An anonymous reader quotes a report from Ars Technica, written by Scharon Harding: TCL has come under scrutiny this month after testing that claimed to examine three TCL TVs marketed as quantum dot TVs reportedly showed no trace of quantum dots. [...] Earlier this month, South Korean IT news publication ETNews published a report on testing that seemingly showed three TCL quantum dot TVs, marketed as QD TVs, as not having quantum dots present. Hansol Chemical, a Seoul-headquartered chemicals company, commissioned the testing. SGS, a Geneva-headquartered testing and certification company, and Intertek, a London-headquartered testing and certification company, performed the tests. The models examined were TCL's C755, said to be a quantum dot Mini LED TV, the C655, a purported quantum dot LED (QLED) TV, and the C655 Pro, another QLED. None of those models are sold in the US, but TCL sells various Mini LED and LED TVs in the US that claim to use quantum dots. According to a Google translation, ETNews reported: "According to industry sources on the 5th, the results of tests commissioned by Hansol Chemical to global testing and certification agencies SGS and Intertek showed that indium... and cadmium... were not detected in three TCL QD TV models. Indium and cadmium are essential materials that cannot be omitted in QD implementation." The testing was supposed to detect cadmium if present at a minimum concentration of 0.5 mg per 1 kg, while indium was tested at a minimum detection standard of 2 mg/kg or 5 mg/kg, depending on the testing lab. [...]

In response to the results from SGS and Intertek, a TCL representative told ETNews and The Korea Times that TCL is "manufacturing TV sets with QD films supplied by three companies" and that "the amount of quantum dots... in the film may vary depending on the supplier, but it is certain that cadmium is included." TCL also published testing results on May 10 commissioned by Guangdong Region Advanced Materials, one of TCL's quantum dot film suppliers. Interestingly, SGS, one of the companies that found that TCL's TVs lacked quantum dots, performed the tests. This time, SGS detected the presence of cadmium in the TV films at a concentration of 4 mg/kg (an image of the results can be seen via ETNews here). TCL also said that it "confirmed the fluorescent characteristics of QD," per Google's translation, and provided a spectrogram purportedly depicting the presence of quantum dots in its TVs' quantum dot films. [...]

TCL obviously has reason to try to push results that show the presence of cadmium. However, some analysts and publications have pointed out that Hansol could have reason to push results claiming the opposite. As mentioned above, Hansol is in the chemical manufacturing and distribution business. It notably does not sell to TCL but does have a customer in TCL rival Samsung. Taking a step back further, Hansol is headquartered in Seoul and is considered a chaebol. TV giants Samsung and LG are also chaebols, and the South Korean government has reported interest in Samsung and LG continuing to be the world's biggest TV companies—titles that are increasingly challenged by Chinese brands. It has previously been reported that the South Korean government urged Samsung and LG to meet with each other to help ensure their leadership. The talks resulted in a partnership between the two companies reportedly centered on counteracting high prices that Samsung was facing for TV components sold by Chinese companies. With this background in mind, Hansol could be viewed as a biased party when it sought testing for TCL quantum dot TVs. "I'm really puzzled by Hansol's results," said Eric Virey, principal displays analyst at Yole Intelligence. "I have a very hard time believing that TCL would go through the troubles of making ... 'fake' QD films without QDs: this would cost almost as much as making a real QD films but without the performance benefits."

Ars Technica concludes: "As previously stated, it's possible that TCL is indeed using quantum dots but is using them in a small amount alongside phosphor. If true, the performance may not be as high as it would be with other designs, but it would also mean that TCL's quantum dot TVs aren't bogus. As it stands, the situation could benefit from more, preferably third-party, testing..."

"For 75 years Cosm built planetariums," reports a Texas news station, "and then a few years ago realized this technology could take you from the night sky to anywhere under the sun."

So now Los Angeles and Dallas have massive 9,600-square-foot, 8K-resolution screens that one reviewer for SFGate calls "an absolute game-changer" for sports fans. "At its best, Cosm's floor-to-ceiling screen gives anyone with a seat the opportunity to embrace a face full of on-the-field action at such high quality that it can be staggering, almost overwhelming at times — so just be sure to hold on tight, to the handrails and to your wallets."

There's also a bar with a 150-foot band of screens and a rooftop area with mounted TV, but they're "not why anyone has come," SFGate points out. Even the Dome has three distinct floors, though it's the second floor "where full visual immersion happens." The action feels so close, I can almost smell it, and all the focus is pulled to the center of the giant screen. Patrons truly do feel at the absolute heart of the action, with better seats than perhaps they could even pay for at Manchester's Old Trafford stadium. From a sports-viewing standpoint, I can't imagine it gets much better than this... Over the course of just a few minutes, the viewing angle flips from corner looks to right up against the goalkeeper's net, and then it widens out to dead center to catch crisp passes. Some angles put me right in the stands, cheering along with the loyalists at a stadium half a world away...

To be clear, the premium ticket costs are good for recouping Cosm's substantial investment in this gorgeous technological product, which has been in the works for years. The price tag is also likely to be little issue for any Los Angeles fan with money to spend, but the cost really does lay bare the growing division between the haves and have-nots in American sports society... If you paid $20 for a general admission entry that mostly just grants access to the fringes of the action, well ... good luck getting the most out of the Dome... The edges of the massive screen are stretched to comic effect, making the fisheye perspective more disorienting than fun. At the center of the room, it feels like you're absolutely in the meat of the action; at the fringes, you're left to pick at a few digital bones...

[F]or the rest of us, the normal sports fans who like to sway with strangers during the seventh-inning stretch, the ones who want to be able to take their kids to a game without feeling quite so financially wrung out, Cosm is yet another troubling sign of big, expensive things to come. Being a fan of a sports franchise in 2024 is an increasingly costly proposition. Watching your favorite NFL team now requires cable access, as well as multiple streaming services like Amazon Prime... There is no question that Cosm is a unique experience and that it will absolutely have a hand in transforming the modern digital sports-watching landscape, especially for those who want a digital re-creation of the best seat in the house over the camaraderie of a shared, in-person sports experience. The place will be able to charge incredible sums for the Super Bowl or World Series games, and — when at its best, with a prime seat in the middle of the action — the cost will be justifiable for many.

But for the folks at the financial fringes, the ones with the most spirit and often the least to spend, Cosm undoubtedly feels like a widening of the economic chasm that is pulling fans and their favorite teams further apart.
Besides sports events, Cosm's Dome also offers other immersive experiences like Circque du Soleil's "O" and Planetary Collective's "Orbital".

Another Cosm location is planned for Phoenix in 2025.

An anonymous reader quotes a report from Ars Technica: Researchers still don't know the cause of a recently discovered malware infection affecting almost 1.3 million streaming devices running an open source version of Android in almost 200 countries. Security firm Doctor Web reported Thursday that malware named Android.Vo1d has backdoored the Android-based boxes by putting malicious components in their system storage area, where they can be updated with additional malware at any time by command-and-control servers. Google representatives said the infected devices are running operating systems based on the Android Open Source Project, a version overseen by Google but distinct from Android TV, a proprietary version restricted to licensed device makers.

Although Doctor Web has a thorough understanding of Vo1d and the exceptional reach it has achieved, company researchers say they have yet to determine the attack vector that has led to the infections. "At the moment, the source of the TV boxes' backdoor infection remains unknown," Thursday's post stated. "One possible infection vector could be an attack by an intermediate malware that exploits operating system vulnerabilities to gain root privileges. Another possible vector could be the use of unofficial firmware versions with built-in root access." The following device models infected by Vo1d are: [R4, TV BOX, KJ-SMART4KVIP].

One possible cause of the infections is that the devices are running outdated versions that are vulnerable to exploits that remotely execute malicious code on them. Versions 7.1, 10.1, and 12.1, for example, were released in 2016, 2019, and 2022, respectively. What's more, Doctor Web said it's not unusual for budget device manufacturers to install older OS versions in streaming boxes and make them appear more attractive by passing them off as more up-to-date models. Further, while only licensed device makers are permitted to modify Google's AndroidTV, any device maker is free to make changes to open source versions. That leaves open the possibility that the devices were infected in the supply chain and were already compromised by the time they were purchased by the end user. "These off-brand devices discovered to be infected were not Play Protect certified Android devices," Google said in a statement. "If a device isn't Play Protect certified, Google doesn't have a record of security and compatibility test results. Play Protect certified Android devices undergo extensive testing to ensure quality and user safety."

Users can confirm if their device runs Android TV OS via this link and following the steps here.

An anonymous reader quotes a report from Ars Technica: One of the things enterprise storage and destruction company Iron Mountain does is handle the archiving of the media industry's vaults. What it has been seeing lately should be a wake-up call: roughly one-fifth of the hard disk drives dating to the 1990s it was sent are entirely unreadable. Music industry publication Mix spoke with the people in charge of backing up the entertainment industry. The resulting tale is part explainer on how music is so complicated to archive now, part warning about everyone's data stored on spinning disks. "In our line of work, if we discover an inherent problem with a format, it makes sense to let everybody know," Robert Koszela, global director for studio growth and strategic initiatives at Iron Mountain, told Mix. "It may sound like a sales pitch, but it's not; it's a call for action."

Hard drives gained popularity over spooled magnetic tape as digital audio workstations, mixing and editing software, and the perceived downsides of tape, including deterioration from substrate separation and fire. But hard drives present their own archival problems. Standard hard drives were also not designed for long-term archival use. You can almost never decouple the magnetic disks from the reading hardware inside, so that if either fails, the whole drive dies. There are also general computer storage issues, including the separation of samples and finished tracks, or proprietary file formats requiring archival versions of software. Still, Iron Mountain tells Mix that "If the disk platters spin and aren't damaged," it can access the content.

But "if it spins" is becoming a big question mark. Musicians and studios now digging into their archives to remaster tracks often find that drives, even when stored at industry-standard temperature and humidity, have failed in some way, with no partial recovery option available. "It's so sad to see a project come into the studio, a hard drive in a brand-new case with the wrapper and the tags from wherever they bought it still in there," Koszela says. "Next to it is a case with the safety drive in it. Everything's in order. And both of them are bricks." "Optical media rots, magnetic media rots and loses magnetic charge, bearings seize, flash storage loses charge, etc.," writes Hacker News user abracadaniel in a discussion post about the article. "Entropy wins, sometimes much faster than you'd expect."

Television has ceased to be the main source of news in the UK for the first time since the 1960s as Britons turn increasingly to online news and social media apps, according to research by the media regulator. From a report: Ofcom said on Tuesday that viewing of TV news had continued to fall steeply, with online platforms such as Facebook, YouTube and TikTok and digital versions of broadcasters now slightly more widely used as a source of news.ÂIn its annual study of audience habits, the watchdog said 71 per cent of adults obtained news online, compared with 70 per cent via TV -- a finding it described as "marking a generational shift in the balance of news media."

The reach of TV news has fallen from 75 per cent last year. More than four-fifths of people between the ages of 16 and 24 obtained their news from social media, Ofcom found. The report underlines the pressure on more traditional linear broadcasters such as the BBC, Sky and Channel 4 to accelerate moves to digital platforms, which include their own streaming sites as well as social media apps such as TikTok.Â

James Earl Jones, the beloved actor best known for his roles in "Field of Dreams," "The Lion King," and "Star Wars," has died at the age of 93. Deadline reports: Widely regarded as among the world's great stage and screen actors Jones is one of the few entertainers to have won the EGOT (Emmy, Grammy, Oscar, Tony), though his Academy Award was Honorary. Jones has received two Primetime Emmy Awards, a Daytime Emmy, a spoken-word Grammy Award in 1977 and three Tony Awards.

The actor amassed nearly 200 screen credits during his brilliant 60-year career, starting some early-'60s TV guest roles and Stanley Kubrick's 1964 classic Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). He probably is best known for his voice role as the dastardly Darth Vader in George Lucas' original Star Wars trilogy: Star Wars (1977) The Empire Strikes Back, 1980) and Return of the Jedi (1983). He also reprised the villainous role in Star Wars: Episode III -- Revenge of the Sith (2005), Rogue One: A Star Wars Story (2016), Star Wars: Episode IX -- The Rise of Skywalker (2019) and TV's Obi-Wan Kenobi and Star Wars: Rebels.

Movie fans will remember such chilling, immortal Vader quotes as "When I left you, I was but the learner -- now I am the master," "I find your lack of faith disturbing" and, of course, "No, I am your father."

In a newsletter for Bloomberg, Ashley Carman discusses the rising trend of long podcasts and their surprising popularity among listeners. "By today's standards of interminable podcast discussions, a nearly three-hour recording isn't even particularly notable," she writes, highlighting recent episodes from Joe Rogan (2 hours; 16 minutes with Adam Sandler), Lex Fridman (8 hours; 37 minutes with Elon Musk), and the Acquired podcast (3 hours; 38 minutes with Lockheed Martin). "Increasingly, podcasters are pushing the outer limits of episode length while stress testing the endurance of their audiences. Popular podcast gabfests can now run on for half a workday or longer." From the report: One might assume such marathon episodes must be the result of a hands-off approach to editing. But this is not the case, said Ben Gilbert, co-host of the Acquired podcast. Every month, he and his co-host David Rosenthal release a three- to four-hour podcast, detailing the story of a specific company. The in-depth histories, he said, are the result of nine-hour recording sessions and a month of research.

"It's not important to ship every good minute," Gilbert said. "It's important to ship only great minutes. If you're actually intellectually honest with yourself, that's how to release a really good product." Even with the longer runtimes, he said, their audience listens to the vast majority of each episode. Consider their deep dive on Lockheed Martin, which runs for three hours and 38 minutes. On Apple Podcasts, the average listener consumed 70% of the show, he said. An episode on Nike, which clocks in at upwards of four hours, had an average consumption rate of 68%. "Every time we made something longer... people only seemed to love it more," he said. On the show's website, the hosts describe the episodes as "conversational audiobooks." [...]

[Jack Sylvester, executive director at Flight Studio, the Bartlett-founded podcast company behind Diary of a CEO] said the team can view data around how much of the audience consumes episodes on YouTube's TV app versus on a phone, tablet or computer. TV usage, he said, is ticking up. To give viewers a reason to keep the show on as their primary viewing experience, they're now making sure the videos have a top-quality polish. Still, in a world in which people scoff at the prospect of a three-hour movie -- and short-form video is the dominant consumption trend in entertainment -- these podcasters are eagerly meandering in the opposite direction. "The short-form obsession ended up creating white space for us," said Gilbert of Acquired. "Whenever you have a trend, that means there's people who feel left behind and want to flock to something new. This sets us apart."

For the first time, a U.S. court has ordered the exposure of identities behind anime leaker accounts on X following complaints from producers of Jujutsu Kaisen and Demon Slayer. The order was revealed by Japanese anti-piracy organization CODA (Content Overseas Distribution Association). CBR reports: The order to disclose their identities was issued on Aug. 20 and served on Aug. 30, meaning that these Jujutsu Kaisen and Demon Slayer leakers will be forced to out themselves, lest they face further legal troubles. Several CODA member companies, which include Kodansha (Attack on Titan), Toei Animation (One Piece) and more collected evidence on these accounts; CODA's report states that it has also received other inquiries about other anime and is preparing for further action. "We will continue to work with the rights holders of the victims to take strict action based on the information of the account owners that comes to light, and will demand severe punishment for these leak accounts," it concludes.

Federal investigators have indicted a North Carolina man over a scheme in which he allegedly used bot accounts and hundreds of thousands of AI-generated songs to earn more than $10 million in royalty payments from the major streaming services. RollingStone: The case is a landmark development in the still-developing music streaming market, with the U.S. Attorney's Office for the Southern District of New York calling it the first criminal case involving artificially inflated music streaming. In the indictment, the prosecutors say that for the past seven years, North Carolina musician Michael Smith had been running a complex music streaming manipulation scheme to fraudulently profit off of billions of streams from bot accounts. "At a certain point in the charged time period, Smith estimated that he could use the Bot Accounts to generate approximately 661,440 streams per day, yielding annual royalties of $1,207,128," the prosecutors said in the indictment announcement.

Smith, 52, was charged with wire fraud conspiracy, wire fraud and money laundering conspiracy, totaling to a combined maximum of 60 years in prison if convicted. "Through his brazen fraud scheme, Smith stole millions in royalties that should have been paid to musicians, songwriters, and other rights holders whose songs were legitimately streamed," said Damian Williams, U.S. Attorney for the Southern District of New York. "Today, thanks to the work of the FBI and the career prosecutors of this Office, it's time for Smith to face the music."

An anonymous reader quotes a report from Wired: Jazmin Jones knowswhat she did. "If you're online, there's this idea of trolling," Jones, the director behindSeeking Mavis Beacon, said during a recent panel for her new documentary. "For this project, some things we're taking incredibly seriously ... and other things we're trolling. We're trolling this idea of a detective because we're also, like,ACAB." Her trolling, though, was for a good reason. Jones and fellow filmmaker Olivia Mckayla Ross did it in hopes of finding the woman behind Mavis Beacon Teaches Typing. The popular teaching tool was released in 1987 by The Software Toolworks, a video game and software company based in California that produced educational chess, reading, and math games. Mavis, essentially the "mascot" of the game, is a Black woman donned in professional clothes and a slicked-back bun. Though Mavis Beacon was not an actual person, Jones and Ross say that she is one of the first examples of Black representation they witnessed in tech. Seeking Mavis Beacon, which opened in New York City on August 30 and is rolling out to other cities in September, is their attempt to uncover the story behind the face, which appeared on the tool's packaging and later as part of its interface.

The film shows the duo setting up a detective room, conversing over FaceTime, running up to people on the street, and even tracking down a relative connected to the ever-elusive Mavis. But the journey of their search turned up a different question they didn't initially expect: What are the impacts of sexism, racism, privacy, and exploitation in a world where you can present yourself any way you want to? Using shots from computer screens, deep dives through archival footage, and sit-down interviews, the noir-style documentary reveals that Mavis Beacon is actually Renee L'Esperance, a Black model from Haiti who was paid $500 for her likeness with no royalties, despite the program selling millions of copies. [...]

In a world where anyone can create images of folks of any race, gender, or sexual orientation without having to fully compensate the real people who inspired them, Jones and Ross are working to preserve not only the data behind Mavis Beacon but also the humanity behind the software. On the panel, hosted by Black Girls in Media, Ross stated that the film's social media has a form where users of Mavis Beacon can share what the game has meant to them, for archival purposes. "On some level, Olivia and I are trolling ideas of worlds that we never felt safe in or protected by," Jones said during the panel. "And in other ways, we are honoring this legacy of cyber feminism, historians, and care workers that we are very seriously indebted to." You can watch the trailer for "Seeking Mavis Beacon" on YouTube.

An anonymous reader quotes a report from Wired: You might have a hard time stretching your memory to the Obama era, but back in 2013, Panasonic's plasma TVs were the critical darlings of the US market. They far outperformed their LED/LCD counterparts at a time when OLED was little more than a pipe dream for most. Then suddenly, under enormous pressure from ever-cheaper LED panels, Panasonic halted all plasma TV production. By 2016, the company had left the US TV space entirely. Now, over 10 years after its plasma models reigned supreme in the US, Panasonic TVs are back, baby.

Outside the US, Panasonic has remained a global leader in the OLED era. Rumors about a stateside return have been swirling for nearly as long as the brand has been away, but a global partnership with Amazon announced at CES 2024 kicked things into high gear. Today, Panasonic officially revealed the US launch of three premium TVs powered by Amazon's Fire TV smart interface: the flagship Z95A and "core" Z85A OLED TVs, and the W95A flagship mini LED TV. All three models are available now in limited sizes, as Panasonic begins its slow walk back to competing against LG, Samsung, and Sony. There are three models now available in the US: 55- and 65-inch OLED options and a Mini LED TV that measures up to 85 inches.

The Z95A is Panasonic's top OLED model featuring advanced gaming features, a 144-Hz refresh rate on select inputs, HDR10+, Dolby Vision support, and AI-powered picture modes. According to Wired, it boasts an impressive sound system developed with hi-fi audio brand Technics and employs Panasonic's proprietary microlens array technology for optimized brightness and heat management.

The Z85A is a step-down model offering similar gaming specs and smart home integration at a lower price, lacking the Z95A's specialized brightness and sound enhancements. It includes a game mode, HDR10+, Dolby Vision support, and a Mark II processor but only supports up to 120 Hz and doesn't have a built-in microphone for Alexa.

Last but not least is Panasonic's W95A flagship miniLED model, offering gaming-ready features like a 144-Hz refresh rate on two HDMI inputs and local dimming for deep contrast and high brightness. It includes the same smart-home integration as other models but features a more standard sound system, and Alexa control is available only through the remote.

An anonymous reader quotes a report from Ars Technica: On Thursday, ABC announced an upcoming TV special titled, "AI and the Future of Us: An Oprah Winfrey Special." The one-hour show, set to air on September 12, aims to explore AI's impact on daily life and will feature interviews with figures in the tech industry, like OpenAI CEO Sam Altman and Bill Gates. Soon after the announcement, some AI critics began questioning the guest list and the framing of the show in general. [...] Critics of generative AI ... question the utility of the technology, its perceived environmental impact, and what they see as blatant copyright infringement.

"Sure is nice of Oprah to host this extended sales pitch for the generative AI industry at a moment when its fortunes are flagging and the AI bubble is threatening to burst," tweeted author Brian Merchant, who frequently criticizes generative AI technology in op-eds, social media, and through his "Blood in the Machine" AI newsletter. "The way the experts who are not experts are presented as such what a train wreck," replied artist Karla Ortiz, who is a plaintiff in a lawsuit against several AI companies. "There's still PLENTY of time to get actual experts and have a better discussion on this because yikes." On Friday, Ortiz created a lengthy viral thread on X that detailed her potential issues with the program, writing, "This event will be the first time many people will get info on Generative AI. However it is shaping up to be a misinformed marketing event starring vested interests (some who are under a litany of lawsuits) who ignore the harms GenAi inflicts on communities NOW." The AI TV special will feature "some of the most important and powerful people in AI," said ABC. They include Microsoft co-founder Bill Gates, OpenAI CEO Sam Altman, YouTube creator Marques Brownlee, Tristan Harris and Aza Raskin from the Center for Humane Technology, FBI Director Christopher Wray, and author Marilynne Robinson.

The show will air on September 12 on ABC (and a day later on Hulu) in the U.S.

Kotaku reviews Star Wars Outlaws, Ubisoft's latest AAA title: I was staring at a wall. It was an early mission in Ubisoft's latest behemothic RPG, Star Wars Outlaws, in which I was charged with infiltrating an Empire base to recover some information from a computer, and this wall really caught my attention.

It was a perfect wall. It absolutely captured that late-70s sci-fi aesthetic of dark gray cladding broken up by utilitarian-gray panels covered in dull blinking lights, and I stopped to think about how much work must have gone into that wall. Looking elsewhere on the screen, I was then overwhelmed. This wall was the most bland thing in a vast hanger, where TIE Fighters hung from the ceiling, Stormtroopers wandered in groups below, and even the little white sign with the yellow arrow looked like it was a decade old, meticulously crafted to fit into this universe. I felt sheer astonishment at the achievement of this. Ubisoft, via multiple studios across the whole world, and the work of thousands of deeply talented people, had built this impossibly perfect area for one momentary scene that I was intended to run straight past.

Except I ran past it three times, because the AI kept fucking up and I was restarted at a checkpoint right before that gray wall over and over. I'm struggling to capture the dissonance of this moment. This sense of absolute awe, almost unbelieving admiration that it's even possible to build games at this scale and at this detail, slapped hard around the face by the bewilderingly bad decisions that take place within it all. Brokerage firm UBS said in a note to clients: Based on the 621 ratings thus far the game has received a score of 4.8 (out of 10). This tracks behind previous blockbuster releases by Ubisoft in Assassin's Creed and Far Cry, behind competing open world games released in 2024 and behind other major recent Star Wars Games released by EA in 2019 and 2023. The user ratings, which are generally unfavourable lag its generally favourable critic reviews (game received a score of 76 by critics).

Early user ratings suggest downside risk to our 10m units forecast for the game: While we previously felt the largely positive critic reviews made our 10m units sold look achievable (a component upon which we forecast +4% FY25 net bookings growth), the user ratings now suggest downside risk to our estimates. Previous Ubisoft games in Assassin's Creed and Far Cry which sold 10m+ units in their first fiscal year all received higher user ratings and were instalments of well entrenched franchises.

An anonymous reader quotes a report from Ars Technica: Too often, new tech product or service launches seem like solutions in search of a problem, but not this one: ESPN is launching software that lets you figure out just where you can watch the specific game you want to see amid an overcomplicated web of streaming services, cable channels, and arcane licensing agreements. Every sports fan is all too familiar with today's convoluted streaming schedules. Launching today on ESPN.com and the various ESPN mobile and streaming device apps, the new guide offers various views, including one that lists all the sporting events in a single day and a search function, among other things. You can also flag favorite sports or teams to customize those views.

"At the core of Where to Watch is an event database created and managed by the ESPN Stats and Information Group (SIG), which aggregates ESPN and partner data feeds along with originally sourced information and programming details from more than 250 media sources, including television networks and streaming platforms," ESPN's press release says. ESPN previously offered browsable lists of games like this, but it didn't identify where you could actually watch all the games. There's no guarantee that you'll have access to the services needed to watch the games in the list, though. Those of us who cut the cable cord long ago know that some games -- especially those local to your city -- are unavailable without cable.

Samsung Electronics said it will provide Tizen OS updates for its newer TVs for at least seven years, starting with models released in March this year and some 2023 models. Business Korea reports: [Yoon Seok-woo, President of Samsung Electronics' Visual Display Business Division] emphasized that the seven-year free upgrade for Tizen applied to AI TVs would help Samsung widen the market share gap with Chinese competitors. Tizen, an in-house developed OS, has been applied to over 270 million Samsung smart TVs as of last year, making it the world's largest smart TV platform and a key player in leading the Internet of Things (IoT) era. "AI TV will act as the hub of the AI home, connecting other AI appliances like refrigerators and air conditioners," Yoon explained. "We will expand the AI home era by enabling users to monitor and control peripheral devices through the TV even when it is off or when the user is away." This connectivity is a key differentiator from Chinese competitors, according to Yoon.

In the first half of this year, Samsung Electronics maintained the top spot in the global TV market with a 28.8% market share by revenue. However, the combined market share of Chinese companies TCL and Hisense has reached 22.1%, indicating fierce competition.