Sony plans to spin off its TV hardware business to a new joint venture controlled by Chinese electronics giant TCL, the two said Tuesday, a significant retreat for the Japanese giant whose Bravia line has long occupied the premium end of the television market. TCL would hold a 51% stake in the venture and Sony would retain 49% under a nonbinding agreement the two companies signed. They aim to finalize binding terms by the end of March and begin operations in April 2027, pending regulatory approvals.

The new company would retain the Sony and Bravia branding for televisions and home audio equipment but use TCL's display technology. Japanese TV manufacturers have steadily lost ground to Chinese and Korean rivals over the years. Toshiba, Hitachi, Mitsubishi Electric and Pioneer exited the business entirely. Panasonic and Sharp de-emphasized televisions in their growth strategies. Sony's Bravia line survived by positioning itself at the premium tier where consumers pay more for high-end picture and sound quality.

Amazon is expanding the Fallout universe with Fallout Shelter, a ten-episode reality competition show where contestants face survival-style challenges and moral dilemmas for a cash prize. Engadget reports: Prime Video has greenlit a unscripted reality show titled Fallout Shelter. It will be a ten-episode run with Studio Lambert, the team behind reality projects including Squid Game: The Challenge and The Traitors, as its primary producer. Bethesda Game Studios' head honcho Todd Howard is attached as an executive producer. Amazon's description of Fallout Shelter is: "Across a series of escalating challenges, strategic dilemmas and moral crossroads, contestants must prove their ingenuity, teamwork and resilience as they compete for safety, power and ultimately a huge cash prize."

[...] The name echos the free-to-play mobile game Bethesda released in 2015. Fallout Shelter lets people build and improve their out Vault-Tec residence, managing the resources for a growing cadre of underground survivors. It seems pretty likely that there will be some type of tie-in between the game and the show, but any details about that might pop up closer to when the program is ready to air. It's currently casting, and no release timeline has been shared.

Analyst Ben Thompson, sharing the experience of watching an NBA game on the Vision Pro: When I started the broadcast [on Apple Vision Pro's immersive view of the Bucks vs. Lakers NBA game] I had, surprise surprise, a studio show, specially tailored for the Apple Vision Pro. In other words, there was a dedicated camera, a dedicated presenter, a dedicated graphics team, etc. There was even a dedicated announcing team! This all sounds expensive and special, and I think it was a total waste.

Here's the thing that you don't seem to get, Apple: the entire reason why the Vision Pro is compelling is because it is not a 2D screen in my living room; it's an immersive experience I wear on my head. That means that all of the lessons of TV sports production are immaterial. In fact, it's worse than that: insisting on all of the trappings of a traditional sports broadcast has two big problems: first, because it is costly, it means that less content is available than might be otherwise. And second, it makes the experience significantly worse.

[...] I have, as I noted, had the good fortune of sitting courtside at an NBA game, and this very much captured the experience. The biggest sensation you get by being close to the players is just how tall and fast and powerful they are, and you got that sensation with the Vision Pro; it was amazing. The problem, however, is that you would be sitting there watching Giannis or LeBron or Luka glide down the court, and suddenly you would be ripped out of the experience because the entirely unnecessary producer decided you should be looking through one of these baseline cameras under the hoop [...]

60 years ago today, ABC aired the first episode of its live-action Batman television series, introducing Adam West as the deadpan Caped Crusader in what became a pop culture phenomenon blending high-camp humor and cliffhanger thrills. The mid-season replacement ran for 120 episodes over three seasons before ending in March 1968.

Streamer spend on content is set to top the $100 billion mark for the first time this year, according to an Ampere Analysis report. From a report: The landmark figure will be met as global streamers "remain the primary driver of growth in content investment," according to Ampere. Spend by the likes of Netflix, Disney+, Prime Video, HBO Max, Paramount+ and Apple TV will shoot up 6% this year, helping lead to a 2% increase in overall global content spend, Ampere forecast. The $101 billion figure, the first time streamer spend has crossed that major $100 Billion landmark, will represent around two-fifths of the overall figure.

Remember that re-discovered computer tape with one of the earliest versions of Unix from the early 1970s? This week several local news outlets in Utah reported on the find, with KSL creating a video report with shots of the tape arriving at Silicon Valley's Computer History Museum, the closet where it was found, and even its handwritten label.

The Salt Lake Tribune reports that the closet where it was found also contained "old cords from unknown sources and mountains of papers that had been dumped from a former professor's file cabinet, including old drawings from his kids and saved plane ticket stubs." (Their report also includes a photo of the University of Utah team that found the tape — the University's Flux Research Group).

Professor Robert Ricci believes only 20 copies were ever produced of the version of Unix on that tape: At the time, in the 1970s, Ricci estimates there would have been maybe two or three of those computers — called a PDP-11, or programmed data processor — in Utah that could have run UNIX V4, including the one at the U. Having that technology is part of why he believes the U. got a copy of the rare software. The other part was the distinguished computing faculty at the school.

The new UNIX operating system would've been announced at conferences in the early 1970s, and a U. professor at the time named Martin Newell frequently attended those because of his own recognized work in the field, Ricci said. In another box, stuffed in under manila envelopes, [researcher Aleks] Maricq found a 1974 letter written to Newell from Ken Thompson at Bell Labs that said as soon as "a new batch comes from the printers, I will send you the system." Ricci and Maricq are unsure if the software was ever used. They reached out to Newell, who is now 72 and retired, as well as some of his former students. None of them recalled actually running it through the PDP-11...

The late Jay Lepreau also worked at the U.'s computing department and created the Flux Research Group that Ricci, Maricq and [engineering research associate Jon] Duerig are now part of. Lepreau overlapped just barely with Newell's tenure. In 1978, Lepreau and a team at the U. worked with a group at the University of California, Berkeley. Together, they built their own clone of the UNIX operating system. They called it BSD, or Berkeley Standard Distribution. Steve Jobs, the former CEO of Apple, worked with BSD, too, and it influenced his work.

Ultimately, it was Lepreau who saved the 9-track tape with the UNIX system on it in his U. office. And he's why the university still has it today. "He seems to have found it and decided it was worth keeping," Ricci said...

The U. will also get the tape back from the museum. Maricq said it will likely be displayed in the university's new engineering building that's set to open in January 2027. That's why, the research associate said, he was cleaning out the storage room to begin with — to try to prepare for the move. He was mostly just excited to see the floor again. "I thought we'd find some old stuff, but I didn't think it'd be anything like this," he said. And Maricq still has boxes to go through, including more believed to be from Lepreau's office.
Local news station KMYU captured the thoughts of some of the University researchers who found the tape: "When you see the very first beginnings of something, and you go from seed to sapling, that's what we saw here," [engineering research associate Jon] Duerig said. "We see this thing in the moment of flux. We see the signs of all the things changing — of all the things developing that we now see today."
Duerig also gave this comment to local news station KSL. "The coolest thing is that anybody, anywhere in the world can now access this, right? People can go on the internet archive and download the raw tape file and simulate running it," Duerig said. "People have posted browsable directory trees of the whole thing." One of the museum's directors said the tape's recovery marked a big day for the museum "One of the things that was pretty exciting to us is that just that there is this huge community of people around the world who were excited to jump on the opportunity to look at this piece of history," Ricci said. "And it was really cool that we were able to share that."

Duerig said while there weren't many comments or footnotes from the programmers of that time, they did discovery more unexpected content having to do with Bell Labs on the tape. "There were survey results of them actually asking survey questions of their employees at these operator centers," he said.
Thanks to long-time Slashdot reader walterbyrd for sharing the news.

The long-standing hierarchy in the TV market -- Sony, Samsung and LG at the top, TCL and Hisense fighting it out in the midrange -- is eroding as the budget brands close the performance gap and increasingly lead on technology innovation, The Verge writes. Hisense debuted the first RGB LED TV last year, and TCL's X11L announced at CES 2026 is the first TV to use reformulated quantum dots and a new color filter. TCL's QM9K release last year was "a pretty clear statement that they're ready to fight with the big boys."

The premium brands retain certain advantages: Sony's processing remains unmatched and LG's OLEDs deliver contrast that mini LED cannot match. "Even as the gap in performance across technologies continues to shrink, and TVs from all the manufacturers get closer to parity, the challenge for TCL and Hisense shifts from creating incredible, competitive products to altering perception," The Verge notes.

Samsung once owned the art TV segment entirely; CES 2026 saw announcements from Amazon's Ember Artline and LG's Gallery TV, all using similar edge-lit technology and magnetic frames. The experience across brands is "remarkably similar." If the pricing gap persists and performance remains comparable, "the big three will have to respond by bringing their pricing down or risk losing sales," the publication concluded.

TV manufacturers at CES 2026 in Las Vegas this week unveiled a wave of AI features that frequently consume significant screen space and take considerable time to deliver results -- all while global TV shipments declined 0.6% year over year in Q3, according to Omdia. Google demonstrated Veo generating video from a photo on a television, a process that took about two minutes to produce eight seconds of footage, The Verge writes in a column. Samsung presented a future where viewers ask their sets for sports predictions and recipes to share with kitchen displays. Hisense showed an AI agent that displays real-time stats for every soccer player on screen, a feature requiring so much space the company built a prototype 21:9 aspect ratio display to accommodate it.

Demos repeatedly showed video shrinking to make room for sports scores and information when viewers asked questions -- noticeable on 70-inch displays and likely worse on anything 50 inches or smaller. Amazon's Alexa Plus can jump to Prime Video scenes based on verbal descriptions. LG's sets switch homescreen recommendations based on voice recognition of individual family members.

Texas Attorney General Ken Paxton has secured a temporary restraining order against Samsung, blocking the company from continuing to collect data through its smart TVs' Automated Content Recognition technology.

The ACR system captured screenshots of what users were watching every 500 milliseconds, according to the state's lawsuit, and did so without consumer knowledge or consent. The District Court found good cause to believe Samsung's actions violated the Texas Deceptive Trade Practices Act. The TRO prohibits Samsung and any parties working in concert with the company from using, selling, transferring, collecting, or sharing ACR data tied to Texas consumers.

Samsung is one of five major TV manufacturers the Texas Attorney General's office has sued over ACR deployment. Paxton previously secured a similar order against Hisense.

A 50-inch TV that would have set you back $1,100 at Best Buy during Black Friday 2001 now costs less than $200, and the price per area-pixel -- a metric accounting for both screen size and resolution -- has dropped by more than 90% over the past 25 years. The story behind this decline is largely one of liquid crystal display technology maturing from a niche product to a mass-manufactured commodity.

LCDs represented just 5% of the TV market in 2004; by 2018, they commanded more than 95%. The largest driver of cost reduction has been the scaling up of "mother glass" sheets -- the large panels of extremely clear glass onto which semiconductor materials are deposited before being cut into individual displays. The first generation sheets measured roughly 12 by 16 inches. Today's Generation 10.5 sheets span 116 by 133 inches, nearly 100 times the original area. This scaling delivers substantial savings because equipment costs rise more slowly than glass area increases.

Moving from Gen 4 to Gen 5 mother glass cut the cost per diagonal inch by 50%. Equipment costs per unit of panel area fell 80% between Gen 4 and Gen 8. Process improvements have compounded these gains: masking steps required for thin-film transistors dropped from eight to four, yields climbed from 50% to above 90%, and a "one drop fill" technique reduced liquid crystal filling time from days to minutes.

Disney+, which is looking to catch up with some streaming and digital rivals in terms of daily engagement, is adding vertical videos to the service. From a report: The arrival of the new format later this year was one of several advertising-oriented announcements the company made Wednesday at its Tech + Data Showcase at CES in Las Vegas. Other new offerings include a new "brand impact" metric and a new video generation tool that helps advertisers create high-quality connected-TV-ready commercials using existing assets and guidelines.

[...] In an interview prior to the Wednesday showcase, Erin Teague, EVP of Product Management for Disney Entertainment and ESPN, said "everything's on the table" in terms of how vertical video is delivered on Disney+. It could be original short-form programming, repurposed social clips, refashioned scenes from longer-form episodic or feature titles or a combination. "We're obviously thinking about integrating vertical video in ways that are native to core user behaviors," Teague said. "So, it won't be a kind of a disjointed, random experience."

An anonymous reader quotes a report from Ars Technica: SteamOS's slow march across the Windows-dominated PC gaming landscape is continuing to creep along. At CES this week, Lenovo announced it will launch a version of last year's high-priced, high-powered Legion Go 2 handheld with Valve's gaming-focused, Linux-based OS pre-installed starting in June. And there are some intriguing signs from Valve that SteamOS could come to non-AMD devices in the not-too-distant future as well. [...] Valve has also been working behind the scenes to expand SteamOS's footprint beyond its own hardware. After rolling out the SteamOS Compatible software label last May, SteamOS version 3.7 offered support for manual installation on AMD-powered handhelds like the ROG Ally and the original Legion Go.

Even as SteamOS slowly spreads across the AMD-powered hardware landscape, the OS continues to be limited by a lack of compatibility with the wide world of Arm devices. That could change in the near future, though, as Valve's upcoming Steam Frame VR headset will sport a new version of SteamOS designed specifically for the headset's Arm-based hardware. [...] It's an especially exciting prospect when you consider the wide range of Arm-based Android gaming handhelds that currently exist across the price and performance spectrum. While emulators like Fex can technically let players access Steam games on those kinds of handhelds, official Arm support for SteamOS could lead to a veritable Cambrian explosion of hardware options with native SteamOS support.

[...] That's great news for fans of PC-based gaming handhelds, just as the announcement of Valve's Steam Machine will provide a convenient option for SteamOS access on the living room TV. For desktop PC gamers, though, rigs sporting Nvidia GPUs might remain the final frontier for SteamOS in the foreseeable future. "With Nvidia, the integration of open-source drivers is still quite nascent," [Valve's Pierre-Louis Griffais] told Frandroid about a year ago. "There's still a lot of work to be done on that front So it's a bit complicated to say that we're going to release this version when most people wouldn't have a good experience."

Several years after Samsung introduced the Frame TV in 2017 -- a television designed to display fine art and resemble a framed painting when switched off -- competitors are finally catching up in meaningful numbers. Amazon announced the Ember Artline TV at CES 2026 this week, a $899 model that can display one of 2,000 works of art for free and includes an Alexa AI tool to recommend pieces suited to your room. Hisense unveiled its CanvasTV late last year, TCL has the NXTvision model, and LG has announced the Gallery TV for later this year.

The surge in art-focused televisions comes down to two factors: smaller living spaces in cities where younger buyers lack dedicated rooms for large screens, and advances in matte screen technology that enable displays to absorb light like a canvas rather than reflect it like a window. Local dimming and improved backlighting processing allow these newer models to maintain their slim profiles for flush wall-mounting while delivering more realistic art reproduction than earlier edge-lit designs.

After Congress approved President Donald Trump's rescission package eliminating federal funding, the Corporation for Public Broadcasting voted to dissolve after 58 years, rather than continue to exist and potentially be "vulnerable to future political manipulation or misuse." The shutdown leaves hundreds of local public TV and radio stations facing an uncertain future. Variety reports: The CPB was created by Congress by the Public Broadcasting Act of 1967 to support the federal government's investment in public broadcasting. The org noted that the rescission of all of CPB's federal funding came after years of political attacks. "For more than half a century, CPB existed to ensure that all Americans -- regardless of geography, income, or background -- had access to trusted news, educational programming, and local storytelling," said CPB president/CEO Patricia Harrison. "When the Administration and Congress rescinded federal funding, our Board faced a profound responsibility: CPB's final act would be to protect the integrity of the public media system and the democratic values by dissolving, rather than allowing the organization to remain defunded and vulnerable to additional attacks.

[...] "CPB's support extends to every corner of the country -- urban, rural, tribal, and everywhere in between," the org noted. "In many communities, public media stations are the only free source of trusted news, educational children's programming, and local and national cultural content." The CPB said that without funding, its board determined that "maintaining the corporation as a nonfunctional entity would not serve the public interest or advance the goals of public media. A dormant and defunded CPB could have become vulnerable to future political manipulation or misuse, threatening the independence of public media and the trust audiences place in it, and potentially subjecting staff and board members to legal exposure from bad-faith actors."

As it closes, CPB is distributing its remaining funds, and also supporting the American Archive of Public Broadcasting in digitizing and preserving historic content. The CPB's own archives will be preserved at the University of Maryland, which will make it accessible to the public. "Public media remains essential to a healthy democracy," Harrison added. "Our hope is that future leaders and generations will recognize its value, defend its independence, and continue the work of ensuring that trustworthy, educational, and community-centered media remains accessible to all Americans."

An anonymous reader shares a report: MTV shut down many of its last dedicated 24-hour music channels Dec. 31. The move, announced back in October, affected channels around the world, with the U.K. seeing five different MTV stations going dark. These include MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live. As Consequence notes, MTV Music -- which launched in 2011 -- notably ended its run by airing the Buggles' "Video Killed the Radio Star," the first visual to air when MTV launched in the United States in 1981.

MTV's parent company, Paramount Skydance, is also expected to shutter music-only channels in Australia, Poland, France, and Brazil. Despite axing much of its dedicated music programming, MTV's flagship channels are still expected to keep broadcasting in the U.K. and elsewhere. Like in the U.S., these channels primarily air massively popular reality programs, as opposed to music videos.

Another year wraps up, and with it comes the annual ritual of taking stock. What were the movies, TV shows and books from this year that stood out to you? Not necessarily the ones that dominated conversation or topped charts, but the ones you found yourself recommending to friends, or returning to for a second watch or read.

Share your picks and, if you're inclined, a line or two on what made them stick.

An anonymous reader quotes a report from the New York Times: South Africans ... have found a remedy for power cuts that have plagued people in the developing world for years. Thanks to swiftly falling prices of Chinese made solar panels and batteries, they now draw their power from the sun. These aren't the tiny, old-school solar lanterns that once powered a lightbulb or TV in rural communities. Today, solar and battery systems are deployed across a variety of businesses -- auto factories and wineries, gold mines and shopping malls. And they are changing everyday life, trade and industry in Africa's biggest economy. This has happened at startling speed. Solar has risen from almost nothing in 2019 to roughly 10 percent of South Africa's electricity-generating capacity.

No longer do South Africans depend entirely on giant coal-burning plants that have defined how people worldwide got their electricity for more than a century. That's forcing the nation's already beleaguered electric utility to rethink its business as revenues evaporate. Joel Nana, a project manager with Sustainable Energy Africa, a Cape Town-based organization, called it "a bottom-up movement" to sidestep a generations-old problem. "The broken system is unreliable electricity, expensive electricity or no electricity at all," he said. "We've been living in this situation forever." What's happening in South Africa is repeating across the continent. Key to this shift: China's ambition to lead the world in clean energy. The report says that more than 7 gigawatts of solar capacity have been installed in South Africa over the past five years -- about 1/10 of the country's total installed capacity (55 GW). And most of this new solar capacity is privately owned and installed by households and businesses rather than utilities.

Across the continent, Chinese solar imports rose 50% in the first 10 months of 2025. Cheap Chinese solar is rapidly reshaping Africa's energy landscape from the bottom up but it's also shifting geopolitical influence, hollowing out local manufacturing opportunities, and deepening divides between those who can afford energy independence and those who can't. "The solar surge does little to address the most pressing social and economic problems of developing countries like South Africa, the need to generate new jobs for millions of young citizens," reports the NYT. "Installation labor is local, but the panels and batteries are almost all made in China."

Further reading: Why Solarpunk Is Already Happening In Africa

Americans are settling into streaming habits that should worry Hollywood executives, as new Nielsen data analyzed by Bloomberg reveals that not a single new original series cracked the top 10 most-watched streaming shows in 2025 -- the first time this has happened since Nielsen began publishing streaming data in 2020.

The shift extends beyond original programming as free, ad-supported streaming services are growing faster than their paid counterparts. YouTube has become the most-watched streaming service on American televisions, now larger than Netflix and Amazon combined. The Roku Channel and Tubi have nearly doubled in size over the past two years, while Peacock and Warner Bros.' streaming services have stagnated at roughly half their free competitors' viewership share.

Netflix still dominates when it comes to hits, accounting for about two-thirds of original programs appearing in Nielsen's weekly top 10 lists. But that dominance is eroding -- the company's share of streaming viewership has fallen below 20%. Meanwhile, Disney's streaming services haven't increased their share of TV viewing in three years, and Amazon is closing in. The most-watched original series of 2025 was Squid Game's final season, followed by returning shows Wednesday and Love Island.

Artist Keith Thomson is a modern (and whimsical) Edward Hopper. And Apple TV says he created the "festive artwork" shared on X by Apple CEO Tim Cook on Christmas Eve, "made on MacBook Pro."

Its intentionally-off picture of milk and cookies was meant to tease the season finale of Pluribus. ("Merry Christmas Eve, Carol..." Cook had posted.)

But others were convinced that the weird image was AI-generated.

Tech blogger John Gruber was blunt. "Tim Cook posts AI Slop in Christmas message on Twitter/X, ostensibly to promote 'Pluribus'." As for sloppy details, the carton is labeled both "Whole Milk" and "Lowfat Milk", and the "Cow Fun Puzzle" maze is just goofily wrong. (I can't recall ever seeing a puzzle of any kind on a milk carton, because they're waxy and hard to write on. It's like a conflation of milk cartons and cereal boxes.)
Tech author Ben Kamens — who just days earlier had blogged about generating mazes with AI — said the image showed the "specific quirks" of generative AI mazes (including the way the maze couldn't be solved, expect by going around the maze altogether). Former Google Ventures partner M.G. Siegler even wondered if AI use intentionally echoed the themes of Pluribus — e.g., the creepiness of a collective intelligence — since otherwise "this seems far too obvious to be a mistake/blunder on Apple's part." (Someone on Reddit pointed out that in Pluribus's dystopian world, milk plays a key role — and the open spout of the "natural" milk's carton does touch a suspiciously-shining light on the Christmas tree...)

Slashdot contacted artist Keith Thomson to try to ascertain what happened...

Hallmark has released more than 300 Christmas-themed TV movies since 2000, and a detailed internal rulebook obtained by film data analyst Stephen Follows explains how the company manages to produce nearly one new holiday film per week during the final quarter of each year without the whole operation collapsing into creative chaos.

The document, referred to as Hallmark's "bible" by writers and producers who have worked on these films, specifies everything from script length (105-110 pages across a rigid nine-act structure) to prohibited activities (no bowling, no karaoke). Christmas movies must include snow or its remnants and feature characters engaged in seasonal activities like baking cookies, ice skating, and drinking hot chocolate.

The target demographic is women aged 25-54, and the content must be watchable by an 80-year-old grandmother and a 5-year-old niece simultaneously. The economics differ sharply from theatrical filmmaking. Licensed titles from outside production companies carry budgets around $500,000 or less, while Hallmark's in-house productions can exceed $2 million. About three-quarters of the library comes from external producers. The formula appears to work. Hallmark TV movies have averaged a 6.3 IMDb user score over the past 14 years, compared to 5.9 for feature films worldwide.

Further reading: Using Data To Determine if 'Die Hard' is a Christmas Movie.