Kerr provides Steph update after Warriors star ruled out for Game 5
Dubs Talk: How Warriors pulled off gritty Game 1 win vs. T-wolves
On "Dubs Talk," co-hosts Bonta Hill and Monte Poole discuss how the Golden State Warriors pulled off their Game 1 win over the Minnesota Timberwolves on Tuesday night at Target Center.Dubs Talk: How Warriors pulled off gritty Game 1 win vs. T-wolves originally appeared on NBC Sports Bay Area
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Geek Tyrant
2 hours ago
- Geek Tyrant
Review: PREDATOR: KILLER OF KILLERS is an Ultra-Violent, Visually Striking Evolution of the Franchise — GeekTyrant
Predator: Killer of Killers is an absolute blast! It's brutal, beautifully animated, and emotionally rich in ways I honestly didn't expect going in. This thing does not hold back. From the opening scene to the final surprising frame, the movie barrels forward with a savage intensity that makes it feel like you're being hunted right alongside its characters. The violence is unapologetic, the action is jaw-dropping, and the whole experience feels like someone finally decided to let the Predator franchise be as bold, artistic, and brutal as it was always meant to be. What really hooked me, though, were the three distinct stories that make up this anthology. Each one focuses on a different warrior throughout history. 'The Shield', 'The Sword', and 'The Bullet', and they're all three are not only packed with killer action, but also grounded in emotional stakes that give the chaos weight. Whether it's the Viking raider guiding her young son on a bloody quest for revenge, the ninja in feudal Japan who turns against his Samurai brother in a brutal battle for succession, or the WWII pilot staring down cosmic death in skies, the writing never skimps. I found myself fully invested in each of them, not just for how they fight, but why. The character development across the anthology is strong, especially given the limited runtime for each segment. There's a sense of intimacy in the awesome storytelling, even when the action ramps up to an eleven, that makes each chapter feel personal and mythic at the same time. Each of the settings feel immersive and meaningful to the story being told. These aren't just action vignettes, they're reflections of the characters and the cultures they come from. Then there's the incredible animation. Director Dan Trachtenberg explained that the style was inspired by the concept art from the live-action Predator films, and you can really see it. It has this rich, painterly quality that gives it a kind of storybook-for-grownups look. The action in the film is stylized and theatrical, like you're watching a violent ballet unfold in slow motion… before it all explodes in blood and flame. Each segment feels like a visual poem about death and survival. There's an badass elegance to how they're built with tight structure, great pacing, haunting atmosphere, and then the Predators show up and wreck everything in the most spectacular fashion. The final act, where all the stories tie together, is where the film kicks into a whole new gear of awesomeness. The ending is one insane, fist-pumping beat after another, and it was incredibley greakin' amazing! I also love how the movie expands the Predator universe. This isn't just another cat-and-mouse hunt. Predator: Killer of Killers takes the core idea of a Predator hunting the fiercest warriors and uses it as a lens to explore humanity… our pain, our pride, our violence. It respects the lore while pushing it into new, exciting territory. If this is where the franchise is headed, I'm all in. Let Trachtenberg run wild with it for as long as he wants. Honestly, I wish I could've seen this on the big screen. It's just too damn cool to be confined to a streaming service. Between the jaw-dropping animation, the emotional storytelling, and the sheer scale of its ambition, Predator: Killer of Killers isn't just one of the best Predator films, it's one of the most artistically awesome entries in the sci-fi action genre.
Forbes
3 hours ago
- Forbes
What The Streaming Wars Reveal about Bad Strategy
Rooftop party and viewing in Los Angeles. Created By Michelle Loret de Mola using Midjourney Max just pulled a classic Hollywood move: the reboot. Two years after Warner Bros. Discovery stripped away the iconic 'HBO' from its name, they've decided to bring it back. Max will now be called HBO Max…again. This will be the streaming service's fifth name change. They were HBO Go in 2008, then HBO Now in 2015, then HBO Max in 2020, then just Max in 2023, and now (hopefully, finally) back to HBO Max. On the face of it, this just seems like bad brand management. But there's a bigger lesson to be learned here. These changes were more than just rebrands: each new name came along with a fundamentally different business strategy. HBO succeeded when it relied on its own creativity. And then stumbled when it tried to copy competitors. For decades, HBO had a unique playbook. It focused on a combination of recently released movies, exclusive live events, and original series. While broadcast television depended on advertising, HBO used a subscription model. HBO played a leading role in what has been called 'television's second golden age.' It greenlit shows that shaped the culture, like The Sopranos, Sex and The City, The Wire, and Game of Thrones. At its core, HBO's playbook was all about the curation and production of prestige content. Of course, that was before the consultants came in. In June 2018, Time Warner, HBO's parent company, was acquired by AT&T for $85 billion. Shortly after completing the acquisition, John Stankey, the new CEO of WarnerMedia decided to change the playbook. To Stankey, HBO's tightly curated, time and resource-intensive model didn't seem scalable. He wanted a broader, more mass market platform with more content, more engagement, and more subscriber growth. In a town hall to HBO employees, Stankey emphasized, "We need hours a day. It's not hours a week, and it's not hours a month. We need hours a day. You are competing with devices that sit in people's hands that capture their attention every 15 minutes. I want more hours of engagement." Stankey believed substantially more content would increase viewer engagement, and that would provide more data, in turn enabling monetization through advertising and subscriptions. In short, HBO's new strategy would be to stop being HBO and start trying to be Netflix. And who wouldn't want to be Netflix? Netflix was the company that slayed Blockbuster, reinvented TV distribution, disrupted Hollywood, and rewrote the rules of what it meant to be a media company. Today, Netflix enjoys a half trillion dollar market cap that is double that of Disney and 22 times that of Warner Bros. Discovery. There was just one problem with that playbook: HBO isn't Netflix. What followed was seven years of wandering in the wilderness, as HBO struggled to emulate the Netflix model. Frustrated with the new strategy, HBO CEO Richard Plepler walked away in 2019. HBO's original content was folded into Warner Bros.' extensive library of content and relaunched as HBO Max. And while global subscriptions for HBO Max reached 69.4 million by October 2021, much of that growth came because we were all locked up at home during a pandemic. Unable to drive further growth from its acquisition, AT&T spun off WarnerMedia to create Warner Bros. Discovery in 2022. And things got even worse. Warner CEO David Zaslav doubled down on the Netflix playbook by dropping the HBO name altogether and flooding the platform with content from Discovery and Food Network. Suddenly, the platform that brought you The Wire was pumping out shows like Dr. Pimple Popper and My 600-lb Life. The end result of this copycat strategy was external confusion, internal demoralization, and financial underperformance. In recent months, Warner Bros. Discovery execs have begun to concede that they simply can't compete head-to-head with Netflix. As JB Perrette, the president of streaming, said in an interview, 'We started listening to consumers saying, 'Hey, we don't really want more content, we want something that is different, we want to end the death scroll with something that is better.'' It turns out no one wants a second-rate Netflix when they can already subscribe to the real thing. They want an alternative. They want HBO. Over the past year, Max has regained momentum by focusing more on quality, adult shows like The White Lotus and The Pitt instead of trying to provide a firehose of entertainment for everyone. The return to being called HBO Max is a long-overdue recognition that this is where its future lies. WarnerMedia made the same mistake with other properties, too. The company hired McKinsey to develop a growth playbook for CNN. Trying to emulate Disney+, they decided to launch CNN+. But guess what? Anderson Cooper isn't Iron Man. Wolf Blitzer isn't Obi Wan Kenobi. The service was dead in a month. According to Nielsen, Warner Bros. Discovery drew 1.5% of viewing time in March. This was less than Disney, Amazon, Paramount, Roku, and Tubi. Netflix dominated, with 8% of total viewership. The lessons from the streaming world apply to every industry: the minute you stop asking what makes you special and start copying others, you've already lost. You have to be creative. You have to come up with your own playbook for growth. It's a mistake to think you can succeed by copying the strategies of successful competitors. Trying to win by benchmarking high-performing peers feels safe. It has persuasive appeal when presented in a PowerPoint deck. A huge industry of consultants has grown up around it, adding to the illusion of safety. And it's an easy way to win short-term praise from the business press and investors. In reality, though, benchmarking is a fast track to mediocrity. Copying others only tells you what worked yesterday for someone else, when what leaders need to focus on is what will work for them tomorrow. Great companies aren't built on copycat playbooks — they succeed by doing something original based on their unique strengths. Even while others were trying to copy it, Netflix stayed true to its own unique playbook based on global content, viewer data, and rapid iteration. When the company took out $2 billion in debt in 2018 to help finance a surge in original content, skeptics questioned whether its strategy was sustainable. But it wasn't a gamble — it was an investment based on data. Unlike traditional studios, Netflix knew exactly what its viewers were watching, where, for how long, and when they dropped off. It used those insights to launch hit shows like Bridgerton, Squid Game, and Stranger Things. Netflix also localized content early, producing Korean hits for South Korea and Indian dramas for South Asia and the Middle East. By the end of 2024, the skeptics had been silenced — Netflix's subscriber numbers topped 300 million, more than double the total at the end of 2018. Netflix operates on the premise that it will win by doing things its own way. For its part, Disney could have fallen into the trap of trying to chase Netflix when it launched its Disney+ streaming service in 2019. But rather than flooding the zone with content, Disney realized that its winning playbook depended on developing content around signature franchises like Star Wars, Marvel, and Pixar. These worlds are ultimately more than content — they're emotional ecosystems. And Disney knows how to turn emotions into revenue streams — through a flywheel of fan engagement, merchandise, theatrical releases, and theme park rides. For that reason, Disney doesn't define success solely through streaming metrics. It also pays close attention to loyalty, lifetime customer value, park attendance, and toy sales. Netflix and Disney+ succeeded by developing their own unique playbooks. HBO lost its way by trying to be something it wasn't. Influenced by consultants and consensus thinking, it was led into the sea of sameness, where companies go to die…or at least spend years treading water. To be sure, that doesn't mean you shouldn't watch and learn from competitors. But there's a big difference between stealing a page from someone else and trying to copy their whole playbook. The risk of doing that is threefold. First, it means you're playing to someone else's strengths, not your own. Second, it means you're focusing on what worked yesterday, not tomorrow. And third, you end up the same as everyone else, and sink into mediocrity. So if benchmarking isn't the answer, what is? The path to success lies in writing your own playbook, starting by answering five fundamental questions that define who you are and your vision for the future. HBO's latest reboot has been greeted with its fair share of sniggers and eye-rolls. But it shows that the company is waking up to what made it great in the first place. That's a good thing, giving it a shot at renewed success. The path forward for HBO isn't about going bigger or trying to please everyone. It's about going bolder, with fewer, better stories that shape the culture. In the end, the companies that come out on top aren't the ones chasing the crowd. They're the ones bold enough to say: This is who we are. This is what we believe. And this is how we win. No benchmarking required.
Yahoo
4 hours ago
- Yahoo
Hull KR end 45-year wait to snatch Challenge Cup from Warrington
Tom Davies touches down for Hull KR with less than two minutes left of the final at Wembley. Tom Davies touches down for Hull KR with less than two minutes left of the final at Wembley. Photograph: Anna Gowthorpe/Shutterstock Hull KR secured their first major trophy in 40 years in dramatic fashion with Tom Davies's try two minutes from full-time and Mikey Lewis's conversion seizing the Challenge Cup away from Warrington. The Robins trailed in a pulsating final after Josh Thewlis's first-half try and Marc Sneyd's conversion made it 6-2. At that stage, it looked as though Rovers' lengthy wait for a major trophy would continue for at least another few months. Advertisement Related: Hull KR are out of the darkness and ready to end 40-year wait in Challenge Cup final Davies grounded a bouncing ball Warrington failed to deal with to level the scores before Lewis, the reigning Man of Steel, delivered the conversion to take the cup back to east Hull for the first time since 1980 and secure Rovers' first trophy of any kind since 1985. Hull KR took a huge gamble before a ball had even been kicked, naming Michael McIlorum in their starting lineup six weeks after a ruptured biceps that initially was thought to sideline him for three months. McIlorum's inclusion was merited, with the veteran providing a level of calm to Rovers as they began on the back foot. After navigating a tricky period in difficult conditions, they went ahead when Lewis kicked a penalty after he was caught high by Ben Currie. For large periods of an engrossing and attritional opening 40 minutes, it looked as though that would be the only score of the half. Advertisement But with two minutes to go until the break, Warrington struck. Sneyd's kick bounced off a defender and into the arms of Thewlis, who scored in the corner before Sneyd nervelessly converted from the touchline to make it 6-2. Rovers offered little in the way of a meaningful threat and Warrington seemed to have the game within their grasp, with Sneyd kicking them safe on multiple occasions. But then, as time ticked away, Warrington failed to deal with a Tyrone May kick, Davies pounced and Lewis converted to create history for the Robins. Rampant Wigan set record final win Wigan Warriors underlined their dominance of women's rugby league by dismantling St Helens 42-6 to win the Challenge Cup for the first time. The Warriors, who invested heavily in their women's side and brought in former Great Britain player Denis Betts as head coach, had promised to shake up the status quo and they did that in some style. Advertisement The Saints had won the past four Wembley finals but they were no match for Wigan. Tries from Megan Williams, Mary Coleman and Emily Veivers put the Warriors into a commanding 18-0 lead by half-time and though you wondered whether St Helens' big-match experience could help them mount a comeback, they were once again second-best after half-time. The Warriors made it 24-0 when Isabel Rowe scored before converting her own try. Katie Mottershead's try briefly gave the Saints some hope, but the Warriors soon restored their advantage with their fifth try. Eva Hunter scored it and Rowe once again converted, before Grace Banks's superb long-range try added further gloss to the scoreline for the Warriors. They would then score again to secure the biggest winning margin in a women's Challenge Cup final in the WSL era, as Anna Davies scored in the corner and Rowe superbly converted to keep up her perfect record from the tee.
