As Stranger Things releases the first four episodes of its final season today, nearly a decade after its July 2016 premiere, the Netflix series has come to represent something broader than its own popularity -- the embodiment of streaming television's algorithmic philosophy. When the show first appeared, streaming was still finding its footing. Netflix had been producing original series for only a few years, and services like Disney+, Apple TV and HBO Max did not yet exist.

The question then was what form streaming originals would take: experimental fare like Sense8, nonlinear storytelling like the revived Arrested Development, or prestige dramas like House of Cards. The answer came from a popcorn horror thriller set in 1980s small-town Hawkins, Indiana. Matt and Ross Duffer built Stranger Things from vintage pop-culture parts -- Spielberg's coming-of-age sensibilities from E.T., Stephen King's horror and adolescent bonding, John Hughes' mean jocks and soulful goths, and references ranging from Kate Bush to The NeverEnding Story to casting Winona Ryder of Heathers and Beetlejuice fame.

New York Times critic James Poniewozik calls the series "a human-made equivalent of the algorithm" -- the software engine that drives streaming's "if you liked that, you'll like this" recommendation philosophy. Netflix did not invent the idea of copying television success, but the algorithm automated it and made it part of the creative operating system. The show's structure also fits streaming's mechanics: binge-watching encouragement, irregular release schedules, and episodes that assume audiences have time (the last season finale ran two hours and 22 minutes). The story adds: It's why you see a menu of similar thumbnail recommendations once you finish streaming a favorite series, encouraging you not to discover but to replicate. But the spirit behind it also explains why so much original streaming TV feels like the creative product of an algorithm. Consider the recent Netflix drama "The Beast in Me," which pairs familiar prestige-TV stars (Claire Danes of "Homeland" and Matthew Rhys of "The Americans") in a grim, upscale thriller that vaguely recalls something you might have seen on early 2010s Showtime or FX.

Creating the new by swallowing and regurgitating the old is also the signature move of generative A.I., which may be why that medium is so effective at creating works of burnished nostalgia. On Instagram and TikTok, accounts with names like "Maximal Nostalgia" serve up honeyed, uncanny images and videos that testify to how much better life was in a 1980s and 1990s that never existed.

Netflix is launching a new slate of TV-streamed party games that are all playable using your phone as the controller. The Verge reports: To start, Netflix is offering Boggle Party, Party Crasher: Fool Your Friends, Lego Party, Pictionary: Game Night, and Tetris Time Warp. A social deduction game based on the Knives Out series, Dead Man's Party: A Knives Out Game, is also part of this new slate but will launch at a later time. The streaming platform's approach to gaming has been unfocused, with the company bouncing between being a boutique development studio while also being a platform for premium and exclusive mobile gaming experiences. Offering party games on your TV seems like a better fit -- one that could allow Netflix to finally find its gaming footing.

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.

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."

Data centers were typically "hulking, chilly buildings lined with stacks of computing gear and bundles of wiring," writes the Washington Post. But "AI experts say that the hubs for computers that power AI are different from the data centers that deliver your Netflix movies and Uber rides. They use a different mix of computer chips, cost a lot more and need a lot more energy.

"The question is whether it's necessary and illuminating to rebrand AI-specialized data centers, or if calling them 'AI factories' is just marketing hogwash." The AI computer chip company Nvidia seems to have originated the use of "AI factories." CEO Jensen Huang has said that the term is apt because similar to industrial factories, AI factories take in raw materials to produce a product... The term is spreading. Sam Altman, CEO of ChatGPT parent company OpenAI, recently said that he wants a "factory" to regularly produce more building blocks for AI. Crusoe, a start-up that's erecting a mammoth "Stargate" data center in Texas, calls itself the "AI factory company." The prime minister of Bulgaria recently touted an "AI factory" in his country...

Alex Hanna, director of research at the Distributed AI Research Institute and co-author the book, "The AI Con," had a more pessimistic view of the term "AI factories." She said that it's a way to deflect the negative connotations of data centers. Some people and politicians blame power-hungry computing hubs for driving up residential electric bills, spewing pollution, draining drinking water and producing few permanent jobs.

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.

Gov. Gavin Newsom has signed a law banning excessively loud advertisements on streaming platforms like Netflix, Hulu and Amazon Prime that could become a de facto national standard. From a report: The new California law is aimed at addressing what the Federal Communications Commission has called a "troubling jump" in TV ad noise complaints, fueled by streamers airing commercials louder than the shows and movies they accompany.

It's modeled off a federal law passed in 2010 that caps ad volumes on cable and broadcast TV, but doesn't apply to streaming services. Given the Golden State's massive sway in the entertainment industry, the new law may strong-arm streamers into shushing commercials nationwide. "We heard Californians loud and clear, and what's clear is that they don't want commercials at a volume any louder than the level at which they were previously enjoying a program," Newsom said in a statement. "California is dialing down this inconvenience across streaming platforms."

"OpenAI's video generation tool, Sora, can create high-definition clips of just about anything you could ask for..." reports the Washington Post.

"But OpenAI has not specified which videos it grabbed to make Sora, saying only that it combined 'publicly available and licensed data'..." With ChatGPT, OpenAI helped popularize the now-standard industry practice of building more capable AI tools by scraping vast quantities of text from the web without consent. With Sora, launched in December, OpenAI staff said they built a pioneering video generator by taking a similar approach. They developed ways to feed the system more online video — in more varied formats — including vertical videos and longer, higher-resolution clips... To explore what content OpenAI may have used, The Washington Post used Sora to create hundreds of videos that show it can closely mimic movies, TV shows and other content...

In dozens of tests, The Post found that Sora can create clips that closely resemble Netflix shows such as "Wednesday"; popular video games like "Minecraft"; and beloved cartoon characters, as well as the animated logos for Warner Bros., DreamWorks and other Hollywood studios, movies and TV shows. The publicly available version of Sora can generate only 20-second clips, without audio. In most cases, the look-alike scenes were made by typing basic requests like "universal studios intro." The results also showed that Sora can create AI videos with the logos or watermarks that broadcasters and tech companies use to brand their video content, including those for the National Basketball Association, Chinese-owned social app TikTok and Amazon-owned streaming platform Twitch...

Sora's ability to re-create specific imagery and brands suggests a version of the originals appeared in the tool's training data, AI researchers said. "The model is mimicking the training data. There's no magic," said Joanna Materzynska, a PhD researcher at Massachusetts Institute of Technology who has studied datasets used in AI. An AI tool's ability to reproduce proprietary content doesn't necessarily indicate that the original material was copied or obtained from its creators or owners. Content of all kinds is uploaded to video and social platforms, often without the consent of the copyright holder... Materzynska co-authored a study last year that found more than 70 percent of public video datasets commonly used in AI research contained content scraped from YouTube.
Netflix and Twitch said they did not have a content partnership for training OpenAI, according to the article (which adds that OpenAI "has yet to face a copyright suit over the data used for Sora.")

Two key quotes from the article:

• "Unauthorized scraping of YouTube content continues to be a violation of our Terms of Service." — YouTube spokesperson Jack Malon

• "We train on publicly available data consistent with fair use and use industry-leading safeguards to avoid replicating the material they learn from." — OpenAI spokesperson Kayla Wood

An anonymous reader shares a report: JM Video, one of only two remaining DVD rental stores in Paris, is a focal point for film lovers and visited by actors like Brad Pitt when they are in the city, but the ever-growing competition of streaming platforms means this Paris institution is fighting for survival. Choice is not the problem: JM Video has a library of more than 50,000 films, more than some 5,000 on offer at any time on Netflix and more than the catalogues of all the major streaming actors combined. "It's one of the few places in Paris with a real film collection, you can find things here that you cannot find anywhere else," said movie buff Virginie Breton, who rents DVDs several times a week. But not enough to keep JM Video afloat.

Sky-high Paris property rents and a dwindling customer base, combined with the arrival of ever-more streaming services like Amazon Prime, Disney+, HBO Max, Paramount+ and Apple TV+ are squeezing the life out of the cave-like shop, where DVDs spill out from floor-to-ceiling racks. Founded in 1982, JM Video was one of around 5,000 video rental shops in France at the end of last century, well before Netflix switched from being a DVD rental outfit to a streaming pioneer around 2010. Now, France has only about 10 DVD rental shops, two of which are in Paris.

Scripted TV production peaked in 2022 at 599 shows and has declined since, according to FX's research division tracking. New prestige series have dropped sharply while streaming platforms prioritize returning shows over new development. Netflix has shifted majority output to unscripted content including docuseries and reality programming since 2018.

YouTube leads streaming viewership ahead of Netflix, Paramount+, and Hulu. Free ad-supported platforms YouTube, Tubi and Roku Channel continue gaining market share. Subscription prices across major streaming services have increased while scripted content volume decreased. Second season of Severance cost $200 million. Fourth season of Stranger Things reached $270 million in production expenses.

Netflix's film division faces a fundamental mismatch between its subscription model and filmmakers' artistic ambitions, according to new data analysis examining a decade of original productions. The streamer's movies cost two to three times more than A24 films but consistently score lower across review aggregators. Netflix attracts established actors like Eddie Murphy and Cameron Diaz but struggles to retain acclaimed directors.

The typical Netflix director has less critical acclaim and shorter filmographies than theatrical counterparts despite handling larger budgets. Directors recently turned down Netflix's $150 million for Wuthering Heights and $50 million for Weapons, accepting lower offers from Warner Bros. that guaranteed theatrical releases. The Electric State cost Netflix $320 million in February 2025 and received a 30 Metacritic score and 14% on Rotten Tomatoes. Netflix's business model requires filling hours to justify $9.99 monthly subscriptions. Directors seek theatrical releases where audiences watch films in one sitting without checking phones.

Streameast -- the world's largest illegal sports streaming platform -- has been shut down after a year long investigation, according to a leading United States-based anti-piracy organisation. From a report: The network of 80 unauthorised domains generated 1.6billion combined visits over the past year, providing free access to global sports fixtures, including Europe's top football leagues and competitions, such as the Premier League and Champions League, as well as the NFL, NBA and MLB.

The Athletic has been informed by the Alliance for Creativity and Entertainment (ACE) -- a coalition of 50 media and entertainment organisations including Amazon, Apple TV+, Netflix and Paramount -- that an operation alongside Egyptian law enforcement officials took place on Sunday August 24 to disrupt Streameast's dominant position in the illegal streaming market.

Traffic to the site reached 136million average monthly visits, with domains primarily originating from the U.S., Canada, the United Kingdom, the Philippines and Germany.

According to The Information, Apple executives have debated acquiring Mistral AI and Perplexity to strengthen its AI capabilities. MacRumors reports: Services chief Eddy Cue is apparently the most vocal advocate of a deal to buy AI firms to bolster the company's offerings. Cue previously supported propositions of Apple acquiring Netflix and Tesla, both of which Apple CEO Tim Cook turned down. Other executives such as software chief Craig Federighi have reportedly been reluctant to acquire AI startups, believing that Apple can build its own AI technology in-house. [...]

Apple is said to be hesitant to do a deal, which would likely cost billions of dollars. Apple has rarely spent more than a hundred million dollars on an acquisition, with Beats at $3 billion and Intel's wireless modem business at $1 billion. If a federal ruling ends the $20 billion deal between Apple and Alphabet that makes Google the default search engine on its devices, the company could be compelled to acquire an AI-powered search startup to fill that gap. For now, Apple apparently told bankers that it plans to continue with its strategy of focusing on smaller deals in AI.

Threads now has more than 400 million monthly active users. But who are these people who are actually using Threads, asks Mashable? And what is their cultural footprint? Threads is the Big Bang Theory of social media. Bland, boring, largely unoffensive, and somehow, it was the most popular show on television for years... At any given time, "Twitter" and "X" are searched somewhere between 12 and 30 times more than "Threads" on Google, according to the search engine's Trends data. Threads is a popular platform without much of an identity...

[Threads] is consistently good at one thing users really want from a social media platform: for their posts to be seen and engaged with. Threads might be boring in comparison to its competitors, but its users say it might be the only place on the internet right now where they don't feel they are screaming into the void.... Much like TikTok, you don't actually have to have thousands of followers to find decent engagement on the app. One user, commenting in a Reddit forum questioning who actually uses the app, said they "find it worthwhile" because "you can just say stuff on there under a tag and people will find it and respond...." According to consumer research company GWI, while users signed up for Threads because of its integration with Instagram, they're staying because Threads users are "community-focused," noting there's a strong overlap between Discord users and Threads users....

It just doesn't have the same flair as X or Twitter, which could be because Adam Mosseri, the head of Instagram, went out of his way to ensure politics was downplayed when Threads first launched. (Meta has since backtracked slightly by phasing "civic content" back into Threads "with a more personalized approach....") Threads is still in its adolescence. It lacks the media ecosystem that made Twitter indispensable for journalists, politicians, and celebrities. But it has something else: sheer scale and Meta's backing. With Instagram's 2 billion users as a feeder system, Meta can keep funneling people toward Threads whether they like it or not.
The article also points out Threads is integrated with the fediverse, supporting ActivityPub's decentralized protocol...

Young listeners are accelerating audio and video consumption, with an Economist/YouGov poll finding 31% of Americans aged 18-29 using faster-than-1x playback versus 8% among those 45 and older, as Apple, Spotify, newspapers' audio, Netflix, and YouTube expand speed controls, including YouTube's 4x for premium users.

YouTube reports more than 900 years saved per day from fast playback; a meta-analysis led by University of Waterloo researchers finds minimal test-score change up to 1.5x and declines near or past 2x.

An anonymous reader quotes a report from NPR: Patrick Schlott often finds himself in a cellular dead zone during his drive to work. "You go down the road, you turn the corner and you're behind a mountain and you'll lose cell coverage pretty fast," he says. The 31-year-old electrical engineer says poor reception is a common frustration for residents of Vermont's Orange County. To address this issue, he's providing his community with a new way to stay connected.

Schlott has taken old pay phones, modified them to make free calls, and set them up in three different towns across the county. He buys the phones secondhand from sites like eBay and Craigslist and restores them in his home workshop. With just an internet connection, these phones can make calls anywhere in the U.S. or Canada -- no coins required. And Schlott covers all the operating costs himself. "It's cheap enough where I'm happy just footing the bill," he says. "You know, if I'm spending $20 a month on, say, Netflix, I could do that and provide phone service for the community. And to me, that's way more fun." Hundreds of calls have been made since the first phone was installed back in March last year. "I knew there would be some fringe cases where it would be really helpful," says Schlott. "But I never expected it to get daily use and for people to be this excited about it."

"One of the cornerstones that I want to stick to is, no matter what happens on the backend, the calls will always be free," he says. "And I will figure out a way to make that happen."

A software developer who built his own home server in response to Amazon's removal of Kindle book downloads now argues that self-hosting "is NOT the future we should be fighting for." Drew Lyton constructed a home server running open-source alternatives to Google Drive, Google Photos, Audible, Kindle, and Netflix after Amazon announced that "Kindle users would no longer be able to download and back up their book libraries to their computers."

The change prompted Amazon to update Kindle store language to say "users are purchasing licenses -- not books." Lyton's setup involved a Lenovo P520 with 128GB RAM, multiple hard drives, and Docker containers running applications like Immich for photo storage and Jellyfin for media streaming. The technical complexity required "138 words to describe but took me the better part of two weeks to actually do."

The implementation was successful but Lyton concluded that self-hosting "assumes isolated, independent systems are virtuous. But in reality, this simply makes them hugely inconvenient." He proposes "publicly funded, accessible, at cost cloud-services" as an alternative, suggesting libraries could provide "100GB of encrypted file storage, photo-sharing and document collaboration tools, and media streaming services -- all for free."

An anonymous reader quotes a report from Variety: Edward Saatchi isn't totally sure people will flock to Showrunner, the new AI-generated TV show service his company is launching publicly this week. But he has a vote of confidence from Amazon, which has invested in Fable, Saatchi's San Francisco-based start-up. The amount of Amazon's funding in Fable isn't being disclosed. The money is going toward building out Showrunner, which Fable has hyped as the "Netflix of AI": a service that lets you type in a few words to create scenes -- or entire episodes -- of a TV show, either from scratch or based on an existing story-world someone else has created.

Fable is launching Showrunner to let users tinker with the animation-focused generative-AI system, following several months in a closed alpha test with 10,000 users. Initially, Showrunner will be free to use but eventually the company plans to charge creators $10-$20 per month for credits allowing them to create hundreds of TV scenes, Saatchi said. Viewing Showrunner-generated content will be free, and anyone can share the AI video on YouTube or other third-party platforms. [...] Fable's Showrunner public launch features two original "shows" -- story worlds with characters users can steer into various narrative arcs. The first is "Exit Valley," described as "a 'Family Guy'-style TV comedy set in 'Sim Francisco' satirizing the AI tech leaders Sam Altman, Elon Musk, et al." The other is "Everything Is Fine," in which a husband and wife, going to Ikea, have a huge fight -- whereupon they're transported to a world where they're separated and have to find each other. [...]

Showrunner is powered by Fable's proprietary AI model, SHOW-2. Last year, the company published a research paper on how it built the SHOW-1 model. As part of that, it released nine AI-generated episodes based on "South Park." The episodes, made without the permission of the "South Park" creators, received more than 80 million views. (Saatchi said he was in touch with the "South Park" team, who were reassured the IP wasn't being deployed commercially.) [...] Out of the gate, Showrunner is focused on animated content because it requires much less processing power than realistic-looking live-action video scenes. Saatchi said Fable wants to stay out of the "knife fight" among big AI companies like OpenAI, Google and Meta that are racing to create photorealistic content. "If you're competing with Google, are you going to win?" Saatchi said. "Our goal is to have the most creative models," he said.

Netflix says it has used visual effects created by generative AI in one of its original TV shows for the first time. From a report: The streaming giant's co-chief executive Ted Sarandos said AI, which produces videos and images based on prompts, was used to create a scene of a building collapsing in the Argentine science fiction show, The Eternaut. He said the technology allowed the production team to complete sequences faster and at a lower cost.

The use of generative AI is controversial in the entertainment industry over concerns it creates content using others' work without their consent and fears that it will replace the work of humans. [...] Asked about Netflix's use of AI, Mr Sarandos said the technology has allowed productions with smaller budgets to use advanced visual effects.

An anonymous reader shares a report: Netflix doubled down on its global anime strategy over the weekend, unveiling a slate of new titles and fresh footage during its showcase at Anime Expo in Los Angeles.

The company also shared updated viewership data highlighting just how far Japanese anime has come in expanding from its former niche into a powerhouse global content category. According to Netflix, more than 50 percent of its members -- amounting to over 150 million households, or an estimated 300 million viewers -- now watch anime. The company says anime viewership on the platform has tripled over the past five years, with 2024 marking a record-breaking year: 33 anime titles appeared in Netflix's Global Top 10 (Non-English) rankings, more than double the number in 2021.