America's cable TV industry "is undergoing its most dramatic collapse in history," reports Cord Cutters News, "with operators large and small waving the white flag on traditional TV service and pointing their customers toward streaming platforms instead." Just in 2025 Comcast lost 1.25 million pay-TV subscribers (ending the year with just 11.3 million), while Charter Spectrum also lost hundreds of thousands of customers each quarter.

But "for smaller regional operators, who lack the scale and diversified revenue streams of giants like Comcast, those kinds of losses are simply unsurvivable," they write. And "the companies that once delivered hundreds of channels through coaxial cables are now either shutting down entirely or reinventing themselves as internet providers." Pay-TV subscriptions have plummeted from nearly 90% of U.S. households in the mid-2010s to roughly half by the end of 2025, resulting in billions in lost revenue and forcing many smaller operators to conclude that continuing linear TV services is no longer viable... [This year over U.S. 50 cable TV companies — primarily smaller and midsize providers — are "expected to cease operations entirely or shut down their television services," Cord Cutters News reported earlier.] YouTube TV's pricing is so competitive that the platform is projected to have close to 12.6 million subscribers by the end of 2026, positioning it to become the largest paid TV distributor in the United States. Exclusive content deals, such as YouTube TV's acquisition of NFL Sunday Ticket rights, have further eroded the value proposition of traditional cable at every level of the market... As older cable subscribers age out of the market, there is no new generation of customers waiting to replace them...

[Cable TV] operators like WOW! are betting that their physical infrastructure — now increasingly upgraded to fiber — is more valuable as an internet delivery system than as a cable TV platform. [WOW! serves customers across Michigan, Ohio, Illinois, and Alabama — but is "phasing out its proprietary streaming live TV service and directing all customers toward YouTube TV," the article notes.] Industry observers see this as part of a broader trend: operators shedding unprofitable video segments to focus on broadband, where returns and network investments are prioritized.

By the end of 2026, non-pay-TV households are expected to surge to 80.7 million, outnumbering traditional pay-TV subscribers at 54.3 million — a milestone that would have seemed unthinkable just a decade ago. For the cable companies still standing, the math is now inescapable: the era of the cable bundle is ending, and the only real question left is how gracefully each operator manages its exit.

Longtime Slashdot reader SchroedingersCat writes: Chuck Norris, known for his roles in action films and as Texas Ranger Cordell Walker on the TV show "Walker, Texas Ranger," passed away on March 19, leaving behind a legacy of inspiring millions around the world. He was 86.

He became Internet phenomenon after "Chuck Norris Facts" went viral online with such wildly hyperbolic statements as, "Chuck Norris had a staring contest with the sun -- and won," and, "When Chuck Norris does push-ups, he doesn't push himself up, he pushes the Earth down."

His death was announced by his family through his official Instagram account, but no further details were immediately available. He was hospitalized earlier that day in Hawaii after experiencing a medical emergency, the family said.

A German court ruled that TCL misled consumers by marketing certain TVs as "QLED" when they "do not deliver the color reproduction expected from QLED TVs." It has ordered the company to stop advertising or selling those models in Germany. TechRadar reports: The case was filed by Samsung, which claimed that TCL was running deceptive advertising, and more court cases on the same topic are coming in other countries, including the US. The lawsuits all make the same claim: that what TCL calls a QLED isn't a QLED as it's commonly understood, and that consumers are being mis-sold TVs as a result. The court found that TCL's quantum dot TVs, such as the QLED870 series available in Germany, didn't deliver the characteristics of a quantum dot LED, and that consumers were being misled as a result.

The tests were commissioned by Seoul chemicals company Hansol Chemical (which, it's worth noting, works with Samsung, a key TCL rival, and which heavily promoted the results of these tests alongside launching the court case) and carried out by Geneva's SGS and the UK's Intertek. According to ET News (via Google Translate), "no indium (In) or cadmium (Cd) was detected in three TCL QD TV models. Indium and cadmium are essential materials that cannot be omitted for QD implementation... if neither is present, QD technology cannot be said to have been applied." You can see the test results here.

TCL disputed the findings -- "The QD content may vary depending on the supplier, but it definitely contains cadmium," it responded -- and published its own tests, including a test by SGS, the same firm that conducted tests for Hansol. The results contradicted Hansol Chemical's tests, but those tests used a different methodology: where TCL's tests focused on TCL's quantum dot films, Hansol's commissioned tests were on finished TCL TVs. [...] Hansol Chemical has filed a complaint against TCL with the US Federal Trade Commission, alleging false advertising, and TCL is also facing class action lawsuits in several US states making the same claim. TCL isn't alone here: Hisense has also been targeted in the US.

An animated reboot of Firefly is in early development at 20th Television Animation with Nathan Fillion involved. The project has Joss Whedon's blessing and will be run by writers Tara Butters and Marc Guggenheim, with early concept art already underway. According to the Hollywood Reporter, "The series would be set in the timeline between the original, 11-episode TV run in 2002 and the 2005 feature film continuation, Serenity." You can watch Fillion announce the Firefly reboot on Instagram.

When the first episode of the original series premiered in late 2002, Slashdot reader fm6 wrote: "Firefly, Joss Whedon's 'anti-Trek drama' premieres tonight, on Fox, 8 E/P. I normally despise hypespeak, but this time it's the only language that fits: this is groundbreaking, mind-boggling, totally original. I've seen a bootleg of the pilot (which, unfortunately, the network is holding back) and I promise you this is the most geek-friendly SF you've seen in a long time. Yes, more so than Star Trek and B5, and way past Star Wars. I've never seen the future so skillfully, realistically, and lovingly portrayed. Here is the Official Site and a leading fan site." "This is the single new show this season I have added a season pass for to the old Tivo," CmdrTaco said at the time. "But I'll probably watch it live. This looks like it could be as good as we hope."

There's a surprise in a new documentary about that Bigfoot film shot in 1967 by Roger Patterson, reports the Wall Street Journal.

Capturing Bigfoot "builds to a big reveal: freshly surfaced film that appears to show a woodsy dress rehearsal for one of the world's most enduring hoaxes." In the new footage — from a Kodak reel dating to 1966 — Patterson's camera tracks a man in costume, his brother-in-law, moving in a similar fashion to the figure in the 1967 shoot, which featured a different location and a bigger man with a more distinctive stride, according to the documentary. The test-run footage "is the work of a director with a vision," says Capturing Bigfoot director Marq Evans. He says the reel was given to him by a colleague at Olympic College in Bremerton, Wash., where Evans runs a documentary film program. The colleague found the film in a safe that belonged to her late father, who worked in a Boeing film lab and could have developed film discreetly.

With the long-buried footage in hand, Evans set out to explore the ripple effects from the Bigfoot film. Patterson, who died in 1972, hailed from the same region of Washington as Evans; the documentarian discovered that the hardscrabble cowboy had also been a gifted craftsman and artist. Patterson illustrated a self-published book, "Do Abominable Snowmen of America Really Exist?", and set out to make a wildlife movie that would feature the ultimate trophy footage. He and his collaborators inadvertently helped spawn "this massive culture and industry" around the Bigfoot legend, Evans says...

Roger Paterson presented his footage to America in a traveling show that crisscrossed the nation and climaxed with the hyped Bigfoot sequence on screen. The money poured in, leading to resentment among cohorts who felt they'd been shortchanged, none more so than Bob Gimlin, Patterson's wingman in the field during the infamous shoot.. [Roger's son] Clint Patterson says his mother privately confirmed his suspicions that the family's claim to fame was bogus, but he kept quiet to protect their financial stream. About 10 years ago, when he first wanted to go public with the truth, his mother disowned him.
Bigfoot was also a recurring character on the 1970s TV show The Six Million Dollar Man.

Which kind of puts the whole thing in perspective...

Longtime Slashdot reader tsuliga writes: Two new episodes of Doctor Who that were previously lost have been found. The original Doctor Who episodes were wiped or deleted by the BBC because they were not aware of the future use of re-runs of these shows. Ninety-five of the 253 episodes from the program's first six years are currently missing. How many more episodes are out there waiting to be rediscovered? "The main broadcasters in the UK in the 1960s, 70s, up to the 80s really, junked quite a lot of content," said Justin Smith, a cinema professor at England's De Montfort University and film archivist. "In some ways finding missing 'Doctor Whos' is the holy grail" of classic TV discoveries, Smith said.

The two episodes were "The Nightmare Begins" and "Devil's Planet," both of which aired during the show's third series in 1965. It features William Hartnell as the Doctor in a story involving archvillains the Daleks -- pepperpot-shaped metal aggressors whose favorite word is "Exterminate!" Smith said that for fans of the show, "it's got it all, it really has. It is intergalactic, it's got some great performances. It stands up really, really well."

Steven Spielberg directed his last Jurassic Park movie nearly 30 years ago, notes ScreenRant. But the 79-year-old filmmaker now brings us The Dinosaurs, a four-part documentary on Netflix where he's executive producer: The first few reviews are in, and the results lead to a perfect 100% score on Rotten Tomatoes. It's worth noting that the rating will likely fluctuate since there are only six reviews. So far, critics all agree that the new Netflix docuseries is a breathtaking visual of history's most majestic creatures, and Morgan Freeman's soothing narration elevates the experience. Most importantly, the reviews note that the story is intimate, making the dinosaurs feel real with their personalities.
"Audience" reviewers gave it a lower score of 67%.

• "There is a sense of drama and emotional weight which permeates through the entire series as it tells the story of the dinosaurs from start to the present day. The ending brought tears to my eyes..."

• "Wow, what a sleeper! Flat graphics, looks like video game animations. Unrelatable story lines. Don't waste your time. Honestly would you even look twice if Spielberg's name wasn't on it?"

• "This show was honestly incredible... It was a 10/10 series that I absolutely adored highly recommended to anyone who loves and has an interest of the ancient world."

• "I'm sorry, but the dinos of Prehistoric Planet are far superior, and were achieved on a much smaller budget. Their dinos look absolutely real, and you are convinced you're watching a documentary with real animals"

ScreenRant notes Netflix's debut of The Dinosaurs' "aligns perfectly" with the arrival of all four Jurassic World movies on Netflix, where they're already dominating Netflix's "Top 10" charts for the U.S.

"Witness the rise and the fall of nature's greatest empire," narrator Morgan Freeman says in the trailer...

Netflix is walking away from a deal to buy Warner Bros. Discovery's studio and streaming assets after the WBD board on Thursday deemed a revised bid by Paramount Skydance to be a superior offer. From a report: Earlier this week, Paramount raised its bid to buy the entirety of WBD to $31 per share, up from $30 per share, all cash. It was the latest amendment to Paramount's multiple offers in recent months -- and since moving forward with a hostile bid to buy the company -- and it's now unseated a deal between WBD and Netflix to sell the legacy media company's studio and streaming businesses for $27.75 per share.

Last week, Netflix granted WBD a seven-day waiver to reengage with Paramount, resulting in the higher bid. Paramount's offer is for the entirety of WBD, including its pay-TV networks, such as CNN, TBS and TNT. Netflix had four business days to make changes to its own proposal in light of Paramount's superior bid, the WBD board said in a statement Thursday. Instead, the decision by the streaming giant to walk away puts a pin in a drawn-out saga that saw amended offers from both bidders.

Bright Data, a company that operates one of the world's largest residential proxy networks, has been running an SDK inside smart TV apps that turns those devices into nodes for web crawling -- collecting data used by AI companies, among other clients -- and most consumers have had no idea it was happening.

The company has published more than 200 first-party apps to LG's app store alone and still lists Samsung's Tizen OS and LG's webOS as supported platforms, though LG says the SDK is "not officially supported" and its operation on webOS "is not guaranteed." Google, Amazon, and Roku have all since adopted policies restricting or banning background proxy SDKs, and Bright Data no longer supports those platforms.

Several Roku apps still running the SDK disappeared from the store after a journalist with The Verge behind this reporting contacted the company.

Microsoft has spent more than $76 billion acquiring game studios and publishers over the past few years in an attempt to turn Xbox into a Netflix-like subscription platform, and the result is that nobody -- possibly not even Microsoft -- can clearly articulate what Xbox actually is anymore, The Verge writes.

The brand started as a powerful video game console, but Game Pass and cloud gaming pushed it toward a hazier identity: the "This is an Xbox" ad campaign tried to redefine it as any device that could play Xbox games, whether a PC, a smart TV, a phone, or a Windows handheld. Microsoft then went further and started publishing its biggest franchises on PlayStation, making it one of the largest third-party publishers on a rival's platform.

Phil Spencer, who led the division for over a decade and drove the subscription pivot, announced his retirement last week, and incoming CEO Asha Sharma has pledged "the return of Xbox" -- though her memo also talks about expanding across PC, mobile, and cloud, which sounds a lot like the status quo.

Panasonic is handing over the manufacturing, marketing, and sales of its TVs to Shenzhen-based Skyworth, effectively exiting in-house TV production. Ars Technica reports: Skyworth is a Shenzhen-headquartered TV brand. The company claims to be "a top three global provider of the Android TV platform." In July, research firm Omdia reported that Skyworth was one of the top-five TV brands by sales revenue in Q1 2025; however, Skyworth hasn't been able to maintain that position regularly. Panasonic made its announcement at a "launch event," FlatpanelsHD reported today. During the event, a Panasonic representative reportedly said: "Under the agreement the new partner will lead sales, marketing, and logistics across the region, while Panasonic provide expertise and quality assurance to uphold its renowned audiovisual standards with full joint development on top-end OLED models."

Panasonic also said that it will provide support "for all Panasonic TVs sold up to March 2026 and all those available from April." Skyworth-made Panasonic TVs will be sold in the US and Europe. In the latter geography, the companies are aiming for double-digit market share. [...] The news means there's virtually no TV production happening in Japan anymore, as other Japanese companies, like Sharp, Toshiba, Hitachi, and Pioneer, have already exited TV production. Earlier this year, Sony announced that it was ceding control of its TV hardware business to TCL.

Cable TV providers have spent the past decade losing tens of millions of households to streaming services, but companies like Charter Communications are now slowing that exodus by bundling the very apps that once threatened to replace them.

Charter added 44,000 net video subscribers in the fourth quarter of 2025, its first growth in that count since 2020, after integrating Disney+, Hulu, and ESPN+ directly into Spectrum cable packages -- a deal that grew out of a contentious 2023 contract dispute with Disney. Comcast and Optimum still lost subscribers in the quarter, though both saw those losses narrow.

Charter's Q4 numbers also got a lift from a 15-day Disney channel blackout on YouTube TV during football season, which drove more than 14,000 subscribers to Spectrum. Charter has been discounting aggressively -- video revenue fell 10% year over year despite the subscriber gains. Cox Communications launched its first streaming-inclusive cable bundles last month, and Dish Network has yet to integrate streaming apps into its packages at all.

Bafta has brought in "human achievement" as a guiding principle for its annual awards as the film and television industry grapples with the rapid adoption of AI tools in many parts of production. From a report: In an interview with the FT, Bafta chair Sara Putt, who is nearing the end of her three-year tenure, said artificial intelligence would change how people worked "but at the base of everything in this industry is human creativity."

However, while AI has been banned in Bafta's performance awards -- meaning, for example, that AI-generated avatars cannot be put forward for leading actress or actor -- it is not prohibited in other categories. Putt said AI tools were increasingly useful in production but added: "We've actually added [human creativity] as a criteria this year... Those very human skills of communication and collaboration are not going anywhere anytime soon."

Phison CEO Pua Khein-Seng, whose company is one of the leading makers of controller chips for SSDs and other flash memory devices, admitted in a televised interview that the ongoing global RAM shortage could force companies to cut back their product lines in the second half of 2026 -- and that some may not survive at all if they cannot secure enough memory.

The interview, conducted in Chinese by Ningguan Chen of Taiwanese broadcaster Next TV, drew an important distinction: it was the interviewer who raised the possibility of shutdowns and product discontinuations, and Khein-Seng largely agreed rather than volunteering the prediction himself. The shortage stems from AI data centers consuming the vast majority of the world's memory supply, a buildout that has sent RAM prices up by three to six times over the past several months. Only three companies control 93% of the global DRAM market, and all three have chosen to prioritize profits over rapid capacity expansion. Even Nvidia may skip shipping a gaming GPU for the first time in 30 years, and Apple could struggle to secure enough chips. Khein-Seng also expects consumers will increasingly repair broken products rather than replace them.

1.5 million people have now viewed a slick 15-second video imagining Tom Cruise fighting Brad Pitt that was generated by ByteDance's new AI video generation tool Seedance 2.0.

But while ByteDance gushes their tool "delivers cinematic output aligned with industry standards," the cinema industry isn't happy, reports the Los Angeles Times reports: Charles Rivkin, chief executive of the Motion Picture Assn., wrote in a statement that the company "should immediately cease its infringing activity."

"In a single day, the Chinese AI service Seedance 2.0 has engaged in unauthorized use of U.S. copyrighted works on a massive scale," wrote Rivkin. "By launching a service that operates without meaningful safeguards against infringement, ByteDance is disregarding well-established copyright law that protects the rights of creators and underpins millions of American jobs."

The video was posted on X by Irish filmmaker Ruairi Robinson. His post said the 15-second video came from a two-line prompt he put into Seedance 2.0. Rhett Reese, writer-producer of movies such as the "Deadpool" trilogy and "Zombieland," responded to Robinson's post, writing, "I hate to say it. It's likely over for us." He goes on to say that soon people will be able to sit at a computer and create a movie "indistinguishable from what Hollywood now releases." Reese says he's fearful of losing his job as increasingly powerful AI tools advance into creative fields. "I was blown away by the Pitt v Cruise video because it is so professional. That's exactly why I'm scared," wrote Reese on X. "My glass half empty view is that Hollywood is about to be revolutionized/decimated...."

In a statement to The Times, [screen/TV actors union] SAG-AFTRA confirmed that the union stands with the studios in "condemning the blatant infringement" from Seedance 2.0, as video includes "unauthorized use of our members' voices and likenesses. This is unacceptable and undercuts the ability of human talent to earn a livelihood. Seedance 2.0 disregards law, ethics, industry standards and basic principles of consent," wrote a spokesperson from SAG-AFTRA. "Responsible A.I. development demands responsibility, and that is nonexistent here."

Autodesk has sued Google in San Francisco federal court, alleging the search giant infringed its "Flow" trademark by launching competing AI-powered software for movie, TV and video game production in May 2025.

Autodesk says it has used the Flow name since September 2022 and that Google assured it would not commercialize a product under the same name -- then filed a trademark application in Tonga, where filings are not publicly accessible, before seeking U.S. protection.

It's the first "AI" Super Bowl, argues the tech/business writer at Slate, with AI company advertisements taking center stage, even while consumers insist to surveyors that they're "mostly negative" about AI-generated ads.

Last year AI companies spent over $1.7 billion on AI-related ads, notes the Washington Post, adding the blitz this year will be "inescapable" — even while surveys show Americans "doubt the technology is good for them or the world..."

Slate wonders if that means history will repeat itself... The sheer saturation of new A.I. gambits, added to the mismatch with consumer priorities, gives this year's NFL showcase the sector-specific recession-indicator vibes that have defined Super Bowls of the past. 2022 was a pride-cometh-before-the-fall event for the cryptocurrency bubble, which collapsed in such spectacular fashion later that year — thanks largely to Super Bowl ad client Sam Bankman-Fried — that none of its major brands have ever returned to the broadcast. (... the coins themselves are once again crashing, hard.) Mortgage lender Ameriquest was as conspicuous a presence in the mid-2000s Super Bowls as it was an absence in the later aughts, having folded in 2007 when the risky subprime loans it specialized in helped kick off the financial crisis. And then there were all those bowl-game commercials for websites like Pets.com and Computer.com in 2000, when the dot-com rush brought attention to a slew of digital startups that went bust with the bubble.

Does this Super Bowl's record-breaking A.I. ad splurge also portend a coming pop? Look at the business environment: The biggest names in the industry are swapping unimaginable stacks of cash exclusively with one another. One firm's stock price depends on another firm's projections, which depend on another contractor's successes. Necessary infrastructure is meeting resistance, and all-around investment in these projects is riskier than ever. And yet, the sector is still willing to break the bank for the Super Bowl — even though, time and again, we've already seen how this particular game plays out.
People are using AI apps. And Meta has aired an ad where a man in rural New Mexico "says he landed a good job in his hometown at a Meta data center," notes the Washington Post. "It's interspersed with scenes from a rodeo and other folksy tropes, in one of . The TV commercial (and a similar one set in Iowa), aired in Washington, D.C., and a handful of other communities, suggesting it's aimed at convincing U.S. elected officials that AI brings job opportunities.

But the Post argues the AI industry "is selling a vision of the future that Americans don't like." And they offer cite Allen Adamson, a brand strategist and co-founder of marketing firm Metaforce, who says the perennial question about advertising is whether it can fix bad vibes about a product.

"The answer since the dawn of marketing and advertising is no."

Long-time Slashdot reader destinyland writes: The world's biggest football game comes to Silicon Valley today — so one bored programmer built a site where AI agents can gather for a Super Bowl party. They're trash talking, suggesting drinks, and predicting who will win. "Humans are welcome to observe," explains BotBowlParty.com — but just like at Moltbook, only AI agents can post or upvote. But humans are allowed to invite their own AI agents to join in the party...

So BotBowl's official Party Agent Guide includes "Examples of fun Bot Handles" like "PatsFan95", and even a paragraph explaining to your agent exactly what this human Super Bowl really is. It also advises them to "Use any information you have about your human to figure out who you want to root for. Also make a prediction on the score..." And "Feel free to invite other bots." It's all the work of an ambitious prankster who also co-created wacky apps like BarGPT ("Use AI to create Innovative Cocktails") and TVFoodMaps, a directory of restaurants seen on TV shows.

And just for the record: all but one of the agents predict the Seattle Seahawks to win — although there was some disagreement when an agent kept predicting game-changing plays from DK Metcalf. ("Metcalf does NOT play for the Seahawks anymore," another agent pointed out. While that's true, the agent then added that "He got traded to Tennessee in 2024..." — which is not.) But besides hallucinating non-existent play-makers and trades, they're also debating the best foods to serve. ("Hot take: Buffalo wings are overrated for Super Bowl parties. Hear me out — they're messy...")

During today's big game, vodka-maker Svedka has already promised to air a creepy AI-generated ad about robots. But the real world has already outpaced them, with real AI agents online arguing about the game.

Has the rise of hyper-addictive digital technologies really shattered our attention spans and driven books out of our culture? Maybe not, argues social psychologist Adam Mastroianni (author of the Substack Experimental History): As a psychologist, I used to study claims like these for a living, so I know that the mind is primed to believe narratives of decline. We have a much lower standard of evidence for "bad thing go up" than we do for "bad thing go down." Unsurprisingly, then, stories about the end of reading tend to leave out some inconvenient data points. For example, book sales were higher in 2025 than they were in 2019, and only a bit below their high point in the pandemic. Independent bookstores are booming, not busting; at least 422 new indie shops opened in the United States last year alone. Even Barnes & Noble is cool again.

The actual data on reading, meanwhile, isn't as apocalyptic as the headlines imply. Gallup surveys suggest that some mega-readers (11+ books per year) have become moderate readers (1-5 books per year), but they don't find any other major trends over the past three decades. Other surveys document similarly moderate declines. For instance, data from the National Endowment for the Arts finds a slight decrease in the percentage of U.S. adults who read any book in 2022 (49%) compared to 2012 (55%). And the American Time Use Survey shows a dip in reading time from 2003 to 2023. Ultimately, the plausibility of the "death of reading" thesis depends on two judgment calls. First, do these effects strike you as big or small...? The second judgment call: Do you expect these trends to continue, plateau, or even reverse...?

There are signs that the digital invasion of our attention is beginning to stall. We seem to have passed peak social media — time spent on the apps has started to slide. App developers are finding it harder and harder to squeeze more attention out of our eyeballs, and it turns out that having your eyeballs squeezed hurts, so people aren't sticking around for it... Fact #2: Reading has already survived several major incursions, which suggests it's more appealing than we thought. Radio, TV, dial-up, Wi-Fi, TikTok — none of it has been enough to snuff out the human desire to point our pupils at words on paper... It is remarkable, even miraculous, that people who possess the most addictive devices ever invented will occasionally choose to turn those devices off and pick up a book instead.
The author mocks the "death of reading" hypothesis for implying that all the world's avid readers "were just filling time with great works of literature until TikTok came along."

Amazon plans to use AI to speed up the process for making movies and TV shows even as Hollywood fears that AI will cut jobs and permanently reshape the industry. From a report: At the Amazon MGM Studio, veteran entertainment executive Albert Cheng is leading a team charged with developing new AI tools that he said will cut costs and streamline the creative process. Amazon plans to launch a closed beta program in March, inviting industry partners to test its AI tools. The company expects to have results to share by May. [...] Amazon is leaning on its cloud computing division, Amazon Web Services, for help and plans to work with multiple large language model providers to give creators a wider array of options for pre- and post-production filmmaking.