Roku has launched Howdy, a new ad-free streaming service that costs $2.99 a month. The streaming platform says it offers 10,000 hours of content from Lionsgate, Warner Bros. Discovery and FilmRise, as well as its own, exclusive programming known as Roku Originals. CNBC reports: The service is available across the U.S. beginning Tuesday. [...] The new service runs alongside the Roku Channel, which will remain free. Howdy will initially be available on the Roku platform, and will later be rolled out on mobile and other platforms, the company said. "Priced at less than a cup of coffee, Howdy is ad-free and designed to complement, not compete with, premium services," said Roku founder and CEO Anthony Wood in the release.

"Did Craigslist drive the downfall of print classifieds?" That's the question asked in a new article from the nonprofit Poynter Institute for Media Studies: "I've always wondered about that," Newmark said in a Zoom interview July 1. "I think it had an effect." But portraying him and the list as torpedoing an otherwise great business model is way overblown, he still believes. Citing an influential essay by Thomas Baekdal, Newmark contends that the root of newspapers' trouble was the loss of readers. "TV hit hard. ... (And) l'm like the folks on 'CSI,' I follow the evidence. That goes back at least to the '60s."

Bad in itself, the loss also took away newspapers' dominant share of local audiences and ability to charge premium classified ad rates. The slide in circulation looks even worse, Baekdal pointed out, when compared to continued increases in the number of households over the years.

Still, Craigslist came to symbolize the shift. Dozens of other vertical digital sites cropped up, before and after, all offering a deadly competitive pairing of an effective and much cheaper service than newspaper classifieds. Even if Craigslist was just one of many, though, it was arguably Newmark who put a face on the massive disruption... By the early 2000s, newspaper executives had a dawning awareness of the business challenge from Craigslist and similar sites. They took minimal action to meet it...

The biggest response was that three big companies — Knight-Ridder, Tribune and Gannett — bought a copycat of Monster called CareerBuilder... By the time newspapers acted, online classifieds had a full head of steam... By 2010, 70% of the newspaper industry's print classified business was gone. Reliable statistics are no longer kept, but the trend continued over the last 15 years... Newspapers continue to do well only with paid obituaries and legal notices, though the latter is now also under threat by digital startups.
The article cites a 2019 analysis from Peter Zollman, whose AIM Group consultancy has followed the classified business for 25 years. "Craigslist has often been blamed for killing newspapers, but that's a gross canard. It just isn't true." American newspapers stumbled while several well-managed counterparts in places like Scandinavia found ways to prosper, he argued.

An anonymous reader quotes a report from Reuters: Australia said on Wednesday it will add YouTube to sites covered by its world-first ban on social media for teenagers, reversing an earlier decision to exempt the Alphabet-owned video-sharing site and potentially setting up a legal challenge. The decision came after the internet regulator urged the government last month to overturn the YouTube carve-out, citing a survey that found 37% of minors reported harmful content on the site, the worst showing for a social media platform.

"I'm calling time on it," Prime Minister Anthony Albanese said in a statement highlighting that Australian children were being negatively affected by online platforms, and reminding social media of their social responsibility. "I want Australian parents to know that we have their backs." The decision broadens the ban set to take effect in December. YouTube says it is used by nearly three-quarters of Australians aged 13 to 15, and should not be classified as social media because its main activity is hosting videos. "Our position remains clear: YouTube is a video sharing platform with a library of free, high-quality content, increasingly viewed on TV screens. It's not social media," a YouTube spokesperson said by email.

An anonymous reader quotes a report from Variety: Edward Saatchi isn't totally sure people will flock to Showrunner, the new AI-generated TV show service his company is launching publicly this week. But he has a vote of confidence from Amazon, which has invested in Fable, Saatchi's San Francisco-based start-up. The amount of Amazon's funding in Fable isn't being disclosed. The money is going toward building out Showrunner, which Fable has hyped as the "Netflix of AI": a service that lets you type in a few words to create scenes -- or entire episodes -- of a TV show, either from scratch or based on an existing story-world someone else has created.

Fable is launching Showrunner to let users tinker with the animation-focused generative-AI system, following several months in a closed alpha test with 10,000 users. Initially, Showrunner will be free to use but eventually the company plans to charge creators $10-$20 per month for credits allowing them to create hundreds of TV scenes, Saatchi said. Viewing Showrunner-generated content will be free, and anyone can share the AI video on YouTube or other third-party platforms. [...] Fable's Showrunner public launch features two original "shows" -- story worlds with characters users can steer into various narrative arcs. The first is "Exit Valley," described as "a 'Family Guy'-style TV comedy set in 'Sim Francisco' satirizing the AI tech leaders Sam Altman, Elon Musk, et al." The other is "Everything Is Fine," in which a husband and wife, going to Ikea, have a huge fight -- whereupon they're transported to a world where they're separated and have to find each other. [...]

Showrunner is powered by Fable's proprietary AI model, SHOW-2. Last year, the company published a research paper on how it built the SHOW-1 model. As part of that, it released nine AI-generated episodes based on "South Park." The episodes, made without the permission of the "South Park" creators, received more than 80 million views. (Saatchi said he was in touch with the "South Park" team, who were reassured the IP wasn't being deployed commercially.) [...] Out of the gate, Showrunner is focused on animated content because it requires much less processing power than realistic-looking live-action video scenes. Saatchi said Fable wants to stay out of the "knife fight" among big AI companies like OpenAI, Google and Meta that are racing to create photorealistic content. "If you're competing with Google, are you going to win?" Saatchi said. "Our goal is to have the most creative models," he said.

YouTube is rolling out age-estimation technology in the U.S. to identify teen users in order to provide a more age-appropriate experience. TechCrunch reports: When YouTube identifies a user as a teen, it introduces new protections and experiences, which include disabling personalized advertising, safeguards that limit repetitive viewing of certain types of content, and enabling digital well-being tools such as screen time and bedtime reminders, among others. These protections already exist on YouTube, but have only been applied to those who verified themselves as teens, not those who may have withheld their real age. [...]

If the new system incorrectly identifies a user as under 18 when they are not, YouTube says the user will be given the option to verify their age with a credit card, government ID, or selfie. Only users who have been directly verified through this method or whose age has been inferred to be over 18 will be able to view the age-restricted content on the platform. The machine learning-powered technology will begin to roll out over the next few weeks to a small set of U.S. users and will then be monitored before rolling out more widely, the company says. [...]

YouTube isn't sharing specifics about the signals it's using to infer a user's age, but notes that it will look at some data like the YouTube activity and the longevity of a user's account to make a determination if the user is under 18. The new system will apply only to signed-in users, as signed-out users already cannot access age-restricted content, and will be available across platforms, including web, mobile, and connected TV.

Marvel's Fantastic Four: First Steps "raked in about $57 million at the domestic box office for its opening day, according to multiple outlets," reports Forbes.

That haul makes it "the year's second-largest opening day so far and a win for Marvel and Disney about a year after they announced a reduction in film and TV show quantity to focus on quality." The roughly $57 million "Fantastic Four: First Steps" generated at the domestic box office Friday fell narrowly short of the opening day for "A Minecraft Movie" ($57.11 million) and just topped opening day for DC Comics rival "Superman" ($56.1 million), according to Variety. The film has netted about $106 million globally after securing $49.2 million overseas, setting itself up for an opening weekend of around $125 million, the same figure achieved by "Superman" earlier this month.

Fantastic Four: First Steps is receiving praise from critics and fans alike, boasting an 88% on Rotten Tomatoes and a 7.6/10 on IMDb... With its opening weekend alone, "Fantastic Four: First Steps" out-earned the entire domestic run of "Fantastic Four" (2015), an adaptation of the heroes that flopped hard at the domestic box office ($56.1 million) and received poor ratings...

Marvel's next movie is slated to release almost a full year from now, with Spider-Man: Brand New Day hitting theaters next summer before Avengers: Doomsday in December.

At this weekend's Comic-Con, "Excitement has been high over the sneak peeks at Tron: Ares and Predator: Badlands," reports CNET. (Nine Inch Nails has even recorded a new song for Tron: Ares .)

A few highlights from CNET's coverage:

• The Coyote vs. Acme movie will hit theaters next year "after being rescued from the pile of scrapped ashes left by Warner Bros. Discovery," with footage screened during a Comic-Con panel.

• The first episode of Alien: Earth was screened before its premiere August 12th on FX.

• A panel reunited creators of the animated Avatar: The Last Airbender for its 20th anniversary — and discussed the upcoming sequel series Avatar: Seven Havens.

• A trailer dropped for the new Star Trek: Starfleet Academy series on Paramount+ ("Star Trek Goes Full Gen Z..." quips one headline.)

To capture some of the ambience, the Guardian has a collection of cosplayer photos. CNET notes there's even booths for Lego and Hot Wheels (which released toys commemorating the 40th anniversary of Back to the Future and the 50th anniversary of Jaws).

But while many buildings are "wrapped" with slick advertisements, SFGate notes the ads are technically illegal, "with penalties for each infraction running up to $1,000 per day," (according to the San Diego Union-Tribune). "Last year's total ended up at $22,500."

The Union-Tribune notes that "The fines are small enough that advertisers clearly think it is worth it, with about 30 buildings in the process of being wrapped Monday morning."

An Argentine captured naked in his yard by a Google Street View camera has been awarded compensation by a court after his bare behind was splashed over the internet for all to see. From a report: The policeman had sought payment from the internet giant for harm to his dignity, arguing he was behind a 6 1/2-foot wall when a Google camera captured him in the buff, from behind, in small-town Argentina in 2017. His house number and street name were also laid bare, broadcast on Argentine TV covering the story, and shared widely on social media.

The man claimed the invasion exposed him to ridicule at work and among his neighbors. Another court last year dismissed the man's claim for damages, ruling he only had himself to blame for "walking around in inappropriate conditions in the garden of his home." Google, for its part, claimed the perimeter wall was not high enough.

Marvel Studios president Kevin Feige "isn't interested in your theories of superhero fatigue, which he doesn't buy as real," writes The Hollywood Reporter. Feige points to the $400 million worldwide box office for Superman (which another article notes in only its second weekend "has already passed up the entire lifetime run of Marvel's Thunderbolts*.")

So how is Marvel moving forward? Yes, Feige knows Marvel made too many movies and shows (and the other things they did wrong). From the first Iron Man in 2008 through Avengers: Endgame in 2019, Marvel produced around 50 hours of screen storytelling. In the six years since Endgame, the number jumps to an astounding 102 hours of movies and television. 127 hours if you include animation. "That's too much," Feige said.

He characterized the time period after Endgame as an era of experimentation, evolution and, unfortunately, expansion. And while he's proud of the experimentation — he points to WandaVision and Loki as some of the best stories they've made — he admits "It's the expansion that is certainly what devalued" that output. Being high on success also may have pushed them to readily agree to try to deliver more programming at a time when Disney and the rest of Hollywood were engaged in the streaming wars. "It was a big company push... [T]here was a mandate that we were put in the middle of, but we also thought it'd be fun to bring these to life."

Marvel has already pulled back the amount of movies and shows it will make. Some years may even only have one movie. Certainly there will be years with only one show released. Also, Marvel has started "grinding down" on budgets, with movies costing up to a third cheaper than the films from 2022 or 2023.
Feige also explains why Thunderbolts* struggled at the box office (even though he's called it a "very, very good movie"). The massive expansion into television and focus on Disney+ led to the feeling that watching Marvel was becoming a type of homework. "It's that expansion that I think led people to say, 'Do I have to see all of these? It used to be fun, but now do I have to know everything about all of these?' And I think The Marvels hit it hardest where people are like, 'Okay, I recognize her from a billion dollar movie. But who are those other two? I guess they were in some TV show. I'll skip it.'" Which had an effect on Thunderbolts*, which featured characters that were seen on various platforms, including some only on shows.
The article notes Friday's release of Fantastic Four: First Steps is Marvel Studios' first crack at the characters after "a trio of movies of various quality and box office made by Twentieth Century Fox before its 2019 acquisition by Disney." And the article also acknowledges "the never-released, 1994 feature produced low-budget king Roger Corman. (Fun fact: the four stars of that movie cameo in Fantastic Four: First Steps.)"

ABC News reports that Ukrainian drones struck Moscow last night — over 100 of them — closing all four of Moscow's international airports and diverting at least 134 planes. And Ukrainian commanders estimate that drones now account for 70% of all Russian deaths and injuries, according to the BBC — which means attacks on the front line are filmed, logged, and counted.

"And now put to use too, as the Ukrainian military tries to extract every advantage it can against its much more powerful opponent." Under a scheme first trialled last year and dubbed "Army of Drones: Bonus" (also known as "e-points"), units can earn points for each Russian soldier killed or piece of equipment destroyed. And like a killstreak in Call of Duty, or a 1970s TV game show, points mean prizes [described later as "extra equipment."]

"The more strategically important and large-scale the target, the more points a unit receives," reads a statement from the team at Brave 1, which brings together experts from government and the military. "For example, destroying an enemy multiple rocket launch system earns up to 50 points; 40 points are awarded for a destroyed tank and 20 for a damaged one."

Call it the gamification of war.
The article concludes that the e-points scheme "is typical of the way Ukraine has fought this war: creative, out-of-the-box thinking designed to make the most of the country's innovative skills and minimise the effect of its numerical disadvantage."

And "It turns out that encouraging a Russian soldier to surrender is worth more points than killing one," the article notes — up to 10x more, since "a prisoner of war can always be used in future deals over prisoner exchanges."

Thanks to long-time Slashdot reader schwit1 for sharing the article.

Google has filed a lawsuit to dismantle the sprawling Badbox 2.0 botnet, which infected over 10 million Android devices with pre-installed malware. Badbox 2.0 "is already the largest known botnet of internet-connected TV devices, and it grows each day. It has harmed millions of victims in the United States and around the world and threatens many more," Google said in its complaint. SecurityWeek reports: The internet giant cautions that, while it has been used mainly for fraud, the botnet could be used for more harmful types of cybercrime, such as ransomware or distributed denial-of-service (DDoS) attacks. In addition to pre-installing the malware on devices, Badbox 2.0's operators also tricked users into installing infected applications that provided them with further access to their personal devices, Google says. As part of their operation, the individuals behind Badbox 2.0 sold access to the infected devices to be used as residential proxies, and conducted ad fraud schemes by abusing these devices to create fake ad views or to exploit pay-per-click compensation models, the company continues. The internet giant also points out that this is the second global botnet the perpetrators have built, after the initial Badbox botnet was disrupted by German law enforcement in 2023.

According to Google, Badbox 2.0 is operated by multiple cybercrime groups from China, each having a different role in maintaining the botnet, such as establishing infrastructure, developing and pre-installing the malware on devices, and conducting fraud. "The BadBox 2.0 Enterprise includes several connected threat actor groups that design and implement complex criminal schemes targeting internet-connected devices both before and after the consumer receives the device," Google says. "While each member of the Enterprise plays a distinct role, they all collaborate to execute the BadBox 2.0 Scheme. All of the threat actor groups are connected to one another through the BadBox 2.0 shared C2 infrastructure and historical and current business ties," the company continues.

Netflix says it has used visual effects created by generative AI in one of its original TV shows for the first time. From a report: The streaming giant's co-chief executive Ted Sarandos said AI, which produces videos and images based on prompts, was used to create a scene of a building collapsing in the Argentine science fiction show, The Eternaut. He said the technology allowed the production team to complete sequences faster and at a lower cost.

The use of generative AI is controversial in the entertainment industry over concerns it creates content using others' work without their consent and fears that it will replace the work of humans. [...] Asked about Netflix's use of AI, Mr Sarandos said the technology has allowed productions with smaller budgets to use advanced visual effects.

Microsoft has shut down its Movies & TV storefront on the Microsoft Store, ending the ability to purchase new entertainment content on Windows PCs and Xbox consoles. The company announced that as of July 18, users can no longer buy or rent movies and TV shows through Microsoft.com, the Microsoft Store on Windows, or the Microsoft Store on Xbox.

Customers who previously purchased content from the Microsoft Store can continue accessing their libraries through the Movies & TV app, which remains available for download. Microsoft will not offer refunds for recent purchases. US customers can use the Movies Anywhere service to sync their purchased content to other compatible platforms.

Plasma Bigscreen, KDE's TV-focused interface, is being revived after years of inactivity thanks to contributor Devin, who overhauled the UI, redesigned the Settings app, improved app launching, and updated key modules. While still in progress -- with features like HDMI-CEC remote support and a virtual keyboard pending -- the project aims to rejoin KDE's official Plasma release schedule, potentially in version 6.5. Neowin reports: If you have not heard of it, Plasma Bigscreen is a Plasma shell for televisions, with original support for the now-defunct Mycroft AI assistant. It used to provide a simple launcher for apps and custom "Mycroft Skills" before development stalled, causing most distributions to drop it. The project was left behind during the big transition to Plasma 6 last year because no one had ported it in time for the megarelease. After a friend of his started poking at the code, Devin stepped in to tackle the much-needed work. [...]

For anyone who wants to test this out, you can do as Devin did by installing Plasma Bigscreen on a Raspberry Pi using postmarketOS, though you would have to compile it yourself or pull from the nightly repos to get the latest changes. Applications like Kodi and VacuumTube (smart TV version of YouTube) work well with remote navigation, and some games like SuperTuxKart are playable. Controller support exists, but getting TV remotes to work over HDMI CEC is still untested. The project is far from finished; it still needs an arrow-navigable virtual keyboard and a clearer long-term direction now that Mycroft is gone. Still, the goal is to get it back into the official Plasma release schedule, possibly for version 6.5.

"Max" has officially reverted back to "HBO Max," two years after Warner Bros. Discovery dropped the HBO branding. Variety reports: The switch had been anticipated to take place sometime this summer, but Warner Bros. Discovery hadn't revealed an exact day for the reversal until now. The timing is key: Execs wanted to restore the "HBO Max" name prior to next week's Emmy nominations announcement on July 15.

The decision to turn "Max" back into "HBO Max" was first announced in May, timed to Warner Bros. Discovery's upfronts presentation. At the time, WBD said in a press release that "returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect from the offering. It is also a testament to WBD's willingness to keep boldly iterating its strategy and approach -- leaning heavily on consumer data and insights -- to best position itself for success."

The streamer launched as HBO Max in 2020, but then WBD opted to excise HBO from the streamer's name in 2023, changing it to just "Max." (HBO and Max continued to compete under one "HBO/Max" label for industry awards; for next week's Emmy noms, they can once again just be called "HBO Max.") The streaming giant put out a marketing spot announcing that the change was done.

Apple displayed a full-screen ad for "F1 The Movie" in its TV app that linked directly to a web browser for ticket purchases without showing warning screens that the company requires other developers to include when directing users outside their apps.

The "Buy Tickets" button sent users to the F1 movie website in their default browser without confirmation dialogs or interstitial warnings. Apple mandates that third-party developers show scare sheets when linking out of apps to sell digital content, but considers movie tickets a "real-world experience" exempt from its In-App Purchase system.

Further reading: iPhone Customers Upset By Apple Wallet Ad Pushing F1 Movie.

An anonymous reader shares a report: Netflix doubled down on its global anime strategy over the weekend, unveiling a slate of new titles and fresh footage during its showcase at Anime Expo in Los Angeles.

The company also shared updated viewership data highlighting just how far Japanese anime has come in expanding from its former niche into a powerhouse global content category. According to Netflix, more than 50 percent of its members -- amounting to over 150 million households, or an estimated 300 million viewers -- now watch anime. The company says anime viewership on the platform has tripled over the past five years, with 2024 marking a record-breaking year: 33 anime titles appeared in Netflix's Global Top 10 (Non-English) rankings, more than double the number in 2021.

Neil Druckmann and Halley Gross, two pivotal creative forces behind HBO's The Last of Us adaptation, have stepped away from the series before work begins on Season 3. Druckmann is focusing on new projects at Naughty Dog, while Gross hinted at other upcoming creative endeavors, leaving showrunner Craig Mazin at the helm. Ars Technica reports: Both were credited as executive producers on the show; Druckmann frequently contributed writing to episodes, as did Gross, and Druckmann also directed. Druckmann and Gross co-wrote the second game, The Last of Us Part 2.

Druckmann said in his announcement post: "I've made the difficult decision to step away from my creative involvement in The Last of Us on HBO. With work completed on season 2 and before any meaningful work starts on season 3, now is the right time for me to transition my complete focus to Naughty Dog and its future projects, including writing and directing our exciting next game, Intergalactic: The Heretic Prophet, along with my responsibilities as Studio Head and Head of Creative. Co-creating the show has been a career highlight. It's been an honor to work alongside Craig Mazin to executive produce, direct and write on the last two seasons. I'm deeply thankful for the thoughtful approach and dedication the talented cast and crew took to adapting The Last of Us Part I and the continued adaptation of The Last of Us Part II."

And Gross said: "With great care and consideration, I've decided to take a step back from my day-to-day work on HBO's The Last of Us to make space for what comes next. I'm so appreciative of how special this experience has been. Working alongside Neil, Craig, HBO, and this remarkable cast and crew has been life changing. The stories we told -- about love, loss, and what it means to be human in a terrifying world -- are exactly why I love this franchise. I have some truly rad projects ahead that I can't wait to share, but for now, I want to express my gratitude to everyone who brought Ellie and Joel's world to life with such care."

Amazon plans to shut down its standalone Freevee app in August, according to an in-app notice to users. From a report: The free, ad-supported streaming service is directing viewers to continue watching Freevee content on Prime Video.

"Prime Video is the new exclusive home for Freevee Tv show, movies, and Live TV," the notice to readers states. "The Freevee app will be accessible until August 2025. Continue watching your favorite Free Originals and our library of hit movies, shows, and live TV on Prime Video for free, no subscription needed. Download Prime Video to get started and sign-in with your Amazon account."

BrianFagioli shares a report from NERDS.xyz: NASA is coming to Netflix. No, not a drama or sci-fi reboot. The space agency is actually bringing real rocket launches, astronaut spacewalks, and even views of Earth from space directly to your favorite streaming service. Starting this summer, NASA+ will be available on Netflix, giving the space-curious a front-row seat to live mission coverage and other programming.

The space agency is hoping this move helps it connect with a much bigger audience, and considering Netflix reaches over 700 million people, that's not a stretch. This partnership is about accessibility. NASA already offers NASA+ for free, without ads, through its app and website. But now it's going where the eyeballs are. If people won't come to the space agency, the space agency will come to them.