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Could paywalling The Mini have made a big difference to the NYT’s bottom line last quarter?

A new wave of bundled and single-product digital subscriptions boosted The New York Times’ profits in Q3.

Tom Jones

OK, so we’ve been saying here that the business behind The New York Times Company hasn’t really been just about the news now for a minute. And while that’s hardly a fact the Gray Lady herself has shied away from — in his debut as the Times’ new media columnist in 2020, Semafor founder Ben Smith cited its “broadening content mix” as a key reason behind the company’s ability to outmuscle its competition — the observation rings truer with every passing quarter.

Collections; or _______ of joy [7]

In its third-quarter earnings last week, the Times reported that it had added 460,000 digital-only subscribers in the last three months, as bundles and single-product subscribers to products like Cooking and Games helped offset the 130,000 news-only subs it lost over Q3. For context, there are just ~570,000 print-only NYT subscribers left, after 10,000 jumped ship in the same period.

The additions mark the most substantial growth it’s posted across its digital offerings since it started breaking out individual subscriber figures, rather than the number of individual subscriptions those subscribers paid for, back in 2022, as the company’s digital footprint continues to grow.

NYT digital subscribers chart
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All told, The NYT now counts some 12.33 million subscribers across its family of products. The vast majority (11.76 million) of those are for digital-only products — whether that’s people keeping up to date on the NYTimes app, sports fans lapping up the latest analysis from The Athletic, chefs looking for recipe inspo from the Cooking segment, or the millions of people who’ve chiseled some combination of the company’s various mini games into cornerstones of their daily routines.

All the games that are fit to play

When The New York Times made the decision to move The Mini, the smaller version of its iconic crossword, which has amassed a devoted following since it launched over a decade ago, behind a paywall in late August, scores of disgruntled gamers rushed to Google to see what the issue was. Naturally, that frustration quickly spilled over onto social media.

Though nonsubscribers can still access Wordle and other daily games like Connections and Strands (for now), it’s difficult to imagine a world where the company’s latest digital sub figures weren’t boosted a little by Mini-mad users finally stumping up some extra cash to carry on playing the crossword every day.

NYT revs chart
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Paywalling its plethora of addictive mini games makes sense from the Times’ point of view, as revenues from digital subscribers continue to grow as the company’s biggest money-spinner, with Bloomberg forecasting that digital subscribers will account for $1.44 billion of the company’s $2.79 billion revenues this year.

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Netflix is staffing up an apparent AI animation studio called INKubator

According to several public job listings, streaming giant Netflix appears to be building a GenAI animation studio called INKubator.

First reported by journalist Janko Roettgers in the Lowpass newsletter, INKubator seems to have launched in March and aims to “develop feature-quality content in a creator-led environment.”

As Lowpass reports, INKubator appears focused on AI-generated short-form animation, but listings imply ambitions toward longer-form content. Netflix didn’t immediately respond to a request for comment.

INKubator wouldn’t be Netflix’s first foray into AI. Back in March, it acquired Ben Affleck’s AI filmmaking startup InterPositive — which trains on individual films’ already-shot footage — for as much as $600 million depending on certain targets.

Netflix’s potential future AI-generated animations could be served to an increasingly ad-packed streaming service. At Netflix’s Upfront presentation on Wednesday, the company said its ad-supported tier has now reached 250 million subscribers globally, up 31% from November.

As Lowpass reports, INKubator appears focused on AI-generated short-form animation, but listings imply ambitions toward longer-form content. Netflix didn’t immediately respond to a request for comment.

INKubator wouldn’t be Netflix’s first foray into AI. Back in March, it acquired Ben Affleck’s AI filmmaking startup InterPositive — which trains on individual films’ already-shot footage — for as much as $600 million depending on certain targets.

Netflix’s potential future AI-generated animations could be served to an increasingly ad-packed streaming service. At Netflix’s Upfront presentation on Wednesday, the company said its ad-supported tier has now reached 250 million subscribers globally, up 31% from November.

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Saleah Blancaflor

Netflix confirms a “KPop Demon Hunters” world concert tour is on the way

Netflix has a “Golden” mine and it's digging deeper.

At its fourth annual TV Upfront presentation on Wednesday, Netflix President of Advertising Amy Reinhard announced a partnership with AEG Presents to create a “KPop Demon Hunters” world tour that will bring the phenomenon to life.

In March, Bloomberg previously reported Netflix was planning a global world tour sometime next year ahead of the sequel in arenas that would hold 10,000 to 20,000 fans, though the news had not been confirmed by the company nor had a partner been in place at the time. 

“KPop Demon Hunters” is Netflix’s most watched film of all time, racking up 481.6 million views globally during the second half of 2025. Since its release, the HUNTR/X trio of Ejae, Audrey Nuna, and Rei Ami has appeared and performed at several major events including late-night talk shows, award ceremonies, and most recently at Coachella, where they were a surprise guest for Katseye. It hasn’t been confirmed whether the trio will be on the tour.

The announcement of the tour comes after Netflix co-CEO Ted Sarandos shared in a recent blog post that the company spent $135 billion on licensing and original film and TV over the last 10 years.

This year, Netflix has a projected content spend of $20 billion, up 10% year over year, while its annual revenue forecast is between $50.7 billion and $51.7 billion. The streaming giant has brought in more than $46 billion in profit over the past decade.

Netflix said more details around cities and tickets for the concert tour are expected to come out later this year.

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