A group of filmmakers have sued the State Department for making visa applicants hand over details about their social media accounts. "The lawsuit argues that the requirement unconstitutionally discourages applicants from speaking online -- and, conversely, discourages people who post political speech from trying to enter the U.S.," reports The Verge. From the report: This lawsuit, filed by the Doc Society and the International Documentary Association, challenges the decision on First Amendment grounds. It calls the registration system "the cornerstone of a far reaching digital surveillance regime" that makes would-be visitors provide "effectively a live database of their personal, creative, and political activities online" -- which the government can monitor at any time, long after the application process has been completed. Applicants must even disclose accounts that they use pseudonymously, and if U.S. authorities fail to keep that information secure, it could potentially endanger people who are trying to avoid censorship from a repressive foreign government.

The plaintiffs in this lawsuit say that some non-U.S. members have begun deleting social media content or stopped expressing themselves online because they're afraid it will complicate their ability to enter the U.S. Others have decided to stop working in the country because they don't want to reveal their social media accounts. "The Registration Requirement enables the government to compile a database of millions of people's speech and associations, which it can cross-reference to glean more information about any given visa applicant," warns the suit. And "the government's indefinite retention of information collected through the Registration Requirement further exacerbates the requirement's chilling effect because it facilitates surveillance into the future."

Media center app maker Plex officially launched its ad-supported video service with movies and TV shows from MGM, Warner Bros., Lionsgate and Legendary Wednesday. The service will be available in more than 200 countries and territories, making it the first ad-supported video service with a nearly global reach. From a report: Getting the rights to launch in so many countries was key to bringing ad-supported video to Plex, said CEO Keith Valory in a recent interview with Variety. "More than half of our users are outside of the U.S." The initial catalog will include thousands of movies and TV show episodes, according to Plex executives, with plans to add many more over time. Some titles will only be streaming in some territories, while others are being made available everywhere. At launch, users will have access to movies like "Rain Man," "Teen Wolf," "The Terminator," "American Ultra," "Frequency," "Hard Candy," "Ghost in the Shell," and more. Plex's free-to-watch catalog will initially be more heavily focused on movies than TV shows, but the company plans to add more TV content in the coming months.

The media ecosystem is undergoing a massive change as streaming video looks to extend its recent dominance over traditional distribution, according to research firm MoffettNathanson, which wrote that a large minority of cable consumers could cut their subscriptions in coming years. From a report: "The video market is in full disruption and this year could be the cord cutting tipping point," analyst Michael Nathanson wrote to clients. "Media companies will need to master a whole new suite of skill sets to win going forward," with content creation, user interfaces and "churn mitigation strategies" among the factors that could determine the next generation of winners in the market. Consumers have been abandoning traditional media bundles for years, instead looking to services like Netflix or Walt Disney's recently launched Disney+ service, which has signed up more than 10 million subscribers since launching in November. Streaming services have made in-roads into a number of major categories of video entertainment, including TV shows and movies. In a measure of how big streaming has become, Wells Fargo Securities wrote that between November 17-23, "The Mandalorian," a series from Disney+ set in the "Star Wars" universe, was the "most in-demand show in OTT and overall on a linear+OTT basis." OTT stands for "over the top" content, which bypasses cable boxes. Linear TV airs at set times, as opposed to being on-demand, as with streaming.

Netflix's reboot of Mystery Science Theatre 3000 made this year's "Best Of" lists from both The New York Times and Rotten Tomatoes. Yet apparently their bosses didn't like them, and have shot them into space.

Forbes reports: In a controversial move poisoning Thanksgiving for many indie comedy fans, Mystery Science Theater 3000 host Jonah Ray tweeted that Netflix has cancelled the young reboot after two seasons... The reprise of Mystery Science Theater 3000 -- whose maiden incarnation made hordes of fans airing on Comedy Central and Syfy throughout the '90s -- ran on Netflix for two seasons and 20 episodes beginning in 2017 after a record-breaking Kickstarter campaign by creator Joel Hodgon fueled its return.

"We don't know what the future holds for the show," Ray added in a later tweet, "it always seemed to figure out how to survive. From Comedy Central to Syfy. Then kept alive by RIFFTRAX & Cinematic Titan. Whatever happens, I want everybody to know that getting a chance to be on this show was a dream come true." Shortly after news of the show's cancellation, Hodgson tweeted reassurance to fans that he'll look to revive the series elsewhere....

Earlier this month, Shout! Factory TV announced the debut of an MST3K Twitch channel that unspools the series and promises to feature "related programming...." Fans can also turn to Pluto TV's 24/7 MST3K channel to gorge on the series pre-Y2K catalogue (1988-99).

The MST3K staff is also currently on a sprawling 60-plus city tour that will stretch into March 2020. In 2008 Joel Hodgson, the show's creator, answered questions from Slashdot readers. "I've been a fan so long, I can't even remember when," posted CmdrTaco. "I've been shuttling my MST coffee mug from desk to desk for like 15 years now, so I'm pretty pumped that he'd waste your time with us."

In a gracious note this week, Hodgson emailed fans that "We've had a wonderful time working with the Netflix team, and will always be grateful to them. After all, they gave us the opportunity to spend the past few years aboard the Satellite of Love, and made it possible for new generations to discover the joys of riffing cheesy movies with your friends..."

In a Quartz article, Adam Epstein writes about the filmmaking technology used to film The Mandalorian on Disney+: Industrial Light & Magic (ILM) -- the Lucasfilm subsidiary George Lucas founded in 1975 to make the visual effects for Star Wars -- deployed a real-time 3D projection system called "Stagecraft" on the Disney+ series that could, eventually, replace green-screen as the film industry standard for rendering virtual environments. The company has been testing Stagecraft for five years -- most recently on the Star Wars spin-off movie Solo in 2018. But The Mandalorian, the flagship series on Disney's new streaming service, likely marks the most extensive use yet of the new system.

Stagecraft's chief innovation is that it can project a 3D visual environment around the actors that changes in real time to match the perspective of the camera. When the camera moves, the background moves too, simulating the experience of filming in a different location. It's a significant upgrade from green-screen technology, which requires the filmmakers layer in a static image or footage after filming in front of the blank backdrop. [...] The tech has a wide range of benefits. For starters, it can draw better performances from the actors, who don't have to imagine the environment they are in, as they do when filming in front of green-screen. They can instantly be transported to any location, real or made-up, and feel as though they are there. And that's another big advantage: Stagecraft allows films and TV shows to simulate environments without actually having to send an entire production there to film. "One downside is that the displays used in Stagecraft require liquid crystals that take several years to grow," the report adds. "Growing and maintaining these crystals, which are the backbone of LCD (liquid crystal display) screens, can be expensive and time-consuming, perhaps complicating the attempts of other companies to adapt the technology."

This video from Unreal Engine shows a smaller scale version of the tech in action.

Syd Mead, the artistic director on Blade Runner says Tesla's new Cybertruck "has completely changed the vocabulary of the personal truck market design."

Or, for another perspective, "Tesla's Cybertruck looks weird... like, really weird," wrote Toni Sacconaghi, a senior equity research analyst at the global asset management firm AllianceBernstein. "Add a little bit of dirt, and you could even say it gives off a retro-future vibe a la Mad Max."

That's from a Market Insider article citing Wall Street analysts they say "aren't buying the futuristic design of Tesla's new electric pickup truck." For example, Dan Levy of Credit Suisse, who wrote "amid the radical design for Cybertruck, it's somewhat unclear to us who the core buyer will be." "We do not see this vehicle in its current form being a success," Jeffrey Osborne of Cowen wrote in a note on Friday, adding that he doesn't see the Tesla brand or the Cybertruck design "resonating with existing pickup truck owners...."

Still, the Cybertruck's design wasn't unanimously disliked by Wall Street. The design "will be a hit with the company's fanatic EV installed base globally as Musk & Co. are clearly thinking way out of the box on this model design," Dan Ives of Wedbush wrote in a Friday note....

[And] "While styling will always be subjective, we believe the unique and futuristic design will resonate with consumers, leading to solid demand," Jed Dorsheimer of Canaccord Genuity wrote in a Friday note.
The article also quotes Toni Sacconaghi of Bernstein as saying that the "really futuristic, like cyberpunk Blade Runner" design "is too bad, because its on-paper specs are insane."

But IGN reports there's another group commenting enthusiastically on the Cybertruck's looks: gamers. Unlike anything else we've seen from Musk's line of vehicles before, the Tesla truck resembles something you'd see in an old video game set in the future or sci-fi flick from the late '90s to the early 2000s.

Of course, gamers all over the internet couldn't help themselves from sharing images, making memes, and drawing comparisons to look-alikes we've seen in games, TV shows, and movies... According to the internet, the Tesla Cybertruck either hasn't finished rendering yet or is made of some very dated graphics. Either way, it takes us back to the days where we got to experience the famous low-poly Lara Croft.

An anonymous reader quotes a report from The New York Times: The Justice Department said on Monday that it planned to overturn antitrust-related movie distribution rules from the early days of Hollywood (Warning: source may be paywalled; alternative source), citing an entertainment landscape that has been radically reshaped by technology. "We cannot pretend that the business of film distribution and exhibition remains the same," Makan Delrahim, the antitrust chief at the Justice Department, said at an American Bar Association conference in Washington. "Changes over the course of more than half a century also have made it unlikely that the remaining defendants can reinstate their cartel."

The film distribution rules, known as the Paramount consent decrees, were enacted in 1949, a year after the United States Supreme Court ruled that Hollywood's eight largest studios could not own theaters, and thus control the film business. The regulations made it illegal for studios to unreasonably limit the number of theaters in one geographical area that could play a movie. They also banned "block booking," a bundling practice where studios forced theaters to play their bad movies along with their good ones or not play any. But that was when "metropolitan areas generally had a single movie theater with one screen that showed a single movie at a time," Mr. Delrahim said. "Today, not only do our metropolitan areas have many multiplex cinemas showing films from different distributors, but much of our movie-watching is not in theaters at all." In essence, he was saying that the regulations are obsolete because of technological advancements, most recently streaming. The National Association of Theater Owners said that abolishing the consent decrees could result in a return to block booking, which many smaller theater owners could not survive.

"If distributors can engage in block booking, exhibitors may be forced to pack their screens with global tentpoles at the expense of targeted programming," the association said in its submitted comments, referring to blockbuster films that now dominate the box office. "Consumers will face increasingly limited choices at the box office, and, without the possibility of a theatrical run, many films will no longer be made, limiting the availability of choices through home entertainment platforms as well."

The authors of a 2017 study which found that reading science fiction "makes you stupid" have conducted a follow-up that found that it's only bad sci-fi that has this effect: a well-written slice of sci-fi will be read just as thoroughly as a literary story. From a report: Two years ago, Washington and Lee University professors Chris Gavaler and Dan Johnson published a paper in which they revealed that when readers were given a sci-fi story peopled by aliens and androids and set on a space ship, as opposed to a similar one set in reality, "the science fiction setting triggered poorer overall reading" and appeared to "predispose readers to a less effortful and comprehending mode of reading -- or what we might term non-literary reading." But after critics suggested that merely changing elements of a mainstream story into sci-fi tropes did not make for a quality story, Gavaler and Johnson decided to revisit the research. This time, 204 participants were given one of two stories to read: both were called "Ada" and were identical apart from one word, to provide the strictest possible control. The "literary" version begins: "My daughter is standing behind the bar, polishing a wine glass against a white cloth." The science-fiction variant begins: "My robot is standing behind the bar, polishing a wine glass against a white cloth."

"On the 2-year anniversary of DC and Warner Bros.' Justice League, Wonder Woman and Batman themselves have joined fans' calls for the release of director Zack Snyder's cut of the much-maligned 2017 film," reports Entertainment Weekly: Both Ben Affleck and Gal Gadot tweeted "#ReleaseTheSnyderCut" on Sunday, with Gadot also posting a photo of her character, Diana Prince/Wonder Woman... Affleck and Gadot joined other DC actors, like Ray Fisher (Cyborg) and Christina Wren (Major Carrie Farris), who posted on social media for the anniversary to demand the release of Snyder's original vision for Justice League...

Jason Momoa and director Kevin Smith added fuel to the fire this summer after they said they've either seen the Snyder cut or heard about it from reliable sources. In August, Momoa posted an Instagram video with Snyder, saying the director had shown him the cut and that it was "ssssiiicccckkkkkk." Smith was less complimentary, saying the cut was "not a finished movie by any stretch of the imagination."

Still, it is a big deal that Justice League's own stars are calling for a redo of sorts.
Momoa, who plays Aquaman, said in early November "I think the public needs to see it," according to CNET. But The Hollywood Reporter isn't convinced that will happen.

"Despite the groundswell, and speculation that a Snyder Cut could go to Warner Bros.' upcoming streaming service HBO Max, insiders tell The Hollywood Reporter no announcement of a release of a Snyder Cut is imminent.

An anonymous reader quotes ZDNet: Hackers didn't waste any time and have started hijacking Disney+ user accounts hours after the service launched. Many of these accounts are now being offered for free on hacking forums, or available for sale for prices varying from $3 to $11, a ZDNet investigation has discovered... Many users reported that hackers were accessing their accounts, logging them out of all devices, and then changing the account's email and password, effectively taking over the account and locking the previous owner out...

Two users who spoke with ZDNet on the condition we do not share their names admitted that they reused passwords. However, other users said online that they did not, and had used passwords unique for their Disney+ accounts. This suggests that in some cases hackers gained access to accounts by using email and password combos leaked at other sites, while in other cases the Disney+ credentials might have been obtained from users infected with keylogging or info-stealing malware.

The speed at which hackers have mobilized to monetize Disney+ accounts is astounding.

An anonymous reader shares a report: A simple glance at torrent websites shows that plenty of people are stealing from the brand new steaming services -- episodes of The Mandalorian and Dickinson all have hundreds or thousands of seeders and are among the most popular shows on torrent sites. I reached out specifically to Disney, Apple, and Netflix to ask what their policy was on going after pirated content, and haven't heard back, but it's obvious that these companies assume that at least some of their viewers aren't paying the full price for their services. Given that you can watch as many as six simultaneous streams with Apple TV+, and four with Disney+ and the top Netflix package, the more common form of piracy -- password sharing -- is built into the system. But for pirates who don't have any access to the legit services, what makes stealing content particularly appealing in this age is that there are few if any people who face consequences for the crime.

Since the discontinuation of the "six strikes" copyright policy in 2017, there's been lax enforcement of copyright laws. Rather than going after individuals for exorbitant fines for downloading a handful of songs like copyright holders did a decade ago, enforcement these days has focused on the providers of pirated content, with the much more efficient goal of taking down entire streaming sites rather than just a few of their visitors. Of course, as the continued resilience of The Pirate Bay shows, the current strategy isn't particularly effective at stopping piracy, either. But it does mean that those who only download already-stolen content are safer than they've ever been.

Freshly Exhumed shares a report from The Guardian: George Lucas, whose departure from all things Star Wars seems to have been greatly exaggerated -- appears to have yet again doctored the famous Greedo scene in 1977's Star Wars [prior to it being shown on the Disney+ streaming service]. The scene depicts the Mos Eisley cantina in which Harrison Ford's Han Solo is confronted by an alien bounty hunter and winds up shooting him dead in a brief flurry of blaster fire. It has been much discussed over the years, largely because Solo shot Greedo in cold blood in the original, "Han shot first" 1977 cut, while in later versions Lucas re-edited the footage to depict Greedo as the aggressor, with Han returning fire in self-defense. Many fans have speculated about what effect that subtle change had on Han's transformation in the original trilogy from cold-hearted hustler to hero of the resistance. Now Lucas has tinkered all over again, to further muddy the waters.

As seen on new streaming service Disney+, the scene features Han and Greedo shooting at roughly the same moment -- to be fair, this is a change introduced several years back. But now, Greedo appears to utter the phrase "MacClunkey!" before succumbing to his wounds. Reports suggest Lucas made the changes some years ago, perhaps around the time he sold Lucasfilm to Disney for $4 billion, in 2012. Celebrities such as Stephen King and Patton Oswalt have speculated about what the re-edit means for the future of Star Wars, though nobody seems to have much of a clue.

The Walt Disney Company said Wednesday that its new streaming service Disney+ had 10 million sign-ups since it launched Tuesday at midnight. From a report: Disney wouldn't release the number if the company didn't think it represented a major milestone. Disney told investors in the spring that it hopes to reach 60 million to 90 million subscribers by 2024. The number is also notable, considering the service launched with a few hiccups. Early reports on Tuesday suggested the technology for Disney+ began crashing on launch day. Analysts anticipated strong consumer interest prior to the launch of the new service. Polling suggests that consumers were interested in the service at launch because of the access to Disney's movie catalog, as well as its new show, "The Mandalorian."

Now that we have arrived in Blade Runner's November 2019 "future," the BBC asks what the 37-year-old film got right. Slashdot reader dryriver shares the report: [B]eyond particular components, Blade Runner arguably gets something much more fundamental right, which is the world's socio-political outlook in 2019 -- and that isn't particularly welcome, according to Michi Trota, who is a media critic and the non-fiction editor of the science-fiction periodical, Uncanny Magazine. "It's disappointing, to say the least, that what Blade Runner "predicted" accurately is a dystopian landscape shaped by corporate influence and interests, mass industrialization's detrimental effect on the environment, the police state, and the whims of the rich and powerful resulting in chaos and violence, suffered by the socially marginalized."

[...] As for the devastating effects of pollution and climate change evident in Blade Runner, as well as its 2017 sequel Blade Runner 2049, "the environmental collapse the film so vividly depicts is not too far off from where we are today," says science-fiction writer and software developer Matthew Kressel, pointing to the infamous 2013 picture of the Beijing smog that looks like a cut frame from the film. "And we're currently undergoing the greatest mass extinction since the dinosaurs died out 65 million years ago. In addition, the film's depiction of haves and have-nots, those who are able to live comfortable lives, while the rest live in squalor, is remarkably parallel to the immense disparity in wealth between the world's richest and poorest today. In that sense, the film is quite accurate." [...] And it can also provide a warning for us to mend our ways. Nobody, surely, would want to live in the November 2019 depicted by Blade Runner, would they? Don't be too sure, says Kressel.

"In a way, Blade Runner can be thought of as the ultimate cautionary tale," he says. "Has there ever been a vision so totally bleak, one that shows how environmental degradation, dehumanization and personal estrangement are so harmful to the future of the world? "And yet, if anything, Blade Runner just shows the failure of the premise that cautionary tales actually work. Instead, we have fetishized Blade Runner's dystopian vision. Look at most art depicting the future across literature, film, visual art, and in almost all of them you will find echoes of Blade Runner's bleak dystopia. "Blade Runner made dystopias 'cool,' and so here we are, careening toward environmental collapse one burned hectare of rainforest at a time. If anything, I think we should be looking at why we failed to heed its warning."

You can almost hear the sigh of relief from the global Sega fan community. The new Sonic the Hedgehog movie trailer, which Paramount released this morning, is a giant improvement. From a report: Our spiky hero no longer looks like a nightmarish experiment in avant garde taxidermy. The human teeth have been extracted. He has big doe eyes, not the sinister mini-peepers of the original trailer. The new design genuinely captures a lot of what original character designer Naoto Ohshima set out to achieve -- a cool but cuddly mascot, infusing Japanese kawaii sensibilities with American attitude. His fur is bright, mimicking the famed Sega blue of the company's classic arcade games. He is no longer absolutely terrifying, an important achievement for a family film.

Disney Plus launched early Tuesday, and users are already complaining of service failures. From a report: So far, Disney Plus complaints are clustered in big cities in the Eastern US and Canada, lining up with the the areas likely to experiencing peak demand early Tuesday morning, according to outage tracker DownDetector. The tracker also showed complaints in the Netherlands, where Disney Plus launched as a subscription service Tuesday after operating as a free beta app for weeks. Disney said that demand for Disney Plus has exceeded its "high expectations."

"We are pleased by this incredible response and are working to quickly resolve the current user issue. We appreciate your patience," the company said in a statement. The complaints run a gamut of errors, including difficulties logging in, inability to stream, app failures, shows and movies disappearing from the library and other problems.

Luke Skywalker wasn't going to be the only Jedi in the final Star Wars movie, reports Yahoo Entertainment: In the original version of the ninth and final installment, The Rise of Skywalker, his sister, Leia (played by Carrie Fisher), was going to emerge as a full-fledged Jedi warrior, complete with her very own lightsaber. That's according to no less an authority than Fisher's real-life brother, Todd Fisher, who filled us in on what the plan was for his sister's iconic character prior to her sudden death in December 2016. "She was going to be the big payoff in the final film," Fisher reveals exclusively to Yahoo Entertainment. "She was going to be the last Jedi, so to speak. That's cool right....? People used to say to me, 'Why is it that Carrie never gets a lightsaber and chops up some bad guys,'" Fisher says, noting that Alec Guinness was roughly the same age when Obi-Wan Kenobi battled Darth Vader in A New Hope. "Obi-Wan was in his prime when he was Carrie's age...!"

Unfortunately, a version of The Rise of Skywalker where Leia picks up her father and brother's chosen weapon can only exist in our imaginations. After Fisher's death, her alter ego's arc had to be re-conceived by returning director J.J. Abrams, who previously directed the actress in 2015's The Force Awakens. "The truth is that J.J. Abrams was great friends with Carrie... he had an extraordinary sense of love for her," her brother says. It was that love that led the filmmaker to make a bold, and creatively risky decision: take unused footage of Leia left over from The Force Awakens and make it part of The Rise of Skywalker. "They had eight minutes of footage," Fisher tells us. "They grabbed every frame and analyzed it... and then reverse-engineered it and [got] it into the story the right way. It's kind of magical."

"The news just keeps getting worse for Terminator: Dark Fate," reports CinemaBlend: It had a disappointing opening last week and a sharp drop in its second weekend at the box office. It also had the worst Friday-to-Friday drop of any other Terminator sequel in the franchise... According to Forbes, it made only $2.8 million on Friday, November 8, marking a 73% drop from opening day on November 1...

[A]t this point, Terminator: Dark Fate is only expected to make just over $10 million this weekend, which would be a drop of 65% from last weekend. That is pretty big considering Dark Fate only started with a $29 million opening weekend. To go back to Terminator Salvation, that movie opened to $42.5 million 10 years ago, so even a slightly bigger week-to-week percentage drop gave it more money than Dark Fate...

Terminator: Dark Fate cost between $185-$195 million to make, not including marketing costs. According to Deadline, the movie will have to make $470 million worldwide to break even. If it were making a killing at the international box office, that might happen. But it's not exactly crushing overseas either. Going into this second weekend, the film was only at $135 million worldwide, with $94M of that from the foreign box office. That's a lot more than domestic, but the addition of this weekend's numbers, and whatever comes next week and beyond, probably won't be enough to hit that break even point... [E]ven if you too think you know where James Cameron was going with his Terminator trilogy plans after Dark Fate, it's unlikely now that those plans will see the light of day.
Forbes calls it "a sign that making a better sequel couldn't save a franchise for which general audiences stopped caring decades ago... [I]t's an example of the studios looking at the threat posed by video-on-demand and streaming and giving theatrical audiences exactly what they don't want."

Meanwhile, they write, the movie Joker has become the most profitable comic book movie of all time, earning $958.7 million worldwide on a budget of just $62.5 million.

Two VFX companies are bringing James Dean back to the big screen to star in the Vietnam era action-drama Finding Jack. Dean passed away in a 1955 car crash at the age of 24. From The Hollywood Reporter: Directed by Anton Ernst and Tati Golykh, the project comes from the filmmakers' own recently launched production house Magic City Films, which obtained the rights to use Dean's image from his family. Canadian VFX banner Imagine Engine will be working alongside South African VFX company MOI Worldwide to re-create what the filmmakers describe as "a realistic version of James Dean." Adapted by Maria Sova from Gareth Crocker's novel, Finding Jack is based on the existence and abandonment of more than 10,000 military dogs at the end of the Vietnam War. Dean will play a character called Rogan, considered a secondary lead role.

While Finding Jack will be live action, The Hollywood Reporter understands that Dean's performance will be constructed via "full body" CGI using actual footage and photos. Another actor will voice him. Preproduction on Finding Jack starts Nov. 17, with a goal for a worldwide release on Veterans Day 2020. Magic City Films is handling the foreign sales. "We searched high and low for the perfect character to portray the role of Rogan, which has some extreme complex character arcs, and after months of research, we decided on James Dean," said Ernst, who also produces with Golykh for Magic City Films alongside Donald A. Barton of Artistry Media Group. "We feel very honored that his family supports us and will take every precaution to ensure that his legacy as one of the most epic film stars to date is kept firmly intact. The family views this as his fourth movie, a movie he never got to make. We do not intend to let his fans down."

Dustin Curtis writes about Apple TV: Apple TV is a hardware device. Apple TV is an app on Apple TV that curates content you can buy from Apple and also content you can stream through other installed apps (but not all apps, and there is no way to tell which ones). Apple TV is an app on iOS/iPadOS devices that operates similarly to Apple TV on Apple TV. Apple TV on iOS/iPadOS syncs playback and watch history with Apple TV on Apple TV, but only if the iOS/iPadOS device has the same apps installed as the Apple TV -- and not all apps are available on all platforms. Apple TV is also an app on macOS, but it does not show content that can only be streamed from external apps on an Apple TV or iOS/iPadOS device.

Apple TV is an app or built-in feature of other devices, like smart TVs and streaming set-top boxes, but when Apple TV is running on a third party device, it does not show content from other installed apps on that device. Apple TV Channels is a feature on all Apple TV apps that lets you subscribe to external services like HBO and Showtime, which then display content within Apple TV. When Apple TV is on Apple TV or iOS/iPadOS, though, most Apple TV Channel services also have their own app. If you are logged into the app, the service's content already shows up in Apple TV. Apple TV Channels can only be viewed within Apple TV; you cannot watch an Apple TV Channel service's content on any non-Apple TV device, app, or the web. [...] Apple TV+ is a subscription streaming service from Apple that functions like an Apple TV Channel but is not an Apple TV Channel. Apple TV+ content can also be viewed in a web browser at tv.apple.com; no other Apple TV apps, devices, or features can be used in a web browser. He adds, "other than that, though, Apple TV is relatively straightforward."