DirecTV has agreed to acquire struggling rival Dish Network, creating a satellite TV behemoth with nearly 20 million subscribers. The complex transaction, announced Monday, involves private equity firm TPG acquiring a majority stake in DirecTV from AT&T for $7.6 billion. DirecTV will then purchase Dish for $1 and assume its debt.

The deal provides a lifeline for Dish, which faces $2 billion in debt due November with only $500 million in available cash. EchoStar, Dish's parent company, will retain its wireless spectrum investments and operate independently. Subject to regulatory approval and creditor agreement, the merger is expected to close in late 2025. DirecTV and TPG will provide $2.5 billion to cover Dish's immediate financial needs. The deal's fate remains uncertain, as a similar 2002 merger attempt was blocked on antitrust grounds.

An anonymous reader shares a report: Apple is rethinking its movie strategy after the disappointing box office performance of several big-budget films, including Martin Scorsese's Killers of the Flower Moon, Napoleon, Argylle and Fly Me to the Moon. Apple canceled plans to release Wolfs -- an action comedy starring George Clooney and Brad Pitt -- in thousands of theaters globally. Instead, the picture made its debut in a limited number of venues before it became available on the Apple TV+ streaming service on Sept. 27. Apple plans to use a similar approach with the next few titles on its calendar, including the World War II drama Blitz. Apple, which previously had intended to spend about $1 billion annually on blockbusters for cinemas, won't return to the big screen with a wide, global theatrical release until June with F1 -- a film starring Pitt as a former Formula One driver who returns to racing to mentor a rising star.

[...] Apple is pulling back from theaters at the same time Netflix Inc. and Amazon are reworking their movie strategies. Earlier this year, Netflix hired producer Dan Lin to oversee its film studio, which had spent billions of dollars a year to produce more films than any other company in Hollywood. Yet Netflix struggled to control the quality and cost of its slate, which in some years approached 50 movies. For every hit, such as Bird Box, there were several misses. Lin's predecessor Scott Stuber also clashed with management over its strategy for movie theaters. Stuber wanted to release movies such as Scorsese's The Irishman and the Knives Out sequel Glass Onion widely in cinemas, but he couldn't persuade Netflix co-Chief Executive Officer Ted Sarandos. Lin aims to make fewer movies and develop more projects in-house to keep costs down. He has considered scrapping several of the more expensive projects in development at Netflix.

An anonymous reader quotes a report from 404 Media: After a horseback riding accident left him paralyzed from the waist down in 2009, former jockey Michael Straight learned to walk again with the help of a $100,000 ReWalk Personal exoskeleton. Earlier this month, that exoskeleton broke because of a malfunctioning piece of wiring in an accompanying watch that makes the exoskeleton work. The manufacturer refused to fix it, saying the machine was now too old to be serviced, and Straight once again couldn't walk anymore. "After 371,091 steps my exoskeleton is being retired after 10 years of unbelievable physical therapy," Straight posted on Facebook on September 16. "The reasons [sic] why it has stopped is a pathetic excuse for a bad company to try and make more money. The reason it stopped is because of a battery in the watch I wear to operate the machine. I called thinking it was no big deal, yet I was told they stopped working on any machine that was 5 years or older. I find it very hard to believe after paying nearly $100,000 for the machine and training that a $20 battery for the watch is the reason I can't walk anymore?"

Straight's experience is a nightmare scenario that highlights what happens when companies decide to stop supporting their products and do not actively support independent repair. It's also what happens without the protection of right to repair legislation that requires manufacturers to make repair parts, guides, and tools available to the general public. Specifically, a connection wire became desoldered from the battery in a watch that connects to the exoskeleton: "It's not the actual battery, but it's the little green connection piece we need to be the right fit and that's been our problem," Straight posted on Facebook. Straight's personal exoskeleton was broken for two months, he said in a video on Facebook. He was eventually able to get the device fixed after attention from an article in the Paulick Report, a website about the horse industry, and a spot on local TV. "It took me two months, and I got no results," he said in the video. With social media and news attention, "it only took you all four days, and look at the results," he said earlier this week while standing in the exoskeleton. "This is the dystopian nightmare that we've kind of entered in, where the manufacturer perspective on products is that their responsibility completely ends when it hands it over to a customer. That's not good enough for a device like this, but it's also the same thing we see up and down with every single product," Nathan Proctor, head of citizen rights group US PIRG's right to repair project told 404 Media. "People need to be able to fix things, there needs to be a plan in place. A $100,000 product you can only use as long as the battery lasts, that's enraging. We should not have to tolerate a society where this happens."

"We have all this technology we release into the wild and it changes people's lives, but there's no long-term thinking. Manufacturers currently have no legal obligation to support the equipment indefinitely and there's no requirements that they publish sufficient documentation to allow others to do it," Proctor said. "We need to set minimum standards for documentation so that, even if a company goes bankrupt or falls off the face of the earth, a technician with sufficient knowledge can fix it."

Disney has officially launched its password and account-sharing crackdown, rolling out what it is calling its "paid sharing program" to users in the U.S. and in many regions around the world this week. The rollout follows the company sharing plans to crackdown on unauthorized usage on its streaming service earlier this year. From a report: The paid sharing program has a couple of options for users, per a blog post published Wednesday: People sharing an account with someone outside their household can add that person as an "Extra Member" for $6.99 per month for Disney+ Basic, or $9.99 for Disney+ Premium, both discounts to the normal retail price. Only one Extra Member will be allowed per account, and it is not available as part of the Disney Bundle. In addition, users sharing an account can also subscribe to Disney+ themselves, and can transfer an eligible profile to the new account to keep their watch history and settings. The password-cracking effort has helped Netflix boost its subscribers count in recent quarters.

LG has started displaying ads on TV screensavers, intensifying the proliferation of ads in smart TV software. The South Korean company quietly announced the move to advertisers on September 5, forgoing a public statement to consumers.

The creator of an open source project that scraped the internet to determine the ever-changing popularity of different words in human language usage says that they are sunsetting the project because generative AI spam has poisoned the internet to a level where the project no longer has any utility. 404 Media: Wordfreq is a program that tracked the ever-changing ways people used more than 40 different languages by analyzing millions of sources across Wikipedia, movie and TV subtitles, news articles, books, websites, Twitter, and Reddit. The system could be used to analyze changing language habits as slang and popular culture changed and language evolved, and was a resource for academics who study such things. In a note on the project's GitHub, creator Robyn Speer wrote that the project "will not be updated anymore."

"Generative AI has polluted the data," she wrote. "I don't think anyone has reliable information about post-2021 language usage by humans." She said that open web scraping was an important part of the project's data sources and "now the web at large is full of slop generated by large language models, written by no one to communicate nothing. Including this slop in the data skews the word frequencies." While there has always been spam on the internet and in the datasets that Wordfreq used, "it was manageable and often identifiable. Large language models generate text that masquerades as real language with intention behind it, even though there is none, and their output crops up everywhere," she wrote.

Coming soon: Amazon sellers duking it out on TV to get their wares prime placement at the world's largest online retailer. Think "Shark Tank" meets Home Shopping Network. From a report: The e-commerce giant plans to introduce a new competition show next month in which entrepreneurs pitch their products to a studio audience as well as to judges including Amazon executives and celebrities like Goop founder Gwyneth Paltrow and designer Christian Siriano. Finalists will have their inventions sold in a new Amazon "Buy It Now" online store, and the winner of each episode will earn $20,000.

The show is the retailer's latest attempt to marry content and commerce. Persuading consumers to shop through Internet-enabled televisions has long been a goal of traditional entertainment companies, but getting viewers to scan the QR code can be difficult. By creating shows that highlight its sellers and their products, Amazon has a better shot at getting viewers to shop -- especially younger audiences who are already doing this on apps like TikTok, said Bernstein analyst Mark Shmulik. "This feels more elegant than QR codes," Shmulik said of Amazon's new game show. Over the past few years, Amazon has introduced ads with QR codes in about 100 shows and movies, including "The Summer I Turned Pretty," "The Boys" and, more recently, NFL football games.

The entertainment company behind "The Hunger Games" and "Twilight" plans to start using generative AI in the creation of its new movies and TV shows, a sign of the emerging technology's advance in Hollywood. From a report: Lions Gate Entertainment has agreed to give Runway, one of several fast-evolving AI startups, access to its content library in exchange for a new, custom AI model that the studio can use in the editing and production process.

The deal -- the first of its kind for Runway and one that could become a blueprint in the entertainment industry -- comes as creatives, actors and studio executives debate whether to use the new technology and how to protect their copyright material. Advocates say generative AI can enhance creators' work and help a cash-strapped industry save time and money. Michael Burns, vice chairman of Lionsgate Studio, expects the company to be able to save "millions and millions of dollars" from using the new model. The studio behind the "John Wick" franchise and "Megalopolis" plans to initially use the new AI tool for internal purposes like storyboarding -- laying out a series of graphics to show how a story unfolds -- and eventually creating backgrounds and special effects, like explosions, for the big screen.

An anonymous reader shares a report: Per a recent update to Microsoft's Deprecated Windows features page, Legacy DRM services utilized by Windows Media Player and Silverlight clients for Windows 7 and Windows 8 are now deprecated. This will prevent the streaming or playback of DRM-protected content in those applications on those operating systems. It also includes playing content from personal CD rips and streaming from a Silverlight or Windows 8 client to an Xbox 360 if you were still doing that.

For those unfamiliar, "DRM" refers to Digital Rights Management. Basically, DRM tech ensures that you aren't stealing or playing back pirated content. Of course, piracy still exists, but these days, most officially distributed movies, TV shows, games, etc., all involve some form of DRM unless explicitly advertised as DRM-free. DRM does seem like harmless piracy prevention on paper. Still, it hasn't been all that effective at eliminating piracy -- and where it is implemented, it mainly punishes or inconveniences paying customers. It is an excellent example of DRM's folly. Now, anyone who had previously opted into Microsoft's legitimate media streaming ecosystem with Windows 7 and 8 is being penalized for buying media legitimately since it will no longer work without them being forced to pivot to other streaming solutions.

An anonymous reader quotes a report from Ars Technica, written by Scharon Harding: TCL has come under scrutiny this month after testing that claimed to examine three TCL TVs marketed as quantum dot TVs reportedly showed no trace of quantum dots. [...] Earlier this month, South Korean IT news publication ETNews published a report on testing that seemingly showed three TCL quantum dot TVs, marketed as QD TVs, as not having quantum dots present. Hansol Chemical, a Seoul-headquartered chemicals company, commissioned the testing. SGS, a Geneva-headquartered testing and certification company, and Intertek, a London-headquartered testing and certification company, performed the tests. The models examined were TCL's C755, said to be a quantum dot Mini LED TV, the C655, a purported quantum dot LED (QLED) TV, and the C655 Pro, another QLED. None of those models are sold in the US, but TCL sells various Mini LED and LED TVs in the US that claim to use quantum dots. According to a Google translation, ETNews reported: "According to industry sources on the 5th, the results of tests commissioned by Hansol Chemical to global testing and certification agencies SGS and Intertek showed that indium... and cadmium... were not detected in three TCL QD TV models. Indium and cadmium are essential materials that cannot be omitted in QD implementation." The testing was supposed to detect cadmium if present at a minimum concentration of 0.5 mg per 1 kg, while indium was tested at a minimum detection standard of 2 mg/kg or 5 mg/kg, depending on the testing lab. [...]

In response to the results from SGS and Intertek, a TCL representative told ETNews and The Korea Times that TCL is "manufacturing TV sets with QD films supplied by three companies" and that "the amount of quantum dots... in the film may vary depending on the supplier, but it is certain that cadmium is included." TCL also published testing results on May 10 commissioned by Guangdong Region Advanced Materials, one of TCL's quantum dot film suppliers. Interestingly, SGS, one of the companies that found that TCL's TVs lacked quantum dots, performed the tests. This time, SGS detected the presence of cadmium in the TV films at a concentration of 4 mg/kg (an image of the results can be seen via ETNews here). TCL also said that it "confirmed the fluorescent characteristics of QD," per Google's translation, and provided a spectrogram purportedly depicting the presence of quantum dots in its TVs' quantum dot films. [...]

TCL obviously has reason to try to push results that show the presence of cadmium. However, some analysts and publications have pointed out that Hansol could have reason to push results claiming the opposite. As mentioned above, Hansol is in the chemical manufacturing and distribution business. It notably does not sell to TCL but does have a customer in TCL rival Samsung. Taking a step back further, Hansol is headquartered in Seoul and is considered a chaebol. TV giants Samsung and LG are also chaebols, and the South Korean government has reported interest in Samsung and LG continuing to be the world's biggest TV companies—titles that are increasingly challenged by Chinese brands. It has previously been reported that the South Korean government urged Samsung and LG to meet with each other to help ensure their leadership. The talks resulted in a partnership between the two companies reportedly centered on counteracting high prices that Samsung was facing for TV components sold by Chinese companies. With this background in mind, Hansol could be viewed as a biased party when it sought testing for TCL quantum dot TVs. "I'm really puzzled by Hansol's results," said Eric Virey, principal displays analyst at Yole Intelligence. "I have a very hard time believing that TCL would go through the troubles of making ... 'fake' QD films without QDs: this would cost almost as much as making a real QD films but without the performance benefits."

Ars Technica concludes: "As previously stated, it's possible that TCL is indeed using quantum dots but is using them in a small amount alongside phosphor. If true, the performance may not be as high as it would be with other designs, but it would also mean that TCL's quantum dot TVs aren't bogus. As it stands, the situation could benefit from more, preferably third-party, testing..."

The New York Times looks at "a third-generation family firm" in Paraguay "with 280 workers that packages hot sauce, soy beans...and seven kinds of salt for sale in Paraguayan supermarkets."

Its mascot — on t-shirts, coffee cups, and "in heavy demand at Paraguayan weddings" — is a mouse named Mickey. 51-year-old Viviana Blasco — one of five siblings who run the business — told the Times that it all began back in 1935: Ms. Blasco's grandfather, Pascual, the son of Italian immigrants, saw an opportunity to spread some joy — and turn a profit. He opened a tiny shop selling fruit and homemade gelato. It was called Mickey... Pascual, she said, often vacationed in Buenos Aires — Argentina's cosmopolitan capital... "On one of his trips, he must have seen the famous mouse," Ms. Blasco said... A few years later, Pascual opened the Mickey Ice Cream Parlor, Café and Confectioners. By 1969, Mickey was selling rice, sugar and baking soda in packages now decorated with the eponymous mouse.
"Mickey resonates with Paraguayans' sense of nostalgia, said Euge Aquino, a TV chef and social media influencer who uses its ingredients to make comfort food like pastel mandi'o (yuca and beef empanadas)... Mickey's popularity, she said, also has a lot to do with the mascot handing out candy outside the factory gates every Christmas: a tradition dating back to 1983." By now, a "peaceful coexistence" reigns between Mickey and its United States doppelgänger, said Elba Rosa Britez, 72, the smaller company's lawyer. This truce was hard-won. In 1991, Disney filed a trademark violation claim with Paraguay's Ministry of Business and Industry that was rejected. The company then filed a lawsuit, but in 1995 a trademark tribunal ruled in Mickey's favor. There, one judge agreed that Paraguayans could easily confuse the Disney Mickey and the Paraguayan Mickey. But Disney didn't reckon on a "legal loophole," Ms Britez explained. The Mickey trademark had been registered in Paraguay since at least 1956 — and Pascual's descendants had since renewed it — without protest from the multinational. In 1998, Paraguay's Supreme Court issued its final ruling. Through decades of uninterrupted use, Mickey had acquired the right to be Mickey.

"I jumped for joy," Ms Britez said. Mickey's legal immunity in Paraguay, Ms. Blasco acknowledged, might not extend to selling its products abroad. "We've never tried."
"Some lining up to meet the mascot said Mickey's David-vs-Goliath triumph against Disney filled them with national pride..."

"For 75 years Cosm built planetariums," reports a Texas news station, "and then a few years ago realized this technology could take you from the night sky to anywhere under the sun."

So now Los Angeles and Dallas have massive 9,600-square-foot, 8K-resolution screens that one reviewer for SFGate calls "an absolute game-changer" for sports fans. "At its best, Cosm's floor-to-ceiling screen gives anyone with a seat the opportunity to embrace a face full of on-the-field action at such high quality that it can be staggering, almost overwhelming at times — so just be sure to hold on tight, to the handrails and to your wallets."

There's also a bar with a 150-foot band of screens and a rooftop area with mounted TV, but they're "not why anyone has come," SFGate points out. Even the Dome has three distinct floors, though it's the second floor "where full visual immersion happens." The action feels so close, I can almost smell it, and all the focus is pulled to the center of the giant screen. Patrons truly do feel at the absolute heart of the action, with better seats than perhaps they could even pay for at Manchester's Old Trafford stadium. From a sports-viewing standpoint, I can't imagine it gets much better than this... Over the course of just a few minutes, the viewing angle flips from corner looks to right up against the goalkeeper's net, and then it widens out to dead center to catch crisp passes. Some angles put me right in the stands, cheering along with the loyalists at a stadium half a world away...

To be clear, the premium ticket costs are good for recouping Cosm's substantial investment in this gorgeous technological product, which has been in the works for years. The price tag is also likely to be little issue for any Los Angeles fan with money to spend, but the cost really does lay bare the growing division between the haves and have-nots in American sports society... If you paid $20 for a general admission entry that mostly just grants access to the fringes of the action, well ... good luck getting the most out of the Dome... The edges of the massive screen are stretched to comic effect, making the fisheye perspective more disorienting than fun. At the center of the room, it feels like you're absolutely in the meat of the action; at the fringes, you're left to pick at a few digital bones...

[F]or the rest of us, the normal sports fans who like to sway with strangers during the seventh-inning stretch, the ones who want to be able to take their kids to a game without feeling quite so financially wrung out, Cosm is yet another troubling sign of big, expensive things to come. Being a fan of a sports franchise in 2024 is an increasingly costly proposition. Watching your favorite NFL team now requires cable access, as well as multiple streaming services like Amazon Prime... There is no question that Cosm is a unique experience and that it will absolutely have a hand in transforming the modern digital sports-watching landscape, especially for those who want a digital re-creation of the best seat in the house over the camaraderie of a shared, in-person sports experience. The place will be able to charge incredible sums for the Super Bowl or World Series games, and — when at its best, with a prime seat in the middle of the action — the cost will be justifiable for many.

But for the folks at the financial fringes, the ones with the most spirit and often the least to spend, Cosm undoubtedly feels like a widening of the economic chasm that is pulling fans and their favorite teams further apart.
Besides sports events, Cosm's Dome also offers other immersive experiences like Circque du Soleil's "O" and Planetary Collective's "Orbital".

Another Cosm location is planned for Phoenix in 2025.

An anonymous reader quotes a report from Ars Technica: Researchers still don't know the cause of a recently discovered malware infection affecting almost 1.3 million streaming devices running an open source version of Android in almost 200 countries. Security firm Doctor Web reported Thursday that malware named Android.Vo1d has backdoored the Android-based boxes by putting malicious components in their system storage area, where they can be updated with additional malware at any time by command-and-control servers. Google representatives said the infected devices are running operating systems based on the Android Open Source Project, a version overseen by Google but distinct from Android TV, a proprietary version restricted to licensed device makers.

Although Doctor Web has a thorough understanding of Vo1d and the exceptional reach it has achieved, company researchers say they have yet to determine the attack vector that has led to the infections. "At the moment, the source of the TV boxes' backdoor infection remains unknown," Thursday's post stated. "One possible infection vector could be an attack by an intermediate malware that exploits operating system vulnerabilities to gain root privileges. Another possible vector could be the use of unofficial firmware versions with built-in root access." The following device models infected by Vo1d are: [R4, TV BOX, KJ-SMART4KVIP].

One possible cause of the infections is that the devices are running outdated versions that are vulnerable to exploits that remotely execute malicious code on them. Versions 7.1, 10.1, and 12.1, for example, were released in 2016, 2019, and 2022, respectively. What's more, Doctor Web said it's not unusual for budget device manufacturers to install older OS versions in streaming boxes and make them appear more attractive by passing them off as more up-to-date models. Further, while only licensed device makers are permitted to modify Google's AndroidTV, any device maker is free to make changes to open source versions. That leaves open the possibility that the devices were infected in the supply chain and were already compromised by the time they were purchased by the end user. "These off-brand devices discovered to be infected were not Play Protect certified Android devices," Google said in a statement. "If a device isn't Play Protect certified, Google doesn't have a record of security and compatibility test results. Play Protect certified Android devices undergo extensive testing to ensure quality and user safety."

Users can confirm if their device runs Android TV OS via this link and following the steps here.

United Airlines said that it will outfit its entire fleet with Starlink internet service, aiming to keep fliers loyal by offering zippier, more reliable browsing and downloads that the carrier expects will mirror what travelers are used to on the ground. From a report: United's deal is a bet that Starlink's technology can propel it above rival carriers in offering fast, free Wi-Fi. The airline is in the midst of a broader effort to burnish its premium and business travel bona fides, which has included retrofitting planes with lots of power outlets and seat back screens.

The airline said it would begin testing the Starlink service early next year, with the first passenger flights likely equipped later in 2025. United said Starlink's service will be more reliable, particularly over oceans and other remote areas -- a key advantage for the airline's network of long-haul international flights that cross the Atlantic and Pacific oceans. It will allow passengers to access live TV and streaming, and to use several devices at once.

An anonymous reader quotes a report from Wired, written by Guthrie Scrimgeour: It always seemed difficult for the newspaper where I used to work, The Garden Island on the rural Hawaiian island of Kauai, to hire reporters. If someone left, it could take months before we hired a replacement, if we ever did. So, last Thursday, I was happy to see that the paper appeared to have hired two new journalists -- even if they seemed a little off. In a spacious studio overlooking a tropical beach, James, a middle-aged Asian man who appears to be unable to blink, and Rose, a younger redhead who struggles to pronounce words like "Hanalei" and "TV," presented their first news broadcast, over pulsing music that reminds me of the Challengers score. There is something deeply off-putting about their performance: James' hands can't stop vibrating. Rose's mouth doesn't always line up with the words she's saying.

When James asks Rose about the implications of a strike on local hotels, Rose just lists hotels where the strike is taking place. A story on apartment fires "serves as a reminder of the importance of fire safety measures," James says, without naming any of them. James and Rose are, you may have noticed, not human reporters. They are AI avatars crafted by an Israeli company named Caledo, which hopes to bring this tech to hundreds of local newspapers in the coming year. "Just watching someone read an article is boring," says Dina Shatner, who cofounded Caledo with her husband Moti in 2023. "But watching people talking about a subject -- this is engaging."

The Caledo platform can analyze several prewritten news articles and turn them into a "live broadcast" featuring conversation between AI hosts like James and Rose, Shatner says. While other companies, like Channel 1 in Los Angeles, have begun using AI avatars to read out prewritten articles, this claims to be the first platform that lets the hosts riff with one another. The idea is that the tech can give small local newsrooms the opportunity to create live broadcasts that they otherwise couldn't. This can open up embedded advertising opportunities and draw in new customers, especially among younger people who are more likely to watch videos than read articles. Reception of the AI avatars has been poor, notes Scrimgeour. "This ain't that,â says one Instagram commenter. "Keep journalism local." Another just reads: "Nightmares."

There's also concern around the jobs these avatars will take. "Caledo claims its AI won't take news jobs because it only does work that isn't being done otherwise," notes Scrimgeour, agreeing that his newspaper company never had a video broadcast while he worked there.

"The question is, will local audiences buy into the new tech? Early returns suggest that Kauai viewers, at least, might have trouble accepting James and Rose as kama'aina (locals)..."

Television has ceased to be the main source of news in the UK for the first time since the 1960s as Britons turn increasingly to online news and social media apps, according to research by the media regulator. From a report: Ofcom said on Tuesday that viewing of TV news had continued to fall steeply, with online platforms such as Facebook, YouTube and TikTok and digital versions of broadcasters now slightly more widely used as a source of news.ÂIn its annual study of audience habits, the watchdog said 71 per cent of adults obtained news online, compared with 70 per cent via TV -- a finding it described as "marking a generational shift in the balance of news media."

The reach of TV news has fallen from 75 per cent last year. More than four-fifths of people between the ages of 16 and 24 obtained their news from social media, Ofcom found. The report underlines the pressure on more traditional linear broadcasters such as the BBC, Sky and Channel 4 to accelerate moves to digital platforms, which include their own streaming sites as well as social media apps such as TikTok.Â

James Earl Jones, the beloved actor best known for his roles in "Field of Dreams," "The Lion King," and "Star Wars," has died at the age of 93. Deadline reports: Widely regarded as among the world's great stage and screen actors Jones is one of the few entertainers to have won the EGOT (Emmy, Grammy, Oscar, Tony), though his Academy Award was Honorary. Jones has received two Primetime Emmy Awards, a Daytime Emmy, a spoken-word Grammy Award in 1977 and three Tony Awards.

The actor amassed nearly 200 screen credits during his brilliant 60-year career, starting some early-'60s TV guest roles and Stanley Kubrick's 1964 classic Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). He probably is best known for his voice role as the dastardly Darth Vader in George Lucas' original Star Wars trilogy: Star Wars (1977) The Empire Strikes Back, 1980) and Return of the Jedi (1983). He also reprised the villainous role in Star Wars: Episode III -- Revenge of the Sith (2005), Rogue One: A Star Wars Story (2016), Star Wars: Episode IX -- The Rise of Skywalker (2019) and TV's Obi-Wan Kenobi and Star Wars: Rebels.

Movie fans will remember such chilling, immortal Vader quotes as "When I left you, I was but the learner -- now I am the master," "I find your lack of faith disturbing" and, of course, "No, I am your father."

In a newsletter for Bloomberg, Ashley Carman discusses the rising trend of long podcasts and their surprising popularity among listeners. "By today's standards of interminable podcast discussions, a nearly three-hour recording isn't even particularly notable," she writes, highlighting recent episodes from Joe Rogan (2 hours; 16 minutes with Adam Sandler), Lex Fridman (8 hours; 37 minutes with Elon Musk), and the Acquired podcast (3 hours; 38 minutes with Lockheed Martin). "Increasingly, podcasters are pushing the outer limits of episode length while stress testing the endurance of their audiences. Popular podcast gabfests can now run on for half a workday or longer." From the report: One might assume such marathon episodes must be the result of a hands-off approach to editing. But this is not the case, said Ben Gilbert, co-host of the Acquired podcast. Every month, he and his co-host David Rosenthal release a three- to four-hour podcast, detailing the story of a specific company. The in-depth histories, he said, are the result of nine-hour recording sessions and a month of research.

"It's not important to ship every good minute," Gilbert said. "It's important to ship only great minutes. If you're actually intellectually honest with yourself, that's how to release a really good product." Even with the longer runtimes, he said, their audience listens to the vast majority of each episode. Consider their deep dive on Lockheed Martin, which runs for three hours and 38 minutes. On Apple Podcasts, the average listener consumed 70% of the show, he said. An episode on Nike, which clocks in at upwards of four hours, had an average consumption rate of 68%. "Every time we made something longer... people only seemed to love it more," he said. On the show's website, the hosts describe the episodes as "conversational audiobooks." [...]

[Jack Sylvester, executive director at Flight Studio, the Bartlett-founded podcast company behind Diary of a CEO] said the team can view data around how much of the audience consumes episodes on YouTube's TV app versus on a phone, tablet or computer. TV usage, he said, is ticking up. To give viewers a reason to keep the show on as their primary viewing experience, they're now making sure the videos have a top-quality polish. Still, in a world in which people scoff at the prospect of a three-hour movie -- and short-form video is the dominant consumption trend in entertainment -- these podcasters are eagerly meandering in the opposite direction. "The short-form obsession ended up creating white space for us," said Gilbert of Acquired. "Whenever you have a trend, that means there's people who feel left behind and want to flock to something new. This sets us apart."

Visa said it plans to launch a dedicated service for bank transfers, skipping credit cards and the traditional direct debit process. From a report: Visa, which alongside Mastercard is one of the world's largest card networks, said Thursday it plans to launch a dedicated service for account-to-account (A2A) payments in Europe next year. Users will be able set up direct debits -- transactions that take funds directly from your bank account -- on merchants' e-commerce stores with just a few clicks. Visa said consumers will be able to monitor these payments more easily and raise any issues by clicking a button in their banking app, giving them a similar level of protection to when they use their cards.

The service should help people deal with problems like unauthorized auto-renewals of subscriptions, by making it easier for people to reverse direct debit transactions and get their money back, Visa said. It won't initially apply its A2A service to things like TV streaming services, gym memberships and food boxes, Visa added, but this is planned for the future. The product will initially launch in the U.K. in early 2025, with subsequent releases in the Nordic region and elsewhere in Europe later in 2025. [...] Static direct debits, for example, require advance notice of any changes to the amount taken, meaning you have to either cancel the direct debit and set up a new one or carry out a one-off transfer. With Visa A2A, consumers will be able to set up variable recurring payments (VRP), a new type of payment that allows people to make and manage recurring payments of varying amounts.

An anonymous reader quotes a report from Wired: You might have a hard time stretching your memory to the Obama era, but back in 2013, Panasonic's plasma TVs were the critical darlings of the US market. They far outperformed their LED/LCD counterparts at a time when OLED was little more than a pipe dream for most. Then suddenly, under enormous pressure from ever-cheaper LED panels, Panasonic halted all plasma TV production. By 2016, the company had left the US TV space entirely. Now, over 10 years after its plasma models reigned supreme in the US, Panasonic TVs are back, baby.

Outside the US, Panasonic has remained a global leader in the OLED era. Rumors about a stateside return have been swirling for nearly as long as the brand has been away, but a global partnership with Amazon announced at CES 2024 kicked things into high gear. Today, Panasonic officially revealed the US launch of three premium TVs powered by Amazon's Fire TV smart interface: the flagship Z95A and "core" Z85A OLED TVs, and the W95A flagship mini LED TV. All three models are available now in limited sizes, as Panasonic begins its slow walk back to competing against LG, Samsung, and Sony. There are three models now available in the US: 55- and 65-inch OLED options and a Mini LED TV that measures up to 85 inches.

The Z95A is Panasonic's top OLED model featuring advanced gaming features, a 144-Hz refresh rate on select inputs, HDR10+, Dolby Vision support, and AI-powered picture modes. According to Wired, it boasts an impressive sound system developed with hi-fi audio brand Technics and employs Panasonic's proprietary microlens array technology for optimized brightness and heat management.

The Z85A is a step-down model offering similar gaming specs and smart home integration at a lower price, lacking the Z95A's specialized brightness and sound enhancements. It includes a game mode, HDR10+, Dolby Vision support, and a Mark II processor but only supports up to 120 Hz and doesn't have a built-in microphone for Alexa.

Last but not least is Panasonic's W95A flagship miniLED model, offering gaming-ready features like a 144-Hz refresh rate on two HDMI inputs and local dimming for deep contrast and high brightness. It includes the same smart-home integration as other models but features a more standard sound system, and Alexa control is available only through the remote.