Hollywood studios are expected to retain the right to train artificial-intelligence models based on writers' work under the terms of a tentative labor agreement between the two sides, WSJ reported, citing people familiar with the situation. From the report: The writers would also walk away with an important win, a guarantee that they will receive credit and compensation for work they do on scripts, even if studios partially rely on AI tools, one of the people said. That provision had been in an earlier offer from the Alliance of Motion Picture and Television Producers, the group representing studios, streamers and networks. The Writers Guild of America said Sunday it had reached a tentative agreement with the AMPTP to end a nearly five-month strike. Neither side has released the details of the agreement. The WGA said it plans to release the terms once its leadership votes on the deal, which could happen as soon as Tuesday.

The two sides have battled over issues ranging from wage increases to whether writers' rooms should have minimum staffing requirements. The use of generative AI by studios became a major issue, as advanced versions of the technology -- such as OpenAI's ChatGPT -- were released for public use over the past year. AI bots, which provide sophisticated, humanlike responses to user questions, are "trained" on large amounts of data. Entertainment executives didn't want to relinquish the right to train their own AI tools based on TV and movie scripts, since their understanding is that AI tech platforms already are training their own models on such materials, people familiar with the matter said.

"After several long consecutive days of negotiations, the Writers Guild of America and the labor group representing studios and streamers have reached a tentative deal on a new contract," according to the Hollywood Reporter.

"We can say, with great pride, that this deal is exceptional," the Guild's negotiating committee told its members in an email, "with meaningful gains and protections for writers in every sector of the membership." The Hollywood Reporter calls the news "a major development that could precipitate the end of a historic, 146-day writers' strike."

Details from the Los Angeles Times: The proposed three-year contract, which would still have to be ratified by the union's 11,500 members, would boost pay rates and residual payments for streaming shows and impose new rules surrounding the use of artificial intelligence...

With the tentative pact with the WGA done, entertainment company leaders are expected to turn their attention to the 160,000-member performers union, SAG-AFTRA, to accelerate those stalled talks in an effort to get the industry back to work. Actors have been on strike since mid-July...

The writers' strike was, in many ways, a response to the tectonic changes wrought by streaming. Shorter seasons for streaming shows and fewer writers being hired have cut into guild members' pay and job stability, making it harder to earn a sustainable living in the expensive media hubs of Los Angeles and New York, guild members have said.

The studios came into negotiations with their own set of challenges. The pay-TV business is in decline because of cable cord-cutting and falling TV ratings, which have eroded vital sources of revenue. At the same time, the traditional companies have spent massively to launch robust streaming services to compete with Netflix, losing billions of dollars in the process.

Some workers within Amazon's once-storied hardware division -- responsible for popular devices like the Kindle reader and Echo voice-assistant -- say morale within the division has suffered amid staff cutbacks and a pipeline of devices in development that they fear are unlikely to prove hits. From a report: The division, known as Lab126, was a focus for Amazon's founder Jeff Bezos, who portrayed it as an engine for future projects, but more recently it has been buffeted by mass layoffs and key executive departures, including leader Dave Limp, a 13-year veteran who has announced plans to step down later this year. Reuters interviewed more than 15 current and former employees, who spoke on the condition of anonymity due to their employment terms, who described a hodgepodge of new devices in development, many of them aimed at encouraging customers to use the once ground-breaking Alexa voice service that now faces a stiff challenge in the age of generative AI and ChatGPT.

The company -- the world's biggest online retailer -- is holding a devices and services launch event on September 20 where it is expected to feature refreshed versions of some existing products like the Fire tablet, Fire TV stick and Kindle Scribe e-reader, among other announcements. The news agency was able to identify five different new devices under development. These include a carbon monoxide detector and a household energy consumption monitor -- both with Alexa built into them -- as well as a home projector to make any surface a screen. Some of the sources mentioned other projects, the full details of which could not be confirmed.

YouTuber Pitstoptech built a "fully upgradeable gaming handheld" around one of Framework's upgradable motherboards. Tom's Hardware reports: The handheld model you see in the video is equipped with the following components:

- Framework's Intel Core i7-1260P processor equipped mainboard
- 7-inch FHD touchscreen display
- 16 GB RAM
- 512 GB SSD
- Dual front-facing speakers
- Detachable controllers
- 55 Wh Battery
- High-speed Wi-Fi & Bluetooth

These components appear to offer some passable small-screen gaming. And in the video, you can see the device plugs into a larger monitor / TV where using the controllers in a detached configuration (Bluetooth) may be more comfortable. [...] Pitstoptech intends to prepare and sell handheld DIY kits "soon," based on the prototype design you see in the pictures / video.

Apple on Monday rolled out iOS 17, iPadOS 17, tvOS 17, HomePod 17 and watchOS 10, the latest operating system versions for all its devices minus the Mac lineup. iOS 17: iOS 17 expands on last year's Lock Screen updates with the addition of interactive widgets and StandBy, a new feature that turns the iPhone into a mini home hub when it is charging. You can now see voicemail transcriptions in real time, and leave video messages in FaceTime. FaceTime also now works on the Apple TV with tvOS 17. With NameDrop, exchanging contacts is as simple as touching two phones together, and Messages has been overhauled with new safety features and updates to the way that stickers work. Autocorrect is better than ever, Spotlight search has been improved, private browsing in Safari is more secure with Face ID lock, and there's now a mood tracking feature in the Health app. Passwords can be shared in iCloud Keychain and AirTags can be shared among family members too, plus there are new features for the AirPods Pro. Apple has also added updates to Siri, Mail, Reminders, Notes, Home, and more. tvOS 17: In tvOS 17, Apple has added a FaceTime app for FaceTime calls on a larger screen. The feature works through an iPhone or iPad running iOS 17/iPadOS 17, with the iOS device serving as the camera and the TV serving as the display. With a Split View option, you can place your FaceTime call on one side of the TV and a TV show or game on the other side for SharePlay experiences. [...] Other new features include Dolby Vision 8.1 support, an enhance dialogue option to make it easier to hear what's being said over music and effects, and support for third-party VPN apps.

71-year-old Mark Evanier is a legendary comic book/TV writer. Today he posted on his personal blog that "Forty years ago, I spent about six days (cumulative) of my life writing the pilot script and small-b bible for a Saturday morning cartoon series called Dungeons & Dragons...

"I feel like I have now spent more than six days (cumulative) being interviewed about this series." It went on CBS on September 17, 1983 and lasted three seasons. Do not believe those who claim it was driven from the airwaves by pressure groups who saw satanic subtext in the series. It went off for the same reason most shows go off: Because the ratings were declining and — rightly or wrongly — the brass at the network didn't think it would have enough viewers to sustain another season. Yes, there were protests about its content but not many and CBS, at least in those days, was pretty good about ignoring such outcries if — and this is always a Big If — the viewers seem to want whatever is being outcried about.
From Wikipedia: The level of violence was controversial for American children's television at the time, and the script of one episode, "The Dragon's Graveyard", was almost canceled because the characters contemplated killing their nemesis, Venger. In 1985, the National Coalition on Television Violence demanded that the FTC run a warning during each broadcast stating that Dungeons & Dragons had been linked to real-life violent deaths.
The show ultimately ran for a total of 27 episodes. The blog post continues: It was a good show because of good writers, good producers, good artists, good voice talent, good everything...and I was mostly a spectator to all that goodness, having opted not to stick with it. Still, thanks to the gent who was my agent at the time, my name was seen for a micro-second in the credits each week so I get more kudos than I probably earned...

Quite recently, I sat for this video podcast with a fine interviewer and a major fan of the series, Heath Holland. It's almost an hour and we talked about some other things but it's mostly about Dungeons & Dragons...
The podcaster notes that the cartoon's six adventurers even made a cameo in 2022's live-action Dungeons & Dragons movie, Honor Among Thieves — and several other companies are still celebrating the cartoon. Hasbro recently released a line of action figures based on the cartoon, while IDW has released a comic book mini-series called Dungeons & Dragons: Saturday Morning Adventures.

In the series six children are transported from an amusement park's Dungeon's & Dragons ride into the game's realm, where a kindly Dungeon Master helps them battle various villains and monsters as they search for a way home. More lore about the series from Wikipedia: A final unproduced episode would have served as both a conclusion to the story and as a re-imagining of the show, had it been picked up for a fourth season. However, it was canceled before the episode was made. The script has since been published online and was performed as an audio drama as a special feature for the BCI Eclipse DVD edition of the series... A fan-made animated version of the finale appeared online in 2020 [according to TheGamer.com].

An anonymous reader shares a report: The Streaming Era began with a promise of nurturing shows without fear of ratings pressure and quick cancellations. Of course, that was a lark. Soon enough, the streamers began slashing shows as quickly and brutally as any Nielsen-obsessed broadcaster, and they were all flooded with same complaint: "The streamers just cancel everything! Nothing gets more than a season anymore!" How true is that really? After all, the streamers are looking for hit shows, just like traditional networks. If a show gets high viewership relative to the cost of producing it, it gets renewed. Otherwise, it is canceled. That is how it has worked since the days of black-and-white TV.

To get to the heart of the matter, Variety Intelligence Platform (VIP+) and Luminate collaborated on a data exploration to determine how often the leading U.S.-based streaming and linear programmers have canceled series TV series over the past three years. The new report, "The Show Must Go Off," is an exhaustive statistical analysis that aims to settle one of the most hotly contested debates in the TV industry. The data covered all shows (scripted and unscripted) canceled between 2020 and Aug. 8, 2023. The major streamers (Netflix, Hulu, Disney+, Amazon Prime Video, Max, Apple TV+, Peacock, Paramount+) overall had a combined average cancellation rate of 12.2% -- not much higher than linear TV (10.8%), but less than half of broadcast TV alone over that period. Warner Bros. Discovery-owned Max (formerly HBO Max) was by far the most brutal when it comes to cancelling shows, coming in at 26.9%.

On Tuesday, Apple unveiled the iPhone 15 Pro and Pro Max featuring USB-C ports, titanium bodies, and Action Buttons. They're also the first smartphones to support the open-source smart home protocol Thread. The Verge's Jennifer Pattison Tuohy explains how Apple might deploy this wireless connectivity protocol in its ecosystem: The obvious use for Thread in the iPhone is as a Thread border router for the slew of new Apple Home and Matter-enabled Thread smart home devices from companies like Eve, Nanoleaf, and Belkin WeMo. This would mean you wouldn't have to have a HomePod Mini, Apple TV 4K, or other Thread border router to use Thread smart home gadgets with your iPhone. ... [Jonathan Hui, VP of technology at the Thread Group and a software engineer at Google] says that Thread connectivity in a smartphone will allow it to communicate directly with a Thread device. "Compared to existing smartphones without Thread, a smartphone with Thread can communicate directly with a Thread device, without relying on a separate Thread border router or any other communication technology," he said.

Another possibility with direct control is some type of trigger or presence detection. Your Thread devices could know you're home as soon as you walk into the house and respond appropriately. However, presence detection -- something the smart home sorely needs -- would be easier to do with the UWB chips already in most iPhones and HomePods (and is already being done to some extent). As an IP-based mesh protocol, Thread could be a more reliable way to connect multiple such devices to your phone while also having multiple "parent" devices within the same home (such as your iPad, MacBook, or other family member's iPhones). Its IP characteristic makes it easier to maintain a persistent data connection directly to the device, says Moneta. Additionally, Thread being mesh means your device doesn't have to be in range of the controller (iPhone/iPad etc.), as it would with Bluetooth. This could apply to Apple accessories such as the Apple Watch and third-party devices that use Bluetooth, like camera accessories and medical devices. Of course, all of those would need a Thread radio in, too, so that's not going to happen anytime soon. [...]

A popular theory in my X (formerly Twitter) feed after the Apple event was that Thread is in the iPhone 15 Pro line more or less as a freebie. It's plausible that the Wi-Fi / Bluetooth chip Apple is using in its highest-end phones comes as a sort of three-for-one: you pay for Wi-Fi and Bluetooth, and you get your Thread for free! Given that Apple itself doesn't seem to have a clear idea or any concrete examples of what the Thread capabilities will add (beyond a vague "opening up future opportunities for Home app integrations" statement in the iPhone 15 press release), this does seem to be the most likely reason -- for now. Although, Apple rarely does anything without some purpose in mind.

Visual effects workers at Marvel Studios have unanimously voted to unionize with the International Alliance of Theatrical Stage Employees, marking a historic milestone for the industry. Rolling Stone reports: Following the successful vote with the NLRB, Marvel's VFX union will now enter into collective bargaining negotiations with Marvel. A start date for those negotiations hasn't been announced yet. Underpinning the union drive were the poor working conditions visual effects professionals have endured on Marvel productions, including a lack of pay equity, grueling hours, understaffing, excessive requests for changes, and unfair turnaround times.

VFX crews have been a crucial part of film and TV productions since the introduction of visual effects in the first Star Wars films of the 1970s. But while many other backstage/behind-the-scenes crews and professions (such as production designers, editors, lighting, make-up, and props) have long been unionized under the IATSE umbrella, VFX workers largely remained non-union.

Sony is rolling out a big new PS5 update today, just over a month after it first started testing the changes in a beta. From a report: The update adds Dolby Atmos, lets you mute that annoying bootup beep, and even supports pairing a second controller as an assist one to let you help friends or family complete a game. Sony is also expanding its PS Remote Play app to Google's Chromecast with Google TV (4K), allowing you to stream games from a PS5 or PS4 to Android TV OS 12 devices. The Dolby Atmos support comes in the form of Sony's 3D Audio implementation (Tempest 3D AudioTech). It's compatible with Dolby Atmos devices like sound bars, TVs, or home theater systems. Media apps like Netflix can also update their apps on PS5 soon to support Dolby Atmos audio.

You can now mute the PS5 beep sound that chirps when you turn the console on or off, or even when it goes into rest mode after being idle. If you just want to adjust the volume of the beep there's now an option for that, too. One of the most useful additions is the ability to use a second DualSense controller for assistance. "You can now assign a second controller to one account as an assist controller, and use two controllers to operate your PS5 console as if you were using a single controller," explains Hideaki Nishino, senior vice president of platform experience at Sony Interactive Entertainment. "This feature introduces a new way for you to enjoy games collaboratively with others or help a friend or child navigate a particularly challenging section of a game."

Star Trek: The Animated Series was a half-hour Saturday morning cartoon that premiered exactly one half century ago — yesterday. You can watch its opening credits sequence on YouTube — with its strange 1970s version of the theme song. CBS's YouTube channel also offers clips from various episodes.

Starting in 1973, it ran for two seasons — a total of just 22 episodes. But the BBC notes it kept Star Trek in people's minds after the original series had been cancelled in 1969: While The Original Series had struggled in the ratings during its initial run, the show thrived in syndication, and created the phenomenon of fan conventions (think Comic-con in the present day). Because of this, studios were interested in more Star Trek, but there was a problem: the sets had been scrapped, the costumes were gone, and it would have been cost-prohibitive to rebuild everything from scratch. NBC settled on a different approach: an animated series.

According to The Fifty-Year Mission by Mark Altman and Edward Gross (an oral history of Star Trek), Gene Roddenberry wasn't overly interested in an animated show in and of itself. However, he was willing to go along with it because he saw it as a stepping stone to another live-action show or a feature film. An animated show would energise fans, he thought, so he agreed on the condition that he would have full creative control of The Animated Series. After a fight, the network gave in. The full, regular cast returned, with the exception of Walter Koenig's Pavel Chekov, who was cut for budget reasons...

[I]t was very much conceived of as a continuation of The Original Series. Some of the episodes were direct sequels, such as More Tribbles, More Trouble, which is a continuation of the classic The Trouble with Tribbles, and featured the return of Cyrano Jones... [Another episode was a sequel to The City on the Edge of Forever.] Dorothy (DC) Fontana led a group of writers from the original show who mostly wrote for a traditional, adult Star Trek audience. That's why the show didn't catch on — while it was well-received by critics, it might have done better in prime time. The show won a Daytime Emmy for best children's series, but it was cancelled after two years because of low ratings. Roddenberry then moved on to work on another live-action series, called Phase II, which would eventually become Star Trek: The Motion Picture...

Whatever is decided regarding "the canon", The Animated Series sits firmly within Star Trek's guiding ethos: Gene Roddenberry's vision for a utopian future where humans coexist peacefully with aliens as part of a Federation, and there's no poverty or war.

Google is killing off the last vestiges of Google Play Movies & TV, a service that sold premium Hollywood films and TV shows as part of Google's once-cohesive string of Google Play content stores. From a report: The company emailed users of Android TV to say that the "Google Play Movies & TV app will no longer be available on your Android TV device from 05 October 2023. You can continue to buy or rent movies directly through the Shop tab on your Android TV." Play Movies has been going through a slow death as Google shuffles around its media content. The smartphone Play Movies app became "Google TV" in 2022, and that same year, the Play Store app was stripped of movie and TV sales.

On third-party smart TVs (this is a different category than today's Android TV announcement) the app was killed in 2021. On Android TV, the new "Shop" tab seems to just be an OS-integrated Google TV content store. If you think this sounds confusing, you're not alone. Google's support page reflects the ridiculous state of Google's video apps, instructing users that "in Your Library, you can find content that you bought from: Google Play Movies & TV, YouTube, Android TV, Google TV." How any normal person is supposed to understand that pile of Google media brands, and how it works across phones, the web, and various smart TV OSes, is beyond me.

Roku will cut more than 300 staffers -- laying off 10% of its workforce -- as the streaming-platform company continues its battle to control costs. From a report: In addition, Roku will remove certain licensed and owned content from its platform as part of a "strategic review of its content portfolio," resulting in an impairment charge of up to $65 million in the current quarter, the company disclosed in an SEC filing Wednesday. Other cost-cutting measures Roku outlined are consolidating office space and reducing outside services expenses.

The goal is to reduce year-over-year operating expense growth rate, the company said. The layoffs represent Roku's third round of job cuts in less than a year, after it pink-slipped 200 staffers in November 2022 and another 200 in March 2023. As of the end of 2022, Roku had approximately 3,600 full-time employees. The company, in addition to the layoffs, said it also plans to cut back on new hires.

An anonymous reader quotes a report from TorrentFreak: Rick Klein and his team have been preserving TV adverts, forgotten tapes, and decades-old TV programming for years. Now operating as a 501(c)(3) non-profit, the Museum of Classic Chicago Television has called YouTube home since 2007. However, copyright notices sent on behalf of Sony, protecting TV shows between 40 and 60 years old, could shut down the project in 48 hours. "Our YouTube channel with 150k subscribers is in danger of being terminated by September 6th if I don't find a way to resolve these copyright claims that Markscan made," Klein told TorrentFreak on Friday. "At this point, I don't even care if they were issued under authorization by Sony or not -- I just need to reach a live human being to try to resolve this without copyright strikes. I am willing to remove the material manually to get the strikes reversed."

Over the weekend Klein shared details of the copyright complaints filed with YouTube. Two of the claims can be seen in the image below and on first view, appear straightforward enough. Two episodes of the TV series Bewitched dated 1964 aired on ABC Network and almost sixty years later, archive copies of those transmissions were removed from YouTube for violating Sony copyrights, with MCCTv receiving a strike. A claim targeting an upload titled Bewitched -- 'Twitch or Treat' -- WPWR Channel 60 (Complete Broadcast, 8/6/1984) follows the same pattern, but what isn't shown are the details added by MCCTv to place the episode (and the included commercials) in historical context. Another takedown target -- Bewitched -- 'Sam in the Moon' (Complete 16mm Network Print, 1/5/1967) is accompanied by even more detail, including references in the episode to then-current events.

Given that copyright law locks content down for decades, Klein understands that can sometimes cause issues, although 16 years on YouTube suggests that the overwhelming majority of rightsholders don't consider his channel a threat. If they did, the option to monetize the recordings can be an option. [...] Klein says MCCTv certainly doesn't set out to hurt copyright holders. However, there's always a balance between preserving "rare pieces of video ephemera" and the likelihood that nobody needs to enforce any rights, versus unusual circumstances like these where unexpected complaints need to be resolved with impossible-to-reach parties. Klein says the team is happy to comply with Sony's wishes and they hope that given a little leeway, the project won't be consigned to history. Perhaps Sony will recall the importance of time-shifting while understanding that time itself is running out for The Museum of Classic Chicago Television.

"Are you old enough to remember channel surfing?" asks long-time Slashdog reader MightyMait. "When there were only a handful of broadcast channels, it wasn't a big deal..." But when we got cable/satelite, one could spend inordinate amounts of time flipping through the channels looking for something decent to watch. Now, with the proliferation of streaming services...
Streaming viewers are now "spending a record 10.5 minutes per session deciding what to watch," according to TV Tech, citing a new study from the Nielsen-owned entertainment-data company Gracenote.

Their 2023 State of Play report "found that that there were 1.9 million video titles available to viewers in the U.S., U.K., Canada, Mexico and Germany in July 2021, a number that had swelled to 2.7 million titles by June 2023." Of the total count, a whopping 86.7% were available on streaming services. Compounding complexity, many popular shows now appear in multiple streaming catalogs, as the industry pivots from offering content exclusivity to broad distribution strategies that companies hope will balance massive streaming loses, the report noted. The Gracenote analysis also found that audiences now have nearly 40,000 individual FAST channels, streaming providers and aggregators to choose from.
The original submission from MightyMait asks Slashdot readers: "Are you feeling the pain? And if so, "What strategies do you employ to avoid this time suck?"

Share your own thoughts and experiences in the comments. And do streamers spend more time deciding what to watch?

Timothy Geigner writes via Techdirt: Paramount has gone after fan-made works playing off of the franchise for years and years. Even Paramount's release of guidelines by which fans could create fan films served mostly as a giant middle finger to the fandom, so stringent were the rules. This apparently represents the owners of Star Trek's IP being completely deaf to the history of Star Trek and the internet and what the fans have meant to the franchise. And this all continued into the present day.

Recently, a fan-made project called Wolf 359 Project suffered a DMCA takedown from Paramount. If you're a Next Generation fan, that name will likely sound familiar: "The Battle of Wolf 359 hearkens to a classic The Next Generation two-episode event called 'The Best of Both Worlds.' Captain Picard is assimilated by the Borg, and before the Enterprise crew rescues him, the relentless Borg forces fight a battle that kills 11,000 people. Star Trek: Picard Season 3 dealt with this, specifically through the character of Captain Liam Shaw. It was the first time someone described the Starfleet experience during one of the costliest battles in Star Trek history. Star Trek fans are never one to let a good idea go to waste, and The Wolf 359 Project is a fan-written oral history of the battle. The 'book' ran over 500 pages long, and its authors were giving it away for free. However, Paramount issued a Digital Millennium Copyright Act strike against it."

So here's what this essentially is: fans who love TNG filling in the gaps of the original story they love with the unexplored rest of the universe of people who would have been impacted by that storyline. That's important for two reasons. First and foremost, this doesn't take anything away from Paramount's Star Trek production, and in fact does the opposite. The project doesn't replace the original episodes, but rather builds upon them. In other words, this project could only possibly serve to draw more interest to Paramount's product, since the book isn't going to make much sense to anyone who hasn't seen the original episodes. Second, this is a work being done for free, given away for free, all by fans that are doing what Star Trek fans have always done: create. [...] ]

An anonymous reader quotes a report from Ars Technica: Sports leagues are urging the US to require "instantaneous" takedowns of pirated livestreams and new requirements for Internet service providers to block pirate websites. The Digital Millennium Copyright Act of 1998 requires websites to "expeditiously" remove infringing material upon being notified of its existence. But pirated livestreams of sports events often aren't taken down while the events are ongoing, said comments submitted last week by Ultimate Fighting Championship, the National Basketball Association, and National Football League.

The "DMCA does not define 'expeditiously,' and OSPs [online service providers] have exploited this ambiguity in the statutory language to delay removing content in response to takedown requests," the leagues told the US Patent and Trademark Office in response to a request for comments on addressing counterfeiting and piracy. The leagues urged the US "to establish that, in the case of live content, the requirement to 'expeditiously' remove infringing content means that content must be removed 'instantaneously or near-instantaneously' in response to a takedown request." The leagues claimed the change "would be a relatively modest and non-controversial update to the DMCA that could be included in the broader reforms being considered by Congress or could be addressed separately." They also want stricter "verification measures before a user is permitted to livestream."

The UFC separately submitted comments on its own, urging the US to require that ISPs block pirate sites. The UFC said that a "significant and growing" number of websites, typically operated from outside the US, don't respond to takedown requests and thus should be blocked by broadband network operators. The UFC wrote: "Unlike many other jurisdictions around the world, the US lacks a 'site-blocking' regime whereby copyright owners may obtain no-fault injunctions requiring domestic Internet service providers to block websites that are primarily geared at infringing activity. A 'site-blocking' regime, with appropriate safeguards to prevent abuse, would substantially facilitate all copyright owners' ability to address piracy, including UFC's." Website-blocking is bound to be a controversial topic, although the Federal Communications Commission's now-repeated net neutrality rules only prohibited blocking of "lawful Internet traffic." While the UFC said it just wants "websites that are primarily geared at infringing activity" to be blocked, a site-blocking regime could be used more expansively if there aren't strict limits.

An anonymous reader quotes a report from Ars Technica: Dolby Laboratories today announced Dolby Atmos FlexConnect, a feature with the potential to add flexibility and simplicity to home theater audio setups. The company says FlexConnect allows supporting TVs to optimize Dolby Atmos audio output among the TV's speakers and paired wireless speakers. Currently, Dolby is only announcing the feature with upcoming TCL TVs, but it could expand elsewhere. FlexConnect, which will work with Atmos, 5.1, and stereo sound, is about adapting to people's audio setups, with considerations for things like speaker count and placement. The upcoming feature aims to bolster Atmos audio in situations where speaker placement is limited due to obstacles like room size, furniture, or outlet locations.

According to Dolby, FlexConnect will mean users can hear the same experience regardless of where they're sitting in the room, and that audio is tweaked based on each speaker's location and capabilities. Ars Technica asked Dolby to elaborate on this, and a company spokesperson told us: "After each speaker is placed, the TV will undergo an automatic calibration using acoustic mapping, [using TV microphones], to understand the location of each speaker. The TV then intelligently and seamlessly optimizes the sound image after analyzing this data combined with information the TV can gather on each speaker's acoustic capabilities. Together, this information allows the TV to adjust the rendering of each speaker to optimize the sound to ensure listeners are enjoying a great audio experience."

An example of how FlexConnect could adapt audio based on speaker capabilities is with low frequencies, which many TVs struggle with. If there's a more capable speaker connected, the TV's speakers could "offload the bass to these speakers, which frees up power to allocate to other parts of the frequency spectrum," Dolby's spokesperson said. "This could allow the TV speakers to allocate more power to dialogue, ensuring the best combination of bass and intelligibility," the rep said. Dolby also provided an example of how FlexConnect could adapt audio based on speaker location. If a user puts two wireless speakers in the back of the room, FlexConnect "will put more of the audio load onto the TV speakers so that the TV speakers cover the front soundstage and the dialogue." But if the wireless speakers were in the front of the room, the TV/center speakers would focus on dialogue.

The number of titles on streaming services jumped 39% over the past two years to 2.35 million, according to a report released Monday by market researcher Nielsen. From a report: Add in traditional broadcast and cable channels and the number of individual viewing options climbed to 2.7 million. The figures reflect movies and shows available in the US, Canada, the UK, Mexico and Germany. Netflix and Disney+ are among 167 streaming providers, up from 118 two years ago. The average time it takes someone to find something to watch has risen to more than 10 minutes from a little over seven minutes in 2019, Nielsen said.

An advertising watchdog has recommended that YouTube TV, Google's growing pay-TV streaming service, drops an ad claim that the service is "$600 less than cable." The recommendation from the National Advertising Division (NAD) stems from a complaint lodged by Charter Communications. From a report: NAD, which used an expedited process for single-issue advertising cases in making this decision, found that YouTube TV's pricing claim, which identifies "comparable standalone cable" as the basis of comparison, doesn't hold up. NAD noted that the price calculation underlying the challenged claim includes the cost of two set-top boxes per household for "standalone cable" services," but argued that such a comparison isn't a good fit because operators such as Charter offer pay-TV streaming options that may not require a set-top box. In Charter's case, its Spectrum TV app, billed as a platform that can "stream outside the cable box," is compatible with iOS and Android mobile devices along with several retail streaming devices and/or integrated connected TVs from companies such as Apple, Roku, Google and Samsung. "In the context of the 'cable' comparison, NAD found the claim reasonably conveys the cost of YouTube TV is compared to all cable services," the organization explained.