Disney+, which is looking to catch up with some streaming and digital rivals in terms of daily engagement, is adding vertical videos to the service. From a report: The arrival of the new format later this year was one of several advertising-oriented announcements the company made Wednesday at its Tech + Data Showcase at CES in Las Vegas. Other new offerings include a new "brand impact" metric and a new video generation tool that helps advertisers create high-quality connected-TV-ready commercials using existing assets and guidelines.

[...] In an interview prior to the Wednesday showcase, Erin Teague, EVP of Product Management for Disney Entertainment and ESPN, said "everything's on the table" in terms of how vertical video is delivered on Disney+. It could be original short-form programming, repurposed social clips, refashioned scenes from longer-form episodic or feature titles or a combination. "We're obviously thinking about integrating vertical video in ways that are native to core user behaviors," Teague said. "So, it won't be a kind of a disjointed, random experience."

An anonymous reader quotes a report from Ars Technica: SteamOS's slow march across the Windows-dominated PC gaming landscape is continuing to creep along. At CES this week, Lenovo announced it will launch a version of last year's high-priced, high-powered Legion Go 2 handheld with Valve's gaming-focused, Linux-based OS pre-installed starting in June. And there are some intriguing signs from Valve that SteamOS could come to non-AMD devices in the not-too-distant future as well. [...] Valve has also been working behind the scenes to expand SteamOS's footprint beyond its own hardware. After rolling out the SteamOS Compatible software label last May, SteamOS version 3.7 offered support for manual installation on AMD-powered handhelds like the ROG Ally and the original Legion Go.

Even as SteamOS slowly spreads across the AMD-powered hardware landscape, the OS continues to be limited by a lack of compatibility with the wide world of Arm devices. That could change in the near future, though, as Valve's upcoming Steam Frame VR headset will sport a new version of SteamOS designed specifically for the headset's Arm-based hardware. [...] It's an especially exciting prospect when you consider the wide range of Arm-based Android gaming handhelds that currently exist across the price and performance spectrum. While emulators like Fex can technically let players access Steam games on those kinds of handhelds, official Arm support for SteamOS could lead to a veritable Cambrian explosion of hardware options with native SteamOS support.

[...] That's great news for fans of PC-based gaming handhelds, just as the announcement of Valve's Steam Machine will provide a convenient option for SteamOS access on the living room TV. For desktop PC gamers, though, rigs sporting Nvidia GPUs might remain the final frontier for SteamOS in the foreseeable future. "With Nvidia, the integration of open-source drivers is still quite nascent," [Valve's Pierre-Louis Griffais] told Frandroid about a year ago. "There's still a lot of work to be done on that front So it's a bit complicated to say that we're going to release this version when most people wouldn't have a good experience."

Several years after Samsung introduced the Frame TV in 2017 -- a television designed to display fine art and resemble a framed painting when switched off -- competitors are finally catching up in meaningful numbers. Amazon announced the Ember Artline TV at CES 2026 this week, a $899 model that can display one of 2,000 works of art for free and includes an Alexa AI tool to recommend pieces suited to your room. Hisense unveiled its CanvasTV late last year, TCL has the NXTvision model, and LG has announced the Gallery TV for later this year.

The surge in art-focused televisions comes down to two factors: smaller living spaces in cities where younger buyers lack dedicated rooms for large screens, and advances in matte screen technology that enable displays to absorb light like a canvas rather than reflect it like a window. Local dimming and improved backlighting processing allow these newer models to maintain their slim profiles for flush wall-mounting while delivering more realistic art reproduction than earlier edge-lit designs.

After Congress approved President Donald Trump's rescission package eliminating federal funding, the Corporation for Public Broadcasting voted to dissolve after 58 years, rather than continue to exist and potentially be "vulnerable to future political manipulation or misuse." The shutdown leaves hundreds of local public TV and radio stations facing an uncertain future. Variety reports: The CPB was created by Congress by the Public Broadcasting Act of 1967 to support the federal government's investment in public broadcasting. The org noted that the rescission of all of CPB's federal funding came after years of political attacks. "For more than half a century, CPB existed to ensure that all Americans -- regardless of geography, income, or background -- had access to trusted news, educational programming, and local storytelling," said CPB president/CEO Patricia Harrison. "When the Administration and Congress rescinded federal funding, our Board faced a profound responsibility: CPB's final act would be to protect the integrity of the public media system and the democratic values by dissolving, rather than allowing the organization to remain defunded and vulnerable to additional attacks.

[...] "CPB's support extends to every corner of the country -- urban, rural, tribal, and everywhere in between," the org noted. "In many communities, public media stations are the only free source of trusted news, educational children's programming, and local and national cultural content." The CPB said that without funding, its board determined that "maintaining the corporation as a nonfunctional entity would not serve the public interest or advance the goals of public media. A dormant and defunded CPB could have become vulnerable to future political manipulation or misuse, threatening the independence of public media and the trust audiences place in it, and potentially subjecting staff and board members to legal exposure from bad-faith actors."

As it closes, CPB is distributing its remaining funds, and also supporting the American Archive of Public Broadcasting in digitizing and preserving historic content. The CPB's own archives will be preserved at the University of Maryland, which will make it accessible to the public. "Public media remains essential to a healthy democracy," Harrison added. "Our hope is that future leaders and generations will recognize its value, defend its independence, and continue the work of ensuring that trustworthy, educational, and community-centered media remains accessible to all Americans."

An anonymous reader shares a report: MTV shut down many of its last dedicated 24-hour music channels Dec. 31. The move, announced back in October, affected channels around the world, with the U.K. seeing five different MTV stations going dark. These include MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live. As Consequence notes, MTV Music -- which launched in 2011 -- notably ended its run by airing the Buggles' "Video Killed the Radio Star," the first visual to air when MTV launched in the United States in 1981.

MTV's parent company, Paramount Skydance, is also expected to shutter music-only channels in Australia, Poland, France, and Brazil. Despite axing much of its dedicated music programming, MTV's flagship channels are still expected to keep broadcasting in the U.K. and elsewhere. Like in the U.S., these channels primarily air massively popular reality programs, as opposed to music videos.

Another year wraps up, and with it comes the annual ritual of taking stock. What were the movies, TV shows and books from this year that stood out to you? Not necessarily the ones that dominated conversation or topped charts, but the ones you found yourself recommending to friends, or returning to for a second watch or read.

Share your picks and, if you're inclined, a line or two on what made them stick.

An anonymous reader quotes a report from the New York Times: South Africans ... have found a remedy for power cuts that have plagued people in the developing world for years. Thanks to swiftly falling prices of Chinese made solar panels and batteries, they now draw their power from the sun. These aren't the tiny, old-school solar lanterns that once powered a lightbulb or TV in rural communities. Today, solar and battery systems are deployed across a variety of businesses -- auto factories and wineries, gold mines and shopping malls. And they are changing everyday life, trade and industry in Africa's biggest economy. This has happened at startling speed. Solar has risen from almost nothing in 2019 to roughly 10 percent of South Africa's electricity-generating capacity.

No longer do South Africans depend entirely on giant coal-burning plants that have defined how people worldwide got their electricity for more than a century. That's forcing the nation's already beleaguered electric utility to rethink its business as revenues evaporate. Joel Nana, a project manager with Sustainable Energy Africa, a Cape Town-based organization, called it "a bottom-up movement" to sidestep a generations-old problem. "The broken system is unreliable electricity, expensive electricity or no electricity at all," he said. "We've been living in this situation forever." What's happening in South Africa is repeating across the continent. Key to this shift: China's ambition to lead the world in clean energy. The report says that more than 7 gigawatts of solar capacity have been installed in South Africa over the past five years -- about 1/10 of the country's total installed capacity (55 GW). And most of this new solar capacity is privately owned and installed by households and businesses rather than utilities.

Across the continent, Chinese solar imports rose 50% in the first 10 months of 2025. Cheap Chinese solar is rapidly reshaping Africa's energy landscape from the bottom up but it's also shifting geopolitical influence, hollowing out local manufacturing opportunities, and deepening divides between those who can afford energy independence and those who can't. "The solar surge does little to address the most pressing social and economic problems of developing countries like South Africa, the need to generate new jobs for millions of young citizens," reports the NYT. "Installation labor is local, but the panels and batteries are almost all made in China."

Further reading: Why Solarpunk Is Already Happening In Africa

Americans are settling into streaming habits that should worry Hollywood executives, as new Nielsen data analyzed by Bloomberg reveals that not a single new original series cracked the top 10 most-watched streaming shows in 2025 -- the first time this has happened since Nielsen began publishing streaming data in 2020.

The shift extends beyond original programming as free, ad-supported streaming services are growing faster than their paid counterparts. YouTube has become the most-watched streaming service on American televisions, now larger than Netflix and Amazon combined. The Roku Channel and Tubi have nearly doubled in size over the past two years, while Peacock and Warner Bros.' streaming services have stagnated at roughly half their free competitors' viewership share.

Netflix still dominates when it comes to hits, accounting for about two-thirds of original programs appearing in Nielsen's weekly top 10 lists. But that dominance is eroding -- the company's share of streaming viewership has fallen below 20%. Meanwhile, Disney's streaming services haven't increased their share of TV viewing in three years, and Amazon is closing in. The most-watched original series of 2025 was Squid Game's final season, followed by returning shows Wednesday and Love Island.

Artist Keith Thomson is a modern (and whimsical) Edward Hopper. And Apple TV says he created the "festive artwork" shared on X by Apple CEO Tim Cook on Christmas Eve, "made on MacBook Pro."

Its intentionally-off picture of milk and cookies was meant to tease the season finale of Pluribus. ("Merry Christmas Eve, Carol..." Cook had posted.)

But others were convinced that the weird image was AI-generated.

Tech blogger John Gruber was blunt. "Tim Cook posts AI Slop in Christmas message on Twitter/X, ostensibly to promote 'Pluribus'." As for sloppy details, the carton is labeled both "Whole Milk" and "Lowfat Milk", and the "Cow Fun Puzzle" maze is just goofily wrong. (I can't recall ever seeing a puzzle of any kind on a milk carton, because they're waxy and hard to write on. It's like a conflation of milk cartons and cereal boxes.)
Tech author Ben Kamens — who just days earlier had blogged about generating mazes with AI — said the image showed the "specific quirks" of generative AI mazes (including the way the maze couldn't be solved, expect by going around the maze altogether). Former Google Ventures partner M.G. Siegler even wondered if AI use intentionally echoed the themes of Pluribus — e.g., the creepiness of a collective intelligence — since otherwise "this seems far too obvious to be a mistake/blunder on Apple's part." (Someone on Reddit pointed out that in Pluribus's dystopian world, milk plays a key role — and the open spout of the "natural" milk's carton does touch a suspiciously-shining light on the Christmas tree...)

Slashdot contacted artist Keith Thomson to try to ascertain what happened...

Hallmark has released more than 300 Christmas-themed TV movies since 2000, and a detailed internal rulebook obtained by film data analyst Stephen Follows explains how the company manages to produce nearly one new holiday film per week during the final quarter of each year without the whole operation collapsing into creative chaos.

The document, referred to as Hallmark's "bible" by writers and producers who have worked on these films, specifies everything from script length (105-110 pages across a rigid nine-act structure) to prohibited activities (no bowling, no karaoke). Christmas movies must include snow or its remnants and feature characters engaged in seasonal activities like baking cookies, ice skating, and drinking hot chocolate.

The target demographic is women aged 25-54, and the content must be watchable by an 80-year-old grandmother and a 5-year-old niece simultaneously. The economics differ sharply from theatrical filmmaking. Licensed titles from outside production companies carry budgets around $500,000 or less, while Hallmark's in-house productions can exceed $2 million. About three-quarters of the library comes from external producers. The formula appears to work. Hallmark TV movies have averaged a 6.3 IMDb user score over the past 14 years, compared to 5.9 for feature films worldwide.

Further reading: Using Data To Determine if 'Die Hard' is a Christmas Movie.

YouTube has been winning the streaming wars for years, but its real competitive advantage comes not from prime-time viewing but from its stranglehold on daytime hours when Americans are meditating, exercising, cooking, or simply looking for background noise. At 11 a.m. in October, YouTube commanded an average audience of 6.3 million viewers compared to Netflix's 2.8 million, according to Nielsen data. Amazon drew about a million viewers at that hour, and HBO Max, Paramount+ and Peacock each pulled fewer than 600,000.

The gap narrows significantly at night -- Netflix's audience swells to over 11 million at 9 p.m., trailing YouTube's 12 million -- but YouTube's dominance reasserts itself in overnight hours and through the next day. Netflix is responding by bringing at least 34 video podcasts to its service next year, including "The Breakfast Club," "The Bill Simmons Podcast," and "Pardon My Take." Amazon added the Kelce brothers' "New Heights" podcast to Prime Video in September. The strategy is intentional: roughly 75 percent of all podcast listening happens between 6 a.m. and 6 p.m., according to Edison Research. YouTube said viewers watched 700 million hours of video podcasts on living room devices in October alone, a 75% increase from the previous year.

An anonymous reader quotes a report from Ars Technica: CBS cannot contain the online spread of a "60 Minutes" segment that its editor-in-chief, Bari Weiss, tried to block from airing. The episode, "Inside CECOT," featured testimonies from US deportees who were tortured or suffered physical or sexual abuse at a notorious Salvadoran prison, the Center for the Confinement of Terrorism. "Welcome to hell," one former inmate was told upon arriving, the segment reported, while also highlighting a clip of Donald Trump praising CECOT and its leadership for "great facilities, very strong facilities, and they don't play games."

Weiss controversially pulled the segment on Monday, claiming it could not air in the US because it lacked critical voices, as no Trump officials were interviewed. She claimed that the segment "did not advance the ball" and merely echoed others' reporting, NBC News reported. Her plan was to air the segment when it was "ready," insisting that holding stories "for whatever reason" happens "every day in every newsroom." But Weiss apparently did not realize that the "Inside CECOT" would still stream in Canada, giving the public a chance to view the segment as reporters had intended.

Critics accusing CBS of censoring the story quickly shared the segment online Monday after discovering that it was available on the Global TV app. Using a VPN to connect to the app with a Canadian IP address was all it took to override Weiss' block in the US, as 404 Media reported the segment was uploaded to "to a variety of file sharing sites and services, including iCloud, Mega, and as a torrent," including on the recently revived file-sharing service LimeWire. It's currently also available to stream on the Internet Archive, where one reviewer largely summed up the public's response so far, writing, "cannot believe this was pulled, not a dang thing wrong with this segment except it shows truth." "Yo what," joked Reddit user Howzitgoin, highlighting only the word "LimeWire." Another user responded, "man, who knew my nostalgia prof pic would become relevant again, WTF."

"Bringing back LimeWire to illegally rip copies of reporting suppressed by the government is definitely some cyberpunk shit," a Bluesky user wrote.

"We need a champion against the darkness," a Reddit commenter echoed. "I side with LimeWire."

An anonymous reader shares a report: Samsung is breaking new ground with its 2026 lineup of gaming monitors, with the Odyssey 3D G90XH becoming the first to feature a 6K display with "glasses-free 3D." The new monitor comes with a 32-inch IPS panel, offering real-time eye-tracking that "adjusts depth and perspective" based on your position, along with a speedy 165Hz refresh rate that you can boost to 330Hz with a Dual Mode feature that switches to 3K.

[...] A 6K 3D display isn't the only notable upgrade coming to Samsung's lineup; the company is launching the Odyssey G6 G60H, which it says is the "world's first" 1,040Hz gaming monitor. The 27-inch monitor only supports this ultra-fast refresh rate in HD, while its native 1440p resolution still offers speeds up to a very fast 600Hz. It's also compatible with AMD FreeSync Premium and NVIDIA G-Sync.

Oracle co-founder Larry Ellison has personally guaranteed $40.4 billion to shore up Paramount's bid for Warner Bros. Discovery, trying to ease financing doubts as Warner Bros weighs a rival offer from Netflix. Reuters reports: Paramount said the amended terms do not change the $30-per-share all-cash offer even as the fight for Hollywood's sought-after assets heats up, with control of Warner Bros' vast library offering a decisive edge in the streaming wars. "I doubt many Warner Bros shareholders that are on the fence or planning to vote no "were holding out due to issues the "revised bid addresses such as a guarantee from Larry Ellison on the funding front," said Seth Shafer, principal analyst at S&P Global.

As part of the revised terms, Ellison also agreed not to revoke the family trust or transfer its assets during the pendency of the transaction, the filing showed. Paramount said it has raised its regulatory reverse termination fee to $5.8 billion from $5 billion to match the competing transaction and extended the expiration date of its tender offer to January 21, 2026.

The "bid follows Warner Bros asking its shareholders to reject the $108.4 billion offer from Paramount for the whole company, including cable TV assets, on doubts over its financing and the lack of a full guarantee from the Ellison family. But Warner Bros investors, including the fifth largest shareholder Harris Associates, have said they would be open to revised offers from Paramount if it presents a superior bid and addresses issues with deal terms. Under the Netflix agreement, Warner Bros would owe Netflix $2.8 billion as breakup fee if it walks away from that deal.

A "slew of layoffs, price hikes and studio closures" for Microsoft's Xbox "have led many to declare — not for the first time — that the Xbox is dead," reports CNBC.

Or is it just changing its business model? The company's overall gaming revenue decreased 2% year-over-year, with a 29% dip in Xbox hardware sales, according to Microsoft's first-quarter earnings for fiscal 2026. The broader console industry has been in a major slump, with hardware spending down 27% year-over-year in November, which is typically a busy shopping month, according to a recent report from research firm Circana. It was the worst November in two decades, IGN reported, citing Circana data. Combined Switch and Switch 2 unit sales were down more than 10% during the month and PS5 sales were down more than 40%, IGN said. But the Xbox Series hardware took the biggest beating, with a dramatic 70% drop in sales...Microsoft's Xbox Series S and Series X, at 1.7 million units, couldn't outsell the original Nintendo Switch, which launched in 2017 and has sold 3.4 million units so far this year, data from game sales tracking site VGChartz estimated...

Microsoft CEO Satya Nadella said in a recent interview with the TBPN podcast that the company's gaming business model will look to be "everywhere in every platform," from consoles to TV to mobile. His comments also hinted that the next Xbox may function more like a PC. "It's kind of funny people think about the console and PC as two different things," Nadella said. "We built a console because we wanted to build a better PC, which could then perform for gaming. So I kind of want to revisit some of that conventional wisdom...." A source familiar with Xbox strategy told CNBC that the company is looking at creating an open system that enables players to jump between console, PC and cloud gaming — and any form of entertainment beyond gaming. [Wedbush analyst Michael Pachter told CNBC] that while Microsoft is not completely abandoning hardware, the company is splitting its audience into existing buyers interested in specialized consoles and everyone else.

Xbox Game Pass subscription service, which gives subscribers access to games from a variety of publishers, is a clear example of this strategy... The growth in cloud gaming has been blistering. Xbox reported a record 34 million Game Pass subscribers in 2024 and a total Game Pass revenue of almost $5 billion over the last fiscal year. Xbox said in a November blog post that the number of cloud gaming hours from Game Pass subscribers was up 45% compared to the same time last year. The Microsoft subsidiary also said console players are "spending 45% more time cloud streaming on console and 24% more on other devices..."

Despite gaming's scaling limitations, Microsoft seems committed to doing what it has done with the rest of its products — moving it to the cloud... [Xbox President Sarah] Bond recently said in an interview with Mashable that the idea of exclusive games is "antiquated" as the company has leaned into cross-platform gaming... Xbox is betting that cloud and cross-platform gaming are the future. For a decade, claims have been made about the death of the Xbox, and what comes next could fully spell the end, or bring a metamorphosis.

The television industry's brightness war may have hit its inflection point in 2025, the year TCL and Hisense released the first consumer TVs capable of 5,000 nits under specific settings -- a figure that would have seemed absurd not long ago when manufacturers struggled to reach 2,000 nits. LG introduced Primary RGB Tandem OLED technology, moving from a three-stack panel design to a four-stack red-blue-green-blue configuration that the company claims can achieve 4,000 nits. The technology appears in the LG G5, Panasonic Z95B and Philips OLED950 and OLED910.

RGB mini-LED also emerged as a new category. The technology uses individual small red, green and blue LED backlights instead of white or blue LEDs paired with quantum dots. Hisense demonstrated it at CES 2025, TCL announced its Q10M for China, and Samsung unveiled its own version called micro-RGB. These sets range from $12,000 to $30,000. Sony has confirmed it will debut RGB TV technology in spring 2026. HDR content is currently mastered at a maximum of 4,000 nits. The situation echoes the audio industry's loudness war, The Verge points out, which peaked with Metallica's heavily compressed Death Magnetic in 2008.

An anonymous reader quotes a report from the Guardian: Actors have voted to refuse digital scanning to prevent their likeness being used by artificial intelligence in a pushback against AI in the arts. Members of the performing arts union Equity were asked if they would refuse to be scanned while on set, a common practice in which actors' likeness is captured for future use -- with 99% voting in favor of the move. The vote was an indicative ballot designed to demonstrate the strength of feeling on the issue, with more than 7,000 members polled on a 75% turnout. However, actors would not be legally protected if they refused to be scanned.

The union said it would write to Pact, the trade body representing the majority of producers and production companies in the UK, to negotiate new minimum standards for pay, as well as terms and conditions for actors working in film and TV. Equity said it may hold a formal ballot depending on the outcome of the negotiations, which, if backed, would give actors legal protection if they were being pressed to accept digital scanning on set. The general secretary, Paul Fleming, said: "Artificial intelligence is a generation-defining challenge. And for the first time in a generation, Equity's film and TV members have shown that they are willing to take industrial action. Ninety per cent of TV and film is made on these agreements. Over three-quarters of artists working on them are union members. This shows that the workforce is willing to significantly disrupt production unless they are respected, and [if] decades of erosion in terms and conditions begins to be reversed."

LG said it will let owners of its TVs delete Microsoft's Copilot shortcut after several reports highlighted the unremovable icon. In a statement to The Verge, LG says the company "respects consumer choice and will take steps to allow users to delete the shortcut icon if they wish." From the report: Last week, a user on the r/mildlyinfuriating subreddit posted an image of the Microsoft Copilot icon in their lineup of apps on an LG TV, with no option to delete it. "My LG TV's new software update installed Microsoft Copilot, which cannot be deleted," the post says. The post garnered more than 36,000 upvotes as people grow more frustrated with AI popping up just about everywhere.

Both LG and Samsung announced plans to add Microsoft's Copilot AI assistant to their TVs in January, but it appears to be popping up on LG TVs following a recent update to webOS. [LG spokesperson Chris De Maria] clarifies that the icon is a "shortcut" to the Microsoft Copilot web app that opens in the TV's web browser, rather than "an application-based service embedded in the TV." He also adds that "features such as microphone input are activated only with the customer's explicit consent." There's no word on when LG will roll out the ability to delete the Copilot icon.

A California judge signaled support for forcing Vizio to provide the full source code for its SmartCast TV software after finding a contractual obligation under the GPL. If upheld, the case could strengthen users' rights to modify GPL-licensed software embedded in consumer electronics. The Register reports: The legal complaint from the Software Freedom Conservancy (SFC) seeks access to the SmartCast source code so that Vizio customers can make changes and improvements to the platform, something that ought to be possible for code distributed under the GPL. On Thursday, California Superior Court Judge Sandy Leal issued a tentative ruling in advance of a hearing, indicating support for part of SFC's legal challenge. The tentative ruling is not a final decision, but it signals the judge's inclination to grant the SFC's motion for summary adjudication, at least in part.

"The tentative ruling [PDF] grants SFC's motion on the issue that a direct contract was made between SFC and Vizio when SFC's systems administrator, Paul Visscher, requested the source code to a TV that SFC has purchased," the SFC said in a blog post. "This contract obligated Vizio to provide SFC the complete and corresponding source code." [...]

Karen Sandler, executive director of the SFC, told The Register in an email that the hearing went well, though Vizio's legal counsel "stridently disagreed" with the legal analysis in the tentative ruling. "Judge Leal said she would take the matter 'under submission' which means she will think about it further," Sandler said. "After the Court went off the record, Leal's clerk specifically verified the Court reporter could provide an expedited transcript, so Leal will likely review the hearing transcript soon." Sandler expects Leal will examine the filings again before issuing her opinion, which is likely to be issued in the next few weeks.

The Academy has struck a multi-year deal to move the Oscars to YouTube starting in 2029, ending decades on ABC and making the ceremony free to stream worldwide with YouTube holding exclusive global rights. Variety reports: The Oscars, including red carpet coverage, behind-the-scenes content and Governors Ball, will be available live and for free on YouTube to viewers around the world, as well as to YouTube TV subscribers in the United States. Architects of the agreement said they hope the move to YouTube will help make the Oscars more accessible to "the Academy's growing global audience through features such as closed captioning and audio tracks available in multiple languages." [...]

The Academy had been seeking a new broadcast licensing agreement for the better part of 2025. Over the summer, several expected and unconventional buyers, including NBCUniversal and Netflix, had come into the mix as potential suitors. Insiders believe that YouTube shelled out over nine figures for the Oscars, besting the high eight-figure offers from Disney/ABC and NBCUniversal. Under the most recent contract, Disney was paying around $100 million annually for the Oscars -- but given the ratings declines for the kudocast, Disney/ABC were reportedly looking to spend less on license fees.

[...] It's not a secret that the Academy and Disney/ABC would occasionally have disagreements over the best path for the Oscars, including the show's length, which awards to present and who should host. Now, on a streamer with no time limits, the Oscars can be any length, and the Academy likely has carte blanche to do whatever it wants with the telecast. "They can do whatever they want," says one insider. "You can have a six-hour Oscars hosted by MrBeast."