Art & Entertainment
Hay There Social Media Teams Up with That Darn Chat to Add Fair Play’s Approach to Its Social Media Curriculum, and Support Women Holistically
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Hay There Social Media’s offering is a proven 6-week, 13 module training delivered entirely online and on-demand which prepares women across the U.S. to confidently deliver social media marketing services. In February 2023, Hay There is excited to launch a 14th module to their core curriculum, hosted by Fair Play Facilitator, Laura Danger. This session will incorporate Laura’s expertise to refocus how we view the value of our time, as caregivers and as professionals.
The caregiving crisis that forced women en masse out of the workforce during the pandemic did more than just directly and adversely affect the economy, it solidified a widely held misbelief that women ultimately are expendable professionally and expatriated to assume the majority of unpaid labor in the home. Eve Rodsky’s acclaimed book, Fair Play, shines a light on the gender gap in domestic responsibilities and offers a system to address household tasks in an equitable way that allows women to reclaim and redefine the value of their time. Professional women today are looking for ways to find flexibility, fulfillment and financial independence and the transferable skills Hay There’s training provides gives women looking for a career pivot, new entrepreneurial opportunities or career re-entry a proven path to follow in the in-demand field of social media marketing. Navigating the changing landscape by proactively enhancing your range of skills affords you access to more opportunities. More options = more power.
Emily A. Hay, Hay There Founder and CEO, is an advocate for systems. She and her husband shared their journey to find a fair division of invisible labor in their household in the FAIR PLAY Documentary. Hay and Danger’s integral roles in the Fair Play orbit provide a unique opportunity for enrollees to hear from the front lines of a domestic labor movement.
Laura Danger is no stranger to producing forward thinking curriculum. Danger is a contributor to the newly launched “Home Eq[uity]” initiative with Fair Play, and Procter & Gamble that ensures school-aged children are taught solutions to domestic labor inequities via school curriculum, and will bring her multifaceted perspective to this content custom created for independent Hay There Social Media managers.
Hay There Social Media’s Core Training is a new work system designed for the future of work using the processes, best practices and unique methods Hay There has used to deliver client work for over a decade. From burst capacity to back-fill to burnout relief and skill infusion: social media marketing is the #1 in-demand freelance marketing skill (TechRepublic) and independent Hay There Social Media managers are equipped with transferable knowledge that can be deployed quickly and has valuable staying power.
“CNNMoney has named Social Media Marketing as its top 50 careers with big growth, great pay and satisfying work. Through our collaboration with That Darn Chat, we take our reach even further to provide women with a corresponding method for tackling inequity and other challenges at home. Laura Danger is an influential Fair Play Facilitator and advocate for the very women she will teach in our training, and is sure to become a valuable resource to them as they learn a different approach to managing their professional growth and domestic labor,” says Emily A. Hay, Founder & CEO of Hay There Social Media.
Danger says, “I am thrilled to share the Fair Play movement, which is changing the world, with the brave caregivers that embraced learning a new skill set with the team at Hay There Social Media. Our collaboration is just one way both @thatdarnchat and Hay There advocate to raise awareness about a truly viable professional work from home system women can maximize by understanding the fair play method, and provide a more equitable life for all.”
“We are so honored to be able to team up with Laura Danger of @thatdarnchat to empower women with content that I know firsthand can change their lives in many different ways,” says Emily A. Hay, Founder & CEO of Hay There. “We are stepping up to support women together in a holistic way with systems for both work and home.”
The FAIR PLAY Documentary, produced by Reese Witherspoon’s Hello Sunshine, written and directed by Jennifer Siebel Newsom (First Partner of California & Founder of The Representation Project) and based on the NYTimes Bestselling book by Eve Rodsky. The documentary is available on Hulu, Amazon Prime, Apple TV+, VUDU, YouTube and other video streaming services.
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"The Mummy," the 2017 Tom Cruise action-horror film widely regarded as among the largest theatrical failures in his filmography, has emerged as one of Prime Video’s top-performing films, according to reports tracking the platform’s charts. One report placed the film at the 10th spot on Prime Video’s top movies list.
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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