Pay television penetration in American households fell to 50.2% in the third quarter and is projected to drop to 50% or lower by December, according to Madison and Wall, a technology and media advisory firm. Fifteen years ago, nearly nine in ten households subscribed to pay television services.

The decline has prompted major media companies to shed cable assets. Comcast, Warner Bros. Discovery, and A&E are seeking to sell or spin off their cable television operations. Paramount stated it would not divest its cable channels but acknowledged that "each quarter is accelerating decline."

TV manufacturers are abandoning their attempts to turn TVs into interactive social devices through smart cameras. Sky announced this month that it will discontinue Sky Live, a camera accessory for its Sky Glass televisions that brought video calls, body-tracked workouts, and motion games to the living room. The device will stop working at the beginning of December. Sky will brick the cameras and reimburse customers. Sky launched the product in mid-2023 as part of an effort to transform televisions from passive viewing devices into interactive platforms.

That vision has not materialized across the industry. LG's Smart Cam, released in 2023, is out of stock at major retailers and appears discontinued. TCL's smart TV camera is no longer available. Samsung stopped integrating cameras directly into its television sets, though it still sells an external camera accessory.

Netflix is launching a new slate of TV-streamed party games that are all playable using your phone as the controller. The Verge reports: To start, Netflix is offering Boggle Party, Party Crasher: Fool Your Friends, Lego Party, Pictionary: Game Night, and Tetris Time Warp. A social deduction game based on the Knives Out series, Dead Man's Party: A Knives Out Game, is also part of this new slate but will launch at a later time. The streaming platform's approach to gaming has been unfocused, with the company bouncing between being a boutique development studio while also being a platform for premium and exclusive mobile gaming experiences. Offering party games on your TV seems like a better fit -- one that could allow Netflix to finally find its gaming footing.

Longtime Slashdot reader dskoll shares a press release from Apple: Issey Miyake and Apple today unveiled iPhone Pocket. Inspired by the concept of "a piece of cloth," its singular 3D-knitted construction is designed to fit any iPhone as well as all pocketable items. When stretched, the open textile subtly reveals its contents and allows users to peek at their iPhone display. iPhone Pocket can be worn in a variety of ways -- handheld, tied onto bags, or worn directly on the body. Featuring a playful color palette, the short strap design is available in eight colors, and the long strap design in three colors. The "Long" sock variant comes in at only $229.95 and is available in three elegant colors: sapphire, cinnamon, and black. What do Slashdotters think of this very real product?

FX has renewed Alien: Earth for a second season and signed creator Noah Hawley to a massive nine-figure overall deal with Disney Entertainment Television. Deadline reports: Inspired by Ridley Scott's sci-fi thriller film Alien, Hawley adapted the film franchise for television with the strong support of Scott Free and its president, David W. Zucker, who is an executive producer of the series. It earned a positive reaction from fans, posting a 94% Certified Fresh rating from Rotten Tomatoes and a Metacritic Must-Watch score of 85. "It has been our great privilege to work with Noah for more than a decade on some of FX's best and biggest shows, and we are thrilled to extend our partnership well into the future," said FX Chairman John Landgraf. "Noah never stops surprising us with truly original stories -- and his unique ability to bring them to vibrant life as a director and producer as well as writer makes him extraordinary. We can't wait to get to work on the next season of Alien: Earth, as well as some equally exciting future projects in advanced development."

Slashdot readers Tablizer and fjo3 share news that an AI-generated country song has topped the U.S. sales chart for the first time this week. ABC News reports: The new country tune, "Walk my Walk" by Breaking Rust, recently hit No. 1 on Billboard's Country Digital Song Sales chart, reaching over 3 million streams on Spotify in less than a month. That success has garnered mixed reactions from music fans and artists alike, particularly on TikTok, where hundreds of users have posted videos addressing the tune and others discussing the music in the comments.

Billboard has acknowledged Breaking Rust is an AI act and said it is one of at least six to chart in the past few months alone. "Ultimately, this feels like an experiment to see just how far something like this can go and what happens in the future and in other disciplines of art as well," senior entertainment reporter Kelley L. Carter told ABC News. "AI artists won't require things that a real human artist will require, and once companies start considering it and looking at bottom lines, I think that's when artists should rightly be concerned about it," she added.

Disney is losing an estimated $4.3 million per day (about $30 million per week) from the ongoing YouTube TV blackout of ESPN, ABC, and other networks amid a contract dispute over carriage fees. Of course, YouTube is also feeling financial pressure from users who have already canceled or intend to cancel their service. Variety reports: Disney is losing an estimated $30 million per week from its networks being pulled off YouTube TV, which works out to nearly $4.3 million per day, according to Morgan Stanley analysts. The figure came in a research note from Morgan Stanley equity analysts Benjamin Swinburne and Thomas Yeh, who said in their financial forecast for Disney's year-end 2025 quarter, they are "layering in 14 days of impact from the ongoing YouTube TV blackout, which we estimate is a $60mm revenue headwind."

Nov. 11 marks the 12th day of the Disney blackout on YouTube TV. The Morgan Stanley analysts wrote that they expect the Disney-YouTube TV dispute to be resolved later this week, but estimated that each week its networks are dark on YouTube TV will lower Disney's adjusted earnings per share by 2 cents.

Samsung is rolling out new conversational AI across its 2025 TVs that lets users ask questions about what's on the screen and beyond it. From a report: First announced in September, the generative AI update is rolling out now with support for several languages. Vision AI Companion is based on an upgraded, generative AI-based version of Samsung's virtual assistant Bixby. Samsung suggests you can use it to ask questions about on-screen content -- what that actor is famous for, who painted that artwork, or what the final score was in a football game. It can go beyond that though, offering TV and movie recommendations along with cooking advice, travel tips, and local restaurant discovery.

An anonymous reader shares a report: Spotify is the most popular music streaming service in the world. While its algorithmic recommendations aren't necessarily the reason, its reach has meant that hundreds of millions of people are being fed a steady diet of music curated by a machine. Spotify's goal is to keep you listening no matter what. In her book Mood Machine, journalist Liz Pelly recounts a story told to her by a former Spotify employee in which Daniel Ek said, "our only competitor is silence."

According to this employee, Spotify leadership didn't see themselves as a music company, but as a time filler. The employee explained that, "the vast majority of music listeners, they're not really interested in listening to music per se. They just need a soundtrack to a moment in their day." Simply providing a soundtrack to your day might seem innocent enough, but it informs how Spotify's algorithm works. Its goal isn't to help you discover new music, its goal is simply to keep you listening for as long as possible. It serves up the safest songs possible to keep you from pressing stop.

The company even went so far as to partner with music library services and production companies under a program called Perfect Fit Content, or PFC. This saw the creation of fake or "ghost" artists that flooded Spotify with songs that were specifically designed to be pleasant and ignorable. It's music as content, not art. [...] Artists, especially new ones trying to break through, actually started changing how they composed to play better in the algorithmically driven streaming era. Songs got shorter, albums got longer, and intros went away. The hook got pushed to the front of the song to try to grab listeners' attention immediately, and things like guitar solos all but disappeared from pop music. The palette of sounds artists pulled from got smaller, arrangements became more simplified, pop music flattened.

The nonprofit Dust-to-Digital Foundation is making thousands of historic songs accessible to the public for free through a new partnership with the University of California, Santa Barbara. The songs represent "some of the rarest and most uniquely American music borne from the Jazz Age and the Great Depression," according to the university, and classic blues recordings or tracks by Fiddlin' John Carson and his daughter Moonshine Kate "would have likely been lost to landfills and faded from memory."

Launched in 1999 by Lance and April Ledbetter, Dust-to-Digital focused on preserving hard-to-find music. Originally a commercial label producing high-quality box sets (along with CDs, records, and books), it established a nonprofit foundation in 2010, working closely with collectors to digitize and preserve record collections. And there's an interesting story about how they became familiar with library curator David Seubert... Once a relationship is established, Dust-to-Digital sets up special turntables and laptops in a collector's home, with paid technicians painstakingly digitizing and labeling each record, one song at a time. Depending on the size of the collection, the process can take months, even years... In 2006, they heard about Seubert's Cylinder Preservation and Digitization Project getting "slashdotted," a term that describes when a website crashes or receives a sudden and debilitating spike in traffic after being mentioned in an article on Slashdot.
Here in 2025, the university's library already has over 50,000 songs in a Special Research Collections, which they've been uploading it to a Discography of American Historical Recordings (DAHR) database. ("Recordings in the public domain are also available for free download, in keeping with the UCSB Library's mission for open access.") Over 5,000 more songs from Dust-to-Digital have already been added, says library curator Seubert, and "Thousands more are in the pipeline."

One interest detail? The bulk of the new songs come from Joe Bussard, a man whose 75-year obsession with record collecting earned him the name "the king of the record collectors and "the saint of 78s".

The new series from Breaking Bad creator Vince Gilligan, Pluribus, was emphatically made by humans, not AI, reports TechCrunch: If you watched all the way to the end of the new Apple TV show "Pluribus," you may have noticed an unusual disclaimer in the credits: "This show was made by humans." That terse message — placed right below a note that "animal wranglers were on set to ensure animal safety" — could potentially provide a model for other filmmakers seeking to highlight that their work was made without the use of generative AI.
In fact, yesterday the former X-Files writer told Variety "I hate AI. AI is the world's most expensive and energy-intensive plagiarism machine...." He goes on, about how AI-generated content is "like a cow chewing its cud — an endlessly regurgitated loop of nonsense," and how the U.S. will fail to regulate the technology because of an arms race with China. He works himself up until he's laughing again, proclaiming: "Thank you, Silicon Valley! Yet again, you've fucked up the world."
He also says "there's a very high possibility that this is all a bunch of horseshit," according to the article. "It's basically a bunch of centibillionaires whose greatest life goal is to become the world's first trillionaires. I think they're selling a bag of vapor."

And earlier this week he told Polygon that he hasn't used ChatGPT "because, as of yet, no one has held a shotgun to my head and made me do it." (Adding "I will never use it.")

Time magazine called Thursday's two-episode premiere "bonkers." Though ironically, that premiere hit its own dystopian glitch. "After months of buildup and an omnipresent advertising campaign, Apple's much-anticipated new show Pluribus made its debut..." reports Macworld. "And the service promptly suffered a major outage across the U.S. and Canada." As reported by Bloomberg and others, users started to report that the service had crashed at around 10:30 p.m. ET, shortly after Apple made the first two episodes of the show available to stream. There were almost 13,000 reports on Downdetector before Apple acknowledged the problem on its System Status page. Reports say the outage was brief, lasting less than an hour...

[T]here remains a Resolved Outage note on Apple TV (simply saying "Some users were affected; users experienced a problem with Apple TV" between 10:29 and 11.38 p.m.), as well as on Apple Music and Apple Arcade, which also went down at the same time. Social media reports indicated that the outage was widespread.

In a recent article published in the New York Times, author Casey Michael Henry argues that today's tech industry keeps borrowing dystopian sci-fi aesthetics and ideas -- often the parts that were meant as warnings -- and repackages them as exciting products without recognizing that they were originally cautionary tales to avoid. "The tech industry is delivering on some of the futuristic notions of late-20th-century science fiction," writes Henry. "Yet it seems, at times, bizarrely unaware that many of those notions were meant to be dystopian or satirical -- dismal visions of where our worst and dumbest habits could lead us." Here's an excerpt from the report: You worry that someone in today's tech world might watch "Gattaca" -- a film that features a eugenicist future in which people with ordinary DNA are relegated to menial jobs -- and see it as an inspirational launching point for a collaboration between 23andMe and a charter school. The material on Sora, for instance, can feel oddly similar to the jokes about crass entertainment embedded in dystopian films and postmodern novels. In the movie "Idiocracy," America loved a show called "Ow! My Balls!" in which a man is hit in the testicles in increasingly florid ways. "Robocop" imagined a show about a goggle-eyed pervert with an inane catchphrase. "The Running Man" had a game show in which contestants desperately collected dollar bills and climbed a rope to escape ravenous dogs. That Sora could be prompted to imagine a game show in which Michel Foucault chokeslams Ronald Reagan, or Prince battles an anaconda, doesn't feel new; it feels like a gag from a 1990s writer or a film about social decay.

The echoes aren't all accidental. Modern design has been influenced by our old techno-dystopias -- particularly the cyberpunk variety, with its neon-noir gloss and "high tech, low life" allure. From William Gibson novels to films like "The Matrix," the culture has taken in countless ruined cityscapes, all-controlling megacorporations, high-tech body modifications, V.R.-induced illnesses, deceptive A.I. paramours, mechanical assassins and leather-clad hacker antiheroes, navigating a dissociative cyberspace with savvily repurposed junk-tech. This was not a world many people wanted to live in, but its style and ethos seem to reverberate in the tech industry's boldest visions of the future.

A new Activate Consulting report reveals that 43% of Gen Z now prefer YouTube and TikTok over traditional TV or paid streaming. With global media revenues surging and traditional TV viewership collapsing, the average person now spends over 13 hours a day consuming content across platforms, effectively living a "32-hour day" through multitasking. Variety reports: Per the same survey, the popularity of "microdramas" -- one of the latest trends on those platforms, consisting of 1-2 minute scripted episodes of an ongoing storyline -- has been increasing at a fast rate with 28 million U.S. adults (52% aged 18-34) reportedly watching that new form of content.

Additional findings include projections for global internet and media revenue to increase by $388 billion by 2029, while average daily time spent streaming video will climb to 4 hours and 8 minutes as time spent watching traditional TV is set to collapse to just 1 hour and 17 minutes. Activate estimates that, as a result, streaming revenues (from ads and subscriptions) will grow 18-19% annually while traditional TV revenues will fall 4-6% year to year.

An anonymous reader quotes a report from Ars Technica: Today, Samsung provided details about the next version of the HDR10 format, which introduces six new features. Among HDR10+ Advanced's most interesting features is HDR10+ Intelligent FRC (frame rate conversion), which is supposed to improve motion smoothing.

A TV using motion smoothing analyzes each video frame and tries to determine what additional frames would look like if the video were playing at a frame rate that matched the TV's refresh rate. The TV then inserts those frames into the video. A 60Hz TV with motion smoothing on, for example, would attempt to remove judder from a 24p film by inserting frames so that the video plays as if it were shot at 60p. For some, this appears normal and can make motion, especially camera panning or zooming, look smoother. However, others will report movies and shows that look more like soap operas, or as if they were shot on higher-speed video cameras instead of film cameras. Critics, including some big names in Hollywood, argue that motion smoothing looks unnatural and deviates from the creator's intended vision.

Intelligent FRC takes a more nuanced approach to motion smoothing by letting content creators dictate the level of motion smoothing used in each scene, Forbes reported. The feature is also designed to adjust the strength of motion interpolation based on ambient lighting.

Speaking of Australia, its government has introduced content quotas on global streamers. From a report: The rules require Netflix, Prime Video and the other global streamers with more than one million Australian subscribers to spend 10% of their total Australian expenditure -- or 7.5% of their revenues -- on local originals, whether they are dramas, children's shows, docs, or arts and educational programs.

Following the announcement, the legislation will be introduced into the Australian parliament. Australia's Labor government has long planned to being in the quotas as part of its Revive cultural policy, but months and months of delays had left the local industry wondering how committed their political leaders were to the plan. Global streamers have broadly rejected the necessity of quotas, claiming their local investment in content and jobs offsets them.

A new class-action lawsuit accuses Spotify of allowing billions of fraudulent Drake streams generated by bots between 2022 and 2025, allegedly inflating his royalties at the expense of other artists. "Spotify pays streaming royalties using a 'pro-rata' model based on an artist's market share," notes Consequence. "Each month, revenue from subscriptions and ads is collected into a single, fixed 'pot' of money, which is then distributed to rights holders based on their percentage of the platform's total streams. Because this pot is fixed, an artist who artificially inflates their numbers through bots would dilute the value of every legitimate stream. This allows them to take a larger share of the pot than they earned, effectively siphoning royalties that should have gone to other artists." From the report: According to Rolling Stone, the lawsuit alleges bot use is a widespread problem on Spotify. However, Drake is the only example named, based on "voluminous information" which the company "knows or should know" that proves a "substantial, non-trivial percentage" of his approximately 37 billion streams were "inauthentic and appeared to be the work of a sprawling network of Bot Accounts."

The complaint claims this alleged fraudulent activity took place between "January 2022 and September 2025," with an examination of "abnormal VPN usage" revealing at least 250,000 streams of Drake's song "No Face" during a four-day period in 2024 were actually from Turkey "but were falsely geomapped through the coordinated use of VPNs to the United Kingdom in [an] attempt to obscure their origins." Other notable allegations in the lawsuit are that "a large percentage" of accounts were concentrated in areas where the population could not support such a high volume of streams, including those with "zero residential addresses." The suit also points to "significant and irregular uptick months" for Drake's songs long after their release, as well as a "slower and less dramatic" downtick in streams compared to other artists.

Noting a "staggering and irregular" streaming of Drake's music by individuals, the suit also claims there are a "massive amount of accounts" listening to his songs "23 hours a day." Less than 2% of those users account for "roughly 15 percent" of his streams. "Drake's music accumulated far higher total streams compared to other highly streamed artists, even though those artists had far more 'users' than Drake," the lawsuit concludes.

Slashdot reader BrianFagioli summarizes some news from Nerds.xyz: Creative Technology has launched Sound Blaster Re:Imagine, a modular, Linux-powered audio hub that reimagines the classic PC sound card for the modern age. The device acts as both a high-end digital-to-analog converter (DAC) and a customizable control deck that connects PCs, consoles, phones, and tablets in one setup.

Users can instantly switch inputs and outputs, while developers get full hardware access through an SDK for creating their own apps. It even supports AI-driven features like an on-device DJ, a revived "Dr. Sbaitso" speech synthesizer, and a built-in DOS emulator for retro gaming.

The Kickstarter campaign has already raised more than $150,000, far surpassing its initial goal of $15,000 with over 50 days remaining. Each unit ships with a modular "Horizon" base and swappable knobs, sliders, and buttons, while a larger "Vertex" version will unlock at a higher funding milestone.

Running an unspecified Linux build, Re:Imagine positions itself as both a nostalgic nod to Sound Blaster's roots and a new open platform for creators, gamers, and tinkerers.

Disney's channels, including ESPN, ABC, FX, and NatGeo, have gone dark on YouTube TV after Google and Disney failed to renew their carriage agreement before the October 30 deadline, with each side blaming the other for using unfair negotiating tactics and price hikes. YouTube TV says it will issue a $20 credit to subscribers if the blackout continues while negotiations proceed. Engadget reports: "Last week Disney used the threat of a blackout on YouTube TV as a negotiating tactic to force deal terms that would raise prices on our customers," YouTube said in an announcement on its blog. "They're now following through on that threat, suspending their content on YouTube TV." YouTube added that Disney's decision harms its subscribers while benefiting its own live TV products, such as Hulu+Live TV and Fubo.

In a statement sent to the Los Angeles Times, however, Disney accused Google's YouTube TV of choosing to deny "subscribers the content they value most by refusing to pay fair rates for [its] channels, including ESPN and ABC." Disney also accused Google of using its market dominance to "eliminate competition and undercut the industry-standard terms" that other pay-TV distributors have agreed to pay for its content.

Universal Music Group has settled its copyright lawsuit with AI music startup Udio and struck a licensing deal to launch a new AI-powered music platform next year. The Verge reports: The deal includes some form of compensation and "will provide further revenue opportunities for UMG artists and songwriters," Universal says. Udio, the company behind "BBL Drizzy," will launch the platform as a subscription service next year. Universal, alongside other industry giants Sony and Warner, sued Udio and another startup Suno for "en masse" copyright infringement last year.

Universal -- whose roster includes some of the world's biggest performers like Taylor Swift, Bad Bunny, and Ariana Grande -- says the new tool will "transform the user engagement experience" and let creators customize, stream, and share music. There's no indication of how much it will cost yet. Udio's existing music maker, which lets you create new songs with a few words, will remain available during the transition, though content will be held "within a walled garden" and security measures like fingerprinting will be added.

Many modern living rooms are now dominated by a huge television, but researchers say there might be little point in plumping for an ultra-high-definition model. From a report: Scientists at the University of Cambridge and Meta, the company that owns Facebook, have found that for an average-sized living room a 4K or 8K screen offers no noticeable benefit over a similarly sized 2K screen of the sort often used in computer monitors and laptops. In other words, there is no tangible difference when it comes to how sharp an image appears to our eyes.

"At a certain viewing distance, it doesn't matter how many pixels you add. It's just, I suppose, wasteful because your eye can't really detect it," said Dr Maliha Ashraf, the first author of the study from the University of Cambridge. Ashraf and colleagues, writing in the journal Nature Communications, report how they set about determining the resolution limit of the human eye, noting that while 20/20 vision implies the eye can distinguish 60 pixels per degree (PPD), most people with normal or corrected vision can see better than that. "If you design or judge display resolution based only on 20/20 vision, you'll underestimate what people can really see," Ashraf said. "That's why we directly measured how many pixels people can actually distinguish."

The team used a 27in, 4K monitor mounted on a mobile cage that enabled it to be moved towards or away from the viewer. At each distance, 18 participants with normal vision, or vision corrected to be normal, were shown two types of image in a random order. One type of image had one-pixel-wide vertical lines in black and white, red and green or yellow and violet, while the other was just a plain grey block. Participants were then asked to indicate which of the two images contained the lines. "When the lines become too fine or the screen resolution too high, the pattern looks no different from a plain grey image," Ashraf said. "We measured the point where people could just barely tell them apart. That's what we call the resolution limit."