An anonymous reader quotes an op-ed from Ars Technica's Scharon Harding: TVs offer us an escape from the real world. After a long day, sometimes there's nothing more relaxing than turning on your TV, tuning into your favorite program, and unplugging from the realities around you. But what happens when divisive, potentially offensive messaging infiltrates that escape? Even with streaming services making it easy to watch TV commercial-free, it can still be difficult for TV viewers to avoid ads with these sorts of messages. That's especially the case with budget brands, which may even force controversial ads onto TVs when they're idle, making users pay for low-priced TVs in unexpected, and sometimes troubling, ways. [...]

Buying a budget TV means accepting some trade-offs. Those trade-offs have historically been around things like image quality and feature sets. But companies like Vizio are also asking customers to accept questionable advertising decisions as they look to create new paths to ad revenue. Numerous factors are pushing TV OS operators deeper into advertising. Brands are struggling to grow profits as people buy new TVs less frequently. As the TV market gets more competitive, hardware is also selling for cheaper, with some companies selling TVs at a loss with hopes of making up for it with ad sales. There's concern that these market realities could detract from real TV innovation. And as the Secretary Noem ad reportedly shown to Vizio TV owners has highlighted, another concern is the lack of care around which ads are being shown to TV owners -- especially when all they want is simple "ambient background" noise.

Today, people can disable ambient mode settings that show ads. But with some TV brands showing poor judgment around where they sell and place ads, we wouldn't bank on companies maintaining these boundaries forever. If the industry can't find a way to balance corporate needs with appropriate advertising, people might turn off not only their TVs more often, but also unplug from those brands completely. Some of the worst offenders highlighted in the article include Vizio TVs' "Scenic Mode," which activates when the TV is idle and displays "relaxing, ambient content" accompanied by ads. Roku City takes a similar approach with its animated cityscape screensaver, saturated with brand logos and advertisements. Even Amazon Fire TV and premium brands like LG have adopted screensaver ads, showing that this intrusive trend isn't limited to budget models.

An anonymous reader shares a report: The post-Covid rebound of live events is all the more evidence that movie theaters are never coming back, Netflix co-CEO Ted Sarandos told Semafor in an interview at the Paley Center for Media Friday.

"Nearly every live thing has come back screaming," Sarandos said. "Broadway's breaking records right now, sporting events, concerts, all those things that we couldn't do during COVID are all back and bigger than ever. The theatrical box office is down 40 to 50% from pre-COVID, and this year is down 8% already, so the trend is not reversing. You've gotta look at that and say, 'What is the consumer trying to tell you?'"

Smart TV platforms are increasingly monitoring what appears on users' screens through Automatic Content Recognition (ACR) technology, building detailed viewer profiles for targeted advertising.

Roku, which transitioned from a hardware company to an advertising powerhouse, reported $3.5 billion in annual ad revenue for 2024 -- representing 85% of its total income. The company has aggressively acquired ACR-related firms, with Roku-owned technology winning an Emmy in 2023 for advancements in the field.

According to market research firm Antenna, 43% of all streaming subscriptions in the United States were ad-supported by late 2024, showing the industry's shift toward advertising-based models. Most users unknowingly consent to this monitoring when setting up their devices. Though consumers can technically disable ACR in their TV settings, doing so often restricts functionality.

Fake movie trailers created with AI are proliferating across YouTube, with some garnering more views than official studio releases -- and Hollywood studios are quietly profiting from the phenomenon rather than shutting it down. Instead of enforcing copyright on these unauthorized videos, Warner Bros. Discovery, Sony Pictures, and Paramount are claiming monetization rights, directing ad revenue from fake trailers for films like "Superman" and "Gladiator II" into studio coffers, according to a Deadline investigation published Friday.

YouTube channels like Screen Culture, which has amassed 1.4 billion views, merge official footage with AI-generated imagery to create convincing trailer mockups that frequently rank higher in search results than legitimate studio releases. "Monetizing unauthorized, unwanted, and subpar uses of human-centered IP is a race to the bottom," SAG-AFTRA told Deadline, condemning studios for profiting from content that exploits performers without permission.

Streaming platforms are increasingly indistinguishable to consumers despite high brand awareness, according to Hub Entertainment Research. The annual Evolution of Video Branding report shows major services like Netflix, Disney+, Hulu, and Max experiencing year-over-year declines in viewers' ability to articulate what makes each platform unique.

Fewer consumers (37% in 2025, down from 41% in 2023) report signing up for services to watch specific shows, while many can't correctly identify where signature programs like Game of Thrones or The Bear can be viewed. While 58% know Stranger Things streams on Netflix, less than half can properly place other major titles.

According to Convergence Research, an estimated 46% of Canadian households didn't have a TV subscription with a cable, satellite, or telecom-based provider in 2024. MobileSyrup reports: In its latest annual "Couch Potato" report (PDF) on the streaming market, the firm notes that this was a four per cent increase from 2023 and that the number is expected to continue to rise to 54 per cent by 2027. Convergence notes that this marks a greater shift towards subscription video on demand services (SVOD) like Netflix and Disney+. To that point, the firm found that Canadian streaming subscription revenue grew 15 per cent year-over-year to $4.2 billion in 2024. At the same time, linear TV subscription revenue dropped five per cent to around $6.5 billion.

Some other interesting findings from the report:
- The 10 leading streaming providers raised prices in Canada by an average of six percent last year
- Ad-enabled memberships are cost 39 percent less on average compared to ad-free options
- Canadians subscribe to an average of 2.6 streaming platforms per household

Infinite Reality, a 3D technology company, has acquired Napster for $207 million, the companies announced Tuesday. The deal aims to transform the once-notorious music sharing service into a metaverse platform.

Napster, launched in 1999 by Shawn Fanning and Sean Parker, was the first major peer-to-peer file-sharing application before legal battles forced its closure in 2001. Since 2016, it has operated as a subscription streaming service. Infinite Reality plans to create virtual 3D spaces where music fans can experience concerts together and artists can sell merchandise.

LG is shutting down Art Lab, its NFT marketplace for TVs. From a report: In a notice posted to its website, LG says it has made the "difficult decision" to close the platform on June 17th. LG launched its Art Lab app during the NFT craze in 2022, billing it as a way to "buy, sell and enjoy high-quality digital artwork" from your TV. It added new digital art to the platform through "groundbreaking" NFT drops, which users could purchase by scanning a QR code to complete transactions through Wallypto, LG's crypto wallet app.

Streaming service provider Plex announced Wednesday its first price increase in a decade for its premium Plex Pass subscription, raising monthly rates to $6.99 from $4.99, yearly subscriptions to $69.99 from $39.99, and lifetime access to $249.99 from $119.99, effective April 29. The company is also making remote playback of personal media a paid feature, introducing a Remote Watch Pass subscription at $1.99 monthly or $19.99 annually for users who don't need full Plex Pass features, and removing its one-time mobile activation fee.

The price increase applies to new and existing subscriptions, with the exception of existing Lifetime Plex Pass holders, the company said.

Sony has developed a new TV display technology combining individual red, green, and blue LEDs for backlighting, potentially offering a middle ground between existing Mini LED and OLED panels. Dubbed "General RGB LED Backlight Technology," the system enables precise color control without sacrificing brightness, reaching 4000 cd/m2 -- matching Sony's professional reference monitors.

Unlike conventional Mini LED TVs that use arrays of blue LEDs, Sony's RGB implementation delivers significantly improved color accuracy and viewing angles. In side-by-side comparisons with Sony's premium Bravia 9 Mini LED TV, the RGB prototype displayed deeper color gradations and eliminated the characteristic bluish blooming effect around bright objects on dark backgrounds.

The technology isn't entirely novel, the Verge reports -- Sony released a Qualia TV with RGB backlighting in 2004 and demonstrated "Crystal LED" prototypes in 2012. Competitors including Hisense, TCL, and Samsung are developing similar systems. While the RGB LED prototype outshone Sony's QD-OLED A95L in brightness, differences in color reproduction were less pronounced. The technology appears particularly promising for larger displays in bright environments where OLED's limitations become apparent.

U.S. music streaming services surpassed 100 million subscribers in 2024 [PDF] while industry revenue hit a record $14.9 billion, up 4% from the previous year, according to the Record Industry Association of America (RIAA).

Physical media sales outpaced digital growth, with vinyl records increasing 7% to $1.4 billion, outselling CDs ($541 million) for the third consecutive year. Digital downloads plummeted 14.9%, now representing just 2% of industry revenue.

Despite spending hundreds of millions on blockbuster films, Netflix continues to churn out critically panned big-budget fare with its latest $300 million flop, "The Electric State," starring Chris Pratt and Millie Bobby Brown. While the streaming giant has produced acclaimed films by giving talented directors creative freedom -- resulting in successes like "The Irishman," "Marriage Story" and "The Power of the Dog" -- it has repeatedly failed to create genuinely compelling blockbusters despite attracting major talent and pouring massive resources into productions like "Red Notice," "The Gray Man" and now "The Electric State."

These expensive Netflix "mockbusters" lack the overwhelming sensations that theatrical blockbusters deliver, instead feeling like glorified content designed primarily for home viewing. The Russo brothers' "Electric State," with its drab visuals and lifeless performances, exemplifies how Netflix's biggest productions feel infused with the knowledge they're merely "content first."

An anonymous reader quotes a report from Broadband TV News: The National Association of Broadcasters (NAB) has filed a petition with the Federal Communications Commission (FCC) urging the agency to establish a clear, industry-wide transition plan for the full deployment of Next Gen TV (ATSC 3.0). The proposal outlines a two-phased transition while modernizing regulatory requirements to support consumer access and innovation. [...] Under the plan, stations in the top 55 markets, covering 70% of the US population, would transition by February 2028, with all remaining full-power and Class A stations following in or before February 2030. The petition also calls for updates to FCC rules to ensure television reception devices support Next Gen TV, maintain existing MVPD carriage obligations and eliminate regulatory hurdles that could slow adoption. To clarify, ATSC 1.0 is the current standard for free over-the-air (OTA) TV. While ATSC 3.0 (also called NextGen TV) is its intended replacement, it's not backward-compatible, meaning consumers need new equipment to receive it. NAB's petition is to allow a complete shutdown of ATSC 1.0 to accelerate the transition to ATSC 3.0, meaning older TV setups relying on free OTA signals would stop working unless consumers upgrade their equipment. Their argument is that ATSC 3.0 adoption has been slow, and networks would benefit more from shifting away from OTA broadcasting entirely.

Reddit user bshensky argues that shutting down OTA TV would benefit large media corporations and harm independent stations. It's also worth noting that OTA TV operates on valuable spectrum, which could be repurposed for mobile broadband (this has happened before), benefiting cellular providers.

A new statistical analysis has identified the films audiences "love to hate," with Battlefield Earth, Morbius, Grease 2, and Cats topping the list of cinema's most detested productions. The study, published by data analyst Daniel Parris, examined review data from MovieLens to calculate both the percentage of one-star reviews and total disapproval magnitude for each release.

A common thread among these widely derided titles: many were adaptations of popular books or shows, or attempted to capitalize on once-beloved franchises. Adam Sandler leads the actors most frequently appearing in widely disliked films, followed by comedians and action stars who have starred in productions with high one-star review rates.

The research also reveals an industry trend toward increasing one-star reviews over time, with family-oriented fare and horror films receiving disproportionately negative ratings despite consistent box office profitability - suggesting studios have prioritized risk-averse, commercially viable projects over critical acclaim.

Netflix has deployed AI upscaling on the 1987-1993 sitcom "A Different World," resulting in significant visual artifacts documented by technology commentator Scott Hanselman. The AI processing, intended to enhance the original 360p footage for modern displays, has generated distortions resembling "lava lamp effects" on actors' bodies, improperly rendered mouths, and misshapen background objects including posters and tennis rackets. This marks Netflix's second controversial AI implementation in recent months, following December's AI-powered dubbing and mouth morphing on "La Palma."

Sphere Entertainment Co, the company behind the Las Vegas Sphere, said they are considering opening scaled-down versions of the immersive venue in other cities. AV Magazine reports: While this has been been feasible for its high-profile residencies such as U2, the Eagles, Dead & Company and Anyma, smaller venues could attract a broader range of artists who might not have the budget or demand to fill the flagship Las Vegas location. By scaling down the size while retaining the signature technology, Sphere Entertainment Co can offer a similar spectacle at a more sustainable cost for artists and spectators.

The possibility of mini-Spheres follows news that a full-scale venue will open in the UAE as a result of a partnership between Sphere Entertainment Co and the Department of Culture and Tourism -- Abu Dhabi. Beyond concerts, the Las Vegas Sphere has proven successful with immersive films such as V-U2: An Immersive Concert Film and the Sphere Expeience featuring Darren Aronofsky's Postcard from Earth, which In January passed 1,000 screenings. "As we enter a new fiscal year, we see significant opportunities to drive our Sphere business forward in Las Vegas and beyond," said Dolan. "We believe we are on a path toward realizing our vision for this next-generation medium and generating long-term shareholder value."

An anonymous reader quotes a report from TechCrunch: When Bluesky CEO Jay Graber walked on stage at SXSW 2025 for her keynote discussion, she wore a large black T-shirt with her hair pulled back into a bun. At first glance, it might appear as though she's following the same playbook that so many women in tech leadership have played before: downplaying her femininity to be taken seriously. The truth is way more interesting than that. What might look like your average black T-shirt is a subtle, yet clear swipe at Mark Zuckerberg, a CEO who represents everything that Bluesky is trying to work against as an open source social network.

The Meta founder and CEO has directly compared himself to the Roman emperor Julius Caesar. His own shirt declared Aut Zuck aut nihil, which is a play on the Latin phrase aut Caesar aut nihil: "Either Caesar or nothing." Graber's shirt -- which directly copies the style of a shirt that Zuckerberg wore onstage recently -- says Mundus sine caesaribus. Or, "a world without Caesars." With the way Bluesky is designed, Graber is certainly putting her money where her mouth (or shirt) is. As a decentralized social network built upon an open source framework, Bluesky differs from legacy platforms like Facebook in that users have a direct, transparent window into how the platform is being built. "If a billionaire came in and bought Bluesky, or took it over, or if I decided tomorrow to change things in a way that people really didn't like, then they could fork off and go on to another application," Graber explained at SXSW. "There's already applications in the network that give you another way to view the network, or you could build a new one as well. And so that openness guarantees that there's always the ability to move to a new alternative."

Sony has removed more than 75,000 AI-generated deepfake songs mimicking artists including Harry Styles and Beyonce from online platforms, the company revealed in a submission to the UK government, adding this likely represents just a fraction of fake songs circulating online.

The proliferation of these unauthorized AI replicas has caused "direct commercial harm to legitimate recording artists, including UK artists," Sony stated. The company's intervention comes as Britain considers new copyright legislation that would permit AI companies to train models using artist material, a proposal that would require rights holders to opt out rather than requiring permission.

Nominated for 10 Oscars, The Brutalist (directed and produced by Brady Corbet) has an "intriguing and controversial technical feature," according to the Baffler, that threatens to turn movie-viewing into "a drab appreciation of machine-managed flawlessness, and acting less interesting..." In January, the film's editor Dávid Jancsó revealed that he and Corbet used tools from AI speech software company Respeecher to make the Hungarian-language dialogue spoken by Adrien Brody (who plays the protagonist, Hungarian émigré architect László Tóth) and Felicity Jones (who plays Tóth's wife Erzsébet) sound more Hungarian. In response to the ensuing backlash, Corbet clarified that the actors worked "for months" with a dialect coach to perfect their accents; AI was used "in Hungarian language dialogue editing only, specifically to refine certain vowels and letters for accuracy...." Defenders of this slimy deception claim the use of AI in film is no different than CGI or automated dialogue replacement, tools commonly deployed in the editing suite for picture and audio enhancement. But CGI and ADR don't tamper with the substance of a performance, which is what's at issue here....

AI seems poised to decimate the voice acting industry; how long will it be before filmmakers give up on the whole time-wasting business of dialect coaching and language research and toss their performers' untrained vocalizations directly into the linguistic Instant Pot...? "Adrien and Felicity's performances are completely their own," Corbet has argued. Only, they're not. Brody and Jones's performances may now be authentic to spoken Hungarian, but they're no longer authentic to themselves: at least in the parts of the film with Hungarian dialogue, the acting stands more as a monument to the prowess of the voice-matching software than that of the actors...

AI is a different beast from color film, or the Louma crane, or the hand-held camera: it's steroidal, aesthetically corrupting, and unlike these earlier advances it confronts the filmmaker with real ethical questions... Use implies complicity. To incorporate AI into the production of art today, no matter how sparingly or subtly, is to endorse Silicon Valley's politics and worldview: its exploitation of both producers and "users," its blithe indifference to the social impact of post-automation layoffs and the environmental assault of industrial data processing, its cramped and uninteresting idea of imagination, its petrification of creation. It's a vote for the assholes...
In short, the essays calls this "recourse to corrective AI" a "filmmaking prosthesis that cheats the viewer and cheapens the performances." And ironically this clashes with the film's depiction of a "principled artist," according to the article. ("Some of the 'retro' digital renderings in the memorial video included in this scene were also, Corbet has admitted, produced with the help of AI.")

The essay notes that several of 2024's other Oscar-nominated films also employed Respeecher, including Dune: Part Two and Emilia Pérez. "What matters here is not this particular infraction but the precedent it sets, the course it establishes for culture."

Long-time Slashdot reader invisik saw this story on Yahoo News: Comedian and voice actor George Lowe, who is well-known as the voice of Space Ghost on "Space Ghost Coast to Coast," died on March 2. He was 67...

He did some voice-over work for TBWS and Cartoon Network in the 1980s to mid-1990s before getting his lead role of Space Ghost in 1994 with the premiere of "Space Ghost Coast to Coast" on Cartoon Network. Space Ghost was a parody of talk shows with live-action celebrity guests, hosted by the Hanna Barbera character Space Ghost, which aired from 1994 to 1999 on Cartoon Network. The show later returned in 2001, airing on Adult Swim's late-night programming block until 2004, Deadline reported.
When animation pioneer William Hanna died in 2001, Slashdot founder CmdrTaco posted "the thing that I respect most about Hanna is the fact that a show like Space Ghost Coast to Coast was allowed to take their characters and do something truly unique with them. He even lent his voice to the show in one episode. Not a lot of people would be willing to allow one of their creations to be twisted like that, but the original Space Ghost was one of my childhood staples, and Space Ghost Coast to Coast stands in a class all its own proving that creativity isn't dead on TV."

"Adult Swim would not be the network it is today without Space Ghost Coast to Coast," argues ComicBook.com. (And as a tribute to Lowe, Adult Swim posted five minutes of surreal outtakes from Space Ghost Coast to Coast's 10th Anniversary celebration.)

A headline at Vulture.com makes the case that "Space Ghost Coast to Coast Only Worked Because of George Lowe." They've rounded up a collection of videos with surreal titles like "Marrying Bjork" and "Guesting on a MF DOOM track" (plus that time Lowe did a live interview — in his Space Ghost costume — with C-SPAN).