Long-time Slashdot reader destinyland writes: It's a question that comes up all the time on Reddit. Etsy even created a special page for programmer-themed gift suggestions (showing more than 5,000 results). While CNET sticks to broader lists of "tech gifts" — and a separate list for "Star Wars gifts" — other sites around the web have been specifically honing in on programmer-specific suggestions. (Blue light-blocking glasses... A giant rubber duck... The world's strongest coffee... A printer that transfers digital images onto cheese...)

So while in years past Amazon has said they laughed at customer reviews for cans of uranium, this year Amazon has now added a special section that's entirely dedicated to Gifts for Computer Programmers, according to this funny rundown of 2023's "Gifts for Programmers" (that ends up recommending ChatGPT gift cards and backyard office sheds):
From the article: [Amazon's Gifts for Programmers section] shows over 3,000 results, with geek-friendly subcategories like "Glassware & Drinkware" and "Novelty Clothing"... For the coder in your life, Amazon offers everything from brain–teasing programming puzzles to computer–themed jigsaw puzzles. Of course, there's also a wide selection of obligatory funny t–shirts... But this year there's also tech-themed ties and motherboard-patterned socks...

Some programmers, though, might prefer a gift that's both fun and educational. And what's more entertaining than using your Python skills to program a toy robot dog...? But if you're shopping for someone who's more of a cat person, Petoi sells a kit for building a programmable (and open source) cat robot named "Nybble". The sophisticated Arduino-powered feline can be programmed with Python and C++ (as well as block-based coding)... [part of] the new community that's building around "OpenCat", the company's own quadruped robotic pet framework (open sourced on GitHub).

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."

The Economist reports: "Shake, shake, shake, shake," Taylor Swift sings from the stage of Lumen Field in Seattle at 10.35 in the evening on July 22nd. The fans respond, enthusiastically; the stadium duly shakes; a nearby seismometer takes note. To pop aficionados "Shake it off" is an empowering up-tempo anthem played at 160 beats per minute. To the Pacific Northwest Seismic Network, which is designed to monitor earthquakes, it is a 2.6 hertz signal in which the amplitude of the acceleration was as large as one centimetre per second, per second.

The well-situated seismometer first came to public attention in January 2011, when it recorded the response of fans of the Seattle Seahawks, an American football team, to a magnificent touchdown by Marshawn Lynch, a running back known as "Beast Mode." The "Beast Quake" went down in local sporting history. When Ms Swift came to town for two nights of her Eras tour, Jacqueline Caplan-Auerbach, a geology professor at Western Washington University, used the opportunity to learn more about how events in the stadium shake its surroundings. On December 11th she presented some of her conclusions at the American Geophysical Union's autumn meeting in San Francisco.

[...] Dr Caplan-Auerbach wanted to see whether such resonant amplification might also be at play elsewhere, and to distinguish between the effect of the music itself and the audience's response. Her concert-night data showed two distinct sets of signals, one in higher frequencies (30-80hz), one in lower frequencies (1-8hz). The higher-frequency signals were present during the sound check, when the band were on stage but the stadium empty, and absent during the concerts' "surprise songs," played without the band by Ms Swift alone. The lower frequencies were absent when the audience had yet to arrive. Clearly those higher frequencies were from the music itself.

An anonymous reader quotes a report from TorrentFreak: Members of the Science Fiction and Fantasy Writers Association have no trouble envisioning an AI-centered future, but developments over the past year are reason for concern. The association takes offense when AI models exploit the generosity of science fiction writers, who share their work without DRM and free of charge. [...] Over the past few months, we have seen a variety of copyright lawsuits, many of which were filed by writers. These cases target ChatGPT's OpenAI but other platforms are targeted as well. A key allegation in these complaints is that the AI was trained using pirated books. For example, several authors have just filed an amended complaint against Meta, alleging that the company continued to train its AI on pirated books despite concerns from its own legal team. This clash between AI and copyright piqued the interest of the U.S. Copyright Office which launched an inquiry asking the public for input. With more than 10,000 responses, it is clear that the topic is close to the hearts of many people. It's impossible to summarize all opinions without AI assistance, but one submission stood out to us in particular; it encourages the free sharing of books while recommending that AI tools shouldn't be allowed to exploit this generosity for free.

The submission was filed by the Science Fiction and Fantasy Writers Association (SFWA), which represents over 2,500 published writers. The association is particularly concerned with the suggestion that its members' works can be used for AI training under a fair use exception. SFWA sides with many other rightsholders, concluding that pirated books shouldn't be used for AI training, adding that the same applies to books that are freely shared by many Science Fiction and Fantasy writers. [...] Many of the authors strongly believe that freely sharing stories is a good thing that enriches mankind, but that doesn't automatically mean that AI has the same privilege if the output is destined for commercial activities. The SFWA stresses that it doesn't take offense when AI tools use the works of its members for non-commercial purposes, such as research and scholarship. However, turning the data into a commercial tool goes too far.

AI freeloading will lead to unfair competition and cause harm to licensing markets, the writers warn. The developers of the AI tools have attempted to tone down these concerns but the SFWA is not convinced. [...] The writers want to protect their rights but they don't believe in the extremely restrictive position of some other copyright holders. They don't subscribe to the idea that people will no longer buy books because they can get the same information from an AI tool, for example. However, authors deserve some form of compensation. SFWA argues that all stakeholders should ultimately get together to come up with a plan that works for everyone. This means fair compensation and protection for authors, without making it financially unviable for AI to flourish. "Questions of 'how' and 'when' and 'how much money' all come later; first and foremost the author must have the right to say how their work is used," their submission reads.

"So long as authors retain the right to say 'no' we believe that equitable solutions to the thorny problems of licensing, scale, and market harm can be found. But that right remains the cornerstone, and we insist upon it," SFWA concludes.

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.

ScreenRant reports that on December 4, "Godzilla Minus One" was the #1 movie in the crucial U.S./Canada "domestic" market (which also includes Guam and Puerto Rico). But the next week was even more impressive, reports Forbes, retaining most of its box office figure with "an incredibly strong 90% hold across the three-day Friday-Saturday-Sunday frame, for what appears to be the best second weekend hold for a wide release in 2023." Through the week, Godzilla Minus One topped the North American charts four out of five weekdays on overwhelmingly positive word of mouth. Good buzz grew through the week as more viewers and critics saw and recommend the film... Godzilla Minus One is already the highest grossing Japanese live-action release of all time in the U.S. The film is a final contender for the Academy Award nominations for Best Visual Effects, and is widely expected to be one of the final official nominees.
CinemaBlend believes the movie should be nominated for this year's Best Picture award at the Oscars. With a total of 105 critical reviews (at the time of this writing), Godzilla Minus One has a Tomatometer score of 97%...

Godzilla has literally been a metaphor for the atomic bomb since the very beginning. However, Godzilla Minus One isn't as concerned with that idea. Instead, the story is all about sacrifice as well as the hope we have for future generations. It's a story of coming together and living for today, so that our children can be inspired to want to live for tomorrow. The Takashi Yamazaki-helmed feature doesn't present a story about destruction, but rather one about wanting peace and finding conducive ways to deal with trauma. I know you might not believe me if you haven't seen it yet, but the film is just as deep and "important" as Oppenheimer and, for that, it should be nominated.
They argue the movie manages to be both "a layered film" and "a popcorn flick...

"it's more than JUST a film featuring a giant reptile This one actually has something to say."

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."

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.

In 2024, the Pixar films that debuted on Disney+ during the COVID-19 pandemic years when theaters were shut down will be returning to the big screen. Those include Soul, Luca and Turning Red. Engadget reports: Soul will get a theatrical release on January 12, Turning Red will hit cinemas on February 9 and Luca will emerge on a silver screen near you on March 22. Given that these movies have been around for as long as three years, it's unlikely that they'll set the box office charts alight. But the theatrical releases mean you'll have a chance to enjoy these films as originally intended.

Rockstar Games has officially revealed the trailer for Grand Theft Auto VI, which is coming in 2025. You can watch it on YouTube. IGN reports: The trailer gives us a look at the game's female protagonist, a first for the series. Her name is Lucia, and that she starts off in prison -- "bad luck, I guess," she quips. The trailer confirms, too, that it's set in Vice City with a large sign - not a huge surprise for those who've been following the series, but exciting nonetheless. In addition to lots and lots of quick shots of crime, we also get glimpses of TikToks and live-streams, hinting that social media will be a big part of this game.

It all takes place as Tom Petty's "Love Is a Long Road" plays in the background, appropriate for the many car-related crimes we see. And yes, true to the Florida setting, there are alligators in locations where they shouldn't be. It ends by showing us a little more of Lucia and a male character, seemingly both lovers and partners-in-crime. "The only way we're gonna get through this is by sticking together and being a team," Lucia says at one point. Fans have been talking about GTA 6 ever since GTA 5 was released in 2013, perhaps unsurprisingly as IGN deemed that one a "masterpiece" in our review.

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.

"Advent of Code" has begun. New programming puzzles will appear every day until Christmas at AdventOfCode.com — and the annual event (first started in 2015) has grown into a worldwide phenomenon. This year's first puzzle has been completed by over 150,000 programmers (with another 115,652 completing Day Two's puzzle). And 108,000 fans have also joined the Advent of Code subReddit.

Contest-related comments are popping up all around the web. Some participants are live streaming their puzzle-solving efforts on Twitch. Self-described computer nerd Gary Grady is tweeting cartoons about each day's puzzle. JetBrains is even giving away some prizes in their "Advent of Code with Kotlin" event. And JetBrains developer advocate Sebastian Aigner is also hosting daily livestreams about each puzzle.

It's hard to overstate how big this event has become. This year's event attracted 60 sponsors, including Kotlin (for the third consecutive year), as well as Spotify, Shopify, and Sony Interactive Entertainment (as well as JPMorgan Chase, Bank of America, and American Express). Individual donors can get a special badge next to their name, and there's also a shop selling coffee mugs and t-shirts. But at its core is real-world developer Eric Wastl (plus a team of loyal beta-testers) sharing his genuine fondness for computer programming. Wastl is also the creator of a satirical web page for the fast, lightweight, cross-platform framework Vanilla JS ("so popular that browsers have been automatically loading it for over a decade") and also curates a collection of "things in PHP which make me sad".

And you can find him on X sharing encouraging comments for this year's participants.

Gene Simmons is 74 years old. But as the singer for the classic rock band KISS left the stage after their final show, USA Today reports there was a surprise: in the most on-brand KISS move even by KISS standards, before the quartet likely hit their dressing rooms after disappearing on stage in the blizzard of smoke and confetti that accompanied the set-closing "Rock and Roll All Nite," a message blasted on the video screens: "A new KISS era starts now."

Digital avatars of the band followed, playing their anthem, "God Gave Rock and Roll To You."
ABC News reports: The avatars were created by George Lucas' special-effects company, Industrial Light & Magic, in partnership with Pophouse Entertainment Group, the latter of which was co-founded by ABBA's Björn Ulvaeus. The two companies recently teamed up for the "ABBA Voyage" show in London, in which fans could attend a full concert by the Swedish band — as performed by their digital avatars. Per Sundin, CEO of Pophouse Entertainment, says this new technology allows Kiss to continue their legacy for "eternity." He says the band wasn't on stage during virtual performance because "that's the key thing," of the future-seeking technology. "Kiss could have a concert in three cities in the same night across three different continents. That's what you could do with this."

In order to create their digital avatars, who are depicted as a kind of superhero version of the band, Kiss performed in motion capture suits.

Experimentation with this kind of technology has become increasingly common in certain sections of the music industry. In October K-pop star Mark Tuan partnered with Soul Machines to create an autonomously automated "digital twin" called "Digital Mark." In doing so, Tuan became the first celebrity to attach their likeness to OpenAI's GPT integration, artificial intelligence technology that allows fans to engage in one-on-one conversations with Tuan's avatar. Aespa, the K-pop girl group, frequently perform alongside their digital avatars — the quartet is meant to be viewed as an octet with digital twins. Another girl group, Eternity, is made up entirely of virtual characters — no humans necessary.
Kiss frontman Paul Stanley told ABC News that "The band deserves to live on because the band is bigger than we are."

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.

On December 14, 2023, three Grand Theft Auto games will officially become available for Netflix members on the App Store, Google Play, and in the Netflix mobile app. IGN reports: Those who can't wait to jump into Grand Theft Auto III - The Definitive Edition, Grand Theft Auto: Vice City - The Definitive Edition, and Grand Theft Auto: San Andreas - The Definitive Edition can pre-register today to get ready for December 14 and play as soon as they are available. The addition of these three classic Grand Theft Auto games will bring Netflix's gaming library to over 80 titles, and all of these games are available to all Netflix subscribers without any ads, in-app purchases, or extra fees.

Microsoft is returning to the Bliss hill once again with this year's entry in its now-traditional ugly retro-computing sweater series. From a report: Blue hemming at the bottom and on the sleeves evokes Windows XP's bright-blue taskbar, and in case people don't immediately recognize Bliss as "a computer thing," there's also a giant mouse pointer hovering over it. The sweater is available from size small up to a 3XL, and costs $70 regardless of which version you buy. All sizes are currently expected to arrive sometime between December 2 and 6.

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.