Topic: Iptv

Viacom purchased the free streaming service Pluto TV for $340 million. The discussion compares Pluto TV's superior engineering and instant channel loading to the "horrible" performance of Comcast's Xfinity streaming service. The acquisition is viewed as a move by Viacom to acquire reliable streaming technology that larger telecommunications giants have failed to master.

Dane Jasper discusses the benefits of symmetric gigabit speeds for cloud backups and video uploads. He explains why Sonic chooses not to offer its own cloud storage or IPTV television service, preferring to let customers use specialized third-party apps like Netflix, Hulu, or YouTube TV. Jasper argues that the television industry is moving toward internet-based streaming, making traditional cable bundles obsolete.

A host describes a total failure of the AT&T U-verse IPTV system following a hardware overheating issue. The discussion covers the lack of internal fans in the HP-manufactured boxes and the cumbersome software reset process involving repeated power cycling. The segment concludes with a critique of the lack of a clock on modern set-top boxes.

FCC Chairman Tom Wheeler released a letter proposing new regulations to force cable companies to unbundle their channels for internet-based streaming services. The proposal aims to give consumers more choices by allowing them to buy only the programs they want, similar to the 1992 mandate for the satellite industry. Critics warn that this move could lead to a more regulated, Hollywood-controlled internet and a degradation of overall service quality as linear streaming replaces traditional broadcast models.

John C. Dvorak broadcasts from a television studio in Brasilia, Brazil, after delivering a paid speech at the Futurecom technology event. He describes the IPTV infrastructure of the station and the social culture of the Brazilian people. Adam Curry welcomes him from California as they open episode 339 of the podcast.

John C. Dvorak announces the end of his show "Cranky Geeks," explaining that the half-hour format is no longer viable for traditional ad agencies. He criticizes agencies for only wanting to buy 15-second pre-roll ads and lacking the metrics to value longer-form content. The hosts contrast this failure with the success of the No Agenda value-for-value model.

The use of Slingbox technology allows users to remotely control and watch their home television sets from anywhere in the world, facilitating international viewing of Canadian or British TV. While the promise of IPTV is to make all global content accessible, the high cost of bandwidth and the need for "humongous pipes" to prevent buffering remain significant hurdles. This technical reality contradicts more optimistic views of free, high-definition global streaming.

ISPs are expected to begin acquiring content providers to bring data inside their own networks, reducing transit costs. While technology for IPTV exists, a viable business model for high-definition global distribution remains elusive. The challenge lies in creating enough revenue to sustain professional production while managing the high cost of Content Delivery Networks (CDNs).

Network television ratings have dropped significantly following the writer's strike, leading to a shift toward IPTV and on-demand distribution. High-budget dramas like "The Wire" and "Firefly" are cited as examples of content that finds long-term profitability through DVD sales and secondary digital markets rather than traditional broadcast.

The BBC has threatened to publish a blacklist of Internet Service Providers that throttle or shape bandwidth for its iPlayer service. The hosts discuss the transition of cable companies like Comcast into "pipe businesses" and the inevitability of IPTV replacing traditional cable television.

The discussion turns to the Writers Guild of America (WGA) strike and the central conflict over residuals for internet distribution and IPTV. The writers seek protection against new distribution methods that bypass traditional payment structures. The hosts speculate on the potential for "scab" writers to work remotely via the internet and the networks' strategy of relying on reruns and reality content.