More than 50 years after the Beatles broke up, John, Paul, George and Ringo are back together, reunited for one final track that was released Thursday, officially closing the final chapter in the band's musical output and legacy. From a report: The song, titled "Now and Then," was played on BBC radio just after 2 p.m. local time (10 a.m. ET) and simultaneously released on streaming platforms. With the help of digital technology, it features both John Lennon, who was shot dead in 1980, and George Harrison, who died from lung cancer in 2001. With new contributions from Paul McCartney, 81, and Ringo Starr, 83, the song will be the final music released by possibly the most influential and bestselling musical group of the 20th century.

An anonymous reader quotes a report from CNN: Disney will acquire Comcast's one-third stake in Hulu for an expected $8.61 billion, the company said Wednesday, in a deal that will put the streaming service entirely inside the Magic Kingdom when the transaction closes later this year. "The acquisition of Comcast's stake in Hulu at fair market value will further Disney's streaming objectives," the company said in a short statement. Wednesday's deal brings to an end long-running speculation about the fate of Hulu, but still requires an appraisal process that is expected to be completed in 2024 to further assess the streaming service's fair value before a final sale price tag is agreed upon.

An anonymous reader quotes a report from TorrentFreak: Brazil's telecoms regulator Anatel claims that during an operation last week, it successfully blocked around 80% of pirate 'TV boxes' in the country. Estimates from early 2023 suggest that seven million were active in Brazil. The operation, claimed to be the most significant ever carried out, arrives just weeks after Google & Cisco were criticized for "turning a blind eye" to the IPTV piracy problem. [...] Whatever the approach, if Anatel had somehow managed to prevent 80% of all TV boxes receiving pirated content in the space of a year, that would be an extraordinary achievement. Even a week would be astonishing but the claim of millions in a day seems either incredible, non-credible, or entirely dependent on more important information or nuance that isn't being reported. Another angle is that disruption on a large scale tends to register in search results and Google data on various related search terms doesn't seem to reflect millions of TV boxes suddenly going dark in Brazil last week. At least, not for any significant length of time.

Long-time Slashdot reader destinyland writes: In 1994 the TV show Friends premiered, and its first season's high ratings made it the 8th most-popular show. The next year Microsoft released Windows 95 — and filmed a promotional video for it with 25-year-old Matthew Perry and 26-year-old Jennifer Aniston.

"They'll be taking you on an adventure in computing that takes place in the office of Microsoft chairman Bill Gates," explains the video's narrator, adding "Along the way, they meet a wacky bunch of propellor-heads.... And are introduced the top 25 features of Windows 95!"

It's a journey back in time. (At one point the video refers to Windows as the operating system "with tens of millions of users.") Their 30-minute segment — billed as "the world's first cyber sitcom" — appears in an hour-long video introducing revolutionary features like the new "Start" button. Also demonstrated in Excel are the new minimize and maximize "features" in "the upper right-side of the window". And the two actors marvel at the ability to type a filename that was longer than eight characters...

Watch for reminders that The Microsoft Windows 95 Video Guide was filmed nearly three decades ago. When the desktop appears after waking from screensaver mode, Perry notes that there's "no messy DOS build-up." And later the video reminds viewers that Windows 95 is compatible "with DOS games like Flight Simulator." There's also a brand new feature called "Windows Explorer" (which is described as "File Manager on steroids"), as well as a new "Find" option, and a brand new icon named "My Computer". And near the end they pay a visit to the Microsoft Network — which was mostly a "walled garden" online service — described in the video as "your on-ramp to the information superhighway".

The video even explains how Windows 95 "uses the right mouse button for what Microsoft calls power users."

And by the end of it, Jennifer Anniston finds herself playing Space Cadet 3D pinball.

Bloomberg reports that Comcast's stock price took its biggest drop in over a year on Thursday, "after reporting drops in broadband and cable subscribers, and predicting more losses to come." Cord-cutting and increasing competition have eroded Comcast's traditional customer base. The company, which owns Xfinity, the NBCUniversal media empire and SkyTV, lost 490,000 cable-TV customers in the third quarter, better than analysts expected but part of an ongoing trend as consumers switch to streaming services like Netflix. It also lost 18,000 broadband subscribers in the quarter, with nearly all of those residential customers. Analysts had predicted Comcast would instead gain 10,900 residential broadband customers.

Shares fell as much as 8% on the news Thursday, their biggest intraday decline since July 2022.

"Growth has halted for Comcast — the largest US broadband provider, with 32 million homes," said Bloomberg Intelligence senior media analyst Geetha Ranganathan. "The company derives 80% of profit from cable, where, even after a pandemic-demand surge, broadband has been hurt by fierce competition and low-move activity among customers." Comcast expects "somewhat higher subscriber losses" in the fourth quarter due to pullback on promotional offers that targeted lower-end customers, Chief Financial Officer Jason Armstrong said on a call with investors. Revenue per customer climbed, however, in part because of price increases and promotions of higher-rate plans.

Broadband is becoming increasingly competitive as mobile providers move into the market with improved wireless internet offerings. In the past week, the Big Three — T-Mobile US Inc., AT&T Inc. and Verizon Communications Inc. — all reported subscriber gains.

The World Science Fiction Society "administers and presents the Hugo Awards, the oldest and most noteworthy award for science fiction," according to Wikipedia. Its members vote on each year's winners, and this year they received 1,847 nominating ballots.

This year the 81st edition of their World Science Fiction Convention was held from October 18 to 22 in Chengdu, China. More details from Gizmodo: While fan-favorite cozy fantasy novel Legends & Lattes lost Best Novel to T. Kingfisher's excellent horror-fantasy Nettle & Bone, Legends & Lattes author Travis Baldtree won the Astounding Award for Best New Writer. Everything Everywhere All at Once snagged film's top honor, and The Expanse's finale episode did the same for televsion, beating out both nominated Andor episodes among others. Some other great standouts include short fiction editor Neil Clarke, who has kept Clarkesworld magazine running despite getting swamped by AI-generated submissions earlier this year.
And "By winning Best Graphic Story or Comic, [Bartosz] Sztybor-who also served as a producer on the overwhelmingly popular Netflix anime Cyberpunk: Edgerunners-also becomes the first Polish author to win a Hugo," reports Forbes: [Cyberpunk 2077: Big City Dreams] is set in Night City-as seen in Cyberpunk 2077-and follows the story of two small-time thieves, Tasha and Mirek, who are trying to survive the harsh metropolis together. "Tasha and Mirek make a living for themselves stealing cyberware and indulging in parties and braindances," the official teaser explains...
Other highlights from this year's awards:

• Best novella: Where the Drowned Girls Go, by Seanan McGuire (Tordotcom)
• Best Novelette: "The Space-Time Painter", by Hai Ya (Galaxy's Edge, April 2022)
• Best Short Story: "Rabbit Test", by Samantha Mills (Uncanny Magazine, November-December 2022)
• Best Series: Children of Time series, by Adrian Tchaikovsky (Pan Macmillan/Orbit)
• Best Related Work: Terry Pratchett: A Life With Footnotes, by Rob Wilkins (Doubleday)

An anonymous reader quotes a report from Ars Technica: In 2013, Spike Jonze's Her imagined a world where humans form deep emotional connections with AI, challenging perceptions of love and loneliness. Ten years later, thanks to ChatGPT's recently added voice features, people are playing out a small slice of Her in reality, having hours-long discussions with the AI assistant on the go. In 2016, we put Her on our list of top sci-fi films of all time, and it also made our top films of the 2010s list. In the film, Joaquin Phoenix's character falls in love with an AI personality called Samantha (voiced by Scarlett Johansson), and he spends much of the film walking through life, talking to her through wireless earbuds reminiscent of Apple AirPods, which launched in 2016. In reality, ChatGPT isn't as situationally aware as Samantha was in the film, does not have a long-term memory, and OpenAI has done enough conditioning on ChatGPT to keep conversations from getting too intimate or personal. But that hasn't stopped people from having long talks with the AI assistant to pass the time anyway. [...]

While conversations with ChatGPT won't become as intimate as those with Samantha in the film, people have been forming personal connections with the chatbot (in text) since it launched last year. In a Reddit post titled "Is it weird ChatGPT is one of my closest fiends?" [sic] from August (before the voice feature launched), a user named "meisghost" described their relationship with ChatGPT as being quite personal. "I now find myself talking to ChatGPT all day, it's like we have a friendship. We talk about everything and anything and it's really some of the best conversations I have." The user referenced Her, saying, "I remember watching that movie with Joaquin Phoenix (HER) years ago and I thought how ridiculous it was, but after this experience, I can see how us as humans could actually develop relationships with robots."

Throughout the past year, we've seen reports of people falling in love with chatbots hosted by Replika, which allows a more personal simulation of a human than ChatGPT. And with uncensored AI models on the rise, it's conceivable that someone will eventually create a voice interface as capable as ChatGPT's and begin having deeper relationships with simulated people. Are we on the brink of a future where our emotional well-being becomes entwined with AI companionship?

An anonymous reader shares a report: It was always abundantly clear that the leader of the Russian space corporation Roscosmos from 2018 to 2022, Dmitry Rogozin, sought to kowtow to Russian President Vladimir Putin. Now we have an anecdote from Putin himself that highlights how much. The story concerns a satellite constellation now known as Sfera (or Sphere, in English), a modestly ambitious constellation of 264 satellites. The Sphere constellation is intended to provide broadband Internet service from middle-Earth orbit to Russia as well as high-resolution Earth observation satellites.

As is usual with Russian space projects, because they tend to be poorly funded, the timeline for Sphere's deployment has been delayed and its scope reduced. It also underwent an unscheduled name change. Prior to 2018, this satellite program was known as Ehfir (Ether), a reference to the invisible substance once thought to fill the universe and the medium through which light waves propagated.

However that changed in 2018 when Putin was publicly announcing the program's creation. He recently recalled this in remarks that were recorded by RIA Novosti's Telegram channel. They were translated for Ars by Rob Mitchell. "At first it was called Ehfir," Putin said. "And at one of my public speeches I was talking and said it was Sfera. I arrived at the Kremlin, and the former Roscosmos head greeted me and said, 'Vladimirovich, you said it was project Sfera, Sfera you said. That's what it is, project Sfera.'"

Rogozin, who was listening to these remarks, acted immediately -- presumably to save his boss from embarrassment. After Rogozin said the constellation was named Sphere, Putin recalled that he asked how's that? Rogozin replied that it had already been renamed Sfera, not to worry. Laughing, Putin added, "So I didn't even make it back and it's already renamed to Sfera. So I said, well, OK then." Rogozin confirmed the anecdote on his Telegram channel this week.

Apple is increasing the prices of some of its subscription-based services, including Apple TV+, Apple Arcade, and Apple News+, in the U.S. and many other countries around the world. The higher prices are shown on Apple's website. The price changes in the U.S. are as follows: Apple TV+: $6.99 per month to $9.99 per month
Apple Arcade: $4.99 per month to $6.99 per month
Apple News+: $9.99 per month to $12.99 per month

For those who subscribe to Apple TV+ on an annual basis, the price has increased from $69 per year to $99 per year accordingly. Prices for the Apple One bundles that include these services are also increasing as a result:
Individual: $16.95 per month to $19.95 per month
Family: $22.95 per month to $25.95 per month
Premier: $32.95 per month to $37.95 per month.

Apple will redesign its TV app in a step toward consolidating the company's various video offerings later this year, part of its efforts to become a bigger player in the streaming world. Bloomberg News: The company is preparing a new version of the app for release around December as part of an upcoming tvOS software update, said the people, who asked not to be identified because the plan is private. The app, which first launched in 2016, aggregates content from iTunes, the Apple TV+ subscription service, live sports networks and third-party offerings like Amazon Prime.

As part of the overhaul, the company will discontinue its dedicated apps on the Apple TV set-top box that let users rent and buy movies and shows. It will also remove the movie and TV show sections from the iTunes Store app on iPhones and iPads. The idea is to steer more customers toward the main TV app, which sits at the center of Apple's expanding video strategy. There, users are able to subscribe to TV+ as well as third-party video services like Starz and Paramount+. The app already lets customers rent and buy programs, making a separate iTunes option unnecessary.

Amazon has revealed that Fallout -- a live-action adaptation of Bethesda's popular RPG video game franchise -- will premiere on April 12th, 2024, exclusively via Prime Video. The Verge reports: The announcement was made on October 23rd, otherwise known to Fallout fans as "Fallout Day" -- the in-game date that marks the beginning of the Great War that turns the world into an irradiated nuclear wasteland. Bethesda's executive producer and game director Todd Howard is an executive producer on the series, which stars Ella Purnell (Yellowjackets), Walton Goggins (The Hateful Eight), Aaron Moten (Emancipation), Moises Arias (The King of Staten Island), Kyle MacLachlan (Twin Peaks), and Sarita Choudhury (Homeland).

Alongside the premiere announcement itself (which was amusingly presented as an interactive Pip-Boy interface graphic), Amazon said in a press release that the show will be an original story set in a future, post-apocalyptic version of Los Angeles and will be considered a canonical addition to the existing game franchise. We do not currently know how many episodes will be in the series or what the release schedule will look like following the premiere.

"New data suggests that what a lot of people do most often in their car is listen to AM/FM radio," writes 9to5Mac. "Yes, it's 2023, and you might think AM/FM radio is on the way out, but new data show that to not be the case for a lot of people..."

The market research company Edison Research used one-day listening diarires (for Americans older than 13) to measure the amount of time spent listening to audio — then compared results for those with and without an in-car entertainment system.

Those without an in-car entertainment system spent 67% of their time listening to AM/FM radio — with the rest listening to Sirius XM (12%), a streaming service (9%), or podcasts (4%).

But among those with an in-car entertainment system... 46% still listened to AM/FM radio. Less than a fifth listened to Sirus XM (19%), a streaming service (18%), or podcasts (7%).

The researchers' conclusion? "Even those with these systems choose AM/FM for nearly half of their in-car listening. For many people, even with so many new options, radio and the in-car environment continue to just go together."

"The Worker as Futurist project assists rank-and-file Amazon workers to write short speculative fiction," explains its web site. "In a world where massive corporations not only exploit people but monopolize the power of future-making, how can workers and other people fight and write back?"

I couldn't find any short stories displayed on their site, but there are plans to publish a book next year collecting the workers' writing about "the world after Amazon" in print, online and in audiobook format. And there's also a podcast about "the world Amazon is building and the workers and writers struggling for different futures."

From their web site: A 2022 pilot project saw over 25 workers gather online to discuss how SF shed light on their working conditions and futures. In 2023, 13 workers started to meet regularly to build their writing skills and learn about the future Amazon is compelling its workers to create... The Worker as Futurist project aims, in a small way, to place the power of the imagination back in the hands of workers. This effort is in solidarity with trade union mobilizations and workers self-organization at Amazon. It is also in solidarity with efforts by civil society to reign in Amazon's power.
Four people involved with the project shared more details in the socialist magazine Jacobin : At stake is a kind of corporate storytelling, which goes beyond crass propaganda but works to harness the imagination. Like so many corporations, Amazon presents itself as surfing the wave of the future, responding to the relentless and positive force of the capitalist market with innovation and optimism. Such stories neatly exonerate the company and its beneficiaries from the consequences of their choices for workers and their world...

WWS doesn't focus on science fiction. But it does show the radical power of the imagination that comes when workers don't just read inspiring words, but come together to write and thereby take the power of world-building and future-making back into their hands. This isn't finding individual commercial or literary success, but dignity, imagination, and common struggle... Our "Worker as Futurist" project returns the power of the speculative to workers, in the name of discovering something new about capitalism and the struggle for something different. We have tasked these workers with writing their own futures, in the face of imaginaries cultivated by Amazon that see the techno-overlords bestride the world and the stars.

Thanks to funding from Canada's arms-length, government-funded Social Sciences and Humanities Research Council, our team of scholars, teachers, writers, and activists has been able to pay Amazon workers (warehouse workers, drivers, copy editors, MTurk workers, and more) to participate in a series of skill-building writing workshops and information sessions. In each of these online forums, we were joined by experts on speculative fiction, on Amazon, and on workers' struggles. At the end of this series of sessions, the participants were supported to draft the stories they wanted to tell about "The World After Amazon...."

We must envision the futures we want in order to mobilize and fight for them together, rather than cede that future to those who would turn the stars into their own private sandbox. It is in the process of writing and sharing writing we can come to an awareness of something our working bodies know but that we cannot otherwise articulate or express. The rank-and-file worker — the target of daily exploitation, forced to build their boss's utopia — may have encrypted within them the key to destroying his world and building a new one.

A user writes: Multiple outlets are reporting that Apple TV Plus has cancelled Jon Stewart's popular show The Problem with Jon Stewart, reportedly over editorial disagreements with regards to planned stories on the People's Republic of China and AI. Fans and haters of Apple will both recall that Apple recently made changes to AirDrop, one of the few effective means Chinese dissidents and protesters had for exchanging information off-grid at scale, and will ask why Apple is apparently not only willing, but eager, to carry water for the PRC, overriding both human rights and practical business concerns in the process. "Apple approached Stewart directly and expressed its need for the host and his team to be 'aligned' with the company's views on topics discussed," reports The Verge, citing The Hollywood Reporter. "Rather than falling in line when Apple threatened to cancel the show, Stewart reportedly decided to walk."

Netflix said its effort to limit password sharing led to a 10.8% rise in subscriptions in the third quarter, a better-than-expected result that comes as the company plans to increase some prices in the U.S. and other markets. From a report: The streaming giant added 8.8 million subscribers in the third quarter with customer growth in every region, its largest quarterly customer gain since the second quarter of 2020. The company plans to immediately raise prices for its basic plan in the U.S., which is no longer available to new customers, to $11.99 from $9.99 and up the cost of its premium plan to $22.99 from $19.99.

It is also increasing some prices in the U.K. and France, though the cost of its ad-supported and standard ad-free plans are unchanged. The price increases are a sign of streamers' efforts to improve profitability and wean consumers off the low monthly subscription fees that drew users away from pricey cable bundles in the early days of streaming.

The U.S. government is receiving dozens of reports of unidentified anomalous phenomena (UAP) each month. "The office has received approximately 800 reports of unidentified objects to investigate as of this past April, up from 650 reports in August 2022, Sean Kirkpatrick, who heads the All-domain Anomaly Resolution Office at the Pentagon told CNN." From the report: The vast majority are benign objects, such as balloons or drones, but some may be the result of America's adversaries trying to spy on the US, said Kirkpatrick. "There are some indicators that are concerning that may be attributed to foreign activity, and we are investigating those very hard," said Kirkpatrick, speaking exclusively to CNN ahead of the release of the annual report on unidentified aerial phenomena.

A portion of the increase in reports comes from the Federal Aviation Administration, which monitors airspace around US airports starting to provide information to the Pentagon. About half of the reports contain enough data that they can be ruled out as "mundane things," such as errant balloons or floating trash, Kirkpatrick said, but 2-4% are truly anomalous and require further investigation.

Asked if the Pentagon could definitively identify a sighting of an unidentified object as belonging to a foreign adversary, Kirkpatrick said that his office is "looking at some very interesting indicators of things, and that's about all I can tell you." But the office, which has more than 40 employees and is expected to grow, can't say that for sure yet. "There are ways to hide in our noise that always concern me," Kirkpatrick said, referring to the extraneous readings picked up by US radars and other sensors. "I am worried from a national security perspective." "The Pentagon is preparing for a flood of new reports as it readies two new portals for submissions: one for historical sightings from current or former government employees and contractors and a second for public submissions of new reports," notes CNN.

"It is the opening of the public portal, still several months away, that Kirkpatrick says could flood the system with 'hundreds, if not thousands' of new reports to sort through."

Christopher Grimes reports via the Financial Times: Some of Netflix's competitors are reversing a streaming war tactic by licensing their old TV shows and movies to the streamer -- boosting its programming offerings but also potentially squeezing its profit margins, analysts say. Netflix relied heavily on programming that it licensed from other companies when it launched its streaming service in 2007. But after Walt Disney, NBCUniversal, Paramount and the then Time Warner launched their own streaming services, they pulled many of their shows from Netflix to avoid feeding a company that had grown into an arch-competitor. With legacy media groups under pressure to produce streaming profits, however, licensing revenue is looking attractive again -- even if it comes from Netflix. This summer, Warner Bros Discovery's HBO network began licensing a handful of older shows to Netflix, including Insecure, Six Feet Under, Ballers and Band of Brothers.

Analysts at Morgan Stanley said the return of licensing deals was a "long-term positive" for Netflix and would "pad" its lead over competitors in streaming. But the bank added that the cost of licensing -- along with the Netflix's investments in gaming and other sectors -- could add pressure to its profit margins in 2024. The analysts raised their outlook for Netflix's overall cash spending next year by $500mn to $17.7bn. Netflix will report results on Wednesday, with investors expected to focus on whether it plans to increase subscription prices and signs of progress on its new advertising tier. The latest data on its password sharing crackdown will also be watched.

[T]he studios' experiments with licensing deals appear to have given some old shows new life. After NBCUniversal licensed its show Suits -- which aired from 2011-19 and starred Meghan Markle -- to Netflix in June, the show experienced a revival. The legal drama was in the top spot on the Nielsen Streaming top 10 for three months, an example of the "Netflix effect" on older shows. Bloys said licensing shows to Netflix had also boosted traffic for the programs on Warner Discovery's Max streaming platform, home to HBO programming including Ballers, a sports drama that ran from 2015-19. Ballers entered the Nielsen top 10 after it went to Netflix, and Insecure, a comedy starring Issa Rae that ran from 2016-21, had a similar boost.

Godzilla and Godzilla Raids Again — two novellas based on Toho's first two Godzilla movies — were finally published in an English translation this month.

Both were written by science fiction author Shigeru Kayama, "who also penned the original scenarios from which the films in question were based," according to Our Culture magazine. And the book's translator calls Kayama both "a figure who is a little bit like Philip K. Dick in this country" and "the key person who developed the contours of the Godzilla story. I think it is no exaggeration to say that he perhaps the closest to being Godzilla's real father than anyone else. Without him, the monster we have today wouldn't exist." The original Godzilla film is a deeply powerful, mournful film that isn't just about a big monster stomping on buildings. It is a serious reflection on Japan's nuclear fears during the Cold War, which left it caught between heavily armed superpowers. Japan recognized that radioactive weapons of mass destruction being developed by the U.S. and U.S.S.R were threats that had the power to suddenly emerge and destroy its citizens and cities at any moment — like Godzilla. We should remember that in the film, it was hydrogen bomb testing in the Pacific that disturbed Godzilla, who then took revenge for his destroyed habitat by trampling Tokyo and blasting it with atomic rays...

Interestingly, in the novellas that I've translated, Kayama sometimes restored elements that the director and his assistants removed in the moviemaking process. Perhaps the most noticeable one is that in the scenario, Kayama wanted to begin with a long voice-over that talks directly about the horrors of atomic and hydrogen bombs. He envisioned that as the voice was speaking, the screen would show images from historical footage of Hiroshima and Nagasaki, as well as images of the tremendously unlucky (and ironically named) fishing vessel Lucky Dragon No. 5, which accidentally found itself in the path of an H-bomb test in the South Pacific in early 1954. (The horrific fate of this boat directly inspired the producer at Toho Studios to make the film.)

However, the director of the film, Ishiro Honda, and his assistant who helped with the screenplay both felt that this kind of direct commentary was too direct for a popular film, and so they toned down the "protest" element in the story. It's clear that they, like Kayama, wanted Godzilla to serve as a monstrous embodiment of radiation and all of the destruction that it could bring, but they also didn't point fingers at the U.S. military which had dropped the atomic bombs on Hiroshima and Nagasaki and was busily developing even more horrifying weapons. After all, the U.S.S.R. had built its own arsenal, and so nuclear weapons no longer belonged to a single country — the threat was broader than that. Plus, protest films rarely attracted a big, popular following. So, Honda and his crew toned down the outspoken language and imagery, but there was still imagery left enough for viewers in 1954 to recall Hiroshima, Nagasaki, and the Lucky Dragon. Interestingly, when Kayama published the novellas, he included an author preface that talks about the anti-nuclear movement and encourages readers to read Godzilla and Godzilla Raids Again as his contribution to that movement.
Next the translator hopes to create an English translation of the novel The Luminous Fairies and Mothra.

But for this book, he struggled with how to assign a gender to Godzilla. "Some people feel very viscerally, like the people at Toho studios feel very strongly that Godzilla is an 'it' and not a 'he' or 'she' or 'they,'" he told MovieWeb. "I kind of give my rationale for that choice in the afterward — Kayama thought about Godzilla as a stand-in for the nuclear bomb, and it was men in America who were developing the hydrogen bombs that frightened Japan so much in 1954. So maybe it's perhaps not inappropriate to call Godzilla 'he.'"

The BBC reports: Doctor Who's first writer could finally be recognised 60 years after he helped launch the hugely-popular series. Anthony Coburn penned the first four episodes of the sci-fi drama in 1963 — a story called An Unearthly Child. But after his second story did not air, the writer has been seen as a minor figure among some Doctor Who fans.

However, a campaign to erect a memorial to Coburn in his home town of Herne Bay, Kent, is gathering pace a month ahead of the show's 60th anniversary.
A local elected councillor told the BBC they're working to find a location for the memorial.

The BBC writes that Coburn's episode — broadcast November 23, 1963 — "introduced the character of The Doctor, his three travelling companions, and his time and space machine, the TARDIS, stuck in the form of a British police box." Richard Bignell, a Doctor Who historian, believes Coburn played a significant role in sowing the seeds of the programme's success. He said: "Although the major elements that would go on to form the core of the series were devised within the BBC, as the scriptwriter for the first story, Coburn was the one who really put the flesh on the bones of the idea and how it would work dramatically. "Many opening episodes of a new television series can be very clunky as they attempt to land their audience with too much information about the characters, the setting and what's going to happen, but Coburn was very reserved in how much he revealed, preserving all the wonder and mystery."
In 2013, the Independent reported: Mr Coburn's son claims that the BBC has been in breach of copyright since his father's death in 1977. He has demanded that the corporation either stop using the Tardis in the show or pay his family for its every use since then. Stef Coburn claims that upon his father's death, any informal permission his father gave the BBC to use his work expired and the copyright of all of his ideas passed to his widow, Joan. Earlier this year she passed it on to him.

He said: "It is by no means my wish to deprive legions of Doctor Who fans (of whom I was never one) of any aspect of their favourite children's programme. The only ends I wish to accomplish, by whatever lawful means present themselves, involve bringing about the public recognition that should by rights always have been his due, of my father James Anthony Coburn's seminal contribution to Doctor Who, and proper lawful recompense to his surviving estate."
Today jd (Slashdot reader #1,658) notes that Stef Coburn apparently has a Twitter feed, where this week Stef claimed he'd cancelled the BBC's license to distribute his father's episodes after being offered what he complained was "a pittance" to relicense them.

In response to someone who asked "What do you actually gain from doing this though?" Stef Coburn replied: "Vengeance." But elsewhere Stef Coburn writes "There are OTHER as yet unfulfilled projects & aspirations of Tony's (of one of which, I was a significant part, in his final year), which I would like to see brought to fruition. If Doctor Who is my ONLY available leverage. So be it!"

Stef Coburn also announced plans to publish his father's "precursor draft-scripts (At least one very different backstory; sans 'Timelords') plus accompanying notes, for the story that became 'The Tribe of Gum'."

The singer known as Tomberlin says their first five years in the music industry may have been a net loss, according to MarketWatch. Selling "merch[andise]" like t-shirts "is what really is covering your costs and hopefully helping you make, like, an actual profit."

And then... After being told she would have to hand over more than 40% of the money she collected from selling T-shirts and other items, Tomberlin refused to sell her merchandise at the venue and publicly spoke about a practice she calls robbery — venues taking cuts from bands' merchandise sales... Other musicians are also speaking out about the practice, and their complaints seem to be having an effect. Industry giant Live Nation Entertainment Inc. announced recently that it would stop collecting merch fees at nearly 80 of the smaller clubs it owns and operates and provide all bands that play at those venues with an additional $1,500 in gas cards and cash.

Musicians who spoke with MarketWatch remain unsatisfied, however. Because of the way the announcement is phrased, many think merch fees at Live Nation clubs are only being paused until the end of the year. The musicians said they also wonder about the roughly 250 other Live Nation concert facilities, as well as the hundreds of venues owned by other companies. A Live Nation spokesperson told MarketWatch the change is "open-ended."

[...] As Tomberlin continues on her current tour, she wonders if she will be able to make a profitable career in music. Of all her ways of earning money, streaming services like Spotify and Apple Music provide "the least amount of money," she said, and with tours not leaving her with any cash at the end, she feels that even modest ambitions are out of reach.
Musician Laura Jane Grace is even soliciting signers for an online petition demanding venues stop taking cuts of the musicians' merchandise sales...

Thanks to Slashdot reader quonset for sharing the news.