Instagram is testing a new longform, horizontal video format called "Features" as it pushes further into YouTube territory and expands its presence on TVs. The Verge reports: Instagram boss Adam Mosseri has been against doing longform video on the platform "for a long time," he says in a six-and-a-half-minute video (here's the widescreen version) with VP of product Tessa Lyons, saying that "one of my concerns has been, how do we make sure that we keep Instagram not just about entertainment, but about connecting with friends." If you watch a longform video, "it's a lot of Reels, photos, and carousels that you might not have sent to a friend," meaning less likes and shares. Now, though, the team is working on making shortform and longform video "symbiotic," according to Mosseri, like podcasts or comedy specials that can be both long videos and broken up into shorter ones. The announcement of this widescreen video push also follows the launch of Instagram's TV app late last year. That app launched first as a Reels-focused experience and as a pilot for Amazon Fire TV devices in the US, but it's since expanded to Google TVs, Samsung TVs and Apple TV, and Instagram launched new features like the ability to watch Stories earlier this year.

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Longtime Slashdot reader schwit1 shares a report from CBS News: Walter Koenig, the actor who played Pavel Chekov in the original "Star Trek" series and several movies, has died, his rep confirmed to CBS News. He was 90. Koenig died Sunday night at his home in the North Hollywood neighborhood of Los Angeles, talent rep Zachery McGinnis said in a statement. He died surrounded by his daughter and niece, McGinnis said. In 'Star Trek,' Ensign Chekov was the sole member of the spaceship Enterprise bridge staff from what was the Communist bloc. His friendly, supportive presence showed how the rival nations (in the far-off future in which the show was set) were capable of working together. Speaking heavily Russian-accented English, Chekov embodied stereotypical Russian personality traits, including fierce pride, love of poetry and blind loyalty. "Through countless convention appearances and interactions with fans, he shared his kindness, wit, and appreciation with everyone fortunate enough to meet him. He understood what Star Trek meant to people and embraced the community that grew around it," McGinnis said. "Thank you, Walter, for the memories, the inspiration, and for boldly going where few have gone before." Watch some of the Chekov's best moments on YouTube.

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Frustrated by intrusive ads, sluggish interfaces, and data tracking, smart TV owners are using AI coding tools and open-source projects to strip unwanted software from their televisions and build customized home screens. The Verge reports: Several vibe-coded TV-debloating projects exploded in popularity over the weekend. Cleanyourtv (known as tv-vibehack until the 19th), tv-detox, and dumbtv all claim to accomplish similar things -- remove sponsored ads, debloat the TV so it runs faster, and block unwanted data collection that tracks what you're watching -- without hacking, or rooting, the TV. By default, they all also replace the TV's built-in app launcher with simpler ones. Many users are going a step further and vibe-coding their own replacement launchers, like the Pokemon one below. Most of the projects we've seen so far focus on TVs that run on Android and Google TV operating systems (such as TCL, Hisense, Sony, and older Amazon Fire products), using existing developer modes and the Android Debug Bridge (ADB) to tweak settings and apply (and remove) packages. According to the GitHub pages, they can also work with some Fire TV products that use a custom fork of Android (although likely not on the new Vega-based Fire TV Sticks). Because they use built-in developer tools, they don't require root access or firmware hacking, and they're reversible. Even projects that totally change the look of the interface just use Android's ability to install custom launchers -- in many cases with an assist from Claude Code or a similar tool to create the new launcher, too.

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Amazon Prime Video will become the exclusive global home of the Emmy Awards under a six-year deal beginning in 2027, the Television Academy announced on Tuesday. The Emmys will stream live for free to viewers in more than 240 countries and territories without requiring a Prime subscription. From the report: In the release, Prime Video was named as the "permanent home" for the Emmys, in contrast to the rotating agreement in place years prior. The switch ends the traditional "wheel-deal" setup to broadcast the awards, where ABC, CBS, NBC and Fox took turns hosting the Emmys each year. The system has been in place since at least 1994, with the most recent eight-year contract expiring this year. "Television has never been more global, and the Emmys should be a celebration that the world can share," Television Academy chair Cris Abrego said in a statement. "Having a dedicated home with Prime Video allows us to build on that legacy with unprecedented global reach and a broader commitment to the Television Academy and our mission throughout the year."

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An anonymous reader quotes a report from ArsTechnica: Cable lobby groups notified the Federal Communications Commission that they will sue the agency to block its controversial repeal of the National Television Ownership Rule, which limits the number of broadcast TV stations a single company may own. The cable groups said that larger broadcast TV station groups will have leverage to demand higher retransmission fees from TV providers, resulting in "higher monthly TV bills for consumers." They said the FCC repeal order "arbitrarily and capriciously ignores the harms that will surely follow from allowing broadcast station groups to exceed the National Cap." The cable lobby groups represent top providers Comcast, Charter, and various other cable operators. Top cable companies have also expanded through mergers. Charter completed a purchase of Cox in August after the FCC rejected protests by advocacy groups that said the cable deal "would create unchecked gatekeeper power over Internet distribution" and make it easier for the biggest cable companies to raise prices. [...] The TV ownership rule prohibits any single broadcast station owner from reaching more than 39 percent of all TV households in the US. Congress directed the FCC to set the cap at 39 percent in 2004. On Friday, cable lobby groups submitted a petition asking the FCC to keep the TV ownership cap in place until litigation over the FCC's authority to repeal the rule is over. The cable groups' filing said the FCC repeal of the TV ownership cap violates the 2004 action by US lawmakers. The decision by Congress to set the cap at a precise numerical threshold was unambiguous, the filing said. "Congress established the National Cap at 39 percent in the 2004 CAA [Consolidated Appropriations Act] in direct response to the FCC's attempt to aggressively raise the Cap to 45 percent and made repeated references to the 39 percent Cap in the statute," the petition said. The petition to the FCC is mainly a procedural step as the commission isn't likely to stay its own order. The cable groups said they intend to sue the commission in a US appeals court once the FCC order is published in the Federal Register. After the lawsuit is filed, they can ask the court to issue a preliminary injunction that would keep the TV ownership cap in place pending the outcome of litigation. [...] The cable groups' petition said the FCC can't change the cap because the 2004 law "references the 39 percent Cap as statutory, not regulatory." A provision requiring divestiture of stations "specified that someone exceeding 'the 39 percent national audience reach limitation in paragraph (1)(B)' of 'section 202(c)' of '[t]he Telecommunications Act of 1996' 'shall have not more than 2 years to divest,'" the petition said. "Likewise, Congress singled out the Commission's only mechanism for setting aside statutory requirements -- the Commission's forbearance authority under 47 U.S.C. 160 -- and made clear that it 'shall not apply to any person or entity that exceeds the 39 percent national audience reach limitation,'" the cable lobby petition said. The FCC order argued that the agency's "ability to forbear from enforcement of its rules is distinct from its power to alter or eliminate those rules," and that the FCC forbearance authority doesn't apply to regulation of broadcasters.

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Paramount Skydance just "emerged victorious" reports Reuters, "from a legal battle over its $110 billion acquisition of Warner Bros Discovery" that will "dramatically concentrate power across Hollywood's film, TV, streaming and news businesses." The victory comes "after settling with a California-led group of US states and a Hollywood writers union, paving the way for one of the largest media mergers in history." Paramount agreed to abide by temporary film quotas and a news oversight committee, avoiding a forced sale of cable assets such as CNN or any of its lucrative film franchises... The Writers Guild of America settled its parallel case against Paramount, while saying it still believes the deal will damage the industry. The states' settlement forced the union to "contend with the reality of forging ahead alone, with no backing from government enforcers" in a complex case that would have cost millions of dollars... Paramount promised in the state settlement to bring more film production to the US — spending at least $300 million more each year in domestic production — and adhere to US theatrical release quotas for five years. The company will produce 30 movies in each of the first two years of the deal, and 32 movies in each of the following three years, Bonta said. Each year, at least four of those films must be independent films and at least 20% must be blockbusters. If it falls below that threshold, it will pay $30 million per film, most of it into funds to support workers. Paramount also promised not to raise rates on theater operators for three years. The article notes that California attorney general Rob Bonta still said "I don't think these two companies should merge" at a press conference announcing the settlement, "but that's not something that we are focused on with our resolution here." He call their agreement "a strong antitrust outcome." And Politico notes that Bonta acknowledged at the press conference that "Some of you who may be watching this may have wanted a different outcome. I understand that." But he argued he'd reached a settlement capable of "providing more film production that protects Hollywood workers and their livelihoods, that places guardrails allowing for robust cable negotiations, that protects competition and creates more choice for consumers about what this merger could mean for the industry." It "resolves the antitrust concerns at the heart of our lawsuit against the company and Warner Brothers," he said... The agreement came as a disappointment to opponents of the transaction, including the Block the Merger Coalition, which cast the settlement as a sweetheart deal for Paramount Chief Executive David Ellison and his father, Oracle Co-Founder Larry Ellison, who is financially backstopping the acquisition. "This is a bad deal for the future of film, entertainment, independent journalism, and a strong democracy in this country," the coalition said in a statement. "We are disappointed and angry that the interests of average Americans have been trampled to benefit oligarch billionaires....." The $111 billion deal allows Paramount to combine its namesake streaming service with HBO Max, creating a new offering with about 200 million subscribers. That would help Paramount compete against companies such as Netflix, which boasts more than 325 million subscribers worldwide.

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A new streaming TV channel shows films made with genAI, reports Engadget. "Fairground AI Creator TV" is free — and supported with ads — describing its material as "AI Cinema": "AI-generated" can make it sound as though someone typed a sentence into a machine and came back five minutes later to find a finished movie. Fairground's catalog shows why that description can be too simple. Take Lost Garden: The Awakening of the Lantern Knight. According to its Fairground page, creator Frank Houbre wrote the world, characters, mythology, emotional arc and screenplay himself. AI tools were used mainly for animation and visual production, with other tools helping create voices and music before the episode was assembled in conventional video-editing software. There's still one question, the article notes: "whether viewers actually want an AI-focused TV channel." More than 100 AI creators have contributed to the 24-hour slate of programming, although Variety points out several of them were discovered on social media. The channel was recently profiled in an article by the Guardian. Its headline? "'Nightmare fodder': Roku's AI slop channel is even worse than expected." (And its subheading calls it "a 24/7 channel devoted to low-quality AI content for viewers sick of watching real people move...") What about people who hate plot and vision and the sight of people speaking convincing dialogue that synchronises perfectly with the movement of their lips? What about the people who just want to watch an unyielding torrent of eerily weightless nightmare fodder? Well, good news. Roku has finally caught up... Early reactions were, to put it mildly, not great. The Verge compared it to eating from a trough, while Futurism called it "bottom-of-the-barrel slop"... On the plus side, the channel is evidence that artificial intelligence has come on in leaps and bounds over the last couple of years... However, it is still awful. Categorically, catastrophically awful. The channel doesn't so much offer shows as a drifting dreamscape of bad ideas rendered as horribly as possible with no thought paid to scheduling. At one point on Wednesday, a shrill high-frequency anime gave way to a long and staid German-language short about Nazi bureaucracy. After that came a sort of Gladiator ripoff that had all the dynamism of an exhibit you'd see at the fourth-best museum on a poorly planned family holiday.

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