Organizing Committee (EWOC) — one of US labor’s pivotal bright spots. Relatedly, Jacobin published a short piece of mine reflecting on a decade of Bernie Sanders inspiring a whole new generation of young worker organizers.
Women’s football’s Black British icons
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Who is Elias the lighthouse keeper? AI fiction tells the same old story
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Aaron Sorkin says he thinks about reviving ‘The West Wing’ ‘every day’: ‘I miss it’
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Jacksonville Jaguars Trade Pitch Acquires $36 Million OL From Eagles
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2026 Heisman Poll Week Six
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John Goblikon wants to fire his ghostwriter. The problem? He is his ghostwriter
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'Charlton's lack of penetration holds them back'
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Emma Camp wants Gen Z to grow up
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New Yorker staff writer Kelefa Sanneh discusses politics of pop music, culture
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Pasifika Entertainment Advancement Komiti Announces 2026 Writers Fellowship Class
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Michael Che's sense of humor is definitely darker than Weekend Update
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Nina Dietz to Discuss the Public Health Impacts of Wildfires at the Milken Institute
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The Politics of Heat, Homes, and Lobster Boats.
The Bar Harbor Story is generously sponsored by First National Bank. MOUNT DESERT ISLAND REGION—The candidates’ forum focusing on House District 15 and incumbent Holly Eaton and Clifford Noyes last week spent a lot of time on the candidates’ thought of heating, communication with constituents, property taxes, education costs, and other issues. It also was a time for the community to ask their own questions and see two candidates up close and personal at the Southwest Harbor Fire Department firehouse. Jim Vallette organized the hour-long event, which was moderated by Carrie Jones of the Bar Harbor Story. Ken Rozsahegyi provided technical support for the congenial event. House District 15 serves Brooklin, Deer Isle, Eagle Island Township, Frenchboro, Isle au Haut, Marshall Island, Southwest Harbor, Stonington, Swan's Island, Tremont, and Vinalhaven. Jones advised as she began the question and answer part of the event, ”Treat everyone here like they are going to be the ones who might give you a ride in a rainstorm, pull your pet out of a burning building, or be the one grading your kids’ papers at school, okay?” She continued. “That’s it. Tonight isn’t meant to be a gotcha debate. The goal is to give people in the district a chance to get to know both candidates, hear what they care about, and understand what they’d actually try to accomplish in Augusta.” The questions and discussion throughout were kind. Eaton currently serves in the position. She’s a Democrat from Deer Isle, raised in a fishing family and has worked in nonprofits and volunteered for her school board. Noyes is unenrolled (politically) and from Southwest Harbor and currently a school board member, self employed as a mason. He focused on fiscal issues throughout the forum. Eventually, at Jones’ prompting, the candidates played “Rock, Paper, Scissors” for who would go first for their closing statements. Noyes used the opportunity to urge others to head to the ballot. “Whether you vote for me or Holly, it’s important that people vote,” Noyes said. He hoped the voter turnout in the district would be over 35 percent because that would mean people were truly engaged. Eaton stressed that she’s a Democrat, but in Augusta, her role isn’t about party. “I am a Democrat, but when I go to Augusta, I am there to represent the people of District 15. I want people to feel as though I’m accessible, that I’m responsive, and that I show up for the district,” Eaton said. Being there for others was vital, she explained. “When something comes before me in Augusta, I try to look at it through the lens of the people and the communities that I represent. How will this affect the people who live here? Does it make it easier or harder to raise a family here, to operate a small business, to work on the water, to afford a home, to keep our schools open, or provide the essential services our communities depend on?” Eaton said. Noyes spoke about fiscal responsibility and about the state being more responsive to communities and the ideas that come from them. “I feel that we desperately need to restore some fiscal sanity, a little bit. So when the legislature meets again,” Noyes said, “it could be critical for Maine residents that we don’t keep digging this hole that we’re in financially and keep raising our taxes so the struggling families struggle even more.” The two answered a series of questions from Jones, then answered questions from the audience and participants via Zoom. Jones asked what they heard the most from people about what was making their lives hard and what can the legislature in Augusta do it about those issues. Both spoke to concerns about heating oil costs. Noyes spoke to the three H’s: health, home, and heat. Eaton and Noyes spoke to the burdens of families with lower incomes, with Eaton mentioning LIHEAP (Low-Income Home Energy Assistance Program). They both were in favor of free community college and trade programs. They both supported the working waterfront. Both said that data centers—such as the one proposed in Eastport, which is out of the district—should be a local decision, but neither were in favor of it. The working waterfront was supported by both. Eaton’s served on the Maine Marine Resource Committee in the legislature. She advocated a diversity of fishing resources and less of a reliance on lobstering. Shrimp, she hoped, would make a comeback. Noyes worried about out-of-state pressure on the lobstering industry, also spoke of shrimp harvesting timings, and said he supported the lobstering industry. QUICK NOTE Carrie Jones is, obviously, the co-founder of the Bar Harbor Story, which made us have a bit of a hard time putting out this story and thinking it through and how to present it. We ended up with this article. The debate in its entirety is below, many thanks to Ken and Jim for making it publicly available. UPCOMING AND PAST EVENTS The following events are or were organized by the League of Women Voters Downeast. DISTRICT 7 DISTRICT ATTORNEY DISTRICT 13 Thursday, Oct 15, 2026 5:30 PM to 6:30 PM Candidate Forum: House District 13 125 State St , Ellsworth Featuring candidates Michael Cunningham (D) and Russell White (R), moderated by Cyndi Wood, managing editor of the Ellsworth American. DEMOCRACY FORUM Friday, Oct 16, 2026 4:00 PM to 5:00 PM Democracy Forum — Election 2026: What’s on Your Ballot RECENT PRESS RELEASES AND BRIEFS To see all the press releases, click here. To see our news, click here. For the full archive, click here. All of these are on our dedicated website. 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But you showed up. You shared. You sent tips. Now—over 400,000 views every month later—it’s clear: people here care about their community and each other. We’ve kept everything free because news should never be out of reach, but every one of our stories takes time to write, and your support keeps The Bar Harbor Story going. If you value our work, please consider a paid subscription, a founding membership, or a sponsorship. It truly helps us cover one more meeting, tell one more story, shine one more light. Even $5 a month makes a difference. Click here to become a one-time supporter now. Thank you so much for being here. Founding member information can be found here. Have questions about sponsorships? Just send Shaun an email at sfarrar86@gmail.com, he’d love to hear from you. Subscribe Share Bar Harbor Story Share Leave a comment
Indie rocker Neko Case brings fun, loose show to Iowa City
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Daldrop Opens for Business in Southern Oswego County
$10 Million Facility in the L. Michael Treadwell Oswego County Industrial Park marks the largest expansion outside of Germany in the company’s 73-year history By Stefan Yablonski [caption id=attachment_11076 align=alignright width=450] Daldrop SBB CEO Jens Daldrop addresses attendees at the 2025 groundbreaking for the project. Daldrop also chairs the advisory board of Germany-based Daldrop Group.[/caption] A new era of cleanroom technology is underway in Central New York. The Daldrop Group’s advanced manufacturing facility and U.S. headquarters is physically built within the L. Michael Treadwell Oswego County Industrial Park. This industrial park is located in the town of Schroeppel. It marks the largest expansion outside of Germany in the company’s 73-year history. Daldrop SBB is based in Neckartailfingen, Germany. It is a global supplier of cleanroom technology, primarily to the pharmaceutical industry. It designs and builds advanced cleanroom environments for the pharmaceutical, biotechnology and medical technology industries. It nvested $10 million in the new project. “We broke ground in 2025; we were under construction all winter. We just opened this spring, early spring,” said Benjamin Morrow, operations manager and control. The company consolidated sites in Salina and DeWitt into the industrial park in Schroeppel, Morrow added. “The next move here is to maximize every square inch of this facility and then we are already looking at the expansion. So, it is more capital investment on equipment — definitely higher-end automation in additional equipment so we can produce more components and then to support the ever-growing base in North America,” Morrow continued. “We are the headquarters for service, maintenance and spare parts. So as Daldrop has more and more installations, they need more and more service, maintenance and spare parts. So that will come out of this facility as well — it already is.” “As a global leader in GMP (global manufacturing support) pharmaceutical cleanrooms for decades, I am very proud to bring manufacturing jobs to Upstate New York,” said Mike Sullivan, president of Daldrop US operations. Key to choosing Southern Oswego County [caption id=attachment_11077 align=alignright width=450] Daldrop SBB at the L. Michael Treadwell Oswego County Industrial Park when the company announced the start of construction.[/caption] Sullivan said that the selection of the Schroeppel industrial park was mainly due to the help of Operation Oswego County and two people in the organization. “Prior to being purchased by Daldrop International from the Stuttgart region of Germany, Vince Bongio was a founding partner in SBB Inc. as well as our head of engineering. We based out of Syracuse due to Vince’s skills in HVAC and the manufacturing capabilities found in Syracuse,” said Sullivan. Bongio moved to Syracuse from California in the 1970s to work in Carrier’s Industrial Division of Large-Scale Petrochemical Refrigeration. Next, he advanced to General Electric’s TV Tube Plant where he got into cleanrooms ,leading to his role of head of engineering for Clestra Cleanrooms where he met Sullivan, their New England distributor. “Vince Bongio is a phenomenal engineer. Formerly of Carrier, he grew up in California and went to Cal Poly,” Sullivan explained. “Carrier hired him right out of college and he moved to Syracuse. He is the reason we are in Syracuse today. He is retiring this year. We are very proud and his legacy is having brought Daldrop to Syracuse.” In 2000, Sullivan, Bazinet, Bongio Inc (SBB) was formed with engineering and manufacturing, based in Syracuse, and sales and construction based in Massachusetts as it is today. “SBB Inc. started in Syracuse. I had a design–build contracting firm out of Massachusetts that was primarily doing all the new technologies coming out of MIT,” Sullivan said. “I started a manufacturing side. A big thing for cleanrooms is the HVAC. Most cleanroom suppliers are architecturally focused people. The strength in Syracuse is HVAC. So, SBB developed with me running sales and construction out of Massachusetts and manufacturing out of Syracuse.” “Daldrop wanted to have a relationship in the States and of those who approached us, they were the only ones who really understood HVAC. So, we were the right fit for them. We did a joint venture focused out of Massachusetts from 2012 to 2018 leveraging their technologies,” Sullivan explained. “The commitment was if we brought their product to the States, we would do that if they built it here. “The pieces that had to be in place to make the investment, they wanted to acquire us, we were great with that. If you looked at business recommendations the general guidance was to build in a low labor area — something like North Carolina — but Syracuse had a strong background in HVAC and we chose Syracuse and Oswego County to be our headquarters in the States. So, it is built off of history, technology and the existing supply chain — bringing jobs back to the area.” During the initial discussions with Daldrop about coming to the U.S., SBB agreed to sell under the conditions Daldrop would manufacture in the U.S. There are many areas that offer incentives and economic packages, but the strength of HVAC expertise and skilled manufacturing was a big part of the discussions for site selection. Coming home [caption id=attachment_11078 align=alignright width=451] Construction moves forward in March at the L. Michael Treadwell Oswego County Industrial Park.[/caption] The second key person to building in Oswego County is Ben Morrow, Sullivan added. “Ben has been working with Daldrop SBB for more than 12 years and has advanced to COO of manufacturing and engineering. Ben grew up in Phoenix, so building a factory for the Germany company in Phoenix is a strong success for both his community and the appreciation of Ben’s skills as a team leader,” Sullivan said. “I went to high school in Phoenix. So, this is like full circle for me. It’s a small world,” Morrow said. “I hadn’t been back to Phoenix since graduation. This is one of the properties that John Trimble of C&S, he is the former president of C&S, he just retired, suggested. He and I were very good personal friends. John was from Mexico and I was from Phoenix. We knew each other from high school. And the architect of this building, Ed Smart of smartDESIGN Architecture in Batavia — I went to high school with him. So, this was a project that’s full circle a coming home kind of thing. The three of us knew each other — kind of like it was meant to be. Very serendipitous.” Schroeppel was one option for Daldrop to consider; the original intent was just to get a warehouse to store some product, he added. The facility is Daldrop’s largest outside of their native country. Total payroll at the facility will be approximately $2.4 million once fully staffed. “Here is 32,000 square feet and we plan to expand and put in an additional 10,000 square feet,” Morrow said. “We have 17.5 acres. We can put at least three more facilities here, just on this property. The master plan submitted for the current building is the first of possible three buildings on the campus.” “If we can find the right people and advance the production according to the plan, we should be able to grow for the next decade. One of the first jobs we filled was our new HR manager, with a primary focus posting and filling new positions,” Sullivan said. Stop the exodus, start hiring [caption id=attachment_11080 align=alignright width=452] Principals at the local Daldrop SBB headquarters, from left: Ben Morrow, Mike Sullivan and Jens Daldrop.[/caption] “I have been coming to Syracuse for 30 years. One of the things I had a hard time watching was the exodus of factories. One of the toughest things is to watch it with my partners’ kids who had to move away for jobs. It is important for us to give opportunity where people’s kids don’t have to leave the area to get work,” Sullivan said. “My responsibility is to find people who have skill sets that want to work and then I have to build opportunity for that work to happen. “After years of watching companies and Vince’s three sons all move out of the areas to get jobs, it is important to us to provide opportunities for the Syracuse region and help grow our company. We have been hiring for our new factory and will continue for the next few years.” “We are hiring and will continue to hire. Currently we have about 19 on staff right now,” Morrow said. “We expect to grow that by about 10 to 15 in the next 12 to 18 months or so. We are at 19 currently — one in the wings. It’s been great being able to hire locally. All these folks that we’ve been hiring, they all live within a few miles from here.” “We hired someone this past week (end of August). She grew up in the area, raised a family and is working down in Florida. She just took a job with us so she can move back and be with her family. We will be moving her back and she should be starting in October. We are very happy to see this happen,” Sullivan said. “I feel strongly about having a spot for the kids to not have to move out of the area. It is better to have people moving into the area.” Currently, Daldrop SBB has openings for finance manager, COO of construction and delivery, as well as mechanical, electrical designers and Revit modelers, construction managers, commissioning agents and many other skills that are needed. Along with Daldrop’s reputation in life science cleanrooms, there is a strong history in semiconductor, electronics, glass, photonics, aerospace and other markets. This may be helpful with any new technologies building in the market such as the Micron expansion and the support network, Sullivan said. “We acquired this property and closed on it two months before any announcement from Micron. It is serendipitous that they’re right down the street from us,” Morrow added. “Everybody started thinking ‘you guys are supporting Micron.’ We were here first. That is not a goal of ours. We may or may not … they are talking to us; it is an opportunity.” The long run [caption id=attachment_11079 align=alignright width=450] Benjamin Morrow, operations manager and control at Daldlrop, speaks during a recent ribbon-cutting event in Schroeppel.[/caption] “Long term, we will expand the Phoenix facility,” Sullivan said. “We built our facility with a campus approach. Sustainability is big. We designed our rooms to be more sustainable. Our building has no gas lines for heat. We put geothermal wells in the ground. We put heat pumps in for heating and cooling out of those wells and we put a large layer of solar panels up on the roof. We worked with National Grid for metering. Our building is a high efficiency model. We upgraded all the instillation and the glass filtering. So, it is a very green building. We will have a very minimal carbon footprint. It also adheres to LEED (Leadership in Energy and Environmental Design) construction standards.” “We are a bunch of HVAC engineers. We did a large scale geothermal and spent the money up front because we knew it made sense in the business sense in the environmental sense and sustainability,” Morrow said. “We have insulated metal panels on walls and roof; we are an envelope from the exterior.” Daldrop, as a global player, has a strong culture of sustainability that is found in all its products including the new facility. The building has been designed with (sixteen) 400-foot deep geothermal wells, high efficiency construction methods, approximately 70 kilowatt solar photovoltaic panels, electric vehicle chargers and 26% recycled content. “Daldrop thinks of long-term investing,” Sullivan said. “On the roof, photovoltaic panels supplement our power. Over half the energy that I use is coming from the sun. We have chargers up front for employee electric vehicles. This place is built to last. This slab that we are walking on, normal buildings are four inches, some go to six inches, we are nine inches all the way through — except where the heavy equipment is — that is 10 to 12 inches thick, solid concrete. It allows us to reconfigure for whatever type of equipment we want to bring in,” Morrow said. “We are authorized by Underwriters Laboratory to self-certify so we don’t need to have an inspector come out and recertify. We get audited often, but we certify our own electronics. The control system in this building is rather high-end. Our thermostat in every room is zoned, independent. We analyze the data; incorporate it with our solar panels.” “There is a lot of competition for people to work. It’s not just about how much salary they are going to make — it’s about the work environment, the ability for stability. We want to make sure our employees have the best environment to work in,” Morrow added. Similarities “One of the reasons I believe why Daldrop chose this area, Phoenix in particular, is because it is a village, a river-based village. Neckartailfingen in Germany where Daldrop is based is also a river-based village, manufacturing community. So, there is a lot of similarities — that smalltown feel,” Morrow said. “We have a lot of connections through multiple employees that lead back to Carrier, also. Everything came together, the timing everything.” “We are thankful for all the economic development support. Everyone has been helping make this happen. So, keep it up, it is working, that is all I got to say, Sullivan said. “If you look at historical industrial manufacturing, this region has skills that have been un-utilized. The northern industrial region has a lot of skills that if we can tap before they go away, we can leverage them. That is what we are trying to do. You’d be surprised at the supply chain left behind from Carrier — that supply chain is still there.” “Operation Oswego County has been fantastic,” Morrow added. “I can’t say enough good things about that group.” What Is Cleanroom Technology Cleanroom technology is a system of specialized engineering, filtration and operational controls used to maintain an extremely low concentration of airborne particles, microbes and chemical vapors. How It Works • Air Filtration: Uses HEPA or ULPA filters to remove 99.97% of tiny particles down to 0.3 microns. • Airflow Control: Directs air in a steady, unidirectional (laminar) or filtered turbulent pattern to push dust away from work areas. • Environmental Regulation: Maintains precise control over temperature, humidity and positive air pressure to block outside air leaks. • Specialized Attire: Requires personnel to wear full-body garments (“bunny suits”), gloves and masks to stop human shedding
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Taylor Swift has been inducted into the Nashville Songwriters Hall of Fame, alongside Lyle Lovett, Shawn Camp, Lee Thomas Miller, Bruce Channel and J | WBBM Newsradio 780 AM & 105.9 FM
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Non-consensually posted intimate images can devastate women – and beget male bonding.The burner accounts on X loosely grouped into the “burnerverse” started by bonding over college sports – but soon took a darker turn when some of them began trying to make salacious rumors or non-consensual intimate images of young women and their names go viral. Ej Dickson investigated the burnerverse for Wired, profiling one of these women who were doxxed – and found links between these burner accounts and college fraternities. But what makes misogyny such a potent tool for men’s bonding? And with laws against non-consensually distributed intimate images in all 50 states – how is it still happening at scale?To talk more about the culture that supports this kind of harassment and the structures that keep it in place, Brittany is joined by Ej Dickson, senior culture writer at wired, and Dr. Mary Anne Franks, professor at the George Washington University Law School and president of the Cyber Civil Rights Initiative.Support public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show’s perks include sponsor-free listening. Learn more at plus.npr.org.
Commentary: Bookman: This midterm election could reshape Georgia politics
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‘Play On!’ hits all the right notes
The English Renaissance meets the Harlem Renaissance in “Play On!,” a sparkling show that marries a loose adaptation of Shakespeare's “Twelfth Night” with the music of Duke Ellington. Conceived by Sheldon Epps, who also directed the original 1996-97 production (first in San Diego, then on Broadway), the show is getting a marvelous revival under his direction to open Chicago Shakespeare Theater's 40th anniversary season.While the title “Play On!” refers to the famous quote about music being the food of love and thus to the dozens of Ellington songs—among them “It Don’t Mean a Thing,” “Don’t Get Around Much Anymore,” “I Got It Bad (And That Ain't Good),” “Solitude” and “I’m Beginning to See the Light”—incorporated into the plot, one of the highlights for me is the clever way Cheryl L. West's book reworks the story. Apparently, it's also been updated for this outing, among other things to give the women more agency. In the big opening number (there's a six-piece, horn-heavy onstage band), aspiring songwriter Vy (Hailee Kaleem Wright) is the one to “Take the 'A' Train” to “Drop Me Off in Harlem.” She wants to meet the famous Duke (Edred Utomi) — Ellington, not Orsino, that is — and she seeks the help of Jester (an engaging James Harkness) to find out how. When Jester tells her in no uncertain terms that the music industry is a man's world, she disguises herself as Vy-Man and persuades the Duke to listen to one of her songs. He's suffering from a creative block because he's pining for Lady Liv (Krystal Joy Brown), queen of the Cotton Club, and convinces Vy-Man to bring the Lady the song as if the Duke had written it, promising to reward her with employment. Vy reluctantly complies, and the predictable complications ensue. Lady Liv is attracted to Vy-Man, while Vy is attracted to the Duke and he to Vy, though it disturbs him because he thinks she's a man. The fallout when the deception comes to light bodes ill—at least for a while.Here's where West's book cannily diverges from Shakespeare. Vy's twin brother Sebastian really is dead, so West devises another love interest for Lady Liv basically by rehabilitating the Malvolio character, here named Rev (Alan H. Green), the Lady's uptight, self-important manager. His unrequited love for her is magically transformed after he gets his comeuppance (minus the torture) from Miss Mary (Alanna Lovely), her honey Sweets (James Earl Jones II) and Jester, the stand-in for Sir Toby, who has romantic problems of his own with a woman named CC (Kaylah Janssen). In other words, Rev gets the girl — and also a show-stopping yellow zoot suit from costume designer An-Lin Dauber. All the costumes are dandy, though those for the men have more pizzazz than the women's day dresses. The bilevel, slanted scenic design by Beowulf Boritt brings 1930s Harlem to life in a slightly expressionistic way with the help of Adam Honoré's lighting and Ray Nardelli's sound design. Edgar Godineaux's choreography adds to the period feel, though there could be even more of it.Most of all, the leads have splendid voices, and the performances are terrific. Green's Rev and Harkness's Jester get my vote for comedy chops, and Brown's Lady Liv probably will stay with me the longest for her complexity and big blues number, “I Ain't Got Nothin' But the Blues.”
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Grammy-winning singer-songwriter Amy Grant joins TODAY to discuss "The Me That Remains," her first album of original music in more than a decade. The musician opens up about how overcoming her recent health issues influenced the new music. "I'm good," Grant says, adding, "I'm firing on all pistons."
'Glee' reboot coming to Disney+ and Hulu
Co-creator/writer Ryan Murphy (C) poses in the press room with the cast of 'Glee' with the award for best television series musical or comedy for 'Glee' at the 67th Annual Golden Globe Awards held at The Beverly Hilton Hotel on January 17, 2010 in Beverly Hills, California. (Kevin Winter/Getty Images)The hit TV show Glee is coming back.An all-new season of the hit series from Ryan Murphy is coming to Disney+ and Hulu, Disney announced Wednesday.No details about the cast or an official release date have been shared.The studio behind the reboot is 20th Television, which also produced the original series.Glee first aired on Fox for six seasons, from 2009 to 2015.It followed a high school glee club and starred Lea Michele, the late Cory Monteith, the late Naya Rivera, Amber Riley, Chris Colfer, Kevin McHale, Jenna Ushkowitz, Matthew Morrison, Jane Lynch and more.Murphy told ABC News last month that a script for a Glee reboot had been written, and that he is in touch with cast members about returning.“I’ve been quietly having conversations with people on that show … about, ‘What do you think? Should we?,'" Murphy said. "Maybe I shouldn’t, I don’t know. It’s fun just to try."Glee won six Primetime Emmys and several Golden Globes. It also won the GLAAD Media Award for outstanding comedy series in 2010 and 2011.All 121 original episodes of Glee are currently streaming on Hulu.The Walt Disney Co. is the parent company of ABC News, Disney+ and Hulu.Copyright © 2026, ABC Audio. All rights reserved.
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Netflix’s Leadership Shake Up…Explained
(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.) Well, I had a simple article planned for this week. Called “Whoa, I Missed It!”, I’d take a gander at a few important-but-under-the-radar stories I didn’t cover while I wrote about all things “Skydance. (Formerly known as “the saga of Netflix trying to buy Warner Bros., but not Discovery, then Paramount-Skydance bought all of Warner Bros. Discovery”.) Alas, that article will have to wait. Netflix made news. Ironically, my “Whoa, I Missed It!” article would have mostly been about “content” strategy decisions, which is also what today’s article is about. But instead of the entire industry, this article will only cover Netflix’s decision to upend their film and TV content teams. Just that! So that’s the full topic of the day. I’m going to tackle the issue in the opposite direction of the way “stuff” flows: uphill. We’ll start at film, then move onto TV, and then onto the CEOs themselves, and the strategy questions that still remain. But we start with the numbers driving this. Let’s dive in. Subscribe Most Important Story of the Week - Netflix Upends Their Corporate Hierarchy I’ve got a lot of thoughts, but we’ll start with the most common response to yesterday’s article. Let’s Talk Stock Price More than one person, responding to what I published two days ago, pointed out that, well, actually, the thing driving Netflix’s actions is this: In short, stock price! Even if Netflix isn’t obsessed with their own share price—they probably are, but, for the record, my strategic advice to every CEO is to absolutely ignore stock prices, which will, ironically, probably help the stock price long-term—most everyone thinks they are. By the way, I prefer market capitalization to stock prices, because it’s a more apples-to-apples way to compare companies: But there’s an even better way to look at it, and it kinda casts some doubt on the entire push here: price-to-earnings. I have a long list of articles that I wish I had written, and chief among them is an article titled, “Am I Still a Netflix ‘Bear’?” meaning someone who thinks Netflix’s stock is overvalued. As of last summer, Netflix had solved their biggest problem—which for me (circa 2019) was the lack of free cash flow—but their stock was CRAZY overvalued. That’s this chart here: Why did Netflix’s stock price increase to a price-to-earnings ratio of 50 last summer? What financial metric changed so quickly? Nothing. Given that, historically, mature entertainment companies average 10 to 20, with 16 being the average, that increase made little sense. Netflix’s stock swoon these last eight or so months wasn’t irrational; the stock price rise last year was. So if you want a really hot Netflix take, here it is: Netflix’s stock price has been going down because the financial industry recovered its senses, not because of any strategic mistake. Yes, that would imply that cleaning house may have been a mistake. That’s why the charts yesterday are so important, because they show that Netflix did have a strategic problem (a lack of hits) and that’s what they moved to address. (One could also argue the industry drastically overrated Netflix’s growth prospects, but that’s a financial industry problem, not a Netflix strategy problem per se. Some growth estimates are just crazy. *cough* AI *cough*) Now, the last time Netflix’s stock price crashed—circa 2022—it gave them an opening. I’d argue Netflix insiders knew they needed to expand post-COVID-19 crisis, adding advertising, cracking down on password sharing, and dabbling in sports. But if they had done that when their stock price was high, it would give folks a reason to second guess their strategy. (Arguably, last year, when Netflix pursued the Warner Bros. merger, it gave the industry a chance to review their business.) Instead, after the 2022 fall, they had the opening to make strategic changes. We may see Netflix pivot again following this latest slide. For example, the “binge versus weekly” conversation is alive and well again. Same for expanding into theaters even more. And adding both linear channels and streaming bundles. And maybe more either social, user-generated, vertical, or creator content. But the first shift came with who is making the content calls. A Message from Our Sponsor Last winter Pulp Fiction was on Netflix. For those same 90 days, it was also free, with ads, on Pluto TV and the Roku Channel. That is not a glitch, and it is not rare. The title has run on 20 different US streaming services since 2019, across 80 separate windows, and for more than 600 of those days it sat on a paid subscription service and a free ad-supported one at the same time. Almost nobody can see this, because when a title leaves a service, the record that it was ever there tends to leave with it. Reelgood keeps that record, dated to the day rather than the month: 4MM+ movie, show and episode titles across 300+ services globally, with timestamped arrivals, departures and moves across SVOD, AVOD, TVOD and vMVPD. Licensing teams price against every prior window. Rights teams check what a licensee actually delivered, and when. Pick a title you think you know: data.reelgood.com/title-availability Film - Dan Lin Want to know why I don’t opine on individual film or TV executives, especially new hires? Dan Lin. As I always caution, it’s really, really, really tough to predict which executives will succeed in new roles and which won’t. The successful head of co-production/finance partner, Rideback, Lin was considered for the head of DC Studios job before taking the job as the head of Netflix. By all accounts at the time, this was a smart hire. (That’s my read of the news coverage anyways.) But now that Netflix has fired Dan Lin, we got a slew of news stories about how he was doing a terrible job. In sports media, Bryan Curtis, new Substack writer/podcaster from The Ringer, calls this the “now you tell us” story, when you only hear the bad news after a star athlete leaves a sports team. In this case, now they tell us that Dan Lin was bad with talent after he got kicked out the door. So was Dan Lin a flop? It’s actually tough to say. While film moves faster than TV, even two years isn’t really enough time to evaluate a person’s output. The new head hasn’t really taken control. As Emily Horgan noted, it takes much longer than two years to produce animated films, so yeah, it’s definitely too early to judge in that domain. As for live-action films, I just published an article by Brandon Katz called “Netflix’s Summer of Bummer”, but I’d point out Netflix had a bad summer two years ago too. Arguably, their best summer came from KPop Demon Hunters last year and Happy Gilmore 2, the latter of which I saw credited to Lin. Then, the stories came out that Dan Lin clashed with talent, both Ben Affleck and Greta Gerwig, classic “now they tell us” factoids to explain his firing. This may have been true, but also should have been expected given that he was given the mandate to bring budgets back in check, especially after Rebel Moon. So if he made folks upset, well, that’s what he was hired to do! But also, he was described as “well-liked” at his hiring! In that case, I’m a bit sympathetic to Lin, since he may have been undercut by senior leadership, as often happens. Basically, a CEO hires a subordinate to be their “bad cop” and keep budgets in check, but then when talent complains, the CEO ends up undercutting them. That’s how I think you end up with a Narnia movie as expensive as any of the other flops, along with a film executive the town no longer likes. As a result, I think that Netflix is now executing a classic “hire the opposite” move by hiring Peter Rice. This phrase comes from my experience following football and basketball coaching decisions, where teams generally hire the opposite of who they just had. If you have an offense-minded head coach, hire the defensive guy. Or in college football, if you have a strong recruiter, then you pivot to an “X’s and Os” type of guy. Or in pro basketball, if you have a very analytically minded coach, you hire the player-friendly guy. I see that here. After dropping Scott Stuber—arguably a talent-friendly executive with lax budget control—Netflix hired the business guy to keep costs in check. Now Netflix is pivoting back to Peter Rice and presumably a more talent-friendly regime. (Disney, by the way, has done this twice: hiring business guys to succeed talent-friendly Bob Iger. It didn’t work out last time.) When it comes to Peter Rice…we’ll see! Maybe he works out, but maybe he doesn’t. I’d actually say the biggest problem is that Netflix still hasn’t solved its “IP Problem”, in that they don’t own much IP, so they just have a lower hit rate. The new executive won’t solve that. (Though buying Lionsgate would help.) Share “Content” - Bela Bajaria I almost published yesterday’s article after this column, but ended up flipping the order, because it told the story so well. So if you want the data for why Netflix is looking at TV to fix their problems, it’s in that article, this graph in particular: I know I just wrote that it’s often hard to judge executives, but Bajaria ran TV for six years and film for three and a half more. That’s more than enough to judge hit rates, and Netflix needs more hits. That’s the story. Since 2023, Netflix hasn’t had as many hit shows as it used to, and many of its previous power house TV shows have ended their runs (Stranger Things most of all). Also, many shows from 2020 to 2022 probably pre-dated Bajaria’s tenure. (That said, one thing may have been outside of Bajaria’s control, which I explain below.) Let’s lump some content strategy thoughts about Netflix and TV into one place: 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… Why I partially blame Squid Game for Netflix’s latest troubles… What is “the football trap”... Why it might not be the TV shows or films’ fault at all… What change I don’t think Netflix will make... How Bela Bajaria evolved Netflix’s TV strategy in smart ways… Whose departure likely submarined Bajaria’s final few years… One sneaky explanation for Netflix’s content struggles... And a whole lot more... ...please subscribe! We can only keep doing this great work with your support.
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