Disney, Netflix, and other media and entertainment giants are pushing back against the FTC's "click to cancel" proposal (Warning: source paywalled; alternative source) that would make it easier for people to cancel streaming, gaming, and other services. Insider reports: Companies of all stripes have angered consumers by making services all too easy to sign up for but often confoundingly difficult to cancel, with gyms and news outlets considered among the worst offenders. The FTC has gone after individual companies; it recently sued Amazon, alleging the etailer "tricked" people into signing up for Amazon Prime. That followed the FTC's proposal in March for a regulation that's intended "to make it as easy for consumers to cancel their enrollment as it was to sign up." The policy would cover providers of both digital and physical subscriptions, from streamers and gym memberships to phone companies and cable TV distributors. The new rule would require companies to offer a simple mechanism for users to cancel subscriptions the same way they signed up. For example, you wouldn't have to cancel a service in person or over the phone if you signed up for it online. "I can't tell you how much time I've spent trying to cancel subscriptions I never wanted, let alone the cost!" one person wrote in a comment to the FTC.

The Internet & Television Association, which counts Disney, Paramount, and Warner Bros. Discovery as members, said in its public comment that the proposed reg is so vague, it would lead marketers to be excessive in their disclosures, leaving consumers "inundated" and "confused." The reg would even infringe on its members' freedom of speech, the association argued. "The proposal would also severely curtail or, in some cases, even prohibit companies from communicating with their customers, in violation of the First Amendment," the association wrote. Sirius XM wrote in its comments that one proposed requirement -- that companies maintain records of phone calls with customers -- would cost the company "several million" dollars a year to comply with. The Entertainment Software Association, the video gaming trade organization, noted that the FTC's proposed disclosure requirements "would interfere with game play and customer enjoyment." The ESA wrote that "most consumers understand autorenewal offers and are knowing and willing participants in the marketplace" and that letting customers cancel immediately would prevent member companies from offering them alternative plans or discounts. The ESA was joined in its comments by the Digital Media Association and Motion Picture Association, whose members include Netflix, Sony Pictures Entertainment, and Universal Pictures. The FTC will examine the feedback it's received through public comment before considering a final rule.

Chicken Soup for the Soul Entertainment, the parent company of Redbox, has partnered with TikTok to stream the platform's short-form videos on screens atop approximately 3,000 Redbox kiosks across the United States. Deadline reports: Third-party brands will also have their ads run alongside the TikTok videos via Chicken Soup's ad platform Crackle Connex. The agreement covers roughly 10% of the total network of Redbox kiosks, which are generally located outside of grocery, convenience and big box retail stores. The out-of-home ad deal is part of a growing effort across the industry to identify alternatives to linear TV and place brand messages in venues like gas stations, elevators and other locations. "TikTok is the go-to destination for short-form video consumption by over a billion people globally," said Philippe Guelton, chief revenue officer of Crackle Connex. "This new partnership provides advertisers a unique opportunity to reach new audiences and drive engagement. Our Redbox kiosks are in high-traffic locations where millions of people frequently shop, such as grocery stores or value retailers. We look forward to working with TikTok on expanding this partnership as our DOOH network expands."

According to Variety, Hulu is launching a new sub-brand focused on adult animation and anime called Animayhem. From the report: The new hub is meant to capitalize on Hulu's already popular lineup of adult animation and anime shows. Series like "American Dad," "Bob's Burgers," "Family Guy," "Futurama" and "King of the Hill" consistently rank among the service's top 10 shows based on hours streamed, per Hulu. So far this year, over one billion hours of adult animation content has been streamed on Hulu, along with over 288 million hours of anime content, the streamer claims.

Hulu currently has 46 adult animated series, which adds up to 174 seasons and 2,600 episodes. For anime, Hulu has 17 films and 272 series, adding up to 435 seasons and 18,400 episodes (including subtitled and English dubbed versions of episodes). As part of the launch, Hulu is debuting a range of ads for Animayhem, which they describe as the "Animation Destination," one of which can be seen below. "When you have the number one offering in adult animation and anime of any major streaming service, creating this destination is obvious. We know exactly where we can meet these fans, because they're already here," said Barrie Gruner, Hulu's executive vice president of marketing and publicity, in an interview with Variety.

"I would say that this brand really cements Hulu as the ultimate streaming destination for animation and we're not going to achieve that with single title campaigns," Gruner said. "This is truly an intersection with our original programming and our library."

Animayhem will also be coming to San Diego Comic-Con via an immersive experience dubbed "Hulu Animayhem: Into the Second Dimension."

As an "ambassador" for FTX, football quarterback Tom Brady appeared at the company's conference in the Bahamas, and in TV commercials promoting the exchange as "the most trusted" institution in crypto, remembers the New York Times. And it was all about to go very bad...

"His money was also at stake. As part of an endorsement agreement Brady signed in 2021, FTX had paid him $30 million, a deal that consisted almost entirely of FTX stock, three people with knowledge of the contract said. Brady's wife at the time, supermodel Gisele Bündchen, was paid $18 million in FTX stock, one of the people said." Now FTX is bankrupt, and Bankman-Fried is facing criminal fraud charges. Brady, 45, and Bündchen, 42, have been sued by a group of FTX customers seeking compensation from the celebrities who endorsed the exchange. On top of it all, the terms of the deal would have required the former couple, who divorced last year, to pay taxes on at least some of their now worthless FTX stock, two people familiar with the endorsement deal said. Their situation is the highest-profile example of a humiliating reckoning facing the actors, athletes, and other celebrities who rushed to embrace the easy money and online hype of cryptocurrencies...

But last year's crash ended the celebrity crypto bonanza. In October, the Securities and Exchange Commission ordered Kim Kardashian to pay $1.26 million for failing to make adequate disclosures when she endorsed the EthereumMax crypto token. In December, a lawyer in California sued two crypto companies, MoonPay and Yuga Labs, accusing them of using a "vast network of A-list musicians, athletes and celebrity clients" to mislead investors about digital assets. In March, the S.E.C. charged the actress Lindsay Lohan, the online influencer Jake Paul and musicians including Soulja Boy and Lil Yachty with illegally promoting crypto assets. And in late May, after months of failed attempts, a process server delivered court papers to Shaquille O'Neal, the retired basketball star, who was sued for promoting FTX, according to legal filings. Mr. O'Neal was served while broadcasting from a National Basketball Association playoff game...

Brady has also faced legal trouble. In December, Adam Moskowitz and the law firm Boies Schiller Flexner filed a lawsuit in federal court in Florida accusing him and Bündchen of misleading investors. Among the other defendants are comedian Larry David, NBA star Steph Curry and tennis player Naomi Osaka, all of whom endorsed FTX. "None of these defendants performed any due diligence prior to marketing these FTX products to the public," the lawsuit said.

G/O Media is the owner of top sites like Gizmodo, Kotaku, Quartz, and the Onion. Last month they announced "modest tests" of AI-generated content on their sites — and it didn't go over well within the company, reports the Washington Post.

Soon the Deputy Editor of Gizmodo's science fiction section io9 was flagging 18 "concerns, corrections and comments" about an AI-generated story by "Gizmodo Bot" on the chronological order of Star Wars movies and TV shows. "I have never had to deal with this basic level of incompetence with any of the colleagues that I have ever worked with," James Whitbrook told the Post in an interview. "If these AI [chatbots] can't even do something as basic as put a Star Wars movie in order one after the other, I don't think you can trust it to [report] any kind of accurate information." The irony that the turmoil was happening at Gizmodo, a publication dedicated to covering technology, was undeniable... Merrill Brown, the editorial director of G/O Media, wrote that because G/O Media owns several sites that cover technology, it has a responsibility to "do all we can to develop AI initiatives relatively early in the evolution of the technology." "These features aren't replacing work currently being done by writers and editors," Brown said in announcing to staffers that the company would roll out a trial to test "our editorial and technological thinking about use of AI."

"There will be errors, and they'll be corrected as swiftly as possible," he promised... In a Slack message reviewed by The Post, Brown told disgruntled employees Thursday that the company is "eager to thoughtfully gather and act on feedback..." The note drew 16 thumbs down emoji, 11 wastebasket emoji, six clown emoji, two face palm emoji and two poop emoji, according to screenshots of the Slack conversation...

Earlier this week, Lea Goldman, the deputy editorial director at G/O Media, notified employees on Slack that the company had "commenced limited testing" of AI-generated stories on four of its sites, including A.V. Club, Deadspin, Gizmodo and The Takeout, according to messages The Post viewed... Employees quickly messaged back with concern and skepticism. "None of our job descriptions include editing or reviewing AI-produced content," one employee said. "If you wanted an article on the order of the Star Wars movies you ... could've just asked," said another. "AI is a solution looking for a problem," a worker said. "We have talented writers who know what we're doing. So effectively all you're doing is wasting everyone's time."
The Post spotted four AI-generated stories on the company's sites, including io9, Deadspin, and its food site The Takeout.

At least two of those four stories had to be corrected after publication.

George Church was part of the team that pioneered CRISPR gene editing. In 2021 he co-founded a kind of real-world "Jurassic Park" — Colossal Biosciences, a biotech startup working to de-extinct the Woolly Mammoth.

For the 30th anniversary of the movie Jurassic Park, Rolling Stone brought in Colossal's co-founder and CEO, Ben Lamm, to share how the movie inspired and influenced their plans. Lamm writes that in 1993 he was 11 years old when he'd first seen the movie Jurassic Park. And even then, "Yes, as an 11-year-old I thought, what if dinosaurs could be real?"

Lamm says he's now excited at "not just de-extincting animals but at the possibility for endless discoveries that would arise from the pursuit of doing so..." When I first told my lawyer that I was interested in starting Colossal and bringing back the woolly mammoth, he asked me if I had read Michael Crichton's book or seen Spielberg's Jurassic Park movie. Since then, it's a question that has come up in nearly every meeting with investors, journalists, and lawyers. I have, which meant that I spent a number of years thinking about if we should de-extinct animals before I set out to figure out if we could. (Thanks, Dr. Ian Malcolm.) Before ever setting foot in a lab, I spent many years and countless hours thinking about the moral questions at the heart of the story.

And, with each successive year, I watched, heard, and learned about more and more animals dying due to climate change — a modern-day extinction. I came to the conclusion that the question is no longer should we practice de-extinction science but how long do we have to get it right... [T]he scary vision of the future isn't one where dinosaurs escape Isla Nubar and fly to the mainland, putting a healthy planet at risk, but instead a future where there aren't enough animals left to support food webs and ecosystems. And that includes humans, too... [I]t is our belief that it is possible to safeguard against or even stop that fatalist future vision using a similar approach in the original movie with some slight variations. It all goes back to genetics and a lot of what I learned about when I first met George...

In the same way that wireless headsets, CAT scans, LEDs, the computer mouse, and thermal blankets are all products of going to the moon, de-extinction efforts have created breakthroughs already for both conservation and human healthcare. In Colossal's first few years of work, our woolly mammoth research alone has not only accelerated genetic rescue in elephants, but also, it is working to cure a deadly elephant virus that kills 25% of all baby elephants worldwide each year. The de-extinction toolkit is also establishing a genetic backup of all living elephant species, and building the necessary tools for elephant cloning and gestation. And now, unlike Dr. Hammond, who bought an island and hid his experiment from the world, governments are coming to us asking if we can help them to restore their critically endangered animals and help safeguard their keystone species.
Lamm points out that you can get good DNA samples from specimens frozen in permafrost, skeletons preserved in caves, and from preserved specimens in museums.

But "You can't get DNA from amber. Trust us. It's porous and doesn't preserve well."

Amazon CEO Andy Jassy is taking a hard look at how much the company's Hollywood studio spends on original TV programming. From a report: In recent weeks, he has asked executives for detailed budget analyses of some of their biggest shows, according to people familiar with the matter, scrutinizing the studio's ballooning costs and mixed track record with audiences. The world's largest online retailer is engaged in a companywide cost-cutting program, with plans to eliminate at least 27,000 jobs. Across Amazon, Jassy has also jettisoned 37 different projects deemed unnecessary.

The Hollywood studio, which has spent tens of billions of dollars on original programming over the last decade, is an obvious place to look for savings. Last year, Amazon spent $7 billion on original shows, licensed programs and sports, up from $5 billion the year before. Only Netflix and Disney spend more on streaming. In the past nine months, Amazon has released at least a half-dozen pricey series that failed to deliver huge audiences. Daisy Jones & the Six, The Power, Dead Ringers and The Peripheral all cost more than $100 million to produce but failed to crack Nielsen's list of the 10 most-watched streaming programs in the US. Even The Rings of Power ($400 million-plus), a show that attracted a large audience, failed to hold on to most of its viewers over the course of the season, according to The Hollywood Reporter.

Consumers are winning from the streaming revolution but across most of Hollywood, the businesses churning out TV and movies are losing. From a report: Services such as Netflix, Disney+, Paramount+ and Max have become the default entertainment options for homes across America rather than cable, saving many consumers money. For the titans of Hollywood, that shift has been costly. Traditional media and entertainment companies have reported losses of more than $20 billion combined since early 2020 on their direct-to-consumer streaming businesses. Netflix, which brings in profits, is an exception, but the rest of the industry is wondering: While consumers love streaming, is it actually a good business?

Investors now care about profitability rather than growth, a change that makes finding new revenue streams and retaining customers critical. Studios that for years were able to splurge on content to feed viewers' insatiable appetite for new shows and films now must pull back to make the math work. The ad market is weakening, many companies have laid off staff to save money and Hollywood writers are on strike. Market values for Paramount Global, Comcast, Walt Disney and Netflix are down more than $280 billion combined since the end of 2020. Warner Bros. Discovery is worth about half of its total value since its 2022 trading debut as a combined company. The declines have come after many of the stocks rose during the early part of the pandemic, when consumers were stuck at home and hungry for entertainment.

An anonymous reader shares a report: The Ariane 5 rocket has had a long run, with nearly three decades of service launching satellites and spacecraft. Over that time, the iconic rocket, with a liquid hydrogen-fueled core stage and solid rocket boosters, has come to symbolize Europe's guaranteed access to space. But now, the road is coming to an end for the Ariane 5. As soon as Tuesday evening, the final Ariane 5 rocket will lift off from Kourou, French Guiana, carrying a French military communications satellite and a German communications satellite to geostationary transfer orbit. A 90-minute launch window opens at 5:30 pm ET (21:30 UTC). The launch will be webcast on ESA TV. And after this? Europe's space agency faces some difficult questions.

"In a 2022 survey of 1,200 people, language learning company Preply determined that 50% of Americans used subtitles and closed captions the vast majority of the time they watch content," writes IndieWire.

They delve into the reasons why so many people want to read dialogue: The first is that, for a lot of people, it's become a lot harder to understand dialogue on the TV. That's the top reason cited in the Preply survey, with nearly 72% of respondents who use closed captions marking that as one of the main reasons why.

The causes behind muddled dialogue are many, multifaceted, and might vary between person to person. For some, the problem is the design of modern televisions; the majority of which place internal speakers at the bottom of the set instead of facing towards the audience, causing significantly worse audio quality. Other issues are caused by sound designs optimized for theatrical experiences, which can result in compressed audio when translated to home. Whatever the reason, a lot of people struggle to hear dialogue now, so turning on closed captioning to decipher what people are saying has become a no brainer move...

Gen Z is, overwhelmingly, the generation most likely to be turning on subtitles according to Preply's numbers, with 70% of respondents in the generation saying they use closed captions "most of the time" compared to 53% of Millennials, 38% of Gen X, and 35% of Baby Boomers. As to why Gen Z likes to turn on text while watching their shows, part of it is that people in the generation grew up watching videos on social media, where subtitles are the algorithmically encouraged default.

Another reason is that Gen Z displays starkly different viewing habits than Baby Boomers in terms of where they're watching their movies and shows. According to Preply, 57% of all Americans watch shows or movies or videos in public on their mobile devices, but a very significant 74% of Gen Z do the same. Even if you're (hopefully) using headphones while in public, it's likely you're getting poor audio quality and hearing background noise if you're watching "The Irishman" on public transit.
The article also cites a three-month study in 2020 by Parrot Analytics (which studies trends in entertainment) which discovered non-U.S. shows accounted for nearly 30% of the demand from U.S. audiences. (And even English-language shows may still have characters speaking with difficult-to-understand accents...)

The company behind Flipper Zero expects $80 million in sales this year, which ZDNet estimates at around 500,000 unit sales.

In its Kickstarter days the company sold almost $5 million as preorders, remembers TechCrunch, and the company claims it sold $25 million worth of the devices last year: So what are they selling? Flipper Zero is a "portable gamified multi-tool" aimed at everyone with an interest in cybersecurity, whether as a penetration tester, curious nerd or student — or with more nefarious purposes. The tool includes a bunch of ways to manipulate the world around you, including wireless devices (think garage openers), RFID card systems, remote keyless systems, key fobs, entry to barriers, etc. Basically, you can program it to emulate a bunch of different lock systems.

The system really works, too — I'm not much of a hacker, but I've been able to open garages, activate elevators and open other locking systems that should be way beyond my hacking skill level. On the one hand, it's an interesting toy to experiment with, which highlights how insecure much of the world around us actually is. On the other hand, I'm curious if it's a great idea to have 300,000+ hacking devices out in the wild that make it easy to capture car key signals and gate openers and then use them to open said apertures.
The company points out that their firmware is open source, and can be inspected by anyone.

ZDNet calls it "incredibly user-friendly" and "a fantastic educational tool and a stepping stone to get people — young and old — into cybersecurity," with "a very active community of users that are constantly finding new things to do with it". (Even third-party operating systems are available).

"Instead of looking like some scary hacking tool, all black and bristling with antennas, it looks like a kid's toy, all plastic and brightly colored," writes ZDNet. "It reminds me of Tamagotchis..."

Thanks to Slashdot reader ZipNada for suggesting the article.

In an opinion piece for NPR, guest host and TV critic on NPR's Fresh Air, David Bianculli, raises concerns about Discovery CEO David Zaslav's track record and the future of Turner Classic Movies (TCM) under his leadership. Here's an excerpt from his piece: When the dismissal was announced recently of most of the people who have guided Turner Classic Movies brilliantly for years -- the programmers, the producers of special material, even the executives who plan the TCM film festivals and party cruises -- many people in Hollywood reacted like there'd been a death in the family. Because, to people who really love movies, that's what the news felt like. [...] Warner Bros. Discovery CEO David Zaslav, in explaining his TCM changes, has said that, among other things, he wants to have filmmakers appear on TCM to curate and present movies of their choosing. Nothing wrong with that. Except you don't have to replace your current management team to make that happen -- and besides, it's already happening. Earlier this year, when Steven Spielberg was promoting his new autobiographical movie The Fabelmans, TCM host Ben Mankiewicz had Spielberg on to select, present and talk about three movies of his choice.

The team that's been running TCM for years has been serving up treats like this with regularity, and with exceptional taste. There are pockets on the schedule for silent movies, for underground films, for film noir, for musicals, and so much more. And if you stay tuned between movies -- which you should -- you get even more treats. Salutes of actors by fellow actors. Short features on costume design and the uncomfortable but illuminating history of blackface in the movies. Some films are presented in newly restored form. Others are newly discovered and presented as the gems they are -- and TCM occasionally revives and showcases rare live television dramas, too. You can imagine how much I love that.

Zaslav says the TCM channel is on all the time in his office, too, and he's saying all the right things about valuing the curation of film as well as film itself. But Zaslav already has just shut down his overseas equivalent of Turner Classic Movies in the U.K. And he's the guy who, since taking over the reins at Warner Bros. Discovery, already has turned HBO Max into just Max, which makes no sense -- devaluing his own HBO brand. Zaslav's altered that Max streaming service so that, while a link to a TCM sub-menu does appear, it's buried way down in the menu. What's worse, its highlighted TCM movie offerings are almost all of the more recent, filmed in color, variety. It's presenting only a tepid taste of what TCM offers on its own 24-hour cable service. Zaslav also, since becoming CEO, has overseen the rapid, clumsy devaluation of CNN, by making poorly received moves like that Donald Trump town hall. In Zaslav's short time on the job, he's already considerably damaged CNN, one of Turner's more brilliant network ideas. I fear, with Turner Classic Movies, Zaslav is about to weaken another -- but I'd love to be proven wrong.

New data (PDF) from the Bureau of Labor Statistics found that one-third of Americans worked from home in 2022, up from a quarter, or 25%, in 2019. The survey also found that Americans working full time from home worked 2.5 hours less a day than Americans at the office. Barron's reports: Overall, the total civilian population worked for an average of 3.23 hours a day in 2022 down from 3.26 hours a day in 2019. The U.S. is 1% lazier. That number, given by the BLS, is the total population. Don't forget, babies don't work. [...] As far as what Americans were doing with the time not spent working, TV watching stayed flat, socializing dropped, and gaming increased. "Economics is complicated, but labor productivity is essentially the basis for economic gains," writes Barron's Al Root. "The economy is measured in dollars, but the dollar is just a unit of account. More output per worker is how living standards improve."

"In a strange way, coming back to work is like an economic stimulus package. If people go back to the office, at a 2019 rate, and work 8.2 hours a day instead of the at-home 5.7 hours a day, the economy has just added roughly 800 million weeks of work, an 8% bump."

"The findings will give management teams some momentum to bring workers back to the office," adds Root.

An anonymous reader quotes a report from The Guardian: Something fishy is happening in the Netherlands and viewers worldwide are hooked. No, this isn't the latest voyeuristic reality series from the creators of Big Brother and The Traitors. It's a charmingly innocent live stream which lets you ring a doorbell on behalf of some frisky fish. For the past three migration seasons, an online feed has broadcast live footage from an underwater camera at a lock to the west of Utrecht. Every spring, thousands of fish swish through the Netherlands' fourth-largest city, seeking shallow waters in which to lay their eggs. Some swim all the way to Germany, like piscine Adam Peatys. Slight snag: they often have to wait at the Weerdsluis lock, which seldom opens at this time of year.

Local ecologists came up with an ingenious solution: the world's first fish doorbell or visdeurbel in Dutch (try saying it out loud). If webcam watchers spot fish waiting to pass, they simply press a virtual doorbell and the lock keeper -- who can't see down into the water, which is 2.1 metres (7ft) deep, from dry land -- is sent a notification. When enough fish have gathered, the operator opens the 200-year-old sluice gate by hand to let them through. It enables professionals and the public to work together around the clock, ensuring fish don't have to wait too long. Like a marine midwife or damp doula, you can help them reach their spawning sites unscathed. It means they're less likely to fall victim to predators such as herons, cormorants and grebes (boo! baddies!).

The project is a collaboration between water authorities and the municipality of Utrecht as fish are a vital part of the ecosystem, eating insects and maintaining the cleanliness of canals. It also provides data about the plentiful wildlife beneath the serene surface of the city's waterways. No wonder visitors are logging on to lend a hand, waving through 2,000 fish a week. Politely holding a door open for our scaly pals -- who lack the opposable fins to do it themselves -- is a feelgood act of kindness. The green-tinged live feed is like a calming version of that giant puddle in Newcastle or an eco equivalent of Big Jet TV. It's wholesome, interactive and addictive, akin to a soggy Springwatch or a low-budget Blue Planet. "In spring 2021, the doorbell was rung more than 100,000 times by punters as far afield as Canada and Taiwan," notes the report. "Thanks to its growing fanbase, this has been its best year yet, hitting one million unique users and 8.2 million visits in total."

"Alaska Weather," a daily 30-minute TV show that has broadcast across Alaska for the past 47 years, is going off the air due to a lack of funds. Gizmodo reports: In lieu of the news, residents seeking information on their state's weather will be forced to lean on spotty, sub-par internet. Friday evening will be the final television installment of "Alaska Weather," as first reported by Alaska Public Media. The show, which is the only weather program produced directly by the National Weather Service, has filled an information and communications void for decades. Without it, "if you don't have good internet connectivity, you're in a world of hurt in western and northern Alaska as far as getting weather information," said Rick Thoman, a climate specialist at the International Arctic Research Center, to the Associated Press. And many in Alaska don't have reliable or fast internet access.

General, aviation, and maritime forecast segments will remain available online only, via YouTube. Emergency alerts, like storm warnings, will be relegated to the National Oceanic Atmospheric Administration radio broadcasts, which don't cover the whole state, per Alaska Public Media. Officials from the state-owned, non-profit media organization say that money problems are to blame. Putting together and distributing "Alaska Weather" has cost Alaska Public Media $200,000 annually, and the network can't afford to do it anymore, according to Linda Wei, APM's chief content officer.

"It's no longer sustainable for us to continue in this manner," Wei told AP. "It's not a decision that we came to lightly." Big state funding cuts in 2019 left APM in a tough spot. The media org kept "Alaska Weather" going on its own for years, following the loss of state backing, but now Wei says the network can't anymore. "We've been doing this, without support, for about four or five years, and we've made that known to NOAA," said Wei to WaPo. "It just got to the point where we couldn't continue." Wei says she's hoping there's a possibility of getting "Alaska Weather" back on the air. But for now, there will be a gap.

An anonymous reader quotes a report from ExtremeTech: Americans hate their internet service providers (ISPs) more than any other segment of the consumer economy -- except gas stations. A fresh set of rankings from the American Consumer Satisfaction Index (ACSI) reveals that few consumers are happy with the way their ISPs conduct business, preferring them only over trips to the pump in a list of 43 major industries. The rankings come courtesy of the ACSI's most recent telecommunications study, which the organization publishes annually. The study covers subscription TV services, video streaming services, and ISPs of both the fiber and non-fiber variety. Using interviews with 22,061 American consumers conducted between April 2022 and March 2023, this year's telecommunications study investigates just how happy people are with their ISPs, then pits that data against that of several other industries. This year, ISPs ranked lower than the endlessly frustrating automobile, banking, and health insurance industries, as well as 39 others that people tend to have an easier time with, such as breweries and athletic shoes.

On a satisfaction scale of 1 to 100, ISPs earned a lackluster 68, which consists of fiber's 75-point and non-fiber's 66-point satisfaction scores combined. The ACSI used customers' input on a number of experiential data points, from choosing a plan to actually using their home Wi-Fi networks, to calculate both scores and combine them based on usage. Although fiber customers found their internet to be relatively reliable and their bills easy to understand, earning an 80 in both categories, non-fiber customers weren't as impressed at 72 and 75, respectively. Unsurprisingly, both fiber and non-fiber customers enjoyed reaching out to their providers' customer service teams the least out of 14 total data points.

There was only one industry that ranked lower than ISPs. As much as Americans generally dislike the way ISPs manage hardware, pricing, customer service, outages, and more, they dislike gas stations even more, giving the category a measly score of 65. While the ACSI doesn't share respondents' reasoning (it's a telecommunications study, after all), it's easy to see why consumers might not enjoy spending obscene money to fill their tanks at dusty roadside stops.

Earlier this week, Twitch introduced Content Classification Labels to help streamers label their content when they're doing something "mature." Streamers are supposed to use Content Classification Labels when their content contains the following: Mature-Rated Games; Sexual Themes; Drugs, Intoxication or Excessive Tobacco Use; Violent and Graphic Depictions; Significant Profanity or Vulgarity; and/or Gambling. Interestingly, kissing or licking a microphone falls under "Sexual Themes." From a report: According to Twitch's FAQ, "Examples of sexual themes include prolonged or repeated kissing of another individual or object, detailed non-educational discussions of sexual topics or experiences, and content or behavior that is very likely to elicit a mature chat conversation."

Those who love ASMR will know that repeating kisses on a mic is a classic ASMR move. The FAQ addresses this, saying: "To be more direct -- many ASMR practices are focused on mindfulness and are not sexual, but we consider kissing or licking a microphone to fall within Sexual Themes." Additionally, hot tub streams and pole dancing will fall under Sexual Themes.

The Federal Communications Commission (FCC) has proposed new rules to crack down on hidden fees charged by cable and satellite video providers. "My administration's top priority is lowering the cost of living for the middle class, and that includes cracking down on companies' use of junk fees to hide true costs from families, who end up paying more as a result," Biden said in a statement on Tuesday. Ars Technica reports: As Biden noted, the FCC "proposed a new rule that would require cable and satellite TV providers to give consumers the all-in price for the service they're offering up front." The proposed rule would force companies like Comcast, Charter Spectrum, and DirecTV to publish more accurate prices. Biden continued: "Too often, these companies hide additional junk fees on customer bills disguised as "broadcast TV" or "regional sports" fees that in reality pay for no additional services. These fees really add up: according to one report, they increase customer bills by nearly 25 percent of the price of base service."

FCC Chairwoman Jessica Rosenworcel first floated pricing transparency rules for the TV services offered by cable and satellite companies in March. That effort took a step forward on Tuesday when the commission approved a Notice of Proposed Rulemaking (NPRM) that seeks public comment on rules that would force video providers to offer accurate prices in advertising. "Consumers who choose a video service based on an advertised monthly price may be surprised by unexpected fees related to the cost of video programming that raise the amount of the bill significantly," the NPRM said. The cable and satellite TV companies' practice of listing "Broadcast TV" and "Regional Sports Network" fees separately from the advertised price "can be potentially misleading and interpreted as a government-imposed tax or fee, instead of a company-imposed service fee increase," and make it hard for customers to compare prices across providers, the FCC said.

The docket is available here, and comments will be accepted for 60 days after the NPRM is published in the Federal Register. The FCC said its proposal "would require cable operators and DBS [direct broadcast satellite] providers to clearly and prominently display the total cost of video programming service." The FCC is also seeking comment on whether it has the authority to impose similar requirements on other types of video providers. But Rosenworcel reportedly said in a congressional hearing that the FCC's authority under US law doesn't extend to streaming services.

An anonymous reader quotes a report from TorrentFreak: With tens of millions of regular monthly visitors, South Korean piracy site Noonoo TV made powerful enemies. The stand-off reached the boiling point in March when broadcasters formed a new anti-piracy coalition and warned of punishing legal action. Noonoo TV responded by throwing in the towel but after clone site 'Noonoo TV Season 2' appeared online, the government says it will develop an AI anti-piracy system that will stop any 'Season 3' variants in their tracks.

Alongside a promise to work closely with the Ministry of Culture, Sports and Tourism, the Korea Communications Commission, and the National Security Agency to protect 'K' content from unlawful distribution, the Ministry of Science says the time is right to enhance manual work carried out by humans with automated systems better suited to the job. "Since the detection and response to illegal sites is currently centered on manual work based on human resources, to overcome this limitation, we plan to develop technology that can automatically detect and verify new versions and substitute sites," the Ministry said. "Online video service (OTT) content is a precious asset created with the blood and sweat of many people. It's a growth engine that will be responsible for the future of our country, so it is very important for mature citizens to refrain from using these illegal sites."

According to an industry insider, LCD TVs won't see any further development because all new R&D money is being spent on self-emissive displays like MicroLED and OLED, as well as on backlight technology like Mini-LED. Tom's Guide reports: According to Bob Raikes from Display Daily, it's all about OLED development. "I asked EMD (which is the US name of Merck KGaA and is by far the dominant supplier of LC materials), what they were doing to push LC materials for displays onto the next stage ... They are developing LCs for privacy windows and antennas, but they told us that 'there is no pull from clients' for significant development in LC materials," Raikes wrote in a recent article. "That shouldn't have been a surprise to me -- I have been talking about the switch to OLED and other emissive displays for the premium end (and later the mainstream) of the display market for a lot of years. Still, after decades of reporting on LC developments, it took a moment to sink in!"

As for what, specifically, manufacturers are working on, it's the production of QD-OLED panels for use in the high-end Samsung and Sony TVs like the Samsung S95C OLED and Sony A95K OLED as well as the development of PHOLED panels that use a blue phosphorescent material that has a longer shelf life and can go brighter than the traditional organic material in OLED panels. [...] Sadly, LCD TVs' days are coming to a close, but OLED TVs are still going strong.