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The combined cost of popular streaming services like Netflix and Disney Plus is now more expensive than traditional cable television, according to new analysis. Recent price rises to all of the main streaming platforms for ad-free subscriptions have pushed the cost above the average cable TV package of $83 per month for the first time. Calculations by the Financial Times found that a bundle of the top US streaming services – including Disney+, Hulu, Netflix and Peacock – rose in price from $73 to $87 over the last year. Some of the price rises of streaming services have been considerable, going way above the rate of inflation. Netflix raised the price of its basic advertisement-free monthly subscription from $9.99 to $15.49, representing a 55 per cent increase. Disney Plus saw an even bigger increase for its ad-free subscription price, nearly doubling from $7.99 per month to $13.99. “From a business point of view, streaming was going to have to move in this way – the price point was going to have to go up,” David Rogers, a professor at Columbia Business School and expert in digital business, told the FT. “This was accelerated by the fact that we no longer have cheap debt to flood the market with streaming content.” These rising costs, combined with an increasingly fractured streaming ecosystem, have helped contribute to a major surge in online piracy over the last year. Figures published earlier this year by research firm Muso revealed that the most popular form of piracy is websites that host free streams of films and TV series, which account for 80 per cent of all illegal content consumption. Visits to these sites rose by nearly 9 per cent last year, with early data suggesting that this trend will continue into 2023. Several illicit streaming sites offer similar functionality to the legitimate platforms like Netflix, however they typically do not have any restrictions on the content you can watch. Security experts have warned, however, that such sites may pose a risk to visitors, while links shared on social media sites can often lead to fake versions of these illicit sites that seek to steal financial and other sensitive data. Read More Free streams to watch Barbie spread online amid security warnings Hozier would consider striking over AI threat to music industry Google is getting ready for the ‘quantum apocalypse’ X now sorts posts on accounts based on number of likes, not by chronology

SAN DIEGO--(BUSINESS WIRE)--May 16, 2023--

Peloton has apologised to its customers after technical issues kept them from joining its special Thanksgiving ride. The rides had been held to break the Guinness World Records for the largest live streamed cycling and running classes. But they also had the effect of breaking Peloton’s systems, with riders unable to join the “Turkey Burn” class with instructor Robin Arzón for the first 20 minutes. Peloton’s relatively new chief executive, Barry McCarthy, apologised for the experience on the company’s official Facebook page. “We set out to create an amazing annual Turkey Burn Ride experience, and we let you down,” he wrote on the page. The number of riders “overwhelmed our technical infrastructure”, he said. “I know for many of you, this has become an annual tradition, and we owe you the best possible Member experience,” he wrote. “On behalf of the team, we apologise.” Despite the issues, Peloton was able to set the records for the largest live streamed cycling and running class. The company brought in Guinness World Records officials to verify the count, and were given the record for the ”Most viewers of a static cycling lesson live stream on a Bespoke platform”, as well as for running. The cycling class had 27,550 live participants, a spokesperson said. That was lower than the number that had been seen on the leaderboard, though it is not clear whether the discrepancy was the result of the technical problems. Despite the official recognition, the ride and run is not actually Peloton’s biggest live ride: 2021 and 2020 saw more, with the latter seemingly setting the record at more than 50,000 people, according to Peloton news website Pelobuddy. Peloton saw rapid growth through 2020 and 2021, spurred in large part by the move to work out at home during lockdowns. But it has experienced a number of issues since, including recalls of its bikes and seemingly lower interest as people head back to gyms. It has lost around 80 per cent of its share price value since it was listed towards the end of 2019. And its stock has fallen almost 97 per cent since its record highs in late 2020. Read More Nasa has received a signal from 10 million miles away Nvidia sued over ‘stolen’ data revealed in video conferencing mishap AI breakthrough could help us build solar panels out of ‘miracle material’

DENVER & TAMPA, Fla.--(BUSINESS WIRE)--May 31, 2023--

TikTok does not want to compete with the BBC at Eurovision but instead “complement” and drive viewers towards its grand final coverage, a manager has said. The social media platform has partnered with contest organiser the European Broadcasting Union (EBU) and the BBC for the event in Liverpool, with busker pop-ups around the city, special coverage and gigs. James Stafford, TikTok’s general manager of marketing and operations for the UK, Ireland and Nordics, told the PA news agency the firm was doing “a lot of work” to promote the live TV broadcast. He said: “The hour before the live show on Saturday the BBC will be doing an exclusive live stream on TikTok that is designed to capture as much attention and audience from TikTok as possible, and direct them to go and tune in and watch the live broadcast. We would much prefer that we are a complement to those broadcasters and we can help them discover the next generation of fans who are going to tune in and watch Eurovision live on the BBC James Stafford “Now our goal here is not to compete with broadcasters for the live show. “We would much prefer that we are a complement to those broadcasters and we can help them discover the next generation of fans who are going to tune in and watch Eurovision live on the BBC.” Mr Stafford also sought to allay security concerns over TikTok’s involvement in the contest. TikTok is owned by Chinese internet company ByteDance, which argues that it does not share data with China’s government, but Beijing’s intelligence legislation requires firms to help the Communist Party when requested. Mr Stafford said: “The governments in Europe, including the UK, that have advised their employees not to use TikTok among other social apps on corporate devices is a purely precautionary measure, and it’s not the advice to ban the app in any of the markets. “We engage with all of our partners – the EBU, the governments that we partner with – to try and understand what their specific concerns are and share all of the information and be as transparent as possible about their concerns, so that we can move on from them.” Mr Stafford added that TikTok had had discussions with the EBU about the concerns. “Any one of our partners who has concerns, we are more than happy to be open and transparent with them about what they are,” he said. It came after Martin Osterdahl, the EBU’s executive supervisor for Eurovision, said the organisation plans to review its official partnership with TikTok – now in its second year – when the current contract ends. He told a press conference on Wednesday: “We review all our sponsorship agreements regularly and when they expire. We will do the same with TikTok. We will see what the situation is when that contract expires.” This year’s contest features a number of musicians with large followings on TikTok, including Norway’s Alessandra and Denmark’s Reiley. UK entrant Mae Muller, meanwhile, had chart success with her 2021 song Better Days after it went viral on the platform. Mr Stafford said that aside from last year’s UK entrant Sam Ryder being “incredibly talented” and “the most likeable person on Earth”, he also went into the 2022 contest with millions of TikTok fans. “I think a lot of other artists and delegations looked at that and saw the huge advantage there was to connect with fans and potential voters months before coming here,” he added. “So you will see that being a huge trend for the way various countries have selected their artists this year. “Of the 37 artists this year all of them are on TikTok and are really active and building their fan bases.” Darina Connolly, TikTok’s head of label and artist partnerships, said performers such as Israeli pop diva Noa Kirel, who has gone viral with a hand gesture dance move inspired by her song Unicorn, did not design their routines with TikTok in mind but such moments naturally translate to the app. She told PA: “I think all contestants are super focused on delivering the best performance that they can and I think easily a lot of that does translate to TikTok because we are an entertainment platform first and foremost, and people come to the platform to be entertained. “I wouldn’t say that the artists have done it specifically with TikTok in mind, but they have done it with entertainment in mind, which fits hand in hand with what we do as well.” Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Eurovision’s preparations for potential Russia cyberthreat ‘in good place’ UK-based tech company claims quantum computing ‘breakthrough’ Concert drone show organiser describes ‘nerve-wracking but exciting’ evening

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