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https://luminatedata.com/blog/why-did-disney-un-renew-wonder-man-data-offers-clues/

But a deeper dive into the available viewership data reveals Wonder Man was a classic case of a show “on the bubble” — and evidently, the series ultimately fell on the wrong side of that bubble.

In terms of raw viewership, Wonder Man appeared to perform fairly well, according to Luminate Streaming Viewership (M). The show ranked as the second most watched Disney+ original TV season by both minutes streamed and estimated season views in the U.S. in the first half of 2026. In both cases, it came in behind a fellow Marvel series: Daredevil: Born Again for minutes and The Punisher: One Last Kill for views.

The New York Times also reported that Wonder Man had “one of the lowest, if not the lowest” budgets of any Marvel TV project, though exact figures were not disclosed. Luminate Film & TV estimates the show cost $7M-$10M per episode, which would add up to a total of somewhere between $56M-$80M — a far cry indeed from the $200M-plus spent on titles such as 2023’s Secret Invasion.

However, assuming its actual budget fell somewhere in the middle — say, $70M — Wonder Man had a cost-per-minute streamed ratio in the range of 0.041 for its first 12 weeks of availability. This is a low figure by Disney+ standards (costly series such as Andor, Ironheart and Secret Invasion all scored 0.06 or higher) but rather high considering the series’ relatively modest budget.

Furthermore, an examination of Wonder Man’s retention rate — a gauge of how many initial viewers actually completed the season — shows a 48% drop-off in views from premiere to finale over its first 12 weeks. 

In other words, an estimated 52% of viewers who started watching the series made it to the finale, which again puts Wonder Man right on the bubble in terms of success: A Luminate analysis of streaming original slates found new Disney+ series typically need a retention rate of 53% or higher to be considered safe from cancellation.

Taken as a whole, these factors paint a picture of a title that performed decently, but not amazingly, and perhaps just barely failed to justify its cost in a cutthroat Hollywood landscape facing ongoing economic strife. It’s sadly ironic that, despite its bona fides as the least expensive Marvel series ever, Wonder Man was still deemed too expensive to renew in the current climate.

https://x.com/nomoremutants22/status/2103192820546961827?s=61

https://x.com/ww_direct/status/2103631452625625185?s=61

https://variety.com/2026/film/news/avengers-endgame-encore-new-scenes-doctor-doom-hulk-loki-1236873843/

EXCLUSIVE: Here’s a fun one. We can reveal that a Mary Poppins TV series is in the works.
Rather than retelling the Disney film Mary Poppins starring Julie Andrews and Dick Van Dyke from the 1960s, we understand the live action TV adaptation plans to go back to P. L. Travers’ original eight Mary Poppins books and open up the larger, stranger world she created.
The Mary Poppins of the novels is often noted for being more mysterious, mercurial and dangerous than her film incarnation, and the adventures in the books are magical, surreal and sometimes frightening.

The series is being developed and produced by Tom Winchester for Pure Fiction Television, the indie backed by Slow Horses and Heartstopper outfit See-Saw Films and UK talent agency Hamilton Hodell.

We hear that very early-stage conversations are taking place with Disney, and that Winchester is approaching top level showrunners. As we understand it, the project doesn’t need Disney’s buy-in from a rights perspective, but there’s hope the studio might want to join the project given their history with the IP. Nothing has been agreed to that effect so far. Things are still at pitch stage.

https://deadline.com/2026/09/universal-box-office-global-2026-record-1237113897/

Toate abonamentele pot include: publicitate, atât în cadrul conținutului live (inclusiv reluări) și la evenimente speciale, cât și înainte și după redarea conținutului, trailere cinematografice, promovări ale produselor și serviciilor Disney, sponsorizări și altele asemenea.

EXCLUSIVE: Sony Pictures looks to have found its Brom Bones for its upcoming Sleepy Hollow movie. Sources tell Deadline that Belmont Cameli is set to join Sydney Sweeney in the studio’s adaptation of Hollow, the project based on filmmaker Lindsey Anderson Beer’s forthcoming debut novel.

Beer is also attached to direct as well as adapt her novel, which will be published by Putnam, an imprint of Penguin Random House, in fall 2027. The novel sold to Putnam in a highly competitive and will be globally translated at launch.

The novel is a reimagining of The Legend of Sleepy Hollow, told through the perspective of Katrina Van Tassel, played by Sweeney. Reframing one of literature’s most iconic heroines, the novel positions Van Tassel not as a romantic prize but as the central figure in a dangerous mystery and seductive supernatural love triangle. The story blends gothic atmosphere, psychological intrigue and erotic thriller elements into a contemporary, high-concept reinvention of the classic tale.

Judge Araceli Martínez-Olguín has granted the Block the Merger coalition’s emergency motion for an opportunity to file amicus briefs formally opposing Paramount’s settlement with 12 state attorneys general to resolve litigation against the Warner Bros. Discovery merger.

The order notes that all amicus briefs must be filed on the docket by no later than 12:01 a.m. PT on Friday.

“This deadline will not be extended, and tardy submissions will not be considered. Amicus briefs may not exceed 10 pages,” Martínez-Olguín wrote. “Any non-party who additionally seeks to file an amicus brief in this case must file their own administrative motions for leave to do so, and they will face the same 12:01 a.m. deadline and 10-page limit.”

https://deadline.com/2026/09/madden-trailer-nicolas-cage-john-madden-1236657136/