An anonymous reader quotes a report from Gizmodo: Today, with the expansion of its Galaxy Upcycling at Home service (which is still in beta), users in the U.S., U.K., and South Korea will get access to an experimental feature in the SmartThings app designed to give an old Galaxy handset new life as a useful smart home accessory. By using the app to reconfigure the device's battery usage and optimization, Samsung says even older devices will still be able to deliver good longevity, while the phone's usual assortment of wireless connectivity features makes it easy to pair the phone with other devices in your home.

In the SmartThings app, Samsung provides a range of functions that an old smartphone can perform, including serving as a light sensor that can automatically turn on your smart lights or even your TV when it gets dark. Alternatively, you can also convert an old Galaxy phone into a sound sensor, with the phone using AI to detect common household noises like a barking dog, crying baby, or a knock on the door. In this way, you can also repurpose an old Samsung phone as a baby monitor of sorts [...]. And of course, even without much fiddling, upcycled Samsung phones can also be used as universal remotes, providing an easy way to control your streaming video box, play music on your smart speakers, control your lights, and more.

An anonymous reader quotes a report from Vox: The company plans to start selling subscriptions to podcasts and keeping a slice of each transaction for itself. Apple CEO Tim Cook briefly mentioned plans to roll out a subscription feature during the company's keynote event Tuesday, without offering more details. But a person familiar with Apple's plans has spelled it out to Recode:

- Starting next month, Apple will let podcast publishers sell subscriptions to individual shows or groups of shows, and set their own pricing, starting at 49 cents a month in the US.
- Apple won't require podcasters to create Apple-only exclusive shows, but it does want them to distinguish between stuff they're already distributing via Apple and stuff going up on other platforms: That could mean ad-free shows or shows with extra content or brand-new shows that only exist on Apple.
- Apple will keep 30 percent of any subscription revenue creators generate in their first year on the platform. After that, Apple's cut will drop to 15 percent. That's the same pricing scheme Apple already uses for other subscription services, like TV streamers.

As the 20-year-old International Space Station (ISS) starts showing its age, Russian Deputy Prime Minister Yury Borisov suggested Russia would back away from the ISS as early as 2025 to pursue a national space station. Science Magazine reports: Although he and other officials have since backpedaled from such a concrete date for withdrawal, Russian skepticism over the future of the ISS could complicate U.S. efforts to keep it operating until the end of the decade. "ISS partners would have a really hard time keeping the station functional without Russia," says Vitaly Egorov, an industry observer, writer, and former spokesperson for Dauria Aerospace, a Russian company.

On 18 April, Russia 1, a state TV channel, reported that Borisov told a meeting chaired by President Vladimir Putin, "We need to honestly inform our partners about leaving the ISS in 2025." In a statement to newswires released later that day, Borisov's office clarified his remarks and backtracked from the date. "A technical inspection is needed, and then we can make a decision and inform our partners," the statement said. But it reiterated that the ISS has run well past its original life span, and its condition "leaves much to be desired."

Seemingly downplaying Borisov's remarks this week, Dmitry Rogozin, who leads Roscosmos, the Russian space agency, said on Monday that Russia would not pull out of the ISS until the proposed new station becomes functional. "Pauses are deadly for human spaceflight," he wrote in a Facebook post. Rogozin later added that the new station, which does not have a name yet, could be based on one of the modules initially planned for the ISS.

The new Apple TV sports a more powerful A12 Bionic chip that lets it play HDR video at higher frame rates. It also comes equipped with a redesigned Siri remote. The Verge reports: The new Siri remote has an iPod-style scroll wheel, a five-way click pad, touch controls, a mute button, and a power button that can turn your TV on and off. Meanwhile, the Siri button is now on the side of the remote, and Apple says that the voice assistant now works on Apple TV in Austria, Ireland, and New Zealand, in addition to the 13 countries where it was already supported. Finally, the new Siri remote's enclosure is made out of 100 percent recycled aluminum.

You'll get the new remote with the new $179 4K set-top box, or it's available separately for $59. As well as being compatible with the new Apple TV 4K, it also works with the 2017 model and Apple TV HD. Apple will also sell the remote bundled with the Apple TV HD for $149. Other features of the Apple TV 4K include support for 60fps Dolby Vision playback over AirPlay from a compatible iPhone, and the ability to optimize the colors of your TV screen using the light sensor on an iPhone.

According to a new report by industry analysts Mark Mulligan and Keith Jopling of Midia Research, songwriters are getting drastically short-changed in the music-streaming economy. An anonymous reader shares an excerpt from the report: The 35-page report, which is available here for free, lays out both the history of this dilemma and some (admittedly difficult) proposed solutions, but what may be unprecedented is the way that it lays out how skewed against songwriters the new music economy is. A handful of the many statistics from the study follow:

- The global music industry revenues (recordings, publishing, live, merchandise, sponsorship) fell by 30% in 2020 due to the combined impact of COVID-19 and a recession
- Streaming has created a song economy, making the song more important than ever, yet music publisher royalties are more than three times smaller than record label royalties
- Streaming will bring further strong industry growth, reaching 697 million subscribers and $456 billion in retail revenues, but the royalty imbalance means that label streaming revenue will grow by 3.3 times more than publisher streaming revenue
- The current royalty system assumes all songs are worth the same - they are not - and rewards poor behavior that dilutes artist and songwriter royalties
- Music subscribers believe in the value of the song: twice as many (60%) state that the song matters more than the artist, than think the artist matters more (29%)
- They also believe that songwriters should be remunerated properly: 71% of music subscribers consider it important that streaming services pay songwriters fairly

In a section titled "The Songwriter's Paradox," it lays out the ways that the song has become more important than ever, but, paradoxically, the songwriter has less income and influence:

- Big record labels have weaponized songwriting: In order to try to minimize risks, bigger record labels are turning to an ever more elite group of songwriters to create hits.
- The emergence of the song economy: The audience has shift its focus from albums to songs.
- Writing and production are fusing: As music production technologies have become more central to both the songwriting process and to the formation of the final recorded work, there has been a growing fusion of the role of production with writing. This has led to a growing body of superstar writer-producers.
-The industrialization of songwriting: Record labels are reshaping songwriting by pulling together teams of songwriters to create "machine tooled" hits - finely crafted songs that are "optimized for streaming." While the upside for songwriters is more work, the downside is sharing an already-small streaming royalties pot with a larger team of creators and co-writers.
- Decline of traditional formats: Songwriters have long relied upon performance royalties from broadcast TV and radio. However, as the audiences on these platforms migrate towards on-demand alternatives, performance royalties face a long-term decline. Similarly, the continued fall in sales means fewer mechanical royalties for songwriters.
- Streaming royalties: The song is the first in line culturally but it is last in line for streaming royalties. Of total royalties paid by streaming services to rights holders, between a fifth and a quarter is paid for publishing rights to the song. Labels are paid more than three times higher than publishers on streaming. An independent label artist could earn more than three thousand dollars for a million subscriber streams, whereas a songwriter could expect to earn between $1,200 and $1,400, and even then, only if they are the sole songwriter on the track. On average, songwriters will therefore earn between a third and a half of what artists do. After proposing a series of solutions, such as implementing "fan-centric licenses" and revised streaming prices, the report concludes: "What is clear is that today's' song economy is not working as it should and that everyone across the value chain will benefit from a coordinated program of change."

Here's something to do if that TV commercial is too loud: complain to the feds, who just might do something about it. From a report: The U.S. Federal Communications Commission on Monday asked for public help to determine whether to update rules to prevent broadcast, cable and satellite providers from sending commercials that are louder than the programming they accompany. "In particular, we invite consumers to tell us their experiences," the agency's media bureau said in a public notice. The action follows an April 13 letter from Representative Anna Eshoo asking FCC Acting Chairwoman Jessica Rosenworcel to look into a reported increase in complaints about loud commercials. Eshoo wrote a 2010 law, known as the CALM Act, or Commercial Advertisement Loudness Mitigation Act, that underpins FCC rules that may be changed. The FCC has never sought to enforce the act, despite receiving thousands of complaints, Eshoo said. A recent press report said complaints to the FCC had increased "sharply," Eshoo wrote. "This worries me a great deal." Eshoo mentioned a March 31 report in Business Insider that said complaints to the FCC for the four-month period from November to February rose 140% compared to the same period a year earlier.

Texas TV station KPRC 2 reports that two men are dead after a Tesla "crashed into a tree and no one was driving the vehicle, officials say."

Long-time Slashdot readers AmiMoJo and McGruber both submitted the story: There was a person in the passenger seat of the front of the car and in the rear passenger seat of the car. Harris County Precinct 4 Constable Mark Herman said authorities believe no one else was in the car and that it burst into flames immediately. He said it he believes it wasn't being driven by a human.

Harris County Constable Precinct 4 deputies said the vehicle was traveling at a high speed when it failed to negotiate a cul-de-sac turn, ran off the road and hit the tree.

KPRC 2 reporter Deven Clarke spoke to one man's brother-in-law who said he was taking the car out for a spin with his best friend, so there were just two in the vehicle. The owner, he said, backed out of the driveway, and then may have hopped in the back seat only to crash a few hundred yards down the road...

Authorities said they used 32,000 gallons of water to extinguish the flames because the vehicle's batteries kept reigniting. At one point, Herman said, deputies had to call Tesla to ask them how to put out the fire in the battery.

EW reports: Felix Silla's friend and former Buck Rogers in the 25th Century costar Gil Gerard reported on Twitter that Silla died Friday after a battle with pancreatic cancer.

Coming in at just under 4 feet tall and only 70 pounds, Silla was the perfect choice for the mumbling Cousin Itt on The Addams Family. For years, audiences didn't see his face, the character covered in a full-length hairpiece, sporting sunglasses and a bowler hat... Silla did not provide the distinct mumbling voice of Cousin Itt. That was added by sound engineer Tony Magro in production...

He first came to the United States in 1955 and began his career touring with the Ringling Bros. and Barnum & Bailey Circus for seven years. He worked as a trapeze artist, tumbler, and bareback horse rider. Eventually, he settled in Hollywood in 1962, where he became a stuntman. He went on to work in movies like A Ticklish Fair, TV shows like Bonanza, and appeared in the first pilot for Star Trek, "The Cage." His small stature often helped him find work, including as Cousin Itt, robot sidekick Twiki on the NBC series Buck Rogers in the 25th Century, and even as a hang-gliding Ewok in Star Wars: Return of the Jedi...

He also excelled as a stand in, double, and stuntman working on projects such as Planet of the Apes, Demon Seed, Indiana Jones and the Temple of Doom, The Towering Inferno, The Hindenburg, E.T. the Extra-Terrestrial, Poltergeist, The Golden Child, Howard the Duck, and Batman Returns.
In 2018 one Las Vegas blog spotted Silla with Gil Gerard, posting a picture of the two side by side -- just as they'd posed decades earlier on Buck Rogers in the 25th Century.

While for that show Mel Blanc had provided the voice for Twiki the robot, the blog notes that Silla himself supplied the voice of Mortimer Goth in the Sims 2 videogame.

The lion's share of U.S. consumers say the streamer has the best original programming, according to a new Morgan Stanley survey. Variety reports: Netflix remains the most frequently cited as offering the best original programming -- with 38% of survey respondents picking it as No. 1, per the Wall Street analyst firm's 2021 streaming survey. That's roughly in line with Morgan Stanley's previous surveys. On the 2021 survey, 12% of respondents said Amazon Prime Video offers the best original programming, followed by Disney Plus, Hulu and HBO Max which each scored 6%-7% of total responses.

Among Netflix customers, the top reasons cited for subscribing to Netflix were "broad selection of content" (55%), "good original programming" (51%), "adds content I like" (49%) and "no commercials" (46%). In 2021, Netflix is projected to spend about $19 billion on content according to a forecast by financial research firm Bankr, up about 10% from last year. Netflix retains the No. 1 spot as the most widely used streaming service with 58% of respondents saying they use the service. Amazon Prime Video came in at 45% (up 400 basis points year over year), Disney Plus was at 31% (up 650 basis points), and HBO/HBO Max was 20% (up 500 basis points).

Google has announced that the Google Play Movies and TV app will no longer be available on any Roku set-top box or any Samsung, LG, Vizio or Roku smart TV starting July 15th. The Verge reports: If you have movies or TV shows purchased or rented through the service, you'll still be able to access them through the "Your movies and shows" section of the YouTube app on those devices. This change will also affect you if if you used the Movies and TV app to access Movies Anywhere, the service that allows you to redeem codes from DVDs and Blu-rays so you can access your media digitally. Google has confirmed to The Verge that users who relied on Play Movies and TV to access that content will be able to do so through YouTube.

There are a few other caveats to note in the transition to YouTube. Your Watchlist will no longer be viewable in the app (though it can still be seen on the web by Googling "my watchlist"), and while your family can still share the content you bought from the Movie and TV store, any purchases made in the YouTube app won't be shared with your family. [The Verge's article breaks down all the various ways you can access the content you purchased through the Play Store after July 15th.]

Apple has been a laggard in the smart-home space, but a versatile new device in early development could change that. From a Bloomberg report: The company is working on a product that would combine an Apple TV set-top box with a HomePod speaker and include a camera for video conferencing through a connected TV and other smart-home functions, according to people familiar with the matter, who asked not to be identified discussing internal matters. The device's other capabilities would include standard Apple TV box functions like watching video and gaming plus smart speaker uses such as playing music and using Apple's Siri digital assistant.

If launched, it would represent Apple's most ambitious smart-home hardware offering to date. The Cupertino, California-based technology giant is also mulling the launch of a high-end speaker with a touch screen to better compete with market leaders Google and Amazon.com, the people said. Such a device would combine an iPad with a HomePod speaker and also include a camera for video chat. Apple has explored connecting the iPad to the speaker with a robotic arm that can move to follow a user around a room, similar to Amazon's latest Echo Show gadget. Development of both Apple products is still in the early stages, and the company could decide to launch neither or change key features. The company often works on new concepts and devices without ultimately shipping them.

While difficult negotiations continue over a deal to curtail Iran's nuclear ambitions, this morning Iran suddenly experienced a blackout at its underground Natanz atomic facility, the Associated Press reports: While there was no immediate claim of responsibility, suspicion fell immediately on Israel, where its media nearly uniformly reported a devastating cyberattack orchestrated by the country caused the blackout. Israeli Prime Minister Benjamin Netanyahu later Sunday night toasted his security chiefs, with the head of the Mossad, Yossi Cohen, at his side on the eve of his country's Independence Day... Netanyahu, who also met Sunday with U.S. Defense Secretary Lloyd Austin, has vowed to do everything in his power to stop the nuclear deal...

Natanz has been targeted by sabotage in the past. The Stuxnet computer virus, discovered in 2010 and widely believed to be a joint U.S.-Israeli creation, once disrupted and destroyed Iranian centrifuges at Natanz amid an earlier period of Western fears about Tehran's program. Natanz suffered a mysterious explosion at its advanced centrifuge assembly plant in July that authorities later described as sabotage. Iran now is rebuilding that facility deep inside a nearby mountain. Iran also blamed Israel for the November killing of a scientist who began the country's military nuclear program decades earlier.

Multiple Israeli media outlets reported Sunday that an Israeli cyberattack caused the blackout in Natanz. Public broadcaster Kan said the Mossad was behind the attack. Channel 12 TV cited "experts" as estimating the attack shut down entire sections of the facility. While the reports offered no sourcing for their information, Israeli media maintains a close relationship with the country's military and intelligence agencies...

On Tuesday, an Iranian cargo ship said to serve as a floating base for Iran's paramilitary Revolutionary Guard forces off the coast of Yemen was struck by an explosion, likely from a limpet mine. Iran has blamed Israel for the blast. That attack escalated a long-running shadow war in Mideast waterways targeting shipping in the region.

QAnon "was all but confirmed to be a hoax by the person who ran the hoax," writes Mashable, citing the finale of a six-episode documentary on HBO by Cullen Hoback.

"All of it leads back to the same place — that there are very few other people who could have and would have made the Q drops other than the person who ran the place where they were posted," notes Newsweek: Ahead of the first episode, Ron Watkins posted on encrypted messaging service Telegram stating: "I am not Q. I've never spoken privately with Q. I don't know who Q is." However, during the final episode, Hoback suggests that Ron Watkins slips up and inadvertently reveals that he posted as Q on 8kun
A BBC investigative reporter on disinformation tweeted that climactic moment from Cullens' documentary, adding "It was so good it made the whole six hours worth it."

Or as Mashable puts it, "Ron Watkins seems to admit he's Q, in the dumbest possible ending to QAnon," calling it "so anticlimactic it bordered on absurd." The previously camera-shy Watkins — who runs 8kun [formerly 8chan] alongside his father, Jim — has long been the key suspect for the identity of Q... But his accidental reveal, the slip of the mask is huge, if anticlimactic, news... It's wild and so...dumb...that this is how we all find out — because Watkins slipped up for a second.

It makes sense since Q had somewhat inexplicably tied its fortunes to posting only on 8chan/8kun. It's inexplicable unless, you know, the Watkins family was behind the ordeal.
Insider notes that Fredrick Brennan, the software developer who created 8chan and has since become a vocal critic, also believes Q is one of the Watkins' — a theory investigated last June by the Atlantic. And in a September investigation, ABC News reported on the likelihood that Watkins is Q, finding that he and his son, Ron, were the "two Americans most clearly associated" with Q drops. The theory was also popularized by a September "Reply All" podcast episode...

At the end of February 2020, Watkins registered the PAC, "Disarm the Deep State," with the Federal Elections Commission.
They also note that after the documentary aired on HBO, "the community reacted as many experts suspected it would: denial and accusations of 'fake news.'" Watkins had apparently gone to great lengths to suggest to Cullen that Q was instead former Trump advisor Steve Bannon. And last week, the BBC reporter points out, Watkins' father began suggesting a new theory: that Q was actually....documentary maker Cullen Hoback. But the BBC reporter adds: Based on the finale of #QIntotheStorm Q drops are over for good. Both Jim and Ron told Cullen Hoback Q would end after the election, and that's exactly what happened.

We already had proof of the end given there haven't been any drops since 8 December, but we can now be certain.
Hoback's tweet specifically says that "Both Ron and Jim, but especially Ron, told me multiple times over the years that they believed Q would cease at the election." And Hoback adds:

"Ron implied on more than one occasion it *might be* a marketing campaign."

Sky TV, one of the largest broadcasters in the UK, has won a court injunction to prevent links to its TV shows from being illegally shared online. The interim order targets a man who moderated several TV-focused communities on Reddit while raising funds through Patreon and PayPal. TorrentFreak reports: According to an action filed by Sky in a Scottish court, Cherzo1 was the moderator of three sub-Reddits -- r/UKTVLAND, r/notapanelshow, and r/UKPanelShowsOnly -- which together had more than 51,000 subscribers. Cherzo also had a YouTube channel with more than 95,000 subscribers. According to Sky, all of these platforms were used to infringe the company's copyrights. In evidence to support its action, Sky states that Cherzo1 was motivated by money, receiving payments from fans and followers via Patreon and directly into his PayPal account. [...]

In order to curtail Cherzo1's activities, Sky asked the court to hand down an "interdict ad interim," a term used in Scotland to describe an interim injunction. The broadcaster asked the court to order Cherzo1 to stop uploading copies of broadcasts, stop posting hyperlinks to shows on Reddit and anywhere else on the Internet, and forbid him from assisting any third party to do the same. A court will grant an interim interdict if it believes there is a prima facie case against the defendant. [...] Anyone found breaching such an order could be subjected to a fine or even imprisonment.

Georgia is waiving vehicle emissions checks because a cyberware attack has halted all emission testing across Georgia and seven other states. Slashdot reader McGruber shares a report from WSB-TV, an ABC-affiliated television station licensed to Atlanta: The CEO of Applus Technologies, whose software runs the system, apologized during the emergency meeting Monday. The outages are delivering a huge blow to small business owners. "All of the sudden, we were doing emissions testing just like normal and the system just kind of shut down," said James Baxter, who owns BP Car Care Tire Pros. "We haven't been able to do emissions since." Baxter said before the cyberattack, his full service automobile shop conducted more than 100 vehicle emissions tests per day. "Emissions is $25. You can imagine the revenue loss. We have employees that are out of work because of this," he said. Last week, Georgia's Department of Revenue issued a press release that omitted mention of the attack.

The Georgia Department of Revenue said its automated systems have been offline since March 31. According to the report, officials aren't sure when the system will go back online. It's also unclear if the hackers were able to access any personal information.

A Soviet television adaptation of The Lord of the Rings thought to have been lost to time was rediscovered and posted on YouTube last week, delighting Russian-language fans of JRR Tolkien. From a report: The 1991 made-for-TV film, Khraniteli, based on Tolkien's The Fellowship of the Ring, is the only adaptation of his Lord of the Rings trilogy believed to have been made in the Soviet Union. Aired 10 years before the release of the first instalment of Peter Jackson's movie trilogy, the low-budget film appears ripped from another age: the costumes and sets are rudimentary, the special effects are ludicrous, and many of the scenes look more like a theatre production than a feature-length film. The score, composed by Andrei Romanov of the rock band Akvarium, also lends a distinctly Soviet ambience to the production, which was reportedly aired just once on television before disappearing into the archives of Leningrad Television. Few knew about its existence until Leningrad Television's successor, 5TV, abruptly posted the film to YouTube last week [part one | part two], where it has gained almost 400,000 views within several days.

The file-sharing blog TorrentFreak reports: Google was asked to remove a TorrentFreak article from its search results this week. The article in question reported that "The Mandalorian" was the most pirated TV show of 2020.

This notice claims to identify several problematic URLs that allegedly infringe the copyrights of Disney's hit series The Mandalorian. This is not unexpected, as The Mandalorian was the most pirated TV show of last year, as we reported in late December. However, we didn't expect to see our article as one of the targeted links in the notice. Apparently, the news that The Mandalorian is widely pirated — which was repeated by dozens of other publications — is seen as copyright infringement?

Needless to say, we wholeheartedly disagree. This is not the way.
TorrentFreak specifies that the article in question "didn't host or link to any infringing content." (TorrentFreak's article was even linked to by major sites including CNET, Forbes, Variety, and even Slashdot.)

TorrentFreak also reports that it wasn't Disney who filed the takedown request, but GFM Films... At first, we thought that the German camera company GFM could have something to do with it, as they worked on The Mandalorian. However, earlier takedown notices from the same sender protected the film "The Last Witness," which is linked to the UK company GFM Film Sales. Since we obviously don't want to falsely accuse anyone, we're not pointing fingers.
So what happens next? We will certainly put up a fight if Google decides to remove the page. At the time of writing, this has yet to happen. The search engine currently lists the takedown request as 'pending,' which likely means that there will be a manual review. The good news is that Google is usually pretty good at catching overbroad takedown requests. This is also true for TorrentFreak articles that were targeted previously, including our coverage on the Green Book screener leak.

April 2nd was "World Autism Awareness Day." This prompted Salon to ask: What would a good representation of autism in the media look like? When you talk to people who are neurodiverse, one problem they consistently identify is that even well-developed characters who seem to be on the spectrum are frequently "coded" — that is, they are given personality traits associated with autism but are never directly identified as being autistic.

"I have yet to seen a portrayal in the media that feels genuine," Becca Hector, an autism and neurodiversity consultant and mentor in Colorado, told Salon via Facebook. After noting the prevalence of autistic stereotyping in media, and particularly the entertainment industry, she added that "the closest they ever got, in my opinion, is Temperance Bones from the TV show 'Bones.'" Hector praised how the character "acted" autistic and the people around her responded with a mixture of laughter and exasperation, which struck her as realistic. At the same time, Bones was "absolutely coded."

Jen Elcheson, a 39-year-old autistic paraeducator and published author living in western Canada, agreed with Hector about Bones in the Facebook conversation. "Honestly, I find autistic coded characters easier to relate to in entertainment than the ones they purposely make autistic," she observed. "Because when they do it deliberately, it's usually characters laden in all the stereotypes."
Although Elcheson argued the alternative was also bad.

"When characters are coded not only does the greater public miss out on seeing a different depiction of an autistic that isn't a stereotype, but the autistic community once again experiences erasure."

New submitter v1 writes: "Governor Ron DeSantis issued an executive order Friday forbidding local governments and businesses from requiring proof of a COVID-19 vaccine," reports WTXL-TV. In addition to local businesses and governments, this move is certain to rub the restarting cruise ship businesses the wrong way. Let the lawsuits begin! The executive order reads, in part: "No Florida government entity, or its subdivisions, agents, or assigns, shall be permitted to issue vaccine passports, vaccine passes, or other standardized documentation for the purpose of certifying an individual's COVID-19 vaccination status to a third party, or otherwise publish or share any individual's COVID-19 vaccination record or similar health information."

The full executive order can be found here (PDF)

Netflix says it has a plan to hit net zero greenhouse gas emissions by the end of 2022, with a big part of the streaming giant's efforts aimed at operating more eco-friendly film and TV productions. From a report: The "Net Zero + Nature" plan was outlined Tuesday in a blog post by Emma Stewart, PhD, who joined Netflix as its first sustainability officer last fall. At Netflix, "we aspire to entertain the world," she wrote. "But that requires a habitable world to entertain." In 2020, Netflix estimates its carbon footprint was 1.13 million metric tons, down slightly from 1.31 million the year prior (mostly due to delayed content productions during the COVID-19 pandemic). Roughly 50% of that was generated by the physical production of Netflix films and series, including third-party projects licensed as Netflix-branded originals. Another 45% came from corporate operations (e.g. office space) and purchased goods (like marketing spend) and 5% was attributed to internet cloud providers like Amazon Web Services and Netflix's Open Connect content delivery network.

Netflix's Net Zero + Nature approach encompasses three steps: reducing emissions, aligning with the Paris Agreement's goal to limit global warming to 1.5C; investing in projects that prevent carbon from entering the atmosphere; and investing in projects that remove carbon. (Netflix says its goal of reaching net zero CO2 emissions is a higher standard than "carbon neutral," which doesn't require reductions in greenhouse gas emissions.) By 2030, Netflix is aiming to reduce direct and indirect greenhouse gas emissions (Scope 1 and 2 emissions) by 45%, in line with the guidance from the Science Based Targets Initiative, a partnership among CDP, the U.N. Global Compact, World Resources Institute (WRI) and the World Wide Fund for Nature (WWF).