The new series from Breaking Bad creator Vince Gilligan, Pluribus, was emphatically made by humans, not AI, reports TechCrunch: If you watched all the way to the end of the new Apple TV show "Pluribus," you may have noticed an unusual disclaimer in the credits: "This show was made by humans." That terse message — placed right below a note that "animal wranglers were on set to ensure animal safety" — could potentially provide a model for other filmmakers seeking to highlight that their work was made without the use of generative AI.
In fact, yesterday the former X-Files writer told Variety "I hate AI. AI is the world's most expensive and energy-intensive plagiarism machine...." He goes on, about how AI-generated content is "like a cow chewing its cud — an endlessly regurgitated loop of nonsense," and how the U.S. will fail to regulate the technology because of an arms race with China. He works himself up until he's laughing again, proclaiming: "Thank you, Silicon Valley! Yet again, you've fucked up the world."
He also says "there's a very high possibility that this is all a bunch of horseshit," according to the article. "It's basically a bunch of centibillionaires whose greatest life goal is to become the world's first trillionaires. I think they're selling a bag of vapor."

And earlier this week he told Polygon that he hasn't used ChatGPT "because, as of yet, no one has held a shotgun to my head and made me do it." (Adding "I will never use it.")

Time magazine called Thursday's two-episode premiere "bonkers." Though ironically, that premiere hit its own dystopian glitch. "After months of buildup and an omnipresent advertising campaign, Apple's much-anticipated new show Pluribus made its debut..." reports Macworld. "And the service promptly suffered a major outage across the U.S. and Canada." As reported by Bloomberg and others, users started to report that the service had crashed at around 10:30 p.m. ET, shortly after Apple made the first two episodes of the show available to stream. There were almost 13,000 reports on Downdetector before Apple acknowledged the problem on its System Status page. Reports say the outage was brief, lasting less than an hour...

[T]here remains a Resolved Outage note on Apple TV (simply saying "Some users were affected; users experienced a problem with Apple TV" between 10:29 and 11.38 p.m.), as well as on Apple Music and Apple Arcade, which also went down at the same time. Social media reports indicated that the outage was widespread.

In a recent article published in the New York Times, author Casey Michael Henry argues that today's tech industry keeps borrowing dystopian sci-fi aesthetics and ideas -- often the parts that were meant as warnings -- and repackages them as exciting products without recognizing that they were originally cautionary tales to avoid. "The tech industry is delivering on some of the futuristic notions of late-20th-century science fiction," writes Henry. "Yet it seems, at times, bizarrely unaware that many of those notions were meant to be dystopian or satirical -- dismal visions of where our worst and dumbest habits could lead us." Here's an excerpt from the report: You worry that someone in today's tech world might watch "Gattaca" -- a film that features a eugenicist future in which people with ordinary DNA are relegated to menial jobs -- and see it as an inspirational launching point for a collaboration between 23andMe and a charter school. The material on Sora, for instance, can feel oddly similar to the jokes about crass entertainment embedded in dystopian films and postmodern novels. In the movie "Idiocracy," America loved a show called "Ow! My Balls!" in which a man is hit in the testicles in increasingly florid ways. "Robocop" imagined a show about a goggle-eyed pervert with an inane catchphrase. "The Running Man" had a game show in which contestants desperately collected dollar bills and climbed a rope to escape ravenous dogs. That Sora could be prompted to imagine a game show in which Michel Foucault chokeslams Ronald Reagan, or Prince battles an anaconda, doesn't feel new; it feels like a gag from a 1990s writer or a film about social decay.

The echoes aren't all accidental. Modern design has been influenced by our old techno-dystopias -- particularly the cyberpunk variety, with its neon-noir gloss and "high tech, low life" allure. From William Gibson novels to films like "The Matrix," the culture has taken in countless ruined cityscapes, all-controlling megacorporations, high-tech body modifications, V.R.-induced illnesses, deceptive A.I. paramours, mechanical assassins and leather-clad hacker antiheroes, navigating a dissociative cyberspace with savvily repurposed junk-tech. This was not a world many people wanted to live in, but its style and ethos seem to reverberate in the tech industry's boldest visions of the future.

A new Activate Consulting report reveals that 43% of Gen Z now prefer YouTube and TikTok over traditional TV or paid streaming. With global media revenues surging and traditional TV viewership collapsing, the average person now spends over 13 hours a day consuming content across platforms, effectively living a "32-hour day" through multitasking. Variety reports: Per the same survey, the popularity of "microdramas" -- one of the latest trends on those platforms, consisting of 1-2 minute scripted episodes of an ongoing storyline -- has been increasing at a fast rate with 28 million U.S. adults (52% aged 18-34) reportedly watching that new form of content.

Additional findings include projections for global internet and media revenue to increase by $388 billion by 2029, while average daily time spent streaming video will climb to 4 hours and 8 minutes as time spent watching traditional TV is set to collapse to just 1 hour and 17 minutes. Activate estimates that, as a result, streaming revenues (from ads and subscriptions) will grow 18-19% annually while traditional TV revenues will fall 4-6% year to year.

An anonymous reader quotes a report from Ars Technica: Today, Samsung provided details about the next version of the HDR10 format, which introduces six new features. Among HDR10+ Advanced's most interesting features is HDR10+ Intelligent FRC (frame rate conversion), which is supposed to improve motion smoothing.

A TV using motion smoothing analyzes each video frame and tries to determine what additional frames would look like if the video were playing at a frame rate that matched the TV's refresh rate. The TV then inserts those frames into the video. A 60Hz TV with motion smoothing on, for example, would attempt to remove judder from a 24p film by inserting frames so that the video plays as if it were shot at 60p. For some, this appears normal and can make motion, especially camera panning or zooming, look smoother. However, others will report movies and shows that look more like soap operas, or as if they were shot on higher-speed video cameras instead of film cameras. Critics, including some big names in Hollywood, argue that motion smoothing looks unnatural and deviates from the creator's intended vision.

Intelligent FRC takes a more nuanced approach to motion smoothing by letting content creators dictate the level of motion smoothing used in each scene, Forbes reported. The feature is also designed to adjust the strength of motion interpolation based on ambient lighting.

Speaking of Australia, its government has introduced content quotas on global streamers. From a report: The rules require Netflix, Prime Video and the other global streamers with more than one million Australian subscribers to spend 10% of their total Australian expenditure -- or 7.5% of their revenues -- on local originals, whether they are dramas, children's shows, docs, or arts and educational programs.

Following the announcement, the legislation will be introduced into the Australian parliament. Australia's Labor government has long planned to being in the quotas as part of its Revive cultural policy, but months and months of delays had left the local industry wondering how committed their political leaders were to the plan. Global streamers have broadly rejected the necessity of quotas, claiming their local investment in content and jobs offsets them.

A new class-action lawsuit accuses Spotify of allowing billions of fraudulent Drake streams generated by bots between 2022 and 2025, allegedly inflating his royalties at the expense of other artists. "Spotify pays streaming royalties using a 'pro-rata' model based on an artist's market share," notes Consequence. "Each month, revenue from subscriptions and ads is collected into a single, fixed 'pot' of money, which is then distributed to rights holders based on their percentage of the platform's total streams. Because this pot is fixed, an artist who artificially inflates their numbers through bots would dilute the value of every legitimate stream. This allows them to take a larger share of the pot than they earned, effectively siphoning royalties that should have gone to other artists." From the report: According to Rolling Stone, the lawsuit alleges bot use is a widespread problem on Spotify. However, Drake is the only example named, based on "voluminous information" which the company "knows or should know" that proves a "substantial, non-trivial percentage" of his approximately 37 billion streams were "inauthentic and appeared to be the work of a sprawling network of Bot Accounts."

The complaint claims this alleged fraudulent activity took place between "January 2022 and September 2025," with an examination of "abnormal VPN usage" revealing at least 250,000 streams of Drake's song "No Face" during a four-day period in 2024 were actually from Turkey "but were falsely geomapped through the coordinated use of VPNs to the United Kingdom in [an] attempt to obscure their origins." Other notable allegations in the lawsuit are that "a large percentage" of accounts were concentrated in areas where the population could not support such a high volume of streams, including those with "zero residential addresses." The suit also points to "significant and irregular uptick months" for Drake's songs long after their release, as well as a "slower and less dramatic" downtick in streams compared to other artists.

Noting a "staggering and irregular" streaming of Drake's music by individuals, the suit also claims there are a "massive amount of accounts" listening to his songs "23 hours a day." Less than 2% of those users account for "roughly 15 percent" of his streams. "Drake's music accumulated far higher total streams compared to other highly streamed artists, even though those artists had far more 'users' than Drake," the lawsuit concludes.

Slashdot reader BrianFagioli summarizes some news from Nerds.xyz: Creative Technology has launched Sound Blaster Re:Imagine, a modular, Linux-powered audio hub that reimagines the classic PC sound card for the modern age. The device acts as both a high-end digital-to-analog converter (DAC) and a customizable control deck that connects PCs, consoles, phones, and tablets in one setup.

Users can instantly switch inputs and outputs, while developers get full hardware access through an SDK for creating their own apps. It even supports AI-driven features like an on-device DJ, a revived "Dr. Sbaitso" speech synthesizer, and a built-in DOS emulator for retro gaming.

The Kickstarter campaign has already raised more than $150,000, far surpassing its initial goal of $15,000 with over 50 days remaining. Each unit ships with a modular "Horizon" base and swappable knobs, sliders, and buttons, while a larger "Vertex" version will unlock at a higher funding milestone.

Running an unspecified Linux build, Re:Imagine positions itself as both a nostalgic nod to Sound Blaster's roots and a new open platform for creators, gamers, and tinkerers.

Disney's channels, including ESPN, ABC, FX, and NatGeo, have gone dark on YouTube TV after Google and Disney failed to renew their carriage agreement before the October 30 deadline, with each side blaming the other for using unfair negotiating tactics and price hikes. YouTube TV says it will issue a $20 credit to subscribers if the blackout continues while negotiations proceed. Engadget reports: "Last week Disney used the threat of a blackout on YouTube TV as a negotiating tactic to force deal terms that would raise prices on our customers," YouTube said in an announcement on its blog. "They're now following through on that threat, suspending their content on YouTube TV." YouTube added that Disney's decision harms its subscribers while benefiting its own live TV products, such as Hulu+Live TV and Fubo.

In a statement sent to the Los Angeles Times, however, Disney accused Google's YouTube TV of choosing to deny "subscribers the content they value most by refusing to pay fair rates for [its] channels, including ESPN and ABC." Disney also accused Google of using its market dominance to "eliminate competition and undercut the industry-standard terms" that other pay-TV distributors have agreed to pay for its content.

Universal Music Group has settled its copyright lawsuit with AI music startup Udio and struck a licensing deal to launch a new AI-powered music platform next year. The Verge reports: The deal includes some form of compensation and "will provide further revenue opportunities for UMG artists and songwriters," Universal says. Udio, the company behind "BBL Drizzy," will launch the platform as a subscription service next year. Universal, alongside other industry giants Sony and Warner, sued Udio and another startup Suno for "en masse" copyright infringement last year.

Universal -- whose roster includes some of the world's biggest performers like Taylor Swift, Bad Bunny, and Ariana Grande -- says the new tool will "transform the user engagement experience" and let creators customize, stream, and share music. There's no indication of how much it will cost yet. Udio's existing music maker, which lets you create new songs with a few words, will remain available during the transition, though content will be held "within a walled garden" and security measures like fingerprinting will be added.

Many modern living rooms are now dominated by a huge television, but researchers say there might be little point in plumping for an ultra-high-definition model. From a report: Scientists at the University of Cambridge and Meta, the company that owns Facebook, have found that for an average-sized living room a 4K or 8K screen offers no noticeable benefit over a similarly sized 2K screen of the sort often used in computer monitors and laptops. In other words, there is no tangible difference when it comes to how sharp an image appears to our eyes.

"At a certain viewing distance, it doesn't matter how many pixels you add. It's just, I suppose, wasteful because your eye can't really detect it," said Dr Maliha Ashraf, the first author of the study from the University of Cambridge. Ashraf and colleagues, writing in the journal Nature Communications, report how they set about determining the resolution limit of the human eye, noting that while 20/20 vision implies the eye can distinguish 60 pixels per degree (PPD), most people with normal or corrected vision can see better than that. "If you design or judge display resolution based only on 20/20 vision, you'll underestimate what people can really see," Ashraf said. "That's why we directly measured how many pixels people can actually distinguish."

The team used a 27in, 4K monitor mounted on a mobile cage that enabled it to be moved towards or away from the viewer. At each distance, 18 participants with normal vision, or vision corrected to be normal, were shown two types of image in a random order. One type of image had one-pixel-wide vertical lines in black and white, red and green or yellow and violet, while the other was just a plain grey block. Participants were then asked to indicate which of the two images contained the lines. "When the lines become too fine or the screen resolution too high, the pattern looks no different from a plain grey image," Ashraf said. "We measured the point where people could just barely tell them apart. That's what we call the resolution limit."

Can YouTube capture the hours people spending watching "traditional" TV? YouTube's CEO recently said its viewership on TV sets has "surpassed mobile and is now the primary device for YouTube viewing in the U.S.," writes The Hollywood Reporter. And YouTube is shelling out big money to stay on top: It's come a long way since the 19-second "me at the zoo" video was uploaded in April 2005. Now, per a KPMG report released Sept. 23, YouTube is second only to Comcast in terms of annual content spend, inclusive of payments to creators and media companies, paying out as much as Netflix and Paramount combined, $32 billion... The only question is what genres it will take over next, and how quickly it will do so. From talk shows to scripted dramas to, yes, live sports, there are signs that the platform's ambitions will collide with the traditional TV business sooner rather than later...

YouTube has slowly, then all at once, become the de facto home for what had been late night, not only for the shows on linear TV, but for an emerging crop of new talent born on the platform. As it happens, late night itself transformed YouTube when the Saturday Night Live skit "Lazy Sunday" went viral 20 years ago on the platform, which had only been live for a few months... As consumer preferences collide with a burgeoning ecosystem of video podcasts (YouTube now claims more than 1 billion podcast users monthly), the world of late night, and for that matter TV talk shows more generally, increasingly revolves around the platform. One current late night producer says that almost every A-list booking now includes some sort of sketch or bit that they think will play well on YouTube, but booking those guests in the first place has become less of a sure thing. A veteran Hollywood publicist says that for many of their clients, they are now recommending that YouTube podcasts or shows become the first stop, or at least a major stop, on press tours...

Nielsen has been tracking the streaming platforms that consumers watch on their TV screens ever since it launched what it calls The Gauge in 2021. But over the past year, YouTube's domination of The Gauge has unnerved executives at some competitors. The most recent Gauge report showed that YouTube was by far the most watched video platform, holding 13.1 percent share. Netflix, in second place, was at 8.7 percent.
The article suggests YouTube's last challenge may be "scripted" entertainment — where their business model is different than Netflix or HBO.

"On YouTube, it is up to the creator to finance and produce their content, and while the platform regularly releases new tools to help them (including AI-enabled tech that suggests video ideas and can create short background videos for use in Shorts), scripted entertainment is a particularly tricky challenge, requiring writers, directors, sets, costumes, lighting, editing, special effects and other production requirements that may go beyond the typical creator-led show."

As it nears its 30th anniversary, Pitchfork is testing user reviews and comments in a major shift from its long-standing critic-only model. The site will now let readers rate albums and leave comments, combining those into an aggregated "reader score" alongside the official Pitchfork score. The Verge reports: Pitchfork has historically been a one-sided affair. While it ran the occasional reader poll, there was no way for readers to directly voice their opinion on the site. If you thought that Jet's Shine On deserved better than a 0.0 (first off, you're wrong), there was no way to let the author know other than shouting into the void of this new thing at the time called Twitter. Now the site is considering letting users comment directly on reviews and give albums scores of their own. And then those scores will be averaged up into a single reader score for each album.

Apple has struck a five-year, $750 million deal to become the exclusive U.S. home for Formula 1 starting in 2026. "Apple is paying a significant premium over the $90 million per year currently paid by ESPN, whose F1 broadcast deal expires at the end of 2025 after holding the rights in the U.S. since 2018," notes Variety. From the report: According to Apple, it will deliver the Formula 1 programming with a "more dynamic and elevated viewing experience," and both parties expressed optimism that the deal will attract new motorsports fans in America in the years ahead. The company is rebranding the video-streaming service, which launched in 2019 as Apple TV+, to remove the plus sign.

It's another big move by Apple into sports, which also has streaming deals with MLB and Major League Soccer. The F1 agreement and follows Apple's partnership with Formula 1 for original film "F1 The Movie," starring Brad Pitt, which raked in $629 million worldwide at the box office this year -- the highest-grossing sports movie of all time and Pitt's highest-grossing feature to date. "F1 The Movie" will debut on Apple TV on Dec. 12, 2025.

Spotify has officially partnered with major record labels to create a "responsible AI" initiative aimed at developing generative music tools that supposedly benefit both artists and fans. While Spotify promises choice, transparency, and fair compensation, the vague announcement has many skeptics wondering if "responsible AI" is just another remix of old industry power plays set to a new algorithmic beat. The Verge reports: Spotify didn't detail any specific products in the works but said it was building a "state-of-the-art generative AI research lab and product team focused on developing technologies that reflect our principles and create breakthrough experiences for fans and artists." Most of the press release is dedicated to vagaries and laying out the principles that will guide Spotify's generative AI projects: [partnerships with record labels, distributors, and music publishers; choice in participation; fair compensation and new revenue; and artist-fan connection.]

Meta has officially launched Horizon TV, a virtual reality "smart TV" app for its Quest headsets. The app mirrors modern smart TV interfaces with deep-linked streaming apps and curated recommendations -- but it's still missing major players like Netflix and Disney+. From a report: Except Horizon TV isn't running on a TV or streaming stick, but on the company's Meta Quest headsets. Unveiled at Meta Connect last month, the app is a big part of Meta's push to attract older, less gaming-focused audiences to VR -- a push that also includes a partnership with James Cameron, and investments into sports, and other types of leanback entertainment content.

Re-creating the smart TV experience in virtual reality also represents a monetization opportunity for Meta, which has for some time now tried to figure out how to bring advertising to VR. However, the approach also means that Meta is inheriting some of the very problems smart TV platform operators have struggled with for a long time. And if consumers do warm up to watching more content with their headsets, they're bound to realize that even in VR, you can't escape the collateral damage of the streaming wars.

The Japanese government has made a formal request asking OpenAI to refrain from copyright infringement. The request came after Sora 2 began generating videos featuring copyrighted characters from anime and video games. Minoru Kiuchi spoke at the Cabinet Office press conference on Friday and described manga and anime as "irreplaceable treasures" that Japan boasts to the world.

The request was made online by the Cabinet Office's Intellectual Property Strategy Headquarters. Sora 2, which launched recently, generates twenty-second videos at 1080p resolution. Social media is getting filled with videos showing characters from One Piece, Demon Slayer, Pokemon and Mario. Digital Minister Masaaki Taira expressed hopes that OpenAI would comply voluntarily. He indicated that measures under Japan's AI Promotion Act may be invoked if the issue remains unresolved.

DirecTV wants to use AI to put you, your family, and your pets inside a custom TV screensaver. From a report: If that's not uncanny enough, you'll find items you can shop for within that AI environment, whether it's a piece of clothing similar to the one your AI likeness is wearing or a piece of furniture that pops up alongside it.

The satellite TV giant is partnering with the AI company Glance to roll out this experience to DirecTV Gemini devices starting next year. "We are making television a lean-in experience versus lean back," Rajat Wanchoo, the group vice president of commercial partnerships at Glance, tells The Verge. "We want to give users a chance to use the advancements that have happened in generative AI to create a ChatGPT moment for themselves, but on TV." Glance is owned by InMobi, the same company that injected ecommerce bloatware into Motorola's budget phones.

Indonesia's film industry has started using generative AI tools to produce films at a fraction of Hollywood budgets. The country's filmmakers are deploying ChatGPT for scriptwriting, Midjourney for image generation, and Runway for video storyboarding. VFX artist Amilio Garcia Leonard told Rest of World that AI has reduced his draft editing time by 70%.

The Indonesian Film Producer Association supports the technology. Indonesian films typically cost 10 billion rupiah ($602,500), less than 1% of major Hollywood productions. The sector employed about 40,000 people in 2020 and generated over $400 million in box office sales in 2023. Jobs for storyboarders, VFX artists, and voice actors are disappearing.

Apple has rebranded its streaming service Apple TV+ to simply Apple TV, further blurring the already confusing line between the Apple TV device, the Apple TV app, and the Apple TV service. As John Gruber notes, users can now "watch Apple TV in Apple TV on Apple TV." From Daring Fireball: In some ways, I get it. Like, if you're telling someone how much you enjoy Slow Horses and they ask how to watch it, it's more natural and conversational to just say "It's on Apple TV." That's what most people say. That's what I say -- and as part of my job, I completely understand the difference between Apple TV the device, Apple TV the (free) app, and Apple TV+ the (paid) streaming service.

But right there in Apple's own "About Apple TV" description, you see just how overused "Apple TV" now is. You can watch Apple TV in Apple TV on Apple TV -- the paid service in the free app on the set-top box. But you can watch any streaming service you want on the box, in that service's own app. But many of those services are also available in the Apple TV app. And the Apple TV streaming service is also available on just about all other popular set-top hardware platforms. So don't need an Apple TV to watch Apple TV. It's a bit like Abbott and Costello's classic "Who's on First" routine.

Enthusiasm for Sora 2 "wasn't shared in Hollywood," reports the Los Angeles Times, "where the new AI tools have created a swift backlash" that "appears to be only just the beginning of a bruising legal fight that could shape the future of AI use in the entertainment business." [OpenAI] executives went on a charm offensive last year. They reached out to key players in the entertainment industry — including Walt Disney Co. — about potential areas for collaboration and trying to assuage concerns about its technology. This year, the San Francisco-based AI startup took a more assertive approach. Before unveiling Sora 2 to the general public, OpenAI executives had conversations with some studios and talent agencies, putting them on notice that they need to explicitly declare which pieces of intellectual property — including licensed characters — were being opted-out of having their likeness depicted on the AI platform, according to two sources familiar with the matter who were not authorized to comment. Actors would be included in Sora 2 unless they opted out, the people said. OpenAI disputes the claim and says that it was always the company's intent to give actors and other public figures control over how their likeness is used.

The response was immediate.... [Big talent agencies objected, along with performers' unions and major studios.] "Decades of enforceable copyright law establishes that content owners do not need to 'opt out' to prevent infringing uses of their protected IP," Warner Bros. Discovery said in a statement... The strong pushback from the creative community could be a strategy to force OpenAI into entering licensing agreements for the content they need, legal experts said... One challenge is figuring out a way that fairly compensates talent and rights holders. Several people who work within the entertainment industry ecosystem said they don't believe a flat fee works.
Meanwhile, "the complete copyright-free-for-all approach that OpenAI took to its new AI video generation model, Sora 2, lasted all of one week," writes Gizmodo. But that means the service has "now pissed off its users." As 404 Media pointed out, social channels like Twitter and Reddit are now flooded with Sora users who are angry they can't make 10-second clips featuring their favorite characters anymore. One user in the OpenAI subreddit said that being able to play with copyrighted material was "the only reason this app was so fun."
Futurism published more reactions, including ""It's official, Sora 2 is completely boring and useless with these copyright restrictions." Others accused OpenAI of abusing copyright to hype up its new app. "This is just classic OpenAI at this point," another user wrote. "They do this s*** all the time. Let people have fun for a day or two and then just start censoring like crazy." The app now has a measly 2.9-star rating on the App Store, indicative of growing disillusionment and frustration with censorship... [It's not dropped to 2.8.]

In an apparent effort to save face, Altman claimed this week that many copyright holders are actually begging to have their characters appear on Sora, instead of complaining about the trend. "In the case of Sora, we've heard from a lot of concerned rightsholders and also a lot of rightsholders who are like 'My concern is you won't put my character in enough,'" he told the a16z podcast earlier this week. "So I can completely see a world where subject to the decisions that a rightsholder has, they get more upset with us for not generating their character often enough than too much," he added. Whether most rightsholders would agree with that sentiment remains to be seen.
Business Insider offers another reaction. After watching Sora 2's main public feed, they write that Sora 2 "seems to be overrun with teenage boys."