That’s according to a study from National Research Group in collaboration with The Wrap, which found audiences of all ages (but especially Gen Z and Gen Alpha) express a desire to reconnect with reality as a response to how isolated technology has made society.

“The majority of consumers believe that real-world experiences are more meaningful, more authentic to their true identities, and more conducive to building relationships with others,” NRG reports.

Out of 3,500 surveyed consumers between the ages of 13 and 64, 61% agreed that “real-world experiences feel more meaningful and memorable than digital ones,” with only 12% arguing that digital experiences can be equally meaningful and memorable. Likewise, 53% shared that they feel more like themselves while in the real world rather than online, and 56% feel more connected to people in the real world rather than online.

The study also found Americans expressing a greater interest in in-person events than at-home activities across four out of five key categories: movies, sports, gaming and dining. The only holdout was music — which makes sense considering the massive gulf in commitment between queuing an artist up on streaming and making the lengthy and pricey trek out to a full concert.

“Despite being the most digitally fluent generations in history, they’re also among the most eager to spend more of their free time offline, whether that’s going to the movies or simply playing video games with friends in the same physical space,” the report said.

The key demographics yearning for these live experiences may surprise readers. While Gen Z and Gen Alpha have both largely grown up in a world with entertainment constantly at their fingertips, these two generations demonstrate the largest enthusiasm in live experiences rather than remaining at home.

For example, out of 6,100 surveyed, 59% of Gen Alpha prefers watching movies in theaters more than at home, while 50% prefers attending sporting events in-person. Compare that to Gen X, where only 46% prefers watching movies in theaters and 42% prefer attending sporting events in-person.

The song remains the same across film, sports, video games and music, with Gen Alpha and Gen Z consistently being the two age groups most interested in live entertainment. The only exception is dining, where Gen Alpha is the most interested in dining out over ordering takeout or delivery, but Gen Z is the least interested. All four age demographics, however, had more 50% of those surveyed interested in dining out over dining at home.

What drives the Gen Alpha/Gen Z interest in live experiences? According to NRG, it’s the social aspect of being in a real environment with other people.

“In the case of moviegoing, for example, older generations are more likely to say they enjoy going because of the quality of the sound or the picture quality in theaters relative to what’s on offer at home. Younger Americans, on the other hand, go because they enjoy the experience of spending time with their friends and family, experiencing communal moments of joy and delight with others in the same physical space,” the report said. “That’s also why kids and teens are the most likely to say that they prefer going to a busy theater over a quiet one: it’s about the energy in the room as much as the story on the screen.”

The report noted a number of ways that theaters explicitly have attempted to drive in-person viewership in recent years, selling audiences on specialty experiences that can’t be recreated at home. “One Battle After Another” sold out screenings in the revived VistaVision format of the 1950s and early 1960s, while Ryan Coogler explained to audiences the differences between film formats to encourage 70mm IMAX viewings of “Sinners.” 

A number of experiential or novelty screenings popped up in 2025: “The Long Walk” invited a select audience to watch the film walking on treadmills, “Bugonia” hosted an early screening where audiences had to shave their heads to enter. The Sphere in Las Vegas, meanwhile, made headlines for its immersive and AI-expanded adaptation of “The Wizard of Oz” for the venue’s specialty spherical format.

We’ve also seen theaters increasingly try their hands at programming screenings that aren’t movie-based in recent years, such as the “Stranger Things” finale and WWE WrestleMania. Theatrical events like these can prove crucial in a time when concerns over ticket prices to live sporting and music events continue to mount.

When NRG surveyed 3,000 participants between the ages of 13 and 54 over what non-movie content they’d attend in a movie theater, 64% expressed an interest in seeing landmark TV episodes (like finales and premieres), while 57% would see other special TV episodes (like reunions or holiday specials). 48% said they would watch live sports in a movie theater, and 47% were interested in other live events like televised concerts, but only 35% would watch an award ceremony in a theater.

“Theatrical spaces,” the study concludes, “are increasingly being reimagined as experiential hubs that can offer viewers something fundamentally different from what they’d get in their bedrooms or their living rooms.”

The post Why Young People Are Poised to Save Movie Theaters, In-Person Entertainment | Charts appeared first on TheWrap.

While HBO Max has scored with original programming before, like “The White Lotus,” it’s still refreshing to see three titles not rooted in existing IP on the chart this week – including two at the very top.

The biggest drama on TV right now, “The Pitt,” is the most-watched streaming program of the week for the third consecutive week. In second place is “DTF St. Louis,” the dark comedy starring Jason Bateman, David Harbour, and Linda Cardellini. The show has been a slow riser since its debut and has now hit a new chart peak. Will it build enough viewership to oust “The Pitt?” 

Further down the chart we find that third HBO Max original, “Rooster,” which slides a bit this week, down one spot to seventh.

The Wrap Report provides an exclusive first look at the most watched movies and TV series from the past week across both streaming and linear television sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

This week’s chart is light on Netflix content, but the big streamer still manages to come in third with “Anaconda.” The Jack Black and Paul Rudd meta comedy hit theatres back on Christmas Day and has built some buzz since landing on Netflix.

“Crime 101,” on Prime Video, lands in fourth this week by bringing some big names to the small screen. Despite an epic cast that includes Chris Hemsworth, Mark Ruffalo, Barry Keoghan and Halle Berry, among others, the film was a box office bomb earlier this year. Clearly, the crime flick has found a new audience since landing on streaming.

In fifth place is “Paradise,” the Hulu post-apocalyptic thriller series. Now in its second season, the show is gaining some steam, similar to what we saw with “The Pitt.” It’s up two spots from last week.

“The Madison” falls to sixth after a strong debut in second place last week. Perhaps audiences only have room for one Taylor Sheridan drama in their lives right now.

In eighth, “Dark Winds” holds on for the second straight week, keeping AMC+ on the chart.

Two very different Netflix series close out the streaming chart this week. The sports documentary series “Untold” lands in ninth, with a new season looking at chess cheat scandals, an alleged shooting, and the early 2000s Portland Trail Blazers.

Closing out the chart is “Something Very Bad Is Going to Happen,” a horror series where a soon-to-be-married couple must deal with family drama, death, curses and other horrors.

Over on linear, “American Idol” takes back the top spot after facing one of its toughest challenges yet: the bible. That’s right, with Easter weekend comes the annual airing of Cecil B. DeMille’s 1956 epic “The Ten Commandments.” After 70 years, the film still attracts a crowd, placing it second on this week’s chart.

“Marshals,” CBS’s current Sunday night offering from the previously mentioned Sheridan, slides to third this week.

“Chicago Med” is fourth this week, while its sister show “Chicago Fire” comes in seventh. In between we have “Tracker” and “Survivor,” both on CBS.

Last, but never least, we have three airings of “Wheel of Fortune” closing out the chart.

The post ‘The Pitt’ and ‘DTF St. Louis’ Make a Double Shot of HBO Max at Top of Streaming Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

For the week of March 28–April 3, 2026, “The Super Mario Galaxy Movie” builds on the prior week’s momentum, holding the top spot and climbing to 5.57% of mentions following its April 1 theatrical release.

“Project Hail Mary” rises to 3.25%, continuing a steady upward trajectory as it continues its theatrical run. HBO Max’s “The Pitt” (2.54%) also jumps, driven by anticipation for its season finale, which debuts in select theaters on April 13 ahead of its April 16 streaming release.

Despite its finale airing months ago, “Stranger Things” (2.24%) remains a consistent presence on audience minds. “NCAA March Madness” (1.96%) declines slightly as the tournament wraps, while “MLB / Major League Baseball” (1.78%) dips following opening week interest.

Franchise films continue to hold space on the list. “Spider-Man: Brand New Day” reaches 1.64% as it builds toward its July 31 release, while “Star Wars: The Mandalorian and Grogu” (1.51%) maintains interest ahead of its May 22 theatrical debut.

“Michael” (1.49%) enters the Top 10 as momentum builds toward its April 24 release. “WWE WrestleMania 42” (1.33%) also breaks into the Top 10, with excitement accelerating ahead of the April 18–19 event, boosted by news that John Cena will return as host.

The post Music Biopic ‘Michael’ Moonwalks Into Top Titles People Are Excited About | Chart appeared first on TheWrap.

“The Pitt,” the emergency room drama and awards darling, tops the Samba TV weekly Wrap Report streaming chart this week. This is the second straight week that “The Pitt” has been the most-watched streaming program, based on household reach.

All of that is coming from a Thursday night timeslot, very similar to the beloved “ER” franchise that gave actor Noah Wyle his big break. With three episodes to go, can “The Pitt” stay at the top of the chart until the end of its shift? It will have tough competition from inside its own house, as “Euphoria” returns to HBO Max just days before “The Pitt’s” season finale.

The Wrap Report provides an exclusive first look at the most watched movies and TV series from the past week across both streaming and linear television sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

In second place this week is “The Madison,” the latest Paramount+ western created by Taylor Sheridan. If you’re feeling a sense of deja vu, don’t worry. Sheridan’s other new western, “Marshals,” airs on CBS and tops this week’s linear chart.

Next is “Love Story: John F. Kennedy Jr. & Carolyn Bessette” on Hulu. The series debuted back on Valentine’s Day but has steadily gained traction, rising up to third this week.

Speaking of HBO Max Sunday nights, the streamer’s current Sunday series both make the chart this week as well. “DTF St. Louis,” the black comedy starring Jason Bateman, is fourth. “Rooster,” another comedy, this one starring Steve Carrell, is sixth this week.

Sandwiched in between is “Anaconda” on Netflix. The Paul Rudd and Jack Black meta comedy is based around two friends attempting to reboot the 1997 film of the same name. Things go from bad to worse as they travel to the Amazon to shoot their version.

“Paradise,” on Hulu, continues its strong second season by returning to the Top 10 this week, landing at seven.

We have an AMC+ appearance at eight with “Dark Winds,” as the psychological thriller series nears the end of its fourth season.

Netflix owns the final two entries this week. “Peaky Blinders: The Immortal Man,” finds Cillian Murphy returning to the historical crime drama four years after the original series went off the air. Closing us out in tenth is “Virgin River,” the popular Netflix drama that is now seven seasons in.

The aforementioned “Marshals” is first on the linear chart this week, followed by “Tracker,” also on CBS.

“American Idol” cracks the top three this week for ABC. Meanwhile, “Watson” from CBS makes an appearance on the chart, rising all the way up to fourth in the midst of its second season. “NCIS” gives CBS four scripted series on the chart this week, landing in seventh.

The “Survivor” revival chugs along, with the reality program in ninth this week. “Wheel of Fortune” spins its way into three spots this week, while “America’s Funniest Home Videos” closes us out in tenth.

The post ‘The Pitt’ Wins Streaming Chart for 2nd Straight Week as Finale Looms | Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

For the week of March 21–27, 2026, “The Super Mario Galaxy Movie” builds on last week’s momentum, remaining in the top spot and climbing to 3.85% of mentions ahead of its release today.

“NCAA March Madness” rises to No. 2 (2.90%), continuing to gain traction as the tournament progresses into the Final Four. In contrast, “Stranger Things” (1.64%) declines notably from last week’s second position, indicating a cooling following sustained post-release interest. 

“Project Hail Mary” (2.68%) rebounds strongly this week after slipping post-release, signaling renewed and potentially broader audience interest. Meanwhile, “Major League Baseball” (2.59%) climbs as the season begins, while “NBA Basketball” (1.37%) dips slightly but remains in the Top 10 leading up to the end of its regular season.

Several franchise films continue to build momentum, including July’s “Spider-Man: Brand New Day” (1.74%) and May’s “Star Wars: The Mandalorian and Grogu” (1.69%), both trending upward week-over-week. 

On the television side, “Bridgerton” (1.68%) re-enters the Top 10, while “Daredevil: Born Again” (1.39%) enters, indicating continued franchise engagement in Season 2.

The post ‘Super Mario Galaxy’ Flies High With March Madness on Its Heels | Chart appeared first on TheWrap.

A major HBO Max retention engine is the Harry Potter Universe.  Our granular audience journey data shows that about one in four people who watch a movie in the Harry Potter franchise find the next thing to watch available on HBO Max.  This seems to validate the decision to invest in the highly anticipated Harry Potter series. However, while the Harry Potter universe is effective at keeping users on HBO Max, this is not the franchise that will build a bridge between HBO Max and Paramount+ in a future merged platform.  Our data shows that only 8% of people who watched a title in the Harry Potter franchise went on to watch something on Paramount+.

On the Paramount+ side of things Star Trek is the powerhouse retention franchise.  People who watch a Star Trek title on Paramount+ are twice as likely to watch another title on the platform as they are to watch something on HBO Max.  The downside of this in a merger scenario?  Star Trek fans may be less likely to see the value in a combined platform.  Their viewing preferences show they are much more likely to remain on Paramount+ than to find something to watch on HBO Max.

Taylor Sheridan’s growing body of work has been a financial boon for Paramount+, approaching a billion dollars in streaming revenue for the platform alone.  But these audiences aren’t Paramount+ loyalists.  People who watched a Sheridanverse title were just as likely to then watch something available on HBO Max as they were to find something on Paramount+.  The Sheridanverse would likely be a cornerstone of a combined Paramount+/HBO Max and its fans would see value in a combined platform of content that they are already watching.

What are the titles that will be most impactful in bridging the gap between these platforms?  That’s the key question to ask for a company that wants to minimize churn and prove the value of a combined catalog to subscribers.

Interestingly the unscripted content on HBO Max has some of the largest audience flows to Paramount+.  This confirms what many have sensed intuitively: Discovery+ content has been an awkward fit on HBO Max.  Many of the people watching unscripted Discovery content are leaving to watch content on other platforms rather than finding a natural home on HBO Max.  This is a potential vulnerability in a world where HBO Max is a standalone platform but an opportunity for a platform looking to integrate with Paramount+.

To put a number on this, of the top 20% of titles on HBO Max that have the highest shared audience with titles on Paramount+, 47% of those titles are reality series.  This genre represents only about a quarter of the titles on HBO Max which means it is overperforming in terms of having a larger overlap with Paramount+.  

Moreover, this pattern looks broad based.  The top reality series on HBO Max sending the largest share of their audience to Paramount+ include shows from multiple WBD properties.  For example “Down Home Fab” (HGTV), “American Chopper” (Discovery), and “Ciao House” (Food Network) all had a greater than 20% audience overlap with titles on Paramount+.  A bridge between the two platforms already exists with shows like these, which will be critical in any future effort to merge the two streamers.

The post ‘Harry Potter’ Is a Major Retention Engine for HBO Max | Chart appeared first on TheWrap.

The first signal of compatibility is the “who.” Parrot Analytics’ audience demographic data shows that HBO Max and Paramount+ occupy similar real estate in the streaming landscape when it comes to the demographics of audiences for their content.

Both platforms have an audience that skews slightly male and is older than the audience of most other platforms. While Peacock occupies a similar age bracket, its heavy female skew sets it apart, leaving Max and Paramount+ as the most congruent pair in the field.

Being different is often the goal for a consolidation like this (think of it as “buying” the users you don’t have). However, being the same offers a big defensive advantage. A combined catalog doesn’t seek to expand the tent so much as it reinforces the center. It eliminates the fragmentation of the 35-to-55-year-old adult demographic, turning two separate apps into a single destination for the viewer whose tastes bridge the gap between HBO’s prestige dramas and Paramount’s procedural powerhouses.

The most compelling argument for this merger, however, isn’t just who the audience is, but how they move between platforms. To measure the friction between platforms it helps to start with a platform’s “Internal Affinity” (eg. what share of Disney+ users watch another Disney+ title next?) and compare it against its “Cross-Platform Affinity” (eg. how often a Hulu user jumps to Disney+).

The results paint a clear picture. Despite being offered as a bundle for years, Disney+ and Hulu remain silos. A Hulu viewer is less than half as likely to go and watch a title available on Disney+ compared to a person who already watched something on Disney+. 

In some ways, this isn’t necessarily surprising in the case of Disney+. It is a smaller platform with a more focused content offering specifically catering to franchise fandoms likely to stay within the ecosystem. After years of trying to justify Disney+ and Hulu as separate platforms with distinct purposes in the U.S. it should not be surprising that audiences have developed siloed viewing behaviors.

Contrast the Disney+/Hulu example with the frictionless bridge between HBO Max and Paramount+. An HBO Max viewer is 86.7% as likely to watch a Paramount+ title as a core Paramount+ viewer is. The behavioral friction here is remarkably low. We aren’t looking at two distinct silos that require a heavy lift to unite. Instead, we see a highly compatible audience that is already habituated to both catalogs.

For the streaming strategy of a combined WBD and Paramount, this data offers a “good news/bad news” scenario.

The bad news is that a merger won’t “expand the tent” in the way a merger with a platform like Netflix might have. There are few new frontiers to conquer here. The good news, however, is that the data points to a more seamless integration between HBO Max and Paramount+. Marketing spend becomes exponentially more efficient when you aren’t trying to speak two different languages.

As profitability replaces growth as streaming’s primary metric, the HBO Max-Paramount+ union represents a synergy play. It is a logical consolidation of two deeply overlapping audiences into a unified front that stops competing for the same viewers and starts owning them.

The post What Audience Behavior Tells Us About a HBO Max-Paramount+ Combo | Charts appeared first on TheWrap.

“War Machine,” produced by Lionsgate, is Netflix’s next big action hit of the year, following the Ben Affleck/Matt Damon thriller “The Rip.” But despite four weeks on the chart and massive viewership numbers in its opening weekend, “The Rip” only managed to hold the top spot for one week.

The Wrap Report provides an exclusive first look at the most-watched movies and TV series from the past week across both streaming and linear television, sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

This two-week run for “War Machine” is all the more impressive considering its competition. “The Pitt” on HBO Max remains in second place this week, where it has been parked for four straight weeks.

In third is “Zootopia 2,” which arrives on Disney+ following nearly $1.9 billion in box office receipts since its Thanksgiving release date. Whether viewers were checking in for the first time or getting a repeat viewing, it’s clear that there is a big audience for animated officers Judy Hopps and Nick Wilde.

Jason Bateman provides the voice of the fox Nick Wilde in “Zootopia 2,” and he also stars in our next entry, “DTF St. Louis.” The HBO Max black comedy had a strong debut last week and holds steady in fourth this week.

Back to Netflix for fifth place with the return of “Virgin River.” The small-town romantic drama still has a passionate audience seven seasons in, which is noteworthy for any series in this streaming age.

“Scarpetta,” a new procedural series on Prime Video, debuts in sixth. Nicole Kidman is the lead as Dr. Kay Scarpetta, who uses forensics to solve crimes and mysteries. Kidman has been a familiar presence on TV lately, but alas, this latest turn has been described as “mind numbing” by some critics.

In seventh, we have the docuseries “Love Story: John F. Kennedy Jr. & Carolyn Bessette.” The look at the late Kennedy scion’s romance premiered around Valentine’s Day, but makes the chart for the first time this week.

There’s another familiar face in eighth place, as Steve Carell returns to TV in “Rooster.” The HBO Max comedy series premiered on March 8 and made the chart for the first time this week, following its second episode. We return to Netflix again for our final two entries. “Love is Blind” rolls along in ninth place, followed by the animated nature docuseries “The Dinosaurs” in tenth.

This week’s linear chart is dominated by the Oscars, which aired on ABC on Sunday night. The telecast itself tops the chart, and it’s followed by “The Bachelorette: Before the First Rose,” which aired immediately following the award show on ABC. “The Oscars Red Carpet Show” makes the chart as well, coming in fifth.

The Oscars ripple effects continue throughout the chart. CBS has owned Sunday nights lately, with the new “Yellowstone” spinoff “Marshals” claiming the top spot for two straight weeks. This week, however, “Marshals” ran up against the Oscars on Sunday night. With more eyeballs turning to Hollywood’s big night, “Marshals” falls to sixth place. Its CBS Sunday night compatriot, “Tracker,” takes a similar tumble, falling from third to ninth.

That gives “American Idol” somewhat of an upset, putting two Monday March 9 airings in third and fourth this week.

Meanwhile, NBC’s popular “Chicago” duo is back to back this week, with “Med” in seventh and “Fire” in eighth.” Closing us out is “The Voice” on NBC.

The post ‘War Machine’ Keeps Rolling as Netflix’s Sci-Fi Actioner Tops Streaming Chart Again appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub

For the week of March 7-13, 2026, “Project Hail Mary” leads overall at 2.82% of mentions, continuing to trend upward as anticipation builds ahead of its theatrical debut this upcoming weekend.

“Stranger Things” ranks second at 2.44%, also increasing week over week and reflecting continued excitement to watch, despite the season and series “ending” months ago. “Scream 7” follows closely at 2.41%, softening slightly after leading the conversation last week following its late February release.

Several additional films appear in the Top 10, including “The Super Mario Galaxy Movie” (1.80%), “Hoppers” (1.78%), and “Star Wars: The Mandalorian and Grogu” (1.52%). 

On the television side, “Bridgerton” (2.3%) remains among the most cited series but slips slightly from last week following the late February rollout of new episodes. “The Pitt” (1.67%) also declines modestly while maintaining a presence within the Top 10 during its sophomore season.

Beyond film and television, other entertainment categories continue to draw attention. Major League Baseball (1.86%) enters the Top 5 as the new season approaches, while “Grand Theft Auto VI” (1.84%) trends upward as anticipation continues to build around the highly anticipated video game release this fall. 

Overall, interest remains widely distributed across film, television, sports, and gaming, with no single title dominating conversation this week.

The post ‘Project Hail Mary’ Tops Titles People Are Excited About | Chart appeared first on TheWrap.

Looking at the latest data, a distinct class of streaming titans has emerged. The Disney+/Hulu bundle, Netflix Standard, and a hypothetical HBO Max/Paramount+ combo offer unmatched size, scale and consumer value.

Rather than simply being “generalists,” these are the market’s true anchor platforms. They are uniquely positioned to serve as the foundation of a household’s streaming rotation. For these services, sheer volume acts as a buffer against churn, granting them the leverage to implement future price increases with minimal subscriber blowback.

The market is increasingly splitting between these massive anchors and smaller, specialist platforms. Services like Crunchyroll succeed by dominating fiercely loyal niche fandoms. Others rely on prestige exclusives to drive initial sign-ups, even if they lack the catalogue depth to prevent subscribers from periodically pausing their memberships.

Caught in the middle of these two extremes are the standalone platforms—unbundled Disney+, Hulu, and HBO Max. Over recent years, the cost of these individual platforms relative to their demand has steadily climbed. This isn’t a misstep; it’s a deliberate upsell strategy engineered to make the mega-bundles look like an undeniable bargain.

Peacock, meanwhile, is at risk of sitting in a strategic no-man’s land. It lacks the structural safety of a mega-bundle but costs more than the niche specialists. While its catalogue demand aligns more closely with a $14/month price point (compared to its actual cost of $16.99/month), its current premium is temporarily justified by the must-have nature of the Winter Olympics.

Post-Games, however, Peacock may need to seek a partnership similar to the StreamSaver bundle or double down on its live sports and its unscripted strengths (a proven financial goldmine, as seen with hits like the Love Island franchise) to avoid being priced out of the rotation entirely.

What does this current streaming landscape mean for the potential price of a new Paramount+ and HBO Max combination?

The data show that the demand for their combined on-platform content would narrowly edge out Netflix. As of January, the merged catalogue hit 85% of the total demand of the Disney+/Hulu bundle, compared to Netflix’s 84%.

Given this near-parity, matching Netflix Standard’s $17.99/month price tag is a realistic expectation for how the new bundle could be priced. Launching at a slightly lower $16.99/month would allow the new entity to beat Netflix on both price and volume while matching the Disney+/Hulu bundle in terms of pure value.

Although aggressively outcompeting Netflix on price would be a bold move that could drive rapid subscriber sign-ups, the financial realities of a merger cannot be ignored. The pressure to extract as much value as possible from the streaming service will be immediate for a company saddled with heavy debt from the acquisition.

The post How Much Should the Combo HBO Max-Paramount+ Streaming Service Cost? | Chart appeared first on TheWrap.