Paramount Plus' subscriber count has ballooned to almost 40 million with the service gaining 6.8 million subscribers in the first quarter of 2022 alone, Paramount announced in its earnings report on Tuesday. The Verge reports: An increase in subscriber count led to more money for the company as well — its direct-to-consumer revenue, which includes Paramount Plus and its free TV streaming service, Pluto TV, increased 82 percent year over year. While revenue from subscriptions for both Pluto TV and Paramount Plus grew 95 percent year over year, advertising revenue increased 59 percent. The company says Paramount Plus subscribers watched more shows for longer periods of time as well. This, along with a higher subscriber count, was mostly driven by the service strengthening its roster of shows.

New data shared by tracking company MUSO shows that the number of visits to pirate sites has increased by nearly 30% compared to last year. The publishing category is growing particularly hard, mostly driven by manga piracy. The United States continues to harbor the most pirates in absolute numbers. TorrentFreak reports: During the first quarter of 2022, pirate site visits increased by more than 29% compared to a year earlier, which is good for a dazzling 52.5 billion visits. Nearly half of this traffic (48%) goes to TV-related content. The publishing category takes second spot with 27%, followed by the film (12%), music (7%), and software (6%) categories. The traffic increase is noticeable across all types of piracy but the publishing category stands out. Compared to the first quarter of 2021, the number of visits in this category has grown explosively. Software piracy is lagging behind, but the category still continues to grow. The strong growth in the publishing category is largely driven by manga, comics or graphic novels originating from Japan. Some of the pirate sites dedicated to this 'niche', such as Manganato.com, attract well over 100 million 'visits' per month. That's more than iconic pirate sites such as The Pirate Bay and Fmovies.to.

The United States is the country that sends most visitors to pirate sites. With well over 5.7 billion 'visits' in the first three months of the year, the U.S. is good for more than 10% of all piracy traffic. With a 39% increase compared to last year, pirate audience growth exceeds the global average. Russia and India follow at a respectable distance with just over 3 billion visits to pirate sites, followed by China and France, with 1.8 and 1.7 billion visits, respectively. There is no single explanation for the apparent piracy boom. However, MUSO sees the upward trend as an alarming signal and expects that the 'streaming wars' and growing subscription fatigue may play a role.

Slashdot reader XXongo brings word of a new three-part documentary — streaming free now — that tries to understand America's early inaction on climate change. Looking back over the last few decades, The Power of Big Oil explores how the fuel industry "successfully set up a campaign to discredit climate science and targetting individual politicians to vote against measures to curb climate change."

The Guardian notes that the series includes an interview with a U.S. senator who they say "blames the oil industry for malignly claiming the science of climate change was not proved when companies such as Exxon and Shell already knew otherwise from their own research."

As far back as 25 years ago, the senator says, "they had evidence in their own institutions that countered what they were saying publicly. I mean — they lied." The documentary's makers have dug out a parade of former oil company scientists, lobbyists and public relations strategists who lay bare how the US's biggest petroleum firm, Exxon, and then the broader petroleum industry, moved from attempting to understand the causes of a global heating to a concerted campaign to hide the making of an environmental catastrophe. Over three episodes — called Denial, Doubt, Delay — the series charts corporate manipulation of science, public opinion and politicians that mirrors conduct by other industries, from big tobacco to the pharmaceutical companies responsible for America's opioid epidemic.

Some of those interviewed shamefacedly admit their part in the decades-long campaign to hide the evidence of climate change, discredit scientists and delay action that threatened big oil's profits.

Others almost boast about how easy it was to dupe the American public and politicians, with consequences not just for the US but every country on the planet.
In one video clip an aide to a climate-conscious senator remembers that "You had reams of material coming out of the government. They were at the National Oceanic and Atmospheric Administration, at NASA — this expanding network of people, working on this day in and day out, saying that this was a legitimate issue, and that we needed to do something about it. And on the other hand, you had two or three guys who went around to conferences and said, 'Oh, I'm not sure. Oh, maybe there's clouds....' It quickly became apparent that these were private interests who had a stake in the status quo." He refers to it as "emerging industry of nay-sayers."

There's also a discouraged assessment from climate activist looking back over a lack of progress in the early decades. "You want to make an assumption that it's a meritocracy — a good argument will prevail, and it will displace a bad argument. But, what the geniuses at the PR firms who work for these big fossil-fuel companies know is that truth has nothing to do with who wins the argument. If you say something enough times, people will begin to believe it."

Fedora project leader Matthew Miller spoke to TechRepublic's Jack Wallen this week, sharing some thoughts on the future of Linux — and on open source in general: Matthew Miller: I think it's a lost cause to try to "sell" our quirky technology interest to people who don't see it already. We need to take a different approach.... I think our message, at its root, has to be around open source.... [W]ith Linux, when you install an open-source distro, you're not just part of a fan community. You're part of a colossal, global effort that makes software more available to everyone, makes that software better and better, and makes the whole world better through sharing... Just by using it you're sharing in this amazing undertaking, part of a move away from scarcity to an economy based on abundance....

Jack Wallen: What's the biggest difference in Linux today vs. Linux of 10 years ago?

Matthew Miller: I think first we have to start with just the amazing ubiquity of it. Ten years ago, it was cute to find a TV that ran Linux. Now, not only is it definitely powering your TV, you've probably got Linux running on your lightbulbs! It's everywhere. And while Linux had pushed proprietary Unix from the server room, ten years ago Windows-based servers were pushing back. The cloud changed that — now, the cloud is Linux, almost completely. (Anything that isn't is a legacy app that it was too much trouble to port!) From tiny devices to the most powerful mainframes and supercomputers: Linux, Linux, Linux....

Jack Wallen: If Linux has an Achilles' heel, what is it?

Matthew Miller: Linux and the whole free and open-source software movement grew up with the rise of the internet as an open communication platform. We absolutely need that to continue in order to realize our vision, and I don't think we can take it for granted.

That's more general than an Achilles' heel, though, so right now let me highlight one thing that I think is troubling: Chrome becoming the dominant browser to the point where it's often the only way to make sites work. Chromium (the associated upstream project) is open source, but isn't really run as a community project, and, pointedly, very very few people run Chromium itself. I'd love to see that change, but I'd also like to see Firefox regain a meaningful presence.
Miller also said Fedora's next release is focused on simplicity. ("When the OS gets in the way, it drops from the conversation I want to have about big ideas to ... well, the boring technical details that people never want to deal with")

And he also shared his thoughts on what Linux needs most. "What I'd really like to see more of are more non-technical contributors. I mean, yes, we can always benefit from more packagers and coders and engineers, but I think what we really need desperately are writers, designers, artists, videographers, communicators, organizers and planners. I don't think big companies are likely to provide those things, at least, not for the parts of the Linux world which aren't their products."

"We need people who think the whole grand project I've been talking about is important, and who have the skills and interests to help make it real."

An anonymous reader quotes a report from Wired: For most of the world, the common practice of "rooting" or "jailbreaking" a phone allows the device's owner to install apps and software tweaks that break the restrictions of Apple's or Google's operating systems. For a growing number of North Koreans, on the other hand, the same form of hacking allows them to break out of a far more expansive system of control -- one that seeks to extend to every aspect of their lives and minds. On Wednesday, the North Korea-focused human rights organization Lumen and Martyn Williams, a researcher at the Stimson Center think tank's North Korea -- focused 38 North project, together released a report on the state of smartphones and telecommunications in the Democratic People's Republic of Korea, a country that restricts its citizens' access to information and the internet more tightly than any other in the world. The report details how millions of government-approved, Android-based smartphones now permeate North Korean society, though with digital restrictions that prevent their users from downloading any app or even any file not officially sanctioned by the state. But within that regime of digital repression, the report also offers a glimpse of an unlikely new group: North Korean jailbreakers capable of hacking those smartphones to secretly regain control of them and unlock a world of forbidden foreign content.

Learning anything about the details of subversive activity in North Korea -- digital or otherwise -- is notoriously difficult, given the Hermit Kingdom's nearly airtight information controls. Lumen's findings on North Korean jailbreaking are based on interviews with just two defectors from the country. But Williams says the two escapees both independently described hacking their phones and those of other North Koreans, roughly corroborating each others' telling. Other North Korea -- focused researchers who have interviewed defectors say they've heard similar stories. Both jailbreakers interviewed by Lumen and Williams said they hacked their phones -- government-approved, Chinese-made, midrange Android phones known as the Pyongyang 2423 and 2413 -- primarily so that they could use the devices to watch foreign media and install apps that weren't approved by the government. Their hacking was designed to circumvent a government-created version of Android on those phones, which has for years included a certificate system that requires any file downloaded to the device to be "signed" with a cryptographic signature from government authorities, or else it's immediately and automatically deleted. Both jailbreakers say they were able to remove that certificate authentication scheme from phones, allowing them to install forbidden apps, such as games, as well as foreign media like South Korean films, TV shows, and ebooks that North Koreans have sought to access for decades despite draconian government bans.

In another Orwellian measure, Pyongyang phones' government-created operating system takes screenshots of the device at random intervals, the two defectors say -- a surveillance feature designed to instill a sense that the user is always being monitored. The images from those screenshots are then kept in an inaccessible portion of the phone's storage, where they can't be viewed or deleted. Jailbreaking the phones also allowed the two defectors to access and wipe those surveillance screenshots, they say. The two hackers told Lumen they used their jailbreaking skills to remove restrictions from friends' phones, as well. They said they also knew of people who would jailbreak phones as a commercial service, though often for purposes that had less to do with information freedom than more mundane motives. Some users wanted to install a certain screensaver on their phone, for instance, or wipe the phone's surveillance screenshots merely to free up storage before selling the phone secondhand. As for how the jailbreaking was done, the report says both jailbreakers "described attaching phones to a Windows PC via a USB cable to install a jailbreaking tool."

"One mentioned that the Pyongyang 2423's software included a vulnerability that allowed programs to be installed in a hidden directory. The hacker says they exploited that quirk to install a jailbreaking program they'd downloaded while working abroad in China and then smuggled back into North Korea." The other hacker might've obtained his jailbreaking tool in a computer science group at Pyongyang's elite Kim Il Sung University where he attended.

At least six different Kremlin-linked hacking groups have conducted nearly 240 cyber operations against Ukrainian targets, Microsoft said Wednesday, in data reveal a broader scope of alleged Russian cyberattacks during the war on Ukraine than previously documented. From a report: "Russia's use of cyberattacks appears to be strongly correlated and sometimes directly timed with its kinetic military operations," said Tom Burt, a Microsoft vice president.

The Microsoft report is the most comprehensive public record yet of Russian hacking efforts related to the war in Ukraine. It fills in some gaps in public understanding of where Russia's vaunted cyber capabilities have been deployed during the war. Burt cited a cyberattack on a Ukrainian broadcast company on March 1, the same day as a Russian missile strike against a TV tower in Kyiv, and malicious emails sent to Ukrainians falsely claiming the Ukrainian government was "abandoning" them amid the Russian siege of the city of Mariupol. Suspected Russian hackers "are working to compromise organizations in regions across Ukraine," and may have been collecting intelligence on Ukrainian military partnerships many months before the full-scale invasion in February, the Microsoft report says.

As the old saying goes, if you can't beat 'em, partner up with another overly powerful cable giant to give yourself a better shot. From a report: This morning, Comcast and Charter announced a new joint venture that will see the two companies teaming up to develop "a next-generation streaming platform on a variety of branded 4K streaming devices and smart TVs." This new platform and the devices that run it will square off against Amazon, Roku, Google, Apple, and other established streaming hardware players. The new venture is evenly divided between the two companies and is exclusively focused on streaming; it "does not involve the broadband or cable video businesses of either Comcast or Charter, which will remain independent." Comcast says its Flex streaming platform will serve as the foundation for what's coming next. It's also contributing "the retail business for XClass TVs and will contribute Xumo, a streaming service it acquired in 2020." Comcast introduced its XClass TVs last year as an alternative to the many popular budget TVs that come preloaded with Roku, Amazon, or Google software. For its part, Charter -- known better to many for its Spectrum brand -- is kicking in $900 million over the course of several years.

An anonymous reader quotes a report from The Verge: The EU has agreed on another ambitious piece of legislation to police the online world. Early Saturday morning, after hours of negotiations, the bloc agreed on the broad terms of the Digital Services Act, or DSA, which will force tech companies to take greater responsibility for content that appears on their platforms. New obligations include removing illegal content and goods more quickly, explaining to users and researchers how their algorithms work, and taking stricter action on the spread of misinformation. Companies face fines of up to 6 percent of their annual turnover for noncompliance.

"The DSA will upgrade the ground-rules for all online services in the EU," said European Commission President Ursula von der Leyen in a statement. "It gives practical effect to the principle that what is illegal offline, should be illegal online. The greater the size, the greater the responsibilities of online platforms." [...] Although the legislation only applies to EU citizens, the effect of these laws will certainly be felt in other parts of the world, too. Global tech companies may decide it is more cost-effective to implement a single strategy to police content and take the EU's comparatively stringent regulations as their benchmark. Lawmakers in the US keen to rein in Big Tech with their own regulations have already begun looking to the EU's rules for inspiration.

The final text of the DSA has yet to be released, but the European Parliament and European Commission have detailed a number of obligations it will contain [...]. Although the broad terms of the DSA have now been agreed upon by the member states of the EU, the legal language still needs to be finalized and the act officially voted into law. This last step is seen as a formality at this point, though. The rules will apply to all companies 15 months after the act is voted into law, or from January 1st, 2024, whichever is later. "Large online platforms like Facebook will have to make the working of their recommender algorithms (used for sorting content on the News Feed or suggesting TV shows on Netflix) transparent to users," notes The Verge. "Users should also be offered a recommender system 'not based on profiling.' In the case of Instagram, for example, this would mean a chronological feed (as it introduced recently)."

The tech giants will also be prohibited from using "dark patterns" -- confusing or deceptive UIs designed to steer users into making certain choices. A detailed list of obligations contained in the DSA can be found in the article.

As Netflix shares plunge to their lowest point in five years, the company risks losing its most valuable resource: its star employees. From a report: Working at Netflix has been one of the most desirable jobs in Hollywood, if not all of corporate America. The company ranks as one of the most beloved brands, pays well and offers a chance to work with the people that changed the way we watch TV. But a record decline in Netflix's share price, precipitated by its poor financial results, has shaken employees' confidence in the company's long-term trajectory. It has also erased the value of many employees' options. People who were sitting on tens or hundreds of thousands of dollars are left with nothing. More people are looking to leave Netflix right now than at any point in recent memory, current and former employees said this past week. Netflix employees also asked leadership to issue new stock grants to make them whole for the losses this past week, per The Information.

Streaming right now on Hulu: a three-hour live special in which two members of something called the "Red Bull Air Force" try to make aviation history, reports People: On Sunday, April 24, Aikins and Farrington will try to switch planes mid-air in a stunt at Sawtooth Airport in Eloy, Arizona, that can be seen exclusively on Hulu, according to a press release from Red Bull. The planes will be "completely empty" and facing the ground when Luke Aikins and Andy Farrington attempt the daring switch, which will air during a three-hour livestream event.

To complete the feat, Aikins and Farrington will fly a pair of Cessna 182 single-seat aircraft up to 14,000 feet before putting them into a vertical nosedive and jumping out, with the goal of skydiving into each other's planes.

The cousins will stop the planes' engines and aim them toward the ground as they complete the stunt. A custom airbrake with the ability to hold the planes in a controlled-descent terminal velocity speed of 140 mph will also be utilized to complete the trick. After catching up to the opposing stuntman's plane, Aikins and Farrington will enter the cockpits and turn the planes back on as normal, piloting them to land.

Aikins is an experienced skydiver, having completed more than 21,000 jumps throughout his career. Farrington, meanwhile, has completed 27,000 jumps.
"I call it more calculated than crazy," Aikins says in an interview with the web site Complex. "We work really hard to make sure that everything's going to be okay. We don't flip a coin and fingers crossed and hope it all works out. We mitigate the risk down to something that's acceptable and what's acceptable to me."

People using self-driving cars will be allowed to watch television on built-in screens under proposed updates to the Highway Code. From a report: The changes will say drivers must be ready to take back control of vehicles when prompted, the government said. The first use of self-driving technology is likely to be when travelling at slow speeds on motorways, such as in congested traffic. However, using mobile phones while driving will remain illegal.

No self-driving cars are currently allowed on UK roads, but the first vehicles capable of driving themselves could be ready for use later this year, the Department for Transport (DfT) said. The planned changes to the code are expected to come in over the summer. The updates, proposed following public consultation, were described as an interim measure to support the early adoption of the technology and a full regulatory framework is planned to be implemented by 2025.

An anonymous reader shares an excerpt from an opinion piece written by Elizabeth Spiers, former editor in chief of The New York Observer and the founding editor of Gawker: Among the many brilliant touches in the dystopian workplace thriller "Severance," on Apple TV+, are the perks offered by Lumon Industries, the cultlike, fluorescent-lit corporation where the series takes place: company-branded Chinese finger trap gag toys; cheery if mediocre caricature portraits; a baffling "waffle party"; the much-discussed "music dance experience"; and, more than once, a melon-ball buffet served on a rolling bar. It's hard not to see real-world analogues -- in the table tennis and kombucha taps of Silicon Valley, and especially in the post-pandemic flurry of office happy hours and gift card giveaways, as companies try to lure white-collar workers back to offices. At the high end, a real estate data company offered employees who returned to the office a daily chance to win $10,000, a trip to Barbados or a new Tesla; more common incentives are company swag, pop-up snack stands, Covid personal protection gift bags and stress balls.

Companies aren't wrong to perceive a reluctance to return to offices among some workers. Even if bosses see the return as simply a resumption of the terms employees had agreed to, workers are increasingly aware of the ways that those terms have shortchanged them. After two years, those who were able to work from home have seen real benefits -- reclaiming time from commutes, flexibility for family responsibilities, freedom from perpetual distractions and restrictive dress codes -- and now they can't unsee them. Surveys taken last year indicated that two-thirds of workers would prefer to have continued remote work options and would sacrifice $30,000 in raises to keep them. Somewhat higher percentages of women and Black knowledge workers say they are reluctant to return to offices.

But among executives and managers, there's still a strong perception that in-person work is the only real work. So as younger workers in particular resist company mandates to return to their desks in the overly air-conditioned offices where many had never felt comfortable, companies are trying to sweeten the deal. [...] I've come to think of these corporate toys and rewards as the work equivalent of the cheap prizes you win at a carnival after emptying your wallet to play the games. The difference is that the point of the carnival is to have fun, and the prizes are incidental. In the workplace, this is just a laughably terrible trade-off. Who wants to give up the two hours a day they gain by not commuting for a coffee mug? "Putting in long hours at the office is often conflated with a strong work ethic and more productivity, though it may not be indicative of either," adds Spiers. "To make employees feel this approach is reasonable, many employers blur the line between work and the rest of life, while offering little diversions here and there to approximate fun."

Shares of Netflix cratered more than 20% on Tuesday after the company reported a loss of 200,000 subscribers during the first quarter. This is the first time the streamer has reported a subscriber loss in more than a decade. From a report: The company also said it expects to lose 2 million subscribers in the second quarter. A loss of 200,000 compared with 2.73 million adds expected, according to StreetAccount estimates. Netflix previously told shareholders it expected to add 2.5 million net subscribers during the first quarter. Analysts had predicted that number will be closer to 2.7 million. The company said that the suspension of its service in Russia and the winding-down of all Russian paid memberships resulted in a loss of 700,000 subscribers. Excluding this impact, Netflix would have seen 500,000 net additions during the most recent quarter.

Privacy is one of the selling points of Apple products. But for employees who develop these products, it can be a pain. The Information: Apple doesn't collect a lot of customer data from its services, including Apple Maps, the Siri voice assistant and its paid video-streaming service, according to more than a dozen former employees. And the customer data it does collect from products like the App Store and Apple Music aren't widely accessible to employees who work on those and other products, these people said. That makes it difficult for Apple to mimic popular features developed by its competitors, which collect more data and have fewer restrictions on employee access to such information, they said.

Look at Apple TV+. The paid video-streaming service, unlike its bigger rivals, doesn't collect demographic info about customers or a history of what they have watched, according to a person with direct knowledge of the situation at Apple. That means Apple TV+ employees can't analyze how customers move from one piece of content to another, making it next to impossible to recommend more videos to them based on their preferences -- a contrast to Netflix, Disney and other streaming services, which use such data to get customers to watch more videos. [...] From Apple's app recommendations to new features for Siri and the company's Goldman Sachs-backed credit card, Apple engineers and data scientists often have to find creative or costly ways to make up for the lack of access to data. In some cases, as with Apple TV+, employees simply have to accept limitations on what they can do.

After launching as "IMDb Freedive" back in 2019, IMDb TV quickly faded into the background of the ongoing streaming wars that parent company Amazon had already established a respectable foothold in. While that initial rebrand never quite managed to put the fledgling platform and its content on the map, Amazon's just announced its plan to reintroduce the streamer yet again under new branding ahead of a massive content push. From a report: Going forward, IMDb TV will be known as "Amazon Freevee," a name meant to emphasize that the ad-supported platform is free to viewers. In a press release detailing its vision for Freevee's future, director Ashraf Alkarmi framed the service as a supplemental platform meant to appeal to consumers interested in watching "premium" series and films with significantly fewer commercial interruptions.

Sonic the Hedgehog 2 "shattered early box office projections," reports the Los Angeles Times, bringing in $71 million in its opening weekend. That makes it the biggest first-weekend for a Paramount movie in at least four years — more than Terminator: Dark Fate ($29 million) and Mission: Impossible — Fallout ($61.2 million).

You can watch its trailer here — but here's how the Times summarizes its plot. "The titular furry blue protagonist (voiced by Ben Schwartz) faces an equally fluffy new threat, Knuckles the Echidna (Idris Elba), who has joined Dr. Robotnik's (Jim Carrey) ongoing quest conquer Earth."

Engadget calls this the best opening weekend ever for a videogame movie. The previous record-holder was Sonic the Hedgehog 1, a movie which Paramount+ now "plans to expand into a cinematic universe" — or at least, expand into a spin-off TV series. Before the pandemic shut down theaters throughout the U.S, and other parts of the world, the first Sonic film went on to gross $319 million globally. Sonic the Hedgehog 2 is currently on track to beat those earnings having grossed approximately $141 million globally.

As with the first movie, timing appears to have been a significant factor in Sonic 2's early success. Its main competitor at the box office was Sony's much-maligned Morbius, which saw a drastic 74 percent drop in ticket sales from its opening weekend last Friday. It only earned $10.2 million in additional domestic revenue after a $39 million debut.

An anonymous reader shares a report: Bad news for everyone who loved watching Bill Nye the Science Guy during middle school science class: your fave is problematic. This week, Coca-Cola, one of the world's biggest plastic polluters, teamed up with TV's favorite scientist for a campaign to create a "world without waste," a joke of a corporate greenwashing campaign. In a video innocuously titled "The Coca-Cola Company and Bill Nye Demystify Recycling," an animated version of Nye -- with a head made out of a plastic bottle and his signature bow tie fashioned from a Coke label -- walks viewers through the ways "the good people at the Coca-Cola company are dedicating themselves to addressing our global plastic waste problem." Coke, Nye explains, wants to use predominantly recycled materials to create bottles for its beverages; he then describes the process of recycling a plastic bottle, from a user throwing it into a recycling bin to being sorted and shredded into new material.

"If we can recover and recycle plastic, we can not only keep it from becoming trash, but we can use that plastic again and again -- it's an amazing material," quips Shill Nye the Plastic Guy. "What's more, when we use recycled material, we also reduce our carbon footprint. What's not to love?" What's not, indeed! The video is, on the surface, an accurate depiction of the process of recycling a beverage bottle. The problem lies in what recycling can actually do. Nye paints a rosy picture in the video of plastic Coke bottles being recycled "again and again" -- but if everything worked like he's said, we wouldn't be facing plastic pollution that has grown fourfold over the past few decades. Thanks to concerted lobbying efforts, the public has been led to believe that recycling is the cure for our disastrous plastic addiction. What it does in actuality is place the burden of responsibility on the consumer and allow companies like Coca-Cola to get away with no repercussions for their waste.

Ben Thompson, making a case for why Netflix should sell ads: Here Netflix's biggest advantage is the sheer size of its subscriber base: Netflix can, on an absolute basis, pay more than its streaming competitors for the content it wants, even as its per-subscriber cost basis is lower. This advantage is only accentuated the larger Netflix's subscriber base gets, and the more revenue it makes per subscriber; the user experience of getting to that unique content doesn't really matter. All of these factors make a compelling case for Netflix to start building an advertising business. First, an advertising-supported or subsidized tier would expand Netflix's subscriber base, which is not only good for the company's long-term growth prospects, but also competitive position when it comes to acquiring content. This also applies to the company's recent attempts to crack down on password sharing, and struggles in the developing world: an advertising-based tier is a much more accessible alternative.

Second, advertising would make it easier for Netflix to continue to raise prices: on one hand, it would provide an alternative for marginal customers who might otherwise churn, and on the other hand, it would create a new benefit for those willing to pay (i.e. no advertising for the highest tiers). Third, advertising is a natural fit for the jobs Netflix does. Sure, customers enjoy watching shows without ads -- and again, they can continue to pay for that -- but filler TV, which Netflix also specializes in, is just as easily filled with ads. Above all, though, is the fact that advertising is a great opportunity that aligns with Netflix's business: while the company once won with a differentiated user experience worth paying for, today Netflix demands scarce attention because of its investment in unique content. That attention can be sold, and should be, particularly as it increases Netflix's ability to invest in more unique content, and/or charge higher prices to its user base.

Plex has an audacious plan to become the daily go-to app for everyone's streaming needs: The media center app rolled out new universal search, watchlist and discovery features Tuesday that are designed to help people find and keep track of all of the shows and movies available across a growing universe of streaming services. From a report: "The app dance, going from app to app to find something to watch, just doesn't make any sense," said Plex's senior product and design director, Jason Williams. Instead, Williams hopes that people will just open Plex to browse everything that's new on various streaming services, and then follow deep links to directly launch playback on Netflix, Hulu or anywhere else. "You're going to open up Plex every day," Williams said. "It's going to be your trusted source." Universal search and discovery have long been a holy grail for the streaming industry, but efforts by platform operators to integrate these types of features directly into the smart TV home screen have been held back by industry power struggles. Plex hopes it can avert some of those issues, and is betting on the ingenuity of its power users to help out along the way. In addition to universal search and a universal watchlist across multiple streaming services as well as personal media, Plex is also launching a dedicated discovery section in its app that highlights new titles on Netflix and other services.

The Paramount+ streaming service already has five ongoing Star Trek series (including Discovery and Picard).

But they've just released a trailer for another one — and it's now derived directly from the original 1960s TV show, even including some of its original characters. The upcoming show's title?

Star Trek: Strange New Worlds.

Ars Technica reports: As we've reported previously, one of the highlights of Star Trek: Discovery's second season was the appearance of classic original series (TOS) characters Capt. Christopher Pike (Anson Mount), Number One (Rebecca Romijn), and Spock (Ethan Peck). All three reprise their roles for Strange New Worlds....

"If you want to seek out new life, go where the aliens are," Pike tells us. But that alien life might not be receptive to first contact, as Pike and the Enterprise find themselves under fire by aliens who consider their presence to be "blasphemy." And romance blooms for both Pike and Spock (separately, not with each other).

Star Trek: Strange New Worlds debuts on Paramount+ on May 5, 2022. The streaming platform has already greenlighted a second season, with Paul Wesley (Vampire Diaries ) joining the cast as future Enterprise Capt. James T. Kirk.
Ars Technica reports the cast as:

• Babs Olusanmokun playing Dr. M'Benga
• Celia Rose Gooding filling Nichelle Nichols' shoes as Cadet Nyota Uhura
• Jess Bush playing Nurse Christine Chapel
• Melissa Navai playing Lt. Erica Ortegas
• Bruce Orak playing an Aenar named Hemmer.
• Christina Chong playing La'An Noonien-Singh (a relation of the classic revenge-obsessed Star Trek villain Khan).

And on an unrelated note...