Netflix's Q1 revenue rose to $10.5 billion, a 13% increase from last year, while net income grew to $2.9 billion. The company says it expects more growth in the coming months when it sees "the full quarter benefit from recent price changes and continued growth in membership and advertising revenue." The Verge reports: Netflix raised the prices across most of its plans in January, with its premium plan hitting $24.99 per month. It also increased the price of its Extra Member option -- its solution to password sharing -- to $8.99 per month. Though Netflix already rolled out the increase in the US, UK, and Argentina, the streamer now plans to do the same in France. This is the first quarter that Netflix didn't reveal how many subscribers it gained or lost. It decided to only report "major subscriber milestones" last year, as other streams of revenue continue to grow, like advertising, continue to grow. Netflix last reported having 300 million global subscribers in January.

During an earnings call on Thursday, Netflix co-CEO Greg Peters said the company expects to "roughly double" advertising revenue in 2025. The company launched its own advertising technology platform earlier this month. There are some changes coming to Netflix, too, as Peters confirmed that its homepage redesign for its TV app will roll out "later this year." He also hinted at adding an "interactive" search feature using "generative technologies," which sounds a lot like the AI feature Bloomberg reported on last week. Further reading: Netflix CEO Counters Cameron's AI Cost-Cutting Vision: 'Make Movies 10% Better'

Netflix Co-CEO Ted Sarandos pushed back on director James Cameron's recent assertion that AI could slash film production costs by half, arguing instead for quality improvements over cost reduction during Netflix's first-quarter earnings call Thursday. "I read the article too about what Jim Cameron said about making movies 50% cheaper," Sarandos said. "I remain convinced that there's an even bigger opportunity to make movies 10% better."

Sarandos pointed to Netflix's current AI implementations in set references, pre-visualization, VFX sequence preparation, and shot planning. He said AI-powered tools have democratized high-end visual effects that were once exclusive to big-budget productions. The executive cited 2019's "The Irishman" as a benchmark, noting its "very cutting-edge, very expensive de-aging technology that still had massive limitations." In contrast, he referenced cinematographer Rodrigo Prieto's directorial debut "Pedro Paramo," which employed AI-powered de-aging at "a fraction" of The Irishman's cost. "The entire budget of the film was about what the VFX cost on The Irishman," Sarandos explained. "Same creator using new tools, better tools, to do what was impossible five years ago."

Samsung Electronics and Google Cloud are jointly entering the consumer robotics market with Ballie, a yellow, soccer-ball-shaped robot equipped with a video projector and powered by Google's Gemini AI models. First previewed in 2020, the long-delayed device will finally launch this summer in the US and South Korea. The mobile companion uses small wheels to navigate homes autonomously and integrates with Samsung's SmartThings platform to control smart home devices.

Running on Samsung's Tizen operating system, Ballie can manage calendars, answer questions, handle phone calls, and project video content from services including YouTube and Netflix. Samsung EVP Jay Kim described it as a "completely new Ballie" compared to the 2020 version, with Google Cloud integration being the most significant change. The robot leverages Gemini for understanding commands, searching the web, and processing visual data for navigation, while using Samsung's AI models for accessing personal information.

Wikipedia remembers Dave Täht as "an American network engineer, musician, lecturer, asteroid exploration advocate, and Internet activist. He was the chief executive officer of TekLibre."

But on X.com Eric S. Raymond called him "one of the unsung heroes of the Internet, and a close friend of mine who I will miss very badly." Dave, known on X as @mtaht because his birth name was Michael, was a true hacker of the old school who touched the lives of everybody using X. His work on mitigating bufferbloat improved practical TCP/IP performance tremendously, especially around video streaming and other applications requiring low latency. Without him, Netflix and similar services might still be plagued by glitches and stutters.
Also on X, legendary game developer John Carmack remembered that Täht "did a great service for online gamers with his long campaign against bufferbloat in routers and access points. There is a very good chance your packets flow through some code he wrote." (Carmack also says he and Täht "corresponded for years".)

Long-time Slashdot reader TheBracket remembers him as "the driving force behind ">the Bufferbloat project and a contributor to FQ-CoDel, and CAKE in the Linux kernel."

Dave spent years doing battle with Internet latency and bufferbloat, contributing to countless projects. In recent years, he's been working with Robert, Frank and myself at LibreQoS to provide CAKE at the ISP level, helping Starlink with their latency and bufferbloat, and assisting the OpenWrt project.
Eric Raymond remembered first meeting Täht in 2001 "near the peak of my Mr. Famous Guy years. Once, sometimes twice a year he'd come visit, carrying his guitar, and crash out in my basement for a week or so hacking on stuff. A lot of the central work on bufferbloat got done while I was figuratively looking over his shoulder..."

Raymond said Täht "lived for the work he did" and "bore deteriorating health stoically. While I know him he went blind in one eye and was diagnosed with multiple sclerosis." He barely let it slow him down. Despite constantly griping in later years about being burned out on programming, he kept not only doing excellent work but bringing good work out of others, assembling teams of amazing collaborators to tackle problems lesser men would have considered intractable... Dave should have been famous, and he should have been rich. If he had a cent for every dollar of value he generated in the world he probably could have bought the entire country of Nicaragua and had enough left over to finance a space program. He joked about wanting to do the latter, and I don't think he was actually joking...

In the invisible college of people who made the Internet run, he was among the best of us. He said I inspired him, but I often thought he was a better and more selfless man than me. Ave atque vale, Dave.
Weeks before his death Täht was still active on X.com, retweeting LWN's article about "The AI scraperbot scourge", an announcement from Texas Instruments, and even a Slashdot headline.

Täht was also Slashdot reader #603,670, submitting stories about network latency, leaving comments about AI, and making announcements about the Bufferbloat project.

Despite promises of more efficient streaming, the AV1 video codec hasn't achieved widespread adoption seven years after its 2018 debut, even with backing from tech giants Netflix, Microsoft, Google, Amazon, and Meta. The Alliance for Open Media (AOMedia) claims AV1 is 30% more efficient than standards like HEVC, delivering higher-quality video at lower bandwidth while remaining royalty-free.

Major services including YouTube, Netflix, and Amazon Prime Video have embraced the technology, with Netflix encoding approximately 95% of its content using AV1. However, adoption faces significant hurdles. Many streaming platforms including Max, Peacock, and Paramount Plus haven't implemented AV1, partly due to hardware limitations. Devices require specific decoders to properly support AV1, though recent products from Apple, Nvidia, AMD, and Intel have begun including them. "In order to get its best features, you have to accept a much higher encoding complexity," Larry Pearlstein, associate professor at the College of New Jersey, told The Verge. "But there is also higher decoding complexity, and that is on the consumer end."

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."

An anonymous reader shares a report: The post-Covid rebound of live events is all the more evidence that movie theaters are never coming back, Netflix co-CEO Ted Sarandos told Semafor in an interview at the Paley Center for Media Friday.

"Nearly every live thing has come back screaming," Sarandos said. "Broadway's breaking records right now, sporting events, concerts, all those things that we couldn't do during COVID are all back and bigger than ever. The theatrical box office is down 40 to 50% from pre-COVID, and this year is down 8% already, so the trend is not reversing. You've gotta look at that and say, 'What is the consumer trying to tell you?'"

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.

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

Hollywood filmmaker Carl Erik Rinsch has been charged with defrauding Netflix of $11 million after allegedly misusing funds intended for an unfinished science fiction series, federal prosecutors said.

Rinsch, 47, was arrested in West Hollywood this week on charges of wire fraud, money laundering and unlawful monetary transactions that could result in decades of imprisonment if convicted. The FBI and Acting U.S. Attorney for the Southern District of New York allege Rinsch diverted funds meant for his series "Conquest" to speculate on cryptocurrency, stay in luxury hotels and purchase high-end items including five Rolls-Royces and a Ferrari.

Netflix had paid Rinsch $44 million between 2018 and 2019 for the science fiction project about an artificial humanlike species. Prosecutors say he then requested an additional $11 million but never completed the production. An arbitrator ruled in Netflix's favor last year, ordering Rinsch to pay the company $11.8 million. Rinsch appeared in federal court with shackles and posted a $100,000 bond.

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."

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."

Apple users noticed a change in 2023, "when streaming platforms like Netflix, HBO Max, Amazon Prime, and the Criterion Channel imposed a quiet embargo on the screenshot," noted the film blog Screen Slate: At first, there were workarounds: users could continue to screenshot by using the browser Brave or by downloading extensions or third-party tools like Fireshot. But gradually, the digital-rights-management tech adapted and became more sophisticated. Today, it is nearly impossible to take a screenshot from the most popular streaming services, at least not on a Macintosh computer. The shift occurred without remark or notice to subscribers, and there's no clear explanation as to why or what spurred the change...

For PC users, this story takes a different, and happier, turn. With the use of Snipping Tool — a utility exclusive to Microsoft Windows, users are free to screen grab content from all streaming platforms. This seems like a pointed oversight, a choice on the part of streamers to exclude Mac users (though they make up a tiny fraction of the market) because of their assumed cultural class.
"I'm not entirely sure what the technical answer to this is," tech blogger John Gruber wrote this weekend, "but on MacOS, it seemingly involves the GPU and video decoding hardware..." These DRM blackouts on Apple devices (you can't capture screenshots from DRM video on iPhones or iPads either) are enabled through the deep integration between the OS and the hardware, thus enabling the blackouts to be imposed at the hardware level. And I don't think the streaming services opt into this screenshot prohibition other than by "protecting" their video with DRM in the first place. If a video is DRM-protected, you can't screenshot it; if it's not, you can.

On the Mac, it used to be the case that DRM video was blacked-out from screen capture in Safari, but not in Chrome (or the dozens of various Chromium-derived browsers). But at some point a few years back, you stopped being able to capture screenshots from DRM videos in Chrome, too -- by default. But in Chrome's Settings page, under System, if you disable "Use graphics acceleration when available" and relaunch Chrome, boom, you can screenshot everything in a Chrome window, including DRM video...

What I don't understand is why Apple bothered supporting this in the first place for hardware-accelerated video (which is all video on iOS platforms -- there is no workaround like using Chrome with hardware acceleration disabled on iPhone or iPad). No one is going to create bootleg copies of DRM-protected video one screenshotted still frame at a time -- and even if they tried, they'd be capturing only the images, not the sound. And it's not like this "feature" in MacOS and iOS has put an end to bootlegging DRM-protected video content.
Gruber's conclusion? "This 'feature' accomplishes nothing of value for anyone, including the streaming services, but imposes a massive (and for most people, confusing and frustrating) hindrance on honest people simply trying to easily capture high-quality (as opposed to, say, using their damn phone to take a photograph of their reflective laptop display) screenshots of the shows and movies they're watching."

An anonymous reader shares a report: People now watch so many programs at so many different times in so many different ways -- with an antenna, on cable, in an app or from a website, as well as live, recorded or on demand -- that it is increasingly challenging for the industry to agree on the best way to measure viewership. In some cases, media executives and advertisers are even uncertain whether a competitor's show is a hit or something well short of that.

The scramble to sort out a suitable solution began nearly a decade ago, as Netflix rose to prominence. It has only intensified since. "It is more chaotic than it's ever been," said George Ivie, the chief executive of the Media Rating Council, a leading industry measurement watchdog. For decades, there was no dispute -- Nielsen's measurement was the only game in town.

But things started to go sideways after the emergence of streaming services like Netflix, Hulu and Amazon Prime Video. Nielsen had no ability -- at least at first -- to measure how many people clicked play on those apps. The streamers, of course, knew exactly how many people were watching on their own service but they either selectively disclosed some data or did not bother releasing it at all.

Over the past two years, as nearly all the major streaming services have introduced advertising, they have released more data. But the data they release makes apples-to-apples comparisons difficult. Netflix discloses what it calls "hours viewed" and "views" for its shows. Prime Video and Max prefer to describe how many million "viewers" watched a hit of their choosing. The disclosures can be helpful to compare one show with another on the same streaming service. Yet those figures, too, can lead to disagreements.

The Los Angeles Times publishes a weekly "Boiling Point" newsletter about climate change and energy issues. And this week they examined whether the scientific fact of a change climate is reflected in the mass media: For the second year running, nonprofit consulting firm Good Energy applied its Climate Reality Check to the actual Oscar-nominated films [which] tests whether a movie and its characters acknowledge global warming... Of last year's 13 Oscar-nominated films that met Good Energy's criteria (feature-length movies set in present-day or near-future Earth) three passed the test. This year, there were 10 eligible films. Only "The Wild Robot" passed...

Maybe a few years from now, studios will release a torrent of movies and shows reflecting the realities of a scary-but-still-salvageable world, helmed by producers and writers jolted into renewed awareness by the infernos. But for now, the picture is bleak. A peer-reviewed study slated for publication this month, led by Rice University English and environmental studies professor Matthew Schneider-Mayerson, analyzes climate change mentions in 250 of the most popular movies of the last decade. The authors found that just 12.8% of the films allude to global warming. Just 3.6% depict or mention the climate crisis in two or more scenes. "A lot of times, it's really being mentioned in passing," Schneider-Mayerson said...

[Good Energy Chief Executive Anna Jane Joyner] pointed to another analysis led by Schneider-Mayerson, which found that movies passing the Climate Reality Check and released in theaters earned 10% more at the box office, on average, than films failing the test. Netflix, meanwhile, says on its website that 80% of its customers "choose to watch at least one story on Netflix that helps them better understand climate issues or highlight hopeful solutions around sustainability...." [Netflix's "Sustainability Stories" collection includes Dr. Seuss' The Lorax, Chicken Run: Dawn of the Nugget, and Waterworld]

Sponsors are interested in selling audiences on climate-friendly products, too. I was sitting in a movie theater last weekend enjoying "Captain America: Brave New World" — the latest entry in Disney's Marvel Cinematic Universe — when, to my surprise, Sam Wilson (Anthony Mackie) got out of his SUV and pulled his iconic red-white-and-blue shield out of the front trunk. Yes, a front trunk, where an internal combustion engine would normally be. That meant Captain America was driving an electric vehicle, right? Indeed, he was. I did some research after I got home and learned that Wilson was driving a GMC Hummer EV, the result of a paid partnership between Marvel Studios and GMC parent company General Motors.
Ironically, the movie does not at any point acknowledge global warming, the article points out (adding "Also, SUVs kill more pedestrians and cyclists than smaller cars.")

"But the more movies and TV shows spotlight climate solutions — electric vehicles, solar panels, induction stoves — the more likely people are to support those solutions. For Hollywood, that's a step in the right direction."

Netflix calls it "a live-action reimagining of the acclaimed Nickelodeon animated series, Avatar: The Last Airbender. And this weekend Netflix shared a blooper reel from their live-action show's first season, reports Engadget, "giving fans a look at some cute behind the scenes antics while they wait for the next season." The first season was released a year ago, and Netflix announced shortly after that the show had been renewed for two more [with the third season being its last]. There's no release date yet for the new episodes, but the streaming service said on Saturday that production for the second season is underway.
"Just as the animated series matured and progressed, the live-action will also take these characters and worlds and grow them," executive producers Christine Boylan and Jabbar Raisani said in Netflix's announcement.

And speaking of Nickeloden's 2005 animated series, "The mythology and adventure of Avatar: The Last Airbender will continue," writes Deadline, "with Avatar: Seven Havens, a new 26-episode, 2D-animated series ordered by Nickelodeon, from original series creators Michael DiMartino and Bryan Konietzko and Avatar Studios....

"The duo also was originally involved in Netflix's live-action series adaptation but left in 2020 due to creative differences." Avatar: Seven Havens is set in a world shattered by a devastating cataclysm. A young Earthbender discovers she's the new Avatar after Korra — but in this dangerous era, that title marks her as humanity's destroyer, not its savior. Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization's last strongholds collapse...

"When we created the original series, we never imagined we'd still be expanding the world decades later," said DiMartino and Konietzko....

Previously announced, Paramount Pictures and Nickelodeon Movies' Untitled Animated Aang Avatar film debuts only in theaters on January 30, 2026, featuring a voice cast that includes Dave Bautista, Dionne Quan, Jessica Matten, Román Zaragoza and introducing Eric Nam.

Deadline reports: It's taking around $1 billion to have 007 stewards Barbara Broccoli and Michael G. Wilson cede creative oversight of their family's storied James Bond franchise to Amazon MGM Studios, sources tell us. Amazon originally overpaid on its purchase of MGM in a deal orchestrated by then-MGM board chair Kevin Ulrich. Though valued between $3.5 billion-$4 billion, the legendary motion picture studio was absorbed by the streamer for $8.5 billion, the hefty sum propped up by the potential access of the 007 franchise. However, Amazon couldn't fully freely develop Bond with Broccoli and Wilson in the mix. Hence, it took another $1 billion to ensure that they could fully steer and exploit the Ian Fleming IP.
The article suggests Broccoli's long hold-out came from "Amazon's desire to expand the James Bond franchise into its own universe akin to Marvel or Star Wars." In the past, filmmakers including Quentin Tarantino and Christopher Nolan have expressed an interest in putting their stamp on Bond; both however, required complete creative control, which wasn't possible under the reign of Broccoli and Wilson. Now, with the producers on the side, Amazon can move forward to attract a top-tier director.

Also available to come to life in the new deal finally are a slew of Bond villains and women in their own series or features. The last time an attempt was made to spin off the Bond franchise was in 2003 with a stand-alone movie about the spy's girlfriend Jinx, played by Halle Berry in Die Another Day. Bond scribes Neal Purvis and Rob Wade were attached to pen that, with Stephen Frears circling, but Broccoli and Wilson put the kibosh to the idea due to creative differences.
In a related note, the article adds that Amazon "is looking to have an international theatrical distribution arm fully operational by some time in 2026."

Jeff Bezos asked his followers on X.com who should play James Bond in the next movie, reports IGN, "and the answer was loud and clear." On X.com the "clear fan favorite" was DC Extended Universe actor Henry Cavill. (Besides playing Superman, Cavill also appeared in the 2024 film spy action-comedy Argyle, and fought Tom Cruise's character in 2018's Mission Impossible: Fallout — and played Geralt of Rivia in the Netflix series The Witcher.)

An anonymous reader quotes a report from Reuters: The chief executive of streaming giant Netflix on Thursday announced a $1 billion investment to produce some 20 films and TV series in Mexico annually over the next four years. Speaking at President Claudia Sheinbaum's morning press conference in Mexico City, Netflix CEO Ted Sarandos said he looked forward to entering more partnerships with producers in the Latin American nation. Sheinbaum said the investments in the film industry should produce many jobs beyond immediate production needs, such as hospitality for actors and crew members, fashion designers and also spur tourism. "It's an industry that gives a lot of mileage to the economy," Sheinbaum said. "It's not only important for Mexico to be seen in the world, but also because of the economic development and jobs generated by a production."

Netflix content briefly appeared in the Apple TV app due to an unintentional glitch, sparking excitement among users before the company swiftly rolled back the integration. Engadget reports: A Netflix spokesperson told The Verge on Friday that the Apple TV app integration was an error that has been rolled back. Indeed, Redditors who had been tracking the forbidden fruit with unbridled glee confirmed that all signs of Netflix content had since vanished from Apple's streaming hub. Netflix giveth, and Netflix taketh away.

While the boo-boo was still active, PC World reported it let you add Netflix originals like Stranger Things, Cobra Kai and The Crown but lacked licensed shows and movies. Even the available content was a buggy mess. For example, only season five of The Crown was available, leaving you to wonder what hijinks Liz and the gang had gotten into before or after the grunge era. The "Add to Watchlist" and "Continue Watching" features were also said to be spotty.