Starting in summer 2026, Netflix subscribers in France will be able to watch commercially broadcast TV content "without ever having to leave the service." The Verge adds: The streaming giant has announced a distribution deal with French media company TF1 Group to make TF1's free-to-air live TV channels and on-demand TF1 Plus streaming content available to French Netflix users as part of their existing subscription plan.

DC Studios co-head James Gunn argues that the movie industry is "dying" primarily because productions begin before screenplays are complete, while also delivering a sharp critique of his former employer Marvel Studios, which he claims Disney has "killed" through output mandates.

Gunn dismissed common explanations for Hollywood's struggles like declining theater attendance or improved home viewing experiences, telling Rolling Stone that "the number one reason is because people are making movies without a finished screenplay." The filmmaker has implemented a strict rule at DC Studios requiring finished scripts before production starts, recently scrapping a project because its screenplay wasn't ready.

The director, who previously helmed three "Guardians of the Galaxy" films for Marvel, said Disney's corporate directive to increase output destroyed the studio's creative process. "They were under a corporate mandate, yeah. That wasn't fair. It wasn't right. And it killed them," Gunn said, referring to Marvel's mandated production quotas for movies and television shows. By contrast, Gunn said DC Studios operates without numerical mandates. "We don't have the mandate to have a certain amount of movies and TV shows every year. So we're going to put out everything that we think is of the highest quality," he explained.

An anonymous reader quotes a report from the BBC: Social media and video networks have become the main source of news in the US, overtaking traditional TV channels and news websites, research suggests. More than half (54%) of people get news from networks like Facebook, X and YouTube -- overtaking TV (50%) and news sites and apps (48%), according to the Reuters Institute. "The rise of social media and personality-based news is not unique to the United States, but changes seem to be happening faster -- and with more impact -- than in other countries," a report found. Podcaster Joe Rogan was the most widely-seen personality, with almost a quarter (22%) of the population saying they had come across news or commentary from him in the previous week. The report's author Nic Newman said the rise of social video and personality-driven news "represents another significant challenge for traditional publishers." Other key findings from the report include:
- TikTok is the fastest-growing social and video platform, now used for news by 17% globally (up 4% from last year).
- AI chatbot use for news is increasing, especially among under-25s, where it's twice as popular as in the general population.
- Most people believe AI will reduce transparency, accuracy, and trust in news.
- Across all age groups, trusted news brands with proven accuracy remain valued, even if used less frequently.

Amazon has quietly doubled the ad load on Prime Video to 4-6 minutes per hour, up from the 2-3.5 minutes initially discussed when ads launched in 2024. AdWeek reports: According to six ad buyers and documents reviewed by ADWEEK, the current ad load on Prime Video now ranges from four to six minutes per hour. And while that could bring down CPMs, buyers will be watching whether this impacts user experience. "Prime Video ad load has gradually increased to four to six minutes per hour," an Amazon representative wrote to an ad buyer in an email obtained by ADWEEK. The exchange occurred earlier this month.

The increase, which Amazon had telegraphed to investors but has not publicly acknowledged to consumers, gives the company significantly more inventory to sell across its rapidly expanding streaming business. "They told us the ad load would be increasing," said Kendra Tang, programmatic supervisor at Rain the Growth Agency. "That's been confirmed recently when we noticed more avails in the system."

Amazon has launched its AI-powered Video Generator tool in the U.S., allowing sellers to quickly create photorealistic, motion-enhanced video ads often with a single click. "We'll likely see Amazon retailers utilizing AI-generated video ads in the wild now that the tool is generally available in the U.S. and costs nothing to use -- unless the ads are so convincing that we don't notice anything at all," says The Verge. From the report: New capabilities include motion improvements to show items in action, which Amazon says is best for showcasing products like toys, tools, and worn accessories. For example, Video Generator can now create clips that show someone wearing a watch on their wrist and checking the time, instead of simply displaying the watch on a table. The tool generates six different videos to choose from, and allows brands to add their logos to the finished results.

The Video Generator can now also make ads with multiple connected scenes that include humans, pets, text overlays, and background music. The editing timeline shown in Amazon's announcement video suggests the ads max out at 21 seconds.. The resulting ads edge closer to the traditional commercials we're used to seeing while watching TV or online content, compared to raw clips generated by video AI tools like OpenAI's Sora or Adobe Firefly.

A new video summarization feature can create condensed video ads from existing footage, such as demos, tutorials, and social media content. Amazon says Video Generator will automatically identify and extract key clips to generate new videos formatted for ad campaigns. A one-click image-to-video feature is also available that creates shorter GIF-style clips to show products in action.

An anonymous reader quotes a report from TorrentFreak: Fresh data released by piracy tracking outfit MUSO shows that pirate sites remain popular. In a report released today, MUSO reveals that there were 216 billion pirate site visits globally in 2024, a slight decrease compared to the 229 billion visits recorded a year earlier. TV piracy remains by far the most popular category, representing over 44.6% of all website visits. This is followed by the publishing category with 30.7%, with film, software and music all at a respectable distance. Pirate site visitors originate from all over the world, but one country stands tall above all the rest: America. The United States remains the top driver of pirate site traffic accounting for more than 12% of all traffic globally, good for 26.7 billion visits in 2024. India has been steadily climbing the ranks for years and currently sits in second place with 17.6 billion annual visits, with Russia, Indonesia, and Vietnam completing the top five. As a country with one of the largest populations worldwide, it's not a complete surprise that the U.S. tops the list. If we counted visits per internet user, Canada and Ukraine would top the list.

While pirate site visits dipped by more than 5% in 2024, one category saw substantial growth. Visits to publishing-related pirate sites increased 4.3% from 63.6 to 66.4 billion. The increase is largely driven by the popularity of manga, which accounts for more than 70% of all publishing piracy. Traditional book piracy, meanwhile, is stuck at 5%. The publishing piracy boom is relatively new. Over the past five years, the category grew by more than 100% while the overall number of global pirate site visits remained relatively flat. Looking at the global demand, we see that the U.S. also leads the charge here, followed by Indonesia and Russia. Notably, Japan, the home of manga, ranks fifth in the publishing category. This stands out because Japan is not listed in the global top 15 in terms of total pirate site visits.

In the other content categories, MUSO's data shows a dip in pirate site visits. The changes are relatively modest for TV (-6.8%) and software (-2.1%) but the same isn't true for the music and film categories. In 2024, there were 18% fewer visits for pirated movies compared to a year earlier. MUSO notes that this is due to a "lighter blockbuster calendar" which reduced piracy peaks. "The drop in demand is as much about what wasn't released as it is about access," the report explains. The music category saw a 19% decline in piracy visits year over year, with a more uplifting explanation for rightsholders. According to MUSO, the drop can be partly attributed to "secure app ecosystems" and the "wide adoption of licensed platforms like Spotify and Apple Music."

Warner Bros Discovery will split into two separate publicly traded companies -- one focused on its studios and streaming assets like HBO, DC Studios, and HBO Max, and the other on its declining cable networks including CNN and TNT Sports. The move, which unwinds the 2022 WarnerMedia-Discovery merger, is expected by mid-2026 and is "the latest unraveling of decades of media consolidation that created global conglomerates spanning content creation, distribution and in some cases, telecommunications," reports Reuters. From the report: The new streaming-and-studios company will include Warner Bros, DC Studios and HBO Max - the crown jewels of WBD's entertainment library. The networks unit, which will hold up to a 20% stake in its counterpart, will house CNN, TNT Sports and Bleacher Report. CEO David Zaslav will lead the streaming and studios unit, while CFO Gunnar Wiedenfels will head the networks unit. The separation will be structured as a tax-free transaction and is expected to be completed by mid-2026.

"We've continued to analyze how our industry is evolving," Zaslav told investors. "The right path forward became increasingly clear ... to separate global networks and streaming and studios into two independent, publicly traded companies." Most of the company's debt would be held by the global networks company. WBD had gross debt of $38 billion as of March. The company said it secured a $17.5 billion bridge loan from J.P. Morgan that it would use to restructure its debt.

Nintendo's new Switch 2 console sold a record 3 million units after its launch Thursday. But then today Microsoft announced their own upcoming handheld gaming device that's Xbox-branded (and Windows-powered).

Working with ASUS' ROG division, they build a device that weighs more than the Nintendo Switch 2, and "is marginally heavier than the Steam Deck," reports Engadget. But "at least those grips look more ergonomic than those on the Nintendo Switch 2 (which is already cramping my hands) or even the Steam Deck." There are two variants of the handheld: the ROG Xbox Ally and ROG Xbox Ally X. Microsoft didn't reveal pricing, but the handhelds are coming this holiday... Critically, Microsoft and ROG aren't locking the devices to only playing Xbox games (though you can do that natively, via the cloud or by accessing an Xbox console remotely). You'll be able to play games from Battle.net and "other leading PC storefronts" too. Obviously, there's Game Pass integration here, as well as support for the Xbox Play Anywhere initiative, which enables you to play games with synced progress across a swathe of devices after buying them once...

There's a dedicated physical Xbox button that can bring up a Game Bar overlay, which seemingly makes it easy to switch between apps and games, tweak settings, start chatting with friends and more... You'll be able to mod games on either system as well.

The Xbox Ally is powered by the AMD Ryzen Z2 A Processor, and has 16GB of RAM and 512GB of SSD storage. The Xbox Ally X is the more powerful model. It has a AMD Ryzen AI Z2 Extreme processor, 24GB of RAM and 1TB of storage. They each have a microSD card reader, so you won't need to worry about shelling out for proprietary storage options to have extra space for your games... Both systems boast "HD haptics..." Both systems should be capable of outputting video to a TV or monitor, as they have two USB-C ports with support for DisplayPort 2.1 and Power Delivery 3.0.
"Microsoft has needed to respond to SteamOS ever since the Steam Deck launched three years ago," argues The Verge, "and it has steadily been tweaking its Xbox app and the Xbox Game Bar on Windows to make both more handheld-friendly..." But there was always a bigger overhaul of Windows required, and we're starting to see parts of that today. "The reality is that we've made tremendous progress on this over the last couple of years, and this is really the device that galvanized those teams and got everybody marching and working towards a moment that we're just really excited to put into the hands of players," says Roanne Sones, corporate vice president of gaming Devices and ecosystem at Xbox, in a briefing with The Verge...

I'll need to try this new interface fully to really get a feel for the Windows changes here, but Microsoft is promising that this isn't just lipstick on top of Windows. "This isn't surface-level changes, we've made significant improvements," says Potvin. "Some of our early testing with the components we've turned off in Windows, we get about 2GB of memory going back to the games while running in the full-screen experience."

AppleInsider reports: The engineer behind much of the Mac's early graphical user interfaces, QuickDraw, MacPaint, Hypercard and much more, William D. "Bill" Atkinson, died on June 5 of complications from pancreatic cancer...

Atkinson, who built a post-Apple career as a noted nature photographer, worked at Apple from 1978 to 1990. Among his lasting contributions to Apple's computers were the invention of the menubar, the selection lasso, the "marching ants" item selection animation, and the discovery of a midpoint circle algorithm that enabled the rapid drawing of circles on-screen.

He was Apple Employee No. 51, recruited by Steve Jobs. Atkinson was one of the 30 team members to develop the first Macintosh, but also was principle designer of the Lisa's graphical user interface (GUI), a novelty in computers at the time. He was fascinated by the concept of dithering, by which computers using dots could create nearly photographic images similar to the way newspapers printed photos. He is also credited (alongside Jobs) for the invention of RoundRects, the rounded rectangles still used in Apple's system messages, application windows, and other graphical elements on Apple products.

Hypercard was Atkinson's main claim to fame. He built the a hypermedia approach to building applications that he once described as a "software erector set." The Hypercard technology debuted in 1987, and greatly opened up Macintosh software development.
In 2012 some video clips of Atkinson appeared in some rediscovered archival footage. (Original Macintosh team developer Andy Hertzfeld uploaded "snippets from interviews with members of the original Macintosh design team, recorded in October 1983 for projected TV commercials that were never used.")

Blogger John Gruber calls Atkinson "One of the great heroes in not just Apple history, but computer history." If you want to cheer yourself up, go to Andy Hertzfeld's Folklore.org site and (re-)read all the entries about Atkinson. Here's just one, with Steve Jobs inspiring Atkinson to invent the roundrect. Here's another (surely near and dear to my friend Brent Simmons's heart) with this kicker of a closing line: "I'm not sure how the managers reacted to that, but I do know that after a couple more weeks, they stopped asking Bill to fill out the form, and he gladly complied."

Some of his code and algorithms are among the most efficient and elegant ever devised. The original Macintosh team was chock full of geniuses, but Atkinson might have been the most essential to making the impossible possible under the extraordinary technical limitations of that hardware... In addition to his low-level contributions like QuickDraw, Atkinson was also the creator of MacPaint (which to this day stands as the model for bitmap image editorsâ — âPhotoshop, I would argue, was conceptually derived directly from MacPaint) and HyperCard ("inspired by a mind-expanding LSD journey in 1985"), the influence of which cannot be overstated.

I say this with no hyperbole: Bill Atkinson may well have been the best computer programmer who ever lived. Without question, he's on the short list. What a man, what a mind, what gifts to the world he left us.

TweakTown writes that the Switch 2 "has reportedly beaten the record for the most-sold console within 24 hours and is on track to shatter the two-month record," selling over 3 million units and tripling the PlayStation 4's previous launch day sales.

So Nintendo's first console in 8 years becomes "one of the most successful hardware releases of all time," writes Barron's, raising hopes for the future: [2017's original Switch] ultimately sold more than 152 million units... Switch 2's big advantage is its backward compatibility, allowing it to play current-generation Switch games and giving gamers solace that their large investments in software are intact... Many older Switch games also play better on the Switch 2, taking advantage of the extra horsepower.
Bloomberg writes that its bigger screen and faster chip "live up to the hype: Despite the hype and a $150 increase over the launch price for the original, the second-generation system manages to impress with faster performance, improved graphics, more comfortable ergonomics and enough tweaks throughout to make this feel like a distinctly new machine... This time, it's capable of outputting 4K resolution and more impactful HDR video to your TV screen... It's a bigger, faster, more polished version of a wildly successful gadget.
The "buzzy launch drew long lines" at retailers like Walmart, Target, Best Buy, and Gamestop, according to the article. (See the photos from AOL.com and USA Today.) "The era of spending hours waiting in line for the latest iPhone is long gone, but the debut of a new video game console is still a rare enough event that Nintendo fans didn't think twice about driving to retailers in the middle of the night to secure a Switch 2."

The Verge also opines that "the Switch 2's eShop is much better," calling it "way faster... with much less lag browsing through sections and loading up game pages."

Or, as Barron's puts it, "Ultimately, Nintendo is winning because it has a different strategy than its competition, the Sony PlayStation and Microsoft Xbox. Instead of trying to appeal to tech snobs like me, who are obsessed with graphics resolution and hardware statistics like teraflops, Nintendo focuses on joy and fun."

Mike Judge always seemed to have secret geek sympathies. He co-created the HBO series Silicon Valley, as well as the movie Office Space (reviewed in 1999 by Slashdot contributor Jon Katz).

Now comes the word that besides rebooting Buffy the Vampire Slayer — and an animated scifi/action/horror film called Predator: Killer of Killers — Hulu is also relaunching Judge's animated series King of the Hill on August 4th. And Cinemablend notes they took great pains to ensure the inclusion of internet-loving neighbor Dale Gribble despite the death of voice actor Johnny Hardwick: Co-creators Mike Judge and Greg Daniels joined the cast of returning voice actors for a revealing Q&A at ATX Fest while also revealing longtime cast member Toby Huss took over the role of Dale Gribble... Hardwick passed away in August 2023 at 64, with fans and co-stars paying tribute soon after. It was revealed at the time that he'd recorded some audio for the new season, but it was clear that another actor would be needed to fill those intimidating and conspiracy-obsessed shoes. Among other characters, Huss provided the voice of Cotton Hill and Kahn Sr. in the O.G. run, and feels to me like a natural fit to take over as Dale. And he sounds humbled to have been given the task, telling the ATX Fest crowd:

"Johnny was one-of-a-kind and a wonderful fellow. I'm not trying to copy Johnny...I guess I'm trying to be Johnny. He laid down a really wonderful goofball character...he had a lot of weird heart to him and that's a credit to Johnny. So all I'm trying to do is hold on to his Dale-ness. We love our guy Johnny and it's so sad that he's not here...."

I can already hear Dale himself questioning why he sounds different, and whether or not the government has replaced him with a lizard creature or some other sentient organism... In the immediate aftermath of Johnny Hardwick's death, the word was that the actor had filmed a couple of episodes' worth of material for the Hulu revival, but Mike Judge went on the record at ATX Fest to reveal that initial assessment undershot things entirely. From the voice of Hank Hill himself: "Johnny Hardwick is in six episodes. He's still going to be in the show."
Hulu uploaded the new opening credits to YouTube eight days ago — and it's already been viewed 2.1 million times, attracting 55,000 upvotes and 7,952 comments...

Long-time Slashdot reader theodp shared the official blurb describing the new show: After years working a propane job in Saudi Arabia to earn their retirement nest egg, Hank and Peggy Hill return to a changed Arlen, Texas to reconnect with old friends Dale, Boomhauer and Bill. Meanwhile, Bobby is living his dream as a chef in Dallas and enjoying his 20s with his former classmates Connie, Joseph and Chane.

An anonymous reader quotes a report from BleepingComputer: The FBI is warning that the BADBOX 2.0 malware campaign has infected over 1 million home Internet-connected devices, converting consumer electronics into residential proxies that are used for malicious activity. The BADBOX botnet is commonly found on Chinese Android-based smart TVs, streaming boxes, projectors, tablets, and other Internet of Things (IoT) devices. "The BADBOX 2.0 botnet consists of millions of infected devices and maintains numerous backdoors to proxy services that cyber criminal actors exploit by either selling or providing free access to compromised home networks to be used for various criminal activity," warns the FBI.

These devices come preloaded with the BADBOX 2.0 malware botnet or become infected after installing firmware updates and through malicious Android applications that sneak onto Google Play and third-party app stores. "Cyber criminals gain unauthorized access to home networks by either configuring the product with malicious software prior to the users purchase or infecting the device as it downloads required applications that contain backdoors, usually during the set-up process," explains the FBI. "Once these compromised IoT devices are connected to home networks, the infected devices are susceptible to becoming part of the BADBOX 2.0 botnet and residential proxy services4 known to be used for malicious activity."

Once infected, the devices connect to the attacker's command and control (C2) servers, where they receive commands to execute on the compromised devices, such as [routing malicious traffic through residential IPs to obscure cybercriminal activity, performing background ad fraud to generate revenue, and launching credential-stuffing attacks using stolen login data]. Over the years, the malware botnet continued expanding until 2024, when Germany's cybersecurity agency disrupted the botnet in the country by sinkholing the communication between infected devices and the attacker's infrastructure, effectively rendering the malware useless. However, that did not stop the threat actors, with researchers saying they found the malware installed on 192,000 devices a week later. Even more concerning, the malware was found on more mainstream brands, like Yandex TVs and Hisense smartphones. Unfortunately, despite the previous disruption, the botnet continued to grow, with HUMAN's Satori Threat Intelligence stating that over 1 million consumer devices had become infected by March 2025. This new larger botnet is now being called BADBOX 2.0 to indicate a new tracking of the malware campaign. "This scheme impacted more than 1 million consumer devices. Devices connected to the BADBOX 2.0 operation included lower-price-point, 'off brand,' uncertified tablets, connected TV (CTV) boxes, digital projectors, and more," explains HUMAN.

"The infected devices are Android Open Source Project devices, not Android TV OS devices or Play Protect certified Android devices. All of these devices are manufactured in mainland China and shipped globally; indeed, HUMAN observed BADBOX 2.0-associated traffic from 222 countries and territories worldwide."

Major Hollywood studios are extensively using AI tools while avoiding public disclosure, according to industry sources interviewed by New York Magazine. Nearly 100 AI studios now operate in Hollywood with every major studio reportedly experimenting with generative AI despite legal uncertainties surrounding copyright training data, the report said.

Lionsgate has partnered with AI company Runway to create a customized model trained on the studio's film archive, with executives planning to generate entire movie trailers from scripts before shooting begins. The collaboration allows the studio to potentially reduce production costs from $100 million to $50 million for certain projects.

Widespread usage of the new technology is often happening through unofficial channels. Workers are reporting pressure to use AI tools without formal studio approval, then "launder" the AI-generated content through human artists to obscure its origins.

"The Doctor is dead. Long live the Doctor!" writes Space.com. (Spoilers ahead...) "The era of Ncuti Gatwa's Fifteenth Doctor came to a surprise end on Saturday night, as the Time Lord regenerated at the end of "Doctor Who" season 2 finale... [T]he Doctor gradually realises that not everything is back to normal. Poppy, his daughter with Belinda Chandra in the "Wish World" fantasy, has been erased from history, so the Time Lord decides to sacrifice himself by firing a ton of regeneration energy into the time Vortex to "jolt it one degree" — and hopefully bring her back. It goes without saying that his madcap scheme saves Poppy, as we learn that, in this rewritten timeline, the little girl was always the reason Belinda had been desperate to get back home. But arguably the biggest talking point of the episode — and, indeed, the season — is saved until last, as the Doctor regenerates into a very familiar face...
Hint: They played the Doctor's companion, Rose Tyler, "alongside Christopher Eccleston's Ninth Doctor and David Tennant's Tenth Doctor during the phenomenally successful first two seasons of the show's 2005 reboot."

Showrunner Russell T Davies called it "an honour and a hoot" to welcome back Billie Piper to the TARDIS, "but quite how and why and who is a story yet to be told. After 62 years, the Doctor's adventures are only just beginning!" Although the show's post-regeneration credits have traditionally featured the line "And introducing [insert name] as the Doctor", here it simply says "And introducing Billie Piper". The omission of "as the Doctor" is unlikely to be accidental, suggesting that Davies is playing a very elaborate game with "Who" fandom...

Another mystery! The BBC and Disney+ are yet to confirm if and when "Doctor Who" will return for a third season of its current iteration.
"There's no decision until after season two..." Davies told Radio Times in April (as spotted by the Independent). "That's when the decision is — and the decision won't even be made by the people we work with at Disney Plus, it'll be made by someone in a big office somewhere. So literally nothing happening, no decision."

"For a new series to be ready for 2026, production would need to get under way relatively soon," writes the BBC. "So at the moment a new series or a special starring Billie Piper before 2027 looks unlikely." The Guardian adds: Concerns have been raised about falling viewing figures, which have struggled to rally since Russell T Davies' return in 2023. Two episodes during this series, which aired in May, got less than 3 million viewers — the lowest since the modern era began airing in 2005.
The Independent has this statement from Piper: "It's no secret how much I love this show, and I have always said I would love to return to the Whoniverse as I have some of my best memories there, so to be given the opportunity to step back on that Tardis one more time was just something I couldn't refuse, but who, how, why and when, you'll just have to wait and see."

An anonymous reader quotes a report from the BBC: A lack of action by big tech firms is enabling the "industrial scale theft" of premium video services, especially live sport, a new report says. The research by Enders Analysis accuses Amazon, Google, Meta and Microsoft of "ambivalence and inertia" over a problem it says costs broadcasters revenue and puts users at an increased risk of cyber-crime. Gareth Sutcliffe and Ollie Meir, who authored the research, described the Amazon Fire Stick -- which they argue is the device many people use to access illegal streams -- as "a piracy enabler." [...] The device plugs into TVs and gives the viewer thousands of options to watch programs from legitimate services including the BBC iPlayer and Netflix. They are also being used to access illegal streams, particularly of live sport.

In November last year, a Liverpool man who sold Fire Stick devices he reconfigured to allow people to illegally stream Premier League football matches was jailed. After uploading the unauthorized services on the Amazon product, he advertised them on Facebook. Another man from Liverpool was given a two-year suspended sentence last year after modifying fire sticks and selling them on Facebook and WhatsApp. According to data for the first quarter of this year, provided to Enders by Sky, 59% of people in UK who said they had watched pirated material in the last year while using a physical device said they had used a Amazon fire product. The Enders report says the fire stick enables "billions of dollars in piracy" overall. [...]

The researchers also pointed to the role played by the "continued depreciation" of Digital Rights Management (DRM) systems, particularly those from Google and Microsoft. This technology enables high quality streaming of premium content to devices. Two of the big players are Microsoft's PlayReady and Google's Widevine. The authors argue the architecture of the DRM is largely unchanged, and due to a lack of maintenance by the big tech companies, PlayReady and Widevine "are now compromised across various security levels." Mr Sutcliffe and Mr Meir said this has had "a seismic impact across the industry, and ultimately given piracy the upper hand by enabling theft of the highest quality content." They added: "Over twenty years since launch, the DRM solutions provided by Google and Microsoft are in steep decline. A complete overhaul of the technology architecture, licensing, and support model is needed. Lack of engagement with content owners indicates this a low priority."

The entertainment industry has achieved an unprecedented milestone: more film and television content exists today than at any point in human history. The technical infrastructure to deliver this content directly to consumers' homes works flawlessly. The problem? Actually finding something to watch has become a user experience nightmare that would make early-2000s software developers cringe.

Multiple streaming platforms are suffering from fundamental interface design failures that actively prevent users from discovering content. Cameron Nudleman, an Austin-based user, told Salon that scrolling through streaming service landing pages feels "like a Herculean task," while his Amazon Fire Stick setup -- designed to consolidate multiple services -- delivers consistent crashes across Paramount+ and Max, with Peacock terminating randomly "for no discernible reason."

The technical problems extend beyond stability issues to basic functionality failures. Max automatically enables closed captions despite user preferences, while Paramount+ crashes during show transitions. Chicago media writer Tim O'Reilly describes "every single interface" as "complete garbage except for Netflix's," though even Netflix has recently implemented changes that degrade user experience.

The industry eliminated simple discovery mechanisms like newspaper listings and Moviefone's telephone service in favor of algorithm-driven interfaces that Tennessee attorney Claire Tuley says have "turned art into work," transforming what was supposed to "democratize movies" into "a system that requires so many subscriptions, searching and effort."

Doom: The Dark Ages just launched on May 15. But it's already received "difficulty" balance changes "that have made the demons of Hell even more dangerous than ever," writes Windows Central: According to DOOM's official website Slayer's Club, these balance adjustments are focused on making the game harder, as players have been leaving feedback saying it felt too easy even on Nightmare Mode. As a result, enemies now hit harder, health and armor item pick-ups drop less often, and certain enemies punish you more severely for mistiming the parry mechanic.
It reached three million players in just five days, which was seven times faster than 2020's Doom: Eternal," reports Wccftech (though according to analytics firm Ampere Analysis (via The Game Business), more than two million of those three million launch players were playing on Xbox, while only 500K were playing on PS5.") "id Software proves it can still reinvent the wheel," according to one reviewer, "shaking up numerous aspects of gameplay, exchanging elaborate platforming for brutal on-the-ground action, as well as the ability to soar on a dragon's back or stomp around in a giant mech."

And the New York Times says the game "effectively reinvents the hellish shooter with a revamped movement system and deepened lore" in the medieval goth-themed game... Double jumping and dashing are ditched and replaced with an emphasis on raw power and slow, strategic melee combat. Doom Slayer's arsenal features a brand-new tool, the powerful Shield Saw, which Id Software made a point to showcase across its "Stand and Fight" trailers and advertisements. Used for absorbing damage at the expense of speed, the saw also allows players to bash enemies from afar and close the gap on chasms too wide to jump across. While previous titles allowed players to quickly worm their way through bullet hell, The Dark Ages expects you to meet foes head on. "If you were an F-22 fighter jet in Doom Eternal, this time around we wanted you to feel like an Abrams tank," Hugo Martin, the game's creative director, has told journalists.

And Doom Slayer's beefy durability and unstoppable nature does make the gameplay a refreshing experience. The badassery is somehow ratcheted to new heights with the inclusion of a fully controllable mech, which has only a handful of attacks at its disposal, and actual dragons. Flight in a Doom game is entirely surprising and fluid, and the dragons feel relatively easy to maneuver through tight spots. They can also engage in combat more deliberately with the use of dodges and mounted cannons...

One of my favorite additions is the skullcrusher pulverizer. Equal parts heinous nutcracker and demonic woodchipper, the gun lodges skulls into a grinder and sends shards of bones flying at enemies. The animation is both goofy and satisfying.
Another special Times article notes that Doom's fans "resurrect the original game over and over again on progressively stranger pieces of hardware: a Mazda Miata, a NordicTrack treadmill, a French pharmacy sign." But what many hard-core tech hobbyists want to know is whether you can play it on a pregnancy test. The answer: positively yes. And for the first time, even New York Times readers can play Doom within The Times's site [after creating a free account]...

None of this happened by accident, of course. Ports were not incidental to Doom's development. They were a core consideration. "Doom was developed in a really unique way that lent a high degree of portability to its code base," said John Romero, who programmed the game with John Carmack. (In our interview, he then reminisced about operating systems for the next 14 minutes.) Id had developed Wolfenstein 3D, the Nazi-killing predecessor to Doom, on PCs. To build Doom, Carmack and Romero used NeXT, the hardware and software company founded by Steve Jobs after his ouster from Apple in 1985. NeXT computers were powerful, selling for about $25,000 apiece in today's dollars. And any game designed on that system would require porting to the more humdrum PCs encountered by consumers at computer labs or office jobs.

This turned out to be advantageous because Carmack had a special aptitude for ports. All of Id's founders met as colleagues at Softdisk, which had hired Carmack because of his ability to spin off multiple versions of a single game. The group decided to strike out on its own after Carmack created a near-perfect replica of the first level of Super Mario Bros. 3 — Nintendo's best-selling platformer — on a PC. It was a wonder of software engineering that compensated for limited processing power with clever workarounds. "This is the thing that everyone has," Romero said of PCs. "The fact that we could figure out how to make it become a game console was world changing...."

Romero founded a series of game studios after leaving Id in 1996 and is working on a new first-person shooter, the genre he and Carmack practically invented. He has no illusions about how it may stack up. "I absolutely accept that Doom is the best game I'll ever make that has that kind of a reach," he said. "At some point you make the best thing." Thirty years on, people are still making it.
And in related news, PC Gamer reports... As part of a new "FPS Fridays" series on Twitch, legendary shooter designer John Romero streamed New Blood's 2018 hit, Dusk, one of the first and most influential indie "boomer shooters" in the genre's recent revitalization. The short of it? Romero seems to have had a blast.

Long-time Slashdot reader SchroedingersCat shares this article from Deadline: Prime Video will not be renewing The Wheel of Time for a fourth season according to Deadline article. The decision, which comes more than a month after the Season 3 finale was released April 17, followed lengthy deliberations. As often is the case in the current economic environment, the reasons were financial as the series is liked creatively by the streamer's executives...

The Season 3 overall performance was not strong enough compared to the show's cost for Prime Video to commit to another season and the streamer could not make it work after examining different scenarios and following discussions with lead studio Sony TV, sources said. With the cancellation possibility — and the show's passionate fanbase — in mind, the Season 3 finale was designed to offer some closure. Still, the news would be a gut punch for fans who have been praising the latest season as the series' best yet creatively... Prime Video and Sony TV will continue to back the Emmy campaign for The Wheel of Time's third season.

Quebec Culture Minister Mathieu Lacombe has introduced Bill 109, which would require streaming platforms like Netflix and Spotify to feature and prioritize French-language content. CBC.ca reports: Bill 109 has been in the works for over a year. It marks the first time that Quebec would set a "visibility quota" for French-language content on major streaming platforms such as Netflix, Disney and Spotify. [...] The legislation, titled An Act to affirm the cultural sovereignty of Quebec and to enact the Act respecting the discoverability of French-language cultural content in the digital environment, would apply to every digital platform that offers a service for watching videos or listening to music and audiobooks online. Those include Canadian platforms such as Illico, Crave and Tou.tv. It would amend the Quebec Charter of Human Rights and Freedoms to enshrine "the right to discoverability of and access to original French-language cultural content."

If the bill is adopted, streaming platforms and television manufacturers would be forced to present interfaces for screening online videos in French by default. Those interfaces would need to provide access to platforms that offer original French-language cultural content based on the government's pending criteria. Financial penalties would be imposed on companies that don't follow the rules. If the business models of some companies prevent them from keeping to the letter of the proposed law, companies would be allowed to enter into an agreement with the Quebec government to set out "substitute measures" to fulfil Bill 109 obligations differently. "We don't want to exempt them. We're telling them, 'let's negotiate substitute measures,'" Lacombe told reporters.

Walmart is preparing for a future where AI agents shop on behalf of consumers by adapting its systems to serve both humans and autonomous bots. As major players like Visa and PayPal also invest in agentic commerce, Walmart is positioning itself as a leader by developing its own AI agents and supporting broader industry integration. PYMNTS reports: Instead of scrolling through ads or comparing product reviews, future consumers may rely on digital assistants, like OpenAI's Operator, to manage their shopping lists, from replenishing household essentials to selecting the best TV based on personal preferences, according to the report (paywalled). "It will be different," Walmart U.S. Chief Technology Officer Hari Vasudev said, per the report. "Advertising will have to evolve." The emergence of AI-generated summaries in search results has already altered the way consumers gather product information, the report said. However, autonomous shopping agents represent a bigger transformation. These bots could not only find products but also finalize purchases, including payments, without the user ever lifting a finger. [...]

Retail experts say agentic commerce will require companies to overhaul how they market and present their products online, the WSJ report said. They may need to redesign product pages and pricing strategies to cater to algorithmic buyers. The customer relationship could shift away from retailers if purchases are completed through third-party agents. [...] To prepare, Walmart is developing its own AI shopping agents, accessible through its website and app, according to the WSJ report. These bots can already handle basic tasks like reordering groceries, and they're being trained to respond to broader prompts, such as planning a themed birthday party. Walmart is working toward a future in which outside agents can seamlessly communicate with the retailer's own systems -- something Vasudev told the WSJ he expects to be governed by industry-wide protocols that are still under development. [...]

Third-party shopping bots may also act independently, crawling retailers' websites much like consumers browse stores without engaging sales associates, the WSJ report said. In those cases, the retailer has little control over how its products are evaluated. Whether consumers instruct their AI to shop specifically at Walmart or ask for the best deal available, the outcomes will increasingly be shaped by algorithms, per the report. Operator, for example, considers search ranking, sponsored content and user preferences when making recommendations. That's a far cry from how humans shop. Bots don't respond to eye-catching visuals or emotionally driven branding in the same way people do. This means retailers must optimize their content not just for people but for machine readers as well, the report said. Pricing strategies could also shift as companies may need to make rapid pricing decisions and determine whether it's worth offering AI agents exclusive discounts to keep them from choosing a competitor's lower-priced item, according to the report.