Scripted TV production peaked in 2022 at 599 shows and has declined since, according to FX's research division tracking. New prestige series have dropped sharply while streaming platforms prioritize returning shows over new development. Netflix has shifted majority output to unscripted content including docuseries and reality programming since 2018.

YouTube leads streaming viewership ahead of Netflix, Paramount+, and Hulu. Free ad-supported platforms YouTube, Tubi and Roku Channel continue gaining market share. Subscription prices across major streaming services have increased while scripted content volume decreased. Second season of Severance cost $200 million. Fourth season of Stranger Things reached $270 million in production expenses.

A former Memphis disc manufacturing employee has been sentenced to nearly five years in prison after stealing pre-release Blu-rays from his employer and leaking them online. While he received 21 months for copyright infringement, a concurrent firearm charge extended his total prison term to 57 months. TorrentFreak reports: In February, the U.S. Department of Justice indicted 37-year-old Steven Hale from Tennessee, a former employee of a disc manufacturing and distribution company in Memphis. While working at the unnamed company between 2021 and 2022, Hale allegedly stole numerous "pre-release" DVD and Blu-ray discs from his employer. These stolen discs contained many high-profile movie titles including "Spider-Man: No Way Home." In addition to the copyright infringement charge, Hale was also indicted for a firearm offense. When raiding his premises, law enforcement found a gun in a car that was registered in his name, which, for a felon, is a separate criminal offense.

Hale was sentenced at a federal court in Memphis yesterday, where Chief Judge Sheryl H. Lipman handed down a 57-month prison term, exactly in line with the U.S. government's recommendation. Two separate sentences will be served concurrently. Hale received 21 months for the theft and distribution of hundreds of pre-release movie discs. A longer sentence of 57 months was handed down for the firearm charge, which ultimately defines the total prison term. Judge Lipman also granted several requests by the defense. The court recommended that Hale be housed in a facility as close to Memphis as possible so he can be near his family. In addition, the defendant will be allowed to remain on bond and self-surrender to prison at a later date.

The 21-month sentence for the copyright infringement charge is substantially lower than the maximum of 60 months. This is in part the result of a guilty plea the defendant signed in May. After accepting responsibility, the prosecution agreed to drop other charges and recommend a sentence at the low end of the guideline range. Hale entered his guilty plea to Count Two of the indictment. The charge relates to his distribution of ten or more copies of copyrighted works, including pre-release movies, for commercial advantage and private financial gain. This includes the pre-release 'Spider-Man: No Way Home' disc, which is likely the source of the public leak.

An anonymous reader quotes a report from Ars Technica: For millions of Spotify users, the "Wrapped" feature -- which crunches the numbers on their annual listening habits -- is a highlight of every year's end, ever since it debuted in 2015. NPR once broke down exactly why our brains find the feature so "irresistible," while Cosmopolitan last year declared that sharing Wrapped screenshots of top artists and songs had by now become "the ultimate status symbol" for tens of millions of music fans. It's no surprise then that, after a decade, some Spotify users who are especially eager to see Wrapped evolve are no longer willing to wait to see if Spotify will ever deliver the more creative streaming insights they crave.

With the help of AI, these users expect that their data can be more quickly analyzed to potentially uncover overlooked or never-considered patterns that could offer even more insights into what their listening habits say about them. Imagine, for example, accessing a music recap that encapsulates a user's full listening history -- not just their top songs and artists. With that unlocked, users could track emotional patterns, analyzing how their music tastes reflected their moods over time and perhaps helping them adjust their listening habits to better cope with stress or major life events. And for users particularly intrigued by their own data, there's even the potential to use AI to cross data streams from different platforms and perhaps understand even more about how their music choices impact their lives and tastes more broadly.

Likely just as appealing as gleaning deeper personal insights, though, users could also potentially build AI tools to compare listening habits with their friends. That could lead to nearly endless fun for the most invested music fans, where AI could be tapped to assess all kinds of random data points, like whose breakup playlists are more intense or who really spends the most time listening to a shared favorite artist. In pursuit of supporting developers offering novel insights like these, more than 18,000 Spotify users have joined "Unwrapped," a collective launched in February that allows them to pool and monetize their data.

Voting as a group through the decentralized data platform Vana -- which Wired profiled earlier this year -- these users can elect to sell their dataset to developers who are building AI tools offering fresh ways for users to analyze streaming data in ways that Spotify likely couldn't or wouldn't. In June, the group made its first sale, with 99.5 percent of members voting yes. Vana co-founder Anna Kazlauskas told Ars that the collective -- at the time about 10,000 members strong -- sold a "small portion" of its data (users' artist preferences) for $55,000 to Solo AI. While each Spotify user only earned about $5 in cryptocurrency tokens -- which Kazlauskas suggested was not "ideal," wishing the users had earned about "a hundred times" more -- she said the deal was "meaningful" in showing Spotify users that their data "is actually worth something." Spotify responded to the collective by citing both trademark and policy violations. The company sent a letter to Unwrapped developers, warning that the project's name may infringe on Spotify's Wrapped branding, and that Unwrapped breaches developer terms. Specifically, Spotify objects to Unwrapped's use of platform data for AI/ML training and facilitating user data sales.

"Spotify honors our users' privacy rights, including the right of portability," Spotify's spokesperson said. "All of our users can receive a copy of their personal data to use as they see fit. That said, UnwrappedData.org is in violation of our Developer Terms which prohibit the collection, aggregation, and sale of Spotify user data to third parties."

Unwrapped says it plans to defend users' right to "access, control, and benefit from their own data," while providing reassurances that it will "respect Spotify's position as a global music leader."

An anonymous reader shares a report: Everyone's favorite CEO, Warner Bros. Discovery head David Zaslav, thinks HBO Max is ripe for a price hike. Speaking at the Goldman Sachs Communacopia and Technology Conference (doesn't that sound like a fun time?) Zaslav argued that his company's premium output can command a premium price.

"The fact that this is quality -- and that's true across our company, motion picture, TV production and and streaming quality -- we all we think that gives us a chance to raise price," he said, according to The Hollywood Reporter. "We think we're way underpriced." The recently re-re-branded HBO Max currently starts at $9.99 per month, including ads, peaking at $20.99 per month for its premium plan, roughly in line with its rivals.

Roku plans to dramatically expand its advertiser base from 200 to 100,000 companies using generative AI tools, CFO Dan Jedda told investors at recent conferences. The streaming platform, which commands over 20% of US TV viewing and reaches half of broadband households, is currently "roughly half sold out" on ad inventory. Jedda said small businesses can create commercials "within minutes" using AI tools Roku has integrated into its self-serve platform.

The narrative podcast industry that exploded after Serial's 2014 debut has largely collapsed. Pineapple Street Studios shut down in June after producing hits like Missing Richard Simmons. Amazon dismantled Wondery in August, laying off 110 employees less than five years after acquiring the studio for $300 million. Spotify terminated Gimlet in 2023 despite paying $230 million for the company in 2019. Major outlets including Pushkin Industries and This American Life have conducted layoffs. Talk shows and celebrity podcasts continue growing while investigative audio series struggle to find funding. Edison Research reports 55% of Americans consumed podcasts last month, but advertising dollars are flowing to cheaper chat formats rather than resource-intensive narrative productions.

Netflix's film division faces a fundamental mismatch between its subscription model and filmmakers' artistic ambitions, according to new data analysis examining a decade of original productions. The streamer's movies cost two to three times more than A24 films but consistently score lower across review aggregators. Netflix attracts established actors like Eddie Murphy and Cameron Diaz but struggles to retain acclaimed directors.

The typical Netflix director has less critical acclaim and shorter filmographies than theatrical counterparts despite handling larger budgets. Directors recently turned down Netflix's $150 million for Wuthering Heights and $50 million for Weapons, accepting lower offers from Warner Bros. that guaranteed theatrical releases. The Electric State cost Netflix $320 million in February 2025 and received a 30 Metacritic score and 14% on Rotten Tomatoes. Netflix's business model requires filling hours to justify $9.99 monthly subscriptions. Directors seek theatrical releases where audiences watch films in one sitting without checking phones.

A U.S. congressional hearing today on Unidentified Anomalous Phenomena (UAPs) featured testimony from military veterans and witnesses describing encounters with mysterious craft, including glowing red squares, tic-tac-shaped objects emerging from the ocean, and videos of missiles striking unidentified orbs. While NASA maintains there's no evidence of extraterrestrial life, lawmakers stressed the need for transparency, whistleblower protections, and further investigation.

There were four witnesses at today's hearing:
Jeffrey Nuccetelli: U.S. Air Force veteran and self-described UAP witness who investigated the reported "red square" sighting above Vandenberg Air Force Base.
George Knapp: Award-winning journalist and chief reporter at KLAS-TV, known for his decades of UFO coverage and multiple Peabody Awards.
Alexandro Wiggins: Navy veteran of 23 years who reported witnessing a "Tic Tac" UAP aboard the USS Jackson in 2023 and noted his father's work at Area 51.
Dylan Borland: Air Force veteran and UAP witness with little public information or media exposure available.

"The public senses that it's real and the people in authority dismiss them," said Knapp, arguing that the public can handle the truth. One of the clips he showed lawmakers was of a drone operator tracking a glowing orb off the coast of Yemen before a missile struck the object. "That's a Hellfire missile smacking into that UFO and just bouncing right off," he said. "What the hell is that?" Knapp said the clip is not unique, claiming multiple video servers with similar UAP footage are being kept from Congress. Borland testified: "This craft interfered with my telephone, did not have any sound and the material it was made of appeared fluid or dynamic."

Humor columnist Dave Barry won the 1988 Pulitzer Prize for commentary — and answered questions from Slashdot's readers in 2003. That same year he convinced thousands of people to call a telemarketing company (which had filed a lawsuit protesting America's "Do Not Call" registry). He's criticized electronic voting machines, wrote Dave Barry in Cyberspace, and even helped popularize "Talk Like a Pirate Day."

But this week the 78-year-old humor columnist announced he's shutting his blog down. ("Actually, technically, TypePad is shutting it down, by going out of business September 30.") Dave Barry will be moving to Substack, where he'll write new humor columns — and where paying subscribers will also be able to comment and participate in chats.

On his TypePad blog, Barry wrote "GOODBYE, YOU CRAZY, WONDERFUL PEOPLE..." After [September 30th] this site will disappear, and I've made the decision not to attempt to migrate it to another platform. Everything, except Keith Richards, eventually comes to an end, and it just feels like it's time, after all these years, to let the Blog go to that Big Archive in the Sky.

It has been a fun couple of decades, hanging out here with you very funny folks — discussing the International Squirrel Conspiracy, and what WBAGNFARB, and all the entities, human and otherwise, that qualify for Florida drivers' licenses, and the many, many other random topics that made up whatever this weird thing has been. Thanks to all of you — the people who sent me all those news items; the excellent commenters; the lurkers — for being part of this. Really: Thank you. You made it work.
Dave Barry reminds readers that he'll continue blogging on TypePad until the end of September — and that after that they can still reach him at his new Substack blog (where "you don't have to subscribe to read my posts").

And his Substack blog already has a humorous "About" page... When people hear that I'm starting a Substack, the question they always ask is: "Dave Barry? Isn't he dead?"

I'm delighted to report that the answer is: Not yet! I'm still alive, and along with an estimated 85 percent of the Earth's population, I have a Substack, which I invite you to subscribe to...

In 2005 I stopped writing a weekly column, after which the newspaper industry — draw your own conclusions from this — collapsed. I've continued to write books, and every year I write a massive Year in Review, which is wildly popular with everyone except the people who hate it. But I've missed writing columns, which is why I started this Substack. I will use it to comment on the major issues of the day, ranging all the way from stories about snakes showing up in people's toilets to stories about completely different scary things showing up in people's toilets. I will sometimes even write about issues that are totally unrelated to toilets. That is how wide-ranging this Substack will be. I plan to occasionally do chats, and I may even do podcasts or interviews with my famous minor-celebrity friends if I can get them to return my phone calls. Also I'll publish the Year in Review here.

So that's the plan. I'm hoping to build a community of civic-minded people with a sincere interest in reading about and discussing useless and often wildly inaccurate things instead of doing something productive. Kind of like Congress, but without a dress code.
A frequently-asked questions list then promises the Substrack will "have much more writing from me, and more interaction between me and subscribers. The blog has always been something I did in my spare time, when I wasn't working on something else, usually a book. The Substack will be my main focus, essentially my day job." Q: [H]ow much does a paid subscription to your Substack cost?

A. Eleven million dollars.

Q. Whoa. That's expensive!

A. You drive a hard bargain! But OK, for you let's make it $5 a month, or $50 a year....

Q. What if I don't want to pay?

A. Burly men will barge into your home and confiscate your major appliances. [Barry then crosses this out using HTML strikethrough characters.] Nothing bad will happen to you. You can still see my Substack posts, though you won't be able to comment on posts or participate in chats.
Thanks to wiredog (Slashdot reader #43,288) for sharing the news.

"Roku is celebrating a milestone that says a lot about where entertainment is heading," notes a new article at NERDS.xyz.

"For the third month in a row, people in the United States spent more time streaming on Roku-powered devices than they did watching traditional broadcast television." Nielsen's latest data shows Roku-powered devices accounted for 21.4 percent of all TV viewing in July. Broadcast came in at 18.4 percent. That gap may not seem huge, but it marks a steady trend from May and June where streaming also came out ahead. Roku says its share of TV viewing is up 14 percent year-over-year, which suggests people are not just trying streaming, they're sticking with it...

Roku powers streaming on smart TVs and devices in over half of internet-enabled U.S. households. By its own numbers, it sells more TV units than the next two operating systems combined. It's a reminder that Roku has positioned itself as more than just a box or an app. It clearly wants to be the place where television happens.
Thanks to Slashdot reader BrianFagioli for sharing the news.

Dolby Vision 2 addresses two widespread TV viewing problems in ways that will likely divide viewers and creators. The format's Content Intelligence feature uses AI and ambient light sensors to brighten notoriously dark content like Game of Thrones' Battle of Winterfell and Apple TV+'s Silo based on room brightness.

Authentic Motion grants filmmakers scene-by-scene control over motion smoothing, a feature most cinephiles despise for creating artifacts and making films look like 60fps home videos. Many filmmakers have criticized motion smoothing for undermining artistic intent. Dolby positions the feature as eliminating unwanted judder while maintaining cinematic feel. The format launches in standard and Max tiers for high-end displays.

Paramount and Activision are teaming up to produce a live-action Call of Duty movie, with Paramount promising the same blockbuster treatment it gave Top Gun: Maverick.

David Ellison, Chairman and CEO of Paramount, said in a statement: "As a lifelong fan of Call of Duty this is truly a dream come true. From the first Allied campaigns in the original Call of Duty, through Modern Warfare and Black Ops, I've spent countless hours playing this franchise that I absolutely love. Being entrusted by Activision and players worldwide to bring this extraordinary storytelling universe to the big screen is both an honor and a responsibility that we don't take lightly. We're approaching this film with the same disciplined, uncompromising commitment to excellence that guided our work on Top Gun: Maverick, ensuring it meets the exceptionally high standards this franchise and its fans deserve. I can promise that we are resolute in our mission to deliver a cinematic experience that honors the legacy of this one-in-a-million brand -- thrilling longtime fans of Call of Duty while captivating a whole new generation."

Rob Kostich, President of Activision, also commented: "Throughout its history, Call of Duty has captured our imagination with incredible action and intense stories that have brought millions of people together from around the world, and that focus on making incredible Call of Duty games remains unwavering. With Paramount, we have found a fantastic partner who we will work with to take that visceral, breathtaking action to the big screen in a defining cinematic moment. The film will honor and expand upon what has made this franchise great in the first place, and we cannot wait to get started. Our shared goal is quite simple -- to create an unforgettable blockbuster movie experience that our community loves, and one that also excites and inspires new fans of the franchise."

"I have no musical talent at all," says Oliver McCann. "I can't sing, I can't play instruments, and I have no musical background at all!"

But the Associated Press describes 37-year-old McCann as a British "AI music creator" — and last month McCann signed with an independent record label "after one of his tracks racked up 3 million streams, in what's billed as the first time a music label has inked a contract with an AI music creator." McCann is an example of how ChatGPT-style AI song generation tools like Suno and Udio have spawned a wave of synthetic music, a movement most notably highlighted by a fictitious group, Velvet Sundown, that went viral even though all its songs, lyrics and album art were created by AI. Experts say generative AI is set to transform the music world. However, there are scant details, so far, on how it's impacting the $29.6 billion global recorded music market, which includes about $20 billion from streaming.

The most reliable figures come from music streaming service Deezer, which estimates that 18% of songs uploaded to its platform every day are purely AI generated, though they only account for a tiny amount of total streams, hinting that few people are actually listening. Other, bigger streaming platforms like Spotify haven't released any figures on AI music... "It's a total boom. It's a tsunami," said Josh Antonuccio, director of Ohio University's School of Media Arts and Studies. The amount of AI generated music "is just going to only exponentially increase" as young people grow up with AI and become more comfortable with it, he said. [Antonuccio says later the cost of making a hit record "just keeps winnowing down from a major studio to a laptop to a bedroom. And now it's like a text prompt — several text prompts." Though there's a lack of legal clarity over copyright issues.]

Generative AI, with its ability to spit out seemingly unique content, has divided the music world, with musicians and industry groups complaining that recorded works are being exploited to train AI models that power song generation tools... Three major record companies, Sony Music Entertainment, Universal Music Group and Warner Records, filed lawsuits last year against Suno and Udio for copyright infringement. In June, the two sides also reportedly entered negotiations that could go beyond settling the lawsuits and set rules for how artists are paid when AI is used to remix their songs.

GEMA, a German royalty collection society, has sued Suno, accusing it of generating music similar to songs like "Mambo No. 5" by Lou Bega and "Forever Young" by Alphaville. More than 1,000 musicians, including Kate Bush, Annie Lennox and Damon Albarn, released a silent album to protest proposed changes to U.K. laws on AI they fear would erode their creative control.

Meanwhile, other artists, such as will.i.am, Timbaland and Imogen Heap, have embraced the technology. Some users say the debate is just a rehash of old arguments about once-new technology that eventually became widely used, such as AutoTune, drum machines and synthesizers.

In 2017 Rick Beato streamed "Rick's Rant Episode 2" — and just received a copyright claim this month. And days after jazz pianist Chick Corea died in 2021, Beato livestreamed a half-hour video which was mostly commentary, but with several excerpts from Corea's albums (at least one more than three minutes long). He also received a copyright claim for that one this August — just minutes after the claim on his 2017 video.

These videos "are all fair use," Beato argues in a new video, noting it's also affected other popular YouTube channels like The Professor of Rock: Rick Beato: Universal Music Group [UMG] has continued to send emails about copyright content ID claims — and now copyright strikes — on my channel. As a matter of fact, I have three shorts — these are under a minute long — that if they go through in the next four days, I'll have three strikes on my channel! Now if you don't fight these things, those three strikes would actually remove my channel from YouTube.
Five months ago Rick Beato had posted a clip from his interview with singer-songwriter Adam Duritz (founder of The Counting Crows) on YouTube. After 250,000 views, he'd earned a whopping $36.52 — and then Universal Music Group also claimed that video violated their copyright. (In the background the video played Duritz's song as he described how he wrote it.) "So they're gonna take my channel down over less than a hundred bucks — for using a small segment from an interview with him, on a song he sang on," Beato complained on YouTube. "That video is 55 seconds long!"

"You need to play people's music to talk about it," Beato argues. "That is the definition of fair use. These are interviews with the people about their careers." (And the interviews actually help promote the artists for the record labels...) Rick Beato: The next one has me in it — it's an Olivia Rodrigo song — that I played maybe 10 seconds of the song on, and the short is 42 seconds long. Who did it? UMG. The third copyright strike is from a Hans Zimmer short. It's also UMG — it's from the Crimson Tide soundtrack.

Now, what do these things say...? "Your video is scheduled to be removed in four days and your channel will get a copyright strike due to a removal request from a claimant. If you delete your video before then, your channel won't get a copyright strike." [And there's also emails like "After reviewing your dispute, UMG has decided that their copyright claim is still valid..."] I've had probably 4,000 claims, over the last 9 years — from things that are fair use. [When he interviewed producer Rick Rubin, that video got 13 separate copyright claims.]

That's when I hired a lawyer to fight these. [Full-time, Beato says later.] And what he's done is he fought every single claim... We have successfully fought thousands of these now. But it literally costs me so much money to do this. Since we've been fighting these things — and never lost one — they still keep coming in... They're all Universal Music Group. So they obviously have hired some third party company, that are dredging up things, they're looking for things that haven't been claimed in the past — they're taking videos from seven or eight years ago!
Slashdot reader MrBrklyn (Slashdot reader #4,775) writes on the "New York's Linux Scene" site that video bloggers like Beato "have been hounded by copyright pirates like UMG," arguing that new videos of support are a "rebellion gaining traction". (Beato's video drew 1,369,859 views — and attracted 24,605 Comments — along with videos of support from professional musicians like drummer Anthony Edwards, guitarist Justin Hawkins, and bassist Scot Lade, as well as two different professional music attorneys.)

"Since there's rarely humans making any of these decisions and it's automated by bots, they don't understand these claims are against Universal Music's best interests," argues the long-running blog Saving Country Music (first appearing on MySpace in 2008). On YouTube videos, creators can freely filch copyrighted photos and other people's videos virtually free of ramifications. You can take an entire 2 1/2 hour film, impose it over a background, and upload it to YouTube, and usually avoid any problems. But feature a barely audible 8 1/2-second clip of music underneath audio dialogue, and you could have your entire podcast career evaporate overnight... People continue to ask, "Why doesn't Saving Country Music has a podcast?" Because what's the point of having a music podcast when you can't feature music? In fact, after over a decade of refusing to start one, I finally did, music free. What happened? About a dozen episodes in, someone took out a claim, and not only were all the episodes deleted, so was the entire account, even though no music even appeared on any of the episodes. I was given absolutely no recourse to fight whatever false claim had been made...

The music industry continues to so colossal fail the artists and catalogs they represent, and the fans they're supposed to serve with this current system of how podcasts are handled. If everything changes today thanks to the Rick Beato rant, it would still be 15 years too late. But at least it would happen.
Instead, they write, "Music labels have been leaving major opportunities to promote their catalogs and performers on the table with their punitive copyright claims that make it impossible to feature music on music podcasts and other platforms...

"You aren't screwing podcasters. You're screwing artists who could be using podcasts to help promote their music. "

At the moment, the Spotify exodus of 2025 is a trickle rather than a flood, writes the Guardian, citing the departure of five notable bands "liked in indie circles," but not "the sorts to rack up billions of listens."

"Still, it feels significant if only because, well, this sort of thing wasn't really supposed to happen any more." Plenty of bands and artists refused to play ball with Spotify in its early years, when the streamer still had work to do before achieving total ubiquity. But at some point there seemed to a collective recognition that resistance was futile, that Spotify had won and those bands would have to bend to its less-than-appealing model... This artist acquiescence happened in tandem — surely not coincidentally — with a closer relationship between Spotify and the record labels that once viewed it as their destroyer. Some of the bigger labels have found a way to make a lot of money from streaming: Spotify paid out $10bn in royalties last year — though many artists would point out that only a small fraction of that reaches them after their label takes its share...

So why have those five bands departed in quick succession? The trigger was the announcement that Spotify founder Daniel Ek had led a €6oom fundraising push into a German defence company specialising in AI weapons technology. That was enough to prompt Deerhoof, the veteran San Francisco oddball noise pop band, to jump. "We don't want our music killing people," was how they bluntly explained their move on Instagram. That seems to have also been the animating factor for the rest of the departed, though GY!BE, who aren't on any social media platforms, removed their music from Spotify — and indeed all other platforms aside from Bandcamp — without issuing a statement, while Hotline TNT's statement seemed to frame it as one big element in a broader ideological schism. "The company that bills itself as the steward of all recorded music has proven beyond the shadow of a doubt that it does not align with the band's values in any way," the statement read.

That speaks to a wider artist discontent in a company that has, even by its own standards, had a controversial couple of years. There was of course the publication of Liz Pelly's marmalade-dropper of a book Mood Machine, with its blow-by-blow explanation of why Spotify's model is so deleterious to musicians, including allegations that the streamer is filling its playlists with "ghost artists" to further push down the number of streams, and thus royalty payments, to real artists (Spotify denies this). The streamer continues to amend its model in ways that have caused frustration — demonetising artists with fewer than 1,000 streams, or by introducing a new bundling strategy resulting in lower royalty fees. Meanwhile, the company — along with other streamers — has struggled to police a steady flow of AI-generated tracks and artists on to the platform...

[R]emoving yourself from such an important platform is highly risky. But if they can pull it off, the sacrifice might just be worth it. "A cooler world is possible," as Hotline TNT put it in their statement.
The Guardian's culture editor adds that "I've been using Bandcamp more, even — gasp — buying albums..."

"Maybe weaning ourselves off not just Spotify, but the way that Spotify has convinced us to consume music is the only answer. Then a cooler world might be possible."