This October will see the release of a film that's nearly 43 years in the making, reports Ars Technica: It's difficult to underestimate the massive influence that Disney's 1982 cult science fiction film, TRON, had on both the film industry — thanks to combining live action with what were then groundbreaking visual effects rife with computer-generated imagery — and on nerd culture at large. Over the ensuing decades there has been one sequel, an animated TV series, a comic book miniseries, video games, and theme park attractions, all modeled on director Steve Lisberg's original fictional world.

Now we're getting a third installment in the film franchise: TRON: Ares, directed by Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Maleficent: Mistress of Evil), that serves as a standalone sequel to 2010's TRON: Legacy. Disney just released the first trailer and poster art, and while the footage is short on plot, it's got the show-stopping visuals we've come to expect from all things TRON.
The film's director says it "builds upon the legacy of cutting-edge design, technology and storytelling, according to an official statement from Disney. And here's how they describe the plot. "TRON: Ares follows a highly sophisticated Program, Ares, who is sent from the digital world into the real world on a dangerous mission, marking humankind's first encounter with A.I. beings."

Share your thoughts in the comments. (Anyone remember playing the Tron videogame?)

The first episode of 2012's animated Tron: Uprising is available on the Disney XD YouTube channel...

An anonymous reader quotes an op-ed from Ars Technica's Scharon Harding: TVs offer us an escape from the real world. After a long day, sometimes there's nothing more relaxing than turning on your TV, tuning into your favorite program, and unplugging from the realities around you. But what happens when divisive, potentially offensive messaging infiltrates that escape? Even with streaming services making it easy to watch TV commercial-free, it can still be difficult for TV viewers to avoid ads with these sorts of messages. That's especially the case with budget brands, which may even force controversial ads onto TVs when they're idle, making users pay for low-priced TVs in unexpected, and sometimes troubling, ways. [...]

Buying a budget TV means accepting some trade-offs. Those trade-offs have historically been around things like image quality and feature sets. But companies like Vizio are also asking customers to accept questionable advertising decisions as they look to create new paths to ad revenue. Numerous factors are pushing TV OS operators deeper into advertising. Brands are struggling to grow profits as people buy new TVs less frequently. As the TV market gets more competitive, hardware is also selling for cheaper, with some companies selling TVs at a loss with hopes of making up for it with ad sales. There's concern that these market realities could detract from real TV innovation. And as the Secretary Noem ad reportedly shown to Vizio TV owners has highlighted, another concern is the lack of care around which ads are being shown to TV owners -- especially when all they want is simple "ambient background" noise.

Today, people can disable ambient mode settings that show ads. But with some TV brands showing poor judgment around where they sell and place ads, we wouldn't bank on companies maintaining these boundaries forever. If the industry can't find a way to balance corporate needs with appropriate advertising, people might turn off not only their TVs more often, but also unplug from those brands completely. Some of the worst offenders highlighted in the article include Vizio TVs' "Scenic Mode," which activates when the TV is idle and displays "relaxing, ambient content" accompanied by ads. Roku City takes a similar approach with its animated cityscape screensaver, saturated with brand logos and advertisements. Even Amazon Fire TV and premium brands like LG have adopted screensaver ads, showing that this intrusive trend isn't limited to budget models.

MoffettNathanson has crowned YouTube the "New King of All Media" as the Alphabet-owned video platform has become a major force in Hollywood, dominating time spent watching TV. From a report: The firm estimates that YouTube as a standalone business could be worth as much as $550 billion -- or nearly 30% of the tech giant's current valuation. The figure is based on the firm's analysis of enterprise value as a multiple of revenue in 2024 for Netflix (10.5x revenue), Meta (8.8x), Roku (2.4x), Warner Bros. Discovery (1.4x), Fox (1.3x) and Disney (1.3x).

In 2024, YouTube was the second-largest media company by revenue at $54.2 billion, trailing behind only Disney. However, the MoffettNathanson analysts predict YouTube will take the top spot in 2025, becoming a leader in both engagement and revenue. "YouTube has the potential to become the central aggregator for all things professional video, positioning itself to capture a share of the $85 billion consumer Pay TV market and the ~$30 billion streaming ex. Netflix market in the U.S.," they wrote in a Monday research note. "On monetization, when comparing YouTube's massive TV screen engagement to its estimated TV revenue, it remains significantly under-monetized relative to its scaled reach and differentiated offering. This signals a substantial runway for improving its monetization strategy."

Samsung teased its "AI Vision Inside" refrigerators at January's CES tradeshow. (Its internal sensors can now detect 37 different fresh ingredients and 50 processed foods, generating lists for your cellphone or a screen on your refrigerator's door.)

But the refrigerators are part of a larger "AI Home" lineup of screen-enabled appliances with advanced AI features, and Engadget got to see them all together this weekend at Samsung's Bespoke AI conference in Seoul, Korea: The centerpiece of the Bespoke line remains Samsung's 4-door French-Door refrigerator, which is now available with two different-sized screens. There's a model with a smaller 9-inch screen that starts at $3,999 or one with a massive 32-inch panel called the Family Hub+ for $4,699. The former is ostensibly designed for people who want something a bit more discreet but still want access to Samsung's smart features, which includes widgets for your calendar, music, weather, various cooking apps and more. Meanwhile, the larger model is for families who aren't afraid of having a small TV in their face every time they open their fridge. You can even play videos from TikTok on it, if that's what you're into....

For cooking, Samsung's matte glass induction cooktops are mostly the same, but its Bespoke 30-inch single ($3,759) and double ($4,649) wall ovens have...you guessed it, more AI. In addition to a 7-inch display, there are also cameras and sensors inside the oven that can recognize up to 80 different recipes to provide optimal cooking times. But if you prefer to go off-script and create something original, Samsung says the oven will give you the option to save the recipe and temperature settings after cooking the same dish five times. And for a more fun application of its tech, the oven's cameras can record videos and create time-lapses of your baked goods for sharing on social media.

When it's time to clean up, Samsung's $1,399 Bespoke Auto Open Door Dishwasher has a few tricks of its own. In this case, the washer uses AI (yet again) and sensors to more accurately detect food residue and optimize cleaning cycles...
There's also an "AI Jet Ultra Cordless Stick" vacuum cleaner, which "uses AI to better detect what surface its on to more effectively hoover up dirt and debris."

Interestingly, in January Samsung's refrigerators also got a mention in iFixit's "Worst of CES" video.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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