New submitter ekimminau writes: On the morning of December 20, 2023, thousands of users turned on their Samsung TV to find that the Samsung TV Plus application was missing. Available for free on 2016-2023 Samsung Smart TVs, Galaxy devices, Smart Monitors, Family Hub refrigerators, and the web, for many it is their primary method of TV viewing. The masses began flocking to the Samsung community forums asking ... what was going on.

From Cord Cutters: At this time, Samsung has not posted any updates about the outage. Customer service has been telling customers they are aware of the outage and are working on fixing it. This news comes as Samsung recently added seven local FOX news channels for community stories, sports updates, weather forecasts and more. The new markets are Austin, Detroit, Milwaukee, Orlando, Phoenix, Seattle and Tampa Bay. Right now, this outage seems to only be affecting the app on Smart TVs as the website is still working letting anyone stream Samsung TV Plus for free streaming online through the website.

An anonymous reader quotes a report from Ars Technica: It's no secret that TV makers are seriously invested in pushing ads. Using TVs for advertising goes back to 1941 when the first TV commercial aired. But as we trudge our way through the 21st century, TV vendors are becoming more involved in ensuring that their hardware is used to sell stuff and add to their own recurring revenue. This has taken various forms, but in some cases, we're seeing increasingly invasive strategies for turning TVs into a primary place for shopping. The latest approach catching attention comes from the startup Displace. Its upcoming TVs will use integrated webcams and NFC payment readers to make it easy for people to buy stuff they see on TV. [...]

The two new TVs Displace is adding to its 2024 release plans, the Displace Flex and Displace Mini, are all about making TV shopping better. According to Displace's announcement, the Displace Flex (a 55-inch 4K OLED TV) and Displace Mini (a 27-inch 4K OLED TV) will use proprietary gesture technology and each TV's integrated 4K camera to tell when a user is raising their hand. It's unclear how accurate that will be (could the shopping experience accidentally be activated if I raised my hand to tie my hair up, for example?), but at that point, the TV is supposed to pause the content being played. Then, it uses computer vision to "analyze the screen to find products available for sale. Once they see something they want to purchase, viewers drag and drop the product into the global Displace Shopping Cart," the announcement says. Displace Shopping will work at any moment the TV is on, and users can buy stuff they see in commercials by using the TVs.

Displace's December 14 announcement said: "As soon as the viewer is ready to checkout, Displace Payments makes paying as easy as bringing a user's smartphone or watch near the TV's built-in NFC payment reader, a fully secure process that requires no credit card info. Viewers can also pay from within the Displace app." If the TV can't find a specific product for sale, it will "search for similar items" without user intervention, according to Displace. The TV will show products from any available online retailers, allowing users to select where they want to make their purchase. Displace hasn't provided full details about how it will make money off these transactions, but when reached for comment, founder and CEO Balaji Krishnan told Ars Technica that Displace has "different business models, and one of them is to take a transaction fee," and that Displace will share more details "later." Displace also sees people using Displace Payments to pay for telehealth applications and equipped the Flex and Mini with thermal cameras. To ease privacy concerns, Krishnan says the integrated cameras can be folded into the TVs if a user needs privacy.

Eventually, Displace sees itself working with content publishers to lay its shopping UI over actively playing content. "Users would see a workable buy button right on top of the playing video," adds Ars.

According to Axios, the CEO of Warner Bros. Discovery, David Zaslav, met with Paramount Global CEO Bob Bakish to discuss a possible merger. "The combination would create a news and entertainment behemoth that would likely trigger further industry consolidation," reports Axios. From the report: Zaslav also has spoken to Shari Redstone, who owns Paramount's parent company, about a deal. WBD's market value was around $29 billion as of Wednesday, while Paramount's was just over $10 billion, so any merger would not be of equals. The meeting between Zaslav and Bakish, which sources say lasted several hours, took place at Paramount's headquarters in Times Square.

The duo discussed ways their companies could complement one another. For example, each company's main streaming service -- Paramount+ and Max -- could merge to better rival Netflix and Disney+. It's unclear whether WBD would buy Paramount Global or its parent company, National Amusements Inc. (NAI), but a source familiar with the situation says that both options are on the table. WBD is said to have hired bankers to explore the deal.

The deal could drive substantial synergies. WBD could use its international distribution footprint to boost Paramount's franchises, while Paramount's children's programing assets could be essential to WBD's long-term streaming ambitions. CBS News could be combined with CNN to create a global news powerhouse. CBS' crime dramas, such as "NCIS" and "Criminal Minds," could be combined with Investigation Discovery and TruTV. CBS Sports' footprint could be combined with WBD's. For example, CBS and WBD's Turner Sports currently share TV rights for March Madness.

Long-time Slashdot reader theodp writes: For the soundtracks to their 2023 holiday season ads, both Amazon and Apple turned to music by members of The Beatles. Amazon's Joy Ride, which stars three older women reliving their youthful joy at a sledding hill, is set to a cover of The Beatles' In My Life. Apple's Fuzzy Feelings, which tells the story of a young woman with a grumpy boss, is set to George Harrison's Isn't It a Pity.

Product placement is present in both ads — Amazon features padded seat cushions that protect the seniors' tushes and the Amazon app used to order them, while Apple showcases the iPhone 15 Pro Max used to capture the ad's stop-motion animation scenes and the MacBook Air used to edit them.

Amazon's 60-second ad has 542K views on YouTube, while Apple's 4-minute ad has 16+ million views.

Malak Saleh reports via Engadget: Twitch has quickly taken back its policy update that permitted users to post sexual content as long as it was labeled. In another update, the company said it is not going to allow any depictions of real or fictional nudity on its streaming platform. After giving users the green light to post "artistic nudity," Twitch says some streamers created content that violated policy.

The media streamed in response to the initial approval of sexually explicit content on Twitch was "met with community concern," according to the update. The company said, "We have decided that we went too far with this change." While a huge part of the initial decision was to allow for the "digital depiction" of artistic nudity, the company clarified that digital depictions of sexual content is a concern when artificial intelligence can be used to develop realistic images and that it can be difficult to discern between what's been digitally produced and real photography.

After years of withholding viewership data, Netflix earlier this week released statistics showing its top viewed titles from January-June 2023. The winner with over 800 million hours watched was The Night Agent. Though the steamy, soapy Sex/Life scored over 120 million hours, the warm coming-of-age series Sex Education had under 30 million.

Netflix claimed "success comes in all shapes and sizes," but co-CEO Ted Sarandos admitted the data guides business decisions. So while Netflix says stats aren't everything, pouring resources into sure bets like The Night Agent seems likely as competition grows post-Hot Strike Summer. The show is what some call "just OK TV" -- not offensive, not groundbreaking, but reliably watched. Wired adds: This era of Just OK also comes as Netflix captures the King of Reality TV throne. Shows like Love Is Blind and Selling Sunset are becoming cultural juggernauts, and the streamer shows no sign of slowing down, especially now that the Squid Game spinoff, Squid Game: The Challenge, is getting major traction.

True, Netflix is still putting out artful content. A show like Wednesday, for example, had more than 507 million hours viewed and is also currently up for 12 Emmys. Netflix, on the whole, is nominated for a whopping 103 Emmys. That's impressive, but also, it's down from the 160 nods it got at its peak in 2020 and fewer than the 127 nabbed by (HBO) Max, which crushed thanks to shows like The White Lotus, The Last of Us, and Succession. You see where this is going. Netflix likes to tout its prestige shows, but also has to keep its paying customers, who left in droves in 2022 before partly coming back as Netflix cracked down on password sharing. To that end, it behooves Netflix to make more Ginny & Georgia, more Night Agent, more You. One analysis of the data found that the most-watched film, according to Netflix's data dump, was the Jennifer Lopez vehicle The Mother, which accumulated about 250 million hours watched in six months. Variety puts that level of engagement up there with Barbie and The Super Mario Bros. Movie. Not a bad showing.

The Federal Communications Commission has taken a step toward prohibiting early termination fees charged by cable and satellite TV providers. From a report: If given final approval, the FCC action would also require cable and satellite providers to provide a prorated credit or rebate to customers who cancel before a billing period ends. The new rules are being floated in a Notice of Proposed Rulemaking (NPRM) that the FCC voted to approve this week in a 3-2 vote, with both Republicans dissenting. The NPRM seeks public comment on the proposed rules and could lead to a final vote in a few months or so.

"Today's action proposes to adopt customer service protections that prohibit cable operators and DBS (Direct Broadcast Satellite) providers from imposing a fee for the early termination of a cable or DBS video service contract," the FCC said. "Additionally, the NPRM recommends the adoption of customer service protections to require cable and DBS providers to grant subscribers a prorated credit or rebate for the remaining whole days in a monthly or periodic billing cycle after the subscriber cancels service."

FCC Chairwoman Jessica Rosenworcel said, "Consumers are tired of these junk fees. They now have more choices when it comes to video content. But these friction-filled tactics to keep us subscribing to our current providers are aggravating and unfair. So today we kick off a rulemaking to put an end to these practices." Cable lobby group NCTA-The Internet & Television Association opposes the plan and said it will submit comments to support "consumer choice and competitive parity."

An anonymous reader shares a report: If you bought a new smart TV during any of the holiday sales, there's likely to be an uninvited guest watching along with you. The most popular smart TVs sold today use automatic content recognition (ACR), a kind of ad surveillance technology that collects data on everything you view and sends it to a proprietary database to identify what you're watching and serve you highly targeted ads. The software is largely hidden from view, and it's complicated to opt out. Many consumers aren't aware of ACR, let alone that it's active on their shiny new TVs. If that's you, and you'd like to turn it off, we're going to show you how.

First, a quick primer on the tech: ACR identifies what's displayed on your television, including content served through a cable TV box, streaming service, or game console, by continuously grabbing screenshots and comparing them to a massive database of media and advertisements. Think of it as a Shazam-like service constantly running in the background while your TV is on.

These TVs can capture and identify 7,200 images per hour, or approximately two every second. The data is then used for content recommendations and ad targeting, which is a huge business; advertisers spent an estimated $18.6 billion on smart TV ads in 2022, according to market research firm eMarketer. For anyone who'd rather not have ACR looking over their shoulder while they watch, we've put together a guide to turning it off on three of the most popular smart TV software platforms in use last year. Depending on the platform, turning off ACR took us between 10 and 37 clicks.

For the first time, Netflix has released a comprehensive report of what people watched on the platform over a six month period. It includes hours viewed for every title, the premiere date for any Netflix show and movie, and whether a title was available globally. From the Hollywood Reporter: The list includes worldwide viewing for more than 18,000 movies and seasons of TV (18,214, to be exact) between January and June. Those 18,214 titles all had at least 50,000 hours of viewing over those six months, encompassing about 99 percent of all viewing on Netflix, vp strategy and analysis Lauren Smith told reporters during a presentation of the data on Tuesday. It is the deepest dive into viewing that Netflix (or any other streamer) has ever made public.

Among the highlights: The Night Agent was the biggest title on Netflix in the first half of 2023, racking up 812.1 million hours of viewing. Season two of Ginny & Georgia was second at 665.1 million hours, followed by Korean drama The Glory (622.8 million hours). Wednesday ranked fourth at 507.7 million hours of viewing, despite being released in November 2022. The company is using total hours viewed in this report as a way to measure engagement by its users rather than the "view" formula (total viewing hours divided by running time) it employs to compare titles in its weekly top 10 lists.

Original series and movies dominate the top of the chart, but Smith said the split between original and licensed titles was more even: About 55 percent of viewing was for originals and 45 percent was for licensed shows and films. Suits, which dominated the Nielsen U.S. streaming charts for much of the summer and fall, had a combined 599 million hours of viewing worldwide on Netflix across all nine seasons. The show's first season ranked highest, coming in 67th place with 129.1 million hours. At the other end, a little more than 20 percent of the titles on Netflix's list (3,813 in all) had very little viewing. The company rounded them to 100,000 hours but they would fall between 50,000 and 149,999 hours -- barely a drop in the streamer's more than 100 billion total hours of viewing for the six months. The full "What We Watched: A Netflix Engagement Report" can be downloaded here.

Google Play Movies & TV will be replaced with Google TV on January 17, 2024. 9to5Google reports: Since the 2020 launch of the Google TV platform, that branding has replaced Play Movies & TV in areas such as mobile apps, but that's also led to the choice to do away with Play Movies & TV branding basically everywhere else. In October, that decision also made its way to Android TV, and the app has not been working ever since. Despite some confusion over the past few days, the app currently just redirects to Android TV's "Shop" tab, which has been widely available for months.

In a new post, Google explains that it will do away with the last parts of Google Play Movies & TV in January 2024: "With these changes, Google Play Movies & TV will no longer be available on Android TV devices or the Google Play website.* However, you'll still be able to access all of your previously purchased titles (including active rentals) on Android TV devices, Google TV devices, the Google TV mobile app (Android and iOS), and YouTube."

On January 17, Play Movies & TV will officially cease for good on Android TV. For anyone who does still have the app working -- again, most users cannot use the app already -- the "Shop" tab will become the only option. Similarly, Google says that Play Movies & TV will cease on other remaining platforms that same date. Any cable boxes with the app integrated will also lose it, and in turn pushed to the YouTube app for continued access to purchased content. Web access via play.google.com/movies will also go away, with youtube.com/movies becoming the alternative.

All those original shows on streaming services brought us "peak TV." But the New York Times reports on the flipside: back in the cable universe, they're experiencing "zombie TV": In 2015, the USA cable network was a force in original programming. Dramas like "Suits," "Mr. Robot" and "Royal Pains" either won awards or attracted big audiences. What a difference a few years make. Viewership is way down, and USA's original programming department is gone. The channel has had just one original scripted show this year, and it is not exclusive to the network — it also airs on another channel. During one 46-hour stretch last week, USA showed repeats of NBC's "Law & Order: Special Victims Unit" for all but two hours, when it showed reruns of CBS' "NCIS" and "NCIS: Los Angeles."

Instead of standing out among its peers, USA is emblematic of cable television's transformation. Many of the most popular channels — TBS, Comedy Central, MTV — have quickly morphed into zombie versions of their former selves. Networks that were once rich with original scripted programming are now vessels for endless marathons of reruns, along with occasional reality shows and live sports... Advertisers have begun to pull money from cable at high rates, analysts say, and leaders at cable providers have started to question what their consumers are paying for. In a dispute with Disney this year, executives who oversee the Spectrum cable service said media companies were letting their cable "programming house burn to the ground...."

The media companies that own the channels are in a bind. The so-called cable bundle was enormously profitable for media companies, and more than 100 million households subscribed at the peak. But subscribers are rapidly declining as people migrate toward streaming. Now roughly 70 million households subscribe to cable. As a result, most media companies are pulling resources from their individual cable networks and directing investment toward their streaming services. Peacock, which is owned by NBCUniversal, also the parent of USA, has begun making more and more original scripted shows over the last three years.

However, most streaming services are hemorrhaging cash. (An NBCUniversal executive said this week that Peacock would lose $2.8 billion this year.) Cable, although it is getting smaller, remains profitable.
Media analyst Michael Nathanson believes last year was saw a "tipping point" when cable advertising decreased — by double-digit percentages — in five consecutive fiscal quarters. "Advertisers are starting to realize that there's really nothing on here and they shouldn't pay for it."

One consultant who works with entertainment companies and used to run marketing at the Oxygen cable network tells the newspaper that cable channels "are being stripped for parts." The article calculates that in 2022 there were 39% fewer scripted programs on basic and premium cable than there were in 2015.

"Reruns are filling the hole."

To celebrate the 30th anniversary of Doom, both John Romero and John Carmack are appearing now on a special 30th anniversary stream on Twitch. (Right now they're talking about people who got into professional networking careers because of what they'd learned from setting up multiplayer deathmatches...)

And earlier this morning, Romero shocked the gaming world by posting six words on X.

"Free WAD for SIGIL II is up"

The official page for the long-awaited new Doom episode promises a 2 megabyte file "packed with some hardcore classic DOOM punishment — beware of Ultra-Violence mode!" There's nine new maps with names like "Wrathful Reckoning" and "Vengeance Unleashed". And the site is also selling an upgrade with a THORR soundtrack — priced at €6.66 — along with t-shirts, boxed editions of the original game Sigil, and a "Megawad Beast Box" that's "individually numbered and signed personally by John Romero and featuring the artwork of Christopher Lovell" (including a signed art print).

Besides sundry extras including a t-shirt, stickers, and a Sigil-themed coin, it also comes with a pewter statue of John Romero's head on a spike...

Launched in the Nordics, BeneLux, Ireland, and the UK, the ads insist that HP printers are "made to be less hated." From a report: Which may come as news to HP's long-suffering users who still, for whatever reason, need to brand mushed-up trees with corporate nonsense despite this alleged digital age. The three ads run touch upon a spectrum of negative emotions that will be highly relatable to those who have ever tried to print something at home or work -- sorrow, anger, despair -- and all end with extreme and cathartic human-on-printer violence.

CNN reports on a new German-based project called WindCORES that operates data centers inside existing wind turbines, making them almost completely carbon neutral. "If you look at the sustainability pyramid, the highest form of sustainability is using things that already exist," said Fiete Dubberke, managing director of windCORES, which was founded in 2018. From the report: The concept uses existing wind turbines to power data centers on site, while fiber optic cables provide a constant internet connection. Planning for a project like this began 10 years ago, Dubberke said, when WestfalenWIND realized the electricity grid was too weak to handle the huge capacities of electricity being produced by its wind turbines during peak wind hours, resulting in their windfarms being switched off due to grid security issues. WindCORES estimates that the unused electricity generated during this period could power one-third of all German data centers.

Its solution was to bypass the "middleman" (the grid) altogether, and instead, power IT servers from directly inside the large concrete wind turbine towers. Each tower is 13 meters wide and could potentially hold server racks up to 150 meters high. As the area is mostly empty space, Dubberke calls the concept a "no-brainer." According to Dubberke, an average of 85-92% of the power needed to sustain a windCORES data center comes directly from the host turbine. When there is no wind, electricity is obtained from other renewable sources, including solar farms and hydroelectric power plants, via the electricity grid. "The German data center average is 430 grams of CO2 released per kilowatt hour," he said. "For windCORES, it is calculated at just 10 grams per kilowatt hour."

Since launching, windCORES has acquired around 150 clients through co-location and cloud solutions, from very small start-up companies to bigger, more established ones, such as Zattoo, a leading carbon-neutral Swiss TV streaming platform with several million monthly users. Zattoo joined windCORES in 2020, when it moved one of its six data centers into a wind turbine in Paderborn. Currently, 218 channels are encoded with windCORES, and by the end of next year, the company hopes to relocate more existing servers to the wind farm, making it Zattoo's main data center location. [...] WindCORES has recently opened a larger, second location called "windCORES II" at the Huser Klee windfarm in Lichtenau, Germany. Built for a new large automotive client from Munich (the name is yet to be revealed), it is over three levels and around 20 meters high.

Samuel Axon reports via Ars Technica: The trailer for Amazon's Fallout TV series dropped this weekend, and it's either craven fan service or wonderfully authentic, depending on your point of view. The trailer depicts a lead character leaving a vault after an apparent catastrophe, discovering the broken world outside, and encountering ridiculous monsters as well as factions like the Brotherhood of Steel. It also features some extreme gore, which you'd expect from Fallout.

We've written a few times about the slowly unfolding saga of this show, which has Westworld's Lisa Joy and Jonathan Nolan as producers. To be clear, though, they won't actually be the showrunners; that honor goes to Geneva Robertson-Dworet (Captain Marvel, Tomb Raider) and Graham Wagner (Portlandia, The Office, Silicon Valley). The two showrunners each cover one-half of what Fallout has traditionally been: Robertson-Dworet brings the sci-fi action credentials, and Wagner brings the satirical comedy. As announced in October, the show will premiere on April 12th, 2024, exclusively via Prime Video.

ExpressVPN is the biggest VPN company so far to take advantage of the VPN support available in tvOS 17. According to The Verge, ExpressVPN will let Apple TV users connect to servers "in any of 105 countries around the world" so they can watch geo-restricted content around the world. From the report: To download it, you'll need to make sure you're on tvOS 17 -- earlier versions don't support native VPN apps at all. Once set up, the app will route your traffic through faraway servers before forwarding them to whatever streaming service or other internet server the Apple TV contacts. ExpressVPN on the Apple TV uses the company's Lightway protocol. Reddit users reported spotting the app last week. Most said they could switch countries to get around region restrictions, though some had issues logging in or getting it to work with specific apps. It's also a basic experience that lacks advanced VPN features like split tunneling, which dynamically applies the VPN connection to certain services as needed, freeing users from managing it manually.

Sony is about to delete tons of Discovery shows from PlayStation users' libraries even if they already "purchased" them. Why? Because most users don't actually own the digital content they buy thanks to the mess of online DRM and license agreements. Some of the soon-to-be-deleted TV shows include Mythbusters and Naked and Afraid. Kotaku reports: The latest pothole in the road to an all-digital future was discovered via a warning Sony recently sent out to PlayStation users who purchased TV shows made by Discovery, the reality TV network that recently merged with Warner Bros. in one of the most brutal and idiotic corporate maneuvers of our time. "Due to our content licensing arrangements with content providers, you will no longer be able to watch any of your previously purchased Discovery content and the content will be removed from your video library," read a copy of the email that was shared with Kotaku.

It linked to a page on the PlayStation website listing all of the shows impacted. As you might imagine, given Discovery's penchant for pumping out seasons of relatively cheap to produce but popular reality TV and documentary-based shows, there are a lot of them. They include, but are not limited to, hits such as: Say Yes to the Dress, Shark Week, Cake Boss, Long Island Medium, Deadly Women, and many, many more. [...] Now, essentially anything you buy on PSN, whether a PS5 blockbuster or, uh, Police Women of Cincinnati, is essentially just on indefinite loan until such time as the PlayStation servers die or the original copyright owner decides to pull the content.

Google Play has reversed its latest ban on a web browser that keeps getting targeted by vague Digital Millennium Copyright Act (DMCA) notices. Downloader, an Android TV app that combines a browser with a file manager, was restored to Google Play last night. From a report: Downloader, made by app developer Elias Saba, was suspended on Sunday after a DMCA notice submitted by copyright-enforcement firm MarkScan on behalf of Warner Bros. Discovery. It was the second time in six months that Downloader was suspended based on a complaint that the app's web browser is capable of loading websites.

The first suspension in May lasted three weeks, but Google reversed the latest one much more quickly. As we wrote on Monday, the MarkScan DMCA notice didn't even list any copyrighted works that Downloader supposedly infringed upon. Instead of identifying specific copyrighted works, the MarkScan notice said only that Downloader infringed on "Properties of Warner Bros. Discovery Inc." In the field where a DMCA complainant is supposed to provide an example of where someone can view an authorized example of the work, MarkScan simply entered the main Warner Bros. URL: https://www.warnerbros.com/.

An anonymous reader quotes a report from Ars Technica: App developer Elias Saba has had some bad luck with Digital Millennium Copyright Act (DMCA) takedowns. His Android TV app Downloader, which combines a web browser with a file manager, was suspended by Google Play in May after several Israeli TV companies complained that the app could be used to load a pirate website. Google reversed that suspension after three weeks. But Downloader has been suspended by Google Play again, and this time the reason is even harder to understand. Based on a vague DMCA notice, it appears that Downloader was suspended simply because it can load the Warner Bros. website. [...]

The notice includes a copy of the DMCA complaint, which came from MarkScan, a "digital asset protection" firm that content owners hire to enforce copyrights. MarkScan said in its complaint that it represents Warner Bros. Discovery Inc. A DMCA notice is supposed to identify and describe the copyrighted work that was infringed. But MarkScan's notice about Downloader identifies the copyrighted work only as "Properties of Warner Bros. Discovery Inc." It provides no detail on which Warner Bros. work was infringed by Downloader. A DMCA notice is also supposed to provide an example of where someone can see "an authorized example of the work." In this field, MarkScan simply entered the main Warner Bros. URL: https://www.warnerbros.com/. The Downloader app had been installed over 10 million times before the takedown, according to an Internet Archive capture taken before the latest suspension.

Saba appealed the takedown today, but he told us that the appeal was rejected by Google Play after 24 minutes. Saba said he also submitted a DMCA counter-notice, which gives the complainant 10 business days from today to file a legal action. After his first takedown in May, his app was reinstated after the DMCA complainant didn't take any legal action. Saba also wrote a blog post today about the latest takedown. "Given that my app still does not contain any copyright-infringing content and never has, I've countered this new DMCA takedown which will, hopefully, mean the app will be restored sometime in the coming weeks," he wrote. "In the meantime, you can sideload the app onto your Google TV or Android TV devices by downloading the APK from https://www.aftvnews.com/downloader.apk. Downloader remains available on Fire TV devices directly from the Amazon Appstore." Saba said it's "absurd that Google seems to make no effort at all to verify the copyright claims being made on my app which is just a web browser that can download files and has no content of any sort in it."

"If loading a website with infringing content in a standard web browser is enough to violate DMCA, then every browser in the Google Play Store including @googlechrome should also be removed," said Saba in May. "It's a ridiculous claim and an abuse of the DMCA."

Global pay TV penetration (the number of pay TV subscriptions relative to the number of households) is set to decline for the first time ever in 2024 following a peak penetration of 60.3% in Q4 2023. This decline will continue into the forecast period, with a drop of almost 4 percentage points by the end of 2028, according to Ampere's latest forecasts, which cover 96 markets. From a report: This decline in pay TV penetration has been driven primarily by the Americas, and in particular North America which has seen its pay TV penetration almost halve from a high of 84% in 2009 to 45% in 2023. In the case of North America, this drop has been caused by a combination of high costs (currently over $90 per month) and competition from a mature SVoD market which is driving customers increasingly to cut the cord.

However, the recent distribution deal between Disney and Charter in the US, which saw select Disney streaming products bundled into Charter's TV packages, demonstrates that cable operators in the region remain a powerful force as distribution partners, giving streamers the ability to reach a larger and potentially untapped audience base. In addition to North America, Latin America has also shown large declines in pay TV penetration, with a drop of around 10 percentage points since its peak of 42% in 2016. On the contrary, the APAC and Europe have shown the highest penetration growth in recent years, with large gains coming from China, especially after China Mobile acquired an IPTV license in 2018. The growth in these regions has largely come from low-cost IPTV services which are often bundled into broadband packages for a low cost, and helps drive pay TV subscriptions in these areas. In Europe, markets such as Portugal, Serbia and Hungary are expected to see further growth in the forecast period.