Steven Spielberg directed his last Jurassic Park movie nearly 30 years ago, notes ScreenRant. But the 79-year-old filmmaker now brings us The Dinosaurs, a four-part documentary on Netflix where he's executive producer: The first few reviews are in, and the results lead to a perfect 100% score on Rotten Tomatoes. It's worth noting that the rating will likely fluctuate since there are only six reviews. So far, critics all agree that the new Netflix docuseries is a breathtaking visual of history's most majestic creatures, and Morgan Freeman's soothing narration elevates the experience. Most importantly, the reviews note that the story is intimate, making the dinosaurs feel real with their personalities.
"Audience" reviewers gave it a lower score of 67%.

• "There is a sense of drama and emotional weight which permeates through the entire series as it tells the story of the dinosaurs from start to the present day. The ending brought tears to my eyes..."

• "Wow, what a sleeper! Flat graphics, looks like video game animations. Unrelatable story lines. Don't waste your time. Honestly would you even look twice if Spielberg's name wasn't on it?"

• "This show was honestly incredible... It was a 10/10 series that I absolutely adored highly recommended to anyone who loves and has an interest of the ancient world."

• "I'm sorry, but the dinos of Prehistoric Planet are far superior, and were achieved on a much smaller budget. Their dinos look absolutely real, and you are convinced you're watching a documentary with real animals"

ScreenRant notes Netflix's debut of The Dinosaurs' "aligns perfectly" with the arrival of all four Jurassic World movies on Netflix, where they're already dominating Netflix's "Top 10" charts for the U.S.

"Witness the rise and the fall of nature's greatest empire," narrator Morgan Freeman says in the trailer...

A couple months ago, YouTuber Benn Jordan "found vulnerabilities in some of Flock's license plate reader cameras," reports 404 Media's Jason Koebler. "He reached out to me to tell me he had learned that some of Flock's Condor cameras were left live-streaming to the open internet."

This led to a remarkable article where Koebler confirmed the breach by visiting a Flock surveillance camera mounted on a California traffic signal. ("On my phone, I am watching myself in real time as the camera records and livestreams me — without any password or login — to the open internet... Hundreds of miles away, my colleagues are remotely watching me too through the exposed feed.") Flock left livestreams and administrator control panels for at least 60 of its AI-enabled Condor cameras around the country exposed to the open internet, where anyone could watch them, download 30 days worth of video archive, and change settings, see log files, and run diagnostics. Unlike many of Flock's cameras, which are designed to capture license plates as people drive by, Flock's Condor cameras are pan-tilt-zoom (PTZ) cameras designed to record and track people, not vehicles. Condor cameras can be set to automatically zoom in on people's faces... The exposure was initially discovered by YouTuber and technologist Benn Jordan and was shared with security researcher Jon "GainSec" Gaines, who recently found numerous vulnerabilities in several other models of Flock's automated license plate reader (ALPR) cameras.
Jordan appeared this week as a guest on Koebler's own YouTube channel, while Jordan released a video of his own about the experience. titled "We Hacked Flock Safety Cameras in under 30 Seconds." (Thanks to Slashdot reader beadon for sharing the link.) But together Jordan and 404 Media also created another video three weeks ago titled "The Flock Camera Leak is Like Netflix for Stalkers" which includes footage he says was "completely accessible at the time Flock Safety was telling cities that the devices are secure after they're deployed."

The video decries cities "too lazy to conduct their own security audit or research the efficacy versus risk," but also calls weak security "an industry-wide problem." Jordan explains in the video how he "very easily found the administration interfaces for dozens of Flock safety cameras..." — but also what happened next: None of the data or video footage was encrypted. There was no username or password required. These were all completely public-facing, for the world to see.... Making any modification to the cameras is illegal, so I didn't do this. But I had the ability to delete any of the video footage or evidence by simply pressing a button. I could see the paths where all of the evidence files were located on the file system...

During and after the process of conducting that research and making that video, I was visited by the police and had what I believed to be private investigators outside my home photographing me and my property and bothering my neighbors. John Gaines or GainSec, the brains behind most of this research, lost employment within 48 hours of the video being released. And the sad reality is that I don't view these things as consequences or punishment for researching security vulnerabilities. I view these as consequences and punishment for doing it ethically and transparently.

I've been contacted by people on or communicating with civic councils who found my videos concerning, and they shared Flock Safety's response with me. The company claimed that the devices in my video did not reflect the security standards of the ones being publicly deployed. The CEO even posted on LinkedIn and boasted about Flock Safety's security policies. So, I formally and publicly offered to personally fund security research into Flock Safety's deployed ecosystem. But the law prevents me from touching their live devices. So, all I needed was their permission so I wouldn't get arrested. And I was even willing to let them supervise this research.

I got no response.
So instead, he read Flock's official response to a security/surveillance industry research group — while standing in front of one of their security cameras, streaming his reading to the public internet.

"Might as well. It's my tax dollars that paid for it."

" 'Flock is committed to continuously improving security...'"

Carl Rinsch, the director behind the 2013 Keanu Reeves film "47 Ronin," has been found guilty of defrauding Netflix out of $11 million that was meant to fund a science fiction series called "Conquest," which the streaming company ultimately cancelled in 2021 after Rinsch failed to meet any production milestones. A jury in the Southern District of New York convicted the 48-year-old on seven charges: one count each of wire fraud and money laundering, and five counts of transacting in illicitly obtained property.

Prosecutors alleged that Rinsch funneled the $11 million through multiple bank accounts into a personal brokerage account, lost more than half of it on securities within two months, and then began speculating on cryptocurrency. Court records show he also spent $2.4 million on a Ferrari and five Rolls Royces, $3.3 million on furniture and antiques, and $387,000 on a Swiss watch. Netflix has written off $55 million in total and has not recovered any funds. Rinsch faces up to 90 years in prison and is scheduled for sentencing on April 17, 2026.

"People in their teens and early 20s are increasingly turning to old school tech," reports the BBC, "in a bid to unplug from the online world." Amazon UK told BBC Scotland News that retro-themed products surged in popularity during its Black Friday event, with portable vinyl turntables, Tamagotchis and disposable cameras among their best sellers. Retailers Currys and John Lewis also said they had seen retro gadgets making a comeback with sales of radios, instant cameras and alarm clocks showing big jumps.

While some people scroll endlessly through Netflix in search of their next watch, 17-year-old Declan prefers the more traditional approach of having a DVD in his hands. He grew up surrounded by his gran's collection and later bought his own after visiting a shop with a friend. "The main selling point for me is the cases," he says. Streaming services like Netflix and Disney+ dominate the market but Declan says he values ownership. "It's nice to have something you own instead of paying for subscriptions all the time," he says. "If I lost access to streaming tomorrow, I'd still have my favourite movies ready to watch."

He admits DVDs are a "dying way of watching movies" but that makes them cheaper. "I think they're just cool, there's something authentic about having DVDs," he says. "These things are generations old, it's nice to have them available."
The BBC also writes that one 21-year-old likes the "deliberate artistry" of traditional-camera photography — and the nostalgic experience of using one. They interview a 20-year-old who says vinyl records have a "more authentic sound" — and he appreciates having the physical disc and jacket art.

And one 21-year-old even tracked down the handheld PlayStation Portable he'd used as a kid...

Why does Netflix want to buy Warner Bros, asks the chief film critic at the long-running motion-picture magazine Variety. "It is hard, at this moment, to resist the suspicion that the ultimate reason... is to eliminate the competition." [Warner Bros. is] one of the only companies that's keeping movies as we've known them alive... Some people think movies are going the way of the horse-and-buggy. A company like Warner Bros. has been the tangible proof that they're not. Ted Sarandos, the co-CEO of Netflix, has a different agenda. He has been unabashed about declaring that the era of movies seen in movie theaters is an antiquated concept. This is what he believes — which is fine. I think a more crucial point is that this is what he wants.

The Netflix business strategy isn't simply about being the most successful streaming company. It's about changing the way people watch movies; it's about replacing what we used to call moviegoing with streaming. (You could still call it moviegoing, only now you're just going into your living room.) It in no way demonizes Sarandos — he'd probably take it as a compliment — to say that there's a world-domination aspect to the Netflix grand strategy. Sarandos's vision is to have the entire planet wired, with everyone watching movies and shows at home. There's a school of thought that sees this an advance, a step forward in civilization. "Remember the days when we used to have to go out to a movie theater? How funny! Now you can just pop up a movie — no trailers! — with the click of a remote...."

Once he owns Warner Bros., will Sarandos keep using the studio to make movies that enjoy powerful runs in theaters the way Sinners and Weapons and One Battle After Another did? In the statement he made to investors and media today, Sarandos said, "I'd say right now, you should count on everything that is planned on going to the theater through Warner Bros. will continue to go to the theaters through Warner Bros." He added, "But our primary goal is to bring first-run movies to our members, because that's what they're looking for." Not exactly a ringing declaration of loyalty to the religion of cinema. And given Sarandos's track record, there is no reason to believe that he will suddenly change his spots.

A letter sent to Congress by a group of anonymous Hollywood producers, who voiced "grave concerns" about Netflix buying Warner Bros., stated, "They have no incentive to support theatrical exhibition, and they have every incentive to kill it." If that happens, though, I have no doubt that Sarandos will be smart enough to do it gradually. Warner Bros. films will probably be released in a "normal" fashion...for a while. Maybe a year or two. But five years from now? There is good reason to believe that by then, a "Warner Bros. movie," even a DC comic-book extravaganza, would be a streaming-only release, or maybe a two-weeks-in-theaters release, all as a more general way of trying to shorten the theatrical window, which could be devastating to the movie business.

Do we know all this to be true? No, but the indicators are somewhat overpowering. (He's been explicit about the windows...)
An anonymous group of "concerned feature film producers" sent an open letter to Congress warning Netflix would "effectively hold a noose around the theatrical marketplace," reports Variety.

And CNN also got this quote from Cinema United, a trade association that represents more than 30,000 movie screens in the United States. "Netflix's stated business model does not support theatrical exhibition," Cinema United President/CEO Michael O'Leary said in a statement. "In fact, it is the opposite."

Netflix is buying Warner Bros. Discovery in an $82.7 billion deal that gives it HBO, iconic franchises, and major studio infrastructure. "Warner Bros. shareholders will receive $27.75 a share in cash and stock in Netflix," notes Bloomberg. "The total equity value of the deal is $72 billion, while the enterprise value of the deal is about $82.7 billion." From the report: Prior to the closing of the sale, Warner Bros. will complete the planned spinoff of its networks division, which includes cable channels such as CNN, TBS and TNT. That transaction is now expected to be completed in the third quarter of 2026, Netflix said in a statement. With the purchase, Netflix becomes owner of the HBO network, along with its library of hit shows like The Sopranos and The White Lotus. Warner Bros. assets also include its sprawling studios in Burbank, California, along with a vast film and TV archive that includes Harry Potter and Friends.

Netflix said it expects to maintain Warner Bros.' current operations and build on its strengths, including theatrical releases for films, a point that had been a cause of concern in Hollywood. Netflix said the deal will allow it to "significantly expand" US production capacity and invest in original content, which will create jobs and strengthen the entertainment industry. Still, the combination is also expected to create "at least $2 billion to $3 billion" in cost savings per year by the third year, according to the statement. U.S. Senator Mike Lee, a Republican from Utah who leads the Senate antitrust committee, said the acquisition "should send alarm to antitrust enforcers around the world."

"Netflix built a great service, but increasing Netflix's dominance this way would mean the end of the Golden Age of streaming for content creators and consumers," Lee wrote in a post on X.

U.S. Senator Elizabeth Warren called it an antitrust "nightmare" that would harm workers and consumers. "A Netflix-Warner Bros would create one massive media giant with control of close to half of the streaming market -- threatening to force Americans into higher subscription prices and fewer choices over what and how they watch, while putting American workers at risk," Warren said on Friday. "It would mean more price hikes, ads, & cookie cutter content, less creative control for artists, and lower pay for workers," she said in a post on X. "The media industry is already controlled by a few corporations with too much power to censor free speech. The gov't must step in."

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.

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.

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.

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.

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."

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.

"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."

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.

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.