Netflix dropped its most extensive viewing data yet, and while its not perfect, it does reveal that what we talk about online is not necessarily what people are watching.

A few months ago, I discovered a new genre of YouTube video. It’s called the “extended highlight,” and it typically takes the form of a video somewhere between eight and 18 minutes long, with rapid-fire jump cuts between all the most important parts of a game.

Looking back on the early multimedia adventures of the Teenage Mutant Ninja Turtles, with a bit of nostalgia on the side.

Previously: https://tedium.co/2019/08/20/teenage-mutant-ninja-turtles-nunchucks-censorship/

I see that Star Trek: Voyager has added a new character, a Borg. (From the photos, I also see that they’re still breeding women for breast size in the 24th century.) What ticked me off was the producer’s comment (I’m paraphrasing), “The addition of Seven of Nine will give us limitless story possibilities.”

I would watch dan luu trek.

In Jeopardy James’s case, the dominance was pretty fascinating. Holzhauer was a disruptive force who had turned the game upside down with all-in, aggressive tactics. The quants were losing their minds. There was genuine rumination over whether or not Holzhauer “broke” the game. Would Holzhauer actually be defeated—or would he have to be dragged off the set by “Jeopardy!” producers?

In case you’re wondering, no, the existence of Sybok has not been mentioned on Discovery. It’s almost as if they want us to forget Star Trek 5 happened.

I’ve learned a lot about industrial organization watching The Profit, a reality-TV show on CNBC featuring businessman Marcus Lemonis. In each episode Lemonis buys into a failing small-to-medium-sized business and works to turn it around. Lemonis doesn’t invest in a random sample of businesses nor even in a random sample of failing businesses. Nevertheless, the lessons that The Profit teaches are consistent with the new literature on management which has increased my confidence both in the show and the literature.

source: MR

The new ads drop most of the retro feel. The film quality is clear, not grainy. The tuxedo and bow tie are dropped for a sleeker suit. Most of the events in the commercials can happen today, they are simply about being cool, not about being timeless.

source: MR

Remember the terrifying, tumultuous, insert-scary-adjective-here year leading up to the new millennium? Did the uncertainty of the what the future held keep you up at night? Do you feel a sense of nostalgia for NBC’s Y2K: the Movie? Did you how about the music inspired by the millennium bug? Today’s Tedium seeks to transport you back to a time when the public imagination ran wild and pop culture fed the anxiety of the masses at the dawn of the new millennium.

“Eden” aspired to remake society altogether. What could go wrong?

Who’s excited for the end of the world?

It is a moment of remarkable contrast, with title sequences both blossoming with potential and seemingly imperiled. This conflict raises an interesting question: at a time when television titles have never been so good, what purpose do they actually still serve?

When it comes to technology, I have a lot of love for edge cases—situations where the march of innovation actually makes things a little bit worse.

Here, Michael K. Williams, of The Wire and The Night Of, wrestles with one of his own: Is he being typecast?

Omar says yes.

source: K

Several articles about stadiums, debt, TV deals, etc.

Profile of the creator. Nothing new if you’ve seen the show, but decent read about the creator.

Key facts: 2 each for Netflix and Amazon, 3 for HBO. Leaving one each for traditional networks FX, ABC, and NBC.

Something a little different.