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.

Artist Keith Thomson is a modern (and whimsical) Edward Hopper. And Apple TV says he created the "festive artwork" shared on X by Apple CEO Tim Cook on Christmas Eve, "made on MacBook Pro."

Its intentionally-off picture of milk and cookies was meant to tease the season finale of Pluribus. ("Merry Christmas Eve, Carol..." Cook had posted.)

But others were convinced that the weird image was AI-generated.

Tech blogger John Gruber was blunt. "Tim Cook posts AI Slop in Christmas message on Twitter/X, ostensibly to promote 'Pluribus'." As for sloppy details, the carton is labeled both "Whole Milk" and "Lowfat Milk", and the "Cow Fun Puzzle" maze is just goofily wrong. (I can't recall ever seeing a puzzle of any kind on a milk carton, because they're waxy and hard to write on. It's like a conflation of milk cartons and cereal boxes.)
Tech author Ben Kamens — who just days earlier had blogged about generating mazes with AI — said the image showed the "specific quirks" of generative AI mazes (including the way the maze couldn't be solved, expect by going around the maze altogether). Former Google Ventures partner M.G. Siegler even wondered if AI use intentionally echoed the themes of Pluribus — e.g., the creepiness of a collective intelligence — since otherwise "this seems far too obvious to be a mistake/blunder on Apple's part." (Someone on Reddit pointed out that in Pluribus's dystopian world, milk plays a key role — and the open spout of the "natural" milk's carton does touch a suspiciously-shining light on the Christmas tree...)

Slashdot contacted artist Keith Thomson to try to ascertain what happened...

"In the age of Spotify and AI slop, tapes remind us what we're missing when we stop taking risks," writes author Janus Rose in an article for 404 Media. Here's an excerpt: There are lots of advantages to the cassette lifestyle. Unlike vinyl records, tapes are compact and super-portable, and unlike streaming, you never have to worry about a giant company suddenly taking them away from you. They can be easily duplicated, shared, and made into mixtapes using equipment you find in a junk shop. When I was a kid, the first music I ever owned were tapes I recorded from MTV with a Kids' Fisher Price tape recorder. I had no money, so I would listen to those tapes for hours, relishing every word Kim Gordon exhaled on my bootlegged copy of Sonic Youth's "Bull in the Heather." Just like back then, my rediscovery of cassettes has led me to start listening more intentionally and deeply, devoting more and more time to each record without the compulsion to hit "skip." Most of the cassettes I bought in Tokyo had music I probably never would have found or spent time with otherwise.

Getting reacquainted with tapes made me realize how much has been lost in the streaming era. Over the past two decades, platforms like Spotify co-opted the model of peer-to-peer filesharing pioneered by Napster and BitTorrent into a fully captured ecosystem. But instead of sharing, this ecosystem was designed around screen addiction, surveillance, and instant gratification -- with corporate middlemen and big labels reaping all the profits. Streaming seeks to virtually eliminate what techies like to call "user friction," turning all creative works into a seamless and unlimited flow of data, pouring out of our devices like water from a digital faucet. Everything becomes "Content," flattened into aesthetic buckets and laser-targeted by "perfect fit" algorithms to feed our addictive impulses. Thus the act of listening to music is transformed from a practice of discovery and communication to a hyper-personalized mood board of machine-optimized "vibes."

What we now call "AI Slop" is just a novel and more cynically efficient vessel for this same process. Slop removes human beings as both author and subject, reducing us to raw impulses -- a digital lubricant for maximizing viral throughput. Whether we love or hate AI Slop is irrelevant, because human consumers are not its intended beneficiaries. In the minds of CEOs like OpenAI's Sam Altman, we're simply components in a machine built to maintain and accelerate information flows, in order to create value for an insatiably wealthy investor class. [...]

Tapes and other physical media aren't a magic miracle cure for late-stage capitalism. But they can help us slow down and remember what makes us human. Tapes make music-listening into an intentional practice that encourages us to spend time connecting with the art, instead of frantically vibe-surfing for something that suits our mood from moment-to-moment. They reject the idea that the point of discovering and listening to music is finding the optimal collection of stimuli to produce good brain chemicals. More importantly, physical media reminds us that nothing good is possible if we refuse to take risks. You might find the most mediocre indie band imaginable. Or you might discover something that changes you forever. Nothing will happen if you play it safe and outsource all of your experiences to a content machine designed to make rich people richer.

After Anna's Archive published a massive scrape containing 86 million songs and metadata from Spotify, the streaming giant responded by disabling the nefarious accounts responsible. A spokesperson for Spotify told Recorded Future News that it "has identified and disabled the nefarious user accounts that engaged in unlawful scraping."

"We've implemented new safeguards for these types of anti-copyright attacks and are actively monitoring for suspicious behavior," the spokesperson said. "Since day one, we have stood with the artist community against piracy, and we are actively working with our industry partners to protect creators and defend their rights." The Record reports: The spokesperson added that Anna's Archive did not contact them before publishing the files. They also said it did not consider the incident a "hack" of Spotify. The people behind the leaked database systematically violated Spotify's terms by stream-ripping some of the music from the platform over a period of months, a spokesperson said. They did this through user accounts set up by a third party and not by accessing Spotify's business systems, they added.

Anna's Archive published a blog post about the cache this weekend, writing that while it typically focuses its efforts on text, its mission to preserve humanity's knowledge and culture "doesn't distinguish among media types." "Sometimes an opportunity comes along outside of text. This is such a case. A while ago, we discovered a way to scrape Spotify at scale. We saw a role for us here to build a music archive primarily aimed at preservation," they said. "This Spotify scrape is our humble attempt to start such a 'preservation archive' for music. Of course Spotify doesn't have all the music in the world, but it's a great start."

Hallmark has released more than 300 Christmas-themed TV movies since 2000, and a detailed internal rulebook obtained by film data analyst Stephen Follows explains how the company manages to produce nearly one new holiday film per week during the final quarter of each year without the whole operation collapsing into creative chaos.

The document, referred to as Hallmark's "bible" by writers and producers who have worked on these films, specifies everything from script length (105-110 pages across a rigid nine-act structure) to prohibited activities (no bowling, no karaoke). Christmas movies must include snow or its remnants and feature characters engaged in seasonal activities like baking cookies, ice skating, and drinking hot chocolate.

The target demographic is women aged 25-54, and the content must be watchable by an 80-year-old grandmother and a 5-year-old niece simultaneously. The economics differ sharply from theatrical filmmaking. Licensed titles from outside production companies carry budgets around $500,000 or less, while Hallmark's in-house productions can exceed $2 million. About three-quarters of the library comes from external producers. The formula appears to work. Hallmark TV movies have averaged a 6.3 IMDb user score over the past 14 years, compared to 5.9 for feature films worldwide.

Further reading: Using Data To Determine if 'Die Hard' is a Christmas Movie.

YouTube has been winning the streaming wars for years, but its real competitive advantage comes not from prime-time viewing but from its stranglehold on daytime hours when Americans are meditating, exercising, cooking, or simply looking for background noise. At 11 a.m. in October, YouTube commanded an average audience of 6.3 million viewers compared to Netflix's 2.8 million, according to Nielsen data. Amazon drew about a million viewers at that hour, and HBO Max, Paramount+ and Peacock each pulled fewer than 600,000.

The gap narrows significantly at night -- Netflix's audience swells to over 11 million at 9 p.m., trailing YouTube's 12 million -- but YouTube's dominance reasserts itself in overnight hours and through the next day. Netflix is responding by bringing at least 34 video podcasts to its service next year, including "The Breakfast Club," "The Bill Simmons Podcast," and "Pardon My Take." Amazon added the Kelce brothers' "New Heights" podcast to Prime Video in September. The strategy is intentional: roughly 75 percent of all podcast listening happens between 6 a.m. and 6 p.m., according to Edison Research. YouTube said viewers watched 700 million hours of video podcasts on living room devices in October alone, a 75% increase from the previous year.

An anonymous reader shares a report: Samsung is breaking new ground with its 2026 lineup of gaming monitors, with the Odyssey 3D G90XH becoming the first to feature a 6K display with "glasses-free 3D." The new monitor comes with a 32-inch IPS panel, offering real-time eye-tracking that "adjusts depth and perspective" based on your position, along with a speedy 165Hz refresh rate that you can boost to 330Hz with a Dual Mode feature that switches to 3K.

[...] A 6K 3D display isn't the only notable upgrade coming to Samsung's lineup; the company is launching the Odyssey G6 G60H, which it says is the "world's first" 1,040Hz gaming monitor. The 27-inch monitor only supports this ultra-fast refresh rate in HD, while its native 1440p resolution still offers speeds up to a very fast 600Hz. It's also compatible with AMD FreeSync Premium and NVIDIA G-Sync.

If you watched Avatar: Fire and Ash in James Cameron's preferred high frame rate 3D format and noticed certain sequences appearing unusually smooth while others had the traditional cinematic look, that visual inconsistency is entirely intentional. The third Avatar film continues Cameron's frame rate experimentation from The Way of Water, selectively deploying 48 frames per second for underwater and flying sequences while keeping dialogue scenes at the standard 24 FPS.

The human eye perceives somewhere between 30 and 60 FPS, meaning viewers can detect the shift between frame rates. Cameron argues the tradeoff is worth it: discomfort from 3D viewing isn't eye strain but "brain strain," caused when parallax-sensitive neurons struggle to process jumping vertical edges. Higher frame rates smooth this out. When critics questioned the approach, Cameron was characteristically blunt. "I think $2.3 billion says you might be wrong on that," he told DiscussingFilm, referencing The Way of Water's box office.

A group of activists has scraped Spotify's entire library, accessing 256 million rows of track metadata and 86 million audio files totaling roughly 300TB of data. The metadata has been released via Anna's Archive, a search engine for "shadow libraries" that previously focused on books.

Spotify described the activists as "anti-copyright extremists who've previously pirated content from YouTube and other platforms" and confirmed it is actively investigating the incident. The activists claim this represents "the world's first 'preservation archive' for music which is fully open" and covers "around 99.6% of listens."

They appear to have used Spotify's public web API to scrape the metadata and circumvented DRM to access audio files. Spotify insists that this is not a security breach affecting user data. Though the more pressing concern for the music industry may be AI training rather than pirate streaming services -- similar YouTube datasets have reportedly been used by unlicensed generative AI music services.

Long-time Slashdot reader destinyland wonders if "gifts for geeks" is the next big consumer demographic: For this year's holiday celebrations, Hallmark made a special Christmas tree ornament, a tiny monitor displaying screens from the classic video game "Oregon Trail." ("Recall the fun of leading a team of oxen and a wagon loaded with provisions from Missouri to the West....") Top sites and major brands are now targeting the "tech" demographic — including programmers, sysadmins and even vintage game enthusiasts — and when Hallmark and Amazon are chasing the same customers as GitHub and Copilot, you know there's been a strange yet meaningful shift in the culture...

While AI was conquering the world, GitHub published its "Ultimate gift guide for the developer in your life" just as soon as doors opened on Black Friday. So if you're wondering, "Should I push to production on New Year's Eve?" GitHub recommends their new "GitHub Copilot Amazeball," which it describes as "GitHub's magical collectible ready to weigh in on your toughest calls !" Copilot isn't involved — questions are randomly matched to the answers printed on the side of a triangle-shaped die floating in water. "[Y]ou'll get answers straight from the repo of destiny with a simple shake," GitHub promises — just like the Magic 8 Ball of yore. "Get your hands on this must-have collectible and enjoy the cosmic guidance — no real context switching required!" And GitHub's "Gift Guide for Developers" also suggests GitHub-branded ugly holiday socks and keyboard keycaps with GitHub's mascots.

But GitHub isn't the only major tech site with a shopping page targeting the geek demographic. Firefox is selling merchandise with its new mascot. Even the Free Software Foundation has its own shop, with Emacs T-shirts, GNU beanies and a stuffed baby gnu ("One of our most sought-after items ... "). Plus an FSF-branded antisurveillance webcam guard.

Maybe Dr. Seuss can write a new book: "How the Geeks Stole Christmas." Because this newfound interest in the geek demographic seems to have spread to the largest sites of all. Google searches on "Gifts for Programmers" now point to a special page on Amazon with suggestions like Linux crossword puzzles. But what coder could resist a book called " Cooking for Programmers? "Each recipe is written as source code in a different programming language," explains the book's description... The book is filled with colorful recipes — thanks to syntax highlighting, which turns the letters red, blue and green. There are also real cooking instructions, but presented as an array of strings, with both ingredients and instructions ultimately logged as messages to the console...

Some programmers might prefer their shirts from FreeWear.org, which donates part of the proceeds from every sale to its corresponding FOSS project or organization. (There are T-shirts for Linux, Gnome and the C programming language — and even one making a joke about how hard it is to exit Vim.)

But maybe it all proves that there's something for everybody. That's the real heartwarming message behind these extra-geeky Christmas gifts — that in the end, tech is, after all, still a community, with its own hallowed traditions and shared celebrations.

It's just that instead of singing Christmas carols, we make jokes about Vim.

"If I get to do another Avatar film, it'll be because the business model still works," James Cameron tells CNN in a video interview — adding "That I can't guarantee, as I sit here today. That'll play out over the next month, really." He says theatre is a "sacred space," and while it will never go away, "I think that it could fall below a threshhold where the kinds of movies that I like to make and that I like to see... won't be sustainable, they won't be economically viable. And that can happen. We're very close to that right now."

The Wrap notes he filmed his new movie at the same time as its predecessor, The Way of Water." "We did all the performance capture in an 18-month period for both films. Then we did a lot of the virtual camera work to figure out exactly how we were going to do the live-action," Cameron explained. "Then we did all live-action together for both films. Then we split it and said, All right, now we just got to finish [movie] two....." While Cameron has been iffy about whether the previously announced fourth and fifth films will actually happen, he has already shot some of the fourth movie. "We're in a fluid scenario. Theatrical's contracting, streaming is expanding. People's habit patterns are changing. The teen demo consumes media differently than what we grew up with. And how much is it changing? Does theatrical contract to a point where it just stops right and doesn't get any smaller because we still value that, or does it continue to wither away?" Cameron said.
It's a theme he continued in his interview with The Hollywood Reporter" "This can be the last one. There's only one [unanswered question] in the story. We may find that the release of Avatar 3 proves how diminished the cinematic experience is these days, or we may find it proves the case that it's as strong as it ever was — but only for certain types of films. It's a coin toss right now. We won't know until the middle of January."

I ask something that might sound odd: What do you want to happen? But Cameron gets the implication. "That's an interesting question," he says. "I feel I'm at a bit of a crossroads. Do I want it to be a wild success — which almost compels me to continue and make two more Avatar movies? Or do I want it to fail just enough that I can justify doing somethingelse...?"

"What won't happen is, I won't go down the rabbit hole of exclusively making only Avatar for multiple years. I'm going to figure out another way that involves more collaboration. I'm not saying I'm going to step away as a director, but I'm going to pull back from being as hands-on with every tiny aspect of the process..." Cameron won't reveal his next project — and he might even be unsure himself — but will give intriguing hints. In addition to co-directing Billie Eilish's upcoming 3D concert documentary, Hit Me Hard and Soft, Cameron has another globe-trotting documentary adventure in the works, the details of which are under wraps. His next narrative film probably won't be Ghosts of Hiroshima, which has generated considerable press after Cameron acquired the rights to Charles Pellegrino's book chronicling the true story of Tsutomu Yamaguchi, who in 1945 survived the nuclear blasts at both Hiroshima and Nagasaki. Cameron promised Yamaguchi on his deathbed in 2010 that he'd makethefilm. "The postapocalypse is not going to be the fun that it is in science fiction," he says. "It's not going to have mutants and monsters and all sorts of cool stuff. It's hell...."

Cameron first portrayed the apocalypse in his 1984 debut, The Terminator, a franchise he's quietly working on revisiting. "Once the dust clears on Avatar in a couple of months, I'm going to really plunge into that," he says. "There are a lot of narrative problems to solve. The biggest is how do I stay enough ahead of what's really happening to make it science fiction?" Asked whether he's cracked the premise, Cameron replies, "I'm working on it," but his sly smile suggests that he has.... There needs to be a broader interpretation of Terminator and the idea of a time war and super intelligence. I want to do new stuff that people aren't imagining."
Maybe Cameron's best response was what he told USA Today: "Let's do another interview in a year and then I'll tell you what my plans are," Cameron, 71, says with a grin. For now, he's still catching his breath.

The television industry's brightness war may have hit its inflection point in 2025, the year TCL and Hisense released the first consumer TVs capable of 5,000 nits under specific settings -- a figure that would have seemed absurd not long ago when manufacturers struggled to reach 2,000 nits. LG introduced Primary RGB Tandem OLED technology, moving from a three-stack panel design to a four-stack red-blue-green-blue configuration that the company claims can achieve 4,000 nits. The technology appears in the LG G5, Panasonic Z95B and Philips OLED950 and OLED910.

RGB mini-LED also emerged as a new category. The technology uses individual small red, green and blue LED backlights instead of white or blue LEDs paired with quantum dots. Hisense demonstrated it at CES 2025, TCL announced its Q10M for China, and Samsung unveiled its own version called micro-RGB. These sets range from $12,000 to $30,000. Sony has confirmed it will debut RGB TV technology in spring 2026. HDR content is currently mastered at a maximum of 4,000 nits. The situation echoes the audio industry's loudness war, The Verge points out, which peaked with Metallica's heavily compressed Death Magnetic in 2008.

An anonymous reader quotes a report from Deadline: YouTube has terminated two prominent channels that used artificial intelligence to create fake movie trailers, Deadline can reveal. The Google-owned video giant has switched off Screen Culture and KH Studio, which together boasted well over 2 million subscribers and more than a billion views. The channels have been replaced with the message: "This page isn't available. Sorry about that. Try searching for something else."

Earlier this year, YouTube suspended ads on Screen Culture and KH Studio following a Deadline investigation into fake movie trailers plaguing the platform since the rise of generative AI. The channels later returned to monetization when they started adding "fan trailer," "parody" and "concept trailer" to their video titles. But those caveats disappeared In recent months, prompting concern in the fan-made trailer community. YouTube's position is that the channels' decision to revert to their previous behavior violated its spam and misleading-metadata policies. This resulted in their termination. "The monster was defeated," one YouTuber told Deadline following the enforcement action.

Deadline's investigation revealed that Screen Culture spliced together official footage with AI images to create franchise trailers that duped many YouTube viewers. Screen Culture founder Nikhil P. Chaudhari said his team of a dozen editors exploited YouTube's algorithm by being early with fake trailers and constantly iterating with videos. [...] Our deep dive into fake trailers revealed that instead of protecting copyright on these videos, a handful of Hollywood studios, including Warner Bros Discovery and Sony, secretly asked YouTube to ensure that the ad revenue from the AI-heavy videos flowed in their direction.

Warner Bros Discovery's board spurned Paramount Skydance's $108.4 billion hostile takeover bid on Wednesday, calling the offer "illusory" as it accused the studio giant of misleading shareholders about its financing. From a report: Paramount has been in a race with Netflix to win control of Warner Bros, and with it, its prized film and television studios, HBO Max streaming service and franchises like "Harry Potter." After Warner Bros accepted the streaming giant's offer, Paramount launched a hostile offer to outdo that bid.

In a letter to shareholders on Wednesday, the Warner Bros board wrote that Paramount had "consistently misled" Warner Bros shareholders that its $30-per-share cash offer was fully guaranteed, or "backstopped," by the Ellison family, led by billionaire and Oracle co-founder Larry Ellison.