Art & Entertainment
Cancer Diagnoses Turns Cinder Shine Back to Her First Love: Songwriting
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“I was devastated. And then, there was this overwhelming sense of calm,” she says. “I knew what I had to do, and that was get back to my first love: writing songs.”
And, that’s exactly what she did. Along the way, she discovered a community of like minded musicians, producers and songwriters to collaborate with, share ideas, and most importantly, share an unending belief in goodness and that humor can get us through our darkest times.
Cinder Shine, as she came to be known for her enduring optimism in the face of a terminal illness, quickly realized that music and community were going to keep her going through it all, and she was determined to make as much of it as possible.
Having been in a remission period after grueling treatments, her songs landed on ABC, Netflix, Bravo and more. She works with a number of producers across the country, becoming a sought after collaborator who brings out the best in everyone.
Then, in the fall of 2022, Cinder learned that the cancer had moved and metastasized in her face and skull. This meant more chemotherapy and radiation treatments. In response to the possibility that this treatment might hinder her singing voice, she wrote, produced and released an LP called “Trace the Sky.”
Through a fundraiser that raised more than $13,000 in a few days, Cinder and her community of musicians made this collection of songs.
“Trace the Sky” is inspired by Cinder’s courageous life battles. The recording was put together in a matter of days between Cinder’s chemo sessions and the start of radiation. The music is packed full of optimistic heart and soul, the kind that reaffirms there’s always a diamond lining to the world.
“These songs are utterly tear-jerking and gorgeous, and the world absolutely needs to hear them,” said producer John Clinebell, who organized the GofundMe and helped arrange production.
They gathered in the Los Angeles studio of producer Billy Lefler (Ingrid Michaelson, Dashboard Confessional) to bring the music to life. Music friends came from as far as Iowa and Nashville to support Cinder and the recording. You can hear the voices of many who gathered as they sing these anthemic uplifting songs of hope and joy.
“The outpouring of love and support has been incredible and such a reflection of the love and support Cinder gives to so many of us,” says vocalist Sonnet Simmons. “I found myself singing these songs to my children. This is what I want for them.”
Now, Cinder is asking people to donate to the non-profit Cancer Can Rock to receive their copy of the LP. Cancer Can Rock helps musicians with cancer be a star for the day while they make a professional recording in a fully equipped recording studio because “music lasts forever.”
Go to cindershine.com to donate and get your digital download. This collection of songs will be available as a collection for a limited time.
“I’m inspired everyday by these fantastic musicians that are in my community,” Cinder says. “I just want to give back to all of them and show people that your life doesn’t have to stop when you have a scary diagnosis. Sometimes it’s just the thing you need to get you living your life again, one day— one moment at a time.”
Cinder Shine is known for her smile and joie de vivre. That’s how she got her name. Cinder inspires and supports her fellow creatives with all her heart. Visionary wisdom fuels her songwriting. Raw talent and experience make her a compelling artist. With an unending belief in goodness and a great sense of humor, Cinder is not only a great collaborator, but more important, a loving friend.
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The film was meant to launch Universal’s "Dark Universe," a planned shared cinematic world built around the studio’s classic monster properties. That plan collapsed after "The Mummy" opened to poor reviews and underwhelming domestic box office, and no further Dark Universe films followed.
The streaming resurgence comes as Cruise’s own on-screen monster-movie history draws fresh attention: reports note the film is being rediscovered by viewers nearly a decade after its theatrical run, arriving on Prime Video after what one report described as an underwhelming box office performance at the time. Cruise starred as Nick Morton alongside Russell Crowe, Annabelle Wallis, and Sofia Boutella, who played the title character.
It isn’t clear what’s driving the renewed interest, whether algorithmic promotion, nostalgia, or simple curiosity about a film best remembered for its failed franchise ambitions. Prime Video has not issued a statement explaining the title’s chart position, and no viewership numbers have been made public.
The film’s climb echoes a broader pattern: other theatrical disappointments, including a 2020s Gerard Butler action film, have found similar second lives on streaming platforms long after their box office runs ended.
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Art & Entertainment
Netflix’s October 2026 Slate: ‘East of Eden’ Adaptation, Ben Affleck Thriller, ‘Diplomat’ Season 4
Balle Balle Radio™ Entertainment Desk
Netflix’s October 2026 lineup centers on a handful of high-profile originals: Florence Pugh leads the cast in this new adaptation of the classic Steinbeck novel, Ben Affleck and Gillian Anderson star in this political thriller, and "The Diplomat," an Emmy-nominated drama, returns for season four.
The month’s release calendar, detailed in an industry preview, spans more than twenty titles across scripted drama, documentary, anime, reality and international programming, reflecting Netflix’s now-standard approach of pairing a few marquee originals with a steady stream of licensed catalog titles and global-market series aimed at different audience segments.
The Steinbeck adaptation, a limited series titled "East of Eden," casts Pugh as Cathy Ames and arrives October 1 as one of the platform’s more literary bets of the fall. It lands alongside a wave of licensed films that same day, including "Ad Astra," "The Devil Wears Prada," "The Sixth Sense," "Pearl Harbor" and multiple seasons of "NCIS" — the kind of familiar-title bulk that typically pads a month’s new-content count alongside the originals.
October 9 brings "Animals," a political thriller starring Affleck and Anderson about a mayoral candidate and his wife drawn into dangerous territory after their son’s kidnapping, according to the preview and a trailer that has circulated separately. The same week, October 8, brings "Below," a six-episode supernatural thriller starring Josh Hartnett set in a coastal town terrorized by something in the water — a project Netflix has also been promoting through its own trailer release.
Tyler Perry returns October 2 with "Doing Life," a romantic drama starring Naomi Baker and Jay Reeves. It will be Perry’s eighth feature made for Netflix, following titles including "A Fall from Grace," "A Jazzman’s Blues" and "Mea Culpa," continuing a production relationship between Perry and the platform that dates back several years.
Keri Russell reprises her role in "The Diplomat" season four on October 15, continuing the well-received original series. Also on the documentary side: "Lorne," director Morgan Neville’s look at "Saturday Night Live" creator Lorne Michaels, featuring interviews with Tina Fey, Conan O’Brien, Maya Rudolph and Chris Rock, out October 5, and "Schumacher ’94 — The Birth of a Legend," chronicling Michael Schumacher’s 1994 Formula 1 title run, out October 2.
The rest of the slate leans international and genre-specific: a Korean fantasy-horror series ("Dead-End Job"), a German psychological thriller ("The Trap"), a Filipino horror-mystery ("Balaraw: Blood Island"), a Polish biographical drama about rock musician Jan Borysewicz ("Less of a Stranger"), and returning anime and reality titles including "Blue Box" season two and "Love Village" season three.
Netflix has not published an official release calendar for the month as of this writing; scheduling for later-October titles beyond October 15 was not detailed in the available preview.
Studio CarryOnHarry Perspective
Literary adaptations and prestige limited series represent a deliberate bet by streaming platforms that quality and cultural weight still matter to subscribers—that not everyone optimizes for quantity alone. This taps into a deeper hunger: the desire to feel like a viewing choice was *earned* rather than merely convenient, especially when a book like "East of Eden" carries decades of classroom authority and critical standing.
In practice, this strategy appears most valuable at moments of subscriber churn or price increases. A household genuinely torn between services may stay for a prestige drama they can discuss at work or defend to skeptical family members—"we’re watching the Steinbeck adaptation"—in ways a fourth reality dating show cannot match. Awards nominations amplify this effect: an Emmy or Golden Globe nomination becomes free marketing that whispers "this matters."
The constraint here is that prestige does not automatically translate to viewership at scale. A critically adored limited series may underperform the analytics of a mid-tier reality show, making it harder to justify the cost to shareholders. Netflix’s preview itself suggests these titles anchor a broader, more eclectic slate—they’re not the whole strategy, just the visible crown jewel.
The most useful way to interpret this may be not as Netflix suddenly becoming a literary platform, but as a company recognizing that different subscriber segments value different legitimacy markers. A Florence Pugh adaptation and a Tyler Perry romantic drama coexist because they’re solving different retention problems for different viewers.
From the Editor — Harry Johal
"That is part of the beauty of all literature. You discover that your longings are universal longings." — F. Scott Fitzgerald
I was scrolling through release schedules on my phone this morning—the kind of thing you do while your coffee cools—when I landed on Florence Pugh cast as Cathy Ames. "East of Eden" on Netflix in October. And Fitzgerald’s line came to mind: "You discover that your longings are universal longings."
It stopped me. Because what Netflix is really doing here, underneath all the slate announcements and subscriber retention math, is banking on exactly that discovery. They’re not just releasing a Steinbeck adaptation. They’re releasing permission—permission to sit with a story that millions of readers before you sat with, to feel what they felt, to ask the same questions about ambition and corruption and family that Steinbeck asked seventy years ago.
That’s the real hunger. Not for more content. For confirmation that what moves you isn’t private or small. That your longing to understand cruelty, or redemption, or the weight of a name—these aren’t quirks. They’re human. Universal.
A prestige adaptation doesn’t guarantee viewership. The analytics don’t always justify the cost. But it does something subtler: it reminds people that they’re not alone in what they want to watch, what they want to feel, what they want to *mean* by choosing one story over another. In a world that treats everything as convenience, that reminder matters more than most things Netflix will release that month. Maybe more than Netflix knows.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
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