Wukong may not be China’s first global “AAA” hit game, nor the biggest. It's also not the country's innovative, highest acclaimed, or most global hit. But the success of such a title is incredibly important, instructive, and unsurprising.

An essay on trade wars, unexpected successes, and the once but not future kings of the big screen.

Why is every media company now an “every media” company? What is it that audiences truly want? And what’s the most important goal for a franchise or IP?

An essay on what Nintendo does and doesn’t want to be, why, and what this means for its future

An essay on theme parks, platforms, and the importance of hugs.

After decades of fan petitions and dreams, it’s clear that video game publishers, Hollywood, and general audiences are finally ready for gaming IP to be adapted to film and TV. Why now and what does this mean?

It’s all been leading to this.

J.J. Abrams takes few risks in the final installment of the Skywalker trilogy. That is no bad thing

Getting the franchise right is crucial to Disney’s future in theme parks, toys and streaming.

For millennia, the most popular stories on earth were epic tales of Gods and heroes. Five thousand years later, human culture remains similarly transfixed, albeit on a more modern epic: the Marvel Cinematic Universe.

As Hollywood empties its bank accounts for more TV and film assets, it continues to ignore the most ascendant media category. And it can’t afford to do so much longer.

A framework for how to think about story/IP-based media companies, the upsides and risks in story ecosystems, and the strongest bear case for Disney’s immediate future.

Another day, another box office disappointment. Or record. Or franchise hit. Or franchise RIP. Or indie sleeper. Or indie sleep-with-the-fishes. What's going on?

Following the financial failure of "Solo," many are screaming of “Star Wars" fatigue. But it’s more likely we're seeing the accrued costs of avoidable mistakes stemming from Disney’s prioritization of timelines over creative vision.