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Stop Ad Dollars From Fueling Spammy Sources and Boost ROAS With Smarter Traffic Rules

By Media News
2 min read • Published August 4, 2025
By Media News
2 min read • Published August 4, 2025

Smart filtering preserves ROI for true interest

ASHLAND, OH / ACCESS Newswire / August 4, 2025 / Medium Interactive introduced an intuitive solution that helps marketers block spammy referral traffic from digital ad campaigns (for example, "Google Ads Performance Max Campaigns Syndicated Search"). While it’s assumed that ad-platform AI increasingly favors sources with high conversion volumes-sometimes seeming to not consider lead quality-this framework returns control to campaign managers.

Developed to work with WordPress, the recommended, easiest-to-implement approach is a lightweight script that detects incoming referral sources and lets teams define which page elements to hide or where to redirect unwanted visitors. In a short amount of time, marketers can tailor form displays, phone-number visibility, gated-content access, or virtually any other on-page feature. This flexibility extends beyond simple blocking to enable personalized messaging or creative workflows driven by referral context.

"While the AI that drives modern ad platforms seems to serve more ads to whichever audience converts most frequently, we need to find smart ways to ensure that the quantity of spammy leads does not dilute our ad budgets," says Sean Manion, Owner of Medium Interactive. "This system can be put into play within minutes and delivers immediate improvements to ROAS."

A dedicated WordPress plugin is in development to simplify integration for developers and campaign managers alike, but the quick-script deployment-easily managed via Google Tag Manager or written into a WordPress site’s theme-provides a rapid path to value without extensive configuration.

More detailed discussion is available at
https://mediuminteractive.com/marketing-tips/how-to-block-syndicated-search-traffic-from-performance-max-campaigns-in-google-ads/

Medium Interactive offers full support for planning, deployment, and customization to ensure seamless adoption within existing tech stacks. To learn more or to request hands-on assistance, please visit: https://mediuminteractive.com/contact/

Contact Information

Sean Manion
Owner of MediumInteractive.com
sean@mediuminteractive.com
4194965412

.

View the original press release on ACCESS Newswire

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media-news

Goldman Small Cap Research Publishes New Research Report on CleanGo Innovations Inc.

By Media News
4 min read • Published August 4, 2025
By Media News
4 min read • Published August 4, 2025

New Initiatives to Raise Profile, Drive Sales Growth

BALTIMORE, MD / ACCESS Newswire / August 4, 2025 / Goldman Small Cap Research, a stock market research firm specializing in the small cap and microcap sectors, announced today that it has published a new research report on CleanGo Innovations Inc. (OTCQB:CLGOF)(CSE:CGII)(FRA:APO.F), an emerging provider of a novel, non-toxic, biodegradable, cutting-edge suite of green-certified, easy "spray-on" cleaning products with industrial applications. The Goldman report carries a price target. To view the new research report, along with disclosures and disclaimers, or to download the report in its entirety, please visit: https://goldmansmallcapresearch.com/opportunity-research/new-initiatives-sales-growth-to-drive-shares-to-new-highs/

CleanGo Innovations Inc. is at the forefront of developing and commercializing proprietary non-toxic, biodegradable cleaning and industrial solutions for oil services and industrial cleaning markets. Driven by a mission for environmental sustainability, CleanGo’s innovative product suite is designed to deliver high performance while safeguarding the planet, serving critical cleaning needs across the oil and gas, mining, commercial, and retail sectors globally.

In the Opportunity Research report, analyst Rob Goldman reviews this undervalued and underfollowed innovator including its potentially unique, lucrative positioning and valuation drivers.

An Innovator with a Huge Market Opportunity

Goldman commented, "In our view, CleanGo is poised to change the way oil and gas industry, along with the overall commercial sector, approaches critical industrial cleaning applications. CleanGo has a non-toxic, Green Seal Certified, easily applied spray that is cost-effective and offers a major, hidden ROI. The size of the potential markets just in the oil and gas space are projected to grow from $33.42B today to $50.24 by 2034. These include cleaning wells, tanks, tankers, and other vessels and equipment around the world."

CleanGo Offers Major Leverage and ROI to Customers

"Management estimates that there are an estimated 2 million wells globally, with approximately 400,000 of them, or one in five, clogged or stagnant. CleanGo’s green solutions are vital for restoring these wells to optimal production and enhancing oil recovery," noted Goldman. "On the heels of this opportunity, we believe that as sales and implementation of the Company’s products reach critical mass, CleanGo could serve as a replacement for this segment’s existing methods and solutions, due to inherent advantages. These include the restoration of restoring wells to optimal production while simultaneously enhancing oil recovery. Such after-effects would serve as boon to oil producers and oil service companies, thereby increasing their ROI and production capabilities."

New Initiatives Poised to Raise Profile and Valuation

"We believe sales could reach the $10M mark by 2027. Plus, with strong gross margin and low SG&A costs, CleanGo could operate profitably with just $4M in annual sales. Our 6-month price target reflects a low 3.5x price/sales multiple on projected 2026E sales, a metric similar to that of the Russell Microcap Growth Index. Given the expected sales growth rate, and path to profit, our price target and metric could be considered conservative," concluded Goldman.

About Goldman Small Cap Research: Founded in 2009by former Piper Jaffray analyst and mutual fund manager Rob Goldman, Goldman Small Cap Research produces sponsored and non-sponsored small cap and microcap stock research reports, articles, stock market blogs, and popular investment newsletters.

Goldman Small Cap Research is not in any way affiliated with Goldman Sachs & Co.

This press release contains excerpts of our most recently published company report on CleanGo Innovations Inc. ("The Company"). The information used and statements of fact made have been obtained from sources considered reliable but we neither guarantee nor represent the completeness or accuracy. Goldman Small Cap Research relied solely upon information derived from CleanGo Innovations Inc. The information includes authorized press releases or legal disclosures made in their filings with the U.S. Securities and Exchange Commission https://www.sec.gov.

Separate from the factual content of our update about the Company, we may from time to time include our own opinions about the Company, its business, markets, and opportunities. Any opinions we may offer about the Company are solely our own and are made in reliance upon our rights under the First Amendment to the U.S. Constitution, and are provided solely for the general opinionated discussion of our readers. Our opinions should not be considered to be complete, precise, accurate, or current investment advice. Statements herein may contain forward-looking statements and are subject to significant risks and uncertainties affecting results.

A Goldman Small Cap Research report, update, newsletter, article, trading alert, corporate profile, sector or industry snapshot, podcast interview, or press release is not intended as an offering, recommendation, or a solicitation of an offer to buy or sell the securities mentioned or discussed and is to be used for informational purposes only. Please read all associated full disclosures, disclaimers, and analyst background on our website before investing. Neither Goldman Small Cap Research nor its parent is a registered investment adviser or broker-dealer with FINRA or any other regulatory agency. To download this research report, visit www.goldmansmallcapresearch.com. In July 2025, Goldman Small Cap Research was compensated $3,000 by the Company for this report and press release.

Goldman Small Cap Research

Rob Goldman, Analyst
410-800.7980
rob@goldmansmallcapresearch.com

SOURCE: Goldman Small Cap Research

View the original press release on ACCESS Newswire

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media-news

Brath Credits Six-Hour Workday for Long-Term Business Success

By Media News
2 min read • Published August 4, 2025
By Media News
2 min read • Published August 4, 2025

Founder says key talent just never leaves

STOCKHOLM, SE / ACCESS Newswire / August 4, 2025 / Brath, the Swedish SEO agency known for its consistent performance and sustainable growth, attributes much of its long-term success to a bold decision made over a decade ago: adopting a six-hour workday with full pay.

Founded in 2012 by entrepreneur Magnus Bråth, the agency implemented the shortened workday from its inception. The goal was clear: build a company where high productivity and employee well-being could coexist. More than ten years later, the results speak for themselves.

"Some think working fewer hours means getting less done. That’s not true. It’s the opposite," says Magnus Bråth. "We believe that focused time beats long hours every day of the week. The six-hour day gives our team the energy and clarity to produce work of a much higher standard."

Unlike many experiments in shorter workweeks, Brath never framed the schedule as a trial. It has remained a permanent part of the company’s model, even as the team expanded and clients multiplied.

The six-hour workday has helped Brath attract top talent in a competitive industry. Employees appreciate the balance it offers and, in return, deliver strong results with less burnout, lower turnover, and high client satisfaction.

"Many businesses chase performance with longer hours and higher pressure," Bråth continues. "We decided to go the other way. And it’s worked, not just for our people, but for our bottom line."

With a growing international client base and a reputation for delivering real SEO results, Brath’s approach is now being studied by leaders worldwide who are rethinking what productivity means in the modern workplace.

About Brath
Brath is a leading SEO agency based in Sweden, specializing in organic search and online visibility. Founded in 2012, the company has built a reputation for strategic clarity, consistent delivery, and a forward-thinking workplace culture.

Press Contact
magnus@brath.se
+46 (0)660 21 10 90
www.brath.com

.

View the original press release on ACCESS Newswire

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media-news

negaraku II: Exploring Malaysian Identity at Hin Bus Depot

By Media News
4 min read • Published August 4, 2025
By Media News
4 min read • Published August 4, 2025

GEORGETOWN, PENANG / ACCESS Newswire / August 3, 2025 / What does it mean to call yourself a Malaysian today? This August, negaraku II invites everyone to explore this question at the vibrant Hin Bus Depot in George Town, Penang. Building on the momentum of the first negaraku last August, this anthology deepens the conversation around identity, belonging, and the many stories that make Malaysia what it is today.

Lebuh Pudu by Gan Chin Lee

Curated by Ivan Gabriel and produced by Hin Bus Depot, negaraku II brings together compelling pieces from the private collections of Bingley Sim and Ima Norbinsha, two passionate champions of socially conscious Malaysian contemporary art. The exhibition features around 35 curated works, with some shown as thematic sets – bringing the total number of individual pieces to roughly 60. Their collections reflect decades of dedication to works that do-not-just depict Malaysia but ask us to confront its complexities.

While the original negaraku sparked discussions about nationhood through powerful visual storytelling, negaraku II widens the lens to include the diverse voices of citizens, migrants, and everyone in between; recognising that Malaysia’s identity is a constantly evolving mosaic of cultures and experiences. The exhibition creates space for often-overlooked narratives, reminding us that our national story is far from one-dimensional.

(L-R) Bingley Sim and Ivan Gabriel, Photo by Shankar Laxminarayan

"negaraku II is a call to re-examine what it means to belong," says curator Ivan Gabriel at the opening day of negaraku II exhibition at Hin Bus Depot, "It’s about honouring every face and every untold story that breathes life into this land. The works we’ve gathered are living reflections of the people and everyday realities that shape Malaysia. By organising the exhibition into bab, or thematic chapters, we wanted to guide visitors through stories that touch on pride, migration, food, and shared aspirations – while still leaving room for the public to bring their own meaning to the journey."

Bingley Sim by Arif Fauzan Santai

"Our theme, Rakyat Hidup, Bersatu dan Maju, is a reflection of how Malaysians live – not just side by side, but truly together," says collector Bingley Sim. "In every piece, you’ll find glimpses of everyday harmony, whether it’s a neighbour’s kindness, a shared meal, or the resilience of those who came from elsewhere and now call this home. These quiet, powerful gestures echo across the bab in the exhibition, reminds us that unity isn’t about being the same, but about choosing to see and support each other, again and again."

This year’s edition also features new artworks by selected artists, offering fresh perspectives on the urgent social and political issues of our time. Beyond the artworks themselves, negaraku II comes alive through a dynamic public programme that includes multilingual guided tours in English, Bahasa Malaysia, Mandarin, and Sign Language, ensuring that everyone, regardless of background or ability, feels welcome.

Colour Study of I’m in Mamak Stall by Gan Chin Lee

But negaraku II doesn’t stop at the gallery door. Embracing the simple joys that bind Malaysians together, the exhibition introduces live food demonstrations, where visitors can savour the making of classics like Roti Jala and Nasi Ulam. These communal moments of tasting and storytelling transform the space into a living, breathing celebration of shared memory and connection.

negaraku II challenges us to imagine a Malaysia that is big enough for all its people, however they arrived and however they find home. It invites us to see, taste, and feel the many threads that weave together our national identity, and to celebrate the beauty of a country always in the making. Supported by Yayasan Mr. D.I.Y. and Henry Butcher Art Auctioneers, the exhibition is free to the public and runs from 1 August to 31 August 2025 at Hin Bus Depot.

For more information visit www.hinbusdepot.com.

About Bingley Sim and Ima Norbinsha

Art collectors for over 20 years, their passion and compassion for life, the stories, inspiration and motivation of those who pour themselves into a work makes the sharing of the collection a labour of love. The ubiquitous couple can be found at art events throughout the country and regionally.

About Ivan Gabriel

A multidisciplinary Malaysian artist, curator, educator, and performer whose work spans the visual arts, theatre, and community-based storytelling. Rooted in George Town, Penang, Ivan currently serves as Gallery Manager and Curator at Hin Bus Depot, one of Malaysia’s leading independent art spaces. He is also the Programme Curator for Open Studios Penang, where he fosters artistic collaborations and promotes accessible engagement with the arts.

For more information, please contact:

Jazzmin Wan
Email: j.wan@swanconsultancy.biz

SOURCE: negaraku ii

View the original press release on ACCESS Newswire

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media-news

New to The Street TV Commercial Campaigns Achieve Millions of Views with 87% Average Completion Rate

By Media News
3 min read • Published August 3, 2025
By Media News
3 min read • Published August 3, 2025

Cross-platform synergy across NTTS TV, cable, social media, and NewsOut video press release amplification is delivering record-breaking visibility for public companies

NEW YORK CITY, NEW YORK / ACCESS Newswire / August 3, 2025 / New to The Street, the nationally recognized financial television platform, is redefining public company visibility with its high-performance commercial campaigns, now averaging millions of views and achieving an industry-leading 87% average view completion rate. By fusing national TV broadcasting, cable airtime, YouTube distribution, social media amplification, and its expanding partnership with NewsOut, the platform delivers one of the most effective multi-channel strategies in financial media today.

A standout example is ARRIVE AI ($ARAI), which garnered over 566,000 views on YouTube for its campaign featured on New to The Street TV.
View the segment: https://youtu.be/m1T_6WCVjPo?si=pPxTYW8wQQC3qWAw

Other high-performing campaigns include:

  • PetVivo SPRYNG – https://youtu.be/E3Je85PKvgc?si=-krssigLsyt7MGuo

  • Roadzen ($RDZN) – https://youtu.be/aD3yazNtb1M?si=DUWVlRTPdyZoDTPL

  • Acurx Pharmaceuticals ($ACXP) – https://youtu.be/3U–JarssP0?si=mdlCYK4CDLRW5M7U

  • Synergy CHC ($SNYR) – https://youtu.be/HtLHS6tjo4c?si=JlvoX0nEgPygG8J9

Each of these campaigns was fully produced and managed in-house by New to The Street, ensuring consistent branding, high production value, and seamless integration across all media channels.

"We are seeing the cross-platform approach we use for TV commercials-by combining our linear TV shows, cable placements, YouTube distribution, and social media channels-as an extreme advantage for our clients," said Vince Caruso, Co-Founder and CEO of New to The Street. "The results have been astonishing. And now, with our growing partnership with NewsOut, we’re extending that impact through a smart, scalable video PR engine that delivers immediate traction with measurable ROI."

The Cross-Platform Media Engine Includes:

  • Broadcast exposure on Bloomberg, Fox Business, and syndicated regional cable

  • YouTube distribution to over 3.2 million subscribers

  • Social amplification across LinkedIn, Twitter (X), Instagram, and Facebook

  • Earned media pickup by ABC, NBC, and CBS affiliates

  • Iconic outdoor visibility across Times Square billboards and NYC Financial District

  • NewsOut partnership enabling rapid video press release syndication across financial media and investor channels

About New to The Street

With more than 600 episodes produced, New to The Street is one of the longest-running U.S. financial television programs. Broadcasting nationwide on Bloomberg, Fox Business, and more, it delivers long-form interviews, short-form commercials, and integrated exposure across digital, social, and outdoor platforms. All creative and commercial production is managed fully in-house, ensuring brand alignment, speed to market, and media ROI.

About NewsOut

NewsOut is a next-generation video press release platform built to amplify company news through professional production, YouTube distribution, financial media partnerships, social amplification, and targeted investor email blasts. As a strategic partner of New to The Street, NewsOut extends client campaigns to broader financial audiences with measurable impact.

https://youtube.com/@newsoutchannel?si=IImxJQQn_1mgAPKR

For more information, visit: www.NewToTheStreet.com
Media Contact: Grace@NewToTheStreet.com

SOURCE: New to The Street

View the original press release on ACCESS Newswire

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AccreditedEvents and New to The Street Host Exclusive Investor Cocktail Event Featuring MUSQ ($MUSQ), The Music ETF, on September 3 at Hudson Yards

By Media News
3 min read • Published August 1, 2025
By Media News
3 min read • Published August 1, 2025

New to The Street Host Exclusive Investor Cocktail Event Featuring MUSQ ($MUSQ), The Music ETF, on September 3 at Hudson Yards

NEW YORK, NY / ACCESS Newswire / August 1, 2025 / AccreditedEvents, in partnership with New to The Street, proudly announces an exclusive investor cocktail event spotlighting MUSQ ($MUSQ), the innovative Music ETF. The event will take place Wednesday, September 3, 2025, from 6:00 pm to 8:00 pm at Hudson Yards in New York City.

This invitation-only event offers accredited investors and financial industry professionals a rare and intimate opportunity to meet David Schulhof, Founder and CEO of MUSQ Global Music Industry ETF, along with select senior executives from the world’s leading music and entertainment companies possibly including:

  • Spotify

  • Live Nation

  • Universal Music Group

  • Tencent Music

  • CTS Eventim

  • Apple Music

  • YouTube

  • Amazon Music

  • Warner Music

  • Reservoir Media

Guests will have the chance to engage directly with these industry leaders and gain valuable insights into MUSQ’s innovative approach to music industry investments, current market trends, and future growth opportunities.

"We’re delighted to present this exceptional event at Hudson Yards featuring MUSQ," stated Vince Caruso, Director of AccreditedEvents and Founder of New to The Street. "MUSQ is uniquely positioned to capture investor interest by strategically tapping into the thriving global music sector, and this event underscores our commitment to connecting sophisticated investors with pioneering investment opportunities."

The event will commence with an engaging presentation by MUSQ executives, followed by an interactive Q&A session and networking reception, providing attendees the ideal environment to explore alternative investments and build connections with prominent thought leaders in the music and entertainment space.

Event Details:

  • Date: Wednesday, September 3, 2025

  • Time: 6:00 pm – 8:00 pm

  • Location: Hudson Yards, NYC

Space is limited, and attendance is strictly by invitation. Accredited investors and financial professionals interested in attending are encouraged to RSVP promptly.

For further details or to secure your invitation, please contact:
Vince Caruso
Vince.Caruso@NewtoTheStreet.com

About Accredited Events:
AccreditedEvents specializes in curated, invitation-only networking and educational events designed specifically for accredited investors, connecting them with innovative companies and exclusive investment opportunities across a variety of sectors.

About New to The Street:
New to The Street is a leading multimedia financial news and content provider dedicated to showcasing innovative, emerging growth companies to investors. Leveraging national television platforms, digital channels, and exclusive events, New to The Street delivers unmatched exposure through sponsored programming on Bloomberg Television and Fox Business, complemented by a robust social media presence.

Upcoming AccreditedEvents in September and October (Dates T.B.A.):

  • NeOnc Technologies ($NTHI)

  • DataVault Holdings ($DVLT)

  • Synergy CHC ($SNYR)

  • NRx Pharmaceuticals ($NRXP)

  • Health In Tech ($HIT)

  • NewsOut (Private Company)

About MUSQ LLC: MUSQ LLC is the mastermind behind the MUSQ Global Music Industry Index (MUSQIX), and the MUSQ Global Music Industry ETF (NYSE:MUSQ). MUSQ LLC’s founder and CEO, David Schulhof, is an experienced music investor and operator with more than 25 years of investing in and operating public and private companies in the music and entertainment industry.

For more information, please contact: info@musq.com

For a complete list of MUSQ holdings and sector breakdown, please visit musqetf.com. Holdings subject to change. Source: Yang, Lisa, et al., Music in the Air, Goldman Sachs Equity Research, May 01, 2024.

MUSQ Global Music Industry ETF is offered by prospectus. Carefully consider the investment objectives, risks, charges, and expenses. This and other important information can be found in the MUSQ ETF prospectus, which should be read carefully before investing and can be obtained by visiting https://musqetf.com or by calling 1-855-MUSQ-ETF (687-7383).

SOURCE: New To The Street

View the original press release on ACCESS Newswire

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Middle East Media Research Institute (MEMRI) Publishes New Report On How India-UK Free Trade Agreement Offers Crucial Lessons For Stalled India-US Trade Talks Amidst New US Tariffs

By Media News
3 min read • Published August 1, 2025
By Media News
3 min read • Published August 1, 2025

WASHINGTON, DC / ACCESS Newswire / August 1, 2025 / The Middle East Media Research Institute (MEMRI) has published a new report: "What Washington Can Learn From The India-UK Free Trade Agreement." As the United States implements new tariffs on India, including a 25% levy effective August 7, the recently concluded Free Trade Agreement (FTA) between India and the United Kingdom stands as a stark example of successful diplomatic and economic engagement, offering valuable insights for the perpetually stalled trade negotiations between India and the US.

The India-UK FTA, signed in July 2025 after three years of complex but ultimately fruitful discussions, is more than a trade pact; it’s a testament to mutual understanding, strategic alignment, and a shared vision for inclusive growth. The agreement provides zero-duty access for 99% of Indian exports, streamlines professional mobility, and addresses social security contributions, aiming to double bilateral trade to USD 120 billion by 2030.

In sharp contrast, trade negotiations between India and the US remain ensnared in fundamental disagreements. While issues such as agricultural subsidies, digital trade, and Special and Differential Treatment at the WTO are long-standing, the core problem lies in a persistent perception gap. The US often views India’s policies, like MSP-based procurement and digital sovereignty measures, as protectionist, while India sees them as essential for social equity and economic resilience in a country where MSMEs form the backbone of employment and agriculture remains vulnerable.

The US administration, in its pursuit of reciprocal concessions, often overlooks India’s structural realities. It perceives India’s rise as a zero-sum game, fearing that every gain for India comes at the expense of American manufacturing. This mindset not only stifles progress but risks alienating a partner whose strategic alignment with the US is otherwise robust.

The divergence in perception has created a negotiation environment fraught with suspicion and rigidity. The US views India’s economic rise as a signal that it should relinquish its developmental privileges, while India sees itself as a developing economy with legitimate needs for policy space and protective measures.

The success of the India-UK FTA offers a crucial blueprint. Britain engaged with India on equal terms, acknowledging its sensitivities and aspirations. The US has a critical opportunity to reframe its engagement with India, moving beyond a transactional lens to embrace a more nuanced, empathetic posture. Recognizing India’s developmental safeguards not as obstructionism but as principled stands rooted in lived realities is paramount.

"Trade, at its best, is not a contest of concessions but a choreography of shared growth," the MEMRI analyst concluded. The India-US negotiations, if they are to succeed, must rediscover this spirit. The US must move beyond the arithmetic of tariffs and embrace the algebra of trust to become a beacon of 21st-century economic diplomacy.

ABOUT MEMRI

Exploring the Middle East and South Asia through their media, MEMRI bridges the language gap between the West and the Middle East and South Asia, providing timely translations of Arabic, Farsi, Urdu-Pashtu, Dari, Turkish, Russian, and Chinese media, as well as original analysis of political, ideological, intellectual, social, cultural, and religious trends.

Founded in February 1998 to inform the debate over U.S. policy in the Middle East, MEMRI is an independent, nonpartisan, nonprofit 501(c)3 organization. MEMRI’s main office is in Washington, DC, with branch offices in various world capitals. MEMRI research is translated into English, French, Polish, Japanese, Spanish, and Hebrew.

MEMRI – Middle East Media Research Institute: www.memri.org

MEMRI TV – www.memri.org/tv

Jihad & Terrorism Threat Monitor (JTTM) – www.memri.org/jttm

Cyber & Jihad Lab (CJL) – www.memri.org/cjlab

MEMRI Twitter: https://twitter.com/memrireports/

MEMRI YouTube: https://www.youtube.com/channel/UC59Cpk70K2TwdmApJOTuW9g/videos

MEMRI Instagram: https://www.instagram.com/memrireports/

Contact Information:

MEMRI
media@memri.org
202-955-9070
www.memri.org

SOURCE: Middle East Media Research Institute

View the original press release on ACCESS Newswire

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media-news

New to The Street Show #682 Premieres on Bloomberg Tonight Featuring Industry Leaders: DataVault, PetVivo, Health In Tech, FLOKI, and NRx Pharma Backed by National TV Commercials and Outdoor Campaigns Sponsored by MUSQ, ArriveAI, and Sustainable Green Team

By Media News
3 min read • Published August 1, 2025
By Media News
3 min read • Published August 1, 2025

Backed by National TV Commercials and Outdoor Campaigns Sponsored by MUSQ, ArriveAI, and Sustainable Green Team

NEW YORK CITY, NEW YORK / ACCESS Newswire / August 1, 2025 / New to The Street, the nation’s leading financial media platform, proudly announces the broadcast of Show #682, airing this evening at 9:30 PM PST on Bloomberg Television as sponsored programming. This episode showcases transformative companies driving innovation across artificial intelligence, veterinary health, blockchain, healthcare SaaS, and pharmaceutical sectors.

Featured Interviews on Episode #682 Include:

– DataVault Holdings Inc. (NASDAQ:DVLT)
CEO Nathaniel Bradley highlights the company’s enterprise expansion, announcing the debut of AI agents powered by IBM watsonx.ai. This breakthrough enables corporate clients to securely monetize data using compliant, intelligent automation. DataVault AI’s growing partnerships with IBM and other tech leaders demonstrate its position at the forefront of AI + Web3 convergence-empowering businesses to unlock value from untapped data assets.

– PetVivo Holdings Inc. (NASDAQ:PETV)
PetVivo continues its rapid commercial rollout of SPRYNG with OsteoCushion Technology, now adopted by over 1,200 veterinary clinics across the United States. The company is also making strategic inroads into the equine space through its new partnership with Commonwealth Thoroughbreds-aimed at advancing equine joint wellness and performance across top-tier racing circuits. This milestone reflects PetVivo’s growing leadership in the $3B+ animal therapeutics market, with SPRYNG providing a drug-free, minimally invasive solution to joint pain in companion and performance animals.

– Health In Tech
Health In Tech presents its disruptive approach to benefits administration via an end-to-end SaaS platform designed for brokers, employers, and TPAs. The solution’s intuitive interface and real-time quoting tools deliver speed, efficiency, and scalability for today’s healthcare benefits landscape.

– FLOKI
Leaders from FLOKI discuss their growing DeFi ecosystem and global presence, with recent expansions into financial education tools, community governance, and real-world payment infrastructure.

– NRx Pharmaceuticals (NASDAQ:NRXP)
CEO Dr. Jonathan Javitt offers an update on the company’s late-stage pharmaceutical developments for bipolar depression, PTSD, and other CNS disorders, while continuing to advance FDA engagement for its proprietary pipeline.

National TV Commercial Support:

High-frequency national commercials and campaigns are airing in conjunction with the show for:

  • NRx Pharmaceuticals

  • ArriveAI

  • Sustainable Green Team (SGTM)

  • MUSQ – The Music ETF

Campaigns are focused on national television and the #1 NYC DMA, targeting high-investor-density zones and financial news audiences.

Cross-Platform Distribution & Outdoor Exposure:

All interviews are distributed via New to The Street’s YouTube channel (3.1M+ subscribers) and promoted across LinkedIn, Twitter/X, Instagram, and Facebook. Clients also receive billboard exposure across Times Square, Wall Street, and NYC Financial District bus shelters, with additional reach through syndicated earned media on ABC, NBC, and CBS local affiliates.

July Performance: A Record Month for Client Renewals

July saw 9 clients signing new or renewed media agreements across broadcast, digital, and outdoor campaigns – driven by demand for New to The Street’s unmatched national visibility and investor engagement platform. These results position the network as the leading multi-channel awareness engine for small- to mid-cap growth companies.

About New to The Street:
New to The Street is a premier television business brand broadcasting sponsored programming on Fox Business and Bloomberg Television. With a loyal YouTube following of over 3.1 million subscribers, iconic outdoor billboard access, and strong earned media distribution, New to The Street delivers a 360-degree media solution for public and private companies seeking scale, credibility, and conversion.

Media Contact:
Monica Brennan
Monica@NewToTheStreet.com
www.NewToTheStreet.com

SOURCE: New to The Street

View the original press release on ACCESS Newswire

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Award-Winning Actor Jonno Davies Teams Up with Manchester’s BWS Studio for New Short Film

By Media News
2 min read • Published August 1, 2025
By Media News
2 min read • Published August 1, 2025

CHESHIRE, UK / ACCESS Newswire / August 1, 2025 / North West creative studio BWS has unveiled its latest original short film, The Man Behind the Monkey, starring award-winning British actor Jonno Davies.

Davies – fresh from portraying Robbie Williams in the upcoming musical biopic Better Man – made global headlines earlier this year when he became the first actor in the 67-year history of the Australian Academy of Cinema and Television Arts (AACTA) Awards to win Best Lead Actor in Film for a motion-capture performance.

Inspired by the intensity of that breakthrough role, BWS founder and creative director Ben Wild invited Davies to collaborate on a different kind of project: a stripped-back, intimate short that explores the actor behind the characters. The result is The Man Behind the Monkey – a raw, emotional portrait of performance, vulnerability, and creative transformation.

Ben Wild, founder of BWS said: "Jonno’s work in Better Man is phenomenal – vulnerable, dynamic, and completely absorbing. I wanted to build something that pulled back the curtain and revealed the actor, not the character. This film is honest, stripped down, and emotionally rich."

Jonno Davies, reflecting on the experience, said: "When Ben reached out, I immediately loved the idea. It wasn’t about spectacle – it was about connection. I was really impressed with BWS’s visual storytelling – they’re always finding new ways to bring scripts to life. This short gave me the space to reconnect with why I love this craft."

Known for standout roles in Kingsman: The Secret Service, Hunters (Amazon Prime), and his stage turn as Alex Delarge in A Clockwork Orange, Davies continues to establish himself as one of the UK’s most compelling acting talents.

Based in Manchester, BWS has earned a reputation for bold, visually rich storytelling – with a client roster spanning the Premier League, CBBC, New Balance, and Amazon Prime. With The Man Behind the Monkey, the studio reinforces its ambition to create original films that blend emotion, innovation, and authenticity.

The Man Behind the Monkey is available to watch now via the BWS YouTube Channel.

Media Contact:

Becky Roberts
beckyrobertspr@outlook.com
07925937080
24 Camberwell Drive, Warrington, Cheshire, WA4 6FE, GB

SOURCE: BWS Studio

View the original press release on ACCESS Newswire

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Biggest box-office bombs of all time

Biggest box-office bombs of all time
By Madison Troyer
22 min read • Published May 27, 2025
By Madison Troyer
22 min read • Published May 27, 2025

Biggest box-office bombs of all time

Making an expensive Hollywood movie is kind of like steering a gigantic cargo ship through a thunderstorm.

On board are hundreds of crew members, each performing a specific function. At the vessel’s main helm are a handful of leaders, including the captain (the director), who may still be beholden to the powers that be. Tensions run high, and opinions can clash over the best course of action. It can seem like a miracle when the vessel arrives at its destination intact, but sometimes, it does not.

It’s easy to pinpoint where it all went wrong in certain situations. Perhaps unexpected bumps required a major change, such as bringing in a new director or having to recast the lead. Or maybe external controversies marred a film’s release—at least, that’s what actor Gal Gadot claims happened to 2025’s live-action “Snow White,” which failed to break even on its estimated $250 million budget. Similarly, it’s possible that backlash to Sydney Sweeney accounts for the disastrous underperformance of her biopic “Christy.”

Other 2025 releases, meanwhile, have no outside drama to blame: Despite big-name stars, movies like “The Alto Knights,” “Tron: Ares,” and “The Running Man” failed to break through. Of course, these are only a few recent examples of box-office disappointments. What about the most notable flops in film history?

Stacker is honoring the occasions when big-budget vehicles fail to deliver the goods by ranking the biggest box-office bombs of all time using estimates from The Numbers as of May 2025. More than 6,000 movies—every title with data available—were examined to find the biggest financial flops. Rankings were compiled by determining each movie’s estimated loss, which is the worldwide box-office earnings minus the reported production budget. The box-office gross does not incorporate video or other retail sales. The calculations also do not reflect that theaters receive a significant portion of ticket sales.

The estimated losses presented may underreport how much money studios were really out, as other expenses like marketing spend, distribution costs, and intellectual property rights are not factored in. Because studios keep those costs close to the vest, most of that data is not public and therefore can’t be factored into this ranking, which makes lists like these difficult to calculate. For example, Disney reportedly lost $200 million on its notorious 2012 flop “John Carter” once marketing, distribution, and IP rights are factored in. However, you won’t see that movie on this list since the data we do have—its estimated budget of $263.7 million and its worldwide gross of $282.8 million—make it appear as if the film made about $19 million.

With those caveats in mind, keep reading to discover 50 of the biggest box-office bombs ever. How many have you seen?

#50. Father’s Day

– Estimated loss: $49.3 million
– Production budget: $85.0 million
– Worldwide box-office gross: $35.7 million
– Release date: May 9, 1997

Warner Bros. had high expectations for “Father’s Day,” seeing as it starred Robin Williams and Billy Crystal at the height of their respective careers with comedy veteran Ivan Reitman directing. However, in his 1997 review, Roger Ebert gave the film a one-star rating, calling it “a brainless feature-length sitcom with too much sit and no com.” Meanwhile, this film was just one among many major disappointments for the studio that year.

#49. The Great Raid

– Estimated loss: $49.4 million
– Production budget: $60.0 million
– Worldwide box-office gross: $10.6 million
– Release date: Aug. 12, 2005

“The Great Raid” dramatizes the Raid at Cabanatuan, when American soldiers and Filipino resistance guerrilla fighters joined forces to rescue Allied prisoners from a Japanese POW camp. The film had all the makings of a hit: a dramatic, action-packed storyline; an all-star cast including James Franco, Benjamin Bratt, Connie Nielsen, and Joseph Fiennes; and the backing of a major studio. However, critics were less than impressed by its slow pacing, reliance on overdone war movie cliches, and the film’s bizarre romance subplot.

#48. Legends of Oz: Dorothy’s Return

– Estimated loss: $49.9 million
– Production budget: $70.0 million
– Worldwide box-office gross: $20.1 million
– Release date: May 9, 2014

Based on the book “Dorothy of Oz” by L. Frank Baum’s grandson, Roger Stanton Baum, this computer-animated children’s movie follows our Kansas girl as she returns to the magical city to help save it from a villainous Jester. Despite having a star-studded cast including Lea Michele, Dan Aykroyd, Jim Belushi, Kelsey Grammer, Hugh Dancy, Oliver Platt, Patrick Stewart, and Martin Short, the film was a total flop thanks to its bland plot, cardboard-like characters, terrible animation, and bizarre original songs. The film lost so much money that it caused the studio that produced it, Summertime Entertainment, which was embroiled in investor lawsuits, to shut down completely.

#47. Kraven the Hunter

– Estimated loss: $50.0 million
– Production budget: $110.0 million
– Worldwide box-office gross: $60.0 million
– Release date: Aug. 29, 2024

Set in the Marvel Cinematic Universe, “Kraven the Hunter” explores the backstory of Kraven, a supervillain who frequently appears in Spider-Man tales. Starring Aaron Taylor-Johnson as the titular character and Russell Crowe as his estranged father, the casting was the only thing the movie did right. Stilted dialogue, uneven pacing, and a plot that was haphazardly stitched together doomed this CGI-heavy film from the start.

#46. Hard Rain

– Estimated loss: $50.1 million
– Production budget: $70.0 million
– Worldwide box-office gross: $19.9 million
– Release date: Jan. 16, 1998

This 1998 actioner ups the stakes by pitting an armored truck driver (Christian Slater) against a gang of thieves (led by Morgan Freeman) during a catastrophic rainstorm. A disaster film in every sense, “Hard Rain” was plagued by many problems during filming and in post-production. After a series of reshoots and delays, the movie came out around the same time Slater was dealing with a major scandal involving heavy drug use and violent behavior. Between that and the negative reviews, it was dead on arrival.

#45. Battlefield Earth: A Saga of the Year 3000

– Estimated loss: $50.3 million
– Production budget: $80.0 million
– Worldwide box-office gross: $29.7 million
– Release date: May 12, 2000

More than a mere box-office bomb, “Battlefield Earth: A Saga of the Year 3000” is one of the most ridiculed flops of all time. This big-budget sci-fi thriller, which depicts the future rebellion of humankind against alien overlords (aka Psychlos), was penned by Scientology founder L. Ron Hubbard. Flaunting long dreadlocks and bad teeth, John Travolta plays a Psychlo named Terl. Travolta, a Scientologist, was a producer on the film as well.

#44. Blackhat

– Estimated loss: $50.3 million
– Production budget: $70.0 million
– Worldwide box-office gross: $19.7 million
– Release date: Jan. 16, 2015

After making a string of notable films in the mid-to-late 1990s, director Michael Mann’s output became uneven at best, culminating with this 2015 fiasco. The movie, bogged down by cheap-looking cinematography and a muddled storyline, sees Chris Hemsworth tackling a global ring of cyber terrorists. Most moviegoers didn’t show up to see “Blackhat,” and those who did were largely underwhelmed.

#43. Amsterdam

– Estimated loss: $50.6 million
– Production budget: $80.0 million
– Worldwide box-office gross: $29.4 million
– Release date: Oct. 6, 2022

Three friends—a doctor (Christian Bale), a nurse (Margot Robbie), and a lawyer (John David Washington)—work together to solve the potential murder of a retired army general. Set in the 1930s and based on a real-life conspiracy, this period mystery lacked the rhythm and coherence needed to make it shine. Despite a strong promotional push, the movie wound up losing the studio over $100 million.

#42. R.I.P.D.

– Estimated loss: $50.9 million
– Production budget: $130.0 million
– Worldwide box-office gross: $79.1 million
– Release date: July 19, 2013

Jeff Bridges and Ryan Reynolds might sound like a match made in Hollywood heaven, but the two actors simply couldn’t make 2013’s “R.I.P.D.” work. Based on a comic book, the film comes off as a poorly executed “Men in Black” imitation with the walking undead substituted for aliens.

#41. Reminiscence

– Estimated loss: $51.6 million
– Production budget: $68.0 million
– Worldwide box-office gross: $16.4 million
– Release date: Aug. 18, 2021

“Reminiscence” isn’t a bad film by any stretch of the imagination—it’s just not quite as good as producers Lisa Joy and Jonathan Nolan’s other project, “Westworld.” Both media pieces feature similar themes and are neo-noir, science fiction stories, which led audiences to compare the two. In the end, viewers felt “Westworld” was more original and unique than “Reminiscence.” The favoritism showed in the lackluster ticket sales.

#40. Final Fantasy: The Spirits Within

– Estimated loss: $51.9 million
– Production budget: $137.0 million
– Worldwide box-office gross: $85.1 million
– Release date: July 11, 2001

When making an expensive film based on a video game, it’s probably wise to avoid discarding the elements that made the game such a big hit in the first place. But that’s what this 2001 movie did, and the result was an epic financial disaster. Much of the film’s budget went toward employing photorealistic computer animation, quite groundbreaking for its time and a primary selling point, but it fell flat with audiences and critics.

#39. Knights of the Zodiac

– Estimated loss: $53.0 million
– Production budget: $60.0 million
– Worldwide box-office gross: $7.0 million
– Release date: March 25, 2023

Live-action adaptations of animated properties rarely work out as well as studios hope. “Knights of the Zodiac,” an adaptation of the manga series “Saint Seiya,” is a prime example of this. Critics, like Carlos Aguilar at the Los Angeles Times, pointed to the movie’s attempts to appeal to die-hard fans of the series and wider audiences at the same time, as well as the movie’s low production values, as the primary reasons for its failure at the box office.

#38. Eye See You

– Estimated loss: $53.2 million
– Production budget: $55.0 million
– Worldwide box-office gross: $1.8 million
– Release date: Sept. 20, 2002

Alternatively titled “D-Tox,” “Eye See You” is an early ’00s thriller starring Sylvester Stallone about a cop who finds himself being stalked by a serial killer while stuck at a rehab center. It seems Universal Pictures was aware they had a flop on their hands before it even released the film. After putting the project through multiple rounds of reshoots, it released the movie overseas months before giving it a much more limited U.S. release. Danny Graydon for the BBC said the movie was “a boring, formulaic mix of serial killers and stalk’n’slash, this will not reinvigorate Sly’s action hero status or loosen his maniacal destruction of the quality control button.”

#37. Timeline

– Estimated loss: $53.3 million
– Production budget: $80.0 million
– Worldwide box-office gross: $26.7 million
– Release date: Nov. 26, 2003

Adapted from the bestselling novel by Michael Crichton, this 2003 adventure flick follows a group of archaeologists who travel back in time to 14th-century France. The film might have cost $80 million to produce—$109 million when adjusted for inflation—but critics felt it looked downright cheap. That’s without mentioning its muddled plot, poor writing, cheesy tone, and stiff acting. Audiences weren’t too excited about it either.

#36. Snake Eyes: G.I. Joe Origins

– Estimated loss: $53.3 million
– Production budget: $88.0 million
– Worldwide box-office gross: $34.7 million
– Release date: July 21, 2021

Intended as a reboot of the G.I. Joe franchise, “Snake Eyes: G.I. Joe Origins” was not the fun, campy romp fans hoped it would be. Instead, the film was a dull, poorly shot feature whose only real purpose seemed to be setting the stage for future installments in the series. The only bright spot in the entire thing was Henry Golding’s performance.

#35. Lolita

– Estimated loss: $53.9 million
– Production budget: $55.0 million
– Worldwide box-office gross: $1.1 million
– Release date: July 22, 1998

This second screen adaptation of Vladimir Nabokov’s iconic novel, this version of “Lolita” starred Jeremy Irons, Dominique Swain, Melanie Griffith, and Frank Langella. Much of the film’s box-office failure had to do with protests over its content—it took a full year after the movie was completed for it to find a U.S. distributor—and its more accepting attitude of the darker sexual elements of the story.

#34. Ferrari

– Estimated loss: $54.0 million
– Production budget: $95.0 million
– Worldwide box-office gross: $41.0 million
– Release date: Dec. 14, 2023

“Ferrari” follows the personal and professional struggles of Enzo Ferrari (the brand’s founder) during the lead up to the 1957 Mille Miglia. Adam Driver stars alongside Penélope Cruz, Shailene Woodley, and Patrick Dempsey. Although some critics, like RogerEbert.com Managing Editor Brian Tallerico, loved it, praising the crafting and cinematography, others found the pacing and lack of momentum of any kind off-putting. Peter Bradshaw of The Guardian wrote that the movie had “a stolid, almost joyless determination” in telling the story—not exactly the sort of praise that would drive audiences into theaters.

#33. Lucky Numbers

– Estimated loss: $55.0 million
– Production budget: $65.0 million
– Worldwide box-office gross: $10.0 million
– Release date: Oct. 27, 2000

“Lucky Numbers” proved anything but lucky once its numbers came in. Directed by Nora Ephron (“Sleepless in Seattle”), the comedy follows a down-and-out weatherman (John Travolta) as he engages in a lottery scheme. Why the movie cost so much to make is anyone’s guess. It came out the same year as “Battlefield Earth,” proving the year 2000 was simply not a good one for Travolta.

#32. The SpongeBob Movie: Sponge on the Run

– Estimated loss: $55.2 million
– Production budget: $60.0 million
– Worldwide box-office gross: $4.8 million
– Release date: July 31, 2020

The third installment in the “SpongeBob” movie franchise, “Sponge on the Run,” follows everyone’s favorite yellow sea sponge as he sets out to rescue his pet snail, Gary, who has been kidnapped. Alongside the series’ regular cast, a host of celebrities, like Snoop Dogg, Awkwafina, Tiffany Haddish, Keanu Reeves, and Danny Trejo, lent their voices to the project. Generally well-received by critics and audiences alike, the movie suffered at the box office due to the COVID-19 pandemic, which saw theaters around the world shut down entirely or greatly reduce their capacities and showtimes.

#31. Ballistic: Ecks vs. Sever

– Estimated loss: $55.7 million
– Production budget: $70.0 million
– Worldwide box-office gross: $14.3 million
– Release date: Sept. 20, 2002

A skilled FBI agent (Antonio Banderas) must team up with his mortal enemy (Lucy Liu) to take down a common enemy in this 2002 clunker. More than just a huge box-office bomb, it holds the distinction of having a 0% Rotten Tomatoes score.

#30. The 355

– Estimated loss: $56.1 million
– Production budget: $75.0 million
– Worldwide box-office gross: $18.9 million
– Release date: Jan. 6, 2022

A group of spies from organizations worldwide must work together to prevent WWIII in this action flick. Jessica Chastain, Penélope Cruz, Fan Bingbing, Diane Kruger, and Lupita Nyong’o starred in this film written and directed by Simon Kinberg. It seems the film’s online marketing was to blame for its box-office failure, as it led many fans to believe the movie would be more clichéd and unimaginative than it actually is.

#29. Osmosis Jones

– Estimated loss: $56.4 million
– Production budget: $70.0 million
– Worldwide box-office gross: $13.6 million
– Release date: Aug. 10, 2001

Decades before Pixar’s “Inside Out” took viewers inside the human brain, this 2001 animated flick explored the wonders of the human body—a zookeeper named Frank DeTorre’s body, to be exact. By swallowing a contaminated egg, Frank (Bill Murray) unleashes a deadly virus that could potentially destroy him from the inside out. It’s up to a white blood cell named Osmosis Jones to save the day—with help from a cold pill, of course. Directed by gross-out kings the Farrelly brothers and featuring voices from various comedic talent, the movie kept things strictly PG, appealing to essentially no one as a result.

#28. The Informer

– Estimated loss: $56.6 million
– Production budget: $60.0 million
– Worldwide box-office gross: $3.4 million
– Release date: Aug. 30, 2019

In this 2019 thriller, an ex-convict intentionally gets himself incarcerated again so that he can infiltrate the mob. Based on a Swedish crime novel called “Three Minutes,” the movie suffered from a “TV-procedural quality,” according to Guy Lodge of Variety, and felt more like a recycled string of tropes than an original entry into the genre.

#27. Playmobil: The Movie

– Estimated loss: $58.7 million
– Production budget: $75.0 million
– Worldwide box-office gross: $16.3 million
– Release date: Aug. 7, 2019

Set in the world of Playmobil toys (which, for the uninitiated, are adjacent to Legos) this animated children’s movie follows a young girl as she attempts to save her brother after he’s sucked into this make-believe universe. Like many other movies on this list, it had quite the star-studded cast—Anya Taylor-Joy, Jim Gaffigan, Adam Lambert, Kenan Thompson, Meghan Trainor, Daniel Radcliffe—but their star power wasn’t enough to save it from being a commercial failure. Most viewers felt the film was just a glorified advertisement and that both the plot and original musical numbers came second to selling more toys.

#26. The Postman

– Estimated loss: $59.2 million
– Production budget: $80.0 million
– Worldwide box-office gross: $20.8 million
– Release date: Dec. 25, 1997

One might hear the words “Kevin Costner flop” and think of movies like “Waterworld,” but “The Postman” remains his biggest box-office bomb. Costner directed and starred in the film, which takes place in post-apocalyptic America and follows a self-made postman as he delivers mail. If you’re not intrigued, neither were movie crowds—it failed abysmally.

#25. Renfield

– Estimated loss: $59.3 million
– Production budget: $86.2 million
– Worldwide box-office gross: $26.9 million
– Release date: April 6, 2023

In “Renfield,” we follow the story of Dracula (Nicolas Cage) and his servant (Nicholas Hoult), who has been forced to capture prey for his master for centuries. The premise may sound perfectly campy, but in practice, it’s a rarely funny schlep through 90 minutes of thinly disguised therapy speak about toxic relationships. Its only redeeming qualities are Nicolas Cage’s solo scenes and its perfectly executed gory scenes.

#24. Soldier

– Estimated loss: $60.4 million
– Production budget: $75.0 million
– Worldwide box-office gross: $14.6 million
– Release date: Oct. 23, 1998

Another dud from Paul W.S. Anderson, this 1998 movie takes place in a future society where soldiers are trained from birth. One of those soldiers is Todd 3465 (Kurt Russell), who’s left for dead on a distant planet and is eventually tasked with fighting off a new breed of trained killers. The film mostly comes across as a knock-off of “Universal Soldier.”

#23. Stealth

– Estimated loss: $61.6 million
– Production budget: $138.0 million
– Worldwide box-office gross: $76.4 million
– Release date: July 29, 2005

An action-movie veteran with four decades of experience under his belt, director Rob Cohen has run the full gamut in terms of quality, though most of his films are considered pretty bad. Meanwhile, this 2005 atrocity remains his biggest bomb to date. In the movie, starring Jessica Biel and Jamie Foxx, three pilots struggle to contain an artificial intelligence program before it kicks off a world war.

#22. Fly Me to the Moon

– Estimated loss: $61.8 million
– Production budget: $100.0 million
– Worldwide box-office gross: $38.2 million
– Release date: July 5, 2024

Set against the backdrop of the Apollo 11 mission, “Fly Me to the Moon” follows an ad executive (Scarlett Johansson) and a NASA launch director (Channing Tatum) as they fall in love and work together to prepare a false moon landing in case the real mission fails. If that plot sounds like a lot to you, you’re not alone. The chief complaint of most critics and audience members was that the mix of historical elements and romantic plotlines didn’t quite gel, leaving the film feeling disjointed and imbalanced.

#21. The 13th Warrior

– Estimated loss: $63.3 million
– Production budget: $125.0 million
– Worldwide box-office gross: $61.7 million
– Release date: Aug. 27, 1999

Originally named “Eaters of the Dead,” the title of the Michael Crichton novel upon which it was based, this John McTiernan film underwent drastic re-edits and a name change before arriving in theaters. Such significant restructuring only added to the movie’s already bloated production costs and subsequent losses. In the film, Antonio Banderas plays a prophesied warrior who helps a clan of Vikings fend off an enemy threat.

#20. Monster Trucks

– Estimated loss: $63.4 million
– Production budget: $125.0 million
– Worldwide box-office gross: $61.6 million
– Release date: Dec. 29, 2016

Representing Paramount Animation’s first live-action film and 2017’s first major flop, “Monster Trucks” chronicles the adventures of a young boy and his oil-eating creature friend. Long before the movie was released, early reactions to the trailer ranged from muted to scathing—the outlook was so grim that Paramount’s parent company, Viacom, declared the film a write-down before it even premiered.

#19. Onward

– Estimated loss: $66.6 million
– Production budget: $200.0 million
– Worldwide box-office gross: $133.4 million
– Release date: Feb. 28, 2020

Disney-Pixar’s “Onward,” about two elf brothers who set out to find a magical artifact that will bring their deceased father back to life for 24 hours, was one of the first film victims of the COVID-19 pandemic. Released just a week before most theaters around the country shut down to help stem the spread of the virus, the movie was simply unable to sell tickets and recoup production costs. Still, it managed to be a critical and audience favorite once it hit streaming services, earning nominations for Best Animated Feature Film at the Golden Globes and Academy Awards.

#18. The Alamo

– Estimated loss: $68.1 million
– Production budget: $92.0 million
– Worldwide box-office gross: $23.9 million
– Release date: April 9, 2004

What began as a project intended for Ron Howard ended up in the hands of John Lee Hancock, and things only got worse from there. True to its name, the movie depicts the famous 1836 showdown, where Davy Crockett (Billy Bob Thornton) and James Bowie (Jason Patric) helped a relatively small group of Texans and Tejano men fend off a Mexican army of more than 2,000 soldiers. The battle might have been victorious, but the film was an outright failure for Disney.

#17. Devotion

– Estimated loss: $68.5 million
– Production budget: $90.0 million
– Worldwide box-office gross: $21.5 million
– Release date: Nov. 23, 2022

In this biographical drama, two Navy fighter pilots prove their friendship and loyalty during the Korean War. Jonathan Majors plays Ensign Jesse L. Brown, the first Black naval aviator, and Glenn Powell is Lieutenant Tom Hudner. Despite positive reviews from critics and the movie’s determination to stay away from the cliches and stereotypes that usually dominate films of this type, the movie got lost in the hype surrounding “Black Panther: Wakanda Forever” and lost Columbia Pictures $89.2 million.

#16. The Nutcracker in 3D

– Estimated loss: $69.5 million
– Production budget: $90.0 million
– Worldwide box-office gross: $20.5 million
– Release date: Nov. 24, 2010

Financed primarily by Russian bankers, though filmed in English, this 2010 film barely penetrated the U.S. market and earned just $13.9 million in Russia. Consequently, the investors reportedly lost up to 90% of their backing. Pyotr Ilyich Tchaikovsky’s masterful ballet will live on, but this poorly received adaptation has already been forgotten.

#15. Monkeybone

– Estimated loss: $69.6 million
– Production budget: $75.0 million
– Worldwide box-office gross: $5.4 million
– Release date: Feb. 23, 2001

According to actor Rose McGowan, “Monkeybone” could have been an incredible movie had Fox Studios not fired its original director, Henry Selick. Instead, the film—about a cartoonist (Brendan Fraser) who gets trapped in a world of his own creation—remains one of the biggest flops of all time.

#14. The Last Duel

– Estimated loss: $69.9 million
– Production budget: $100.0 million
– Worldwide box-office gross: $30.1 million
– Release date: Oct. 13, 2021

If you ask director Ridley Scott why he thought this Ben Affleck-Matt Damon-written film was a box-office failure, he’d tell you it was all millennials’ fault. In an interview, Scott said millennials simply weren’t interested in anything beyond their cellphones, and that’s why no one bought tickets to the film. No word on whether he thought its subject (the true story of the last trial by combat in medieval France) or the film’s slow pacing may have had anything to do with it losing nearly $70 million.

#13. How Do You Know?

– Estimated loss: $70.4 million
– Production budget: $120.0 million
– Worldwide box-office gross: $49.6 million
– Release date: Dec. 17, 2010

As the man behind shows like “The Simpsons” and movies like “Broadcast News,” James L. Brooks is responsible for some of Hollywood’s finest offerings. This 2010 dramedy is not one of them. Starring Reese Witherspoon, Owen Wilson, Jack Nicholson, and Paul Rudd, the movie finds its protagonist (Witherspoon) in the middle of a light-hearted love triangle. Brooks decided to reshoot the beginning and end after completing the film, thereby inflating its already outrageous budget. Meanwhile, the lead actors earned a combined payday of $50 million, which didn’t help the bottom line either.

#12. Chaos Walking

– Estimated loss: $72.9 million
– Production budget: $100.0 million
– Worldwide box-office gross: $27.1 million
– Release date: Feb. 3, 2021

Set on a planet where everyone can hear each other’s thoughts and women have ceased to exist, “Chaos Walking” follows a man (Tom Holland) as he seeks to protect a girl (Daisy Ridley) who has crashlanded in his backyard. Early viewers critiqued the film for its disjointed storylines, uneven pacing, and underdeveloped characters. Combined with the negative critical reception it received, the film was certain to become a box-office failure.

#11. Cutthroat Island

– Estimated loss: $73.5 million
– Production budget: $92.0 million
– Worldwide box-office gross: $18.5 million
– Release date: Dec. 22, 1995

Geena Davis and Matthew Modine are a pair of pirates in this legendary turkey from Davis’ then-husband, Renny Harlin. In later interviews, Harlin blamed part of the film’s failure on production company Carolco, which was going under at the time. Another element in the film’s demise? Harlin’s own hubris in the wake of successful efforts like “Die Hard 2” and “Cliffhanger.” A handful of poor casting choices didn’t help either. Consequently, “Cutthroat Island” went down like a hole-ridden ship.

#10. A Sound of Thunder

– Estimated loss: $73.7 million
– Production budget: $80.0 million
– Worldwide box-office gross: $6.3 million
– Release date: Sept. 2, 2005

Adapting a classic short story by Ray Bradbury, this 2005 sci-fi film explores the unintended effects of time travel. The movie features a scientist who travels back in time to the dinosaur era, strays off the designated path, and changes history in catastrophic ways. “The Simpsons” tackled the very same premise in a “Treehouse of Horror” segment.

#9. The Promise

– Estimated loss: $79.4 million
– Production budget: $90.0 million
– Worldwide box-office gross: $10.6 million
– Release date: April 21, 2017

Billionaire Kirk Kerkorian was eager to see a big-budget movie about the Armenian genocide of 1915, so he paid for most of it himself. The result was this 2017 historical drama that floundered at the box office. That’s in part due to some aggressive opposition from the Turkish government, though lukewarm critical reception certainly didn’t help. Adding to its tragedy, Kerkorian passed away before production began.

#8. Soul

– Estimated loss: $79.9 million
– Production budget: $200.0 million
– Worldwide box-office gross: $120.1 million
– Release date: Dec. 24, 2020

This Pixar-Disney animated feature follows a middle school band teacher who falls into a coma after an accident, and works to reunite his soul and body before his upcoming jazz performance. The project won rave reviews and garnered three Academy Award nominations, taking home the Oscar for Best Animated Feature. However, “Soul” still classifies as a box-office flop because it was released straight to streaming, and only a handful of viewers paid to watch it in theaters.

#7. Moonfall

– Estimated loss: $90.9 million
– Production budget: $150.0 million
– Worldwide box-office gross: $59.1 million
– Release date: Feb. 3, 2022

One of the most expensive independent films ever made, “Moonfall,” is about a group of former astronauts and conspiracy theorists who discover the truth about the moon after it suddenly leaves Earth’s orbit. Anxieties about a possible COVID-19-induced shutdown (which affected how many theaters the movie was sent to) and mixed critical reviews led this project to be a commercial failure.

#6. The Adventures of Pluto Nash

– Estimated loss: $92.9 million
– Production budget: $100.0 million
– Worldwide box-office gross: $7.1 million
– Release date: Aug. 16, 2002

After spending nearly two decades in development, “The Adventures of Pluto Nash” finally arrived in theaters in 2002 and swiftly became one of the most infamous duds of the modern era. Starring Eddie Murphy as a lunar nightclub owner in the year 2087, the film went big on camp and short on laughs—a significant drop in quality compared to the actor’s better films. Murphy later said in an interview: “I know two or three people that liked this movie.”

#5. Town & Country

– Estimated loss: $94.6 million
– Production budget: $105.0 million
– Worldwide box-office gross: $10.4 million
– Release date: April 27, 2001

In a textbook case of movie-making gone awry, this disaster reportedly started with a production budget of around $44 million, which climbed to $75 million after several big names—namely Diane Keaton, Garry Shandling, Goldie Hawn, and Warren Beatty—joined the cast. The costs only escalated from there, and that was before the extensive reshoots in the wake of negative test screenings. Ultimately, it took three years for the movie—about the farcical exploits of an architect (Beatty)—to arrive on the big screen, where it went down in flames.

#4. Argylle

– Estimated loss: $103.8 million
– Production budget: $200.0 million
– Worldwide box-office gross: $96.2 million
– Release date: Jan. 31, 2024

Boston.com critic Kevin Slane wrote that “Argylle” was “one of the worst movies I’ve ever seen, full stop.” The spy comedy was marketed as a sort of “Knives Out” and “Kingsman” mashup, with an incredible cast (Henry Cavill, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Dua Lipa, Ariana DeBose, John Cena, and Samuel L. Jackson all star) and massive budget of $200 million. But despite having all of the makings of a blockbuster, its lengthy run time of 139 minutes, convoluted plotlines, and distracting use of CGI doomed it to the slush pile.

#3. Strange World

– Estimated loss: $105.3 million
– Production budget: $180.0 million
– Worldwide box-office gross: $74.7 million
– Release date: Nov. 22, 2022

The Cades, a legendary family of explorers, must overcome their differences to save their planet in this animated Disney feature. One of Disney’s biggest theatrical flops in recent years, the movie grossly underperformed at the box office for several reasons, including mixed critical reviews, a lack of word-of-mouth buzz, and confusion over whether or not it would be immediately available on streaming platforms (like its predecessors “Soul,” “Luca,” and “Turning Red” had been). Then there was also the inclusion of an openly LGBTQ+ character, which led to Disney pulling the movie from smaller, more conservative markets where it would have been challenged.

#2. Mars Needs Moms

– Estimated loss: $110.5 million
– Production budget: $150.0 million
– Worldwide box-office gross: $39.5 million
– Release date: March 11, 2011

This already forgotten Disney film, which cost more than $150 million to make, earned just over $6 million on its opening weekend. Produced by Robert Zemeckis, the film employs motion-capture animation, giving it an off-putting aesthetic. Whatever the reason, the stink on this one was so powerful that Disney removed the word “Mars” from an upcoming film title. That film was “John Carter,” which tanked anyway.

#1. Turning Red

– Estimated loss: $162.7 million
– Production budget: $175.0 million
– Worldwide box-office gross: $12.3 million
– Release date: March 10, 2022

“Turning Red,” an animated Disney feature about a young girl who turns into a red panda whenever she feels intense emotion thanks to a hereditary curse, is perhaps one of the best films to come from the studio in recent years. With a 95% approval rating on Rotten Tomatoes and several major award nominations, including Academy Award, Golden Globe, Critics’ Choice, and BAFTA nods, the reception for the project was largely positive. But with Disney electing to scrap its worldwide theatrical release plans due to the COVID-19 pandemic, the box-office numbers from the handful of theaters it was released in hardly reflect that.

Story editing by Cynthia Rebolledo. Copy editing by Robert Wickwire.

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