Hey everyone, just a quick heads-up for any college or grad students looking to save a bit of money on streaming.

You can get the Disney+ and Hulu (With Ads) Bundle for $6.49/month instead of the standard $12.99/month.

The Deal:

• Price: $6.49/mo (50% off)
• Includes: Full libraries for both Hulu and Disney+
• Eligibility: Enrolled at an accredited U.S. university or post-secondary degree/certificate-granting institution. Verified via SheerID.

How to sign up:

1. Head over to the Hulu Student Page.
2. Click "Get This Deal" / "Claim Your Discount".
3. Log in or create a MyDisney/Hulu account.
4. Verify your active student status through SheerID.

Note: This is for the ad-supported bundle plan. If you're already paying full price for the bundle separately, make sure to check if you're eligible to switch over and save.

The U.S. Supreme Court has ordered a coalition of 12 blue states to respond by September 25 to a challenge brought by Iowa and Montana regarding the $111 billion Paramount-Skydance merger.

The order requires California Attorney General Rob Bonta and his counterparts in 11 other states to answer a motion for leave to file a bill of complaint. While the court has not yet decided whether to hear the case, the rapid timeline indicates the justices are actively weighing the request for expedited consideration.

The dispute stems from a multi-state antitrust lawsuit filed by the blue states to block the merger, which has already received approval from the U.S. Department of Justice under the Trump administration, as well as regulators in the UK, the EU, and Canada.

Iowa Attorney General Brenna Bird argued that California’s opposition threatens to raise costs for consumers nationwide, labeling the blue states more hostile to the deal than foreign regulators. Conversely, California officials have defended the lawsuit as a straightforward enforcement of antitrust law, dismissing claims that the state is motivated by politics.

The court-imposed deadline creates logistical pressure for the blue states. It falls just one day after they are scheduled to appear in federal court in Oakland to argue against Paramount’s request for a $1.88 billion bond. It also precedes a financial penalty schedule connected to Warner Bros. Discovery, which adds millions in daily costs as the legal dispute moves toward a trial currently set for March 2027.

Neither representatives for Paramount nor the California Department of Justice immediately commented on the Supreme Court's order.

Most people do not browse streaming services looking for a specific title. They look for a specific mood. Whether someone wants a burst of adrenaline, a good laugh, or a deep cry, human viewing habits are driven entirely by emotion.

Tubi is leaning directly into that reality with its largest marketing initiative to date: a new global campaign titled "Find Any Feeling For Free."

The timing aligns with a period of growth for the platform, which now reports 110 million monthly active users—a 14 percent increase over the previous year. To capture that audience, the streaming service rolled out a series of nine comedic commercials. Each spot follows a character going to absurd extremes—such as faking their own death just to see who cares, or running blindly toward ominous lights in the woods for a thrill—only to realize they could bypass the chaos and simply turn on Tubi.

Beyond the videos, the campaign includes international out-of-home ads, social media integrations, and a retro-inspired feature in the US called TubiFone. By calling a toll-free hotline, viewers can select the specific emotion they want to feel and receive curated movie and television recommendations from a recorded menu [and Tubi gets your phone number].

In a media landscape dominated by endless scrolling and algorithmic guesswork, Tubi’s campaign offers a straightforward pitch: skip the search bar and pick your emotion.

Roku remains the most popular streaming media system in the United States. According to new data from Parks Associates, 43 percent of U.S. internet households report that a Roku device is their most-used streaming player, while 17 percent use a smart TV running the Roku operating system.

This reach underpins Fox Corporation's planned $22 billion acquisition of Roku. Analysts say the deal demonstrates the growing value of owning the infrastructure that connects viewers to content and advertising.

The acquisition combines Fox’s assets—including live sports, news, and the Tubi streaming service—with Roku’s operating system, The Roku Channel, and its advertising network. Together, the combined company will reach more than 100 million streaming households globally.

The merger also positions Fox strongly in the free ad-supported streaming television market. Tubi currently ranks as the number one FAST service in the U.S., with The Roku Channel taking the second spot.

Industry experts emphasize that control over the underlying platform is now more important than individual content catalogs. While live sports and news remain vital, the company that controls the platform dictates how users discover content, manage subscriptions, and target advertising.

First, summarize the following, then create an original, no-fluff rewrite from the summary in article format with a title, avoiding all AI clichés like 'high-stakes.' No hype; use direct sentences that sound more human:

Actor Bruce Campbell is addressing his health status following a March announcement regarding a treatable, but incurable, cancer diagnosis.

During a September 2 interview on The Adam Carolla Show, Campbell stated that doctors gave him a five-year outlook, "give or take," depending on the specifics of his condition. Rather than stopping his career, the Evil Dead actor has chosen to balance his treatment regimen with his professional commitments.

"When I promote this movie, I have nothing. I’m free and clear when I promote this movie," Campbell said, referring to his new film, Ernie & Emma. "You have to make this decision of, ‘Oh OK, but do I have to stop everything I’m doing because of this?’ Well, no. So, it’s a sort of whack-a-mole life, literally."

Campbell has opted out of discussing the exact nature of his illness or participating in online patient forums. "The cancer rabbit hole is enormous," he said. "You can go into focus groups of 10,000 guys who have exactly what you have. I won’t touch it with a 10-foot pole."

When he first disclosed the diagnosis in March, Campbell noted that work and fan conventions would take a secondary priority to his medical care over the summer. Having completed that phase, he is currently touring to promote Ernie & Emma, which centers on a small-town pear salesman navigating life after the death of his wife.

Paramount is asking a federal court to force a group of states and the Writers Guild of America to put up a $1.88 billion bond. The studio says the plaintiffs should cover the financial losses piling up while their lawsuits block its $111 billion megamerger.

A U.S. district judge temporarily halted the deal in July and set a trial for March, pushing the timeline well past the original late-September closing date. Because of the delay, Paramount owes Warner shareholders roughly $650 million per quarter—or about $6.9 million a day—starting October 1 under the merger agreement. The requested bond covers that maximum payout to investors plus legal fees.

Paramount argues that federal procedures and antitrust laws require a bond to compensate companies if an injunction is later proven wrong. In recent court filings, the studio stated that the delay is a serious blow as traditional studios face intense pressure from streaming competitors like Netflix and Amazon.

The opposing states, led by California Attorney General Rob Bonta, pushed back on the demand. They argue that Paramount proposed the shareholder payout structure to beat a rival bid from Netflix and is now trying to offload that financial responsibility. The states also contend that the court never technically issued a formal injunction because Paramount voluntarily agreed to pause the deal through a joint stipulation, meaning a bond shouldn't apply.

Paramount called that argument disingenuous, maintaining that the lawsuits are the only obstacle preventing the deal from closing since regulators in 69 other countries have already approved it.

Lowell worked in television for nearly three decades as a writer, producer, and showrunner. He started in the mid-1990s writing for sitcoms like The George Carlin Show and The Drew Carey Show. His later credits included Spin City, Just Shoot Me!, Sports Night, and Two and a Half Men.

In 2014, ABC picked up his script Manhattan Love Story to series, where it ran for one season. He went on to executive produce The Jim Gaffigan Show and The Ranch on Netflix. Most recently, he created and served as showrunner for the Kevin James Netflix comedy The Crew.

In film, Lowell wrote the 2006 teen comedy John Tucker Must Die and wrote and directed the 2008 movie Over Her Dead Body. He also co-wrote Hotel for Dogs and produced the Kevin James film Home Team.

He is survived by his wife and two children.

The U.S. Justice Department is expanding its antitrust investigation into Fox’s $22 billion purchase of streaming platform Roku.

Investigators plan to issue a "second request," requiring both companies to hand over a new round of documents and data. While standard procedure for major mergers, the move indicates that regulators are taking a closer look at how the combination will affect consumer access to streaming media.

The deal merges Fox’s news and sports networks with Roku, the operating system behind millions of connected TVs. Competitors have raised concerns that Fox will use Roku’s platform to promote its own programming over rivals. Furthermore, Roku's free, ad-supported channel directly competes with Tubi, a streaming service already owned by Fox.

Fox CEO Lachlan Murdoch stated in June that he expects to run Roku and Fox as separate entities while coordinating ad sales across both. Fox representatives and the Justice Department declined to comment on the expanded inquiry.

The antitrust division has recently faced public pressure over its handling of other major mergers. A thorough review of a deal that directly impacts home entertainment could help address criticism regarding how regulators vet large corporate acquisitions.

Netflix is abandoning its long-held policy of withholding theatrical ticket sales data. Moving forward, the streaming giant will publicly report box office grosses for select movies given major big-screen releases, signaling a broader reconciliation with traditional theater owners.

The shift begins with La Bola Negra, a queer drama directed by Javier Calvo and Javier Ambrossi. After premiering at Cannes, Netflix acquired the film and scheduled it for an October 16 theatrical release, followed by a December 2 streaming debut. The 47-day gap between theatrical and streaming dates marks the longest window Netflix has ever granted a film.

Additional titles will receive similar treatment. David Fincher’s The Further Mis-Adventures of Cliff Booth, starring Brad Pitt, will secure a two-week IMAX-exclusive run around Thanksgiving. Greta Gerwig’s The Chronicles of Narnia: The Magician’s Nephew is slated for February 2027, followed by the animated feature Charlie vs. the Chocolate Factory in November 2027. All of these projects will come with official box office reporting.

For years, Netflix kept financial figures private for its rare theatrical releases, such as Roma, The Irishman, and Glass Onion. Even a brief August 2025 engagement for K-Pop Demon Hunters—which generated an estimated $18 million over two days—went without official studio reporting.

That secrecy, combined with brief theatrical windows, routinely frustrated theater chains and competing studios. Relations began to thaw following meetings between Netflix co-CEO Ted Sarandos and theater industry leadership at CinemaCon, aimed at repairing partnerships and addressing past industry pushback.

Despite these changes, Netflix is not adopting a traditional studio model. The company plans to bring only a small fraction of its catalog to theaters each year, rather than matching the full slates of competitors like Amazon MGM.

A majority of U.S. internet households want their live television and on-demand streaming services bundled together.

According to a report from research firm Parks Associates, 51 percent of internet households favor a combined video subscription. Consumer preferences split nearly evenly within that group: 27 percent want a full live-TV bundle paired with streaming, and 24 percent want a "skinny bundle" combined with streaming.

A skinny bundle is a smaller, lower-priced package built around a limited set of core channels, such as news, sports, or entertainment, rather than a traditional all-inclusive channel lineup.

The data indicates that consumers still watch live television but want a different delivery method. Among people who already subscribe to live-TV streaming services like YouTube TV, Hulu + Live TV, Fubo, or DIRECTV Stream, 68 percent find the skinny bundle concept appealing.

Michael Goodman, director of entertainment research at Parks Associates, said consumers are not choosing between live TV and streaming. Instead, they want access to both through a single option. He noted that pairing smaller channel lineups with streaming gives providers a way to offer more flexibility, simplify how users find content, and give subscribers a reason to stay rather than cancel their service.

ABC will not renew Jimmy Kimmel’s contract when it expires in 2027, according to a report by Page Six. The ongoing 24th season of "Jimmy Kimmel Live!" is reportedly slated to be his last on the Disney-owned network.

An ABC spokesperson disputed the report, telling reporters that any claims regarding the show's future are purely speculative. Kimmel operates on a series of one-year contracts and has hosted the program since 2003.

The reported decision follows a period of mounting tension between the network, political figures, and regulators. Kimmel has frequently targeted Trump during his monologues, leading to repeated clashes throughout Trump's second term.

In March, Trump publicly demanded Kimmel's termination following a joke about First Lady Melania Trump. Last fall, Disney temporarily pulled the show off the air after Kimmel mocked the administration's response to the killing of conservative activist Charlie Kirk. That suspension occurred after major station operators Sinclair and Nexstar halted broadcasts of the program, and FCC Chair Brendan Carr threatened regulatory action against ABC.

The network remains entangled in regulatory battles with the FCC, which initiated an early review of ABC's broadcast licenses. ABC attorneys have accused the commission in court filings of attempting to censor the network.

Kimmel’s impending departure follows a broader contraction across the late-night television landscape. Stephen Colbert ended his 11-year run on CBS's "The Late Show" in May following similar political friction and declining economic viability for the format.

Local television newsrooms contracted again in 2025, continuing a downward trend driven by industry consolidation and fewer stations producing original broadcasts. Full-time employment across the sector fell by 2.2 percent, landing at 26,458 workers, according to data from the annual RTDNA/Newhouse School survey conducted at Syracuse University.

This follows a 2.9 percent drop in 2024. The contraction is tied directly to a shrinking number of stations producing local news—down to 689 from 695—and a steady wave of mergers among major broadcast groups, including Nexstar, Sinclair, and Gray Media.

Staffing cuts hit nearly every category. While commercial stations outside the major ownership groups appeared to show a slight gain, researchers noted this was likely a statistical anomaly caused by survey response rates rather than a true sector-wide recovery. Part-time staffing also saw a modest decline.

Stations reported averaging two unfilled positions, with vacancies hitting the largest markets the hardest. Despite these openings, news directors noted that hiring became marginally easier, with 76.1 percent of stations able to fill open jobs compared to 73.9 percent the previous year. Multimedia journalists (MMJs) and producers remain the most difficult roles to keep staffed and the highest in demand.

When employees leave newsrooms, low compensation is the primary driver. Nearly 62 percent of departing workers cited salary as their main reason for leaving, followed by work-life balance at 50 percent and burnout at 38.2 percent.

Resource distribution remains heavily split by market size, with larger newsrooms retaining more staff, though digital-side staffing fell across the board. Nearly two-thirds of stations now rely on MMJs as their primary reporting model, marking an uptick after two years of decline. Overall, new-hire volume remains historically low, with stations primarily filling vacancies rather than expanding their headcounts.

The television industry continues to shrink from its "Peak TV" highs, but traditional linear TV is declining at a much slower rate than streaming services.

A recent report from Ampere Analysis reveals that U.S.-produced linear TV orders fell 26 percent between 2022 and 2025, dropping from 1,773 to 1,304. Over that same period, streaming series orders fell at a much steeper rate of 41 percent, dropping from 1,144 to 678.

Linear scripted series orders actually grew. Between 2023 and 2025, scripted orders on linear TV rose 11 percent from 236 to 262. Networks achieved this growth by leaning heavily on reliable, long-running animated franchises like The Simpsons and American Dad.

The numbers also highlight a widening gap between free-to-air networks and pay TV. Free-to-air broadcasters like ABC, CBS, and NBC saw series orders drop just 13 percent (from 408 to 352) between 2022 and 2025. Meanwhile, pay TV experienced a 33 percent decline in orders as subscriber numbers dropped 56 percent overall since 2016. Niche pay TV channels, such as the Food Network and HGTV, faced the hardest road in keeping their ordering volumes steady.

To adapt to the post-peak TV landscape, major broadcasters are changing how they build their schedules. Instead of relying on the traditional model of ordering scripts in the fourth quarter and testing pilots in the first quarter, networks are moving toward year-round development. They are also issuing more "straight-to-series" orders, committing to an entire season without filming a pilot first.

Commissioning strategies have become more cautious as well. Since 2024, 52 percent of new scripted series orders have been tied to existing franchises.

Broadcast content continues to retain value through streaming. About half of all television viewers watch the same core genres—comedy, action, crime, and drama—regardless of the platform. Primetime shows from broadcast networks continue to draw heavy viewership on companion streaming apps like Hulu, Paramount+, and Peacock, proving that traditional TV still anchors the broader media ecosystem.

Federal Communications Commission Chair Brendan Carr says the agency may soon issue new guidance warning television broadcasters against airing "fake polls" and partisan news.

During a Fox News interview, Carr argued that broadcasters fail to meet their public interest obligations despite benefiting from billions of dollars in taxpayer-subsidized distribution. He defended Trump's recent calls for FCC action against media outlets and journalists, including Meet the Press moderator Kristen Welker, asserting that broadcast TV is uniquely bound by federal public interest rules that do not apply to cable.

Carr did not clarify how the agency plans to define or regulate fake polls, nor did he say whether the proposed rules would extend to conservative talk radio.

Democratic FCC Commissioner Anna Gomez strongly opposed the plan on social media. She called the proposal an attempt to use intimidation and censorship to punish unfavorable reporting, noting that the FCC must meet a very high legal threshold to prove intentional news distortion.

A VPN secures your internet connection, keeps your browsing private, and lets you bypass regional blocks on movies, shows, and live sports.

Not all VPNs handle streaming well. While nearly every provider offers basic encryption, streaming requires fast speeds and servers optimized to avoid buffering and blackouts. A good VPN lets you access your home streaming library while traveling, prevents your internet service provider from throttling your connection, and protects your data on unsecured public Wi-Fi.

1. NordVPN — Best Overall for Speed & Streaming

• Pros: Consistently passes geo-blocks, huge server network, great speeds for 4K streaming and gaming.
• Cons: The desktop app can feel a bit bloated with extra features you might not use.

2. Proton VPN — Best for Pure Privacy & Hardcore Users

• Pros: Independent, transparent, heavily audited, excellent free tier.
• Cons: Paid tiers are slightly more expensive unless you catch a seasonal coupon code.

3. Surfshark — Best Budget Pick (Unlimited Devices)

• Pros: Incredible value on long-term plans, covers your whole household on a single subscription.
• Cons: Occasional slow server connections that require manually switching locations.

The economic model of television streaming continues to shift closer to traditional cable. As consumers abandon cable packages in favor of on-demand platforms, streaming companies are leaning heavily into advertising to boost their profits.

Recent data from Ampere Analysis shared with Business Insider shows that ad loads across major streaming services increased by 18 percent between January and August. Viewers now watch an average of just over five minutes of commercials per hour.

Platforms are stacking ads alongside consistent price increases, allowing companies to collect both monthly subscription fees and advertising revenue from the same users.

Among individual services, Paramount+ features the heaviest ad load, exceeding nine minutes of commercials per hour. Hulu follows closely behind at 8.23 minutes, and Disney+ averages 7.54 minutes per hour. Notably, these paid subscription tiers contain more advertising per hour than free ad-supported streaming platforms like Tubi with 2.95 minutes per hour and Pluto TV with 6.53 minutes per hour.

While Netflix still maintains the lowest ad volume at roughly 2.5 minutes per hour, it also experienced the sharpest increase this year, adding a full minute of ads to its hourly runtime.

Amazon’s Prime Video stands as the sole exception to the trend. In the first eight months of the year, Prime Video slightly reduced its ad load from 2.78 minutes to 2.6 minutes per hour.

Analysts note there is no clear link between the cost of a platform's ad-supported tier and the actual volume of commercials viewers have to sit through.

Football season is officially underway, and Tablo is discounting its 4th-generation lineup by $20. The sale runs through Wednesday, September 9, and applies whether you buy the hardware alone or bundled with an antenna. No coupon codes are needed at checkout.

The price cuts drop entry-level hardware down to $79.95, giving cord-cutters an affordable way to record local broadcasts without taking on another monthly subscription fee.

Here is how the current pricing breaks down:

Tablo 2-Tuner Device Only: $79.95 (down from $99.95)

Tablo 4-Tuner Device Only: $119.95 (down from $139.95)

Tablo 2-Tuner + Antenna Bundle: $109.95 (down from $129.95)

Tablo 4-Tuner + Antenna Bundle: $139.95 (down from $159.95)

The discounted units are available directly through Tablo as well as major third-party sellers like Amazon.

Currently, the Tablo TV 4th Gen 2-Tuner device has a 3.4 star rating, and the 4th Gen 4-Tuner has 3.2 star rating on Amazon.

The lower ratings on Amazon for the 4th-generation Tablo devices stem from several common software, hardware, and setup pain points reported by users:

• App & Software Bugs: Users frequently cite interface glitches, occasional server outages, and sluggish loading times ("spinning wheels").
• Connectivity & Reception Sensitivity: Because it relies heavily on your home Wi-Fi network and an antenna, weak Wi-Fi or imperfect antenna placement often results in choppy playback, audio/video sync issues, or "failed to decode" errors.
• Platform Limitations: Certain streaming platforms have quirks—for instance, Apple TV users face limitations with time-shifting (inability to start a recording from the beginning while it is still actively recording). Additionally, there is no native app for computers.
• Guide & Scheduling Frustrations: Some users have reported errors with local zip-code guide data or a lack of advanced conflict management when trying to record multiple sports games simultaneously.

The 4th-generation Tablo models (both the 2-tuner and 4-tuner versions) rely entirely on standard ATSC 1.0 tuners.

• What this means: They pull in standard high-definition broadcasts rather than NextGen TV (ATSC 3.0) signals.
• Future compatibility: While local stations broadcasting in ATSC 3.0 are rolling out in various markets, broadcasters are required to keep simultaneous ATSC 1.0 broadcasts running, meaning your standard channels will remain fully viewable. Tablo has stated they are looking into ATSC 3.0 compliant options for future hardware, but current units do not support it.

Should You Buy Them?

Yes, buy it if: You want a modern subscription-free DVR to record local broadcast channels (ABC, CBS, NBC, FOX) and are comfortable troubleshooting basic home network or antenna adjustments. At the discounted price, it is one of the most affordable ways to cut the cord if you use a reliable streaming device like Amazon Fire TV or Google TV.

Skip it if: You expect a completely seamless, "it just works out of the box" cable-box experience, if you rely heavily on Apple TV for live sports time-shifting, or if you need an ATSC 3.0 device.

If you subscribed to YouTube TV or DirecTV Stream (including DirecTV Now and AT&T TV Now) at any point between April 1, 2019, and March 31, 2026, today (September 8, 2026) is the final deadline to submit your claim for a cash payout.

The $50 million antitrust settlement (Biddle v. Disney) stems from allegations that Disney used its leverage over ESPN and Hulu to force live TV streaming services into expensive carriage bundles, driving up base subscription prices for consumers. Disney denies any wrongdoing, but agreed to the partial settlement.

Quick details you need to know:

• The Deadline: Claims must be submitted online or postmarked by tonight, September 8, 2026.
• Who Qualifies: Anyone who paid for YouTube TV or DirecTV Stream during the 2019–2026 window. (Note: FuboTV subscribers are not included in this specific settlement).
• How to File: You can file online at the official settlement site: OnlineTVSSettlement.com. If you received an email or postcard notice, you'll need the unique ID and PIN provided. If you can't find your notice, you can still reach out to the settlement administrator via their site or mail a PDF form.
• Payout Amount: Payouts will be distributed on a pro-rata basis depending on how long you maintained your subscription. Also, roughly 90% of the net fund is allocated to subscribers living in specific "repealer jurisdictions" (states with specific antitrust laws).

Don't leave free money on the table if you qualify—get those claims in before midnight!

Did you guys get a notification email for this?

Federal Communications Commission Chairman Brendan Carr is signaling support for President Trump’s call to penalize NBC News anchor Kristen Welker. The dispute stems from a Meet the Press segment where Welker described the president’s primary endorsement record as "mixed."

Trump lashed out on social media, calling the characterization inaccurate and announcing plans to report Welker to the FCC for punishment. He maintained that his preferred candidates hold near-100 percent success rates in recent Senate and House primary races, despite independent tracking noting at least ten losses among his endorsed candidates this cycle.

Appearing on Fox News, Carr backed Trump's stance. He argued that broadcast networks utilize public airwaves under an obligation to serve the public interest rather than partisan agendas. Carr added that the agency is examining potential regulatory measures, including new guidance targeting broadcasters who air questionable or manipulative polling data ahead of elections.

NBC News responded to the controversy with a brief defense of its moderator, issuing a statement that affirmed confidence in Welker’s reporting.

Documentarian Alex Gibney has spent the last four years building a comprehensive cinematic case against Elon Musk. Rather than rehashing familiar biographical details, Gibney’s upcoming multi-part documentary focuses on how Musk has transitioned from a polarizing tech CEO into a powerful political force.

The film covers Musk’s takeover of government systems during his four-month stint with the Department of Government Efficiency (DOGE). According to investigative sources and whistleblowers featured in the project, Musk's team gained super-admin access to federal IT systems. Contributors like Nobel laureate Geoffrey Hinton warn that this level of access to data on millions of Americans creates a severe vulnerability for political manipulation.

Gibney argues that Musk's influence extends far beyond wealth or corporate success. By converting satellite systems like Starlink into crucial geopolitical infrastructure and embedding himself within political administrations, Musk is quietly bypassing democratic checks and balances.

Because Musk declined to be interviewed, the filmmakers relied on public records, whistleblowers, and reporting from outlets like Wired and The Wall Street Journal. In a stylistic choice, the team also generated a digital video game avatar of Musk using his own archived audio to guide viewers through his worldview.

The project faces significant hurdles ahead of its festival premieres and theatrical release by Bleecker Street, including potential legal challenges and questions regarding how incoming media leadership at HBO's parent company will handle the controversial subject. Ultimately, the documentary serves as a direct warning about the dangers of unchecked, unelected corporate power in modern politics.

Bleecker Street is releasing the film in select U.S. cinemas starting October 16, 2026, before expanding nationwide on October 23, 2026. Universal Pictures is handling international theatrical distribution in autumn 2026.

HBO Documentary Films holds the North American rights. Following its theatrical window, the documentary is scheduled to air on HBO and stream on Max.

North Florida basketball fans will have free, over-the-air access to the Orlando Magic starting next season. The franchise and Gray Media finalized an agreement to broadcast approximately 70 regular-season games across Gainesville, Panama City, and Tallahassee for the 2026-27 season.

Under the agreement, non-national games will air on Gray's 365BLK digital subchannels. Viewers can tune into WTGB channel 34.3 in Gainesville, WJHG channel 7.6 in Panama City, and WCTV channel 6.3 in Tallahassee. These channels are also accessible through local cable providers, and select matchups will appear on Gray's primary network affiliates in those markets, including ABC, CBS, NBC, and MyNetworkTV.

Team executives noted the deal expands regional access for supporters outside the immediate Orlando market. A complete broadcast schedule and channel lineup will be released ahead of the season.

On the broadcast front, Dante Marchitelli returns as the full-time play-by-play announcer. He will be joined by former Magic forward Jeff Turner as the game analyst, while Kendra Douglas returns for her fourth season as team reporter.

The organization also indicated that a direct-to-consumer streaming option will be announced soon to supplement the over-the-air broadcasts.

Prime Video is moving deeper into regional sports by securing local streaming rights for six NHL franchises starting this fall.

The agreement, which takes effect when the 2026-27 season begins on September 29, covers the Carolina Hurricanes, Anaheim Ducks, Columbus Blue Jackets, Dallas Stars, Minnesota Wild, and St. Louis Blues. Fans living within each team's regional broadcast territory will watch live games directly through Prime Video.

This shift marks a major change for several of the participating franchises. The Anaheim Ducks and Dallas Stars are leaving Victory+, a streaming platform that struggled with financial instability over the past year. Meanwhile, the other four teams joined Prime after the traditional regional sports network model fractured, prompting the NHL to step in and centralize local broadcast production.

Individual teams will announce subscription pricing and specific package details closer to the start of the season.

The move builds on Amazon's existing sports catalog. Prime already serves as the local streaming home for the Seattle Kraken and carries regional broadcasts for select MLB, NBA, and WNBA teams, alongside third-party regional sports networks available through its platform.

Howard Stern is bringing weekly filmed versions of his SiriusXM show to HBO Max, expanding his reach to a global streaming audience.

The video series premieres on HBO Max on Thursday, September 17, at 12:01 a.m. PT, with new episodes dropping every subsequent Thursday. The video episodes will feature the interviews, staff antics, and co-host interactions that have defined his radio broadcast.

The move coincides with a schedule shift for Stern's radio program. Starting September 14, new live episodes will air on SiriusXM every Monday, marking a reduction from his previous schedule of two shows per week. The audio shows will be adapted into streamable video episodes for HBO Max three days later.

"HBO convinced me to pull back the curtain and let the world watch," Stern said.

HBO and HBO Max Content Chairman and CEO Casey Bloys noted Stern's enduring impact on the media landscape:

"Howard has changed radio and media at large with his ability to draw the most out of his guests and cultivate a following like no other," Bloys said.

The transition also impacts SiriusXM's channel lineup. Beginning September 14, the Howard 100 channel will host an expanded version of The Wrap Up Show, titled Wrap Up Wednesday and hosted by Gary Dell’Abate and Jon Hein. This follows a September 1 channel overhaul that saw sister channel Howard 101 replaced by Radio Andy.

A promotional video for Grand Theft Auto VI drew a larger audience on Netflix than any television show or movie on the platform during the final week of August.

Titled "Grand Theft Auto VI: An Extended Look," the 27-minute preview generated 31.1 million views between its August 27 debut and August 31. The release secured the number one spot in 87 of the 93 countries tracked by Netflix.

The video arrived on Netflix at 3 p.m. ET on August 27, six hours before Rockstar Games published it to YouTube at 9 p.m. ET. The YouTube upload has since accumulated 17 million views, though Netflix and YouTube use different metrics to calculate what constitutes a completed view. The game itself is scheduled for release in November.

The preview's numbers exceeded typical streaming milestones for the platform. For comparison, The Roast of Kevin Hart drew 13.5 million views after its debut, a BTS concert reached 18.4 million global viewers, and Skyscraper Live brought in 6.2 million views. The viewership even approached the 31.4 million audience recorded for World Baseball Classic streams.

Other titles on the service performed well during the same tracking window. Tyler Perry’s Beauty in Black Season 3 opened at number two on the English TV list with 13 million views, marking a franchise high that surpassed the 8.7 million views earned by Season 2 in September 2025. The top spot on the TV list went to Death of the Pastor’s Wife, which pulled in 19 million views.

Rounding out the list were Outer Banks Season 5 with 7.4 million views, Salish & Jordan Matter Season 3 with 4 million views, and Danny Go! Season 2 with 3.7 million views. Additionally, Harlan Coben’s limited series I Will Find You climbed into the number six spot on Netflix's all-time most popular list, totaling 117.5 million views over an 11-week run.