"I am having conversations every day with people whose careers are sort of over," a 53-year-old film and TV director told the New York Times: If you entered media or image-making in the '90s — magazine publishing, newspaper journalism, photography, graphic design, advertising, music, film, TV — there's a good chance that you are now doing something else for work. That's because those industries have shrunk or transformed themselves radically, shutting out those whose skills were once in high demand... When digital technology began seeping into their lives, with its AOL email accounts, Myspace pages and Napster downloads, it didn't seem like a threat. But by the time they entered the primes of their careers, much of their expertise had become all but obsolete.

More than a dozen members of Generation X interviewed for this article said they now find themselves shut out, economically and culturally, from their chosen fields. "My peers, friends and I continue to navigate the unforeseen obsolescence of the career paths we chose in our early 20s," Mr. Wilcha said. "The skills you cultivated, the craft you honed — it's just gone. It's startling." Every generation has its burdens. The particular plight of Gen X is to have grown up in one world only to hit middle age in a strange new land. It's as if they were making candlesticks when electricity came in. The market value of their skills plummeted...

Typically, workers in their 40s and 50s are entering their peak earning years. But for many Gen-X creatives, compensation has remained flat or decreased, factoring in the rising cost of living. The usual rate for freelance journalists is 50 cents to $1 per word — the same as it was 25 years ago... As opportunities and incomes dwindle, Gen X-ers in creative fields are weighing their options. Move to a lower-cost place and remain committed to the work you love? Look for a bland corporate job that might provide health insurance and a steady paycheck until retirement?
The article includes several examples of the trend:

• One magazine's photo studio director says professional photographers have been replaced by "a 20-year-old kid who will do the job for $500."

• The article adds that "When photography went digital, photo lab technicians and manual retouchers were suddenly as inessential as medieval scribes." (And "In advertising, brands ditched print and TV campaigns that required large crews for marketing plans that relied on social media posts."")

• An editor at Spin magazine remembers the day its print edition folded...

And besides competition from influencers, there's also AI, "which seems likely to replace many of the remaining Gen X copywriters, photographers and designers. By 2030, ad agencies in the United States will lose 32,000 jobs, or 7.5 percent of the industry's work force, to the technology, according to the research firm Forrester."

Meanwhile the cost of living has skyrocketed, the article points out — even while Gen X-ers "are less secure financially than baby boomers and lack sufficient retirement savings, according to recent surveys..."

Smart TV platforms are increasingly monitoring what appears on users' screens through Automatic Content Recognition (ACR) technology, building detailed viewer profiles for targeted advertising.

Roku, which transitioned from a hardware company to an advertising powerhouse, reported $3.5 billion in annual ad revenue for 2024 -- representing 85% of its total income. The company has aggressively acquired ACR-related firms, with Roku-owned technology winning an Emmy in 2023 for advancements in the field.

According to market research firm Antenna, 43% of all streaming subscriptions in the United States were ad-supported by late 2024, showing the industry's shift toward advertising-based models. Most users unknowingly consent to this monitoring when setting up their devices. Though consumers can technically disable ACR in their TV settings, doing so often restricts functionality.

Fake movie trailers created with AI are proliferating across YouTube, with some garnering more views than official studio releases -- and Hollywood studios are quietly profiting from the phenomenon rather than shutting it down. Instead of enforcing copyright on these unauthorized videos, Warner Bros. Discovery, Sony Pictures, and Paramount are claiming monetization rights, directing ad revenue from fake trailers for films like "Superman" and "Gladiator II" into studio coffers, according to a Deadline investigation published Friday.

YouTube channels like Screen Culture, which has amassed 1.4 billion views, merge official footage with AI-generated imagery to create convincing trailer mockups that frequently rank higher in search results than legitimate studio releases. "Monetizing unauthorized, unwanted, and subpar uses of human-centered IP is a race to the bottom," SAG-AFTRA told Deadline, condemning studios for profiting from content that exploits performers without permission.

Streaming platforms are increasingly indistinguishable to consumers despite high brand awareness, according to Hub Entertainment Research. The annual Evolution of Video Branding report shows major services like Netflix, Disney+, Hulu, and Max experiencing year-over-year declines in viewers' ability to articulate what makes each platform unique.

Fewer consumers (37% in 2025, down from 41% in 2023) report signing up for services to watch specific shows, while many can't correctly identify where signature programs like Game of Thrones or The Bear can be viewed. While 58% know Stranger Things streams on Netflix, less than half can properly place other major titles.

According to Convergence Research, an estimated 46% of Canadian households didn't have a TV subscription with a cable, satellite, or telecom-based provider in 2024. MobileSyrup reports: In its latest annual "Couch Potato" report (PDF) on the streaming market, the firm notes that this was a four per cent increase from 2023 and that the number is expected to continue to rise to 54 per cent by 2027. Convergence notes that this marks a greater shift towards subscription video on demand services (SVOD) like Netflix and Disney+. To that point, the firm found that Canadian streaming subscription revenue grew 15 per cent year-over-year to $4.2 billion in 2024. At the same time, linear TV subscription revenue dropped five per cent to around $6.5 billion.

Some other interesting findings from the report:
- The 10 leading streaming providers raised prices in Canada by an average of six percent last year
- Ad-enabled memberships are cost 39 percent less on average compared to ad-free options
- Canadians subscribe to an average of 2.6 streaming platforms per household

Samsung Electronics vice chairman and co-CEO, Han Jong-hee, passed away from a heart attack on Tuesday at the age of 63. The Korea Herald reports: Since joining Samsung Electronics, Han held several key positions, including head of the LCD TV Lab. In 2021, he was appointed vice chairman and co-CEO, taking charge of the company's Device eXperience or DX division, which oversees its electronics and consumer device businesses. Developing...

Long-time Slashdot reader invisik reminds us that the "fish doorbell" is still going strong, according to the Associated Press. "Now in its fifth year, the site has attracted millions of viewers from around the world with its quirky mix of slow TV and ecological activism." The central Dutch city of Utrecht installed a "fish doorbell" on a river lock that lets viewers of an online livestream alert authorities to fish being held up as they make their springtime migration to shallow spawning grounds. The idea is simple: An underwater camera at Utrecht's Weerdsluis lock sends live footage to a website. When somebody watching the site sees a fish, they can click a button that sends a screenshot to organizers. When they see enough fish, they alert a water worker who opens the lock to let the fish swim through.
"Much of the time, the screen is just a murky green with occasional bubbles, but sometimes a fish swims past. As the water warms up, more fish show up..."

LG is shutting down Art Lab, its NFT marketplace for TVs. From a report: In a notice posted to its website, LG says it has made the "difficult decision" to close the platform on June 17th. LG launched its Art Lab app during the NFT craze in 2022, billing it as a way to "buy, sell and enjoy high-quality digital artwork" from your TV. It added new digital art to the platform through "groundbreaking" NFT drops, which users could purchase by scanning a QR code to complete transactions through Wallypto, LG's crypto wallet app.

Streaming service provider Plex announced Wednesday its first price increase in a decade for its premium Plex Pass subscription, raising monthly rates to $6.99 from $4.99, yearly subscriptions to $69.99 from $39.99, and lifetime access to $249.99 from $119.99, effective April 29. The company is also making remote playback of personal media a paid feature, introducing a Remote Watch Pass subscription at $1.99 monthly or $19.99 annually for users who don't need full Plex Pass features, and removing its one-time mobile activation fee.

The price increase applies to new and existing subscriptions, with the exception of existing Lifetime Plex Pass holders, the company said.

Sony has developed a new TV display technology combining individual red, green, and blue LEDs for backlighting, potentially offering a middle ground between existing Mini LED and OLED panels. Dubbed "General RGB LED Backlight Technology," the system enables precise color control without sacrificing brightness, reaching 4000 cd/m2 -- matching Sony's professional reference monitors.

Unlike conventional Mini LED TVs that use arrays of blue LEDs, Sony's RGB implementation delivers significantly improved color accuracy and viewing angles. In side-by-side comparisons with Sony's premium Bravia 9 Mini LED TV, the RGB prototype displayed deeper color gradations and eliminated the characteristic bluish blooming effect around bright objects on dark backgrounds.

The technology isn't entirely novel, the Verge reports -- Sony released a Qualia TV with RGB backlighting in 2004 and demonstrated "Crystal LED" prototypes in 2012. Competitors including Hisense, TCL, and Samsung are developing similar systems. While the RGB LED prototype outshone Sony's QD-OLED A95L in brightness, differences in color reproduction were less pronounced. The technology appears particularly promising for larger displays in bright environments where OLED's limitations become apparent.

Despite spending hundreds of millions on blockbuster films, Netflix continues to churn out critically panned big-budget fare with its latest $300 million flop, "The Electric State," starring Chris Pratt and Millie Bobby Brown. While the streaming giant has produced acclaimed films by giving talented directors creative freedom -- resulting in successes like "The Irishman," "Marriage Story" and "The Power of the Dog" -- it has repeatedly failed to create genuinely compelling blockbusters despite attracting major talent and pouring massive resources into productions like "Red Notice," "The Gray Man" and now "The Electric State."

These expensive Netflix "mockbusters" lack the overwhelming sensations that theatrical blockbusters deliver, instead feeling like glorified content designed primarily for home viewing. The Russo brothers' "Electric State," with its drab visuals and lifeless performances, exemplifies how Netflix's biggest productions feel infused with the knowledge they're merely "content first."

An anonymous reader quotes a report from Broadband TV News: The National Association of Broadcasters (NAB) has filed a petition with the Federal Communications Commission (FCC) urging the agency to establish a clear, industry-wide transition plan for the full deployment of Next Gen TV (ATSC 3.0). The proposal outlines a two-phased transition while modernizing regulatory requirements to support consumer access and innovation. [...] Under the plan, stations in the top 55 markets, covering 70% of the US population, would transition by February 2028, with all remaining full-power and Class A stations following in or before February 2030. The petition also calls for updates to FCC rules to ensure television reception devices support Next Gen TV, maintain existing MVPD carriage obligations and eliminate regulatory hurdles that could slow adoption. To clarify, ATSC 1.0 is the current standard for free over-the-air (OTA) TV. While ATSC 3.0 (also called NextGen TV) is its intended replacement, it's not backward-compatible, meaning consumers need new equipment to receive it. NAB's petition is to allow a complete shutdown of ATSC 1.0 to accelerate the transition to ATSC 3.0, meaning older TV setups relying on free OTA signals would stop working unless consumers upgrade their equipment. Their argument is that ATSC 3.0 adoption has been slow, and networks would benefit more from shifting away from OTA broadcasting entirely.

Reddit user bshensky argues that shutting down OTA TV would benefit large media corporations and harm independent stations. It's also worth noting that OTA TV operates on valuable spectrum, which could be repurposed for mobile broadband (this has happened before), benefiting cellular providers.

Apple's announcement that "more personalized Siri" features of Apple Intelligence would be delayed until "the coming year" reveals a troubling departure from the company's hard-earned reputation for reliability, long-time commentator John Gruber writes. Unlike other Apple Intelligence features that were demonstrated to media in June, the personalized Siri features -- promising personal context awareness, onscreen awareness, and in-app actions -- were never shown working to anyone outside Apple. Yet Apple prominently featured these capabilities in the WWDC keynote and even created TV commercials (now pulled) touting these functions to sell iPhone 16.

This represents a dangerous shift toward the pre-Jobs-return Apple that promised vaporware it couldn't deliver. Gruber writes. Apple has squandered its credibility, built meticulously over decades through consistently shipping what they promised, he writes. Gruber's post cites the following excerpt from a 2011 story: Apple doesn't often fail, and when it does, it isn't a pretty sight at 1 Infinite Loop. In the summer of 2008, when Apple launched the first version of its iPhone that worked on third-generation mobile networks, it also debuted MobileMe, an e-mail system that was supposed to provide the seamless synchronization features that corporate users love about their BlackBerry smartphones. MobileMe was a dud. Users complained about lost e-mails, and syncing was spotty at best. Though reviewers gushed over the new iPhone, they panned the MobileMe service.

Steve Jobs doesn't tolerate duds. Shortly after the launch event, he summoned the MobileMe team, gathering them in the Town Hall auditorium in Building 4 of Apple's campus, the venue the company uses for intimate product unveilings for journalists. According to a participant in the meeting, Jobs walked in, clad in his trademark black mock turtleneck and blue jeans, clasped his hands together, and asked a simple question: "Can anyone tell me what MobileMe is supposed to do?" Having received a satisfactory answer, he continued, "So why the fuck doesn't it do that?"

For the next half-hour Jobs berated the group. "You've tarnished Apple's reputation," he told them. "You should hate each other for having let each other down." The public humiliation particularly infuriated Jobs. Gruber adds: Tim Cook should have already held a meeting like that to address and rectify this Siri and Apple Intelligence debacle. If such a meeting hasn't yet occurred or doesn't happen soon, then, I fear, that's all she wrote. The ride is over. When mediocrity, excuses, and bullshit take root, they take over. A culture of excellence, accountability, and integrity cannot abide the acceptance of any of those things, and will quickly collapse upon itself with the acceptance of all three.

Netflix has deployed AI upscaling on the 1987-1993 sitcom "A Different World," resulting in significant visual artifacts documented by technology commentator Scott Hanselman. The AI processing, intended to enhance the original 360p footage for modern displays, has generated distortions resembling "lava lamp effects" on actors' bodies, improperly rendered mouths, and misshapen background objects including posters and tennis rackets. This marks Netflix's second controversial AI implementation in recent months, following December's AI-powered dubbing and mouth morphing on "La Palma."

Long-time Slashdot reader invisik saw this story on Yahoo News: Comedian and voice actor George Lowe, who is well-known as the voice of Space Ghost on "Space Ghost Coast to Coast," died on March 2. He was 67...

He did some voice-over work for TBWS and Cartoon Network in the 1980s to mid-1990s before getting his lead role of Space Ghost in 1994 with the premiere of "Space Ghost Coast to Coast" on Cartoon Network. Space Ghost was a parody of talk shows with live-action celebrity guests, hosted by the Hanna Barbera character Space Ghost, which aired from 1994 to 1999 on Cartoon Network. The show later returned in 2001, airing on Adult Swim's late-night programming block until 2004, Deadline reported.
When animation pioneer William Hanna died in 2001, Slashdot founder CmdrTaco posted "the thing that I respect most about Hanna is the fact that a show like Space Ghost Coast to Coast was allowed to take their characters and do something truly unique with them. He even lent his voice to the show in one episode. Not a lot of people would be willing to allow one of their creations to be twisted like that, but the original Space Ghost was one of my childhood staples, and Space Ghost Coast to Coast stands in a class all its own proving that creativity isn't dead on TV."

"Adult Swim would not be the network it is today without Space Ghost Coast to Coast," argues ComicBook.com. (And as a tribute to Lowe, Adult Swim posted five minutes of surreal outtakes from Space Ghost Coast to Coast's 10th Anniversary celebration.)

A headline at Vulture.com makes the case that "Space Ghost Coast to Coast Only Worked Because of George Lowe." They've rounded up a collection of videos with surreal titles like "Marrying Bjork" and "Guesting on a MF DOOM track" (plus that time Lowe did a live interview — in his Space Ghost costume — with C-SPAN).

"TCL has emerged as a dominant force in the premium TV market, surpassing LG in global shipments and solidifying its position as a key competitor to Samsung," writes Slashdot reader jjslash. "According to Counterpoint Research, TCL's premium TV shipments more than doubled year-on-year in Q4 2024, capturing 20% of the market, while LG's share fell to 19%." TechSpot reports: The two companies' shipment figures have gone in opposite directions since Q4 2023, when LG held a 26% share and TCL was on 12%. Samsung remains the leader when it comes to premium TVs. Its share dropped from 41% to 29% year-on-year, but it's still comfortably ahead of second-place TCL. Chinese brands are showing impressive growth in this market. Hisense also saw its shipment share rise, from 10% in 2023 to 16% in Q4 2024.

Counterpoint writes that it classifies QD-MiniLED, QD-LCD, NanoCell, LCD 8K, QD-OLED, WOLED, and MicroLED TVs as premium TV models. The segment grew 51% YoY to reach a record high in the fourth quarter, with full year shipments up 38%. In terms of global shipments (i.e., not just the premium sector), TCL overtook LG in 2022, with Hisense doing the same a year later. Samsung also leads this area, though its share is only 2 percentage points higher than TCL's.

Daniel Parris: Some TV shows take a while to "get good." Modern classics like Breaking Bad, The Wire, Community, and Bojack Horseman are notorious for "starting slow" and are often recommended with a disclaimer like "Give it a few episodes; I promise it gets good!"

At the same time, some shows never get good. Recently, I started a spy series called The Agency, which could best be characterized as premium mediocre (at least so far). There are big-name actors (Michael Fassbender, Jeffrey Wright, Richard Gere), expensive sets, and glossy camerawork -- but after a few installments, I'm trapped in a liminal space between engaged and listless. At the end of each episode, I'm left with the same thought: "Maybe the next one will get good."

Committing to a mediocre program or continuing with a floundering series elicits a state of (mildly) torturous ambiguity. Should you cut your losses, or is this show some late-blooming classic like Breaking Bad? What is the optimal number of episodes one should watch before cleansing a subpar series from their life? Surely, a universal number must exist! Like 42, but for television. So today, we'll explore how long it takes a new show to reach its full potential and how many lackluster episodes you should grant an established series before cutting ties. His analysis reveals that viewers should watch six episodes before quitting TV shows. The study, based on IMDb user ratings, found most series require six to seven episodes before early ratings match or exceed the show's long-term average. After six consecutive subpar episodes, the likelihood of permanent decline exceeds 50%, making it the optimal point to abandon disappointing series.

Several acclaimed shows including Breaking Bad, Friends, and Seinfeld required multiple episodes before reaching their quality potential, with Seinfeld needing 16 episodes to match its series average. The research also identified a pattern where long-running shows typically experience quality decline around seasons five and six, with ratings dropping below first-season averages and continuing to fall.

An anonymous reader quotes a report from Ars Technica: Thousands" of complaints about the volume of TV commercials have flooded the Federal Communications Commission (FCC) in recent years. Despite the FCC requiring TV stations, cable operators, and satellite providers to ensure that commercials don't bring a sudden spike in decibels, complaints around loud commercials "took a troubling jump" in 2024, the government body said on Thursday.

Under The Commercial Advertisement Loudness Mitigation (CALM) Act, broadcast, cable, and satellite TV providers are required to ensure that commercials "have the same average volume as the programs they accompany," per the FCC. The FCC's rules about the volume of commercials took effect in December 2012. The law also requires linear TV providers to use the Advanced Television Systems Committee's (ATSC's) recommended practices. The practices include guidance around production, post production, metadata systems usage, and controlling dynamic range. If followed, the recommendations "result in consistency in loudness and avoidance of signal clipping," per the ATSC [PDF]. The guidance reads: "If all programs and commercials were produced at a consistent average loudness, and if the loudness of the mix is preserved through the production, distribution, and delivery chain, listeners would not be subjected to annoying changes in loudness within and between programs."

As spotted by PC Mag, the FCC claimed this week that The Calm Act initially reduced complaints about commercials aggressively blaring from TVs. However, the agency is seeing an uptick in grievances. The FCC said it received "approximately" 750 complaints in 2022, 825 in 2023, and "at least" 1,700 in 2024 [PDF]. Since The Calm Act regulates a commercial's average loudness, some advertisers may be skirting the spirit of the law by making commercials very loud at the start (to get viewers' attention) before quieting down for the rest of the ad. In response to growing complaints, the FCC is reexamining its rules and this week announced that it's seeking comment from "consumers and industry on the extent to which The CALM Act rules are effective." The FCC is also asking people to weigh in on what future actions the FCC, the TV industry, or standard developers could take. The FCC is considering whether to extend the Calm Act to online streaming services, which are increasingly offering plans with ad-supported models and live event broadcasts.

Blue Origin on Thursday announced the crew for its next mission. "The crew most notably includes popstar Katy Perry and broadcast journalist Gayle King. They will be joined by two scientists -- Aisha Bowe and Amanda Nguyen -- as well as Jeff Bezos' fiancee, TV personality Lauren Sanchez and film producer Kerianne Flynn," reports TechCrunch. From the report: Blue Origin says this marks the first all-female space crew since Soviet astronaut Valentina Tereshkova's 1963 solo mission, which made her the first woman ever to go to space. For the company's New Shepard rocket, this is its 31st trip to space, and its 11th with a crew. This journey is expected to last around 10 to 12 minutes; and if you're willing to drop a $150,000 deposit, you too can reserve a future spot on a short space jaunt.

The boss of The Pokemon Company believes the series can last for at least another 50 years if it continues to innovate. From a report: First launched on Nintendo's Game Boy in 1996, the video game has expanded into films, TV and toys to become one of the world's highest-grossing media franchise. Most recently, the trading card game based on the cute creatures at the centre of its universe has seen a surge in popularity -- but it has also brought scalpers and frauds to the hobby.

[...] Pokemon has continued to bring new fans to the franchise by expanding into anime, card games, movies and toys alongside its video game titles. CEO Tsunekazu Ishihara says fans now "span several generations" and believes "the biggest reason behind their success is the fact that Pokemon became a tool of communication." Last weekend, about 13,000 Pokemon fans headed to the European leg of the International Championships at London's Excel Centre. It demonstrates Mr Ishihara's point that people have found their way into the series through various means.