Martin Scorsese, writing at The New York Times: [...] In a way, certain Hitchcock films were also like theme parks. I'm thinking of "Strangers on a Train," in which the climax takes place on a merry-go-round at a real amusement park, and "Psycho," which I saw at a midnight show on its opening day, an experience I will never forget. People went to be surprised and thrilled, and they weren't disappointed. Sixty or 70 years later, we're still watching those pictures and marveling at them. But is it the thrills and the shocks that we keep going back to? I don't think so. The set pieces in "North by Northwest" are stunning, but they would be nothing more than a succession of dynamic and elegant compositions and cuts without the painful emotions at the center of the story or the absolute lostness of Cary Grant's character. The climax of "Strangers on a Train" is a feat, but it's the interplay between the two principal characters and Robert Walker's profoundly unsettling performance that resonate now.

Some say that Hitchcock's pictures had a sameness to them, and perhaps that's true -- Hitchcock himself wondered about it. But the sameness of today's franchise pictures is something else again. Many of the elements that define cinema as I know it are there in Marvel pictures. What's not there is revelation, mystery or genuine emotional danger. Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes. They are sequels in name but they are remakes in spirit, and everything in them is officially sanctioned because it can't really be any other way. That's the nature of modern film franchises: market-researched, audience-tested, vetted, modified, revetted and remodified until they're ready for consumption.

[...] In the past 20 years, as we all know, the movie business has changed on all fronts. But the most ominous change has happened stealthily and under cover of night: the gradual but steady elimination of risk. Many films today are perfect products manufactured for immediate consumption. Many of them are well made by teams of talented individuals. All the same, they lack something essential to cinema: the unifying vision of an individual artist. Because, of course, the individual artist is the riskiest factor of all. [...] Today, that tension is gone, and there are some in the business with absolute indifference to the very question of art and an attitude toward the history of cinema that is both dismissive and proprietary -- a lethal combination. The situation, sadly, is that we now have two separate fields: There's worldwide audiovisual entertainment, and there's cinema. They still overlap from time to time, but that's becoming increasingly rare. And I fear that the financial dominance of one is being used to marginalize and even belittle the existence of the other. For anyone who dreams of making movies or who is just starting out, the situation at this moment is brutal and inhospitable to art. And the act of simply writing those words fills me with terrible sadness.

An anonymous reader shares a column: Derek Thompson, writing in the Atlantic last month, highlighted the ways in which contemporary millennial lifestyles are in many ways subsidized by venture capital. Unprofitable businesses are currently offering up great deals to urbanites who otherwise would be unable to afford their fancy city-living in large part because of losses incurred as the cost of buying up market share. "If you wake up on a Casper mattress, work out with a Peloton before breakfast, Uber to your desk at a WeWork, order DoorDash for lunch, take a Lyft home, and get dinner through Postmates, you've interacted with seven companies that will collectively lose nearly $14 billion this year," Thompson wrote of the "Millennial Lifestyle Sponsorship." He doesn't mention it, but there's another key player in the MLS field: Netflix. As Richard Rushfield has noted in his excellent newsletter on Hollywood business, The Ankler, Netflix is in a tricky position. The vast majority of Netflix's viewers (upwards of 80 percent, according to him) watch licensed content ("Friends" and the like) and in order to create a library of programming audiences will pay for, they've gone massively in debt: "Netflix is currently in the hole for about $20 billion in debt and obligations and still operating at a loss."

Those benefiting from the "Netflix and Chill" branch of the Millennial Lifestyle Subsidy tree don't care. And it's all well and good for a Silicon Valley unicorn, one of those rare tech beasts whose valuations do not match profit-loss statements because there's no real competition yet and everyone believes first-mover status is an insurmountable advantage. But with the rapid rise of vicious streaming competition -- the ascendancy of Hulu and niche programmers such as Criterion; the creation of streaming services by Disney, Warner Brothers and Apple, to name a (very) few -- Netflix's advantage seems to be fading. One can already sense a sort of nostalgia for the golden age of bingeing while reading the Hollywood Reporter's roundtable with seven studio heads. "Doesn't it bum you out that you can't make 'The Irishman?'" asked THR's Matthew Belloni. And while one might expect studio heads to go the diplomatic route and say no -- everyone in Hollywood believes in their own product, after all, and there are no regrets ahead of time -- you believe the execs when they answer in the negative. "You know, it actually doesn't. It would bum me out if no one made the movie," Universal's Donna Langley said. "It's never been a better time for filmmakers and storytelling and for things to find their way into the world that were getting squeezed over the last five or six years or even longer."

Microsoft has teamed up with Warner Bros. to text. The collaboration, which was unveiled at Microsoft's Ignite 2019 conference in Orlando, Florida Monday, is a first test case for a new storage technology that could eventually help safeguard Hollywood's movies and TV shows, as well as many other forms of data, for centuries to come. From a report: "Glass has a very, very long lifetime," said Microsoft Research principal researcher Ant Rowstron in a recent conversation with Variety. "Thousands of years." The piece of silica glass storing the 1978 "Superman" movie, measures 7.5 cm x 7.5 cm x 2 mm. The glass contains 75.6 GB of data plus error redundancy codes. Microsoft began to investigate glass as a storage medium in 2016 in partnership with the University of Southampton Optoelectonics Research Centre. The goal of these efforts, dubbed "Project Silica," is to find a new storage medium optimized for what industry insiders like to call cold data -- the type of data you likely won't need to access for months, years, or even decades. It's data that doesn't need to sit on a server, ready to be used 24/7, but that is kept in a vault, away from anything that could corrupt it.

Turns out that Warner Bros. has quite a bit of this kind of cold data. Founded in the 1920s, the studio has been safekeeping original celluloid film reels, audio from 1940s radio shows and much more, for decades. Think classics like "Casablanca," "The Wizard of Oz" or "Looney Tunes" cartoons. "Our mission is to preserve those original assets in perpetuity," said Brad Collar, who is leading these efforts at Warner Bros. as the studio's senior vice president of global archives and media engineering. And while the studio is deeply invested in these classics, it also keeps adding an ever-increasing number of modern assets to its archives, ranging from digitally-shot films and television episodes to newer forms of entertainment, including video games. To date, the Warner Bros. archive contains some 20 million assets, with tens of thousands of new items being added every year. Each of them is being stored in multiple locations, explained Collar. "We want to have more than one copy."

"Terminator: Dark Fate once again failed to avoid Judgment Day because audiences just don't care about the Terminator as a brand, an IP or a franchise," writes a box office pundit at Forbes.

He points out the newly-released film earned just $10.6 million on its opening day: The sci-fi sequel, directed by Tim Miller, produced by James Cameron, and starring franchise vets Linda Hamilton and Arnold Schwarzenegger alongside newbies Mackenzie Davis, Natalia Reyes and Gabriel Luna, was the third attempt to revive the Terminator series in a decade... Terminator has become a metaphor for itself, with filmmakers trying different things only to face the same outcome: Judgment Day is inevitable.

Hollywood may yet figure out that audiences who aren't die-hard sci-fi geeks have little interest in additional Terminator movies... The pitches change, the hooks differ, but the result is always the same. Just because folks liked The Terminator in 1984 and lost their minds over Terminator 2: Judgment Day in 1991 does not mean they have any interest in additional Terminator movies. Just because something was once popular doesn't mean audiences care for a new iteration.

The sheer hubris, to try to convince audiences three times in a row to want something that they clearly don't want, at great expense, is frankly appalling. The "this time folks will bite" attitude is what has left theatrical moviegoing in grave peril as streaming and television networks have filled the gap for something beyond cover records of yesterday's former glories. It is one thing to try a reboot, strike out and move on... It is another entirely to take the same dead franchise and presume that the same audiences who said "No, thank you" not once but twice will somehow magically embrace it on the third try.
The article harshly concludes that Terminator: Dark Fate is bombing in North America "because audiences didn't want to see it."

Apple launches its TV+ original video streaming service Friday, ending years of anticipation about the company's next act in television. But it will lack what many consumers want: a giant library of their favorite movies and shows. From a report: Over the past decade, the iPhone maker has explored building its own TV set, buying major content firms like Time Warner and partnering with cable companies on new TV set-top boxes. Instead, it landed on a combination of a video aggregation app, on-demand access to pay-TV channels like HBO and Starz and a $4.99 monthly subscription service of original movies and television shows. The subscription service will be available on millions of iPhones, iPads, Macs and Apple TV boxes in 100 countries beginning Friday, just days ahead of Disney+ and months before comparable services from Comcast Corp. and AT&T Apple TV+ is currently focused entirely on original content, but its lack of a library of older fan favorites puts the service behind its rivals.

Apple's original slate of content includes fewer than 10 programs coming Friday and a total of 15 in the initial slate. Disney+ is scheduled to begin Nov. 12, and it, too, is advertising 15 titles from among its first round of originals. Similarly, Peacock from Comcast's NBCUniversal, is coming in April 2020 with 16 titles, while AT&T's HBO Max, launching at $14.99 a month in May 2020, has dozens in the works. Apple has said it plans to add new titles on a monthly basis to its service, meaning the $4.99 value will increase over time. Still, many people subscribe to the top video services like Netflix and Amazon Prime Video primarily for their giant back catalogs of content.

DarkRookie2 shares a report from Ars Technica: For the first time since 2012, Electronic Arts is once again publishing new games on Valve's Steam platform, the publisher announced today. [You still need an Origin account.] A preorder page for next month's Star Wars Jedi: Fallen Order is already up on the Steam store, and EA promises that "other major titles," like The Sims 4 and Unraveled Two, will be available on Steam in "the coming months." Multiplayer titles like Apex Legends, FIFA 20, and Battlefield V, meanwhile, will be available on Steam "next year," with cross-play between the Steam versions and those on EA's existing Origin service.

Apple, Disney, and WarnerMedia are all launching new video streaming services that you're going to hear a lot about over the next few days. But here's news about one streaming service that's shutting down: Sony's Playstation Vue, which offered a digital version of the cable TV bundle, will close up shop in January. From a report: "The highly competitive Pay TV industry, with expensive content and network deals, has been slower to change than we expected," Sony said in an announcement on Tuesday. Translation: Sony was losing money on the service -- which sold for around $50 a month and was supposed to appeal to people who owned its Playstation gaming consoles -- and didn't have many subscribers. Sony had previously tried to find a buyer for the service, according to a report from The Information. Sony was one of the first so-called "virtual mvpds": bundles of network programming delivered over the internet that replicate what traditional pay TV distributors like Comcast sell. That group now includes YouTube, Hulu, and Dish's Sling.

Netflix said Monday it is introducing a new test feature to allow viewers to either speed up or slow down content on their smartphones, a move that quickly gained criticism from Judd Apatow and other filmmakers online. From a report: Some users spotted a new feature earlier this month that allows a viewer to choose to slow down a show as much as 0.5x the normal speed, or increase the speed up to 1.5x the normal runtime. Apatow, who co-created the Netflix series Love, slammed the feature, tweeting "No @Netflix no. Don't make me have to call every director and show creator on Earth to fight you on this. Save me the time. I will win but it will take a ton of time. Don't fuck with our timing. We give you nice things. Leave them as they were intended to be seen." He added in a follow-up tweet, "Distributors don't get to change the way the content is presented. Doing so is a breaking of trust and won't be tolerated by the people who provide it. Let the people who don't care put it in their contracts that they don't care. Most all do." A Netflix spokesperson told The Hollywood Reporter, "We're always experimenting with new ways to help members use Netflix. This test makes it possible to vary the speed at which people watch shows on their mobiles. As with any test, it may not become a permanent feature on Netflix."

Nvidia today introduced a revamped version of its Android TV streaming device, complete with a faster processor and a new remote control. From a report: In addition to a $200 Pro model, Nvidia is also introducing a new $150 version with a home theater-friendly form factor that is meant to cater to a mainstream audience interested in great picture quality and sound. Nvidia Shield has long been a favorite with Android enthusiasts looking for the most advanced streaming hardware. First introduced in 2015, the device doubles as a console for both local and cloud-based video games, and thanks to a powerful processor, it's capable of running a whole bunch of software that wouldn't work on your average Roku or Fire TV streamer. A Shield can be turned into a DVR to record over-the-air television, a hub to control smart home devices and even a Plex server to manage expansive media collections.

The flip side of this has always been the price: The 2017 version of the device started at $180. You could buy 3 Rokus for the same amount, and still have money left over. Still, for its 2019 revamp, the company decided to stay the course, and still aim for the upper end of the market. "We don't look to do easy, cheap products," said Nvidia Shield director of product management Chris Daniel during a recent interview with Variety. Nvidia's goal was to use its expertise in graphics and AI to push the limits of what a streaming device can do, Daniel said. To stay true to that mission, Nvidia based its new generation of Shield streamers on its Tegra X1+ processor, which promises to be 25% faster than the processor used in previous-generation Shield devices.

Apple today announced that it is releasing new AirPods Pro earbuds on October 30. Priced at $249, the premium version of its true wireless earbuds includes noise-cancellation feature to block out external sound. From a report: The new Pro model is available for pre-order starting today and will hit the shelves Wednesday, Oct. 30 - but, some hopeful buyers are finding they're already sold out online. The buds have ear tips that could fit deeper inside ears. The larger charging case also has a bigger, longer-lasting battery. Apple says the AirPods Pro can last "up to 5 hours" on a single charge and "over 24 hours" with the case. AirPods Pro cost $249 compared to $159 AirPods and $199 AirPods (with wireless charging case). Pre-orders start today at Apple.com. They deliver on Oct. 30 and will be available in Apple Stores the same day. Apple was widely expected to hold another event where it would have supposedly unveiled the refreshed AirPods and a 16-inch MacBook Pro, but the announcement today was made through a press release. The company has not clarified in that press release what kind of battery improvement the AirPods Pro offer. As it has been documented several times, AirPods' in-built battery becomes useless after a year of use, keeping the accessory on for just a few minutes at best. So unless Apple has somehow made a breakthrough here, it is likely the new AirPods, too, will die after a year of usage. Which means you're effectively paying Apple more than $20 a month for using their wireless earpieces.

The rise of streaming services could give cable companies an excuse to raise rates under a Federal Communications Commission order handed down on October 25th. From a report: The order, which comes in response to a petition by Charter, finds that AT&T's TV Now streaming service qualifies as reasonable competition for conventional cable, opening the door to a massive deregulation in monopoly cable markets. Under the Cable Act of 1992, local regulators are permitted to regulate cable prices in markets with only one provider. The provision is meant to prevent cable companies from leveraging that monopoly power to set unfairly high rates. When a new cable company comes to town, providers can file a petition to have those regulations removed. Charter's case centered on a small group of territories in Massachusetts and Hawaii, but Charter's new competition wasn't coming from a competing cable TV service. Instead, Charter argued that AT&T's streaming service, combined with the company's existing broadband offering, made up a close enough substitute for cable TV that Charter no longer counted as a local monopoly. Despite opposition from both Massachusetts and Hawaii state governments, the FCC ultimately agreed, leaving Charter free to raise its cable rates.

An anonymous reader quotes a report from Ars Technica: When Google launches its Stadia streaming service on November 19 (for some pre-orderers, at least), it will only include titles that are also available on standard PCs and consoles. Going forward, though, the company says it's going to focus on first-party exclusives "that wouldn't be possible on any other platform." That's how Google head of Stadia Games and Entertainment Jade Raymond (well-known as one of the creators of Assassin's Creed) summarized the company's plans in a recent interview with GamesIndustry.biz. Google announced today that its first first-party game development studio would be located in Montreal, and Raymond told GI that studio will be focused on trying things that other dedicated game platforms can't do.

Part of that promise, Raymond says, is the ability to use Google's distributed data center hardware to perform real-time calculations that can't be done on even the most powerful home hardware. "A fully physics-simulated game is one of the Holy Grails of game creation since Trespasser was being imagined 20-something years ago, and now we finally have a platform where we'll be able to deliver some of those experiences," Raymond said, making reference to the overly ambitious failure of 1998's Jurassic Park: Trespasser. That distributed server technology could also aid in the performance and scale of MMOs, Raymond said, because "everyone [on Stadia] is essentially playing in one big LAN party as far as the tech is concerned. There is no difference or constraints from an architecture perspective of how far the users are, or worrying about replication and all the other things that typically limit the number of people you can have in a game." Raymond went on to say that she foresees story-based Stadia games with characters that have "believable human interactions" rather than canned lines of repeated language. "She also talked up the potential to watch a YouTube documentary that includes footage of a classic game, then jump into a Stadia-powered gameplay session with that game directly," reports Ars Technica.

Forty of the world's largest music festivals -- including SXSW, Coachella, Pitchfork, and Bonnaroo -- have gone on the record to promise that they will not use facial recognition technology at their events, following a campaign launched by musicians and activists to ban the technology. From a report: Today, organizers of the campaign are declaring victory. "It's so important that people don't just learn about how scary and dangerous surveillance technology like facial recognition is but also learn about successful efforts to stop it," Evan Greer, the deputy director of Fight For the Future, a digital rights rights advocacy group that spearheaded the campaign, told Motherboard.

This victory for digital rights activists and musicians is the first major setback to commercial facial recognition companies in the United States, and could have ripples beyond the industry. In recent years, many music events have become increasingly Orwellian experiences. Biometric surveillance companies and venture capitalists have identified music festivals as a huge potential market for facial recognition technologies, which can be marketed as a way for concertgoers to bypass long lines. But musicians and activists have concerns.

Netflix is ready to take its lower-cost, mobile-only offering beyond India as it looks to expand the reach of its service in other international markets. From a report: The American on-demand video streaming giant today launched a new price tier in Malaysia that would allow people in the nation to access the video service for RM 17 ($4) a month. The new tier, which is being offered alongside existing regular monthly plans that start from $7.8, limits access to Netflix to just one mobile device and in lower video quality (standard definition, ~480p). (Customers subscribed to this plan are not allowed to watch -- or cast -- Netflix on their TVs and laptops.) The company, which began testing cheaper mobile plans last year in many markets including Malaysia, said it is hopeful that its new plan would "broaden access to Netflix in this truly mobile-first nation." More than 88% of people in Malaysia own a smartphone and 78% of internet users in the Southeast Asian nation -- home to roughly 32 million people -- stream and download media content, according to industry

An anonymous reader quotes a report from Ars Technica: Since the World Health Organization proposed new diagnoses for "hazardous gaming" and "gaming disorder" last year, there's been an ongoing scientific debate about which way the causation for these issues really goes. Does an excessive or addictive relationship with gaming actually cause psychological problems, or are people with existing psychological problems simply more likely to have an unhealthy relationship with gaming? A recent study by Oxford's Internet Institute, published in the open access journal Clinical Psychological Science, lends some support to the latter explanation. But it also highlights just how many of the game industry's most devoted players may also be driven by some unmet psychological needs.

To study how so-called "dysfunctional gaming" relates to psychological needs and behaviors, the Oxford researchers surveyed a nationally representative sample of 1,004 UK adolescents and their caregivers. They asked the caregivers to evaluate their adolescents' levels of "psychosocial functioning:" how well the adolescents are able to internalize or externalize problems in their lives as evidenced by their behavior. [...] Of the 1,004 adolescents surveyed, 525 said they played online games daily for an average of about three hours per day. Among that group, over 55% showed at least one of the nine indicators for Internet Gaming Disorder, and even 23% showed at least three indicators. Those reported "dysregulated gaming" effects showed a significant positive correlation with the amount of time spent playing, as well as a significant negative correlation with the reported psychosocial evaluations from caregivers. In other words, those with "dysregulated" gaming habits were more likely to spend more time playing each day and less likely to be able to handle problems in their lives in a healthy way. Crucially, though, the measured effect of the dysregulated gaming variable in the study "accounted for a practically insignificant share of variability in key outcomes... as compared with the role played by basic psychological needs," as the study authors write. "This evidence suggests that having information about the extent to which an adolescent's video-game play is dysregulated provides no practically useful incremental information when viewed in light caregivers' assessments of emotional, behavioral, peer, or conduct difficulties."

"So while so-called adolescent 'problem gamers' are more likely to show behavioral problems, that fact in and of itself is much less important in predicting those problems than other measures of whether those adolescents' psychological needs are being met," reports Ars Technica. "That suggests that both dysregulated gaming and psychosocial behavior problems are both potential signs of more fundamental underlying psychological frustrations rather than excessive gaming causing problems in and of itself."

Comcast made headlines last month when it announced plans to give a free streaming box to all of its internet-only subscribers -- except, there's an extra fee that Comcast didn't clearly disclose at the time. From a report: It'll only give the box to internet-only subscribers who also rent a modem and router from the company for an additional $13 per month. After the free offer was announced last month, a Comcast spokesperson told me the rental requirement would be dropped "in the coming weeks" so that all internet-only customers could get the device for free. But a month later, that requirement is still in place, and Comcast's checkout interface has even been updated to emphasize that its streaming box, called Flex, is only included when you rent the company's modem / router combo, the xFi Gateway. The Comcast spokesperson now says the ability to use your own router and avoid the fee is "coming imminently."

Blink-182 singer Tom DeLonge's UFO research organization has signed an agreement with the U.S. Army in which it will help the military study and develop advanced materials for the purposes of develpoing "active camouflage, beamed energy propulsion, and quantum communication" for use on military vehicles. Motherboard reports: On October 17th, To the Stars joined forces with the Army's Combat Capabilities Development Command, a research and development body. While To the Stars has made recent headlines with its UFO themed content, such as its acquisition of "exotic" materials which it claims are not from Earth, and videos acquired from the Navy purporting to show unidentified anomalous phenomena, this recent deal with the military portrays a different side of To the Stars: as a potential technology company.

In recent months, DeLonge's organization has made a big deal out of obtaining those "exotic" metals that it believes may come from UFOs. Though the contract doesn't specifically mention the origin of any of those metals, it does say that To the Stars and the U.S. Army will use government labs to study "meta materials," which could refer to these alloys. "Government shall: Perform assessments, testing, and characterization of Collaborator-provided technologies. The Government is interested in a variety of the Collaborator's technologies, such as, but not limited to inertial mass reduction, mechanical/structural meta materials, electromagnetic meta material wave guides, quantum physics, quantum communications, and beamed energy propulsion," the contract states. The contract lasts for five years. The government isn't paying TTSA anything, rather, it is agreeing to collaborate with TTSA on researching new technologies and has committed to spend at least $750,000 on the research.

Netflix has always been aware of password sharing and has never seemed to mind it, but that attitude may change as the company says it's looking into "consumer-friendly ways" to address the issue. When Guggenheim Securities' Miachael Morris asked about it, Netflix CFO Spencer Neumann said: "We continue to monitor it. "We're looking at the situation and we'll [look for] those consumer-friendly ways to push on the edges of that." However, Neumann noted that Netflix has "no big plans to announce at this time in terms of doing something different" with how password sharing works. MobileSyrup reports: As it stands, users can sign into Netflix on as many devices as they want, with the only limitation being how many can stream at the same time (depending on the plan). Naturally, this allows people to share their accounts with family or friends. Given how open this is, it's possible that Netflix would want to reduce the number of devices an account can be registered to. For example, Sony allows users to share content between PlayStation 4 systems by logging into the same account, although it limits this functionality to two consoles. Trying to do this with additional consoles could get an account flagged and blocked.

If you plan on streaming content from the new Disney+ streaming service on Linux devices, you'll likely be greeted with Error Code 83. Fedora Linux package maintainer Hans De Goede from the Netherlands first made the unpleasant discovery. gHacks reports: De Goede noticed that Disney+ would not work in any of the web browsers that he tried on systems running Fedora Linux. He tried Firefox and Chrome, and both times Disney+ threw the error "error code 83." Disney+ Support was not able to assist de Goede. It replied with a generic message stating that the error was known and that it happened often when customers tried to play Disney+ in web browsers or using certain devices. Support recommended to use the official applications on phones or tablets to watch the shows or movies. Other streaming services, e.g. Netflix, work fine on Linux.

A user on the Dutch site Tweakers dug deeper and uncovered the response code that the site returned when a device or browser was used that could not be used to play streams. According to the information, error code 83 means that the platform verification status is incompatible with the security level. Disney uses the DRM solution Widevine to protect its streams from unauthorized activity. Widevine supports three different security levels, called 1, 2 and 3, which have certain requirements. The supported level determines the maximum stream quality and may even prevent access to a stream if the requirements are not met. It appears that Disney set Widevine to a more restrictive level than its competitors. The decision affects Disney+ on Linux devices and on other devices that don't support the selected Widevine security standard.

An anonymous reader quotes the Los Angeles Times: "South Park" is the latest beneficiary of Hollywood's rerun mania. The show's creators and media giant Viacom Inc. expect to share between $450 million and $500 million by selling the streaming rights to the animated comedy, one of the longest-running TV series in U.S. history, according to people familiar with the matter. As many as a half-dozen companies are bidding for exclusive U.S. streaming rights to past episodes of the show, which has been available on Walt Disney Co.'s Hulu in recent years. Viacom and the show's creators hope to secure a new deal by the end of 2019 and could decide on the winning bidder as soon as this weekend, said the people, who asked not to be identified because the negotiations are private.

The value of popular TV reruns has skyrocketed, fueled by new streaming platforms seeking programming that can attract subscribers and provide an edge over rivals. Viacom and "South Park" creators Trey Parker and Matt Stone expect the multiyear deal to net more than double what Hulu paid in 2015.... One company that probably won't be bidding is Apple Inc., the people said. The tech giant has eschewed controversial programming that could damage its brand, and it's wary of offending China, where it sells a lot of iPhones. "South Park" was just banned in China after an episode mocked the country's censorship of Western movies and TV.