Warner Bros Discovery's board spurned Paramount Skydance's $108.4 billion hostile takeover bid on Wednesday, calling the offer "illusory" as it accused the studio giant of misleading shareholders about its financing. From a report: Paramount has been in a race with Netflix to win control of Warner Bros, and with it, its prized film and television studios, HBO Max streaming service and franchises like "Harry Potter." After Warner Bros accepted the streaming giant's offer, Paramount launched a hostile offer to outdo that bid.

In a letter to shareholders on Wednesday, the Warner Bros board wrote that Paramount had "consistently misled" Warner Bros shareholders that its $30-per-share cash offer was fully guaranteed, or "backstopped," by the Ellison family, led by billionaire and Oracle co-founder Larry Ellison.

mprindle writes: The Texas Attorney General sued five major television manufacturers, accusing them of illegally collecting their users' data by secretly recording what they watch using Automated Content Recognition (ACR) technology.

The lawsuits target Sony, Samsung, LG, and China-based companies Hisense and TCL Technology Group Corporation. Attorney General Ken Paxton's office also highlighted "serious concerns" about the two Chinese companies being required to follow China's National Security Law, which could give the Chinese government access to U.S. consumers' data.

According to complaints filed this Monday in Texas state courts, the TV makers can allegedly use ACR technology to capture screenshots of television displays every 500 milliseconds, monitor the users' viewing activity in real time, and send this information back to the companies' servers without the users' knowledge or consent.

LG smart TV owners discovered over the weekend that a recent webOS software update had quietly installed Microsoft Copilot on their devices, and the app cannot be uninstalled. Affected users report the feature appears automatically after installing the latest webOS update on certain models, sitting alongside streaming apps like Netflix and YouTube.

LG's support documentation confirms that certain preinstalled or system apps can only be hidden, not deleted. At CES 2025, LG announced plans to integrate Copilot into webOS as part of its "AI TV" strategy, describing it as an extension of its AI Search experience. The current implementation appears to function as a shortcut to a web-based Copilot interface rather than a native application. Samsung TVs include Google's Gemini in a similar fashion. Users wanting to avoid the feature entirely are left with one option: disconnecting their TV from the internet.

In 1975, 23-year-old electrical engineer Steve Sasson joined Kodak. And in a new interview with the BBC, he remembers that he'd found the whole photographic process "really annoying.... I wanted to build a camera with no moving parts. Now that was just to annoy the mechanical engineers..." "You take your picture, you have to wait a long time, you have to fiddle with these chemicals. Well, you know, I was raised on Star Trek, and all the good ideas come from Star Trek. So I said what if we could just do it all electronically...?"

Researchers at Bell Labs in the US had, in 1969, created a type of integrated circuit called a charge-coupled device (CCD). An electric charge could be stored on a metal-oxide semiconductor (MOS), and could be passed from one MOS to another. Its creators believed one of its applications might one day be used as part of an imaging device — though they hadn't worked out how that might happen. The CCD, nevertheless, was quickly developed. By 1974, the US microchip company Fairchild Semiconductors had built the first commercial CCD, measuring just 100 x 100 pixels — the tiny electronic samples taken of an original image. The new device's ability to capture an image was only theoretical — no-one had, as yet, tried to take an image and display it. (NASA, it turned out, was also looking at this technology, but not for consumer cameras....)

The CCD circuit responded to light but could only form an image if Sasson was somehow able to attach a lens to it. He could then convert the light into digital information — a blizzard of 1s and 0s — but there was just one problem: money. "I had no money to build this thing. Nobody told me to build it, and I certainly couldn't demand any money for it," he says. "I basically stole all the parts, I was in Kodak and the apparatus division, which had a lot of parts. I stole the optical assembly from an XL movie camera downstairs in a used parts bin. I was just walking by, you see it, and you take it, you know." He was also able to source an analogue to digital converter from a $12 (about £5 in 1974) digital voltmeter, rather than spending hundreds on the part. I could manage to get all these parts without anybody really noticing," he says....

The bulky device needed a way to store the information the CCD was capturing, so Sasson used an audio cassette deck. But he also needed a way to view the image once it was saved on the magnetic tape. "We had to build a playback unit," Sasson says. "And, again, nobody asked me to do that either. So all I got to do is the reverse of what I did with the camera, and then I have to turn that digital pattern into an NTSC television signal." NTSC (National Television System Committee) was the conversion standard used by American TV sets. Sasson had to turn only 100 lines of digital code captured by the camera into the 400 lines that would form a television signal.
The solution was a Motorola microprocessor, and by December 1975, the camera and its playback unit was complete, the article points out. With his colleague Jim Schueckler, Sasson had spent more than a year putting together the "increasingly bulky" device, that "looked like an oversized toaster." The camera had a shutter that would take an image at about 1/20th of a second, and — if everything worked as it should — the cassette tape would start to move as the camera transferred the stored information from its CCD [which took 23 seconds]. "It took about 23 seconds to play it back, and then about eight seconds to reconfigure it to make it look like a television signal, and send it to the TV set that I stole from another lab...." In 1978, Kodak was granted the first patent for a digital camera. It was Sasson's first invention. The patent is thought to have earned Eastman Kodak billions in licensing and infringement payments by the time they sold the rights to it, fearing bankruptcy, in 2012...

As for Sasson, he never worked on anything other than the digital technology he had helped to create until he retired from Eastman Kodak in 2009.
Thanks to long-time Slashdot reader sinij for sharing the article.

joshuark writes: Arkansas is becoming the first state to officially end its public television affiliation with PBS. The Arkansas Educational Television Commission, whose members are all appointed by the governor, voted to disaffiliate from PBS effective July 1, 2026, citing the $2.5 million annual membership dues as "not feasible." The decision was also driven by the loss of a similar amount in federal funding after the Corporation for Public Broadcasting (CPB) was defunded by Congress.

PBS Arkansas is rebranding itself as Arkansas TV and will provide more local content, the agency's Executive Director and CEO Carlton Wing said in a statement. Wing, a former Republican state representative, took the helm of the agency in September. "Public television in Arkansas is not going away," Wing said. "In fact, we invite you to join our vision for an increased focus on local programming, continuing to safeguard Arkansans in times of emergency and supporting our K-12 educators and students."

"The commission's decision to drop PBS membership is a blow to Arkansans who will lose free, over the air access to quality PBS programming they know and love," a PBS spokesperson wrote in an email to The Associated Press. The demise of the Corporation for Public Broadcasting, is a direct result of President Donald Trump's targeting of public media, which he has repeatedly said is spreading political and cultural views antithetical to those the United States should be espousing. Trump denied taking a big should on television viewers.

An anonymous reader shares a report: Amazon Prime Video has pulled its AI-powered video recap of Fallout after viewers noticed that it got key parts of the story wrong. The streaming service began testing Video Recaps last month, and now they're missing from the shows included in the test, including Fallout, The Rig, Tom Clancy's Jack Ryan, Upload, and Bosch.

The feature is supposed to use AI to analyze a show's key plot points and sum it all in a bite-sized video, complete with an AI voiceover and clips from the series. But in its season one recap of Fallout, Prime Video incorrectly stated that one of The Ghoul's (Walton Goggins) flashbacks is set in "1950s America" rather than the year 2077, as spotted earlier by Games Radar.

An anonymous reader quotes a report from Ars Technica: On Monday, research analyst MoffettNathanson released its "Cord-Cutting Monitor Q3 2025: Signs of Life?" report. It found that the pay TV operators, including cable companies, satellite companies, and virtual multichannel video programming distributors (vMVPDs) like YouTube TV and Fubo, added 303,000 net subscribers in Q3 2025. According to the report, "There are more linear video subscribers now than there were three months ago. That's the first time we've been able to say that since 2017."

In Q3 2017, MoffettNathanson reported that pay TV gained 318,000 net new subscribers. But since then, the industry's subscriber count has been declining, with 1,045,000 customers in Q2 2025, as depicted in the graph [here]. The world's largest vMVPD by subscriber count, YouTube TV, claimed 8 million subscribers in February 2024; some analysts estimate that number is now at 9.4 million. In its report, MoffettNathanson estimated that YouTube TV added 750,000 subscribers in Q3 2025, compared to 1 million in Q3 2024.

Traditional pay TV companies also contributed to the industry's unexpected growth by bundling its services with streaming subscriptions. Charter Communications offers bundles with nine streaming services, including Disney+, Hulu, and HBO Max. In Q3 2024, it saw net attrition of 294,000 customers, compared to about 70,000 in Q3 2025. Other cable companies have made similar moves. Comcast, for example, launched a streaming bundle with Netflix, Peacock, and Apple TV in May 2024. For Q3 2025, Comcast reported its best pay TV subscriber count in almost five years, which was a net loss of 257,000 customers. "Traditional pay TV -- i.e. cable and satellite -- still declined quarter over quarter in Q3, but again, by less," noted SteamTV Insider. "The [year-over-year] rate of attrition dropped from -12.4 percent to -10.2 percent over 12 months."

MoffettNathanson added: "Yes, Q3 saw a positive net add number for [pay TV for] the first time in eight years, but that positive result came in the year's seasonally strongest quarter. We're not yet close to seeing the category actually grow again..."

Paramount Skydance is launching a hostile bid to buy Warner Bros. Discovery after it lost out to Netflix in a months-long bidding war for the legacy assets, the company said Monday. CNBC: Paramount will go straight to WBD shareholders with an all-cash, $30-per-share offer. That's the same bid WBD rejected last week, according to people familiar with the bid who asked not to be named because the details were private. The offer is backstopped with equity financing from the Ellison family and the private-equity firm RedBird Capital and $54 billion of debt commitments from Bank of America, Citi and Apollo Global Management.

"We're really here to finish what we started," Ellison told CNBC's "Squawk on the Street" Monday. "We put the company in play." On Friday, Netflix announced a deal to acquire WBD's studio and streaming assets for $72 billion. David Ellison-run Paramount had been bidding for the entirety of Warner Bros. Discovery, including those assets and the company's TV networks like CNN and TNT Sports.

Why does Netflix want to buy Warner Bros, asks the chief film critic at the long-running motion-picture magazine Variety. "It is hard, at this moment, to resist the suspicion that the ultimate reason... is to eliminate the competition." [Warner Bros. is] one of the only companies that's keeping movies as we've known them alive... Some people think movies are going the way of the horse-and-buggy. A company like Warner Bros. has been the tangible proof that they're not. Ted Sarandos, the co-CEO of Netflix, has a different agenda. He has been unabashed about declaring that the era of movies seen in movie theaters is an antiquated concept. This is what he believes — which is fine. I think a more crucial point is that this is what he wants.

The Netflix business strategy isn't simply about being the most successful streaming company. It's about changing the way people watch movies; it's about replacing what we used to call moviegoing with streaming. (You could still call it moviegoing, only now you're just going into your living room.) It in no way demonizes Sarandos — he'd probably take it as a compliment — to say that there's a world-domination aspect to the Netflix grand strategy. Sarandos's vision is to have the entire planet wired, with everyone watching movies and shows at home. There's a school of thought that sees this an advance, a step forward in civilization. "Remember the days when we used to have to go out to a movie theater? How funny! Now you can just pop up a movie — no trailers! — with the click of a remote...."

Once he owns Warner Bros., will Sarandos keep using the studio to make movies that enjoy powerful runs in theaters the way Sinners and Weapons and One Battle After Another did? In the statement he made to investors and media today, Sarandos said, "I'd say right now, you should count on everything that is planned on going to the theater through Warner Bros. will continue to go to the theaters through Warner Bros." He added, "But our primary goal is to bring first-run movies to our members, because that's what they're looking for." Not exactly a ringing declaration of loyalty to the religion of cinema. And given Sarandos's track record, there is no reason to believe that he will suddenly change his spots.

A letter sent to Congress by a group of anonymous Hollywood producers, who voiced "grave concerns" about Netflix buying Warner Bros., stated, "They have no incentive to support theatrical exhibition, and they have every incentive to kill it." If that happens, though, I have no doubt that Sarandos will be smart enough to do it gradually. Warner Bros. films will probably be released in a "normal" fashion...for a while. Maybe a year or two. But five years from now? There is good reason to believe that by then, a "Warner Bros. movie," even a DC comic-book extravaganza, would be a streaming-only release, or maybe a two-weeks-in-theaters release, all as a more general way of trying to shorten the theatrical window, which could be devastating to the movie business.

Do we know all this to be true? No, but the indicators are somewhat overpowering. (He's been explicit about the windows...)
An anonymous group of "concerned feature film producers" sent an open letter to Congress warning Netflix would "effectively hold a noose around the theatrical marketplace," reports Variety.

And CNN also got this quote from Cinema United, a trade association that represents more than 30,000 movie screens in the United States. "Netflix's stated business model does not support theatrical exhibition," Cinema United President/CEO Michael O'Leary said in a statement. "In fact, it is the opposite."

While Netflix hopes to buy Warner Bros. Discovery for $72 billion, CNBC reports a senior official in America's federal government said the administration was viewing the deal with "heavy skepticism. And that's not the only hurdle: On Thursday, The Wall Street Journal reported that Paramount, in a letter to lawyers for Warner Bros. Discovery [WBD], had warned that a sale to Netflix likely would "never close" because of regulatory challenges in the United States and overseas. "Acquiring Warner's streaming and studio assets 'will entrench and extend Netflix's global dominance in a matter not allowed by domestic or foreign competition laws,' Paramount's lawyers wrote," the Journal reported.
Paramount "is now weighing its options about whether to go straight to shareholders with one more improved bid," CNBC reported Friday, "perhaps even higher than the $30-per-share, all-cash offer it submitted to Warner Bros. Discovery this week."

And CNBC reported Friday that the review by America's Department of Justice "can take anywhere from months to more than a year." Netflix said Friday it expects the transaction to close in 12 to 18 months, after Warner Bros. Discovery spins out its portfolio of cable networks into Discovery Global... As part of the deal, Netflix has agreed to pay a $5.8 billion breakup fee to Warner Bros. Discovery if the deal were to get blocked by the government.
Netflix's planned move is already drawing high-powered criticism, reports CNN:

• "The world's largest streaming company swallowing one of its biggest competitors is what antitrust laws were designed to prevent. The outcome would eliminate jobs, push down wages, worsen conditions for all entertainment workers, raise prices for consumers, and reduce the volume and diversity of content for all viewers...." the Writers Guild of America union representing Hollywood writers.

• "Producers are rightfully concerned... Our legacy studios are more than content libraries — within their vaults are the character and culture of our nation." — The Producers Guild of America
• The deal raises "many serious questions" about the entertainment industry's future, "especially the human creative talent whose livelihoods and careers depend on it." — SAG-AFTRA, Hollywood's biggest actors union

• "This is not a win for consumers. Netflix has already aggressively raised prices, increased ad load, and stopped people from sharing passwords. Absorbing a competitor with strong content will only lead to its service becoming more expensive and give consumers less choice." — Ross Benes, a senior analyst at eMarketer, told CNN. [Benes also thinks this could mean fewer companies spending heavily on movies and TV shows. "This contracts the industry."

The New York Times is suing Perplexity for copyright infringement, accusing the AI startup of repackaging its paywalled reporting without permission. TechCrunch reports: The Times joins several media outlets suing Perplexity, including the Chicago Tribune, which also filed suit this week. The Times' suit claims that "Perplexity provides commercial products to its own users that substitute" for the outlet, "without permission or remuneration." [...] "While we believe in the ethical and responsible use and development of AI, we firmly object to Perplexity's unlicensed use of our content to develop and promote their products," Graham James, a spokesperson for The Times, said in a statement. "We will continue to work to hold companies accountable that refuse to recognize the value of our work."

Similar to the Tribune's suit, the Times takes issue with Perplexity's method for answering user queries by gathering information from websites and databases to generate responses via its retrieval-augmented generation (RAG) products, like its chatbots and Comet browser AI assistant. "Perplexity then repackages the original content in written responses to users," the suit reads. "Those responses, or outputs, often are verbatim or near-verbatim reproductions, summaries, or abridgments of the original content, including The Times's copyrighted works."

Or, as James put it in his statement, "RAG allows Perplexity to crawl the internet and steal content from behind our paywall and deliver it to its customers in real time. That content should only be accessible to our paying subscribers." The Times also claims Perplexity's search engine has hallucinated information and falsely attributed it to the outlet, which damages its brand. "Publishers have been suing new tech companies for a hundred years, starting with radio, TV, the internet, social media, and now AI," Jesse Dwyer, Perplexity's head of communications, told TechCrunch. "Fortunately it's never worked, or we'd all be talking about this by telegraph."

Netflix is buying Warner Bros. Discovery in an $82.7 billion deal that gives it HBO, iconic franchises, and major studio infrastructure. "Warner Bros. shareholders will receive $27.75 a share in cash and stock in Netflix," notes Bloomberg. "The total equity value of the deal is $72 billion, while the enterprise value of the deal is about $82.7 billion." From the report: Prior to the closing of the sale, Warner Bros. will complete the planned spinoff of its networks division, which includes cable channels such as CNN, TBS and TNT. That transaction is now expected to be completed in the third quarter of 2026, Netflix said in a statement. With the purchase, Netflix becomes owner of the HBO network, along with its library of hit shows like The Sopranos and The White Lotus. Warner Bros. assets also include its sprawling studios in Burbank, California, along with a vast film and TV archive that includes Harry Potter and Friends.

Netflix said it expects to maintain Warner Bros.' current operations and build on its strengths, including theatrical releases for films, a point that had been a cause of concern in Hollywood. Netflix said the deal will allow it to "significantly expand" US production capacity and invest in original content, which will create jobs and strengthen the entertainment industry. Still, the combination is also expected to create "at least $2 billion to $3 billion" in cost savings per year by the third year, according to the statement. U.S. Senator Mike Lee, a Republican from Utah who leads the Senate antitrust committee, said the acquisition "should send alarm to antitrust enforcers around the world."

"Netflix built a great service, but increasing Netflix's dominance this way would mean the end of the Golden Age of streaming for content creators and consumers," Lee wrote in a post on X.

U.S. Senator Elizabeth Warren called it an antitrust "nightmare" that would harm workers and consumers. "A Netflix-Warner Bros would create one massive media giant with control of close to half of the streaming market -- threatening to force Americans into higher subscription prices and fewer choices over what and how they watch, while putting American workers at risk," Warren said on Friday. "It would mean more price hikes, ads, & cookie cutter content, less creative control for artists, and lower pay for workers," she said in a post on X. "The media industry is already controlled by a few corporations with too much power to censor free speech. The gov't must step in."

HBO Max's 4K debut of Mad Men was botched after Lionsgate reportedly supplied the wrong file, leading to visible crew members where someone is seen pumping a vomit hose. Ars Technica reports: Mad Men ran on the AMC channel for seven seasons from 2007 to 2015. The show had a vintage aesthetic, depicting the 1960s advertising industry in New York City. Last month, HBO Max announced it would modernize the show by debuting a 4K version. The show originally aired in SD and HD resolutions and had not been previously made available in 4K through other means, such as Blu-ray.

However, viewers were quick to spot problems with HBO Max's 4K Mad Men stream, the most egregious being visible crew members in the background of a scene. The episode was "Red in the Face" (Season 1, Episode 7), which was reportedly mislabeled. In it, Roger Sterling (John Slattery) throws up oysters. In the 4K version that was streaming on HBO Max, viewers could see someone pumping a vomit hose to make the fake puke flow.

The Hollywood Reporter, citing an anonymous source, said that the error happened because Mad Men production company Lionsgate gave HBO Max the wrong file. The publication reported that Lionsgate "was working on getting HBO Max the correct file(s)" and was readying to provide them at approximately 10 a.m. PT today. The blunder is likely to be fixed for all viewers soon. There were no problems with the HD versions of HBO Max's Mad Men stream.

An anonymous reader quotes a report from BleepingComputer: The popular open-source SmartTube YouTube client for Android TV was compromised after an attacker gained access to the developer's signing keys, leading to a malicious update being pushed to users. The compromise became known when multiple users reported that Play Protect, Android's built-in antivirus module, blocked SmartTube on their devices and warned them of a risk.

The developer of SmartTube, Yuriy Yuliskov, admitted that his digital keys were compromised late last week, leading to the injection of malware into the app. Yuliskov revoked the old signature and said he would soon publish a new version with a separate app ID, urging users to move to that one instead. [...] A user who reverse-engineered the compromised SmartTube version number 30.51 found that it includes a hidden native library named libalphasdk.so [VirusTotal]. This library does not exist in the public source code, so it is being injected into release builds.

[...] The library runs silently in the background without user interaction, fingerprints the host device, registers it with a remote backend, and periodically sends metrics and retrieves configuration via an encrypted communications channel. All this happens without any visible indication to the user. While there's no evidence of malicious activity such as account theft or participation in DDoS botnets, the risk of enabling such activities at any time is high.

An anonymous reader writes: Netflix has removed the ability to cast shows and movies from phones to TVs, unless subscribers are using older casting devices. An updated help page on Netflix's website, first reported by Android Authority, says that the streaming service "no longer supports casting shows from a mobile device to most TVs and TV-streaming devices," and instead directs users to navigate Netflix using the remote that came with their TV hardware.

Greek authorities shut down an IPTV piracy operation on Santorini, arresting a reseller and referring 68 end users for prosecution. TorrentFreak reports: A new legal framework to tackle online infringement in Greece went live just a couple of months ago, and reports of prosecutions are already coming in. Early September, it was reported that a man from Sparta faces prosecution and a fine of up to 6,000 euros for two IPTV piracy offenses. The suspect, reportedly a cafe owner, was targeted at his workplace on a Saturday, allegedly in front of customers. One told local media that they believed that complaints of the cafe engaging in "unfair competition" preceded the untimely visit.

The Cybercrime Prosecution Directorate launched their operation in the early hours of November 19. The Athens-based unit targeted a network that sold illicit access to premium pay-TV via IPTV subscriptions. The raid, conducted on Santorini, one of the Cyclades islands, resulted in the arrest of a 48-year-old, who, from police reports, appears to be a reseller for a larger network. Customers were reportedly charged 50 euros for 3 months subscription or 100 euros for 6 months. Sales and management were handled by the 48-year-old via an online platform known as a 'panel,' while remote and in-person support were available as part of the service.

The impact of the raid was visible on the islands, locals said. According to a local report, hundreds of users in hotels, cafes, and residences on Santorini and beyond, found themselves suddenly without access to cheap TV. Apparently few areas were untouched by the disruption, such was local reliance on illegal streams.

As Stranger Things releases the first four episodes of its final season today, nearly a decade after its July 2016 premiere, the Netflix series has come to represent something broader than its own popularity -- the embodiment of streaming television's algorithmic philosophy. When the show first appeared, streaming was still finding its footing. Netflix had been producing original series for only a few years, and services like Disney+, Apple TV and HBO Max did not yet exist.

The question then was what form streaming originals would take: experimental fare like Sense8, nonlinear storytelling like the revived Arrested Development, or prestige dramas like House of Cards. The answer came from a popcorn horror thriller set in 1980s small-town Hawkins, Indiana. Matt and Ross Duffer built Stranger Things from vintage pop-culture parts -- Spielberg's coming-of-age sensibilities from E.T., Stephen King's horror and adolescent bonding, John Hughes' mean jocks and soulful goths, and references ranging from Kate Bush to The NeverEnding Story to casting Winona Ryder of Heathers and Beetlejuice fame.

New York Times critic James Poniewozik calls the series "a human-made equivalent of the algorithm" -- the software engine that drives streaming's "if you liked that, you'll like this" recommendation philosophy. Netflix did not invent the idea of copying television success, but the algorithm automated it and made it part of the creative operating system. The show's structure also fits streaming's mechanics: binge-watching encouragement, irregular release schedules, and episodes that assume audiences have time (the last season finale ran two hours and 22 minutes). The story adds: It's why you see a menu of similar thumbnail recommendations once you finish streaming a favorite series, encouraging you not to discover but to replicate. But the spirit behind it also explains why so much original streaming TV feels like the creative product of an algorithm. Consider the recent Netflix drama "The Beast in Me," which pairs familiar prestige-TV stars (Claire Danes of "Homeland" and Matthew Rhys of "The Americans") in a grim, upscale thriller that vaguely recalls something you might have seen on early 2010s Showtime or FX.

Creating the new by swallowing and regurgitating the old is also the signature move of generative A.I., which may be why that medium is so effective at creating works of burnished nostalgia. On Instagram and TikTok, accounts with names like "Maximal Nostalgia" serve up honeyed, uncanny images and videos that testify to how much better life was in a 1980s and 1990s that never existed.

Plex is beginning to enforce new restrictions on remote streaming for its TV apps, requiring either a Plex Pass or the cheaper Remote Watch Pass to watch media from servers outside your home network. How-To Geek reports: Plex is now rolling out the remote watch changes to its Roku TV app. This means that you will need a Plex Pass or Remote Watch Pass for your Plex account if you want to stream media from a server outside your home. If you're only watching media from your own server on the same local network as your Roku device, or the owner of the server you're streaming from has Plex Pass, you don't have to do anything.

Plex says this change will come to the other TV apps in 2026, such as Fire TV, Apple TV, and Android TV. Presumably, that will happen when the redesigned app arrives on those platforms. Roku was just the first TV platform to get the new app, which caused a wave of complaints from users about removed functionality and a more clunky redesign. Plex is addressing some of those complaints with more updates, but adding another limitation at the same time isn't a great look.

The Remote Watch Pass costs $2 per month or $20 per year, but there's no lifetime purchase option. You can also use a Plex Pass, which normally costs $7 per month, $70 per year, or $250 for a lifetime license. However, there's currently a 40% off sale for Plex Pass subscriptions.

An anonymous reader quotes a report from Bloomberg: Lenovo is stockpiling memory and other critical components to navigate a supply crunch brought on by the boom in artificial intelligence. The world's biggest PC maker is holding on to component inventories that are roughly 50% higher than usual, Chief Financial Officer Winston Cheng told Bloomberg TV on Monday. The frenzy to build and fill AI data centers with advanced hardware is raising prices for producers of consumer electronics, but Lenovo also sees opportunity in this to capitalize on its stockpile.

"The price is going very, very high, of course, and I think it's been unprecedented in terms of this rate driven by the AI demand," Cheng said. His company has long-term contracts in place and the benefit of scale, he added, and "those that have the supply actually would be able to have a position in the market." Beijing-based Lenovo will aim to avoid passing on rising costs to its customers in the current quarter, as it wants to sustain this year's strong sales growth, according to the CFO. He said the company will strike a balance between price and availability in 2026. Lenovo said last week that it has enough memory chips for all of 2026 and it can navigate any shortages better than its competitors.

Lenovo is stockpiling memory and other critical components to navigate a supply crunch brought on by the boom in AI. From a report: The world's biggest PC maker is holding on to component inventories that are roughly 50% higher than usual, [non-paywalled source] Chief Financial Officer Winston Cheng told Bloomberg TV on Monday. The frenzy to build and fill AI data centers with advanced hardware is raising prices for producers of consumer electronics, but Lenovo also sees opportunity in this to capitalize on its stockpile.