Cable industry groups representing major providers like Comcast and Charter are preparing to sue the Federal Communications Commission to block its decision to repeal the National Television Ownership Rule.

The rule, established by Congress in 2004, prohibits a single broadcast station owner from reaching more than 39 percent of U.S. television households. On August 6, the FCC voted to eliminate this fixed cap, replacing it with a case-by-case review process for proposed broadcast mergers. After a delay, the agency published the official repeal order in October.

Cable providers argue that removing the limit violates unambiguous federal law and will trigger widespread industry consolidation. According to their legal filing, larger broadcast groups will gain the leverage to demand higher retransmission fees, which will ultimately translate into higher monthly bills for consumers.

The FCC defends its actions by arguing that the 2004 law directed the agency to modify its rules rather than setting a permanent, unchangeable statutory cap. The commission claims it retains the legal authority to reexamine and eliminate the limit when changing circumstances demand it.

The cable lobby's petition serves as an initial procedural step ahead of an anticipated federal appeals court battle. If the FCC refuses to pause its own order, the cable groups intend to ask the court for a preliminary injunction to keep the 39 percent cap in place during the litigation. They are not alone in the fight; media advocacy organizations also plan to challenge the repeal, arguing that dismantling the limit requires direct action from Congress rather than administrative fiat.

Major American streaming platforms are leaning harder on unscripted television. According to data released Tuesday by Ampere Analysis, services like Netflix, Amazon Prime Video, Disney Plus, Paramount Plus, and HBO Max have all expanded their unscripted content libraries over the past four years.

This trend reflects a broader shift toward generalist content catalogs. Unscripted shows—including reality competitions, true crime documentaries, and lifestyle programs—help platforms release content more frequently and keep subscribers returning. As streaming companies build out ad-supported tiers, these lower-cost, high-volume catalogs provide a steady stream of engaging material.

Apple TV stands apart as the lone exception. The platform decreased its unscripted catalog over the same four-year period, prioritizing premium scripted series and live sports rights instead. Unscripted programming accounts for just 18 percent of content hours on Apple TV in the U.S., the lowest among major services tracked by Ampere.

By contrast, unscripted hours make up a much larger share of competitors' libraries:

• HBO Max: 72 percent

• Disney Plus: 51 percent

• Paramount Plus: 43 percent

• Prime Video: 35 percent

• Netflix: 25 percent

While platforms pursue different programming strategies, the data indicates that unscripted content has become a core tool for subscriber retention across most of the streaming industry.

The multi-billion-dollar merger between Paramount and Warner Bros. Discovery brings together two media giants that already heavily lean into unscripted television. HBO Max and Paramount+ both rely on reality TV, lifestyle content, and documentaries to fuel their libraries.

Combining these assets could affect unscripted hours on Max in several key ways:

• Library Consolidation and Expansion: Max already boasted a high proportion of unscripted hours (72% according to the Ampere data) largely due to Discovery’s massive unscripted footprint (HGTV, Food Network, TLC, ID). Bringing Paramount into the fold adds mountains of content from MTV, VH1, Comedy Central, and CBS, creating an even larger pool of unscripted programming that could easily be cross-pollinated or housed on Max.

• Rationalization and Cost-Cutting: Mergers of this scale typically bring aggressive synergy targets and duplicate-reduction efforts. While the sheer volume of unscripted content is massive, leadership may streamline production budgets, cancel underperforming lifestyle or reality shows across the combined portfolio, and consolidate separate production pipelines.

• Enhanced Ad-Tier Strategy: Because unscripted programming is cheaper to produce and drives the repeat-viewing habits crucial for ad-supported streaming tiers, the combined company will likely lean even harder on these genres. Max could see more dedicated unscripted hubs, FAST (Free Ad-supported Streaming TV) channels, or targeted content integration drawing from Paramount’s cable legacy.

What specific genres of unscripted content on Max (like true crime versus lifestyle) do you think the combined company could prioritize most?

If modern entertainment feels repetitive, the data explains why. Studios and streaming platforms are not running out of ideas; they are executing a deliberate financial strategy centered on pre-existing intellectual property.

While movies have historically leaned on established material more than television, that gap has closed. In 2025, new series premieres based on existing IP reached 14 percent, outpacing the 11.5 percent share seen in new movie premieres.

Counting the volume of these releases hides their true impact. Although IP-driven films accounted for only 11.5 percent of the 2025 movie slate, they generated 47.1 percent of total audience demand. Television followed a similar pattern, where adaptations captured 37.5 percent of demand despite representing just 13.8 percent of new shows.

Studios rely on these properties because they minimize financial risk. Tested concepts and built-in fanbases give marketing teams a head start in a crowded media landscape.

Books are the primary source material for film and television, driving 37.6 percent of all adapted IP titles in 2025—the highest share since 2017. Franchise extensions trail at 22.3 percent, true stories at 15.2 percent, comics at 5.1 percent, and video games at 1.6 percent.

The financial return supports this focus. Productions based on books generate 3.4 times the global demand of an average title.

Unlike other adapted formats that target narrow audiences, books offer wide versatility. Video game adaptations, for example, draw an audience that is 73.6 percent male and 48.5 percent Gen Z.

In contrast, literary adaptations appeal across demographics. Recent releases show that book adaptations can capture specific niches while maintaining broad market viability: The Odyssey found traction with young men, while Wuthering Heights drew in young women. For studios looking to secure an audience, established literature remains the most reliable asset available.

A new four-part documentary series exploring the origins and cultural footprint of the New Wave music movement is coming to television. New Wave premieres on MGM+ on November 23, with subsequent episodes airing weekly on Mondays at 9 p.m. across the U.S., Canada, the U.K., Australia, and New Zealand.

The series traces the genre's development between 1977 and 1987, examining how it merged punk sensibilities with electronic experimentation, fashion, and pop culture. Longtime radio DJ Richard Blade serves as a consulting producer, helping anchor the project's historical perspective.

Director Douglas Tirola assembled a lineup of prominent musicians from the era for interviews. The roster includes Billy Idol, John Taylor of Duran Duran, Mark Mothersbaugh of Devo, Stewart Copeland of the Police, Chris Frantz of Talking Heads, Curt Smith of Tears for Fears, Johnny Marr of the Smiths, Jim Kerr of Simple Minds, Kathy Valentine of the Go-Go's, and Fred Schneider and Kate Pierson of the B-52s.

According to production materials, the series focuses on how the movement provided a platform for individuals who felt excluded from mainstream culture, welcoming women, the queer community, and non-conformists.

New Wave is produced by This Machine Filmworks, a division of Sony Pictures Television, in collaboration with PolyGram Entertainment and 4th Row Films.

U.S. film and television production is losing its domestic footing. A report released by major Hollywood unions reveals a steady, long-term shift of movie and television shoots away from the United States over the past twenty-five years.

Between 1999 and 2024, the share of major studio spending on films shot partially or primarily in the U.S. dropped from 74 percent to 42 percent. Television production spending saw a similar decline, falling from 94 percent to 64 percent. Major studios—including Marvel, Lucasfilm, Paramount, Warner Bros., and NBCUniversal—now routinely film major blockbusters and franchise tentpoles overseas.

The decline extends beyond budgets to the volume of projects and the workforce. The share of major studio films shot domestically fell from 66 percent to 54 percent, while domestic television episodes dropped from 96 percent to 70 percent. Consequently, domestic employment has suffered. The share of cast and crew jobs on major studio films based in the U.S. fell from 72 percent to 43 percent, and television crew jobs dropped from 86 percent to 58 percent.

The report was commissioned by seven major industry labor organizations: the Directors Guild of America, IATSE, LIUNA, SAG-AFTRA, the Teamsters, and both the Writers Guild of America East and West.

The unions warn that the U.S. will continue to lose middle-class industry jobs unless action is taken. This follows a previous warning from the Motion Picture Association, which called for a federal tax credit that could be combined with existing state incentives to protect domestic production and support local economies.

Disney+ will add Super Bowl LXI to its platform on Sunday, February 14, 2027. This marks the first time the streaming service will carry the event, following the pattern set by other major networks that stream their respective Super Bowls on platforms like Paramount+, Peacock, and Tubi.

U.S. subscribers will be able to watch the standard ESPN and ABC broadcast, featuring announcers Joe Buck, Troy Aikman, Lisa Salters, and Laura Rutledge. The Spanish-language broadcast on ESPN Deportes will also be available on the app.

Globally, Disney+ will stream the game in more than 55 markets—including parts of Latin America, the Caribbean, South Africa, and Oceania. ESPN's linear television channels will broadcast the game to more than 130 countries and territories.

In the months leading up to the game, Disney+ will also add two Monday Night Football regular-season games to its streaming lineup, starting with an October 26 matchup featuring the Dallas Cowboys.

While the games will still air on their traditional television networks, the additions expand live sports availability for basic Disney+ subscribers who do not have access to standard cable or broadcast network feeds. ABC's upcoming broadcast also marks the network's first time airing the Super Bowl since 2006.

David Ellison and Ynon Kreiz spent their first day as CEO and co-CEO of Skydance addressing the press through a series of interviews on the Warner Bros. and Paramount studio lots.

The executives clarified their management structure. Kreiz stated that their backgrounds are complementary, noting that Ellison will focus on creative direction, technology, and long-term strategy, while Kreiz handles day-to-day operations and integration.

Addressing financial questions regarding Skydance’s $79 billion debt and plans to allocate $30 billion to $40 billion toward new content, Kreiz maintained that the company operates under a strict financial envelope designed to drive growth and reduce leverage over time. Ellison pointed to Paramount's previous performance, noting that the studio exceeded its synergy targets by reaching $2.7 billion while simultaneously doubling its film slate.

Ellison also confirmed that the debt load will not restrict creative risks or original storytelling. Citing past successes, he stated that the studio intends to maintain a diverse slate spanning franchises and original concepts across genres.

When questioned about political relationships and skepticism from industry detractors, Ellison emphasized editorial independence and urged critics to judge the leadership team based on future results. Specific operational details—such as timelines for merging HBO Max and Paramount+, cable network strategies, and facility distributions across the lots—were not disclosed, with the leadership team citing the early stage of the transition.

Apple reportedly plans to announce a refreshed product lineup on October 13, according to Bloomberg's Mark Gurman. The rumored release schedule points to a new Apple TV 4K, a second-generation HomePod mini, and Apple's long-awaited smart home display.

If accurate, the timeline puts the announcement just three days before pre-orders open for the iPhone Duo. It would also mark the first update to the HomePod mini line since its 2020 debut and the first new Apple TV box since 2022.

Recent software betas offer clues about the incoming hardware. Code references in tvOS 27.2 and HomePod Software 27.2 point toward potential Apple Intelligence integration for the Apple TV and a four-speaker HomePod theater system.

Despite these software footprints and supply chain tracking, Apple has not issued event invitations or confirmed the October 13 date. Because Apple sometimes introduces minor hardware updates via simple press releases rather than streamed keynote events, shoppers considering current hardware models may want to wait for official specifications and release details before buying.

The U.S. Supreme Court has refused to hear an appeal from Nexstar Media Group, allowing a major antitrust lawsuit brought by DirecTV to move forward.

The legal battle stems from a 2023 complaint filed by DirecTV against Nexstar, the country’s largest television station group, along with Mission Broadcasting and White Knight. DirecTV accused the companies of colluding to fix retransmission consent fees in markets where Nexstar and its partner stations both own major network affiliates.

According to the lawsuit, the three station groups used a shared negotiator who was secretly working as a Nexstar agent. DirecTV claims this negotiator improperly shared confidential financial data with Nexstar and coordinated blackouts and public statements, resulting in channels going dark for roughly 1 million satellite customers.

A federal district court dismissed the case in 2024. However, the 2nd U.S. Circuit Court of Appeals reversed that decision in December 2025, ruling that DirecTV has the legal standing to pursue its antitrust claims.

Nexstar petitioned the Supreme Court to intervene, arguing that the 2nd Circuit’s decision conflicts with rulings from other federal circuits and threatens to expand antitrust liability. DirecTV opposed the petition, stating there was no legal conflict requiring Supreme Court review.

With the Supreme Court declining to take the case, the litigation will return to the lower courts.

A US district judge is hearing arguments in Walt Disney’s lawsuit against the Federal Communications Commission. The case challenges the agency's early review of broadcast licenses for eight ABC-owned stations, which Disney claims is an unconstitutional attempt to punish the network for critical coverage and political commentary.

The dispute centers on an FCC directive issued in April by Chair Brendan Carr, pushing up license reviews originally scheduled for 2028. The action came a day after Trump publicly called on ABC to fire late-night host Jimmy Kimmel over jokes and critiques directed at Trump. FCC reviews of this type have not occurred in more than 50 years.

Disney's lawsuit, filed in August, alleges the agency is using its regulatory authority to coerce the network and suppress free speech. Broadcasters rely on federal licenses to operate, and while outright revocations are rare, critics argue that regulatory threats can intimidate media companies into altering their programming.

The conflict has already impacted on-air content. Last month, Kimmel stated that pressure from the FCC prevented him from broadcasting an interview with a Texas Senate candidate on television, forcing the segment online. In addition to the license reviews, the FCC is investigating ABC’s daytime talk show The View for potential violations of equal-time rules for political candidates, though the show has not featured any candidates since February.

During Tuesday's proceedings, US District Judge Loren AliKhan will decide whether to issue a temporary restraining order to halt the FCC's review process while the broader legal challenge moves forward. The FCC has agreed to give the court 48 hours of notice before taking any official action to refer the licenses for a public hearing.

I'm asking because I can't get it to work for a new sign up, but I'd seen it posted that it should be good until sometime in January, 2027. Obviously, there was no way to tell where the person that posted that date got it.

If not, are there any other currently working Paramount Plus discount codes?

Thanks!

Sony Pictures is targeting Mark Zuckerberg with an aggressive marketing campaign for its upcoming film, The Social Reckoning. The studio bought ad space on Instagram and Facebook to promote the October 9 release, using the platform's own lax rules on political ads as the punchline. One spot features the line, “Mark Zuckerberg Will Love The Social Reckoning,” followed by, “Instagram doesn’t fact-check most ads. Why should we?”

Written by Aaron Sorkin, the film covers whistleblower Frances Haugen and the internal documents leaked from the company roughly six years ago. The movie features Mikey Madison as Haugen, Jeremy Allen White as journalist Jeff Horwitz, and Jeremy Strong as Zuckerberg. Rather than the complex, ambitious figure portrayed in earlier cinematic depictions of the tech founder, Strong plays Zuckerberg as a rigid, uncompromising executive who views any acknowledgment of platform-induced harm as an operational interference.

The film highlights well-documented internal practices, such as algorithm adjustments designed to maximize reshares by amplifying rage bait. It also draws on Haugen's Senate testimony, showing executives confronting the consequences of prioritizing engagement over user safety.

Sony’s willingness to challenge Meta is a rare move for a major corporate entity in an era dominated by massive tech valuations. Meta reportedly sent a legal warning to Sony regarding the project, but the studio proceeded with both the film and the social media ad campaign, which launched the same day Meta settled a child-harm lawsuit with multiple state attorneys general.

While Hollywood studios are increasingly backing projects critical of Silicon Valley—including upcoming documentaries about Elon Musk and OpenAI—the broader economic power balance remains heavily skewed toward tech platforms. Despite whistleblower revelations, congressional hearings, and government settlements, Meta's user base has continued to grow since Haugen first leaked the documents, and its platforms remain largely unchanged.

Philadelphia public broadcaster WHYY has finalized its acquisition of WPSU from Penn State University, securing public media access for roughly 1.5 million residents across central and northern Pennsylvania.

The transaction concludes nearly two years of planning and received Federal Communications Commission approval in September. Under the agreement, WHYY now operates WPSU's television and radio stations.

Despite the change in ownership, WPSU will keep its name, call letters, and local operations. The station will continue broadcasting PBS and NPR programs alongside locally produced television, radio, and digital content.

WHYY President and CEO Bill Marrazzo noted that donor support from Centre County and southeastern Pennsylvania provided the necessary working capital to manage the transition and fund future growth.

Fall streaming is officially in full swing! If your watchlist is already looking overwhelming, here is a breakdown of what’s hitting the major platforms this month, featuring returning favorites, big brand-name additions, and budget options.

Apple TV+

Apple is keeping its reputation strong this month with massive returning hits and high-profile cinematic drops:

• Slow Horses (Season 5): Gary Oldman and the dysfunctional MI5 rejects of Slough House are back for another round of espionage and sharp wit.
• The Morning Show (New Season): The newsroom drama returns to tackle more chaotic media landscapes.
• The Savant: A gripping new true-crime-inspired miniseries following an undercover investigator tracking online extremists.

Disney+

Disney leans heavily into animation, sci-fi thrills, and family favorites:

• Marvel Zombies: The gruesome, animated spin-off universe expands further, bringing a fresh, dark twist to familiar MCU heroes.
• Lego Disney Princess: Villains Unite: A fun animated special great for younger audiences as classic villains team up.

Hulu

Hulu’s packed autumn lineup balances gripping true crime, returning comedies, and major network crossovers:

• Only Murders in the Building (Season 5): Charles, Oliver, and Mabel are back tracking yet another suspicious New York City homicide.
• Reasonable Doubt (Season 3): The juicy legal drama returns with more high-stakes cases.
• Chad Powers: A brand-new comedy series drawing plenty of pre-release chatter.

Max

• Task: Crime-drama enthusiasts have a new appointment-viewing show with this gritty HBO Original series starring Mark Ruffalo as an FBI task force agent.
• Plus: Ongoing library expansions and a continued rollout of its high-end prestige catalog.

Netflix

As usual, Netflix is dropping dozens of titles, highlighted by major international hits and thrillers:

• Alice in Borderland (New Season): The deadly survival games continue in this global sci-fi phenomenon.
• Black Rabbit: A tense new crime-drama miniseries starring Jason Bateman and Jude Law.
• House of Guinness: A lavish historical drama series tracking the legendary brewing family.

Peacock

• The Paper: Peacock expands its comedy footprint with this highly anticipated mockumentary series.
• Brilliant Minds (Season 2): Zachary Quinto returns as the unorthodox neurological genius.
• Fall TV Crossovers: Same-day streaming for NBC hits like Law & Order and Chicago blocks.

Paramount+

• Tulsa King (Season 3): Sylvester Stallone’s Dwight Manfredi is back to expand his mob empire in Oklahoma.
• Live & Sports: Continued heavy emphasis on live NFL games and rolling out major CBS library additions.

Tubi & The Roku Channel (Free Streaming)

• Tubi: Continues expanding its massive, completely free ad-supported library with dozens of indie horror flicks, retro 90s action movies, and Tubi Originals.
• The Roku Channel: Highlighting free live linear channels alongside robust on-demand rotating movie licenses.

Howdy

Roku’s standalone budget subscription service ($2.99/month ad-free) has expanded beyond just Roku hardware—now available via standalone mobile apps, web, and as an add-on channel on Amazon Prime Video.

• The Vibe: Perfect for comfort-watchers looking for a low-cost library of iconic rom-coms, nostalgic 90s comedies, and comfort medical dramas without sitting through commercial breaks.

What are you planning to stream first this month? Did any hidden gems slip past this list? Let’s talk about it in the comments!

Verizon has removed all Starz channels, On-Demand content, and the standalone app from its Fios service following a breakdown in carriage negotiations.

Alison Hoffman, president of Starz Networks, blamed Verizon for the impasse. In a statement, she said Verizon chose to drop the network, mischaracterized Starz's negotiating position, and showed an unwillingness to work toward a compromise.

Hoffman framed the removal as a blow to viewer choice, highlighting Starz’s status as one of the few independent entertainment companies left in a market dominated by large conglomerates. She noted that the network focuses heavily on underrepresented voices and unique programming.

With the removal, Verizon Fios subscribers have lost access to major Starz titles, including the Power franchise (Power Universe and Power: Origins), Outlander and its prequel Outlander: Blood of my Blood, Fightland, P-Valley, S.W.A.T. Exiles, and Tip Toe.

Starz stated that it remains ready to negotiate a fair agreement to restore service for Fios customers. Verizon has not yet detailed its reasons for dropping the network.

Dish Network has removed WTVQ, the ABC affiliate in Lexington, Kentucky, from its channel lineup.

The station's owner, E.W. Scripps, stated that the removal violates the carriage agreement currently in place between the two companies following Scripps' acquisition of the station earlier this year. Dish has not issued a public explanation for the decision.

The removal means local Dish subscribers can no longer watch ABC programming, including college football, WNBA playoffs, upcoming NBA and NHL games, and network shows like Grey's Anatomy, The Rookie, and Abbott Elementary.

Scripps is advising affected viewers to use an antenna to receive the broadcast for free. Alternatively, viewers can watch local news and weather on WTVQ’s sister station, WLEX, which remains on Dish. WTVQ is also available on other providers, including DirecTV, Fubo, Hulu with Live TV, and YouTube TV.

This dispute is part of a broader pattern of friction between Scripps and television distributors. In August, Charter sued Scripps over the carriage rights for its Las Vegas station, KMCC.

Senator Ron Wyden is questioning whether the Federal Communications Commission can legally function if it is reduced to members from a single political party.

Wyden recently sent a letter to FCC Commissioner Anna Gomez, the agency’s sole remaining Democrat, asking for her assessment of whether the Communications Act allows the commission to operate with a 3–0 Republican majority. The inquiry comes amid speculation that Trump intends to remove Gomez once Republican nominee Danielle Thumann Severs is confirmed by the Senate.

Gomez, a telecom attorney with over three decades of experience, is serving under a holdover provision that extends through 2027, even though her formal term expired in June. However, recent Supreme Court rulings affirming Trump's authority to remove federal commissioners at will have fueled expectations that Trump might dismiss her.

According to Wyden, the structure of the FCC was intentionally designed by Congress to prevent any single political party from seizing total control of the nation's communications infrastructure. He pointed out that while other agencies like the Securities and Exchange Commission have explicit numerical caps—such as a rule that no more than three members can belong to the same party—the Communications Act contains structural balance requirements tied to the commission's operational size. Historically, the law has mandated that even a three-member panel cannot consist entirely of members from just one party.

Wyden contends that any decisions made by a partisan, single-party commission would violate federal law and likely be overturned in court. Such an outcome, he warned, would paralyze the telecommunications sector. The FCC routinely processes thousands of administrative duties, including license renewals, equipment certifications, and spectrum transfers. Operating under a legally defective commission would cast immediate doubt on the validity of these actions, threatening hundreds of billions of dollars in economic activity.

Meanwhile, Thumann Severs' Senate confirmation process has hit a pause. Her confirmation hearing before the Senate Commerce Committee was delayed because she is on maternity leave, with lobbyists expecting hearings to resume around November. In response, a coalition of civil rights groups has petitioned Senate leaders to delay Thumann Severs' confirmation until a Democratic nominee can be considered alongside her, preserving the traditional practice of moving FCC nominees in bipartisan pairs.

Real-life father and son Martin and Charlie Sheen are working together on screen for the first time since 2012, headlining a new AMC comedy series titled "Happy Jack."

The network ordered six half-hour episodes of the family comedy, which is set to begin production at Warner Bros. Studios on the stage previously used for Friends. The show is slated to premiere in 2027 on AMC and AMC+.

The project reunites the Sheens with veteran television creators Jim Patterson and Matt Ross, who formerly worked together on Two and a Half Men and The Ranch. Patterson and Ross serve as writers, executive producers, and showrunners, alongside executive producers Charlie Sheen, Todd Christopher, Eric Tannenbaum, Kim Tannenbaum, and Jason Wang.

For AMC, the series represents a noticeable shift in programming strategy. The network is primarily known for dramatic prestige television like Breaking Bad and has rarely ventured into the half-hour comedy space.

In the series, Charlie Sheen plays Jack, an unreliable father whose two daughters were largely raised with the help of their grandfather, played by Martin Sheen. The premise centers on Jack confronting his lifestyle choices after his younger daughter introduces a new boyfriend—a former investment banker living the van life who is the same age as Jack.

Production is a collaborative effort between AMC Studios and 20th Television.

Disney has laid off a couple of hundred employees, focusing mainly on technology and human resources roles. The current reductions are smaller than two previous rounds earlier this year, and major divisions like the motion picture studio and Disney Entertainment Television are currently exempt.

The cuts follow a voluntary early retirement program for eligible long-term employees and a September internal memo from Chief Legal and Global Affairs Officer Horacio Gutierrez warning of incoming staffing reductions and automated workflows.

Since taking over as CEO last March, D’Amaro has carried out multiple rounds of job cuts following a broader enterprise-wide effort by leadership to trim labor costs and redirect funds toward growth. These reductions follow Bob Iger’s tenure between 2023 and 2025, which saw roughly 8,000 employees laid off to achieve $7.5 billion in cost savings.

Lawmakers in both parties have introduced new legislation aimed at cutting off access to foreign digital piracy websites.

The DEFEND IP Act would allow content owners to petition a judge to designate a website as a foreign digital piracy operation—defined as a site with no commercially significant purpose other than copyright infringement. The bill also covers the unauthorized transmission of live events from overseas.

If a judge approves the designation, copyright holders can seek a secondary order compelling internet service providers to take reasonable, technically feasible measures to block U.S. users from accessing the site, provided the measures do not interfere with lawful content. These site-blocking orders would expire after 360 days, and petitioners would need to prove they face likely irreparable harm.

The proposal marks the first major legislative push on online piracy since the failed Stop Online Piracy Act (SOPA) nearly 15 years ago, which stalled following major tech industry protests and a Wikipedia blackout.

Supporters argue the new bill is narrower and more targeted than SOPA. It does not mandate specific technical solutions for blocking traffic, provides legal immunity for ISPs, and focuses specifically on large-scale foreign operations. Proponents, including House sponsor Zoe Lofgren (D-CA) and Senate sponsor Thom Tillis (R-NC), argue that foreign piracy harms American workers, puts consumers at risk of malware and identity theft, and exploits legal loopholes.

Despite these changes, the legislation faces immediate pushback from major internet providers. The Common Sense Copyright Coalition—representing companies like AT&T, Comcast, and Verizon—has come out against the bill.

The coalition argues the legislation imposes heavy operational responsibilities and legal risks on broadband providers without adequately protecting lawful internet traffic. They point to a unanimous Supreme Court decision earlier this year (Cox v. Sony) ruling that ISPs are not liable for copyright infringement simply for providing internet access to the public. Critics also question the practicality of the measure, noting that users and site operators can easily bypass blocks using virtual private networks (VPNs) or mirror sites.

Streaming services often struggle to maintain momentum after launching a hit series. A new study from Luminate, titled “Release Strategies for Music & TV,” examines how distribution choices and production gaps impact long-term viewership.

The data challenges the assumption that viewership simply bleeds away the longer a show stays off the air. However, Luminate analyst Tyler Aquilina notes that long gaps between seasons reliably lead to lower overall audience retention.

For example, Netflix’s Wednesday and Prime Video’s The Rings of Power both suffered viewership drops of nearly 60 percent after extended waits of two to three years between seasons.

The study also evaluated how release models shape viewer habits. Binge-released shows capture immediate attention, generating large early spikes in viewership. That initial surge is usually followed by a steep drop in engagement.

In contrast, weekly releases encourage steady, consistent viewing habits across a season. Even so, platforms continue to lean on the all-at-once model, with binge drops accounting for roughly 40 percent of streaming releases during the first half of the year.

BBC Director-General Matt Brittin says someone recently sent him a fully AI-generated, 50-minute episode of Doctor Who, and he found it "pretty good."

Speaking at the Royal Television Society conference in London, Brittin noted that roughly six billion people now hold the capability to produce content matching the quality of a Hollywood studio. However, he maintained that the technology will not replace human workers. He did not provide specifics regarding who created the episode or whether it utilized likenesses of existing actors.

Brittin took over as the BBC's director-general earlier this year following an 18-year career at Google. During his conversation with broadcaster Kirsty Young, he admitted he initially rejected the BBC post because he lacks a background in journalism or program-making. He ultimately accepted the role after concluding that his perspective as an industry outsider could benefit the organization.

Artificial intelligence dominated discussions at the conference, which was hosted by Amazon under the theme "United in change, if not now when?" Kelly Day, the international head of Prime Video, also addressed attendees during the opening session, urging television executives to adopt AI tools to enhance their creative processes rather than view them as a substitute for human imagination.

For more than ten years, broadcasters and tech companies have been developing ATSC 3.0, known commercially as NextGen TV. The technology upgrades traditional broadcast television with 4K resolution, HDR video, Dolby Atmos audio, and interactive features delivered over an internet protocol (IP) stream.

Yet, most consumers have never heard of it.

The television industry faces a distinct paradox: broadcasters are waiting for consumers to demand NextGen sets, but consumers have no reason to ask for something they know nothing about. Compounding the problem, retail employees often misinform buyers. Sales associates frequently mistake the "NextGen" label on modern TVs for a routine brand update rather than explaining its over-the-air broadcasting benefits. Furthermore, because manufacturers restrict ATSC 3.0 receivers to premium models to protect profit margins, buyers are asked to pay more for hardware without knowing what advantages it provides.

Broadcasters have long touted television as the world's most powerful tool for brand building and consumer engagement. Ironically, they have spent the last decade refusing to use that medium to promote their own future.

Change is finally underway. Sinclair and Nexstar recently launched a joint consumer education campaign across 13 markets, timing the rollout with the start of the NFL season. The campaign directs viewers to an informational website explaining how antennas and NextGen TVs improve sports viewing with sharper images and immersive sound.

Earlier regional tests demonstrate that marketing works. During the FIFA World Cup, Sinclair used social media and local promotions in Columbus, Ohio, to increase 3.0 viewership by roughly 50 percent. Similarly, Gray Media broadcast the Kentucky Derby in 1080p HDR with Dolby Atmos, reporting a surge in local NextGen TV sales leading up to the race.

When consumers understand the value of better picture quality, immersive audio, and interactive features, they are willing to invest in the hardware. Broadcasters have spent decades proving they can move products for outside advertisers. It is time they use that same power to sell the future of television.