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Around late May, the conversation was dominated by the return of prestige heavyweights like The Bear (Season 3) and House of the Dragon (Season 2) on the horizon. However, the undercurrent of the industry was one of contraction. Networks were pruning their catalogs, canceling shows after single seasons, and shifting away from the "throw everything at the wall" model. The power dynamic had shifted; rather than streaming platforms dictating what audiences should watch, audiences were dictating what platforms could afford to produce. : Around this exact window, Sabrina Carpenter ’s