"Predating even Toy Story, ReBoot was the first 3D animated television show," writes longtime Slashdot reader sandbagger, sharing a new report from Global News. "The master tapes have been located in storage but the hardware needed to play the 1990s-era media has yet to be located." From the report: Produced in Vancouver by Mainframe Entertainment, it aired on YTV between 1994 and 2001, and decades later still has a committed fan base. Among those super fans are Jacob Weldon and Raquel Lin, a B.C. duo now crafting a documentary about the creation of the show and its impact in the film and TV world. Weldon said he wants to see ReBoot recognized for its place in the evolution of computer animation -- recognition he said it rarely gets.

When ReBoot was finally cancelled -- cut short in its fourth and final season -- its protagonists were left in peril and the show ended on a cliffhanger. It's another factor that Lin and Weldon say has helped immortalize the show and has helped fans hoping for a revival that might finally explain the characters' fate. Earlier this month, the documentary also got a potential major boost. Mainframe allowed Lin and Weldon to come to the studio to look for the show's original master tapes, recordings some believed might have been permanently lost. They struck gold. "They had boxes upon boxes upon boxes, hundreds of tapes," Lin said. "It's original resolution, original frame rate, uncompressed. If we could get a deck to play these, they would look beautiful," Weldon said.

Finding that deck, however, is the pair's next major challenge. The recordings are on a rare digital tape format called D1, a technology that Weldon said was cutting edge and rare when Mainframe was using it. It's even harder to find today, and even Mainframe doesn't have the equipment to play the tapes back. Weldon and Lin have since put out a call on social media for a working Bosch BTS D1 deck that would allow them to play the tapes, and incorporate them into their documentary. "I can't tell you how many people have called us, DM'd us, emailed us -- people from all over the world," Lin said. While the pair still haven't secured the deck, they're aiming to release their documentary by next summer. They're hoping it will help renew interest in the show, introduce it to new generations and perhaps see it get new life on a streaming platform.

After losing more than $5 billion in the past year, the world's largest traditional entertainment companies -- Disney, Warner Bros Discovery, Comcast and Paramount -- are contemplating cuts and possible mergers to ultimately help better compete with Netflix. The Financial Times reports (via Ars Technica): Shari Redstone, Paramount's billionaire controlling shareholder, has effectively put the company on the block in recent weeks. She has held talks about selling the Hollywood studio to Skydance, the production company behind Top Gun: Maverick, people familiar with the matter say. Paramount chief executive Bob Bakish also discussed a possible combination over lunch with Warner CEO David Zaslav in mid-December. In both cases the discussions were said to be at an early stage and people familiar with the talks cautioned that a deal might not materialize.

Beyond their streaming losses, the traditional media groups are facing a weak advertising market, declining television revenues and higher production costs following the Hollywood strikes. Rich Greenfield, an analyst at LightShed Partners, said Paramount's deal discussions were a reflection of the "complete and utter panic" in the industry. "TV advertising is falling far short, cord-cutting is continuing to accelerate, sports costs are going up and the movie business is not performing," he said. "Everything is going wrong that can go wrong. The only thing [the companies] know how to do to survive is try to merge and cut costs." But as the traditional media owners struggle, Netflix, the tech group that pioneered the streaming model over a decade ago, has emerged as the winner of the battle to reshape video distribution. "For much of the past four years, the entertainment industry spent money like drunken sailors to fight the first salvos of the streaming wars," analyst Michael Nathanson wrote in November. "Now, we are finally starting to feel the hangover and the weight of the unpaid bar bill." For companies that have been trying to compete with Netflix, Nathanson added, "the shakeout has begun."

After a bumpy 2022, Netflix has set itself apart from rivals -- most notably by being profitable. Earnings for its most recent quarter soared past Wall Street's expectations as it added 9 million new subscribers -- the strongest rise since early 2020, when Covid-19 lockdowns led to a jump. "Netflix has pulled away," says John Martin, co-founder of Pugilist Capital and former chief executive of Turner Broadcasting. For its rivals, he said, the question is "how do you create a viable streaming service with a viable business model? Because they're not working." The leading streaming services aggressively raised prices in 2023. Now, analysts, investors and executives predict that consolidation could be ahead next year as some of the smaller services combine or bow out of the streaming wars.

A recent video poked fun at the newly announced Legend of Zelda movie by referencing the checkered history of video game adaptations. However, 2023 brought critical and commercial success for games-based projects like The Last of Us and The Super Mario Bros Movie, while several comic book films such as The Flash and Ant-Man 3 underperformed.

This shift comes as Disney CEO Bob Iger admitted Marvel may have oversaturated the market. While caped crusaders aren't finished yet, their golden era may be ending. Meanwhile, Mario earned over $1 billion, topping all superhero films this year. Video game movies have struggled in the past, but their time may have finally come. Wired adds: Mario's success will lead to a "deluge" of video game adaptations, argues Joost van Druenen, a New York University business professor and author of One Up: Creativity, Competition, and the Global Business of Video Games. Van Dreunen reckons that superheroes are "going the way of the cowboy," referring to the shifts in Hollywood's dominant genres (think: the rise of zombies a few years back, all the Home Alone-esque family movies in the 1990s). Even a show like The Boys, he argues, with its anti-superheroes, looks like a kind of turning point, akin to the revisionist Westerns, exemplified by Sam Peckinpah's The Wild Bunch, that began to dominate the genre at the end of the '60s and into the '70s.

Provided audiences are as tired of superheroes as pundits think, video game protagonists could profitably fill the gap. They come from well-known franchises and have large, engaged fan bases -- two things studios appreciate. Cast your eyes down the development list: God of War, Ghost of Tsushima, Assassin's Creed, continued expansion on The Witcher, among others. Nintendo, which has traditionally resisted film spinoffs, is planning a movie a year; Arcane, widely considered the first title (before The Last of Us) to break the curse of such adaptations, is finally getting a second season. Amazon's forthcoming Fallout series is being helmed by the same team as Westworld. [...] Back to superheroes, artist fatigue is one under-explored factor. Inspiration is lacking. Some are undoubtedly tired of the whole enterprise, but many are just tired of poor films: And clearly, these two factors entwine.

Amazon earlier this year announced plans to start incorporating ads into movies and TV shows streamed from its Prime Video service, and now the company has revealed a specific date when you'll start seeing them: it's January 29th. From a report: "This will allow us to continue investing in compelling content and keep increasing that investment over a long period of time," the company said in an email to customers about the pending shift to "limited advertisements."

"We aim to have meaningfully fewer ads than linear TV and other streaming TV providers. No action is required from you, and there is no change to the current price of your Prime membership," the company wrote. Customers have the option of paying an additional $2.99 per month to keep avoiding advertisements.

"The Portland International Airport in Oregon understands holiday travel is stressful. So this season, it invited a few specialists..." writes the Washington Post.

One TV station describes them as "therapy llamas... two 400-pound fluffballs serving as therapy animals" stationed at Portland International Airport (or PDX) earlier this week, for "travelers, in need of a calming moment."

From the Washington Post: Airports around the globe use a variety of methods to inject some Zen into one of the busiest travel periods of the year. They decorate their halls in holiday lights, host carolers and concerts, and bring in therapy dogs for group canine counseling.

Portland does all of the above. True to the city's quirky spirit, it also invites local camelids to the airport to canoodle with passengers. That's where Gregory, president and founder of Mountain Peaks Therapy Llamas & Alpacas, comes in. "PDX has an ongoing partnership with various therapy animal programs," said Allison Ferre, media relations manager with the Port of Portland, which operates the airport. "So this year, when we were bringing back holiday concessions programing, we just thought, "Who better to lead that parade than the llamas and alpacas?"

This year's theme was "reindeer." Gregory and her daughter, Shannon Joy, dressed the pair in antler headbands, glittery halters with tinkling bells and poinsettia-adorned wreathes. Red velvet banners worn like saddles were inscribed with their names and silvery snowflakes. "They looked pretty fancy," Gregory said...

Though the pair had to pass through security, they didn't have to submit to a pat down, which they might have enjoyed for the extra pets.

An anonymous Slashdot reader shared this report from CNET: Marking its 60th year on television, the British time-travel series will close out 2023 with one last anniversary special that arrives on Christmas Day. Ncuti Gatwa's Doctor helms the Tardis in The Church on Ruby Road, which centers on an abandoned baby who grows up looking for answers... Disney Plus will stream Doctor Who: The Church on Ruby Road on Monday, Dec. 25, at 12:55 p.m. ET (9:55 a.m. PT) in all regions except the UK and Ireland, where it will air on the BBC. In case you missed it, viewers can also watch David Tennant starring in the other three anniversary specials: The Star Beast, Wild Blue Yonder and The Giggle. All releases are available on Disney Plus.
But what's interesting is CNET goes on to explain "why a VPN could be a useful tool." Perhaps you're traveling abroad and want to stream Disney Plus while away from home. With a VPN, you're able to virtually change your location on your phone, tablet or laptop to get access to the series from anywhere in the world. There are other good reasons to use a VPN for streaming too. A VPN is the best way to encrypt your traffic and stop your ISP from throttling your speeds...

You can use a VPN to stream content legally as long as VPNs are allowed in your country and you have a valid subscription to the streaming service you're using. The U.S. and Canada are among the countries where VPNs are legal

"Millions of Star Wars fans get nostalgia pangs during the holiday season," reports the Washington Post, "when they are accustomed to seeing broadcasts of their beloved movies.... FX, now owned by Disney, has multiple Star Wars marathons on tap this month, including a marathon on December 23 and 24." The program-planning director at Disney's Freedom channel even calls Star Wars a "Christmas-adjacent" franchise.

And now, long-time Slashdot reader H_Fisher writes... Call it a Life Day miracle, even if nobody was asking for it. YouTube historian and retro-tech enthusiast Perifractic uploaded a restored, mostly-complete 4K upscale of the "infamous" Star Wars Holiday Special to his channel on Wednesday. From the video summary: "Using Topaz Labs [Video AI] with a few other techniques we've meticulously upscaled & restored the infamous Star Wars Holiday Special to 5120x3840, with stereo elements, to the best quality the technology currently allows."

Jokingly labeling the resulting file "5K" (8K video height, but tagged "4K" by YouTube due to its original 4:3 aspect ratio), the upscaled version unfortunately (or fortunately, depending on your point of view) replaces some songs and omits some segments that were flagged by YouTube's copyright watchdog.

PlayStation will no longer be removing over 1,300 Discovery TV shows from its platform next month. From a report: Sony had previously announced that users will not be able to watch Discovery content on PlayStation from December 31, even if they had already purchased it. However, the firm now says that due to an 'updated licensing agreement' with Warner Bros -- which owns the Discovery brand -- consumers will now be able to access their previously purchased shows 'for at least the next 30 months.'

New submitter ekimminau writes: On the morning of December 20, 2023, thousands of users turned on their Samsung TV to find that the Samsung TV Plus application was missing. Available for free on 2016-2023 Samsung Smart TVs, Galaxy devices, Smart Monitors, Family Hub refrigerators, and the web, for many it is their primary method of TV viewing. The masses began flocking to the Samsung community forums asking ... what was going on.

From Cord Cutters: At this time, Samsung has not posted any updates about the outage. Customer service has been telling customers they are aware of the outage and are working on fixing it. This news comes as Samsung recently added seven local FOX news channels for community stories, sports updates, weather forecasts and more. The new markets are Austin, Detroit, Milwaukee, Orlando, Phoenix, Seattle and Tampa Bay. Right now, this outage seems to only be affecting the app on Smart TVs as the website is still working letting anyone stream Samsung TV Plus for free streaming online through the website.

An anonymous reader quotes a report from Ars Technica: It's no secret that TV makers are seriously invested in pushing ads. Using TVs for advertising goes back to 1941 when the first TV commercial aired. But as we trudge our way through the 21st century, TV vendors are becoming more involved in ensuring that their hardware is used to sell stuff and add to their own recurring revenue. This has taken various forms, but in some cases, we're seeing increasingly invasive strategies for turning TVs into a primary place for shopping. The latest approach catching attention comes from the startup Displace. Its upcoming TVs will use integrated webcams and NFC payment readers to make it easy for people to buy stuff they see on TV. [...]

The two new TVs Displace is adding to its 2024 release plans, the Displace Flex and Displace Mini, are all about making TV shopping better. According to Displace's announcement, the Displace Flex (a 55-inch 4K OLED TV) and Displace Mini (a 27-inch 4K OLED TV) will use proprietary gesture technology and each TV's integrated 4K camera to tell when a user is raising their hand. It's unclear how accurate that will be (could the shopping experience accidentally be activated if I raised my hand to tie my hair up, for example?), but at that point, the TV is supposed to pause the content being played. Then, it uses computer vision to "analyze the screen to find products available for sale. Once they see something they want to purchase, viewers drag and drop the product into the global Displace Shopping Cart," the announcement says. Displace Shopping will work at any moment the TV is on, and users can buy stuff they see in commercials by using the TVs.

Displace's December 14 announcement said: "As soon as the viewer is ready to checkout, Displace Payments makes paying as easy as bringing a user's smartphone or watch near the TV's built-in NFC payment reader, a fully secure process that requires no credit card info. Viewers can also pay from within the Displace app." If the TV can't find a specific product for sale, it will "search for similar items" without user intervention, according to Displace. The TV will show products from any available online retailers, allowing users to select where they want to make their purchase. Displace hasn't provided full details about how it will make money off these transactions, but when reached for comment, founder and CEO Balaji Krishnan told Ars Technica that Displace has "different business models, and one of them is to take a transaction fee," and that Displace will share more details "later." Displace also sees people using Displace Payments to pay for telehealth applications and equipped the Flex and Mini with thermal cameras. To ease privacy concerns, Krishnan says the integrated cameras can be folded into the TVs if a user needs privacy.

Eventually, Displace sees itself working with content publishers to lay its shopping UI over actively playing content. "Users would see a workable buy button right on top of the playing video," adds Ars.

According to Axios, the CEO of Warner Bros. Discovery, David Zaslav, met with Paramount Global CEO Bob Bakish to discuss a possible merger. "The combination would create a news and entertainment behemoth that would likely trigger further industry consolidation," reports Axios. From the report: Zaslav also has spoken to Shari Redstone, who owns Paramount's parent company, about a deal. WBD's market value was around $29 billion as of Wednesday, while Paramount's was just over $10 billion, so any merger would not be of equals. The meeting between Zaslav and Bakish, which sources say lasted several hours, took place at Paramount's headquarters in Times Square.

The duo discussed ways their companies could complement one another. For example, each company's main streaming service -- Paramount+ and Max -- could merge to better rival Netflix and Disney+. It's unclear whether WBD would buy Paramount Global or its parent company, National Amusements Inc. (NAI), but a source familiar with the situation says that both options are on the table. WBD is said to have hired bankers to explore the deal.

The deal could drive substantial synergies. WBD could use its international distribution footprint to boost Paramount's franchises, while Paramount's children's programing assets could be essential to WBD's long-term streaming ambitions. CBS News could be combined with CNN to create a global news powerhouse. CBS' crime dramas, such as "NCIS" and "Criminal Minds," could be combined with Investigation Discovery and TruTV. CBS Sports' footprint could be combined with WBD's. For example, CBS and WBD's Turner Sports currently share TV rights for March Madness.

Long-time Slashdot reader theodp writes: For the soundtracks to their 2023 holiday season ads, both Amazon and Apple turned to music by members of The Beatles. Amazon's Joy Ride, which stars three older women reliving their youthful joy at a sledding hill, is set to a cover of The Beatles' In My Life. Apple's Fuzzy Feelings, which tells the story of a young woman with a grumpy boss, is set to George Harrison's Isn't It a Pity.

Product placement is present in both ads — Amazon features padded seat cushions that protect the seniors' tushes and the Amazon app used to order them, while Apple showcases the iPhone 15 Pro Max used to capture the ad's stop-motion animation scenes and the MacBook Air used to edit them.

Amazon's 60-second ad has 542K views on YouTube, while Apple's 4-minute ad has 16+ million views.

Malak Saleh reports via Engadget: Twitch has quickly taken back its policy update that permitted users to post sexual content as long as it was labeled. In another update, the company said it is not going to allow any depictions of real or fictional nudity on its streaming platform. After giving users the green light to post "artistic nudity," Twitch says some streamers created content that violated policy.

The media streamed in response to the initial approval of sexually explicit content on Twitch was "met with community concern," according to the update. The company said, "We have decided that we went too far with this change." While a huge part of the initial decision was to allow for the "digital depiction" of artistic nudity, the company clarified that digital depictions of sexual content is a concern when artificial intelligence can be used to develop realistic images and that it can be difficult to discern between what's been digitally produced and real photography.

After years of withholding viewership data, Netflix earlier this week released statistics showing its top viewed titles from January-June 2023. The winner with over 800 million hours watched was The Night Agent. Though the steamy, soapy Sex/Life scored over 120 million hours, the warm coming-of-age series Sex Education had under 30 million.

Netflix claimed "success comes in all shapes and sizes," but co-CEO Ted Sarandos admitted the data guides business decisions. So while Netflix says stats aren't everything, pouring resources into sure bets like The Night Agent seems likely as competition grows post-Hot Strike Summer. The show is what some call "just OK TV" -- not offensive, not groundbreaking, but reliably watched. Wired adds: This era of Just OK also comes as Netflix captures the King of Reality TV throne. Shows like Love Is Blind and Selling Sunset are becoming cultural juggernauts, and the streamer shows no sign of slowing down, especially now that the Squid Game spinoff, Squid Game: The Challenge, is getting major traction.

True, Netflix is still putting out artful content. A show like Wednesday, for example, had more than 507 million hours viewed and is also currently up for 12 Emmys. Netflix, on the whole, is nominated for a whopping 103 Emmys. That's impressive, but also, it's down from the 160 nods it got at its peak in 2020 and fewer than the 127 nabbed by (HBO) Max, which crushed thanks to shows like The White Lotus, The Last of Us, and Succession. You see where this is going. Netflix likes to tout its prestige shows, but also has to keep its paying customers, who left in droves in 2022 before partly coming back as Netflix cracked down on password sharing. To that end, it behooves Netflix to make more Ginny & Georgia, more Night Agent, more You. One analysis of the data found that the most-watched film, according to Netflix's data dump, was the Jennifer Lopez vehicle The Mother, which accumulated about 250 million hours watched in six months. Variety puts that level of engagement up there with Barbie and The Super Mario Bros. Movie. Not a bad showing.

The Federal Communications Commission has taken a step toward prohibiting early termination fees charged by cable and satellite TV providers. From a report: If given final approval, the FCC action would also require cable and satellite providers to provide a prorated credit or rebate to customers who cancel before a billing period ends. The new rules are being floated in a Notice of Proposed Rulemaking (NPRM) that the FCC voted to approve this week in a 3-2 vote, with both Republicans dissenting. The NPRM seeks public comment on the proposed rules and could lead to a final vote in a few months or so.

"Today's action proposes to adopt customer service protections that prohibit cable operators and DBS (Direct Broadcast Satellite) providers from imposing a fee for the early termination of a cable or DBS video service contract," the FCC said. "Additionally, the NPRM recommends the adoption of customer service protections to require cable and DBS providers to grant subscribers a prorated credit or rebate for the remaining whole days in a monthly or periodic billing cycle after the subscriber cancels service."

FCC Chairwoman Jessica Rosenworcel said, "Consumers are tired of these junk fees. They now have more choices when it comes to video content. But these friction-filled tactics to keep us subscribing to our current providers are aggravating and unfair. So today we kick off a rulemaking to put an end to these practices." Cable lobby group NCTA-The Internet & Television Association opposes the plan and said it will submit comments to support "consumer choice and competitive parity."

An anonymous reader shares a report: If you bought a new smart TV during any of the holiday sales, there's likely to be an uninvited guest watching along with you. The most popular smart TVs sold today use automatic content recognition (ACR), a kind of ad surveillance technology that collects data on everything you view and sends it to a proprietary database to identify what you're watching and serve you highly targeted ads. The software is largely hidden from view, and it's complicated to opt out. Many consumers aren't aware of ACR, let alone that it's active on their shiny new TVs. If that's you, and you'd like to turn it off, we're going to show you how.

First, a quick primer on the tech: ACR identifies what's displayed on your television, including content served through a cable TV box, streaming service, or game console, by continuously grabbing screenshots and comparing them to a massive database of media and advertisements. Think of it as a Shazam-like service constantly running in the background while your TV is on.

These TVs can capture and identify 7,200 images per hour, or approximately two every second. The data is then used for content recommendations and ad targeting, which is a huge business; advertisers spent an estimated $18.6 billion on smart TV ads in 2022, according to market research firm eMarketer. For anyone who'd rather not have ACR looking over their shoulder while they watch, we've put together a guide to turning it off on three of the most popular smart TV software platforms in use last year. Depending on the platform, turning off ACR took us between 10 and 37 clicks.

For the first time, Netflix has released a comprehensive report of what people watched on the platform over a six month period. It includes hours viewed for every title, the premiere date for any Netflix show and movie, and whether a title was available globally. From the Hollywood Reporter: The list includes worldwide viewing for more than 18,000 movies and seasons of TV (18,214, to be exact) between January and June. Those 18,214 titles all had at least 50,000 hours of viewing over those six months, encompassing about 99 percent of all viewing on Netflix, vp strategy and analysis Lauren Smith told reporters during a presentation of the data on Tuesday. It is the deepest dive into viewing that Netflix (or any other streamer) has ever made public.

Among the highlights: The Night Agent was the biggest title on Netflix in the first half of 2023, racking up 812.1 million hours of viewing. Season two of Ginny & Georgia was second at 665.1 million hours, followed by Korean drama The Glory (622.8 million hours). Wednesday ranked fourth at 507.7 million hours of viewing, despite being released in November 2022. The company is using total hours viewed in this report as a way to measure engagement by its users rather than the "view" formula (total viewing hours divided by running time) it employs to compare titles in its weekly top 10 lists.

Original series and movies dominate the top of the chart, but Smith said the split between original and licensed titles was more even: About 55 percent of viewing was for originals and 45 percent was for licensed shows and films. Suits, which dominated the Nielsen U.S. streaming charts for much of the summer and fall, had a combined 599 million hours of viewing worldwide on Netflix across all nine seasons. The show's first season ranked highest, coming in 67th place with 129.1 million hours. At the other end, a little more than 20 percent of the titles on Netflix's list (3,813 in all) had very little viewing. The company rounded them to 100,000 hours but they would fall between 50,000 and 149,999 hours -- barely a drop in the streamer's more than 100 billion total hours of viewing for the six months. The full "What We Watched: A Netflix Engagement Report" can be downloaded here.

Google Play Movies & TV will be replaced with Google TV on January 17, 2024. 9to5Google reports: Since the 2020 launch of the Google TV platform, that branding has replaced Play Movies & TV in areas such as mobile apps, but that's also led to the choice to do away with Play Movies & TV branding basically everywhere else. In October, that decision also made its way to Android TV, and the app has not been working ever since. Despite some confusion over the past few days, the app currently just redirects to Android TV's "Shop" tab, which has been widely available for months.

In a new post, Google explains that it will do away with the last parts of Google Play Movies & TV in January 2024: "With these changes, Google Play Movies & TV will no longer be available on Android TV devices or the Google Play website.* However, you'll still be able to access all of your previously purchased titles (including active rentals) on Android TV devices, Google TV devices, the Google TV mobile app (Android and iOS), and YouTube."

On January 17, Play Movies & TV will officially cease for good on Android TV. For anyone who does still have the app working -- again, most users cannot use the app already -- the "Shop" tab will become the only option. Similarly, Google says that Play Movies & TV will cease on other remaining platforms that same date. Any cable boxes with the app integrated will also lose it, and in turn pushed to the YouTube app for continued access to purchased content. Web access via play.google.com/movies will also go away, with youtube.com/movies becoming the alternative.

All those original shows on streaming services brought us "peak TV." But the New York Times reports on the flipside: back in the cable universe, they're experiencing "zombie TV": In 2015, the USA cable network was a force in original programming. Dramas like "Suits," "Mr. Robot" and "Royal Pains" either won awards or attracted big audiences. What a difference a few years make. Viewership is way down, and USA's original programming department is gone. The channel has had just one original scripted show this year, and it is not exclusive to the network — it also airs on another channel. During one 46-hour stretch last week, USA showed repeats of NBC's "Law & Order: Special Victims Unit" for all but two hours, when it showed reruns of CBS' "NCIS" and "NCIS: Los Angeles."

Instead of standing out among its peers, USA is emblematic of cable television's transformation. Many of the most popular channels — TBS, Comedy Central, MTV — have quickly morphed into zombie versions of their former selves. Networks that were once rich with original scripted programming are now vessels for endless marathons of reruns, along with occasional reality shows and live sports... Advertisers have begun to pull money from cable at high rates, analysts say, and leaders at cable providers have started to question what their consumers are paying for. In a dispute with Disney this year, executives who oversee the Spectrum cable service said media companies were letting their cable "programming house burn to the ground...."

The media companies that own the channels are in a bind. The so-called cable bundle was enormously profitable for media companies, and more than 100 million households subscribed at the peak. But subscribers are rapidly declining as people migrate toward streaming. Now roughly 70 million households subscribe to cable. As a result, most media companies are pulling resources from their individual cable networks and directing investment toward their streaming services. Peacock, which is owned by NBCUniversal, also the parent of USA, has begun making more and more original scripted shows over the last three years.

However, most streaming services are hemorrhaging cash. (An NBCUniversal executive said this week that Peacock would lose $2.8 billion this year.) Cable, although it is getting smaller, remains profitable.
Media analyst Michael Nathanson believes last year was saw a "tipping point" when cable advertising decreased — by double-digit percentages — in five consecutive fiscal quarters. "Advertisers are starting to realize that there's really nothing on here and they shouldn't pay for it."

One consultant who works with entertainment companies and used to run marketing at the Oxygen cable network tells the newspaper that cable channels "are being stripped for parts." The article calculates that in 2022 there were 39% fewer scripted programs on basic and premium cable than there were in 2015.

"Reruns are filling the hole."

To celebrate the 30th anniversary of Doom, both John Romero and John Carmack are appearing now on a special 30th anniversary stream on Twitch. (Right now they're talking about people who got into professional networking careers because of what they'd learned from setting up multiplayer deathmatches...)

And earlier this morning, Romero shocked the gaming world by posting six words on X.

"Free WAD for SIGIL II is up"

The official page for the long-awaited new Doom episode promises a 2 megabyte file "packed with some hardcore classic DOOM punishment — beware of Ultra-Violence mode!" There's nine new maps with names like "Wrathful Reckoning" and "Vengeance Unleashed". And the site is also selling an upgrade with a THORR soundtrack — priced at €6.66 — along with t-shirts, boxed editions of the original game Sigil, and a "Megawad Beast Box" that's "individually numbered and signed personally by John Romero and featuring the artwork of Christopher Lovell" (including a signed art print).

Besides sundry extras including a t-shirt, stickers, and a Sigil-themed coin, it also comes with a pewter statue of John Romero's head on a spike...