Author: rb809rb

  • Tim Curry’s Most Memorable Roles

    Tim Curry’s Most Memorable Roles

    From ‘The Rocky Horror Picture Show’ to ‘Clue’ to ‘Annie,’ a list of great performances by the actor, who died Wednesday at age 80.

    The world is mourning Tim Curry.

    The actor, who died Wednesday at age 80, was known for playing everything from eccentrics to villains in such films as It, The Rocky Horror Picture Show, Clue and Annie.

    The Hollywood Reporter takes a look at some of his most memorable roles, below.

  • Rob Bonta Says It’s “Telling” Meta Settled With State AGs In The Midst Of Instagram Head Adam Mosseri’s Testimony & Before Mark Zuckerberg Took The Stand

    Rob Bonta Says It’s “Telling” Meta Settled With State AGs In The Midst Of Instagram Head Adam Mosseri’s Testimony & Before Mark Zuckerberg Took The Stand

    California Attorney General Rob Bonta took a victory lap following a proposed settlement of up to $17 billion for claims brought by 51 attorneys general against Meta, suggesting that the parent of Instagram and Facebook realized that a trial was not going well for their side.

    As Bonta went through details of the settlement, including remedies designed to limit mental health harms and social media addiction among children and teens, he told reporters, “It’s also telling that Meta settled midway through Instagram President Adam Mosseri‘s testimony and before CEO Mark Zuckerberg could take the stand.”

    The company was defending itself in a trial that started on Aug. 18 in California.

    On the stand on Tuesday, Mosseri at one point was questioned by prosecutors about a feature, called Take a Break, a pop-up message suggesting to young users that they the give the app a rest after a fixed period of use. An internal document showed that only 1.8% of teens actually used the feature. A blog post by Mosseri around when it was introduced said “more than 90%” of users of the feature kept it on. But, the state AGs noted, the executive did not indicate that a very small number of people actually used it in the first place.

    “The trial was not going well for Meta. Having Instagram President Adam Mosseri giving testimony as we settled, it was not random … I think they were dying to have him get off the stand. It was not going well for him,” Bonta said.

    The settlement agreement still has to be approved by a federal judge.

    It includes a set of new restrictions that Meta will place on social media for users under 18, including a default daily time limit of two hours that can only be lifted by a parent. Other defaults are designed to limit use overnight and during school hours, and a ban on displaying numbers of likes or reactions for users under 18.

    Bonta also talked of the next step in their litigation: TikTok.

    “As big as Meta is, it doesn’t stand alone,” Bonta said. “We’re continuing our fight across social media, including our litigation against TikTok, and we’ll continue to demand better from all parts of this industry through our ongoing work with the legislature.” Bonta and other state attorneys general filed the TikTok lawsuit in 2024.

    Bonta also vowed to defend SB 976, the Protecting Our Kids from Social Media Addiction Act, a new California law that is being challenged by tech giants on First Amendment grounds.

    Bonta said that, with the Meta settlement, his “hope and my belief is that we will see commitments across the industry.” In addition to TikTok, he called out Snap and YouTube.

    Bonta later said that although YouTube is not the “same in its model as Meta and TikTok,” there are “similar features and products that YouTube uses that are along the same lines that … are designed to create excessive compulsive use that lead to mental health harms, and most importantly that hurt our children, and can and should be changed.”

    He added, “I think this …constellation of solutions in terms in injunctive relief that we’ve delivered here that apply to Meta, I really think that YouTube and Snap and TikTok should be thinking very closely about them and their commitment to adopt the same.”

    Several of the changes Meta agreed too are partly contingent on other social media players signing on. For instance, a default daily time limit of two hours for users under 18 that can only be lifted by a parent, under the settlement, would drop to one hour If other social media platforms agree to similar terms.

    And a default nighttime block between midnight and 6 a.m. for users under 18 that can only be lifted by a parent would expand to cover 10 p.m. to 7 a.m. if other social media platforms follow.

    This case and others lodged against social media giants have been compared to transformative litigation against big tobacco companies in the 1990s. Asked if he agress, Bonta said: “I think there are some similarities. There are also some limits to those similarities … Regardless, this is a major moment to clean up an industry that has been hurting our kids.”
     
    “So, in the way that the impact of the solutions delivered in [big] tobacco were good for health, good for kids, good for Californians and Americans, this is similar … It’s similar in that fact that it’s a number of AGs banding together, asserting ourselves, exerting our authority, demanding better, requiring accountability, and enforcing the law and delivering results. It’s similar in that way that Congress hasn’t been delivering and has left a vacuum and a gap, so that the state AGs stepped in.”
     
    He added, “It deals with public health. Different issues, but public health issues broadly … But I think the most important thing to focus on here, whether it’s similar tobacco or not, is this is transformative. This is momentous. This is a major step forward in the ongoing quest and journey to make sure that our children are safe everywhere, including online.”

    The settlement involved attorneys general from 47 states, the District of Columbia and U.S. territories.

  • What to Watch on HBO Max in September 2026

    What to Watch on HBO Max in September 2026

    2026 has been a landmark year for horror movies, and this month HBO Max lands one of the biggest of them all, Backrooms, thanks to its partnership with A24. If you’re not looking to be scared, the rest of September’s programming is equally strong, including a demented documentary about O.J. Simpson’s prank show and a gripping bomb thriller. Here are our top choices for the best TV shows and movies coming to HBO Max.


    Fuze (September 4)

    Here’s a fun-looking crime caper with a concept I haven’t seen before. When an unexploded World War II bomb is found in a construction site in London, the police immediately mobilize a disaster response team to deal with it. What they don’t know is that it was actually planted there by a team of bank robbers using it as cover for a massive heist. The three thieves make a daring escape, but things go awry after the explosive detonates. Fuze is a solid thriller with some unique twists.

    • Director: David Mackenzie

    • Cast: Aaron Taylor-Johnson, Theo James, Sam Worthington

    • Genre: Action

    • Rating: R

    • IMDb Rating: 6.2/10


    OJ Unseen: Exploitation of Evil (September 7)

    The rise and fall of football star and actor O.J. Simpson is twisted enough, but what happened after his murder trial turned tragedy into farce. OJ Unseen: Exploitation of Evil is a new two-part ID docuseries that delves deep into Simpson’s attempt to regain the spotlight by hosting an ill-advised prank TV show called Juiced. The new series reveals that producers thought they could somehow get Simpson to admit to the murders.

    • Director: Rebecca Halpern

    • Stars: O.J. Simpson, Jemele Hill, Harmon Leon

    • Genre: Documentary

    • Rating: TV-MA


    Backrooms (September 25)

    HBO Max’s partnership with A24 means that they get the streaming debut of one of 2026’s biggest horror hits, Backrooms. Directed by YouTube wunderkind Kane Parsons at just 20 years old, it’s a clever and unsettling spinoff of his video series. Chiwetel Ejiofor plays a furniture store owner who finds entry into a seemingly infinite world of corridors and hallways, only to soon realize that he’s not alone in there. It’s an incredible debut that really pushes the envelope and rewards multiple viewings.


    Everything Coming to HBO Max in September 2026

    September 1

    42nd Street
    A Clockwork Orange
    A Streetcar Named Desire
    All Through the Night
    American Made
    April in Paris
    Baby Doll
    Battle Circus
    Beetlejuice
    Billy Rose’s Jumbo
    Birdman Or (The Unexpected Virtue of Ignorance)
    Blumhouse’s Truth or Dare
    Blumhouse’s Truth or Dare: Unrated Director’s Cut
    Breaking In
    Breaking In – Unrated
    Cabin in the Sky
    Camelot (1967)
    Carrie (1976)
    Cocktail
    Dames
    Dr. Seuss’ Horton Hears a Who!
    Eyes Wide Shut
    Final Destination (2000)
    Final Destination 2 (2003)
    Full Metal Jacket
    Gremlins (1984)
    Gremlins 2: The New Batch (1990)
    Grudge Match
    In the Good Old Summertime
    Interview With the Vampire
    It’s Always Fair Weather
    Jamboree!
    Jupiter’s Darling
    Knute Rockne: All American
    Les Miserables (2012)
    Lili
    Little Fockers
    Lullaby of Broadway
    Magnolia
    MaXXXine
    Men (2022)
    Middle School: The Worst Years of My Life
    Misery
    Miss Congeniality
    Mission: Impossible (1996)
    My Favorite Spy
    Neptune’s Daughter
    Night and Day
    On Moonlight Bay
    Panama Hattie
    Pearl: The X-Traordinary Origin Story
    Presenting Lily Mars
    Rain Man
    Risky Business
    Royal Wedding
    Saltburn
    Selena
    Sing Street
    Speed
    Summer Stock
    Taken 2
    Taken 2: Extended Cut
    Talk to Me (2023)
    That’s Dancing!
    The Age of Adaline
    The Americanization of Emily
    The Craft
    The Final Destination (2009)
    The Firm
    The Harvey Girls
    The Last Samurai
    The Maltese Falcon
    The Outsiders
    The Revenant
    The Sea Hawk (1940)
    The Student Prince
    To Please a Lady
    The Two Mrs. Carrolls
    War of the Worlds (2005)
    William Shakespeare’s Romeo + Juliet
    Zombieland (2009)
    Zombieland: Double Tap (2019)

    September 2

    1000-lb Sisters – Season 9

    September 3

    Beat Bobby Flay – Season 43
    Botched Homes – Season 1

    September 4

    Beachfront Bargain Hunt Renovation – Season 12
    Fuze

    September 6

    Paranormal Caught on Camera – Season 11

    September 7

    Collision – Season 1
    OJ Unseen: Exploitation of Evil – Season 1

    September 8

    Contraband: Seized at the Border – Season 9
    Georgie & Mandy’s First Marriage – Season 2

    September 9

    Bobby Flay’s The Line – Season 1

    September 10

    A Killer Story
    Krypto Saves the Day – Season 2A
    Save My Skin – Season 6

    September 11

    House Hunters International: Volume 10 – Season 216

    September 12

    AEW Special Events
    Ready Jet Cook – Season 3

    September 13

    Have I Got News For You – Season 5

    September 14

    Halloween Wars – Season 16

    September 15

    Halloween Baking Championship – Season 12

    September 16

    A Very Haunted Renovation – Season 1
    Toxic – Season 2

    September 17

    Body Cam – Season 11
    Half My Size – Season 1

    September 18

    JAŸ-Z in 8
    Saman the Hidden Truth (Saman La Verità Nascosta) – Season 1

    Recommended by Our Editors

    September 19

    Batwheels – Season 3E
    Cautiva – Season 1
    Scariest House in America – Season 3

    September 20

    Teen Titans Go! – Season 9H
    Youth – Season 1

    September 22

    Siren: The Voices of Shelley Beattie

    September 23

    House Shock – Season 1
    The Meg (2018)

    September 24

    How to Catch a Dirtbag – Season 1
    The Plot Thickens – Season 7

    September 25

    4 Blocks Zero – Season 1
    Backrooms
    Diners Drive-Ins and Dives – Season 55
    House Hunters: Volume 11 – Season 262
    Paolo – Season 1
    The Good Spirit: Behind the Doors of the Opus Dei

    September 27

    Totally Spies – Season 7C

    September 29

    90 Day: The Last Resort: Between the Sheets – Season 3
    Decades in Sports – Season 1
    Miller Night Football

    September 30

    Unmasking a Monster: Aileen Wuornos – Season 1

    About Our Expert

  • Chris Hansen Buys Ads Before Every Screening of A24’s ‘Primetime’ (Exclusive)

    Chris Hansen Buys Ads Before Every Screening of A24’s ‘Primetime’ (Exclusive)

    Moviegoers who show up to see Robert Pattinson play To Catch a Predator host Chris Hansen in Primetime will first find themselves face-to-face with the real thing.

    Hansen has purchased preshow advertising on every screen showing the upcoming A24 release, The Hollywood Reporter has learned. In the spot, he directs audiences to TruBlu, his streaming network devoted to the same kind of predator investigations that made him famous.

    The film, a dark exploration of Hansen’s specialty of luring suspected sex predators into nondescript suburban kitchens before confronting them on camera, opens Sept. 25 following its world premiere Sept. 5 at the Venice International Film Festival.

    Hansen has said on podcasts and on Jesse Watters’ Fox News program that he declined an invitation to see the film because he was required to sign an agreement barring him from taking legal action against A24.

    Sources close to Hansen tell THR that he is now consulting attorneys about his options following the film’s release.

    In the meantime, Hansen is capitalizing on the renewed attention by placing the ad before every theatrical showing of Primetime. In the spot, shared exclusively with THR, Hansen enters his familiar hunting ground, a kitchen, and delivers a variation on his dread-inducing catchphrase.

    “I’m going to need everyone in the theater to take a seat right over there,” he says.

    “Now there are more platforms than ever before where this disturbing crime is being committed,” Hansen continues. “Join us undercover every day on my streaming network, TruBlu.”

    A QR code directs moviegoers to a landing page for the network, which offers a steady stream of predator investigations and other true-crime programming.

    Hansen wanted to end the commercial by reminding audiences that what they were about to see in Primetime was “a Hollywood fantasy version” of what actually happened, according to sources. But there were concerns about possible blowback from A24, and the line was removed.

    Directed by Lance Oppenheim, Primetime is based on Luke Dittrich’s 2007 Esquire article “Tonight on Dateline, This Man Will Die.” The article examines the suicide of Bill Conradt, a Texas district attorney who became a target of one of Hansen’s televised sting operations after allegedly attempting to solicit sex from a minor.

  • YouTube’s Pedro Pina Says Platform Can Fuel Britain’s Next TV ‘Golden Age,’ Unveils $4 Million Pledge: We’re ‘Not the Villain’

    YouTube’s Pedro Pina Says Platform Can Fuel Britain’s Next TV ‘Golden Age,’ Unveils $4 Million Pledge: We’re ‘Not the Villain’

    Pedro Pina, YouTube’s vice president for Europe, Middle East and Africa, used this year’s James MacTaggart Memorial Lecture at the Edinburgh TV Festival to challenge the narrative that the platform is a villain in British television’s decline. Instead, he argued that it is increasingly feeding the sector with talent, audiences and revenue — and backed that pitch with a fresh £3 million ($4 million) commitment to the U.K. industry.

    The speech comes at a crucial moment for YouTube in Europe, as the European Commission reviews the rules governing the audiovisual sector and considers how to create a more level playing field between traditional media groups and newer digital serices. The process has put renewed focus on whether platforms such as YouTube should face more of the obligations imposed on broadcasters and streaming services, including requirements around investment in European content.

    Netflix has been among those pressing the case that YouTube should no longer be treated as a different business. Co-CEO Ted Sarandos argued in Brussels earlier this year that YouTube had become a “straightforward competitor” to streaming services.

    Against that backdrop, Pina’s speech asserted the platform should be regarded as a partner to television, rather than a tech giant extracting audiences and value from it.

    Pina described the prevailing account of the industry’s predicament as a “well-scripted tragedy,” with British television as the fallen hero and online platforms as the obvious antagonist. “It’s a powerful story. An emotive story,” Pina said. “The trouble is that it is not true.”

    The $4 million will be invested over the next three years in supporting new entrants and re-skilling mid-career professionals. YouTube will also expand its partnership with the National Film and Television School, with capacity on its sponsored Creator Incubator set to increase tenfold.

    The executive, who was born in Portugal but said he was raised on British television, drew a parallel with the invention of photography and how it disrupted the world of painting, ultimately benefiting it. “Far from destroying visual art, photography helped it mature as a medium,” he said.

    He suggested that YouTube and traditional television are now experiencing something similar, and urged producers and broadcasters to just “focus on the things TV does best.”

    Pina also said Britain may be on the cusp of a third golden age of television, and argued YouTube is one of the key driving forces behind this upward trend, pointing to a wealth of creative talent and rising audience demand.

    Pina framed both previous television “golden ages” as products of disruption rather than stability. The emergence of television forced Hollywood to adapt in the 1950s, while the proliferation of cable and satellite channels in the ’80s and ’90s prompted fears that fragmentation would undermine quality.

    “In reality, more competition meant more appetite for risk, and more space for new voices,” he said, citing “The Sopranos,” “The Wire” and “Breaking Bad.”

    YouTube talent have also been poached by TV producers who see that the platform is “effectively a database of up-and-coming talent.” He cited Nella Rose and Amelia Dimoldenberg becoming primetime TV fixtures, George Clarke appearing on “Strictly Come Dancing“ and Angry Ginge winning “I’m a Celebrity,“ alongside filmmakers who began their careers on YouTube.

    He said 75% of U.K. creators who say they have a career in media and entertainment began that career on YouTube.

    Pina also said YouTube supports more than 45,000 full-time-equivalent jobs in the U.K., and contributes more than £2.2 billion ($2.9 billion) to the U.K. GDP.

    While the platform has been called out for not commissioning content, Pina pointed the benefits of its revenue-sharing model. “YouTube shares, video-by-video, more than half of advertising revenue with creators,” he said.

    He also cited collaborations with broadcasters, such as the BBC, whose “Gavin & Stacey” clip has accumulated millions of views across BBC Studios, BBC and BritBox YouTube channels.

    As YouTube faces heightened scrutiny in Brussels, the lecture also had some lobbying purposes. Pina attacked proposals for “forced prominence” for public-service media on platforms such as YouTube, warning that such measures could disadvantage independent creators and production companies. He said audiences already move between broadcast, streaming and online video organically.

    For Pina, the greater danger is an industry becoming too defensive to adapt. “A story is unfolding before our eyes. It is not a tragedy,” he said. “YouTube is not the villain… This next chapter of British television will not be a tragedy. It will be an epic.”

  • Blake Lively Will Receive $400K in Attorney Fees In Justin Baldoni Case

    Blake Lively Will Receive $400K in Attorney Fees In Justin Baldoni Case

    Blake Lively will receive about $400,000 in legal fees after the settlement of her legal battles with her This Is Us co-star Justin Baldoni. 

    This is well below the $8 million Lively sought to make up for her attorneys fees as she fought against the defamation lawsuit filed by Baldoni as part of their larger legal tussle. However, in the ruling Wednesday, U.S. District Judge Lewis J. Liman, wrote that he agreed with Baldoni and Wayfarer Studios, who said that Lively was “entitled only to the reasonable fees and costs necessary to defend against the defamation claim,” rather than her larger claim amount. This amounted to $363,000 in attorneys’ fees and $44,000 in court costs.

    Lively had been seeking just over $8 million, which included $7.5 million in attorneys’ fees and another $540,000 in court costs. She sought compensation under a California law designed to protect survivors of sexual harassment and discrimination from retaliatory lawsuits.

    While Liman found that the counsel’s rates were not unreasonable, in what he called a case with “complex legal issues,” he found that “the number of hours for which Lively seeks reimbursement is unreasonable.”

    Additionally, he denied other requests for reimbursement, including on media relations. 

    “Media relations were not integral to defending the defamation claim brought against Lively,” the ruling states. “Accordingly, time spent on media relations and press coverage is not compensable.”

    This was Lively’s last chance at monetary compensation (unless she decides to file another suit) after she and Baldoni settled their 18-month legal war in May, just ahead of a federal trial that was scheduled for later that month. 

    The legal battle began after Lively filed a legal complaint in December 2024, alleging that Baldoni and Wayfarer Studios had launched an online smear campaign against her after she spoke up about sexual harassment on the set of It Ends With Us.

    In turn, Baldoni and Wayfarer Studios filed a defamation suit, which claimed Lively and her husband, Ryan Reynolds, had planted false claims in order to take over creative control the film. He also sued The New York Times for writing a story after Lively’s complaint. Both those suits were dismissed, as were several of the claims in Lively’s suit, ahead of the ultimate settlement.

  • ‘Survivor 51’: Meet the 21 New Castaways, Including a ‘Grey’s Anatomy’ Actor, the Voice of Strawberry Shortcake, a Pro Wrestler and a Yankees Exec

    ‘Survivor 51’: Meet the 21 New Castaways, Including a ‘Grey’s Anatomy’ Actor, the Voice of Strawberry Shortcake, a Pro Wrestler and a Yankees Exec

    After its landmark 50th season, explored at length in a Variety cover story, “Survivor” is back for another round.

    CBS kicked off a new phase of the popular competition series, titled “The Open Era,” with a livestream on Wednesday announcing 21 all-new castaways. They range in age from 24 to 49 and come from all over the U.S., plus Canada and even Ireland.

    Among them are Devin Way, an actor whose credits include “Grey’s Anatomy” and “Queer as Folk”; Ana Sani, a voice actress who plays Strawberry Shortcake and also had an on-screen role in “The Boys”; former WWE star Brady Booker; and Yankees executive Mike Pinsky. The cast also includes a chef, a farmer, a medical student and more.

    Meet all 21 castaways below.

  • ‘Not Suitable for Work’: Five Unresolved Cliffhangers From Mindy Kaling’s Canceled Hulu Series

    ‘Not Suitable for Work’: Five Unresolved Cliffhangers From Mindy Kaling’s Canceled Hulu Series

    It’s a golden age for television about teens and twentysomethings right now, and there is no shortage of shows about the epic highs and lows of high school and early adulthood. Yet none of them have nailed believable dialogue, roommate dynamics and new job struggles the way “Not Suitable For Work” has. 

    The nine-episode Hulu series, which premiered in early June, follows two entry-level investment bankers, an aspiring thespian, a newsroom nepo-baby and a fashion stylist as they navigate entering the New York City workforce. With creator Mindy Kaling at the helm, surely this comedic and earnest portrayal of young adulthood would catch on the way her similar life-stage projects “Never Have I Ever” and “The Sex Lives of College Girls” did. So why is it already canceled?

    Maybe it’s an oversaturation of shows like “Adults” and “I Love L.A.” and their general attempts to recreate the magic of a living-in-the-city show. Maybe people prefer the absurdities of the high-school-girl-in-a-love-triangle trope over something realistic. Whatever it is, we don’t have the answers, and it’s unlikely that we ever will.

    Which brings us to the cliffhangers and unresolved questions from the first seaon of Kaling’s show. Here, we broke down the five biggest things we’ll likely never find out now that “Not Suitable for Work” is out of a job.

  • COL Group, CP Group Strike 360-Degree Partnership to Grow Thailand’s Short-Form Drama Industry

    COL Group, CP Group Strike 360-Degree Partnership to Grow Thailand’s Short-Form Drama Industry

    COL Group and CP Group are teaming on a partnership aimed at building up Thailand’s short-form drama business, linking creative training, local content production and distribution under a single initiative.

    The deal centers on a talent incubation program the two firms will run jointly with an academic institution in Thailand, aimed at connecting new creative talent with the short-form entertainment sector. The companies said the effort is meant to widen the pipeline of talent feeding Thailand’s entertainment industry over time.

    As part of the tie-up, the two companies will also work on what they’re calling a Thai Remake Collaboration, adapting select titles from COL Group’s and FlareFlow’s libraries specifically for Thai viewers. Rather than simple translation, the chosen stories will be reworked with Thai characters, settings and language, using AIGC-enabled production tools to support the localization process. COL Group is contributing its content library and short-form production know-how, while CP Group brings its local creator network and knowledge of the Thai market.

    On the distribution side, FlareFlow will get a dedicated branded corner inside Tatang by TrueID, the short-form drama app run by True Corporation, part of CP Group. Called FlareFlow Mini, the corner is set to launch in September and will house FlareFlow’s vertical-drama catalogue for Thai audiences, with new titles added weekly.

    “Building a sustainable short-form entertainment industry requires us to invest beyond content and into the next generation of Thai creative talent. We are pleased to partner with COL Group who shares this vision and brings deep global experience in the category. Together, we can connect education with real industry opportunities – from storytelling and production to AI-enabled creation and access to real world audiences – building stronger capabilities for Thai creators and a foundation for original Thai stories and IP to grow in Thailand and beyond,” said Patsakorn Laohrenu, director of business development of content & media group, CP Group.

    “This partnership brings together the different pieces needed to grow short-form entertainment in a meaningful way, from developing the next generation of creators to localising proven stories for Thai audiences and creating new ways for those stories to reach viewers,” added Timothy Oh, general manager of COL Group and CMO of FlareFlow. “By working with CP Group across talent, content and distribution, we hope to contribute to a stronger and more sustainable short-form entertainment ecosystem in Thailand.”

    Tatang sits within a larger CP and True Group consumer network in Thailand that touches telecoms, e-payments, retail and marketing, and the partners plan joint promotional efforts to boost visibility for FlareFlow titles in the market.

    For COL Group, the tie-up fits into a wider international growth push, pairing its content library and production know-how with a local partner that knows the market, has an established audience and brings its own creative infrastructure.

    COL Group is known as an early mover in the microdrama space across the Chinese and U.S. markets. Its FlareFlow app, one of the leading vertical drama platforms worldwide, counts more than 45 million registered users.

    CP Group is one of Thailand’s biggest conglomerates and ranks among Asia’s largest enterprise groups, with operations in 23 countries covering everything from agriculture and retail to telecoms, e-wallets, tech and media. The company has invested in China since 1979 and owns True Corporation, a leading Thai telecommunications and digital technology player.

  • GameSquare Pivots Livestreaming Measurement Service Stream Hatchet Into Creator Marketing Analytics Platform (EXCLUSIVE)

    GameSquare Pivots Livestreaming Measurement Service Stream Hatchet Into Creator Marketing Analytics Platform (EXCLUSIVE)

    GameSquare is rebranding its gaming and esports-focused livestreaming measurement platform Stream Hatchet into Hatchet, which it describes as “the first full-service creator matching and brand marketing analytics platform built for marketers looking to engage in youth culture with an emphasis on gaming.”

    As part of the revamp, Hatchet, which counts Electronic Arts and NASCAR among its clients, will creator analytics including discovery, campaign tracking and ROI measurement. The rebranded platform will include an AI “Smart Search” and add in data from sources like TikTok Live, Twitter/X and Instagram along with its existing livestreaming network measurements, which are calculated based on 10 years of insights, more than 50 million creators and over 30 platforms.

    Per GameSquare, changes coming to Hatchet include:
    ● End-to-End operation: Data and execution in one tool that allows users to find, verify, analyze, build, and report insights all together.
    ● Data set expansion: Hatchet can now pull from Twitch, YouTube, Kick, TikTok and over 30 platforms. Users can narrow search by audience overlap and chat sentiment with YouTube paid-vs-organic view identifications in the work, among other new descriptors.
    ● AI integration: For the first time, there is no manual configuration required. With “AI Smart Search,” users can evolve from a passive search platform into an active intelligence engine. This tool can also proactively surface the right creators at the right time.
    ● Creator Community: Manage your entire creator roster from one place. Brief, track, and coordinate campaigns end-to-end via a single, customizable hub with no manual tracking.

    The new creator marketing analytics solution aims to help brands leverage the impact of gaming on youth culture.

    “What we are doing with Hatchet is truly unique. This is not a generic tool being retrofitted to gaming. It is a full-service proposition backed by the entire GameSquare ecosystem,” GameSquare CEO Justin Kenna said. “The goal here is to help brands live and thrive at the center of a core aspect of youth culture — gaming. For comparison, we are building something that gives the same type of insights as the Nielsen ratings, but for content creators and using the highest standard that exists in the market, with more options than other platforms offer.”

    “Over the years Hatchet has developed powerful tools and data sets to move the industry past reactive discovery,” Hatchet director of product Alessandra Pinto said. “Brands and publishers need an extension of their team, one that is continuously learning from performance patterns, surfacing opportunities, and tuning itself to their needs. Hatchet is our vision as that true strategic partner to help brands move from outreach to activation and manage the full campaign life cycle.”

    See below for more from Variety’s Q&A with Pinto about revamping Hatchet.

    What is driving the retooling and expansion for Hatchet?

    The creator landscape has fundamentally changed. Creators now build audiences across multiple platforms and increasingly now include gaming as well as mainstream culture. It is critical for brands to understand a creator’s full ecosystem rather than evaluate individual channels in isolation … treating those platforms as interchangeable can mean missing important differences in audience behavior and influence.

    Hatchet is expanding to give brands a more complete view of how creators, audiences and internet culture intersect, helping them identify which creators matter to specific audiences, on which platforms, and why.

    Can you explain how AI is used on the platform and what purpose it serves?

    We designed Hatchet’s AI around real challenges brands/marketers face. Smart Search allows users to describe the creator they are looking for in plain language and translates that intent into search criteria across more than 50 million creators and 30+ platforms, while the Daily Dashboard feature personalizes insights based on each user’s needs.

    Ultimately, we see AI as a tool to help narrow enormous amounts of data into relevant insights that support better decisions. At the end of the day, the goal is not to replace human judgment but help people make better-informed choices for their campaigns.