Charter Communications announced a $21.9 billion deal Friday to acquire Cox Communications, combining two major cable providers as they face mounting competition from wireless carriers offering 5G home internet. The transaction merges Charter's 31.4 million customers with Cox's 6.3 million, creating a larger entity to defend against aggressive expansion from Verizon and T-Mobile.

Charter lost 60,000 internet customers in the March quarter, underscoring the industry's vulnerability as traditional cable broadband growth stalls. Wireless carriers have successfully marketed their fixed wireless access services at lower price points while delivering competitive speeds, turning what was once cable's most profitable segment into contested territory. The combined company, which will be headquartered in Stamford, Connecticut, plans to adopt the Cox Communications name within a year of closing while retaining Spectrum as its consumer-facing brand.

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."

Warner Bros. Discovery said Wednesday it will revert its streaming service name from Max back to HBO Max this summer, just two years after dropping the HBO branding.

The decision, revealed at the company's upfront presentation to advertisers in New York, represents an admission that HBO's premium brand equity remains valuable in the streaming landscape. "Returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect," WBD stated in a press release.

Back in 2000, Slashdot founder CmdrTaco marked the 4th anniversary of Jennifer Ringley's pioneering "JenniCam" livestream (saying "It sure beats the Netscape FishCam. It's nuts how Jenni's little cam became such a fixture on The Internet...")

But a new article in the Washington Post remembers how "Once, Ringley looked directly into the camera and held a note in front of her eye. It read: 'I FEEL SO LONELY.'" By 2003, Ringley had shut down the site and disappeared. She began declining interview requests, saying she was enjoying her privacy; her absence on social media continues to this day.
"But by then, the human zoo was everywhere," they write including "social media, where everyone could become a character in their own show." In 2007 Justin Kan launched Justin.TV, which eventually became Twitch, "a thrumming online city for anyone wanting to, as its slogan said, 'waste time watching other people waste time.'"

But the article also notes 2023 stats from the Bureau of Labor Statistics survey that found Americans"were spending far less time socializing than they had 20 years ago — especially 18-to-29-year-olds, who were spending two more hours a day alone." So how did this play out for the next generation of livestreaming influencers? Here's the origin story of "a lonely young woman in Texas" who's "streamed every second of her life for three years and counting." One afternoon, her boyfriend told her to try Twitch, saying, as she recalled: "Your life sucks, you work at CVS, you have no friends. ... This could be helpful." In her first stream, on a Friday night, she played 3½ hours of "World of Warcraft" for her zero followers.
Eight years later... Six hundred and forty-two people are watching when Emily tugs off her sleep mask to begin day No. 1,137 of broadcasting every hour of her life... On the live-streaming service Twitch, one of the world's most popular platforms, Emily is a legendary figure. For three years, she has ceaselessly broadcast her life — every birthday and holiday, every sickness and sleepless night, almost all of it alone. Her commitment has made her a model for success in the new internet economy, where authenticity and endurance are highly prized. It's also made her a good amount of money: $5.99 a month from thousands of subscribers each, plus donations and tips — minus Twitch's 30-to-40 percent cut.

But to get there, Emily, who agreed to be interviewed on the condition that her last name be withheld due to concerns of harassment, has devoted herself to a solitary life of almost constant stimulation. For three years, she has taken no sick days, gone on no vacations, declined every wedding invitation, had no sex. She has broadcast and self-narrated a thousand days of sleeping, driving and crying, lugging her camera backpack through the grocery store, talking through a screen to strangers she'll never meet. Her goal is to buy a house and get married by the age of 30, but she's 28 and says she's too busy to have a boyfriend. Her last date was seven years ago... But no one tells streamers when to record or when to stop. There are no labor codes, performance limits or regulations to keep the platforms from setting incentives impossibly high. Many streamers figure out the optimal strategy themselves: The more you share, the more successful you can be....

Though some Twitch stars are millionaires, most scramble to get by, buffeted by the vagaries of audience attention. Emily's paid-subscription count, which peaked last year at 22,000, has since slumped to around 6,000, dropping her base income to about $5,000 a month, according to estimates from the analytics firm Streams Charts... Sometimes Emily dreads waking up and clocking into the reality show that is her life. She knows staring at screens all night is unhealthy, and when she feels too depressed to stream, she'll stay in bed for hours while her viewers watch. But she worries that taking a break would be "career suicide," as she called it. Some viewers already complain that she showers too long, sleeps in too late, doesn't have enough fun...

She said she "used to show true sadness on stream" but doesn't anymore because it makes viewers uncomfortable. When she hits a breaking point now, she said, she closes herself in the bathroom.

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.

Harman International, a Samsung subsidiary, announced it is acquiring Masimo's consumer audio division for $350 million in cash. "The deal is expected to finalized by the end of 2025, though it's still subject to regulatory approvals," notes Engadget. From the report: Samsung purchased Harman International back in 2017 for $8 billion, though it allowed the company to operate as an independent subsidiary. Harman's brands include JBL, Harman Kardon, AKG, Mark Levinson, Arcam and Revel. If and when the acquisition pushes through, Masimo's audio brands under Sound United will be added to the list, including Bowers & Wilkins, Denon, Marantz and Polk Audio. [...]

As noted by The Verge, Samsung published a press release, where it briefly talked about the history of the brands it's acquiring. It mentioned some of Bowers & Wilkins' most iconic products, such as the Nautilus loudspeaker (pictured above) and its Zeppelin wireless speaker, as well as Denon's history as an early adopter of the CD player. Harman had a 60 percent market share in portable audio devices last year, and the company is looking to maintain that position with this purchase. Samsung also plans to apply the new brands' audio technologies to its smartphones, TVs, wireless earphones, soundbars and other devices in the future.

Donald Trump has announced plans to impose a 100% tariff on all foreign-made films, citing national security concerns and accusing other countries of luring U.S. film production abroad with incentives. PBS reports: "The Movie Industry in America is DYING a very fast death," he wrote [on his Truth Social platform], complaining that other countries "are offering all sorts of incentives to draw" filmmakers and studios away from the U.S. "This is a concerted effort by other Nations and, therefore, a National Security threat. It is, in addition to everything else, messaging and propaganda!"

It wasn't immediately clear how any such tariff on international productions could be implemented. It's common for both large and small films to include production in the U.S. and in other countries. Big-budget movies like the upcoming "Mission: Impossible -- The Final Reckoning," for instance, are shot around the world.

Incentive programs for years have influenced where movies are shot, increasingly driving film production out of California and to other states and countries with favorable tax incentives, like Canada and the United Kingdom. Yet Trump's tariffs are designed to lead consumers toward American products. And in movie theaters, American-produced movies overwhelming dominate the domestic marketplace. "Other nations have been stealing the movie-making capabilities from the United States," Trump told reporters at the White House on Sunday night after returning from a weekend in Florida. "If they're not willing to make a movie inside the United States we should have a tariff on movies that come in."

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."

As May the 4th transforms into Star Wars Day, dozens of sites and games have found ways to celebrate. The official Star Wars channel on YouTube released a celebratory video. Disney+ released Tales of the Underworld , a six-part animated series about bounty hunters during the reign of the Empire. And Friday the first two episodes began streaming in Fortnite in a special early premiere on "Star Wars Watch Party island," according to IGN. (Disney acquired a $1.5 billion stake in Epic in March 2024, they note, "positioning itself to collaborate with the game developer for many years to come." One example from StarWars.com: Introducing the GALACTIC BATTLE Season: the largest crossover yet between Fortnite Battle Royale and Star Wars. Strap into a TIE fighter or X-wing and take to the skies over new locations like the First Order Base where you can take on Captain Phasma and her legion of stormtroopers. Players can expect new gameplay updates to drop every week throughout the season, including new weapons, Force Abilities and quests to complete.
- There's additional Star Wars celebrations today in several other games, including LEGO Fortnite Brick Life, Rocket League, and Monopoly GO!

- CNN is publishing its own list of Star Wars day products and deals. (Including Panasonic's Stormtrooper electric shaver and the Darth Vader toaster.)

- There's special Star Wars pages at Amazon, Target, Walmart, and Lego.

- On X.com the UK's national library posted what looks a picture of a medieval manuscript with Yoda painted into the text. Someone posted a clip from the 1977 Bob Hope Christmas Special which ends with Mark Hamill rescuing Princess Leia (played by Olivia Newton-John). Even the White House has posted an AI-generated image of president Trump wielding a lightsaber.

- Starbucks even has its own line of Star Wars-themed mugs.

And if today isn't enough, the Austin American-Statesman reminds readers that there's more Star Wars celebrations are coming up: Sometimes also known as Geek Pride Day, May 25 is known as "Star Wars Day" because it marks the release of the anniversary of the series' debut. "A New Hope" premiered in United States theaters on May 25, 1997...

May 21 is Talk Like Yoda Day, an annual celebration marking the release of "Star Wars: Episode V — The Empire Strikes Back" on May 21, 1980 — the film that introduced Yoda to the galaxy...

A Michigan federal magistrate judge has banned a lawyer from using a cartoon dragon watermark on legal filings, calling the practice "juvenile and impertinent." Judge Ray Kent of the Western District of Michigan issued the order on April 28 after receiving a complaint featuring a purple, suit-wearing dragon on every page.

"Each page of plaintiff's complaint appears on an e-filing which is dominated by a large multi-colored cartoon dragon dressed in a suit," Kent wrote. "The Court is not a cartoon." The watermark belongs to Jacob A. Perrone of Dragon Lawyers, who told The New York Times he purchased the image online for $20 because "people like dragons."

Perrone said it plans to continue using the logo in his practice but will tone it down in future court submissions.

Spotify has submitted an iOS app update that would allow US customers to use payment options beyond Apple's system, the company said Thursday. The move follows Wednesday's Epic Games v. Apple ruling, which prohibits Apple from taking a cut of non-Apple payment systems and from controlling how developers inform users about alternative payment methods.

If approved, the update would enable US users to view subscription pricing details and promotions directly in-app, purchase subscriptions via external links, seamlessly switch between Premium plans, and access payment options beyond Apple's system. Spotify suggested the update could eventually facilitate additional purchasing opportunities, including audiobooks. "While other governments around the world have taken steps against Apple's harmful practices, this is, by far, the most consequential action to date," Spotify said, calling it "absurd" that these "basic services" weren't permitted despite being ordered by a judge four years ago. Patreon has similarly announced plans to submit an iOS app update allowing creators to accept non-Apple payments.

Its goal was to "support workers to reclaim the power of future-making". A 2022 pilot project saw over 25 Amazon workers meeting online "to discuss how science fiction shed light on their working conditions and futures." 13 of them then continued meeting regularly in 2023 with the "Worker as Futurist" project (funded by Canada's Social Sciences and Humanities Research Council, according to an article by the project's leaders in the socialist magazine Jacobin). "Our team of scholars, teachers, writers, and activists has been able to pay Amazon workers (warehouse workers, drivers, copy editors, MTurk workers, and more) to participate in a series of skill-building writing workshops and information sessions...."

And when it was over, "the participants were supported to draft the stories they wanted to tell about The World After Amazon...."

Six months ago they held the big launch event for the book's print edition, while also promising that "you can read the workers' stories online, or download the book as a PDF or an ebook, all for free." The Amazon-worker stories have tempting titles like "The Museum of Prime", "The Dark Side of Convenience", and even "The Iron Uprising." ("In a dystopian future of corporate power, humans and robots come together in resistance and in love.")

And the project also created a 13-episode podcast offering "interviews with experts on Amazon, activists and organizers, science fiction writers and others dedicated to reclaiming the future from corporate control." As they wrote in Jacbon: This isn't finding individual commercial or literary success, but dignity, imagination, and common struggle... Our "Worker as Futurist" project returns the power of the speculative to workers, in the name of discovering something new about capitalism and the struggle for something different...

We must envision the futures we want in order to mobilize and fight for them together, rather than cede that future to those who would turn the stars into their own private sandbox... The rank-and-file worker — the target of daily exploitation, forced to build their boss's utopia — may have encrypted within them the key to destroying his world and building a new one.

80-year-old George Lucas appeared this week at a 45th anniversary screening of The Empire Strikes Back, reports CNN — and finally gave a good explanation for why Yoda speaks the way he does. "He explained that it came about in order to ensure that the little alien's usually profound messages really landed with audiences." "Because if you speak regular English, people won't listen that much," Lucas said at the 2025 TCM Classic Film Festival, per Variety . "But if he had an accent, or it's really hard to understand what he's saying, they focus on what he's saying." Yoda was "basically the philosopher of the movie," the filmmaker added. "I had to figure out a way to get people to actually listen — especially 12-year-olds."

Also this week, the verified Instagram accounts for Disney+, Star Wars and LucasFilm — Lucas' film and television production company — posted clips of Yoda doing bloopers on the set of "Star Wars" films, with [Frank] Oz continuing to do the voice and manipulate the heavy Yoda puppet even on takes that were unusable. Suffice it to say: One for the ages, Yoda is.
Lucas also remembered how he'd "mounted a guerilla campaign to generate excitement" for the first Star Wars movie, reports Variety. ("I got the kids walking around Disneyland and the Comic Cons and all that kind of stuff... that's why Fox was so shocked when the first day the lines were all around the block.") And Variety says Lucas described a condition in his contract for Star Wars "that would again be life-changing, both for him and the entertainment industry as a whole." "I said, 'besides that, I'd like licensing.' They went, 'What's licensing?'" Unimpressed by the film, and colored by the history of movie merchandising to that point, the studio capitulated to his demands. "They talked to themselves, and they went, 'He's never going to be able to do that. It takes them a billion dollars and a year to make a toy or make anything. There's no money in that at all.'"

"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).

TV producer Alex Berger criticized Apple TV+ as "the worst marketer in the universe" for failing to promote his French-language show La Maison, despite its success in Europe. Berger said he initially partnered with Apple out of hope, but ultimately felt they undermined their own content by not supporting it properly. 9to5Mac reports: Rafa Sales Ross at Variety recently interviewed TV producer Alex Berger, who made La Maison for Apple TV+. That partnership is apparently not one he intends to repeat: "Marketing makes a show," he emphasized. "Apple, for example, is probably the worst marketer in the universe -- the best for iPhones, the worst for television. They don't do marketing, and it was an issue for us with 'La Maison.' We did a great show that had an amazing success in France and other places in Europe, but they never promoted it. It drove me crazy."

Asked why, while believing Apple TV+ to lack in marketing efforts, did he decide to take "La Maison" to the streamer, Berger said simply: "Hope. We had hope." "Apple TV+ had never done a show in France and never really done a show in Europe," adds the producer. "'Slow Horses' started [things] in the U.K., but it was with the U.S.. I was hoping I would change them. We got very frustrated and just thought at one point that they were shooting themselves in the foot, and why? "La Maison faced the additional challenge of being a French-language series, at the time one of the only non-English shows on the streamer," notes 9to5Mac's Ryan Christoffel. "So it had an uphill battle already, making Apple's marketing struggles even more of a problem."

An anonymous reader quotes a report from Ars Technica: Comcast executives apparently realized something that customers have known and complained about for years: The Internet provider's prices aren't transparent enough and rise too frequently. This might not have mattered much to cable executives as long as the total number of subscribers met their targets. But after reporting a net loss of 183,000 residential broadband customers in Q1 2025, Comcast President Mike Cavanagh said the company isn't "winning in the marketplace" during an earnings call today. The Q1 2025 customer loss was over three times larger than the net loss in Q1 2024.

While customers often have few viable options for broadband and the availability of alternatives varies widely by location, Comcast faces competition from fiber and fixed wireless ISPs. "In this intensely competitive environment, we are not winning in the marketplace in a way that is commensurate with the strength of the network and connectivity products that I just described," Cavanagh said. "[Cable division CEO] Dave [Watson] and his team have worked hard to understand the reasons for this disconnect and have identified two primary causes. One is price transparency and predictability and the other is the level of ease of doing business with us. The good news is that both are fixable and we are already underway with execution plans to address these challenges." [...]

Cavanagh said that Comcast plans to make changes in marketing and operations "with the highest urgency." This means that "we are simplifying our pricing construct to make our price-to-value proposition clearer to consumers across all broadband segments," he said. Comcast last week announced a five-year price guarantee for broadband customers who sign up for a new package. Comcast said customers will get a "simple monthly price starting as low as $55 per month," without having to enter a contract, giving them "freedom and flexibility to cancel at any time without penalty." The five-year guarantee also comes with one year of Xfinity Mobile at no charge, Comcast said. [...] Additional offers are in the works, Cavanagh said. "We are not done. Providing more value to our customers with less complexity and friction is a top priority and you will see our go-to-market approach continue to evolve over the coming months," he said. Comcast investors shouldn't expect an immediate turnaround, though. "We anticipate that it will take several quarters for our new approach to gain traction and impact the business in a meaningful way," Cavanagh said.

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."

Films made with the help of AI will be able to win top awards at the Oscars, according to its organisers. From a report: The Academy of Motion Picture Arts and Sciences issued new rules on Monday which said the use of AI and other digital tools would "neither help nor harm the chances of achieving a nomination."

[...] The Academy said it would still consider human involvement when selecting its winners. The Academy said its new language around eligibility for films made using generative AI tools was recommended by its Science and Technology Council. Under further rule changes announced on Monday, Academy members must now watch all nominated films in each category in order to be able to take part in the final round of voting, which decides upon winners.