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Australian Gov’t Approves Content Quotas For Streaming Video Platforms
Music

Australian Gov’t Approves Content Quotas For Streaming Video Platforms

by jummy84 November 5, 2025
written by jummy84

SYDNEY, Australia — More than three-and-a-half years after the siren sounded, the Australian government is activating local content quotas for popular streaming video on-demand platforms operating on these shores.

Confirmed Tuesday, Nov. 4, the new obligation will require those services with over 1 million domestic subscribers to invest 10% of total program expenditure here, or 7.5% of their total Australian revenue, to supporting local storytelling.

Related

Netflix, Disney, Amazon and other SVOD services will be compelled to comply by the legislation, which will be introduced to Parliament this week, the ABC reports.

Those quotas must pass that bar set by the Australian Content and Children’s Television Standard (ACCTS), meeting or exceeding the same requirements currently applied to commercial and subscription television services.

“We have Australian content requirements on free-to-air television and pay television, but until now, there has been no guarantee that we could see our own stories on streaming services,” minister for the arts Tony Burke remarked.

“Since their introduction in Australia, streaming services have created some extraordinary shows. This obligation will ensure that those stories — our stories — continue to be made.”

APRA AMCOS celebrated the announcement as an “incredible first step for Australia.” Whether the next step is a long-mooted content quotas for streaming music platforms, time will tell.

The Australian-made regulation, says Dean Ormston, CEO of APRA AMCOS, is a critical mechanism “within a global content market where extraordinary local stories and local music can be drowned out by content from major overseas markets.”

Critically, he adds, “the obligation includes requirements to spend on post-production in Australia, opening the door for Australian screen composers and local music to play a central role in telling our stories. This represents a significant new opportunity for Australia’s music creators.”

The Albanese government’s announcement follows the presentation last week of APRA AMCOS’s 2025 Screen Music Awards, and delivers on Canberra’s commitment in its national cultural policy, the five-year action plan dubbed Revive.

With its presentation in January 2023, the federal government mapped out a timeline for legislation that would enforce local content quotas on streaming platforms. “For video streaming,” federal minister of the arts Tony Burke said at the time, “the timeline is locked in.”

The new rules should’ve been implemented in 2024 but were delayed over concerns on how they might create a stumbling block for Australia’s trade agreement with the United States.

The champagne corks aren’t exactly flying, but the Australian creative community has cause to celebrate. The government’s commitment to investing in Australian storytelling comes on the heels of last week’s decision that there would be no exception for big tech in Australia’s copyright regime to allow for text and data mining.

“This announcement marks a landmark day for the Australian screen industry,” enthuses Screen Producers Australia CEO Matthew Deaner. “For too long, our local production sector has operated in an uneven environment where global streaming services could reap the benefits of doing business in Australia without contributing fairly to the creation of Australian stories.”

The commitment is “the result of years of advocacy,” he continues. “It recognizes that Australian stories matter, and that they deserve to be seen and heard on every platform.”

November 5, 2025 0 comments
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ARC Raiders release date: Price & platforms for new extraction shooter
TV & Streaming

ARC Raiders release date: Price & platforms for new extraction shooter

by jummy84 October 28, 2025
written by jummy84

We’ve had technical tests, we’ve had the Server Slam open beta, and now, the ARC Raiders release date is almost upon us.

Set in a post-apocalyptic world wherein humanity has been forced underground by ruthless, sky-borne robots, ARC Raiders is an extraction shooter truly unlike any other.

It’s from Swedish developer Embark Studios, creators of fellow innovative shooter The Finals, and looks like it’s going to be another hit for the team.

So, when is the ARC Raiders release date, is it free-to-play and what actually is it? For the answers to all those questions and more, read on.

What is ARC Raiders?

The player taking on a Bastion. Embark Studios

ARC Raiders is an upcoming extraction shooter from Embark Studios, the developer of multiplayer FPS The Finals.

The game is set in a future version of Earth that has been “ravaged by a mysterious mechanised threat known as ARC”.

Players take the role of a Raider living in the underground settlement of Speranza, who ventures out to the planet’s surface to complete quests and scavenge for loot.

Anything found on the surface can be traded for new gear and upgrades to your base, giving you a means of progression over time.

ARC Raiders release date

ARC Raiders is currently scheduled to release 30th October 2025.

This was confirmed during Summer Games Fest 2025, which showed off some cinematic footage of the game’s world.

With there now being a big GTA 6 release date-sized hole in autumn, we can most likely expect to see more and more games rush to fill this vacuum.

There are already some big hitters dropping in the spookiest of months, such as Pokémon Z-A, Ninja Gaiden 4 and The Outer Worlds 2.

To better plan your gaming, be sure to check out all the upcoming video games in 2025 and beyond!

Is ARC Raiders free-to-play?

A screenshot of ARC Raiders showing a player taking cover behind a destroyed car with a giant robot in the distance.

All ARCreatures Great and Small. Embark Studios

No, ARC Raiders is not free to play.

Developers Embark Studios announced as much in a blog post on Steam, stating that “ARC Raiders will be released as a $40 premium title”.

For those of us in the UK, that equates to roughly £30 at the time of writing.

Embark Studios’ previous title, The Finals, is free-to-play, which led many to believe that the same would be true for ARC Raiders, but in the blog post, Embark Studios says that “a premium business model is a better fit for the type of game we’re building”, adding that a “premium model allows us to create a more focused, balanced, and engaging action-survival experience”.

Given the positive reception of ARC Raiders, it should hopefully avoid a similar fate to that of Concord, another $40 multiplayer game.

What platforms is ARC Raiders on?

A screenshot of ARC Raiders showing a player high up in a building looking down at other players in the street

PvPvE means you’ll do battle with players too. Embark Studios

ARC Raiders is coming to PC, PlayStation 5 and Xbox Series X/S.

Now that the Nintendo Switch 2 is out, many are wondering if the game could come to the shiny new hybrid console. While there has been no official announcement of this, nor one at Summer Game Fest 2025, we wouldn’t entirely rule this out.

The Switch 2 is a much more capable device than the OG Switch, with faster memory, storage and power powerful graphics.

Given the game is to be released on the Xbox Series S and it has fairly humble minimal requirements on PC, there may be wiggle room yet for developer Embark Studios to optimise the game further for the Switch 2.

If such a feat is possible, it could be announced during a Nintendo Direct. This is all speculation on our part, however, but one can dream!

Is ARC Raiders crossplay?

A screenshot of ARC Raiders showing two players looking at each other in a forest.

Don’t let others get the drop on you! Embark Studios

Yes, ARC Raiders is crossplay!

On the official website, Embark Studios states that “ARC Raiders supports seamless social play across PlayStation, Xbox, and PC”.

You can always disable crossplay if you would rather not mingle with those not on your platform of choice. As it is a competitive game, you may not want to deal with PC players and their pesky mouse aim, or on the other hand, have to live with any sort of aim-assist.

But if you have friends on the other side, you will be able to enjoy the game together!

Is there another ARC Raiders beta?

A screenshot of ARC Raiders showing two players looking at each other in an industrial setting.

Friend or foe? Embark Studios

ARC Raiders no longer has an ongoing beta.

The last beta ran from 17th-19th October 2025.

Is there an ARC Raiders trailer?

Yes, there are a few trailers, actually!

We’ve already included the release date reveal trailer further up the page, but just above is a six-minute gameplay trailer Embark released in November 2024, showing off everything the game has to offer.

Check out more of our Gaming coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more from the biggest stars in TV, listen to The Radio Times Podcast.

October 28, 2025 0 comments
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bitchy | California bans loud ads on streaming platforms, to go into effect next July
Celebrity News

bitchy | California bans loud ads on streaming platforms, to go into effect next July

by jummy84 October 15, 2025
written by jummy84


My mother will never give up cable and switch to streaming-only, because of her deep and abiding love of fast-forwarding through commercials on shows she’s recorded on her DVR. It’s her remote-wielding right and she will not relinquish it! I, on the other hand, have been streaming-only for years, and for most platforms I subscribe to the (microscopically) cheaper ad-included plans. This is how I know far too many pharmaceutical and insurance jingles than any one human should be subjected to. I know many of you know this pain as well. Have you also noticed that a lot of the time, the ads are glaringly LOUDER than whatever program you’re actually trying to watch? Well Californians sure noticed it, which led to Golden State legislators recently passing a law that bans commercials from being louder than the movie/TV show being streamed:

Gov. Gavin Newsom signed the bill, SB 576, that had been shepherded by Sen. Thomas Umberg (D-Santa Ana) through the legislative process. It had passed unanimously on the Senate and Assembly floor earlier this month in Sacramento.

The passage means that, starting on July 1 of next year, major streaming services won’t be able to “transmit the audio of commercial advertisements louder than the video content the advertisements accompany,” the bill’s text reads.

The law asks streaming services to follow the Federal Communications Commission’s Commercial Advertisement Loudness Mitigation (CALM) Act, which went in to effect in 2012 for linear TV and radio but does not currently apply to streamers. That effort was spurred by the FCC receiving more than 130,000 complaints in 2010, “the vast majority of which concerned the excessively loud sound of commercials,” the state’s Assembly analysis recounted.

“Many platforms have introduced tiered subscription models that require consumers to pay a premium to avoid commercials, bringing ad-supported viewing, and the loudness of those ads, back into focus for millions of users,” the Assembly briefing noted. Indeed, price hikes across the board from streaming services have by default pushed consumers to the cheaper options, which now include regular commercial breaks just like old school TV.

A bill analysis by Senate Legislature committee staff noted that the Motion Picture Association, which lobbies on behalf of Disney, Netflix, Paramount, Amazon MGM Studios, Sony, Universal and Warner Bros. Discovery, had voiced opposition to the effort.

“The Motion Picture Association says that since streaming services are working voluntarily to address the issue of loud advertisements, SB 576 is unnecessary,” the analysis read. “They note that many streaming services have undertaken reasonable efforts to adjust the loudness of advertisements that come from server-side ad insertion that may be inconsistent with the loudness of the programs.”

Newsom, on signing the bill on Oct. 6, touted its volume-lowering impact, saying, “We heard Californians loud and clear, and what’s clear is that they don’t want commercials at a volume any louder than the level at which they were previously enjoying a program.”

[From The Hollywood Reporter]

I’d like to take this opportunity to commend the lawmakers who make the time and effort to name their policies in such a way that there’s a clever resulting acronym. Case in point: the Commercial Advertisement Loudness Mitigation Act, or CALM. It’s all in the details! And speaking of, those few at the top making fortunes off streaming are such sneaky f–ks, ignoring the CALM Act because it didn’t explicitly refer to streaming (even though it was a logical extension). It’s the same playbook for how these Scrooges have been cheating actors out of streaming residuals. Anyway, good on California, and I hope the movement spreads east! What I find annoying is not just how loud commercials are overall, but how a lot of the time now it’s contrasted with TV/movies that are increasingly hard to hear! (Or do I need to make an appointment with my ENT?) There’s a whole slew of entertainment that is mumbling verging on inarticulate in audible dialogue levels, to the point where a lot of the time I wear my air pods when watching TV so that the sound goes directly into my head! I know it makes me sound (noise pun!) like an old fogey, I can live with that.

Photos credit: Janet Mayer/INSTARimages.com, Netflix, Disney press

October 15, 2025 0 comments
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 Lyon's Classic Film Market Expands With AI, Platforms, Global Reach 
TV & Streaming

 Lyon’s Classic Film Market Expands With AI, Platforms, Global Reach 

by jummy84 October 3, 2025
written by jummy84

The International Classic Film Market (MIFC), the world’s only market dedicated to restoring and promoting heritage films, returns to Lyon alongside the Lumière Film Festival for its 13th edition expected to draw a record number of participants.

“All our indicators are up, both in terms of newcomers and international participants,” co-head Anaïs Desrieux told Variety.

Three high-profile guests of honor underscore the festival’s global reach: Andrea Kalas, VP of Media and Archival Services at Iron Mountain, Justine Ryst, YouTube’s France chief, and Gaëtan Bruel, the new head of the France’s film board CNC.

Another sign of the market’s growing industry pull comes from U.K.-based Park Circus, which joins this year as an official partner. The company handles global distribution of heritage titles for major U.S. studios as well as British and European libraries. CEO Douglas Davis will join Studiocanal’s Pauline Saint-Hilaire and Mk2 Films’ Benoit Claro for a roundtable on building international distribution strategies for heritage film.

Technology remains a hot topic, notably the use of AI in classic film preservation and restoration, with a focus this year on subtitling and dubbing. The debate will bring together heritage film conservation outfit Vectracom, Phont, a start-up specialised in so-called “emotional subtitling,” and translators’ representatives.

“No one at the table is opposed to progress, but the real challenge is to ensure that this innovation truly qualifies as such for the whole ecosystem,” said Desrieux. Co-head Gérald Duchaussoy added “subtitles are not neutral – subtitling is a creative activity that shapes how films are understood.”

New tools will be on display at the Classics Innovation Corner, where startups such as Phont, AI-powered search and licensing platform Refractio, and distributor-oriented CN Films will present their tech.

Another key theme is the growing role of streaming services in the circulation of heritage cinema, which Ryst is sure to address as she spotlights YouTube’s 20th anniversary.

“There is a great heritage offer on YouTube, with access to films, archives and programs dedicated to classic films, and content creators engaging whole new audiences,” said Duchaussoy.

Case studies will feature Sooner – the new merger of French streamers Universciné and Filmo –, heritage film platform LaCinetek, and entertainment site Allociné, which is launching a dedicated service, Allociné Classique. “Thanks to these platforms, the films are not just being preserved, they are being reintroduced to audiences in the digital era,” Desrieux noted. 

From digital strategies to face-to-face deal-making, circulation remains a priority for organizers, with initiatives like the popular Re>Birth program, now in its third edition. The showcase pitches either recently restored titles carrying the Lumière Classics label or works seeking restoration partners for 10-minute sessions followed by one-to-one meetings aimed at sparking deals.

Hungary provides an inspiring example as country of honor thanks to its strong track-record in preservation and circulation through events such as the Budapest Classic Film Marathon. MIFC regular György Ráduly, head of the Hungarian National Film Archive, will be among the guests.  

Other highlights include debates on the new AgoraEU program, Europe’s audiovisual heritage policy, and the power of curated retrospectives, with this year’s tributes to Martin Ritt and Konrad Wolf illustrating how restorations drive a second life in theaters, festivals, on TV and platforms. France’s arthouse exhibitors’ association, AFCAE, which marks its 70th anniversary, will examine the future of classic film on the big screen.

As always, there will be the market’s staple sessions, from catalogue holders’ previews to distributors’ line-ups and dedicated events for exhibitors.

African cinema will also take the spotlight with a showcase of the new podcast series “Cineastes d’Afrique,” celebrating pioneers of African filmmaking.

Looking to the future, a new European student workshop will bring together some 40 students from six universities to work with professionals in the heritage field. “We want to help the next generation build connections that will shape the sector’s future,” said Desrieux.

For Duchaussoy, the workshop reflects the market’s broader mission: “Heritage cinema is not just about looking back,” he said. “It’s about imagining the future, with new professionals, new technologies and new audiences.”

As Desrieux summed up, “Our goal is to give the heritage sector a stronger international framework and profile. That means bringing players together, questioning our practices and creating real business opportunities around the circulation of classic films.”

The MIFC runs in Lyon over Oct. 14–Oct. 17.

October 3, 2025 0 comments
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The Platform’s Price Increase Explained – Hollywood Life
Hollywood

The Platform’s Price Increase Explained – Hollywood Life

by jummy84 September 7, 2025
written by jummy84

Image Credit: NurPhoto via Getty Images

YouTube TV subscribers have to deal with a new cost. The platform announced that it would increase its monthly subscription cost starting this year. According to part of YouTube TV’s X statement from last year, it explained that the company doesn’t “make these decisions lightly” and that they “realize this has an impact on our members.”

So, how much is the price increase for YouTube TV? Find out below, and how much other subscriptions cost in comparison.

How Much Did YouTube TV Cost Before?

The price of YouTube TV was $72.99.

How Much Does YouTube TV Cost Now?

YouTube TV costs $82.99 for its basic plan starting on January 13, 2025. This is a $10 price increase.

A message for our members: we have always worked to offer the content you love, with features to enjoy the best of live TV. To keep up with rising content costs, we’re updating our monthly price to $82.99/mo. (1/3)

— YouTube TV (@YouTubeTV) December 12, 2024

Why did YouTube TV Increase Its Subscription Price?

According to YouTube TV’s X account, the company explained the reason behind its new price: rising costs.

“A message for our members: we have always worked to offer the content you love, with features to enjoy the best of live TV. To keep up with rising content costs, we’re updating our monthly price to $82.99/mo [sic],” the company tweeted one month before its new price will go into effect. “We don’t make these decisions lightly, and we realize this has an impact on our members. We are committed to bringing you features that are changing the way we watch live TV, like unlimited DVR storage and multiview, and supporting YouTube TV’s breadth of content and vast on-demand library of movies and shows.”

In response to the announcement, numerous YouTube TV subscribers threatened to cancel their plans and switch to another platform.

We don’t make these decisions lightly, and we realize this impacts our members. With many exciting shows and live events coming up in 2025, we remain committed to bringing you the best of TV, all in one place. Thank you for being a loyal member. (3/3)

— YouTube TV (@YouTubeTV) December 12, 2024

Hulu TV’s Current Price Compared to YouTube TV

Hulu Plus Live TV currently offers a basic plan starting at around $83 per month, offering more than 90 channels for subscribers. The ad-free model costs $95.99.

Sling TV’s Current Price Compared to YouTube TV

Sling TV offers a basic plan starting at $45.99  per month.

September 7, 2025 0 comments
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