#Netflix data analysis

[uniasus]

Netflix released, well, not a ton but some data about viewership recently and I couldn't help but look up the performance of my fandoms. They released the top 18,214 titles based on hours watched from Jan to June 2023.

Ordered in terms of rank.

ATLA: Avatar the Last Airbender (Not available globally - what countries are missing? IDK)

Woot woot! Avatar in the house. 45.5M hours for book 1, giving it a rank of 342.

Book 3 has more views than book 2. I'm gonna credit that to Zuko.

Teen Wolf (Not available globally - what countries are missing? IDK)

The top season is season 3, oddly enough, with a rank of 361! It got 43.9M hours streamed. What are you all rewatching?

Season 1 is the third most watched.

Jurassic World (Not available globally - what countries are missing? IDK)

A healthy rank of 536 with 34M views.

Yu-Gi-Oh (Not available in the US)

Season one is ranked 1,843, with 11.4M hours watched in the first half of the year. Wow! That's impressive for such an old show.

Only 54% of people moved on to the second season. Sad😢

Season 5 had more views than Season 4 or 3. Stop torturing yourselves with rewatching the ceremonial duel, y'all. It's not healthy.

Carmen SanDiego

Season one saw 5.9M hours watched, giving it a rank of 3,133! Not bad for a show from 2019. (How does YGO out rank this? And how is this show more popular than She-Ra? She-Ra is better imo)

I'm impressed the Steal or Not to Steal interactive story did as well as it did. (1.3M hours). But I also know there were some good JuliaxCarmen scenes that 100% inspired fics.

She-Ra (available globally)

Season 1 is ranked 3,213 with 5.7M hours viewed.

People then went on to watch Seasons 5 and 4. We're all rewatching the angst bits, aren't we? Or maybe it's the redemption arc.

Least watched season? 3.

Voltron

Season one is ranked 4,140 with 3.9M hours watched.

Why is season 2 the only one not available globally? Odd. 62% of people go on to watch it after season 1 anyway.

Season 8 is not the least watched season, season 5 is. However, season 5 is totally the one I rewatched twice when it first came out.

Fullmetal Alchemist (movies are global, anime are not)

It is an absolute crime nothing here is ranked high. The highest is the movie, The Revenge of Scar, with a rank of 5,666. 2.2M hours watched.

Only season 1 for both the 03 anime and Brotherhood is available, but the 03 anime is winning. It had an extra 200K hours viewed.

All of the movies had a higher hour watch count than any of the anime seasons.

BBC Merlin | Doctor Who (no data)

Want Data? Variety Article with download links.

[vuelitics1]

Discover how the world’s top companies are leveraging Business Intelligence (BI) to stay ahead of the competition! In this video, we break down the strategies and tools used by giants like Google, Amazon, Apple, and more to optimize operations, enhance customer experience, and drive innovation. From real-time data analysis to predictive analytics, these companies are transforming the way business is done.

Whether you’re a business owner, a data enthusiast, or just curious about how big brands like Netflix and Tesla use BI to gain a competitive edge, this video is a must-watch. Learn how Business Intelligence tools like Tableau, Microsoft Power BI, and SAP BusinessObjects are being used to make smarter decisions, predict customer behavior, and streamline operations.

Visit Our Webiste: https://vuelitics.com/

[amirasainz]

Hello I am a huge fan of this fanfic your doing, but can I please request, the grid watching a spicy scene of her show? Or her in a body suit type like the picture below? I think Carlos reaction would be funny

Of couse! I had so much fun writing this! My request are OPEN and feedback is always welcome.

-XoXo

The unexpected red-flag

The conference room fell into stunned silence as the rain drummed relentlessly against the windows. The TV murmured in the background, its volume turned low, but it was the soft, melodic voice of Amira Sainz that cut through the quiet.

News had spread like wildfire: Baby!Sainz, the beloved sister of Carlos, would grace the third season of the renowned Netflix series “Narcos”. The drivers, usually a rowdy bunch, now sat in hushed anticipation. For Carlos, this was more than just excitement; it was a lifeline. His sister’s return to the family was long overdue, and the chance to witness her artistic brilliance on screen made his heart swell.

Yet, their busy lives as racers left little room for leisure. Days blurred into nights, filled with data analysis and the adrenaline rush of the track. But fate intervened during the red flag at Spa, where the heavens unleashed torrents of rain. The perfect opportunity arose: why not start watching “Narcos” during this unexpected break?

Surprisingly, it was Yuki who suggested it. His eyes sparkled with mischief as he proposed the idea, met with a chorus of enthusiastic “yeah’s” and “omg, yes!” from the other drivers. Carlos and Oscar, absent at the moment, would soon join the impromptu viewing party.

And so, they embarked on their journey into the world of drug cartels, corruption, and intrigue. They skipped scenes where Amira wasn’t present, eager to witness her talent firsthand. But little did they know that the next scene would unravel secrets and twists they never anticipated.

Let's just say Amira Sainz looked good with and without clothes. Throughout her spicy scene, the drivers were so silent. They all looked at her dreamily on the TV when she kissed the guy and started taking of her clothes and-

"¡Eh, estúpidos idiotas! ¿Qué demonios estáis haciendo? ¡¿Por qué demonios estáis viendo a mi hermana desvestirse?!" questioned an angry Carlos. As soon as he saw his little sister on the TV he went into full overprotective big brother mode.

Instantly, Logan shot back, “It’s not what it looks like,” while Fernando chimed in with a soothing “Hermano, you have to calm down.” Meanwhile, Lance attempted diplomacy: “Carlos Boy, we can talk like adults.”

The other drivers rallied, attempting to quell the hot-blooded Spanish driver. But amidst the chaos, Oscar slipped away, drawn by curiosity. He cornered Lando, who was practically bursting with excitement.

“I can’t believe I missed this. How was it?” Oscar leaned in, eager for details.

Lando’s eyes sparkled. “Oscar, you should have heard her speak Spanish. And her hair—oh, her hair falls down her back like—” His words were cut short.

“LANDO NORRIS! STOP TALKING ABOUT MY SISTER, YOU CREEP!” Carlos’s voice thundered across the room, drowning out the rain and the TV.

From the commentator box outside, a muffled sound reached their ears—a high-pitched scream. Lando Norris, usually unflappable on the track, had met his match in Carlos’s protective fury.

[nalyra-dreaming]

More good news!!

[ainadelothwen]

Netflix is a business, not an art studio. It has shareholders; it's concerned with the bottom line. It also has its root in big tech mentality, where everything is data driven. It looked at its metrics, crunched the data, and said the numbers no longer made sense for them (the show was expensive to produce). I won't bother regurgitating the viewership numbers etc; it's out there if you want a better analysis than what I can provide.

But what Netflix failed to capture or understand, or chose to ignore, or couldn't adequately monetize, was the surrounding and indirect impacts (economic, cultural, and otherwise) that Shadow and Bone had. It spawned numerous conventions appearances (e.g. Magic Con) and even standalone Grishaverse conventions (e.g. Into the Fold, A Storm of Crows and Shadows), merch, talks and public engagements.

There are many shows they've renewed that had great 28 day numbers, but failed to spawn even a fraction of a devoted fandom, or the rabid following or become a cultural fixture. Metrics are hard and it's easy to fall into the trap of measuring the wrong things, and drawing the wrong conclusions. I sometimes wonder and worry that we're heading into a world where our media is largely driven by easily consumed content that makes no impact whatsoever on our hearts and souls.

[allaboutkeyingo]

What is the most awesome Microsoft product? Why?

The “most awesome” Microsoft product depends on your needs, but here are some top contenders and why they stand out:

Top Microsoft Products and Their Awesome Features

1. Microsoft Excel

Why? It’s the ultimate tool for data analysis, automation (with Power Query & VBA), and visualization (Power Pivot, PivotTables).

Game-changer feature: Excel’s Power Query and dynamic arrays revolutionized how users clean and analyze data.

2. Visual Studio Code (VS Code)

Why? A lightweight, free, and extensible code editor loved by developers.

Game-changer feature: Its extensions marketplace (e.g., GitHub Copilot, Docker, Python support) makes it indispensable for devs.

3. Windows Subsystem for Linux (WSL)

Why? Lets you run a full Linux kernel inside Windows—perfect for developers.

Game-changer feature: WSL 2 with GPU acceleration and Docker support bridges the gap between Windows and Linux.

4. Azure (Microsoft Cloud)

Why? A powerhouse for AI, cloud computing, and enterprise solutions.

Game-changer feature: Azure OpenAI Service (GPT-4 integration) and AI-driven analytics make it a leader in cloud tech.

5. Microsoft Power BI

Why? Dominates business intelligence with intuitive dashboards and AI insights.

Game-changer feature: Natural language Q&A lets users ask data questions in plain English.

Honorable Mentions:

GitHub (owned by Microsoft) – The #1 platform for developers.

Microsoft Teams – Revolutionized remote work with deep Office 365 integration.

Xbox Game Pass – Netflix-style gaming with cloud streaming.

Final Verdict?

If you’re a developer, VS Code or WSL is unbeatable. If you’re into data, Excel or Power BI wins. For cutting-edge cloud/AI, Azure is king.

What’s your favorite?

If you need any Microsoft products, such as Windows , Office , Visual Studio, or Server , you can go and get it from our online store keyingo.com

[allthebrazilianpolitics]

AI and data can’t replace human sensitivity, experts say

At Academy Day event in Rio de Janeiro, content leaders stress tech’s value but uphold creativity

Artificial intelligence and data analysis may support streaming content producers, but they fall short of replacing human sensitivity when it comes to choosing which stories to bring to the screen. That was one of the key takeaways from the panel “The Pulse of Streaming Content: Creation & Strategy,” which opened the second and final day of the Academy Day on Friday (4). The event, hosted by Globo and organized by the International Academy of Television Arts & Sciences, was held at the Museum of Tomorrow in downtown Rio de Janeiro and at Globo Studios in the city’s west side.

The opening panel was moderated by Valor’s columnist Guilherme Ravache and featured Manuel Belmar, Globo’s director of digital products, finance, legal and infrastructure; Monica Pimentel, vice president of content and talent management lead at Warner Bros Discovery Brasil; and Elisabetta Zenatti, vice president of content at Netflix Brasil.

Mr. Belmar emphasized that AI and data do not interfere with storytelling but help producers better understand the audience. “Data is an important component, but creativity cannot be replaced by data,” he said.

Ms. Zenatti of Netflix noted that there is a myth that the company uses viewer preferences to dictate which series to produce. “When it comes to content, we have to trust our gut more,” she said. While there is a push to understand the audience as deeply as possible to deliver productions that resonate with each viewer, “this has no impact on the writing [of a specific series],” she added.

Continue reading.

[maharetscompound]

sorry, question--someone on twitter (a fan of the show) was saying that iwtv flopped on netflix, and someone else was saying that they thought you had showed that the show did well in the netflix 10-20 for a while or has majorly boosted engagement or drove subscriptions to amc to watch season 2, something that showed that it did well even if it wasn't in the top 10 (which makes sense that there has to be other options in the space between "top 10 hit" and "flop"...being in the top 10 on netflix for three weeks can't be the difference between success and failure, and I certainly noticed way more engagement with iwtv on twitter when it started on netflix. And it's interesting that a number of these iwtv mentions and articles mention that the show has become a hit this year, however they're defining that). Anyway, I was wondering if you remember what you said about those numbers or if you could repost that post? I'd be very interested.

Hi! Oh, why won’t IWTVtwt die 😆 Every time I hear that people are talking about something I posted on twt it’s like a jumpscare! 🤣

But yes, I posted on Bluesky about some data from Netflix, from an analytics company called Ampere. It showed that IWTV is one of AMC’s most popular shows - even though it never made the Netflix Top Ten. Rather other significantly less popular shows that IWTV got a big spike from Netflix (why they showed up in the Top Ten). But IWTV was consistently one of the Top 5 most popular AMC shows from July (pre-Netflix run) through September 2024.

Full breakdown:

[theeviloflife]

Data Science: The Career Catalyst for a Smarter Tomorrow

Ever wondered how Netflix knows just what to recommend or how Google Maps reroutes you around traffic in real time? Behind these everyday conveniences lies a powerful force—data science. It’s the art and science of extracting meaningful insights from data, and it's changing the way we work, shop, heal, and even think.

Whether you're a student, a working professional, or simply curious, understanding data science is more than a tech trend—it’s a career-smart move. Let’s explore this exciting field in a way that’s easy to understand, human-centric, and packed with real-world relevance.

What is Data Science, Really?

At its core, data science blends mathematics, statistics, computer science, and domain knowledge to analyze data and solve complex problems. Think of it as storytelling powered by numbers.

Key Elements:

Data Collection: Gathering data from various sources

Data Cleaning: Removing errors and organizing it

Data Analysis: Understanding patterns and trends

Predictive Modeling: Using past data to forecast future outcomes

[nunuslab24]

What are AI, AGI, and ASI? And the positive impact of AI

Understanding artificial intelligence (AI) involves more than just recognizing lines of code or scripts; it encompasses developing algorithms and models capable of learning from data and making predictions or decisions based on what they’ve learned. To truly grasp the distinctions between the different types of AI, we must look at their capabilities and potential impact on society.

To simplify, we can categorize these types of AI by assigning a power level from 1 to 3, with 1 being the least powerful and 3 being the most powerful. Let’s explore these categories:

1. Artificial Narrow Intelligence (ANI)

Also known as Narrow AI or Weak AI, ANI is the most common form of AI we encounter today. It is designed to perform a specific task or a narrow range of tasks. Examples include virtual assistants like Siri and Alexa, recommendation systems on Netflix, and image recognition software. ANI operates under a limited set of constraints and can’t perform tasks outside its specific domain. Despite its limitations, ANI has proven to be incredibly useful in automating repetitive tasks, providing insights through data analysis, and enhancing user experiences across various applications.

2. Artificial General Intelligence (AGI)

Referred to as Strong AI, AGI represents the next level of AI development. Unlike ANI, AGI can understand, learn, and apply knowledge across a wide range of tasks, similar to human intelligence. It can reason, plan, solve problems, think abstractly, and learn from experiences. While AGI remains a theoretical concept as of now, achieving it would mean creating machines capable of performing any intellectual task that a human can. This breakthrough could revolutionize numerous fields, including healthcare, education, and science, by providing more adaptive and comprehensive solutions.

3. Artificial Super Intelligence (ASI)

ASI surpasses human intelligence and capabilities in all aspects. It represents a level of intelligence far beyond our current understanding, where machines could outthink, outperform, and outmaneuver humans. ASI could lead to unprecedented advancements in technology and society. However, it also raises significant ethical and safety concerns. Ensuring ASI is developed and used responsibly is crucial to preventing unintended consequences that could arise from such a powerful form of intelligence.

The Positive Impact of AI

When regulated and guided by ethical principles, AI has the potential to benefit humanity significantly. Here are a few ways AI can help us become better:

• Healthcare: AI can assist in diagnosing diseases, personalizing treatment plans, and even predicting health issues before they become severe. This can lead to improved patient outcomes and more efficient healthcare systems.

• Education: Personalized learning experiences powered by AI can cater to individual student needs, helping them learn at their own pace and in ways that suit their unique styles.

• Environment: AI can play a crucial role in monitoring and managing environmental changes, optimizing energy use, and developing sustainable practices to combat climate change.

• Economy: AI can drive innovation, create new industries, and enhance productivity by automating mundane tasks and providing data-driven insights for better decision-making.

In conclusion, while AI, AGI, and ASI represent different levels of technological advancement, their potential to transform our world is immense. By understanding their distinctions and ensuring proper regulation, we can harness the power of AI to create a brighter future for all.

[sugimoriedits]

It's been another hot minute since I've posted anything, so take a generational distribution analysis of the new Pokémon Concierge Netflix trailer:

(puppets featured): Panpour, Wingull, Ratatta, Hoppip, Eevee, Dragonite, Charmander, Lampent, Pansear, Pansage, Mudkip, Pidgeot, Snorlax, Seel, Diglett, Dedenne, Skiploom, Furrett, Metagross, Wooper, Psyduck, Bulbasaur, Pikachu, Magikarp, Graveller

(patterns/symbols featured): Ursaring, Charizard, Pidgey, Venusaur, Stantler, Ledian, Farfetch'd, Mankey, Slowpoke, Mantine, Shellos (West Sea), Horsea, Oddish, Bellossom, Omanyte, Shellder, Staryu, Corsola, Starmie, Pikachu, Luvdisc, Wailord, Pachirisu, Fletchling, Gastrodon (West Sea)

Meaning the puppets are distributed: 13 gen one | 4 gen two | 3 gen three | 0 gen four | 4 gen five | 1 gen six | 0 gen seven | 0 gen eight | 0 gen nine

And the pictured/symbolic ones are distributed: 13 gen one | 6 gen two | 2 gen three | 3 gen four | 0 gen five | 1 gen six | 0 gen seven | 0 gen eight | 0 gen nine

Together the distribution being: 26 gen one | 10 gen two | 5 gen three | 3 gen four | 4 gen five | 2 gen six | X | X | X

Which is 26 gen one and 24 not gen one

Here's the data plugged into a pie chart:

Rather unremarkably, gen 1 by far gets the most distribution, representing just over half of all pokémon featured in the trailer. Gen 2 gets the nextmost rep (average 1 out of 5 pokemon), which is unsurprising considering the trend of gen 2 pokémon getting more space in marketing over the last couple years. 3-6 get minimal representation, and 7+ get none at all.

For reference, this is what a fair distribution would look like when considering the pokédex count for each generation:

Obviously there's some major regional preferences in this show. Gen 1 is just about 3x more presented than its ratio in the pokédex (and honestly, this is tame compared to some other regional distributions I've analyzed in the past). Now I'm curious which pokémon projects have the most and least balanced regional distributions, perhaps I'll make more of these to compare?

(the very pretty trailer)

[ptitolier]

Title: Are We Truly Free in a World Obsessed with Our Data?

A few years ago, I realised that my phone knew my desires better than I did. This isn’t an exaggeration. Every notification, every recommendation seemed perfectly timed. But how? The answer is simple: my data, constantly collected, was feeding invisible algorithms.

This reality disturbed me for a long time. Not just because I hate the idea of being watched, but because I wondered: if my choices are influenced by algorithms, am I still free?

A World of Data, A World of Control?

We live in an era where our data is extracted and monetised by companies we often don’t even know exist. Yes, we’re aware that Google and Facebook collect our information. But few people know about data brokers – these companies that buy, analyse, and resell our digital lives.

Shoshana Zuboff, in The Age of Surveillance Capitalism, describes this phenomenon as a new form of power. She argues that our behaviour has become a raw material, extracted and exploited to anticipate our actions and influence our decisions. What struck me most in her analysis is the idea that digital surveillance is no longer just a tool, but an entire economy.

Can We Talk About Freedom When Everything Is Anticipated?

I grew up believing that freedom meant having choices. But today, every choice I make online is guided by algorithms. When Spotify recommends a song, is it my personal taste or a machine that analysed my past listens? When Netflix suggests a film, is it a free choice or a calculated suggestion designed to keep me on the platform longer?

Byung-Chul Han, a contemporary philosopher, criticises this society of transparency where everything must be visible, measurable, and exploitable. He writes that in this quest for data, we lose our opacity – that space where our individuality could exist without constant scrutiny. And without that opacity, freedom becomes an illusion.

Why Should We Care?

Many might say, “I have nothing to hide, so it doesn’t matter.” But it’s not just about privacy. It’s about control. Every piece of data collected is another brick in a structure where our behaviours are predicted, influenced, and sometimes manipulated.

When data brokers sell our information to advertisers, it’s not just to show us an ad for shoes. It’s to shape our digital environment so that we buy those shoes. Or worse, to influence our political opinions, our relationships, or even our ambitions.

Where Are We Headed?

What troubles me most is how normal this data collection has become. We accept cookies without thinking. We give apps access to our contacts, location, and photos simply because they ask for it. And each time we do, we give away a little more of our freedom.

But not all is lost. The first step is to understand this system. The second is to act. My Medium article dives deeper into how our data is extracted and sold – but more importantly, what it means for our freedom. Because in the end, the question is simple: do we really want to live in a world where our choices are no longer truly ours?

Read the full article here

[justforbooks]

The actor Matthew Perry, who has been found dead at his home aged 54, brought a wry sense of humour to the role of Chandler Bing in Friends, the American sitcom featuring six twentysomethings in Manhattan facing the ups and down of everyday life.

“Chandler’s a guy who’s just not comfortable in his own skin – he’s got a great excuse to be funny,” said Perry of the sarcastic, neurotic character in the programme that ran from 1994 to 2004. “He’s an exaggerated form of me.”

The neurosis partly came from Chandler experiencing the divorce of his parents when he was nine and using humour as a defence mechanism. It echoed Perry’s own life, with his mother and father splitting up by his first birthday.

Through his work in “statistical analysis and data reconfiguration”, the character pulled in more money than the other friends – Rachel (Jennifer Aniston), Monica (Courteney Cox), Phoebe (Lisa Kudrow), Ross (David Schwimmer) and Joey (Matt LeBlanc) – although he hated his job.

Chandler had already met Monica Geller at college before they became neighbours in Greenwich Village, where he shared an apartment with Joey. By the end of the fourth series, the relationship had gone from being close friends to lovers and, three years later, they were husband and wife. Unable to have children of their own, they adopted twins, with their birth as a central storyline, alongside Ross and Rachel reuniting, in Friends’ final episode, which attracted more than 50 million viewers in the US.

By then, the programme’s impact on popular culture had spread well beyond its homeland. Joey’s “How ya doin’?” and Chandler’s “Could I be any more …” broke into the language of its young audience. The part earned Perry worldwide fame that continues with Netflix bringing the sitcom to a new generation.

Nevertheless, stardom did nothing to help the actor to overcome his own vulnerabilities. In 1997, Aniston said: “His feelings get hurt. He cares what people think. He even bruises easily.”

Perry’s battles with his personal demons first hit the headlines halfway through the sitcom’s run. In his 2022 memoir, Friends, Lovers, and the Big Terrible Thing, Perry recalled a journey to alcoholism that went from beer and wine at 14 to drinking vodka by the quart, as well as getting addicted to prescription drugs.

In 1997, he checked into a Minnesota rehab clinic for 28 days when he became hooked on a painkiller and appetite suppressant after a jet-ski accident and a 35lb weight loss. Three years later, he was hospitalised with pancreatitis. In 2001, he abruptly left the set of the film Serving Sara (released the following year) to go into rehab again.

Perry reflected that by 2018, at the age of 49, he had spent more than half his life in treatment centres. That year he suffered pneumonia and an exploded colon caused by opiod overuse, resulting in time on life support and two weeks in a coma.

He converted his Malibu home into a drug and alcohol rehabilitation centre, Perry House, in 2013, but closed it two years later, citing expensive running costs.

He had been drug and alcohol-free for 18 months before the screening in 2021 of Friends: The Reunion, a one-off special bringing back together the programme’s six stars.

Born in Williamstown, Massachusetts, Matthew was the son of Suzanne (nee Langford, later Morrison), a Canadian journalist, and John Bennett Perry, an American actor. He grew up mainly in Ottawa when his mother returned to her home country and eventually became press secretary to the then prime minister, Pierre Trudeau. In 2017, Perry revealed that he and another pupil at Rockcliffe Park elementary school had beaten up Justin Trudeau, Pierre’s son and current Canadian premier. Trudeau responded on Twitter (now X): “I’ve been giving it some thought, and you know what, who hasn’t wanted to punch Chandler? How about a rematch @MatthewPerry?”

While studying at Ashbury college, Perry became a top-ranking junior tennis player. He practised up to 10 hours a day, but switched that determination to acting after travelling to Los Angeles when he was 15 and being reunited with his father. “I wanted to be famous so badly,” he told the New York Times in 2002. “You want the attention, you want the bucks, and you want the best seat in the restaurant.”

He made an impression with leading roles in sitcoms: Chazz Russell in Second Chance (1987), retitled Boys Will Be Boys for its second series in 1988, Billy Kells in Sydney (1990) and Matt Bailey in Home Free (1993) before Friends came along.

Perry’s big-screen debut came as River Phoenix’s best friend in A Night in the Life of Jimmy Reardon (1988), but he never became the film star he hoped to be despite appearances in Fools Rush In (1997), Three to Tango (1999), The Whole Nine Yards (2000) and its sequel, The Whole Ten Yards (2003), both alongside Bruce Willis.

He stuck with television. Switching to drama, he had a short run as Joe Quincy, a Republican lawyer, in The West Wing in 2003, and starred in another Aaron Sorkin series, Studio 60 on the Sunset Strip (2006-07). His own sitcom idea, Mr Sunshine, with him playing Ben Donovan, a San Diego arena operations manager, was dropped after a short run in 2011. The following year he starred as Ryan King, a sportscaster, in Go On and later played Oscar Madison in a revival of The Odd Couple (2015-17). He also wrote and starred in the play The End of Longing, which debuted in London’s West End in 2016.

He had relationships with many high-profile actors including Julia Roberts, Minnie Driver and Lizzy Caplan. From 2020 to 2021, he was engaged to Molly Hurwitz, a talent manager.

His parents survive him.

🔔 Matthew Langford Perry, actor, born 19 August 1969; died 28 October 2023

Daily inspiration. Discover more photos at Just for Books…?

[laf-outloud]

https://twitter.com/CineGeekNews/status/1735028345794855200

Warner Bros Discovery currently has an over 60% Probability of Bankruptcy.

I honestly am not sure if this is good or bad for the SPN revival. On the one hand, WB is NOT going to want to spend money on such a niche IP that will really mostly only draw ppl who were already fans if they are in such dire straits financially. On the other hand, they could bring in money by selling the IP to another studio who would obviously then want to actually do something with it since they spent money on it. But that also depends on another studio or streaming service wanting to do something with it which will be tougher. Netflix would make sense since they currently have SPN for streaming, except they will be losing their streaming rights at the end of 2025. A revival wouldn't even be released until then so why would Netflix want to put money into a revival of show that will, at that time, be streaming on a competitor (most likely Max since it will revert back to WB). Amazon is a possibility since both Jensen and Kripke are there (if they want to bring Kripke on for it) and Kripke seems to have some sway over there. But again, unless they buy the rights to SPN to stream on their platform, why would they want to make a show that will inadvertently benefit their competitor?

https://www.macroaxis.com/invest/ratio/WBD/Probability-Of-Bankruptcy#google_vignette

Oof... there's a boatload of information in that report that I just don't understand. (My year in finance did not make me an analyst, lol!)

I can see how the headline could be alarming, but I did see a couple of paragraphs that I believe are relevant to the discussion:

Basically, this all boils down to probability and analysis based on both quantitative and qualitative factors. You'll see in that first paragraph that they also take into consideration public headlines and social sentiment. Obviously, the WB's public presence is not good right now, but it doesn't necessarily mean they will be holding a fire sale of IP's anytime soon.

Now, to your question of how it might affect any reboot. Personally, I don't think the Supernatural IP is big enough for the WB to sell and have it make a difference on their books. If they were that strapped for cash, they'd sell the rights to a much bigger IP, like Loony Tunes (as we've already seen them try to scrap the new Wil. E. movie), or the Lego film franchise.

In the case that the WB keeps SPN, the question is, will they want to put money behind a short series reboot. In my opinion, no. Even though SPN does fairly well on Netflix, the first season viewing numbers don't even crack the top 1000 on Netflix. Plus, the WB has the most recent numbers of the miserably failed The Winchesters, which is still a part of the SPN IP (even though it had nothing to do with SPN as we know it.)

So, unless J2 can rally outside investors (and themselves) to pay for the majority of a reboot, (including convincing a different network to pay a licensing fee), I don't see the WB shelling out the money studios usually pay to produce a series.

But again, with the caveat that this is mostly guesswork on my part based on very little data (at least, data that I don't fully understand.)

[dragonflycap]

5 Trade Ideas for Monday: Cadence, Chipotle, Intuitive Surgical, Netflix and Progressive

5 Trade ideas excerpted from the detailed analysis and plan for premium subscribers:

Cadence Design Systems, Ticker: $CDNS

Cadence Design Systems, $CDNS, comes into the week at short term resistance in a move higher. The RSI is in the bullish zone with the MACD positive. Look for a push over resistance to participate…..

Chipotle Mexican Grill, Ticker: $CMG

Chipotle Mexican Grill, $CMG, comes into the week breaking resistance. It has a RSI in the bullish zone with the MACD positive. Look for continuation to participate…..

Intuitive Surgical, Ticker: $ISRG

Intuitive Surgical, $ISRG, comes into the week approaching short term resistance. It has a RSI in the bullish zone with the MACD positive. Look for a push over resistance to participate…..

Netflix, Ticker: $NFLX

Netflix, $NFLX, comes into the week breaking resistance. It has a RSI in the bullish zone with the MACD crossing up. Look for continuation to participate…..

Progressive, Ticker: $PGR

Progressive, $PGR, comes into the week testing support. It has a RSI holding in the bullish zone with the MACD negative. look for a break of support to participate…..

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After reviewing over 1,000 charts, I have found some good setups for the week. These were selected and should be viewed in the context of the broad Market Macro picture reviewed Friday which with the June FOMC meeting and inflation data in the books, saw equity markets exhibit both strength and weakness with large caps and tech names continuing to make new all-time highs while small caps took a beating.

Elsewhere look for Gold to continue consolidation while Crude Oil consolidates in a broad range. The US Dollar Index looks ready to test the top of the consolidation range while US Treasuries bask in a short term uptrend in the secular downtrend. The Shanghai Composite looks to continue the short term move lower while Emerging Markets consolidate in the long channel.

The Volatility Index looks to remain very low and stable making the path easier for equity markets to the upside. The charts of the SPY and QQQ look strong, especially on the longer timeframe. On the shorter timeframe both the QQQ and SPY have negated prior possible momentum divergences. The IWM continues to languish and showed possible renewed weakness moving lower on the week. Use this information as you prepare for the coming week and trad’em well.