An anonymous reader quotes a report from Ars Technica: Disney+'s next major app update, coming to all devices later this week, continues the service's latest efforts to please nitpicky A/V obsessors with a new screen ratio format meant to fill more of your HDTV screen in a way that filmmakers originally intended. "IMAX Digital" is coming to all devices that support Disney+ starting this Friday as part of the service's "Disney+ Day" promotion. This "17.1:9" format will land exclusively on 13 Marvel Studios films to start, and the move coincides with the streaming premiere of Shang-Chi and the Legend of the Ten Rings -- a film that skipped Disney's experiment with simultaneous launches in theaters and on Disney+ earlier this year. When a film switches to an IMAX Digital ratio, the usual black bars that signify a wider-screen 21:9 ratio will be reduced, adding approximately 26 percent more image to your HDTV, all framed as originally intended. The full list of IMAX Digital-compatible films coming to Disney+ later this week include: Ant-Man and the Wasp, Avengers: Endgame, Avengers: Infinity War, Black Panther, Black Widow, Captain America: Civil War, Captain Marvel, Doctor Strange, Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Iron Man, Shang-Chi and the Legend of the Ten Rings, and Thor: Ragnarok.

An anonymous reader quotes a report from TorrentFreak: Last evening the web was alive with angry players who couldn't play their games due to an unexpected error. While the situation is still not completely clear, it appears that someone allowed a domain used by Denuvo's anti-piracy technology to expire, meaning that players of some big games couldn't enjoy what they had paid for. [...] According to Alex Buckland, the DRM provider for all of the affected games had let a key domain expire, rendering the system inoperable. Following the failure to renew, the domain then went into a grace period but when that expired too, it appears to have been removed from DNS records. This meant that the domain would not resolve to an IP address, effectively breaking the system.

To solve the problem, some users on Steam posted up tutorials for players to modify their Windows HOSTS file to point to the last known IP address for the domain. This appeared to do the trick but obviously, such drastic measures shouldn't be needed to play a game that has been legally purchased -- especially those that are single-player only.

An anonymous reader quotes a report from GeekWire: The Japanese video game company Sega announced Monday that it plans to "explore a strategic alliance" with Microsoft, which will see Sega build new games and overhaul its development process via Microsoft's Azure platform. The new alliance is part of a forward-focused initiative at Sega called "Super Game." According to a news release, Microsoft's Azure provides Sega with a "next-generation development platform" that Sega can customize to account for different styles of work and infrastructural changes. "SEGA has played such an iconic role in the gaming industry and has been a tremendous partner over the years," Microsoft CVP Sarah Bond said in a statement. "We look forward to working together as they explore new ways to create unique gaming experiences for the future using Microsoft cloud technologies. Together we will reimagine how games get built, hosted, and operated, with a goal of adding more value to players and Sega alike."

According to Sega, the key focuses behind Super Game are the keywords "Global," "Online," "Community," and "IP utilization." With 5G on its way to supercharge cloud gaming in many parts of the world, Sega is explicitly using Microsoft Azure in an attempt to anticipate and serve whatever the next trend might be. The name of the initiative follows up on information spotted in Sega's March 2021 financial presentation, where the company stated that its strategy included the creation of a Super Game within the next five years, defined as a title that "can be expanded globally." With IP utilization as one of the Super Game's hallmarks, it suggests that Sega plans to turn one of its tentpole franchises -- the same financial report mentioned Phantasy Star Online, Sonic the Hedgehog, Persona, Yakuza, and Total War as potential candidates -- to be made into a big-ticket service game. Whatever that ends up being, its development process will be powered by Microsoft Azure.

Long-time Slashdot reader destinyland writes: 40 years ago the Rolling Stones released the song "Start Me Up" as part of their album Tattoo You. Then over the next four decades they built a reputation as a surprisingly tech-savvy band...

In 1994 they became the first major recording artists to broadcast live online using the experimental "Mbone" backbone/virtual network built on top of the Internet, and made one of their new songs available for download on an FTP site. In 1995 they licensed "Start Me Up" for an ad campaign promoting Microsoft's Windows 95 (the first version of Windows including a Start button). Now on the 40th anniversary of Tattoo You, the Rolling Stones have re-released the album with nine previously unreleased tracks from the same era, "recently completed and enhanced with additional vocals and guitar." And, according to Rolling Stone magazine, they've also collaborated with Boston Dynamics to recreate the "Start Me Up" music video "with the tech company's robot dogs....the first time Boston Dynamics have employed the technology to reenact a music video."

"Pout. Prance. Repeat," quips a headline at CNET. "Robo-dog Spot performs a rollicking Rolling Stones tribute..." noting there's also additional Spot robots standing in for the other members of the band. ("There's a Spot-Jagger, a Spot-Keith Richards, a Spot-Ronnie Wood and a Spot-Charlie Watts..." Though for some reason there's no robot for bassist Bill Wyman.)

It's being billed as a collaboration between Boston Dynamics and the Rolling Stones, and Friday the band's official Twitter account tweeted a highlight from the video — along with their reaction.

"Thank you to the Boston Dynamics team for making this happen."

An anonymous reader quotes a report from The Conversation: On October 23, 2001, Apple released the iPod -- a portable media player that promised to overshadow the clunky design and low storage capacity of MP3 players introduced in the mid-1990s. The iPod boasted the ability to "hold 1,000 songs in your pocket". Its personalized listening format revolutionized the way we consume music. And with more than 400 million units sold since its release, there's no doubt it was a success. Yet, two decades later, the digital music landscape continues to rapidly evolve.

The iPod expanded listening beyond the constraints of the home stereo system, allowing the user to plug into not only their headphones, but also their car radio, their computer at work, or their hi-fi system at home. It made it easier to entwine these disparate spaces into a single personalized soundtrack throughout the day. [...] The rise of touchscreen smartphones ultimately led to the iPod's downfall. Interestingly, the music app on the original iPhone was called "iPod." The iPod's functions were essentially reappropriated and absorbed into the iPhone. The iPhone was a flexible and multifunctional device: an iPod, a phone and an internet communicator all in one -- a computer in your pocket. And by making the development tools for their products freely available, Apple and Google allowed third-party developers to create apps for their new platforms in the thousands.

As of this year, mobile devices are responsible for 54.8% of web traffic worldwide. And while music piracy still exists, its influence has been significantly reduced by the arrival of streaming services such as Spotify and YouTube. These platforms have had a profound effect on how we engage with music as active and passive listeners. Spotify supports an online community-based approach to music sharing, with curated playlists. [...] As of February this year, more than 60,000 tracks were being uploaded to Spotify each day. The experience of listening to music will become increasingly immersive with time, and we'll only find more ways to seamlessly integrate it into our lives.

An anonymous reader quotes a report from Motherboard: Oscar winning Dune screenwriter Eric Roth banged out the screenplay using the MS-DOS program Movie Master. Roth writes everything using the 30-year-old software. "I work on an old computer program that's not in existence anymore," Roth said in an interview in 2014. "It's half superstition and half fear of change." Roth wrote the screenplay for Dune in 2018 and explained he was still using Movie Master on a Barstool Sports podcast in 2020. That means Dune was written in an MS-DOS program.

In the video, he pulled up a DOS window in Windows XP and booted up Movie Master 3.09 on an ancient beige mechanical keyboard. "So now I'm in DOS. Nobody can get on the internet and get this," Roth said. "I have to give them a hard copy. They have to scan it and then put it in their computers and then I have to work through their computer because you can't even email mine or anything. You can't get to it except where it is. It has 40 pages and it runs out of memory." [...] Roth also said the 40 page limit helps him structure his screenplays."I like it because it makes acts," he said. "I realize if I hadn't said it in 40 pages I'm starting to get in trouble." Another writer to use MS-DOS is George RR Martin, notes Motherboard. He apparently used MS-DOS program WordStar "to slowly write ever single Game of Thrones book."

Denis Villeneuve will get the chance to create the second film of his planned two-part adaptation of Frank Herbert's "Dune," Legendary Entertainment and Warner Bros. said Tuesday. From a report: The news comes after Villeneuve's "Dune" tallied $41 million at the domestic box office during its debut over the weekend, a solid haul considering the film also launched on HBO Max Friday. Globally, the film hauled in $220 million. While Warner Bros. seemed keen to greenlight a second film for Villeneuve, Legendary owns the cinematic rights to the novel and had to be onboard in order to continue the story on the big screen. The second film is expected to follow Paul Atreides (Timothee Chalamet) as he joins the Fremen and works to bring peace to the desert planet of Arrakis. "Dune: Part Two" will debut on Oct. 20, 2023.

Amazon is next on the list of companies getting into the live audio game. The company is building a new app, codenamed "Project Mic," that gives anyone the ability to make and distribute a live radio show, complete with music, according to a presentation viewed by The Verge. From a report: This project's big goal is to democratize and reinvent the radio. The app will be focused on the US initially. Listeners will be able to tune in through the app, as well as through Audible, Amazon Music, Twitch, and Alexa-equipped devices. With the Alexa devices, listeners will be able to interact with shows using just their voice. The app experience will also be optimized for the car, playing into Amazon's idea of trying to reinvent radio. A mockup app image viewed by The Verge depicts a screen listing shows that are currently live; trending topics, like #NBA or #hot100; and featured creators. Users will also be able to search for content by topic, name, or music.

AMC Entertainment, the largest movie theater chain in the world, will offer open captioning at 240 locations in the United States, a move that the company's chief executive described as "a real advance for those with hearing difficulties or where English is a second language." From a report: Movie theaters provide closed captioning through devices that some customers describe as inconvenient and prone to malfunctioning. Open captions, however, are displayed on the screen in a way similar to subtitles; everyone in the theater sees the same captions, on the same screen. Advocates for the deaf and hard of hearing have long sought more and higher-quality captioning, but theater owners worry that people who aren't deaf simply don't like seeing captions at the movies.

"In some cases, putting open captions on the screen diminishes ticket sales for the movie," said John Fithian, the president and chief executive of the National Association of Theatre Owners, although he noted that the evidence was mostly anecdotal. He said the industry, whose business has been battered by the pandemic, was studying the relationship between open captions and ticket sales. Christian Vogler, a professor at Gallaudet University, a school in Washington that serves the deaf, said in an email, "Detractors of open captions often have argued that the wider hearing audience would revolt over them, or that these would be a losing business proposition for theaters." He praised AMC's move, which was announced last week, saying, "The fact that a large national chain has had a change of heart is significant, and may even open the floodgates for others to follow suit."

An anonymous reader quotes a report from Motherboard: In the early hours of Sunday morning, hackers took down the corporate servers and systems of Sinclair Broadcast Group, a giant U.S. TV conglomerate that owns or operates more than 600 channels across the country. Days later, inside the company, "it's pandemonium and chaos," as one current employee, who asked to remain anonymous as they were not authorized to speak to the press, told Motherboard. Sinclair has released very few details about the attack since it was hacked Sunday. On Wednesday, Bloomberg reported that the group behind the attack is the infamous Evil Corp., a ransomware gang that is believed to be based in Russia and which was sanctioned by the U.S. Treasury department in 2019.

The ransomware attack interfered with several channels' broadcast programming, preventing them from airing ads or NFL games, as reported by The Record, a news site owned by cybersecurity firm Recorded Future. It has also left employees confused and wondering what's going on, according to current Sinclair workers. "Whoever did this, they either by accident or by design did a very good job," a current employee said in a phone call, explaining that there are some channels that haven't been able to air commercials since Sunday. "We're really running in the blind [...] you really can't do your job." The employee said that he was working on Sunday and was able to get two emails out to colleagues. "And one of them got it, and the other one didn't," they said.

Employees did not have access to their emails until Tuesday morning, according to the two employees and text messages seen by Motherboard. The office computers, however, are still locked by the company out of precaution, and Sinclair told employees not to log into their corporate VPN, which they usually used to do their jobs. Until Thursday, the company was communicating with employees via text, according to the sources, who shared some of the texts sent by the company. In one of them, they called for an all hands meeting. The meeting, according to the two current employees, was quick and vague. Both sources said that the company should be more transparent with its own employees.

Yesterday, Roku told customers that it's unable to strike a deal to bring YouTube and YouTube TV apps to its channel store, citing anti-competitive demands in carriage agreements. These included "asking Roku to create a dedicated search results row for YouTube within the Roku smart TV interface and demanding certain features on Roku that they don't insist on getting from other streaming platforms," reports Axios. Now, a leaked email has surfaced allegedly showing that Google did in fact ask Roku for special search treatment for YouTube, an allegation that Google had previously called "baseless." 9to5Google reports: CNBC reports that an email from a Google executive to Roku called a "dedicated shelf for [YouTube] search results" a "must." The email was sent in 2019, well before the current fight between the two companies went public. Prior to this report, Roku has said on multiple occasions that "Google continues to interfere with Roku's independent search results." Google, in response, has denied those allegations and called them "baseless" while also claiming that it was Roku who decided to renegotiate the contract between the two companies. A previous statement from Google reads: "To be clear, we have never, as they have alleged, made any requests to access user data or interfere with search results. This claim is baseless and false."

This email puts the statements of both companies in a new light. It's possible Google did end up dropping this request between when the email was sent in 2019 and when the contract negotiations started, but it's also very possible the company is bending the truth around this request. Whatever the case, Google said that it "never" made such a request, but this email allegedly proves otherwise. ["The email from the Google executive to Roku reads: 'YouTube Position: A dedicated shelf for YT search results is a must,'" reports CNBC.]

"Vinyl was nearly at death's door not that long ago. After CDs came out, the predictions of vinyl's demise were an every day occurrence," writes Slashdot reader smooth wombat. "And for a time it looked like the vinyl record, something which had been around since the 1930s, would meet its end as so many other yesteryear products have. Except the COVID-19 pandemic changed all that. Now, with the sudden resurgence and demand for vinyl records, the few remaining manufacturers are struggling to meet the growing demand." The New York Times reports: In the first six months of this year, 17 million vinyl records were sold in the United States, generating $467 million in retail revenue (PDF), nearly double the amount from the same period in 2020, according to the Recording Industry Association of America. Sixteen million CDs were also sold in the first half of 2021, worth just $205 million. Physical recordings are now just a sliver of the overall music business -- streaming is 84 percent of domestic revenue -- but they can be a strong indication of fan loyalty, and stars like Taylor Swift and Olivia Rodrigo make vinyl an important part of their marketing.

Yet there are worrying signs that the vinyl bonanza has exceeded the industrial capacity needed to sustain it. Production logjams and a reliance on balky, decades-old pressing machines have led to what executives say are unprecedented delays. A couple of years ago, a new record could be turned around in a few months; now it can take up to a year, wreaking havoc on artists' release plans.

Music and manufacturing experts cite a variety of factors behind the holdup. The pandemic shut down many plants for a time, and problems in the global supply chain have slowed the movement of everything from cardboard and polyvinyl chloride -- the "vinyl" that records (and plumbing pipes) are made from -- to finished albums. In early 2020, a fire destroyed one of only two plants in the world that made lacquer discs, an essential part of the record-making process. But the bigger issue may be simple supply and demand. Consumption of vinyl LPs has grown much faster than the industry's ability to make records. The business relies on an aging infrastructure of pressing machines, most of which date to the 1970s or earlier and can be costly to maintain. New machines came along only in recent years, and can cost up to $300,000 each. There's a backlog of orders for those, too.

An anonymous reader quotes a report from CNET: Pricing right now on TVs is the highest since at least 2012," says Stephen Baker, vice president of Industry Analysis at NPD group. "Holiday pricing overall is likely to be at least $100 above normal. Last year the average price of a TV was $363 during the fourth quarter, which is fairly typical over the last few years. This year our forecast is for the average price to be approximately $500." For a lot of shoppers a $500 TV sounds pretty affordable, but that's the average of every TV sold in the US. The majority are entry-level models with small screens and modest features that bring down the average. [...] TVs come in a wide range of prices and sizes, and the higher average selling price will impact smaller, cheaper models more than larger, more-expensive ones. In fact, high-dollar TVs are selling better than ever, which of course helps drive up the average price. "Sales of TVs over $1,500 are at record levels, and sales of TVs 75-inch and above are performing much better than the overall market," says Baker.

The good news? Inventory this holiday season likely won't be a problem. "Right now we don't expect significant shortages in TVs," says Baker. "While the port blockages are a concern, there are a lot of choices in the TV market. So if consumers can be flexible around brand and screen size, availability should be sufficient." He adds that over the last few months TV sales have been tepid, which allows TV makers to build up enough inventory to deal with the holiday rush. So what does all of this mean for TV shoppers? Traditional holiday price drops will still happen, but maybe those $100 doorbuster deals won't be as common. "There will be price drops, there will be promotions, the calendar does not disappear," says Baker. "But all of those pricing activities will happen on products priced substantially higher than in previous years." In other words, midrange and higher-end TVs, the ones selling at a historic clip, are still likely to see plenty of price reductions in the next couple months. In fact, some are happening already.

Thelasko shares a report from Ars Technica, written by Peter Opaskar: Frank Herbert's 1965 sci-fi novel Dune gets a new film adaptation -- this one helmed by Denis Villeneuve (Arrival, Blade Runner 2049) -- later this month. But before Ars Technica reviews the movie, there's the matter of its predecessor: 1984's Dune, made by a then up-and-coming filmmaker named David Lynch. Detractors call Lynch's saga -- a tale of two noble space families 8,000 years in the future, fighting over the most valuable resource in the universe amidst sandworms the size of aircraft carriers -- incomprehensible, stilted, and ridiculous. It lost piles of money. Yet fans, especially in recent years, have reclaimed Lynch's film as a magnificent folly, a work of holy, glorious madness.

So which group am I in? Both. Am I about to describe Dune as "so bad it's good"? No, that's a loser take for cowards. I once half-heard a radio interview with someone speculating that the then-current artistic moment was not "so bad it's good," and it wasn't "ironic" either -- it was actually "awesome." (I didn't catch who he was, so if any of this sounds familiar, hit me up in the comments.) Art can speak to you while at the same time being absurd. The relatable can sometimes be reached only by going through the ridiculous. The two can be inseparable, like the gravitational pull between a gas giant and its moon -- or Riggs and Murtaugh.

The example the radio interviewee gave was of Evel Knievel, the '70s daredevil who wore a cape and jumped dirt bikes over rows of buses. Absurd? Heavens, yes. A feat of motorcycling and physicality? Absolutely. But beyond that, we can relate to Knievel's need to achieve transcendence at such a, shall we say, niche skill. We might also marvel at our own ability to be impressed by something that should be objectively useless but is instead actually awesome. A more contemporary example might be Tenet. It's a relentless international thriller about fate and climate change and the need for good people to hold evil at bay. But it's also a "dudes rock!" bromance between Two Cool Guys in Suits spouting sci-fi mumbo-jumbo. It can't be one without the other. "I have faith in Denis Villeneuve and his new version of Dune starring Timothee Chalamet," says Opaskar. "But it will probably be a normal movie for normal people, in which characters with recognizable emotions talk in a recognizable way and move through a plot we understand to achieve clearly defined goals. Which is all fine and good, but how likely is it to inspire sick beats for '90s kids doing ecstasy?"

Netflix just released an action-packed teaser for its live-action adaptation of the 1998 Japanese anime series "Cowboy Bebop." From a report: A 10-episode series -- which chronicles a group of cosmos-hopping bounty-hunters and is based on the cartoon of the same name -- will premiere on Netflix next month [...]. The 2 1/2-minute trailer, titled "The Lost Session," featured characters Spike Spiegel (voiced by John Cho), Jet Black (Mustafa Shakir) and Faye Valentine (Daniella Pineda) running after a runaway target while squabbling about how to best catch the enemy. The trailer also teased the show's main villain, Vicious (Alex Hassell), as well as a snippet of the song "Green Bird" from the original series episode "Ballad for Fallen Angels." The group's spaceship, the Bebop, was also featured in the clip. A full trailer will be released on Oct. 26, just ahead of the Nov. 19 debut on Netflix.

At its Fall Mac event today, Apple announced the new third-generation AirPods, featuring a slightly revamped design with shorter stems and touch-based "force sensor" and support for spatial audio. Ars Technica reports: The new AirPods retain their usual hard plastic finish and do not have in-ear tips like the AirPods Pro, though Apple says they are now officially IPX4-rated for sweat and water resistance. Apple says the earbuds have six hours of battery life and up to 30 hours when including the charging case. (That's compared to five and 24 hours, respectively, on the second-gen model.) The included case supports MagSafe and wireless charging, though the earbuds do not feature active noise cancellation or a transparency mode like their pricier siblings.

Though the second-gen AirPods were renowned more for their ease of use than their audio quality, Apple says it has updated them with a redesigned driver and an adaptive EQ feature that automatically tunes your music based on the AirPods' fit in your ear. The earbuds will also use Apple's spatial audio tech, which makes audio sound like it is coming from around the user's head. To help with that, the new AirPods support dynamic head tracking like the AirPods Pro and the over-ear AirPods Max. The third-gen AirPods cost $179 and are available to order online today, with in-store availability starting October 26. Notably, Apple will continue to sell the existing second-gen AirPods for $129 alongside the new pair.

Somewhere on Yahoo, one writer asks "Is the comic book industry dying or thriving?" There was a time when comic books were sold at newsstands alongside mainstream publications, according to Forbes, but that changed in the early 1980s when periodical comics all but disappeared from newsstands. From then on, the vast majority of comic books were sold through independently owned retail comic shops.
But GamesRadar+ notes a boom started in the 1990s — when comic books became an investment: Long story short, folks outside of regular comic book readers discovered that, in some cases, key comic book issues (such as those that debuted popular characters or titles) could be worth significant amounts of money on the secondary market, leading to some fans buying dozens of copies of a single issue in the hopes of someday capitalizing on their monetary value...

Someone should've explained supply and demand — the bubble burst because when everyone is buying and meticulously preserving a million copies of a comic book, there is no rarity to drive up the value to the level of less well-preserved comic books from earlier eras.
Their article also points out that this era saw the dawn of lucrative "variant covers". But the '90s also saw a rebellion of top Marvel artists who left to found Image comics, "the first major third-party publisher to challenge Marvel and DC's reign over the industry in years," which led to "a rise in independent and creator-owned comic books, both large and small, and helped the rising tide of indie publishers gain a solid foothold as an overall industry presence." (Presumably this "rising tide" would also include publishers of manga and anime-derived titles.)

So where are we now? The article on Yahoo notes the vast popularity of comic book movies, and also argues that "The billion-dollar comic business continues to boom." According to Publisher's Weekly, sales of comic books and graphic novels topped $1.28 billion in 2020, an all-time high. It's no fluke. With a few exceptions — sales fell a little in 2017, for example — comic book sales have been rising consistently for decades.
But who's actually reading comic books? Is it teenagers? Nostalgic adults? Investing collectors? People who saw the movies first? (If you're 12 years old, are you going to read some comic book, or watch The Avengers?)

Comic books now also have to compete with incredibly immersive videogames, virtual reality, and a gazillion cellphone apps — not to mention social media, and even online fan fiction. So I'd be interested to hear the experiences of Slashdot's readers. It seems like we'd be a reasonably good cross section of geek culture — but can we solve the riddle of the state of the comic book industry today?

Share your own thoughts in the comments. Is the comic book industry dying or thriving?

Netflix's hugely popular series Squid Game has become its biggest title ever at launch, the company said Monday. The Verge reports: The company's Netflix Geeked account tweeted Monday that Hwang Dong-Hyuk's survival thriller reached 111 million global accounts in its first 17 days on the service. Additionally, Squid Game is the first Netflix series to surpass 100 million in its first 28 days on the service, a spokesperson told The Verge. Netflix typically uses 28-day windows to measure the performance of a title on its platform. The spokesperson confirmed to The Verge that the figures it shared are based on the number of accounts that watched the series for at least two minutes, its standard metric for ranking titles (though it has used additional measurements to track the success of titles in the past).

Since debuting on Netflix on September 17th, Squid Game has reached the no. 1 position on the streaming service in 94 countries -- every country in the world where the service features a top 10 list, the company spokesperson said. Additionally, the show has held the no. 1 position for 21 days in the US, shattering the record for a non-English language title. Squid Game was previously announced as the first Korean title to reach the top spot in the US.

An anonymous reader quotes a report from Ars Technica: On Monday, Nintendo of Europe announced a very region-specific -- and era-specific -- tweak for its upcoming collection of N64 games on Switch: an option to switch between the video standards PAL and NTSC. While the announcement may sound ho-hum to outsiders, anyone in Europe with a vested interest in classic gaming will appreciate what the toggle affords. The issue boils down to differences between NTSC and PAL, the leading video broadcast standards on CRT TVs during Nintendo's '80s and '90s heyday. North American and Japanese TV sets were configured for NTSC, which has a refresh rate standard of 60 Hz, while PAL sets dominated Europe with a slightly higher pixel resolution and a lower refresh rate standard of 50 Hz.

Should you merely watch TV series or films on both NTSC and PAL sets, the difference between each is noticeable yet mild. But for much of the '80s and '90s, many TV video games, especially the ones made by the largely Japanese console industry, suffered in PAL because they were coded specifically for NTSC standards. In order to port them to PAL, developers generally didn't go back and reconfigure all of the timings, especially in the case of early 3D games. Instead, their internal clock speeds were often slowed down to 83.3 percent to match European TV refresh rates. This meant both slower gameplay than originally coded and slower playback of music and sound effects. (These also often shipped with NTSC's pixel maximums in mind in such a way that they were squished to fit on PAL displays, as opposed to being optimized for them.)

Sure enough, last month's announcement of N64 games on Nintendo Switch Online put fear into European classic-gamer hearts. That region's reveal video included slightly slower timings of classic N64 games compared to videos posted by Nintendo of America and Nintendo of Japan, since they were emulating the original European retail releases. At that time, Nintendo of Europe did not immediately reply to social media questions about whether European Switch owners would get an option for 60 Hz N64 gameplay -- especially in an LCD TV era, where such CRT-related restrictions no longer technically apply to most EU and UK TV owners. Monday's announcement confirms that European players will get a 60 Hz option by default for every N64 game in the Nintendo Switch Online "Expansion Pack" collection, along with the option to access a game's original 50 Hz version if it launched with multi-language support. Reading between the lines, we believe this means that if a European N64 game only had English language support, its Switch Online version will be the North American NTSC ROM.

phalse phace shares a report from The Verge: British Satellite broadcaster Sky is moving away from the satellite dishes that have defined its TV service for decades. Sky Glass is launching today, an ambitious effort to sell television sets that stream Sky TV content over Wi-Fi directly to consumers. There's no external box, no satellite dish, and no need for a soundbar. Although announced for the UK today, Sky has global aspirations for Glass TV "built on technology borne of the collaboration as part of the Comcast Corporation." As such, we might be looking at the platform underpinning Comcast's rumored XClass TVs for the US. Sky Glass TVs will be available in three sizes: 43-inch, 55-inch, and 65-inch. Each 4K TV will stream Sky's TV channels, and integrates in voice control (Hello Sky) and 21 apps to access additional content like Netflix, Spotify, or Disney Plus.

Sky hasn't named the TV manufacturer it partnered with yet, but the full specifications include a UHD Quantum Dot display, support for Dolby Vision, HDR 10, HLG, three HDMI 2.1 ports, and a single USB-C port. The rather chubby TV fits six speakers for up to 215W of Dolby Atmos surround sound: 3 outward firing speakers, 2 upward, and 1 central subwoofer. There will also be five color options: white, pink, green, blue, and black. The price of a Sky Glass TV is designed to be baked into a monthly subscription to Sky's TV service, known as Sky Ultimate TV, but you can also pay for the TV upfront if you want to lower the monthly costs. Sky Ultimate TV includes access to Netflix and some basic Sky channels, but Sky Sports and Sky Cinema are separate add-ons. What you pay will depend on the size of TV and whether you want to spread payments. The report goes on to note Sky's collaboration with Microsoft to watch TV together with others. "Sky demonstrated a software experience that allows you to watch TV channels with others, and see each other's reactions to sport in real time," reports The Verge.

Furthermore, Sky claims it'll be the first TV manufacturer in the world to allow customers to "swap old Sky Glass TVs for newer models when they're available," the report adds.