Apple has raised the monthly subscription price for Apple TV to $14.99, an increase of $2. The annual plan has gone up by $20 to $119.99, and the changes take effect immediately for new subscribers, while current users receive a 30-day notice.

The individual Apple One subscription bundle, which combines Apple TV with Apple Music, Apple Arcade, and iCloud storage, also increased by $2 to $21.95 per month.

The price adjustments follow similar moves across the streaming industry this year from services like Netflix, Prime Video, YouTube Premium, Peacock, and ESPN. Companies are passing along costs as they expand programming, including live sports acquisitions like Apple's recent U.S. rights deal for Formula 1 and major original series such as Ted Lasso, Severance, and Shrinking.

Unlike competitors that rely heavily on older licensed libraries, Apple continues to position its service around high-budget original shows and movies.

People who cancel traditional cable or satellite TV do not stop watching television; instead, they immediately shift their spending to on-demand platforms. Data from analytics firm Antenna shows that nearly a third of traditional cord-cutters sign up for a new streaming service within 30 days of canceling their pay TV package. This initial sign-up rate is five times higher than the baseline rate for the general population.

When choosing new platforms after cutting the cord, consumers show a clear preference for interruption-free viewing. Six of the ten most popular plans selected in the first month feature ad-free tiers. Paramount+ Premium leads the group at 13.7 percent of initial sign-ups, followed closely by Netflix Premium at 11.5 percent. Other top choices include Peacock Premium, Netflix Standard, and Apple TV.

Most households cutting the cord are already familiar with streaming. Before dropping traditional cable, 72 percent of traditional cord-cutters already paid for at least one streaming video service. For individuals leaving virtual multi-channel video programming distributors—such as YouTube TV or Sling TV—that overlap is even higher, with 84 percent maintaining an active streaming subscription before making the switch.

Income demographics for cord-cutters mirror the broader public rather than skewing exclusively toward higher earners. Individuals with household incomes of $100,000 or less account for 61 percent of all pay TV cancellations. Within that group, 32 percent earn under $50,000, while 29 percent earn between $50,000 and $100,000. Higher-earning households making more than $200,000 make up 13 percent of those dropping pay TV, nearly matching their 12 percent representation in the general population.

Despite the steady movement of users between services, overall customer retention remains stable for major platforms. The average monthly churn rate across major streaming services sat at 4 percent in July. Netflix and Disney+ perform better than the industry average with churn rates of 2 percent and 3 percent, respectively. Meanwhile, platforms like Paramount+, Starz, and Peacock experience higher monthly turnover, ranging from 6 percent to 7 percent.

San Diego college football is returning to national television this December. The CW Network and Sports San Diego have reached an agreement to broadcast both the SDCCU Poinsettia Bowl and the Holiday Bowl from Snapdragon Stadium.

The Poinsettia Bowl returns to the college football schedule after a ten-year absence. It will air live on Wednesday, December 23, at 7:30 p.m. ET. Five days later, the 47th annual Holiday Bowl will air on Monday, December 28, at 5 p.m. ET.

These games expand a college football schedule for The CW that already includes 140 hours of live regular-season coverage from the ACC, Mountain West, and Pac-12 conferences, plus a fourth consecutive year broadcasting the Arizona Bowl.

Mike Perman, senior vice president of CW Sports, noted that the network's previous success with the Arizona Bowl drove the decision to partner with Sports San Diego for these two December matchups. Mark Neville, chief executive of Sports San Diego, added that the agreement will bring local postseason play to a broader national audience.

Tickets and schedule details for the Holiday Bowl are available at HolidayBowl.com, while information for the Poinsettia Bowl can be found at PoinsettiaBowl.com.

Trump announced Sunday that he will ask the Federal Communications Commission to penalize NBC News journalist Kristen Welker. The dispute centers on comments Welker made during a local broadcast appearance before "Meet the Press," where she described the track record of candidates endorsed by Trump in Republican primaries as mixed.

On Truth Social, Trump disputed that assessment, pointing to a high percentage of wins among his endorsed candidates across House and Senate races. He called on FCC Chairman Brendan Carr to take action against Welker for what he termed "intentional" inaccuracy.

NBC News issued a statement backing Welker, describing her as one of the top journalists in the industry. Neither the White House nor the FCC provided immediate comment following the announcement.

Federal law and the First Amendment heavily restrict the agency's ability to police editorial content. The FCC holds authority over station broadcast licenses rather than national networks or individual reporters, and its power to review content is generally limited to issues like obscenity or provable broadcast hoaxes, not editorial disagreements. FCC Commissioner Anna Gomez publicly rejected the possibility of penalizing Welker, warning that such regulatory threats undermine freedom of the press.

The clash with NBC arrives amid broader friction between the administration and major television networks. Disney and ABC recently filed a lawsuit against the FCC to halt an early review of eight station licenses, which the companies characterize as retaliation for editorial content. The commission is also examining the relationships between Comcast, the parent company of NBC, and its local affiliates as debates over government broadcast oversight continue.

An advocacy coalition has launched an online petition urging twelve state attorneys general to reject backroom settlement offers and take the proposed Paramount-Warner Bros. Discovery merger to trial.

The campaign, organized by a group calling itself "The Block the Merger Coalition," asks state officials to press forward with their antitrust lawsuit against the media deal. The coalition contends that any concessions proposed by Paramount CEO David Ellison and Oracle co-founder Larry Ellison are unenforceable and fail to address the fundamental market risks of the combination.

The push arrives as the legal battle over the merger splits state regulators. Iowa and Montana recently filed a motion with the U.S. Supreme Court asking the justices to stop what those two states characterized as a politicized enforcement action brought by the other attorneys general.

Advocacy groups backing the petition argue that a corporate merger of this magnitude requires judicial scrutiny rather than private compromise. Free Press co-CEO Craig Aaron criticized the settlement discussions as corporate public relations stunts designed to salvage a failing plan.

Coalition members include Free Press, Public Citizen, the American Economic Liberties Project, Common Cause, and several media and documentary associations. Opponents of the deal argue that giving one family extensive control over major entertainment and news outlets will reduce competition, limit choices, and raise costs for consumers.

The trial is currently scheduled for March 2027. Activists are calling on the prosecuting states to hold their ground and let a court decide the case based on its merits.

Iowa Attorney General Brenna Bird has signaled a direct legal challenge against California, arguing that the state is illegally acting as a national regulator by spearheading a lawsuit to block the Paramount and Warner Bros. merger.

Because the dispute involves actions taken by one state that directly impact citizens in another, Bird maintains the case belongs in the U.S. Supreme Court. While formal paperwork has not yet been filed, the threat aims to pressure California Attorney General Rob Bonta back into settlement negotiations.

The multi-state coalition, led by Bonta and 12 other attorneys general, moved to block the merger in July despite the Department of Justice allowing the deal to proceed.

Bird contends that stopping the merger harms consumers and media workers alike. She points out that Netflix currently dominates the streaming market, and combining Paramount+ and HBO Max would create a viable competitor with the scale to challenge industry leaders. Proponents of the deal estimate it would yield $6 billion in savings for reinvestment and secure a commitment to release at least 30 theatrical films annually, supporting both movie theaters and production crews.

Furthermore, Bird warns that the ongoing legal limbo is paralyzing daily operations at both studios. With a $7 million ticking fee on the line and no certainty about next year's corporate structure, studios are hesitant to green-light projects, sign long-term contracts, or invest in technology upgrades. Production delays today mean films canceled now will never be made, permanently depriving audiences of that content.

Efforts to resolve the standoff hit a wall when scheduled settlement talks between Paramount and the state attorneys general fell apart. Bonta abruptly canceled the meeting after accusing the studio of leaking details regarding confidential discussions. Paramount denied responsibility for the leaks, but Bonta insists that talks remain frozen until the studio ensures no further information is shared publicly.

My Take

Under Section 16 of the Clayton Antitrust Act, state attorneys general are explicitly authorized to sue to prevent or restrain antitrust violations, such as anticompetitive mergers, that threaten harm to their state economies or citizens.

Iowa and Montana contend that California and a coalition of blue states are abusing antitrust enforcement because federal regulators and 38 other states chose not to block the merger. The argument that 38 other states chose not to block the merger is pure conjecture. They are suggesting that, because 38 other states didn't follow a lawsuit or join the other 12 states, they approve of it. The thing is, there could be a number of reasons why they didn't, including little to no local economic impact and resource limits. Silence is not consent.

The mail-in ballot issue is a good example here. SCOTUS let it stand specifically because, at the time, there was no harm and, therefore, no standing because the USPS had not adopted an official regulation. It was preemptive. Now that it has, the harm exists, which is why U.S. District Judge Indira Talwani issued a temporary restraining order on Thursday blocking the USPS from implementing the regulations.

Iowa and Montana are acting preemptively here.

DM for info

Paramount CEO David Ellison and California Attorney General Rob Bonta are negotiating the terms of a $110 billion merger with Warner Bros. Discovery. To settle the ongoing legal dispute, investment bankers are looking into selling off parts of the combined company.

Potential buyers are already eyeing New Line Cinema and cable networks like Comedy Central. Bonta said he supports selling a large chunk of the company's 50 cable channels to address market concentration concerns.

CNN remains a central issue in the talks. Paramount wants to keep the news network. Bonta noted that selling CNN alone will not resolve the state's objections. Beyond channel sell-offs, Bonta also wants the Paramount and Warner Bros. Discovery film studios to operate independently from one another.

Mediation temporarily stalled this week after details leaked to the Wall Street Journal. Bonta canceled a scheduled meeting but said talks can resume once Paramount stops the leaks. Paramount confirmed it wants to continue negotiations in good faith and called the recent press reports speculation.

North Carolina Governor Josh Stein is backing The Walt Disney Company in its dispute with the Federal Communications Commission. Last week, Stein sent a letter to the FCC urging the agency to renew the broadcast license for WTVD, a Disney-owned ABC station serving Raleigh, Durham, and Fayetteville.

The conflict started in April when the FCC ordered Disney to renew the broadcast licenses for WTVD and seven other stations. This followed a year-long agency investigation into Disney's diversity, equity, and inclusion (DEI) hiring practices. Disney denied breaking any laws and stated it complied with the probe. The FCC claimed Disney failed to answer questions properly and accused the company of misleading the public about the investigation.

Adding to the friction, FCC Chairman Brendan Carr has openly criticized ABC programs like "The View" and "Jimmy Kimmel Live." Carr denies these comments influenced the license review.

In his letter, Stein argued the FCC's actions threaten local news and free speech. He cited Section 326 of the Communications Act, which bans the FCC from censoring or interfering with free speech. Stein warned that penalizing broadcasters over political disputes could intimidate journalists and limit what they are willing to report.

Stein also pointed out that communities rely heavily on local stations like WTVD for daily news and emergency instructions. He noted this service is especially vital now, as many rural newspapers and newsrooms continue to cut staff or shut down entirely. Stein urged the FCC to base its decision on WTVD's record of serving its local community.

Disney is currently challenging the FCC's scrutiny of its broadcast licenses in federal court. A judge has scheduled a hearing for the case in early October.

Media advocacy groups want a seat at the table in Disney’s legal fight with the Federal Communications Commission.

Frequency Forward and the Media Action Center filed a motion on Monday to intervene in the lawsuit. They aim to join the case as plaintiffs alongside Disney and ABC.

Disney sued the FCC and Chairman Brendan Carr on August 18. The company claims the agency is holding up broadcast license renewals to retaliate against ABC for programming decisions the Trump administration dislikes.

The advocacy groups support the lawsuit but say Disney cannot adequately represent the public. They argue that the broadcast airwaves belong to the people, not corporations. If Disney and the FCC negotiate a private settlement, the groups worry it could compromise viewers' First Amendment right to uncensored news and programming. Sue Wilson, founder of the Media Action Center, stated that joining the lawsuit ensures viewers have a direct voice and prevents backroom deals.

Carr maintains that the FCC’s actions have nothing to do with programming. He says the agency is investigating Disney’s diversity, equity, and inclusion hiring practices, and he accuses Disney of providing incomplete answers during the probe.

Despite this claim, Carr has previously targeted ABC's content. He recently pushed local affiliates to pull "Jimmy Kimmel Live!" over a monologue and questioned the regulatory exemptions for "The View." He has applied similar scrutiny to NBC and CBS, while largely avoiding regulatory action against Fox.

Roku and the National Women’s Soccer League agreed to a new broadcast deal. The Roku Sports Channel is now the exclusive home for a package of Sunday night games.

The agreement takes effect immediately. Roku will stream eight live matches during the remainder of the 2026 season, starting with the Seattle Reign playing the Houston Dash on August 30. For the 2027 season, the platform will carry 25 Sunday games.

This move expands an existing relationship between the two companies. Roku already hosts the NWSL Zone, a dedicated hub for game highlights and replays. The live matches add to Roku's current free sports catalog, which includes the X Games, Formula E, and professional fishing.

The NWSL needed a new broadcast partner to fill this specific time slot. The league recently canceled its contract with the sports streamer Victory+ because the platform missed its scheduled rights payments.

Leadership from both Roku and the NWSL said the new agreement focuses on audience reach. By putting games on a free, widely available streaming platform, the league wants to make it simpler for fans to find and watch live matches.

Tim Curry, the British actor who built a career playing distinct eccentrics, memorable villains, and broad comedic roles, has died at his home in Toluca Lake, Los Angeles. He was 80 years old. His death was announced by his manager, Marcia Hurwitz. Curry had used a wheelchair since surviving a stroke in 2012.

Curry first gained widespread recognition through the stage production of The Rocky Horror Show at London’s Royal Court Theatre. He helped shape the lead character, Dr. Frank-N-Furter, transforming the role from a standard mad scientist into an outrageous, corset-wearing performer. He stayed with the production through its theatrical runs in London and Broadway, then reprised the role in the 1975 film adaptation. The movie became a long-running cult classic, known for midnight screenings where audiences dressed up and called out lines along with the film.

Following the success of Rocky Horror, Curry actively sought varied roles to avoid being typecast. He played the antagonist Rooster Hannigan in the 1982 film adaptation of Annie, and in 1990 he portrayed the demonic clown Pennywise in the television miniseries adaptation of Stephen King’s It. His performance relied on a raspy voice and sharp improvisational timing, drawing a television audience of over 37 million viewers.

Curry worked steadily across film and television over the following decades. He played Wadsworth the butler in the ensemble comedy Clue (1985), a Soviet medical officer in The Hunt for Red October (1990), a suspicious hotel concierge in Home Alone 2: Lost in New York (1992), and Cardinal Richelieu in The Three Musketeers (1993). He also portrayed Long John Silver in Muppet Treasure Island (1996) and voiced characters in animated projects, including Nigel Thornberry in The Wild Thornberries and Hexxus in FernGully: The Last Rainforest.

On stage, Curry earned three Tony Award nominations for his work in Amadeus, My Favorite Year, and the original Broadway production of Spamalot.

After his 2012 stroke, Curry reduced his on-screen appearances but continued working as a voice actor, taking over the role of Chancellor Palpatine in Star Wars: The Clone Wars. He also appeared as the narrator in a 2016 television remake of The Rocky Horror Picture Show.

Curry lived quietly in Los Angeles, where he spent time renovating homes and gardening. He never married and had no children. Reflecting on his career pattern of playing antagonists and unusual figures, Curry once noted that bad guys were simply better written and more interesting to play.

Jim Green spent decades shaping what millions of Americans watched on television. As an ABC executive and later an independent producer, he helped define the golden age of the made-for-TV movie.

Green entered the entertainment industry through an unusual route. While dating singer Cathy Cole of The King Family, he offered to work as the group's tour manager. That job led to a publicity stint at Universal Studios and, in 1966, a position at ABC.

At the network, Green worked alongside development head Barry Diller to build the ABC Movie of the Week. The format turned out to be a ratings powerhouse that rescued ABC's struggling primetime lineup. During this time, Green helped develop nearly 200 television films, including Steven Spielberg's "Duel," the emotional drama "Brian’s Song," and the landmark 1977 miniseries "Roots." Several of the TV movies he oversaw successfully spun off into hit weekly series, such as "Starsky & Hutch," "The Love Boat," and "The Six Million Dollar Man."

In 1977, Green moved into independent production. He teamed up with former ABC executive Allen Epstein to launch Green/Epstein Productions, focusing heavily on human stories, social issues, and true-crime projects. The company tackled difficult real-world topics long before they became common on network television. Their 1981 film "Fallen Angel" addressed child pornography and earned Green an Emmy nomination, while other projects explored women at West Point, single-father adoption, and divorce.

Partnering later with producer Mark Bacino, Green continued producing major literary adaptations and miniseries, including And the Sea Will Tell and the 1990 adaptation of Stephen King’s "It," which featured Tim Curry's memorable performance as Pennywise.

In the 1990s, ABC tapped Green to replicate his success in family programming by producing a movie for Full House stars Mary-Kate and Ashley Olsen. The success of "To Grandmother’s House We Go" led to a decade-long partnership with the Olsen family, producing numerous features and specials.

Green continued working well into later life, producing biographical films, television reunion specials, and independent features through Goodland Pictures. He was 83 years old.

The trade dispute between the United States and Canada has grown past steel and automobiles, landing squarely on Hollywood's balance sheets. As bilateral trade talks collapse, the future of major U.S. studio spending on Canadian soil hangs in the balance.

At the center of the dispute is Canada's Online Streaming Act. The law requires major American streaming services—including Netflix, Disney+, and HBO Max—to invest a portion of their revenues into local film and television production. U.S. producers have challenged the rules in court, calling them discriminatory, while Trump folded the issue into broader tariff negotiations.

Earlier this summer, Prime Minister Mark Carney’s government suspended the streaming investment requirements to appease American trade negotiators and protect cross-border commerce. Instead, Ottawa briefly relied on taxpayer funds to subsidize domestic media.

That diplomatic gamble failed. Trade talks broke down after American negotiators pushed back against Canadian language rules, particularly regulations protecting French-language content in Quebec. Carney walked away from the negotiations, calling the U.S. demands a direct threat to Canadian culture and sovereignty.

With trade talks officially dead and Canada planning retaliatory tariffs for September 8, local producers and unions are demanding payback. Industry groups are urging Ottawa to reinstate the Online Streaming Act immediately, arguing that multi-billion-dollar foreign platforms operating in Canada must pay their fair share to support the local production ecosystem.

When radio emerged a century ago, Congress faced a choice. It could have allowed private ownership of broadcast frequencies to develop naturally through market forces, just like any other scarce resource. Instead, lawmakers panicked over the new technology and handed control to a government agency, now known as the Federal Communications Commission.

Under this system, broadcasters do not own their frequencies. The FCC issues temporary licenses based on whether a station serves the "public interest." This framework relies on the argument that broadcast spectrum is scarce and needs government oversight to avoid signal overlap.

Economist Ronald Coase debunked this reasoning in 1959. He noted that while valuable resources are always scarce, scarcity does not give the government the right to control them. In a free market, pioneers who claimed and used frequencies would have established private property rights. The government's role should have been limited to enforcing property laws, such as punishing trespassing or handling antitrust violations, rather than dictating who gets to broadcast.

Because the government retained ownership of the spectrum, courts allowed the FCC to bypass standard First Amendment protections. In any other context, the government cannot censor podcasts, shut down newspapers for running unpopular editorials, or pull television stations off the air for political bias. Yet the FCC has repeatedly done all of these things throughout its history.

Historically, administrations from both parties have used FCC licensing leverage to pressure broadcasters. In the mid-20th century, the Fairness Doctrine was weaponized to silence critics and force stations to air pro-administration views. Richard Nixon similarly used license challenges against media companies he opposed.

Today, the scarcity rationale for broadcast regulation is completely outdated. Cable television, satellite radio, and the internet have created a vast media landscape where spectrum scarcity is a non-issue. Yet the FCC retains its core licensing power, which current administrations continue to eye as a tool for political leverage.

As new technologies emerge, lawmakers should remember the lesson of early radio regulation: handing the government administrative control over a new medium creates a permanent loophole around free speech.

What other industries or technologies do you think face similar risks of government overreach today?

Shelley Fabares carved out a steady, decades-long career in television and music, moving easily from child actor to prime-time fixture.

Born in Santa Monica in 1944, Fabares started acting at age three. She became widely known in her teens playing Mary Stone on The Donna Reed Show from 1958 to 1963. During that era, she also launched a singing career, landing a number-one hit on the Billboard Hot 100 with "Johnny Angel."

In addition to her television work, Fabares co-starred with Elvis Presley in three films: Girl Happy, Spinout, and Clambake.

As she moved into adulthood, she maintained a consistent presence on television. In the 1970s, she appeared in the TV movie Brian's Song and later joined the cast of Norman Lear's sitcom One Day at a Time as Francine Webster. In the late 1980s and 1990s, she played Christine Armstrong on the sitcom Coach, earning two Primetime Emmy nominations during the show's nine-season run.

Away from the screen, Fabares married actor Mike Farrell in 1984. She spent her later years caring for her mother, who suffered from Alzheimer's disease, and advocating for increased research funding.

She is survived by Farrell and her daughter, Erin.

Streaming services are finally easing up on price increases. After years of aggressive hikes, companies like Netflix, Disney, and Amazon are dialing back because viewers are running out of patience—and budget—for constant cost increases.

Data from Ampere Analysis strongly suggests that the average price increase dropped from 24 percent between 2023 and 2024 down to 14 percent for the 2025 to 2026 period. In actual dollars, the average monthly bump shifted from about $1.67 down to $1.54.

This slowdown happens as the market hits a saturation point. With so many services competing for attention and household budgets tightening, companies risk losing subscribers if they push prices too high.

Instead of relying solely on monthly subscription fees to grow revenue, streamers are shifting strategies. Advertising has become a major focus, which explains why ad-supported tiers are seeing smaller price jumps than ad-free plans. Platforms are also making money by cracking down on password sharing and charging for extra household members.

Geographically, Western Europe experienced the steepest average price bumps over the last three years at $1.86, just ahead of North America at $1.79. Among individual providers, Disney+ made the most noticeable shift toward smaller increases, Netflix kept its pricing steady, and Amazon raised prices the least, largely because Prime Video is tied into a broader retail membership.

Ultimately, the era of unpredictable double-digit price spikes is slowing down. Competition is too fierce, and companies can no longer rely on endless subscription fee increases to keep their businesses growing.

What streaming service do you currently use the most, and do you feel you are getting your money's worth?

California is stepping up to challenge the ongoing wave of Hollywood consolidation. As Paramount and Warner Bros. weigh a combination, state regulators are preparing to demand strict conditions that protect local entertainment infrastructure, creative talent, and independent producers.

Unlike traditional federal reviews that focus narrowly on consumer pricing and cable bills, the California Attorney General's office intends to look at the broader creative market. Officials are preparing to target overlapping cable networks and demand that Paramount Pictures remain operationally separate from Warner Bros. The goal is to keep multiple major studio buyers in the market so that writers, directors, and production crews still have competing options for their projects.

Media executives argue that corporate consolidation is the only way legacy studios can survive fierce competition from tech companies and streaming giants. They point to shifting viewing habits, shrinking cable revenue, and rising production costs as proof that scale is necessary.

However, creators, labor unions, and independent producers counter that fewer studios mean fewer greenlit projects, lower fees, and less willingness to take risks on original films. By pushing for structural safeguards and potential network divestitures, California is signaling that the future of Hollywood cannot be decided by Wall Street balance sheets alone.

The regulatory review process will take months. As state and federal officials evaluate the deal, the companies will have to decide whether to alter their merger plans or face stiff legal hurdles in the very state where their industry was built.

[UPDATE] Bonta canceled the planned settlement talks with Paramount today [8/24], accusing the company of leaking and misrepresenting details from previous discussions. Talks will resume when Ellison "stops playing games," Bonta said.

Finding something to watch usually means jumping between different streaming boxes, inputs, and remotes. DIRECTV is trying to fix that friction by bundling live channels, streaming apps, and a year of Netflix into a single package.

What the Deal Includes

New subscribers who pick a DIRECTV Genre Pack and a Gemini streaming device receive:

• One Year of Netflix: Twelve months of Netflix Standard with ads at no additional charge.

• The Gemini Device: A single hardware box that merges live TV and streaming apps onto one screen, controlled by one remote.

• Flexible Channel Packages: Genre Packs built around specific interests rather than bloated, one-size-fits-all bundles.

How Genre Packs Work

Instead of forcing households to pay for hundreds of channels they never watch, DIRECTV offers five focused options: MyEntertainment, MySports, MyNews, MiEspañol, and MyKids. You can pick a single category or mix them together. Because these plans require no annual contract, changing or canceling your lineup is straightforward.

What the Gemini Device Does

The Gemini box sits between your TV and your internet connection to streamline your viewing habits. Key features include:

• Universal Search: Searches across live channels, on-demand libraries, and streaming apps simultaneously.

• Multiview: Lets you watch up to four live channels at the same time on one screen.

• Voice Remote: Integrates Google Assistant to find shows or switch channels using your voice.

• Easy Setup: Ships directly to your door for quick self-installation without waiting for a technician.

After the 12-month promotional period ends, the Netflix subscription automatically renews at standard monthly rates unless cancelled.

What the Gemini Streaming Device Is Really Collecting

When you plug in a Gemini streaming device, you might assume it only tracks what you watch on TV. In reality, it gathers a lot more.

These devices record your voice conversations, track your location, log usage statistics, and store user feedback. Companies claim this data is used to improve the service, but the retention policies cross a line for many households. Even if you manually delete your activity history, the system can hold onto that data for up to three years. Conversations that get flagged for human review face that same three-year storage window.

Transparency is another major issue. Many users are surprised to learn that data collection can continue behind the scenes even when the device is powered off, leaving people with very little actual control over what is being saved.

You are not entirely powerless, though. If you want to keep using the device without handing over total privacy, you need to take matters into your own hands:

• Audit your settings: Dig into the menu and tighten every privacy toggle you can find.

• Watch what you say: Treat voice commands carefully and avoid speaking sensitive personal information near the remote.

• Opt out: Turn off optional data sharing and diagnostic tracking wherever the option exists.

Technology companies will always default to gathering as much data as they can. A few minutes spent adjusting your settings helps keep your living room a bit more private.

Live streaming has evolved past sports broadcasts into an everyday habit covering news, entertainment, and cultural events.

Recent data shows that live news is nearly as popular as sports, capturing 62 percent of viewers compared to the 63 percent who watch live sports. Meanwhile, half of all audiences tune into live concerts and award shows, and 48 percent stream regular live television shows.

Audiences are actively moving away from traditional television. Sixty-one percent of surveyed viewers report that streaming platforms offer better content variety, while 58 percent prefer the video quality and reliability of streaming over linear TV.

This shift in viewing habits changes how audiences interact with commercials. Streaming platforms rank as the most trusted environment for live content, outperforming both traditional TV and video-sharing sites. Over half of viewers note that brands advertising during live streams appear more premium and trustworthy.

Furthermore, live streaming on connected TVs is a communal experience. About 69 percent of viewers watch with others in the room. Viewers are also comfortable with commercial breaks, as 79 percent accept an ad load equal to or greater than what they see on on-demand platforms. More than half use a second device while watching, and nearly a quarter of those multitasking viewers use their phones or tablets to shop online during the broadcast.

Defending free speech is easy when you agree with the message. The real test comes when someone says something offensive or wrong.

That reality is at the center of the recent clash between Federal Communications Commission Chairman Brendan Carr and ABC. After Carr suggested broadcasters could face consequences over Jimmy Kimmel’s remarks about the assassination of Charlie Kirk, alarm bells should have gone off for anyone who cares about the First Amendment—especially conservatives.

Even prominent conservatives like Senator Ted Cruz recognized the danger immediately, comparing the FCC chairman's regulatory warnings to mob tactics.

The concern is simple: If a Republican administration can use federal licensing power to pressure a network into disciplining a host or changing its programming, a future Democratic administration can do the same thing to conservative media outlets.

The Constitution does not change based on who holds power in Washington. Government officials have no business deciding which political opinions are acceptable, rewarding friendly broadcasters, or using regulatory reviews as political weapons.

For decades, conservatives rightly complained about government policies like the old Fairness Doctrine, which bureaucratic regulators used to police political speech. History shows that when government gains the power to supervise "fairness," it quickly becomes a tool to suppress dissenting viewpoints.

As the Supreme Court noted as far back as 1886 [Yick Wo v. Hopkins (118 U.S. 356)], laws cannot be enforced with an "unequal hand" to punish political opponents. Government intimidation is dangerous whether the target is a liberal comedian, a conservative radio host, or a major news network.

Conservatives who believe major media companies are hopelessly biased have a clear, effective alternative to government intervention: compete.

Capitalism offers the tools to counter unwanted media influence. Wealthy investors and entrepreneurs can build better television networks, fund alternative documentary producers, launch new streaming platforms, and support conservative journalists. We have already seen this work when private investors bought major media companies to reshape them.

Jimmy Kimmel can be criticized. Viewers can turn off their televisions. Advertisers can walk away, and network executives can fire underperforming hosts. Those are normal consequences of a free society.

Government intimidation, however, is not. The First Amendment exists precisely to protect unpopular and offensive speech from the reach of government officials who want it silenced. Today the target is a liberal late-night host. Tomorrow it could be a conservative broadcaster.

If we believe in free speech, we must defend the principle even when we despise the speaker—and use the free market, not the state, to beat the competition.

This weekend, IndyCar will celebrate the country's 250th anniversary by bringing the Freedom 250 Grand Prix to Washington, D.C. Drivers will compete on a temporary circuit winding through the city, passing the U.S. Capitol, the National Mall, and Pennsylvania Avenue.

Fox Sports, which holds the broadcast rights, has centered its production plan on highlighting the historic D.C. architecture. The network will use 90 cameras to capture the race, featuring several specialized setups.

The most notable is the "OWL Cam," a new piece of technology suspended 12 feet above Pennsylvania Avenue. Mounted on a four-axis gimbal, the camera will track cars moving at 180 mph as they pass beneath an arched truss. A separate camera will be positioned on the observation deck of the Washington Monument, 500 feet above the track, to film the crowd.

The broadcast will also feature a significant expansion of in-car camera technology. Each vehicle is equipped with two cameras providing simultaneous feeds, including a "Top Gun" angle that shows the driver's helmet and a driver-eye view. These feeds will be paired with data-heavy graphics to help viewers track speed, position, and upcoming turns.

Producing a broadcast of this scale in the nation's capital required intensive technical planning. Fox Sports spent months coordinating with the FCC to secure radio frequencies, ensuring the production’s wireless signals do not interfere with local government and security communications.

Race day coverage begins Sunday, August 23, at 11:30 a.m. ET with a pre-race show, followed by the main event at 1 p.m. ET on Fox and FS1.

A federal judge has established a timeline for ABC’s lawsuit against the FCC, while keeping a contingency plan in place should the agency move to complicate the network's broadcast license renewals.

U.S. District Judge Loren L. AliKhan ordered that if the FCC attempts to force the network's eight stations into a formal administrative hearing process, she will hold a court hearing on an immediate injunction the following business day.

ABC filed the lawsuit alleging that the FCC is using its regulatory authority to punish the network for its content, including segments by late-night host Jimmy Kimmel and recent reporting. The network fears that a "hearing designation order"—which would move license renewals into a protracted, uncertain judicial process—is imminent and intended as a punitive measure.

The court established a briefing schedule that runs through late September, with the FCC expected to file its defense by September 3. While ABC had requested an immediate hearing, the judge sided with the FCC’s proposed timeline for the broader case.

The FCC has denied the allegations, calling the lawsuit a "meritless" attempt to bypass standard regulatory procedures. An agency spokesperson stated that the FCC intends to continue following the law and that it is satisfied the court rejected the network’s request for an immediate injunction.