Figma has filed to go public on the NYSE under the ticker "FIG," marking one of the most anticipated IPOs in recent years following its scrapped $20 billion acquisition by Adobe. CNBC reports: Revenue in the first quarter increased 46% to $228.2 million from $156.2 million in the same period a year ago, according to Figma's prospectus. The company recorded a net income of $44.9 million, compared to $13.5 million a year earlier. As of March 31, Figma had 1,031 customers contributing at least $100,000 a year to annual revenue, up 47% from a year earlier. Clients include Amazon Web Services, Google, Microsoft and Netflix. More than half of revenue comes from outside the U.S. Figma didn't say how many shares it plans to sell in the IPO. The company was valued at $12.5 billion in a tender offer last year, and in April it announced that it had confidentially filed for an IPO with the SEC. [...]

Figma was founded in 2012 by CEO Dylan Field, 33, and Evan Wallace, and is based in San Francisco. The company had 1,646 employees as of March 31. Before establishing Figma, Field spent over two years at Brown University, where he met Wallace. Field then took a Thiel Fellowship "to pursue entrepreneurial projects," according to the filing. The two-year program that Founders Fund partner Peter Thiel established in 2011 gives young entrepreneurs a $200,000 grant along with support from founders and investors, according to an online description. Field is the biggest individual owner of Figma, with 56.6 million Class B shares and 51.1% of voting power ahead of the IPO. He said in a letter to investors that it was time for Figma to buck the "trend of many amazing companies staying privately indefinitely." "Some of the obvious benefits such as good corporate hygiene, brand awareness, liquidity, stronger currency and access to capital markets apply," wrote Field. "More importantly, I like the idea of our community sharing in the ownership of Figma -- and the best way to accomplish this is through public markets."

As a public company, Field said investors should "expect us to take big swings," including through acquisitions.

In April, Figma bought the assets and team of an unnamed technology company for $14 million, according to the filing. They also registered over 13 million users per month, one-third of which are designers.

BrianFagioli shares a report from NERDS.xyz: NASA is coming to Netflix. No, not a drama or sci-fi reboot. The space agency is actually bringing real rocket launches, astronaut spacewalks, and even views of Earth from space directly to your favorite streaming service. Starting this summer, NASA+ will be available on Netflix, giving the space-curious a front-row seat to live mission coverage and other programming.

The space agency is hoping this move helps it connect with a much bigger audience, and considering Netflix reaches over 700 million people, that's not a stretch. This partnership is about accessibility. NASA already offers NASA+ for free, without ads, through its app and website. But now it's going where the eyeballs are. If people won't come to the space agency, the space agency will come to them.

YouTube is quietly hosting Pac-Man Superfast within its "Playables" section. "You'd be forgiven for not knowing about YouTube Playables," writes Ars Technica's Kyle Orland. "Few seemed to note its official announcement last year as a collection of free-to-play web games built for the web using standard rendering APIs."

"The seeming competitor to Netflix's mobile gaming offerings is still described in an official FAQ as 'an experimental feature rolled out to select users in eligible countries/regions,' which doesn't make this post-Stadia gaming effort seem like a huge priority for Google." From the report: Weird origins aside, Pac-Man Superfast pretty much delivers what its name promises. While gameplay starts at an "Easy" speed that roughly matches the arcade original, the speed of both Pac-Man and the ghosts is slightly increased every few seconds (dying temporarily reduces the speed to a lower level). After a few minutes, you're advancing past the titular "Super Fast" speed to extreme reflex-testing speeds like Crazy, Insane, Maniac, and a final test that's ominously named "Doom."

Those who've played the excellent Pac-Man Championship Edition series will be familiar with the high-speed vibe here, but Pac-Man Superfast remains focused on the game's original maze and selection of just four ghosts. That means old-school strategies for grouping ghosts together and running successful patterns through the narrow corridors work in similar ways here. Successfully executing those patterns becomes a tense battle of nerves here, though, requiring multiple direction changes every second at the highest speeds. While the game will technically work with swipe controls on a smartphone or tablet, high-level play really requires the precision of a keyboard via a desktop/laptop web browser (we couldn't get the game to recognize a USB controller, unfortunately).

As exciting as the high-speed maze gameplay gets, though, Pac-Man Superfast is hampered by a few odd design decisions. The game ends abruptly after just 13 levels, for instance, making it impossible to even attempt the high-endurance 256-level runs that Pac-Man is known for. The game also throws an extra life at you every 5,000 points, making it relatively easy to brute force your way to the end as long as you focus on the three increasingly high-point-value items that appear periodically on each stage. Despite this, the game doesn't give any point reward for unused extra lives or long-term survival at high speeds, limiting the rewards for high-level play. And the lack of a built-in leaderboard makes it hard to directly compare your performance to friends and/or strangers anyway.

An anonymous reader quotes a report from Ars Technica: Tech support scammers have devised a method to inject their fake phone numbers into webpages when a target's web browser visits official sites for Apple, PayPal, Netflix, and other companies. The ruse, outlined in a post on Wednesday from security firm Malwarebytes, threatens to trick users into calling the malicious numbers even when they think they're taking measures to prevent falling for such scams. One of the more common pieces of security advice is to carefully scrutinize the address bar of a browser to ensure it's pointing to an organization's official website. The ongoing scam is able to bypass such checks.

The unknown actors behind the scam begin by buying Google ads that appear at the top of search results for Microsoft, Apple, HP, PayPal, Netflix, and other sites. While Google displays only the scheme and host name of the site the ad links to (for instance, https://www.microsoft.com/ the ad appends parameters to the path to the right of that address. When a target clicks on the ad, it opens a page on the official site. The appended parameters then inject fake phone numbers into the page the target sees.

Google requires ads to display the official domain they link to, but the company allows parameters to be added to the right of it that aren't visible. The scammers are taking advantage of this by adding strings to the right of the hostname. The parameters aren't displayed in the Google ad, so a target has no obvious reason to suspect anything is amiss. When clicked on, the ad leads to the correct hostname. The appended parameters, however, inject a fake phone number into the webpage the target sees. The technique works on most browsers and against most websites. Malwarebytes.com was among the sites affected until recently, when the site began filtering out the malicious parameters.

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

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

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

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

Longtime Slashdot reader UnknowingFool writes: A new documentary released last week on Netflix goes into detail about events leading up to the destruction of OceanGate's submersible, Titan that imploded on June 18, 2023 while attempting to visit the wreckage of the RMS Titanic off the coast of Newfoundland. The Titan used a carbon-fiber hull instead of more traditional materials like steel or titanium. "Through exclusive access to whistleblower testimony, pivotal audio recordings, and footage from the company's early days, the film provides an unprecedented look at the technical challenges, moral dilemmas, and shockingly poor decisions that culminated in the catastrophic expedition," explains Netflix in an article.

Some highlights:
- Titan's original carbon-fiber hull had been replaced with a second carbon-fiber one after the first one developed noticeable cracks.
- Three scale models of the second hull failed tests. OceanGate decided to manufacture the second hull regardless of these failures.
- Loud pops were heard in many dives; CEO Stockton Rush dismissed these as "seasoning".
- Many employees raised numerous safety concerns. They were fired like lead pilot and head of marine operations, David Lochridge. Or they quit.
- Some employees like Emily Hammermeister wanted to quit earlier, but external conditions like the COVID pandemic made it difficult. After the scale models failed, she refused to bolt anyone in the future submersible. She was given the two options of being fired or quit; she quit in the middle of the pandemic.
- Rush's blindness to inconvenient facts: After the crack was discovered, Rush questioned Director of Engineering, Tony Nissen, about why Nissen did not anticipate the possibility of a crack. Nissen: "I wrote you a report that showed you it was there." Nissen had warned repeatedly that the hull's fibers were breaking (the pops) with each dive. Rush: "Well, one of us has to go."
- Poor decisions by Rush extended beyond engineering decisions. After Rush fired Lochridge for raising safety concerns , Rush wanted Bonnie Carl, the company's accountant, to be his replacement pilot. While Carl was an experienced scuba diver, she quit as she was extremely uncomfortable being a pilot. Her explanation: "Are you nuts? I'm an accountant."

Meta and AWS have used Rust, and Netflix uses Go,reports the programming news site InfoQ. But using another language, Apple recently "migrated its global Password Monitoring service from Java to Swift, achieving a 40% increase in throughput, and significantly reducing memory usage."

This freed up nearly 50% of their previously allocated Kubernetes capacity, according to the article, and even "improved startup time, and simplified concurrency." In a recent post, Apple engineers detailed how the rewrite helped the service scale to billions of requests per day while improving responsiveness and maintainability... "Swift allowed us to write smaller, less verbose, and more expressive codebases (close to 85% reduction in lines of code) that are highly readable while prioritizing safety and efficiency."

Apple's Password Monitoring service, part of the broader Password app's ecosystem, is responsible for securely checking whether a user's saved credentials have appeared in known data breaches, without revealing any private information to Apple. It handles billions of requests daily, performing cryptographic comparisons using privacy-preserving protocols. This workload demands high computational throughput, tight latency bounds, and elastic scaling across regions... Apple's previous Java implementation struggled to meet the service's growing performance and scalability needs. Garbage collection caused unpredictable pause times under load, degrading latency consistency. Startup overhead — from JVM initialization, class loading, and just-in-time compilation, slowed the system's ability to scale in real time. Additionally, the service's memory footprint, often reaching tens of gigabytes per instance, reduced infrastructure efficiency and raised operational costs.

Originally developed as a client-side language for Apple platforms, Swift has since expanded into server-side use cases.... Swift's deterministic memory management, based on reference counting rather than garbage collection (GC), eliminated latency spikes caused by GC pauses. This consistency proved critical for a low-latency system at scale. After tuning, Apple reported sub-millisecond 99.9th percentile latencies and a dramatic drop in memory usage: Swift instances consumed hundreds of megabytes, compared to tens of gigabytes with Java.
"While this isn't a sign that Java and similar languages are in decline," concludes InfoQ's article, "there is growing evidence that at the uppermost end of performance requirements, some are finding that general-purpose runtimes no longer suffice."

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

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

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

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

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

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

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

A security researcher has discovered an exposed database containing 184 million login credentials for major services including Apple, Facebook, and Google accounts, along with credentials linked to government agencies across 29 countries. Jeremiah Fowler found the 47-gigabyte trove in early May, but the database contained no identifying information about its owner or origins.

The records included plaintext passwords and usernames for accounts spanning Netflix, PayPal, Discord, and other major platforms. A sample analysis revealed 220 email addresses with government domains from countries including the United States, China, and Israel. Fowler told Wired he suspects the data was compiled by cybercriminals using infostealer malware. World Host Group, which hosted the database, shut down access after Fowler's report and described it as content uploaded by a "fraudulent user." The company said it would cooperate with law enforcement authorities.

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

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

At its second annual Upfront 2025 event yesterday, Netflix announced that it has created interactive mid-roll ads and pause ads that incorporate generative AI. These new ad formats are expected to roll out in 2026. Ars Technica reports: "[Netflix] members pay as much attention to midroll ads as they do to the shows and movies themselves," Amy Reinhard, president of advertising at Netflix, said. Netflix started testing pause ads in July 2024, per The Verge. Speaking to advertisers, Reinhard claimed that ad subscribers spend 41 hours per month on Netflix on average. The new ad formats follow Netflix's launch of its own in-house advertising platform in the US in April. It had previously debuted the platform in Canada and plans to expand it globally by June, per The Verge.

Netflix considers its advertising business to be in its early stages, meaning customers can expect the firm's ad efforts to continue expanding at a faster rate over the coming years. The company plans to double its advertising revenue in 2025. "The foundations of our ads business are in place, and going forward, the pace of progress will be even faster," Reinhard said today. Further reading: Netflix Says Its Ad Tier Now Has 94 Million Monthly Active Users

Netflix said its cheaper, ad-supporter tier now has 94 million monthly active users -- an increase of more than 20 million since its last public tally in November. CNBC reports: The company and its peers have been increasingly leaning on advertising to boost the profitability of their streaming products. Netflix first introduced the ad-supported plan in November 2022. Netflix's ad-supported plan costs $7.99 per month, a steep discount from its least-expensive ad-free plan, at $17.99 per month. Netflix also said its cheapest tier reaches more 18- to 34-year-olds than any U.S. broadcast or cable network. "When you compare us to our competitors, attention starts higher and ends much higher," Netflix president of advertising Amy Reinhard said in a statement. "Even more impressive, members pay as much attention to mid-roll ads as they do to the shows and movies themselves."

Netflix has officially launched a new AI-powered search feature that uses OpenAI's ChatGPT to deliver a conversational content discovery experience, allowing users to describe what they're looking for in natural language. The streaming giant is also getting into short videos with a new vertical feed set to rival Instagram Reels and TikTok. TechCrunch reports: Users can enter their preferences using natural phrases like "I want something funny and upbeat" or even more detailed requests, such as "I want something scary, but not too scary, and maybe a little bit funny, but not haha funny." The feature is set to roll out this week to iOS users as an opt-in beta. Some subscribers in Australia and New Zealand have already had access to it, as reported by Bloomberg last month. [...] Additionally, at the tech and product event, the company mentioned plans to use generative AI to update title cards in subscribers' preferred languages. Other features revealed on Wednesday include a short-form video feed for mobile users and a redesign of its TV homepage.

Netflix's new mobile-only vertical feed allows users to easily scroll through clips of its original titles. Within this feed, users can tap on buttons to watch the entire show or movie immediately, save it to their "My List," or share it with friends. Of note is that the clips are curated from the "Today's Top Picks for You" section rather than being chosen from Netflix's entire library. This approach makes it specifically tailored to each user, ultimately encouraging viewers to watch the full shows.

An anonymous reader quotes a report from Ars Technica: An update to Roku OS has resulted in colors looking washed out in HDR content viewed on Roku apps, like Disney+. Complaints started surfacing on Roku's community forum a week ago. On May 1, a company representative posted that Roku was "investigating the Disney Plus HDR content that was washed out after the recent update." However, based on user feedback, it seems that HDR on additional Roku apps, including Apple TV+ and Netflix, are also affected. Roku's representative has been asking users to share their experiences so that Roku can dig deeper into the problem. [...]

Roku hasn't provided a list of affected devices, but users have named multiple TCL TV models, at least one Hisense, and one Sharp TV as being impacted. We haven't seen any reports of Roku streaming sticks being affected. One forum user claimed that plugging a Roku streaming stick into a Roku TV circumvented the problem. Forum user Squinky said the washed-out colors were only on Disney+. However, other users have reported seeing the problem across other apps, including Max and Fandango. [...] Users have noted that common troubleshooting efforts, like restarting and factory resetting their TVs and checking for software updates, haven't fixed the problem.

The problems appear to stem from the Roku OS 14.5 update, which was issued at the end of April. According to the release notes, the update is available for all Roku TV models from 2014 on, except for models 65R648, 75R648, and 75U800GMR. Roku streaming sticks also received the update. Per Roku, the software update includes "various performance optimizations, bug fixes, and improvements to security, stability." Other additions include a "new personalized row of content within the Live TV Guide" and upgrades to Roku OS' daily trivia, voice control, and discovery capabilities. "I'm surprised more people aren't complaining because it makes a ton of shows simply unwatchable. Was looking forward to Andor, and Tuesday night [was] ruined," posted forum user noob99999, who said the problem was happening on "multiple apps," including Amazon Prime Video. "I hope the post about imminent app updates are correct because in the past, Roku has taken forever to correct issues."

"Google-owned YouTube's revenue last year was estimated to be $54.2 billion," reports the Los Angeles Times, "which would make it the second-largest media company behind Walt Disney Co., according to a recent report from research firm MoffettNathanson, which called YouTube 'the new king of all media.'" YouTube, run by Chief Executive Neal Mohan since 2023, accounted for 12% of U.S. TV viewing in March, more than other rival streaming platforms including Netflix and Tubi, according to Nielsen... More people are watching YouTube on TV sets rather than on smartphones and computer screens, consuming more than 1 billion hours on average of YouTube content on TV daily, the company said on its website.
When YouTube first started its founders envisioned it as a dating site, according to the article, "where people would upload videos and score them. When that didn't work, the founders decided to open up the platform for all sorts of videos." And since this was 20 years ago, "Users drove traffic to YouTube by sharing videos on MySpace."

But the article includes stories of people getting rich through YouTube's sharing of ad revenue: Patrick Starrr, who produces makeup tutorial videos, said he made his first $1 million through YouTube at the age of 25. He left his job at retailer MAC Cosmetics in Florida and moved to L.A...

[Video creator Dhar Mann] started posting videos on YouTube in 2018 with no film background. Mann previously had a business that sold supplies to grow weed. Today, his company, Burbank-based Dhar Mann Studios, operates on 125,000 square feet of production space, employs roughly 200 people and works with 2,000 actors a year on family friendly programs that touch on how students and families deal with topics such as bullying, narcolepsy, chronic inflammatory bowel disease and hoarding. Mann made $45 million last year, according to Forbes estimates. The majority of his company's revenue comes through YouTube.
He tells the Times "I don't think it's just the future of TV — it is TV, and the world is catching on."

And then there's this... "My mom would always give me so much crap about it — she would say, 'Why do you want to do YouTube?'" said Chucky Appleby, now an executive at MrBeast. His reply: "Mom, you can make a living from this." MrBeast's holding company, Beast Industries, which employs more than 400 people, made $473 million in revenue last year, according to Business Insider. In the last 28 days, MrBeast content — which includes challenges and stunt videos — received 3.6 billion views on YouTube, Appleby said.

Appleby, 28, said he's since bought a Jeep for his mom.

An anonymous reader quotes a report from Ars Technica: Multiple studies and investigations have found that about half of American households watch TV and movies with subtitles on, but only a relatively small portion of those include someone with a hearing disability. That's because of the trouble many people have understanding dialogue in modern viewing situations, and Netflix has now introduced a subtitles option to help.

The closed captioning we've all been using for years includes not only the words the people on-screen are saying, but additional information needed by the hard of hearing, including character names, music cues ("dramatic music intensifies") and sound effects ("loud explosion"). For those who just wanted to make sure they didn't miss a word here and there, the frequent descriptions of sound effects and music could be distracting. This new format omits those extras, just including the spoken words and nothing else -- even in the same language as the spoken dialogue. The feature will be available in new Netflix original programming, starting with the new season of You in multiple languages. Netflix says it's looking at bringing the option to older titles in the library (including those not produced by Netflix) in the future.

Traditional closed captions are still available, of course. Those are labeled "English CC" whereas this new option is simply labeled "English" (or whatever your preferred language is).

As Warner Bros. Discovery prepares to crack down on password sharing, its Max streaming service is rolling out a new feature called the Extra Member Add-On. "Similar to Netflix's paid sharing model, the new feature allows users to add an extra person who does not live in the same household as the primary account holder to their subscription for a monthly fee," reports CNBC. From the report: Priced at $7.99 a month, the friend or family member of the account owner gets their own stand-alone account under the same subscription. Existing profiles attached to customers who do not live within the primary household can be transferred to these new account types, which means their watch history and recommendations will follow them to the new account. At least for now, the option is limited to one add-on profile per subscription.

"Extra Member Add-On and Profile Transfer are two key Max advancements, designed to help viewers with a new way to enjoy our best-in-class content at an exceptional value, and offer subscribers greater flexibility in managing their accounts," said JB Perrette, CEO of global streaming and games at Warner Bros. Discovery, in a statement Tuesday.

An anonymous reader quotes a report from Ars Technica: In 2019, Garrett Mitchell was already an Internet success. His YouTube channel, Cleetus McFarland, had over a million followers. If you perused the channel at that time, you would've found a range of grassroots motorsports videos with the type of vehicular shenanigans that earn truckloads of views. Some of those older videos include "BLEW BY A COP AT 120+mph! OOPS!," "THERE'S A T-REX ON THE TRACK!," and "Manual Transmission With Paddle Shifters!?!." Those videos made Mitchell, aka Cleetus McFarland, a known personality among automotive enthusiasts. But the YouTuber wanted more financial independence beyond the Google platform and firms willing to sponsor his channel. " after my YouTube was growing and some of my antics [were] getting videos de-monetized, I realized I needed a playground," Mitchell told Ars Technica in an email.

Mitchell found a road toward new monetization opportunities through the DeSoto Super Speedway. The Bradenton, Florida, track had changed ownership multiple times since opening in the 1970s. The oval-shaped racetrack is three-eighths of a mile long with 12-degree banking angles. By 2018, the track had closed its doors and was going unused. DeSoto happened to be next to Mitchell's favorite drag strip, giving the YouTuber the idea of turning it into a stadium where people could watch burnouts and other "massive, rowdy" ticketed events. Mitchell added: "So I sold everything I could, borrowed some money from my business manager, and went all in for [$]2.2 million." But like the rest of the world, Mitchell hit the brakes on his 2020 plans during COVID-19 lockdowns. Soon after his purchase, Mitchell couldn't use the track, renamed Freedom Factory, for large gatherings, forcing him to reconsider his plans. "We had no other option but to entertain the people somehow. And with no other racing goin' on anywhere, we bet big on making something happen. And it worked," Mitchell said. That "something" was a pay-per-view (PPV) event hosted from the Freedom Factory in April 2020.

The event led to others and, eventually, Mitchell running his own subscription video on demand (SVOD) service, FRDM+, which originally launched as Cleetervision in 2022. Today, a FRDM+ subscription costs $20 per month or $120 per year. A subscription provides access to an impressive library of automotive videos. Some are archived from Mitchell's YouTube channel. Other, exclusive videos feature content such as interviews with motorsports influencers and members of Mitchell's staff and crew, and outrageous motorsports stunts. You can watch videos from other influencers on FRDM+, and the business can also white-label its platform into other influencers' websites, too. "Today, bandwidth isn't a problem for FRDM+, and navigating the streaming service doesn't feel much different from something like Netflix," writes Ars Technica's Scharon Harding. "There are different 'channels' (grouped together by related content or ongoing series) on top and new releases and upcoming content highlighted below. There are horizontal scrolling rows, and many titles have content summaries and/or trailers. The platform also has a support section with instructions for canceling subscriptions."

"Due to wildly differing audiences, markets, costs, and scales, comparing FRDM+'s financials to the likes of Netflix and other mainstream streaming services is like comparing apples to oranges. But it's interesting to consider that FRDM+ has achieved profitability faster than some of those services, like Peacock, which also launched in 2020, and Apple TV+, which debuted in 2019."