The long-standing hierarchy in the TV market -- Sony, Samsung and LG at the top, TCL and Hisense fighting it out in the midrange -- is eroding as the budget brands close the performance gap and increasingly lead on technology innovation, The Verge writes. Hisense debuted the first RGB LED TV last year, and TCL's X11L announced at CES 2026 is the first TV to use reformulated quantum dots and a new color filter. TCL's QM9K release last year was "a pretty clear statement that they're ready to fight with the big boys."

The premium brands retain certain advantages: Sony's processing remains unmatched and LG's OLEDs deliver contrast that mini LED cannot match. "Even as the gap in performance across technologies continues to shrink, and TVs from all the manufacturers get closer to parity, the challenge for TCL and Hisense shifts from creating incredible, competitive products to altering perception," The Verge notes.

Samsung once owned the art TV segment entirely; CES 2026 saw announcements from Amazon's Ember Artline and LG's Gallery TV, all using similar edge-lit technology and magnetic frames. The experience across brands is "remarkably similar." If the pricing gap persists and performance remains comparable, "the big three will have to respond by bringing their pricing down or risk losing sales," the publication concluded.

TV manufacturers at CES 2026 in Las Vegas this week unveiled a wave of AI features that frequently consume significant screen space and take considerable time to deliver results -- all while global TV shipments declined 0.6% year over year in Q3, according to Omdia. Google demonstrated Veo generating video from a photo on a television, a process that took about two minutes to produce eight seconds of footage, The Verge writes in a column. Samsung presented a future where viewers ask their sets for sports predictions and recipes to share with kitchen displays. Hisense showed an AI agent that displays real-time stats for every soccer player on screen, a feature requiring so much space the company built a prototype 21:9 aspect ratio display to accommodate it.

Demos repeatedly showed video shrinking to make room for sports scores and information when viewers asked questions -- noticeable on 70-inch displays and likely worse on anything 50 inches or smaller. Amazon's Alexa Plus can jump to Prime Video scenes based on verbal descriptions. LG's sets switch homescreen recommendations based on voice recognition of individual family members.

Texas Attorney General Ken Paxton has secured a temporary restraining order against Samsung, blocking the company from continuing to collect data through its smart TVs' Automated Content Recognition technology.

The ACR system captured screenshots of what users were watching every 500 milliseconds, according to the state's lawsuit, and did so without consumer knowledge or consent. The District Court found good cause to believe Samsung's actions violated the Texas Deceptive Trade Practices Act. The TRO prohibits Samsung and any parties working in concert with the company from using, selling, transferring, collecting, or sharing ACR data tied to Texas consumers.

Samsung is one of five major TV manufacturers the Texas Attorney General's office has sued over ACR deployment. Paxton previously secured a similar order against Hisense.

A 50-inch TV that would have set you back $1,100 at Best Buy during Black Friday 2001 now costs less than $200, and the price per area-pixel -- a metric accounting for both screen size and resolution -- has dropped by more than 90% over the past 25 years. The story behind this decline is largely one of liquid crystal display technology maturing from a niche product to a mass-manufactured commodity.

LCDs represented just 5% of the TV market in 2004; by 2018, they commanded more than 95%. The largest driver of cost reduction has been the scaling up of "mother glass" sheets -- the large panels of extremely clear glass onto which semiconductor materials are deposited before being cut into individual displays. The first generation sheets measured roughly 12 by 16 inches. Today's Generation 10.5 sheets span 116 by 133 inches, nearly 100 times the original area. This scaling delivers substantial savings because equipment costs rise more slowly than glass area increases.

Moving from Gen 4 to Gen 5 mother glass cut the cost per diagonal inch by 50%. Equipment costs per unit of panel area fell 80% between Gen 4 and Gen 8. Process improvements have compounded these gains: masking steps required for thin-film transistors dropped from eight to four, yields climbed from 50% to above 90%, and a "one drop fill" technique reduced liquid crystal filling time from days to minutes.

Disney+, which is looking to catch up with some streaming and digital rivals in terms of daily engagement, is adding vertical videos to the service. From a report: The arrival of the new format later this year was one of several advertising-oriented announcements the company made Wednesday at its Tech + Data Showcase at CES in Las Vegas. Other new offerings include a new "brand impact" metric and a new video generation tool that helps advertisers create high-quality connected-TV-ready commercials using existing assets and guidelines.

[...] In an interview prior to the Wednesday showcase, Erin Teague, EVP of Product Management for Disney Entertainment and ESPN, said "everything's on the table" in terms of how vertical video is delivered on Disney+. It could be original short-form programming, repurposed social clips, refashioned scenes from longer-form episodic or feature titles or a combination. "We're obviously thinking about integrating vertical video in ways that are native to core user behaviors," Teague said. "So, it won't be a kind of a disjointed, random experience."

Several years after Samsung introduced the Frame TV in 2017 -- a television designed to display fine art and resemble a framed painting when switched off -- competitors are finally catching up in meaningful numbers. Amazon announced the Ember Artline TV at CES 2026 this week, a $899 model that can display one of 2,000 works of art for free and includes an Alexa AI tool to recommend pieces suited to your room. Hisense unveiled its CanvasTV late last year, TCL has the NXTvision model, and LG has announced the Gallery TV for later this year.

The surge in art-focused televisions comes down to two factors: smaller living spaces in cities where younger buyers lack dedicated rooms for large screens, and advances in matte screen technology that enable displays to absorb light like a canvas rather than reflect it like a window. Local dimming and improved backlighting processing allow these newer models to maintain their slim profiles for flush wall-mounting while delivering more realistic art reproduction than earlier edge-lit designs.

South Korea's President Lee Jae Myung asked at a televised policy meeting last month whether the country's state-run healthcare plan could cover hair-loss treatment, framing it as a question about whether hair loss qualifies as a disease. The health minister told Lee that baldness is generally considered an aesthetic problem and therefore covered out-of-pocket, but the 61-year-old president -- who himself has a full head of hair -- pushed back, arguing that young people experiencing thinning hair view their situation as a "matter of survival."

The proposal has divided the country. South Korea is known for a cultural phenomenon called "lookism," where physical appearance carries significant weight in professional and social settings. The expression "your appearance is also a credential" is common, and nearly all job applications require a photograph, including those for part-time barista positions.

Lee first made the pledge to cover hair-loss treatment during his unsuccessful 2022 presidential campaign but dropped it when he ran again. He won a snap election in June and has now resurrected the idea as a way to appeal to younger voters who have grown more dissatisfied with him. The Korean Medical Association has called the proposal "questionable" given the health system's stretched finances. The health ministry is currently reviewing whether the treatments are appropriate for coverage. More than three in four South Koreans believe everyone has concerns about hair loss, according to a recent Embrain Trend Monitor poll.

After Congress approved President Donald Trump's rescission package eliminating federal funding, the Corporation for Public Broadcasting voted to dissolve after 58 years, rather than continue to exist and potentially be "vulnerable to future political manipulation or misuse." The shutdown leaves hundreds of local public TV and radio stations facing an uncertain future. Variety reports: The CPB was created by Congress by the Public Broadcasting Act of 1967 to support the federal government's investment in public broadcasting. The org noted that the rescission of all of CPB's federal funding came after years of political attacks. "For more than half a century, CPB existed to ensure that all Americans -- regardless of geography, income, or background -- had access to trusted news, educational programming, and local storytelling," said CPB president/CEO Patricia Harrison. "When the Administration and Congress rescinded federal funding, our Board faced a profound responsibility: CPB's final act would be to protect the integrity of the public media system and the democratic values by dissolving, rather than allowing the organization to remain defunded and vulnerable to additional attacks.

[...] "CPB's support extends to every corner of the country -- urban, rural, tribal, and everywhere in between," the org noted. "In many communities, public media stations are the only free source of trusted news, educational children's programming, and local and national cultural content." The CPB said that without funding, its board determined that "maintaining the corporation as a nonfunctional entity would not serve the public interest or advance the goals of public media. A dormant and defunded CPB could have become vulnerable to future political manipulation or misuse, threatening the independence of public media and the trust audiences place in it, and potentially subjecting staff and board members to legal exposure from bad-faith actors."

As it closes, CPB is distributing its remaining funds, and also supporting the American Archive of Public Broadcasting in digitizing and preserving historic content. The CPB's own archives will be preserved at the University of Maryland, which will make it accessible to the public. "Public media remains essential to a healthy democracy," Harrison added. "Our hope is that future leaders and generations will recognize its value, defend its independence, and continue the work of ensuring that trustworthy, educational, and community-centered media remains accessible to all Americans."

Samsung is bringing a pair of retro-styled speaker concepts to CES 2026 that combine old-school aesthetics with OLED screens and AI-powered music recommendations, and the company is positioning them as alternatives to conventional Bluetooth speakers that typically depend on a paired smartphone or tablet for content selection. The "AI OLED Cassette" features a 1.5-inch round OLED display, while the larger "AI OLED Turntable" uses a 13.4-inch round panel, and both allow users to receive music suggestions, browse and select content directly on the device, and set ambient moods using images and video playback.

2025'S final months finally saw the publication of J.R.R. Tolkein's The Bovadium Fragments, writes the Los Angeles Review of Books: Anyone who has read Tolkien's letters will know that he is at his funniest when filled with rage, and The Bovadium Fragments is a work brimming with Tolkien's fury — specifically, ire over mankind's obsession with motor vehicles. Tolkien's anger is expressed through a playful satire told from the perspective of a group of future archaeologists who are studying the titular fragments, which tell of a civilization that asphyxiated itself on its own exhaust fumes. Tolkien's fictional fragments use the language of ancient myth, reframing modern issues like traffic congestion and parking with a grandeur that highlights their total absurdity. It is Tolkien at his angriest and funniest, making The Bovadium Fragments a minor treasure in his ever-growing catalog...

As Tolkien put it in one of his private letters, "the spirit of 'Isengard,' if not of Mordor, is of course always cropping up. The present design of destroying Oxford in order to accommodate motor-cars is a case." Readers of The Lord of the Rings (1954-55) will recognize the allusion. In the author's magnum opus, Isengard is a kind of industrial hell, endlessly feeding its furnaces with felled trees... The Bovadium Fragments brings Tolkien's visceral hatred of such machines to the fore for the first time — on the same level as Isengard or the scoured Shire. In Tolkien's story, the words "Motores" and "monsters" are interchangeable. And with his grand, mythic register, Tolkien defamiliarizes the car enough for modern readers to see it as he does — as truly monstrous. "[T]he Motores continued to bring forth an ever larger progeny," Tolkien writes. "[M]any of the citizens harboured the monsters, feeding them with the costly oils and essences which they required, and building houses for them in their gardens...."

One suspects that Tolkien would have preferred to see Oxford return to the era of the donkey cart. That kind of nostalgia is familiar in Tolkien's work — the idea that we developed just a little too far, skipping past an Eden we failed to recognize a generation or two ago. (For Tolkien, the paragon of paradise seems to have been a rural village around the time of Queen Victoria's Diamond Jubilee.) But he also knows that mankind's impulse to develop is something we cannot help. And the inevitable blowback we get from our hubris is something we cannot avoid. That defeatist attitude is suggested in the frame narrative to The Bovadium Fragments, in which the archaeologists smugly declare their superiority to the extinct citizens of old Oxford. "We at any rate are not likely to fall into such folly," one of them says.

In their more enlightened future, we are told, they only pursue the more benign science of longevity. Their wish is that one day they shall "at last conquer mortality, and not 'die like animals.'" But humans are animals, Tolkien argues. And in stretching beyond that, we may find progress and modern conveniences like motorcars. But perhaps we also pave a road to Isengard. And we may not recognize that destination until it is too late — until we are trapped within its walls, suffocating on our own exhaust fumes.

An anonymous reader shares a report: MTV shut down many of its last dedicated 24-hour music channels Dec. 31. The move, announced back in October, affected channels around the world, with the U.K. seeing five different MTV stations going dark. These include MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live. As Consequence notes, MTV Music -- which launched in 2011 -- notably ended its run by airing the Buggles' "Video Killed the Radio Star," the first visual to air when MTV launched in the United States in 1981.

MTV's parent company, Paramount Skydance, is also expected to shutter music-only channels in Australia, Poland, France, and Brazil. Despite axing much of its dedicated music programming, MTV's flagship channels are still expected to keep broadcasting in the U.K. and elsewhere. Like in the U.S., these channels primarily air massively popular reality programs, as opposed to music videos.

Another year wraps up, and with it comes the annual ritual of taking stock. What were the movies, TV shows and books from this year that stood out to you? Not necessarily the ones that dominated conversation or topped charts, but the ones you found yourself recommending to friends, or returning to for a second watch or read.

Share your picks and, if you're inclined, a line or two on what made them stick.

PC Gamer argues that 2025 was a year full of high-profile AI embarrassments across games and entertainment, with Disney and Lucasfilm serving as the "opening salvo." From the report: At a TED talk back in April, Lucasfilm senior vice president of creative innovation Rob Bredow presented a demonstration of what he called "a new era of technology." Across 50 years of legendary innovation in miniature design, practical effects, and computer animation, Lucasfilm and its miracle workers at Industrial Light & Magic have blazed the trail for visual effects in creative storytelling -- and now Bredow was offering a glimpse at what wonders might come next.

That glimpse, created over two weeks by an ILM artist, was Star Wars: Field Guide: a two-minute fizzle reel of AI-generated blue lions, tentacled walruses, turtles with alligator heads, and zebra-stripe chimpanzees, all lazily spliced together from the shuffled bits of normal-ass animals. These "aliens" were less Star Wars than they were Barnum & Bailey. It felt like a singular embarrassment: Instead of showing its potential, generative AI just demonstrated how out of touch a major media force had become. And then it kept happening.

At the time, I wondered whether evoking the legacy of Lucasfilm just to declare creative bankruptcy had provoked enough disgusted responses to convince Disney to slow its roll on AI ventures. In the months since, however, it's clear that Star Wars: Field Guide wasn't a cautionary tale. It was a mission statement. Disney is boldly, firmly placing its hand on the hot stove. Other embarrassing AI use cases include Fortnite's AI-powered Darth Vader NPC, Activision's use of AI-generated art in what was widely described as the "weakest" Call of Duty launch in years, McDonald's short-lived AI holiday ad, and Disney's $1 billion licensing deal with OpenAI.

Americans are settling into streaming habits that should worry Hollywood executives, as new Nielsen data analyzed by Bloomberg reveals that not a single new original series cracked the top 10 most-watched streaming shows in 2025 -- the first time this has happened since Nielsen began publishing streaming data in 2020.

The shift extends beyond original programming as free, ad-supported streaming services are growing faster than their paid counterparts. YouTube has become the most-watched streaming service on American televisions, now larger than Netflix and Amazon combined. The Roku Channel and Tubi have nearly doubled in size over the past two years, while Peacock and Warner Bros.' streaming services have stagnated at roughly half their free competitors' viewership share.

Netflix still dominates when it comes to hits, accounting for about two-thirds of original programs appearing in Nielsen's weekly top 10 lists. But that dominance is eroding -- the company's share of streaming viewership has fallen below 20%. Meanwhile, Disney's streaming services haven't increased their share of TV viewing in three years, and Amazon is closing in. The most-watched original series of 2025 was Squid Game's final season, followed by returning shows Wednesday and Love Island.

Regardless of who ends up owning Warners Bros., "the outlook for theatrical movies is dimming," writes a Wall Street Journal tech columnist, noting that this year's U.S. box office of $8.3 billion (as of December 25) "is a bit below last year's and well below prepandemic levels of around $11 billion." Warner has historically been one of Hollywood's largest producers of theatrical films, averaging about 22 releases annually in the pre-Covid years of 2015 to 2019, according to data from Comscore. Its franchises include "Harry Potter," the DC Comics characters and "Lord of the Rings." But the current bidding war between Netflix and Paramount Skydance means Warner's future will ultimately be in the hands of either a streaming giant with a longstanding distaste for movie theaters, or a rival studio that will carry a sky-high debt load and therefore a need to sharply cut costs... [Though later the article cites a Wedbush analyst's observation that the current theatrical slate has already been negotiated through 2029, "so any buyer would have to honor those contracts" with theatrical releases for Warner films "for at least the next four years."]

Investors seem deeply skeptical. Cinemark shares have shed about 18% of their value over the past month, while rival exhibitor AMC Entertainment is down more than 30%. Morgan Stanley recently downgraded Cinemark to a neutral rating, with analyst Ben Swinburne noting that concern over Netflix's commitment to theatrical distribution and release windows "is likely to cap the multiple" on Cinemark's stock.... [T]ime hasn't been on the side of movie theaters for a while now, and a takeover of Warner Bros. won't turn back that clock.