#linear broadcasting

[flugertv]

Best Online M3U8 Players for Smooth Live Streaming in 2025

Among the best ways to interact with viewers in real time is live streaming. By letting viewers participate through comments, reactions, and live conversations, it enables creators to establish trust and connection with them.

According to a 2025 video marketing report by WebFX, 82% of audiences prefer live video over regular social media posts. Moreover, research conducted by Live Stream stats shows that the average time that a user spends watching live videos has increased by over 80% compared to the past few years. These stats highlight the importance of integrating live streaming options into your broadcasting strategies. 

The numbers don’t lie! Live streaming isn’t just trending; it’s the way audiences want to engage. However, even the most dynamic content falls flat if your viewers battle buffering or compatibility issues. That’s where choosing the right M3U8 player online (such as Fluger) becomes your secret weapon.

Let’s get the show on the road and learn about the benefits of using Fluger for live streaming. But first things first, let’s understand what an M3U8 player is and what features to look for in a streaming platform. 

What is P3U8 Player Online?

An M3U8 player online is an HLS (HTTP Live Streaming) protocol-supported web-based video player for streaming. It plays m3u8 files, which are playlist files meant for on-demand or live viewing in little bursts. This structure lets users view videos seamlessly across several devices, even on poor internet connections.

In simpler terms, when you stream using an M3U8 player, the viewer's internet speed and device type automatically influence how your video is modified. reduced interruptions and reduced buffering while offering a better overall experience for your audience.

Key Features to Look For in an M3U8 Streaming Platform

The below-mentioned key features ensure you get the maximum benefits from the investment you make. Here is what you need to count on:

1. Adaptive Bitrate Support:

Automatically switches between quality levels (like 480p to 4K) based on the viewer's internet speed. No buffering, just smooth playback for every viewer.

2. UTF-8 Encoding:

Supports multilingual metadata and subtitles, making your streams globally accessible. Displays special characters and non-English text correctly.

3. Versatility:

Works flawlessly across devices—phones, tablets, smart TVs, and browsers. One stream, perfect playback everywhere.

4. Streaming Support:

Handles both live broadcasts and on-demand content effortlessly. No extra setup is needed for different video types.

How Fluger’s M3U8 Player is an Outstanding Choice

Beyond a streaming tool, Fluger is a complete platform built for creators, broadcasters, and businesses who want reliable, high-quality live and on-demand streaming.

With its built-in M3U8 player, Fluger makes it easier to deliver smooth, uninterrupted streams to a global audience. Whether your business hosts frequent live broadcasts, you are a digital channel owner, or you are a solo producer - Fluger offers all the tools you need to give excellent streaming experiences free from technical difficulty. Its player offers adaptive bitrate streaming, which means your video changes automatically to match the internet speed of the user, therefore minimizing buffering and preserving constant quality.

Live streaming has changed, and so have the equipment required to present high-quality shows. Although there are several M3U8 players, Fluger is one of the top-tier solutions since it combines modern technologies with user-friendly features to provide creators and broadcasters with an unparalleled streaming experience.

Here’s why Fluger should be your go-to M3U8 player for seamless live streaming:

1. Ultra-Low Latency for Real-Time Engagement

Fluger’s advanced HLS streaming ensures minimal delay between your live broadcast and what viewers see. Whether you're hosting a live Q&A, gaming session, or corporate webinar, near-instant playback keeps interactions natural and engaging.

2. Adaptive Bitrate Streaming at Its Best

Not all viewers have the same internet speed. Fluger’s smart adaptive streaming automatically adjusts video quality (from 360p to 4K) based on each viewer’s connection. This helps eliminate buffering and drop-offs.

3. Multi-Device & Cross-Platform Compatibility

Fluger’s M3U8 player works flawlessly across all devices (such as phones, tablets, smart TVs, and desktops) and browsers, ensuring no viewer gets left behind due to compatibility issues.

4. Built-In Security & Anti-Piracy Measures

Protect your content with DRM encryption, token authentication, and secure HTTPS delivery. Fluger prevents unauthorized access and illegal redistribution, keeping your streams safe.

5. One-Click Playback for Hassle-Free Viewing

No complicated setups for your audience. Fluger’s plug-and-play M3U8 player lets viewers start watching instantly—just share the link, and they’re in.

6. Real-Time Analytics & Performance Tracking

Monitor viewer engagement, peak traffic times, and stream health with Fluger’s built-in analytics. Optimize your broadcasts based on real-time data to maximize reach and retention.

7. Multi-CDN Support for Global Reach

Fluger leverages multiple Content Delivery Networks (CDNs) to distribute streams efficiently worldwide. This means faster load times and zero lag, even during high-traffic events.

Conclusion: Fluger vs. Other M3U8 Players

There are plenty of M3U8 players available online, but not all of them offer the reliability and features needed for smooth live streaming. Some lack support for different devices, others can’t handle high traffic, and a few don’t even protect your content properly.

Fluger stands out by doing all of this and more. It’s not just a player, but a complete streaming solution that helps you deliver your content without buffering, delay, or compatibility issues. From real-time analytics and easy playback to global CDN support and built-in security, Fluger checks all the boxes.

In short, if you want your stream to work well for everyone, everywhere, every time, Fluger’s M3U8 player is a choice you can count on.

[baron-von-tibbles]

not to open a can of worms, but is it better to watch Haruhi Suzumiya (2006) in Broadcast or Chronological order?

[vonlipvig]

I just finished watching the bits of your life dlc and now I'm wondering if any of the extra paths might also be canon?

i LOVE bits of your life, god i miss that crazy bitch eamon so much (affectionate).

hmm, i mean, if i remember correctly, i don't think any of the possible paths in this DLC are particularly canon-breaking. sure, you can maybe argue that some of them might affect the results of the election in some way (especially those drunk!peter paths), but i don't think any of it would be enough to sway people who were already going to vote for advance. so probably the default path is the most canon one, but you can really pick and choose here.

they're all canon to dave, though, that's for sure!

[sneaky-tank]

Turns out pure methanol is stuffing her already insane bust with molecular sieves which she somehow fits into her incredibly sexy outfit (because the poisonous alcohols are 'evil' and therefore hotter of course).

Also for the chest sizes can we go up to Z² please? I'd like to see some real heckin badonkers here.

Anime where the girls are anthropomorphic personifications of different types of liquor (their chest sizes correlating with their alcohol content, obviously) and all the episodes are about mixing cocktails (they fuck).

[kevin--of-desert-bluffs]

Sometimes Cecil will claim he does something 'every broadcast' when he in fact does not, which leads me to the only logical conclusion that we are not actually hearing a full broadcast no matter as complete and linear as it seems to us. Cecil is actually On Air for hours and hours and we're just hearing bits of it.

[mariacallous]

Julia is a 22-year-old model, student, and self-proclaimed “princess” from Malibu, California, with one nonnegotiable: She refuses to shovel cow shit. But she’s down to play the part, she tells Farmer Jay, handing him a framed black-and-white photo of her in a bikini and cowboy hat. Grace, 23, dreams of being a stay-at-home mom with four kids. Jordyn, a 29-year-old country singer who lives in Nashville, Tennessee, says she would relocate across the country for her partner.

The three women are among 32 contestants on the most recent season of Farmer Wants a Wife, Fox’s rustic spin on The Bachelor. They come from different backgrounds and have all sorts of interests, but their goals are ultimately the same: to settle down, get married, and have kids.

While the women don’t explicitly talk politics, their focus on traditional values fits into a genre of entertainment that is rapidly reshaping the industry: Welcome to Hollywood’s MAGA reboot.

Hollywood is in the midst of another evolution. Studios are releasing fewer movies every year. Broadcast and news ratings are in decline. Screenwriters are struggling to sell scripts as salaries for studio heads have skyrocketed. Television and feature film production in Los Angeles shrunk by 30 percent in the first quarter of 2025, compared with the previous year, according to a report by FilmLA.

At the same time, Hollywood is also undergoing a resurgence in anti-woke conservative content thanks to the Trump administration’s anti-DEI agenda.

“More conservative projects are getting greenlit,” says Colin Whelan, a former studio executive at TLC and founder of Conveyer Media, which has produced reality shows for Netflix, HGTV, and Investigation Discovery. “People are pitching more shows like that because they realize that’s what’s selling.”

Maybe you’ve also noticed the subtle changes on your TV screen—content that favors Christian values, heartland themes, or law-and-order style programming.

Yellowstone, the Paramount drama about cattle ranchers in Montana, gained a massive audience during Trump’s first presidency, routinely breaking ratings records, and has since spawned successful spinoffs. Tim Allen’s Shifting Gears, about a grumpy widower with manosphere viewpoints, is a ratings hit for Disney’s linear broadcast audience, with “more live viewers on average than The Conners season 7 and Abbott Elementary season 4,” according to ScreenRant. It pulled in 3.7 million viewers for its season one finale. Farmer Wants a Wife has held steady ratings, averaging 1.5 million viewers weekly, and works as easy counterprogramming to more raunchy dating fodder like Temptation Island and Too Hot to Handle (both on Netflix).

In 2024, Trump Media and Technology Group launched a streaming service called Truth+, and the company made clear that it would prioritize “news, Christian content, and family-friendly programming that is uncancelable by Big Tech,” a mandate that now seems to be shaping the look of Hollywood more and more. (The streaming service also features at least one documentary—included among its most watched programs on the platform in May—peddling conspiracy theories about “serpent or lizard-like aliens who are secretly wielding influence over the human race,” according to an investigation by Talking Points Memo.)

In Trump’s version of Hollywood, old-fashioned values are in vogue again. The Christian drama 7th Heaven, about a Protestant minister and his seven children that aired for 11 seasons on The WB (later The CW), is in early development at CBS Studios and will “focus on a diverse family,” though it’s not clear what that means. Jessica Biel, who was in the original cast, is executive producing the reboot alongside Devon Franklin, a producer of faith-based films. Roseanne Barr, whose namesake show was canceled in 2018 after she posted a racist tweet about former Obama White House adviser Valerie Jarrett, is shopping a series that “saves America with guns, the Bible, petty crime, and alcoholism,” she told Variety.

Duck Dynasty, a duck-hunting reality show that ended in 2017, is also returning to television screens this summer on A+E, which experienced its first big hit of the year with Ozark Law, a show that followed multiple police departments in the Missouri region. Duck Dynasty producer Rob Worsoff is in talks with the Department of Homeland Security about a reality show where “immigrants compete to prove they are the most American,” according to The Wall Street Journal. Potential challenges include mining for gold or working on a Model T assembly line in Detroit.

What’s happening is a “cultural recalibration,” says Carri Twigg, a founding partner and head of development at Culture House, the production company that created Ladies First: A Story of Women in Hip-Hop and Hair Tales. The recalibration has led to a “generalized chill” in the industry that has caused more diverse projects to suffer.

“I’ve heard from multiple executives that there’s a noticeable hesitancy around content perceived as too progressive, especially if it centers non-white leads or tackles social issues explicitly. Even projects with mild inclusivity are getting flagged in internal discussions,” Twigg says. “Colleagues have expressed frustration that kinds stories they were encouraged to pitch just a couple years ago are now getting passed on as like ‘too niche’ or ‘not resonant right now’ by the same execs who once called them ‘visionary’ and ‘universal.’”

Twigg says there are two key reasons for the hesitancy.

“The political climate has emboldened executives who were always uncomfortable with the industry's post-2020 shifts. The power that DEI-era storytelling offered to historically excluded creators was unfamiliar, and in some corners, unwelcome.” The second, she says, is fear of reprisals from the administration.

In February, Federal Communications Commission chair Brendan Carr, who previously said he would end the agency’s DEI initiatives if appointed, opened a probe into NBC parent company Comcast, and later Disney, promising to take action if the investigation uncovered “any programs that promote invidious forms of DEI discrimination.” Carr has since said that the FCC plans to look into broadcast network affiliation agreements to help “constrain some of the power of national programmers.” According to Variety, Disney, Amazon, Paramount, and Warner Bros. Discovery have all rolled back programs aimed at increasing diversity.

Talk shows are also being encouraged to shift their programming. In a recent meeting with the cohosts of The View, the popular morning gabfest with Whoopi Goldberg and Joy Behar, ABC News president Almin Karamehmedovic urged the women to soften their criticisms of Trump, saying “the panel needed to broaden its conversations beyond its predominant focus on politics,” the Daily Beast reported. Disney CEO Bob Iger also suggested that the show “tone down” its political rhetoric.

One former executive at Amazon MGM Studios tells WIRED that Trump’s anti-DEI agenda, whose impact on film and TV only seems to be growing more pronounced, is a part of the administration’s Trojan-horse playbook to roll back civil rights. “It’s just the rhetoric they’re using to articulate what they really believe and who they really are.”

The White House did not respond to WIRED's request for comment.

The anti-DEI backlash threatens to make Hollywood even more out of touch than it already is to younger audiences, who increasingly prefer TikTok and YouTube to traditional viewing formats. An estimated 50 percent of Gen Z identifies as non-white, and nearly 30 percent identify as LGBTQ+. “These audiences aren’t just asking for representation—they expect it,” Twigg says. “If the industry starts backing away from inclusive storytelling, it won’t just be regressive—it’ll be a bad business decision.”

Original, inclusive storytelling is trending right now, as Sinners, Ryan Coogler’s vampire drama, proved by becoming the biggest box office success story of the year so far, earning $316 million globally. Hulu’s Paradise, about residents of a postapocalyptic town, and HBO Max’s The Pitt, a medical drama that follows an emergency-room crew over a 15-hour shift, have also felt like watercooler moments at a time when the industry is starved for them.

Beyond the cultural and commercial risks of a less diverse Hollywood, Twigg says there is a strategic one: Film and TV take years to develop and produce.

“Hitching your content strategy to a political moment that may not last through the next election—or the next news cycle—is short-sighted,” she says. “The stories being greenlit today will premiere in a future that may have swung back toward the very audiences currently being sidelined. If anything, the smartest strategy right now would be to build with resilience and relevance in mind—not reactionary politics.”

Whelan says that in over 20 years as a television producer, he has taken the same approach, regardless of the political and social climates of the time: to create shows that “entertain and inspire and maybe teach.”

In 2014, following stints at Syfy and TLC as a network executive, he applied that mindset to New Girls on the Block. It was the first follow-doc reality show with an all-trans cast. The series focused on a group of women in Kansas City, Missouri, who faced changing relationship dynamics in a society struggling to make space for trans women. The reality project he just wrapped probably sounds like a complete 180. It focuses on a Christian family who runs a ranch and takes in at-risk youth. But there’s more to it, he says.

“What’s interesting to me, having done it for so long, is I don’t see a huge difference between a show about a group of all transgender women and a group of ranchers trying to help at-risk youth,” he says. “It’s two groups of really amazing people trying to change their lives for the better, and change the world around them for the better as well.”

Tonality aside, fewer projects overall are moving forward this year, Whelan says, but that hasn’t stopped genuinely good ideas from finding an audience—no matter who sits in the Oval Office.

“Ozark Law would have sold regardless of the administration. The Netflix scripted series is all about breaking the law, so you know someone’s gonna come up with the idea of enforcing it. That’s how we pitch reality shows,” he says, before admitting, “I wish I had thought of that.”

[gallifreyinstituteforlearning]

What type of TV shows are popular on Gallifrey right now?

📺 What's popular on Gallifreyan TV right now?

We may not have exact viewer ratings (because, unsurprisingly, Gallifrey does not concern itself with audience engagement metrics that often), we do know what types of shows are likely being watched.

If you missed the previous rundown of Time Lord TV, you can catch up here:

But if you're wondering what's popular right now, here are a few speculative guesses:

📡 Live Broadcasts & Government Programming

🛑 The Presidential Address – Daily updates on Capitol politics. - Thrilling (mandatory) viewing where the Lord President reassures the public that everything is fine.

🌌 The Celestial Observatory Report – Real-time updates on stellar weather and cosmic anomalies. - Essential for predicting temporal storms and vortex disruptions for your commute.

🌀 Temporal Affairs Committee: Open Session – An exclusive look at Gallifreyan policy discussions that should have ended 500 years ago but didn't. - Popular among elderly Gallifreyans and those with nothing better to do.

🎙️ The Lord President Speaks… Again – The exact same speech you heard this morning, but now with a special commentary track explaining why it's even more brilliant than you originally thought.

🎭 Popular Dramatic Programming

📜 The House That Stands – A prestige drama chronicling the rise and fall of an ancient Gallifreyan House. - Expect scheming, betrayal, and a shocking number of regenerations. - Allegedly based on true events, though every major House denies involvement.

⌛ The Untold History of Time – A long-running docudrama that contradicts itself every season. - Covers historical events such as the Pythia's Curse, the Rassilon Era, and the Eternal Schism Debates (a six-part special). - No two experts agree on anything.

🚀 The Renegade Files – A sensationalist anthology profiling Gallifrey's most infamous outcasts. - Features the Master, the Monk, the Rani, and the Doctor—with wildly exaggerated re-enactments and lousy acting.

🌀 Schism: A Time Lord Story – A coming-of-age drama following young Gallifreyans as they prepare to look into the Untempered Schism. Episode guide: - Ep 1: I Don't Want to Be a Prydonian! - Ep 2: This Is Fine. (It Is Not Fine.) - Ep 3: Is It Supposed to Whisper Back?

🎩 The Patrexian Conundrum – A detective series starring a Time Lord investigator who solves paradox-related crimes. - Every episode features puzzling inconsistencies in the timeline that must be unravelled. - Special twist: Every episode starts with the detective already knowing the solution—but needing to work backward to prove it.

🧠 Game Shows & Mental Challenges

🧩 The Prydonian Trials – A high-stakes academic showdown where Junior Time Lords must solve paradoxes, predict quantum fluctuations, and recite ancient High Gallifreyan poetry.

🔍 Who's That Renegade? – Contestants must guess which Time Lord went rogue based on obscure historical clues.

👽 The Mind Probe! – A high-stakes game show where contestants must answer Gallifreyan history questions under extreme pressure. - Face the infamous question: "You will answer… the Mind Probe!" (There is no actual mind probe.)

🎤 Entertainment & Cultural Shows

🎭 The 4D Theatre Showcase – Broadcasts of avant-garde Gallifreyan theatre. - Features time-loop performances and non-linear tragedies.

😂 Temporal Standstill – Gallifreyan improv comedy, featuring jokes that unfold over multiple centuries. - Watch performers set up a joke in one incarnation and deliver the punchline three regenerations later.

👶 Kids' Programming

📚 Junior Academy Lectures – Children's programming on Gallifrey is just accelerated coursework. - Topics include "Basic Quantum Entanglement for Ages 6-8" and "Your First 500 Years of Political Philosophy."

🏫 So …

Of course, what's actually popular depends on who you ask. And if you can't find something to watch there are still 87,656,432 channels. You'll stumble onto something eventually.

Related:

💬|⏰🎶What is Gallifreyan music like?: Musical instruments and genres on Gallifrey.

💬|⏰🎾What sports and games are there on Gallifrey?: The (lack of) physical sports on Gallifrey and other games.

💬|⏰🎮Do Gallifreyans have video games?: Detailing the one solitary 'video game' on Gallifrey.

Hope that helped! 😃

Any orange text is educated guesswork or theoretical. More content ... →📫Got a question? | 📚Complete list of Q+A and factoids →📢Announcements |🩻Biology |🗨️Language |🕰️Throwbacks |🤓Facts → Features:⭐Guest Posts | 🍜Chomp Chomp with Myishu →🫀Gallifreyan Anatomy and Physiology Guide (pending) →⚕️Gallifreyan Emergency Medicine Guides →📝Source list (WIP) →📜Masterpost If you're finding your happy place in this part of the internet, feel free to buy a coffee to help keep our exhausted human conscious. She works full-time in medicine and is so very tired 😴

[high-potential]

ABC Claims Top 5 Shows Among Adults 18-49 in Cross-Platform Broadcast Series Rankings

Freshman Comedy ‘Shifting Gears’ and Hit Fall Drama ‘High Potential’ Join ‘Abbott Elementary,’ ‘The Rookie’ and ‘9-1-1’ Atop Season to Date Competitive Multiplatform Chart

‘High Potential’ Continues To Score Highest Overall Streaming Audience This Season

Demonstrating the remarkable power of broadcast and streaming, ABC claims seven of the top 10 broadcast series among Adults 18-49, including the top five: “Shifting Gears” (No. 1 – 2.43 rating), “High Potential” (No. 2 – 2.42 rating), “Abbott Elementary” (No. 3 – 2.26 rating), “The Rookie” (No. 4 – 1.89 rating) and “9-1-1” (No. 5 – 1.81 rating), along with “Will Trent” (No. 9 – 1.34 rating) and “Grey’s Anatomy” (No. 10 – 1.32 rating). 20th Television produces all seven shows.

Driven by stellar streaming viewership on Hulu and Disney+, three ABC titles more than triple their seven-day linear averages, including “High Potential” (+297% – 2.42 rating vs. 0.61 rating), “Abbott Elementary” (+270% – 2.26 rating vs. 0.61 rating) and “Shifting Gears” (+242% – 2.43 rating vs. 0.71 rating).

Among Total Viewers, ABC claims three of the top five broadcast entertainment series this season, including “High Potential” (No. 3 – 11.53 million), “Shifting Gears” (No. 4 – 11.40 million) and “Will Trent” (No. 5 – 10.34 million). In addition, since moving to 9 p.m. as part of ABC’s powerhouse Tuesday lineup (1/7/25), “High Potential” hassurged to an average of 13.73 million Total Viewers across platforms, overtaking the No. 2 ranked “Matlock.”

“High Potential” has continued its reign as the most streamed series among Total Viewers (4.41 million), over 1 million viewers ahead of its closest drama competition, CBS’ “Tracker.”

Since its spectacular premiere in September, the pilot episode of “High Potential” (9/17/24) has drawn significant sampling, growing to a 6.82 rating among Adults 18-49 through mid-January, nearly doubling the No. 2 drama premiere this season, CBS’ “Matlock” (3.61 rating).

Source: ABC

[dotthings]

Here’s some further nuance on what’s happened here:

Misha got hate and was called a liar and called disrespectful and rude for highlighting a very real systemic issue in linear broadcast TV that isn’t only at the CW, and has been an issue for decades, concerning how networks, not just the CW, put caps on representation. Even when there is other representation, the mentality is still repressive. You can have this much representation and no more. He spoke up at a con OUSA where filming of panels isn’t allowed.

Jared gets treated like a hero for having a public, high profile tantrum on one of the biggest entertainment news media outlets to call out CW Nexstar for retooling their business model to become like all the other linear broadcast TV networks. Where CW has sports and game shows and there’s a highly strict bottom line concerning profitability. This is common practice for ABC, NBC, CBS, Fox. Old CW was never a “real” linear broadcast model in the first place. WB/Viacom (CBS) made money off streaming not CW broadcast. Nielsen numbers never mattered there as much as the profits they made from streaming. The netflix deal is the actual reason CW stayed alive, not Jared.

Not that CW Nexstar didn’t create its own problems. In the course of their goals to become a profitable network and trying to be just like the big boys, they went so draconian, cut so down to the bone, they burned off bankable talents and good shows. Because their per ep licensing fee caps were so strict. But there is nothing shocking about the business remodel.

It’s weird. That is just plain weird that Jared is treated as the hero and a revolutionary while Misha gets hate and called a liar while people ignore how much bolder Misha’s criticism of the system actually is. Jared goes off about stuff the CW Nexstar president himself has said in countless interviews. Publicly acceptable, public knowledge. Whereas Misha’s sting at linear broadcast censorship and caps on representation is one of those things nobody is supposed to talk about. While I’m fairly sure Misha shouldn’t care about alienating the CW Nexstar any more, systemically, Misha stuck his neck out more, as carefully as he could. Jared’s tantrum isn’t speaking on any forbidden subject the system would like silenced, it’s him reacting to obvious and self-declared business remodeling.

These things are not the same.

[flugertv]

Linear Broadcasting Made Simple: Your Own 24/7 Channel Online

Linear broadcasting is the digital version of traditional TV—content plays in a set order, at scheduled times. It’s a great way to offer a live, continuous viewing experience for your audience. Whether you're a content creator or a brand, linear broadcasting helps you build engagement and keep viewers tuned in. With Fluger.tv, you can easily create, schedule, and stream your own 24/7 channel online—no complex setup needed. Start broadcasting like a pro in minutes!

[shewokeonmywillytil]

Chapter One - Are You Ready to Start the Show?

short summary: non-linear plotline involving the introduction and the beginning of william and henry's relationship. it's about as healthy as you expect.

warnings: n/a

word count: ~2.6k words (2,598 words, to be exact!)

extra notes: i'd like to thank mod dogg for editing the dialogue and various other friends who offered me writing advice throughout the development of this chapter. i'd also like to thank you guys for your patience!

July 10th, 1955 - 11:43 PM - Big John’s Tavern

A young marine, still in uniform and fresh into his post-deployment phase, was effortlessly adjusting to the civilian lifestyle. His cheeks flushed feverishly as his head tilted into the passionate kiss he exchanged with another man who was possessively cornering him against the brick wall. The marine sniveled as he reinforced his grip on the other man's cheap purple jumper through hesitated, labored breaths. He leaned forward to kiss him again. Then again. And again. Eventually, they both pulled away to share a look that read nothing but shock and devotion. Before another kiss was shared between them, the marine panicked as he pushed the stranger away from him and ran out of the door, never to be seen inside the bar again.

The stranger stands alone in the empty bar. He stares at the wooden floor and begins to constantly lick at his dry lips as a look of realization passes in his eyes. It wasn't just the faint taste of rum and coke or the remnants of the cigarettes the marine smoked that he was missing. He dug into his right pocket, pulling out a crumpled cigarette pack to pull one of the cancerous sticks out with trembling hands. He took a sharp breath and held it between his slightly yellow teeth, tightly closing his eyes for a few seconds as it burned. It was plastic-wrapped with tears. As he strikes a match he found in his other pocket against the bar table, he swallows something rough in his throat and holds the flame to the end of the cigarette. He took a long drag from it.

He immediately had to sit down on one of the stools, coughing the inhaled smoke while clutching his chest. A new feeling of desperate longing weighed heavily against it, squeezing it to the point he felt suffocated and unable to function. The nicotine and tobacco running through his veins did nothing to soothe his nerves. He couldn't ignore it. Suddenly, he was seven again. He overheard the terrible news about his parents while eavesdropping on the conversation in the downstairs parlor. Similar to that night, he hugged himself tightly as he began to sob quietly. He was convinced that he was dying. His world was ending again.

July 10th, 1955 - 0936 - Charleston International Airport

In time, when tears didn't completely obscure his vision, the stranger's eyebrows furrowed deeply as he angrily grabbed the folded-up piece of paper in his pocket. He couldn't pinpoint the visceral emotion that he was feeling, but at least he had a name to blame on his vulnerable state, along with a wasted cigarette he barely smoked: Henry Emily.

The rows of polyester recliner chairs in the cramped space dedicated to the airport’s lounge were mostly unoccupied. Its visitors preferred to flock near the lounge’s dedicated bar that served watered-down cocktails and overpriced vending machine snacks to anyone willing to pay for them. Currently, a small group of marines slowly huddled around the bar to hurriedly order drinks whilst holding their military identification cards towards the bartender's face for the slight chance of redeeming a discount. The outlier from the group kept to himself in the corner of the lounge. He was covering the flame produced from his zippo while lighting his cigarette, glancing down at the two-inch television set that was attached to his chair's armrest.

The only thing playing at the moment was a broadcast of last night’s football game. He didn't care for football. He didn't even care for sports. However, the young private was willing to take any form of civilian entertainment considering he had just landed from an eighteen-hour flight from Korea. He rested his face on a propped fist as he watched the players dash across the small screen with lidded eyes. Cigarette ash landed on his ironed-out uniform, which mildly ruined his outward appearance of being the physical embodiment of those cardboard cutouts of a masculine, attractive marine outside of recruitment offices. If he had it his way, the young private would easily fade into obscurity while his peers went on about their lives. Being naturally quiet and reserved, this was such a common occurrence in his social life that he was convinced that his role as a wallflower was essential for the natural order of things.

However, things were going to be different this time, whether he liked it or not. A peculiar sight snapped him out of his dissociative state, causing him to turn his head to figure out where it came from. Its owner looked to be an eccentric character with his Technicolor clothing of nearly every color somehow finding a way to compliment his piercing brown eyes and dark brown mullet that barely fell past the collarbone. The highlight of his appearance was his smile. It seemed so practiced and approachable that it gave the impression that he'd go for the neck if one wasn't too careful. This is when the private realized that the stranger had been silently observing him while he had been absently watching television for a few minutes, which unnerved him. Both men were in an unintentional staring contest until the stranger began to talk.

“You must travel a lot," admired the stranger, whose natural English accent poked through certain syllables. “Lucky duck.”

"Lucky?” The private repeated incredulously.

“Of course! You know, I’ve always wanted to travel, never had the chance for it, but you must’ve gone everywhere.” The stranger explained with a slight chuckle as he leaned further in his chair. He crossed one leg over the other as he pulled out a cigarette to hold between his teeth.

"Yeah, well, it's not exactly a vacation,” The private scoffed politely. “You try being stuck in the trenches of some foreign country for 20 months. Lucky duck…” He rolled his eyes, crossing his arms to look at a random spot on the wall silently. The stranger looked understanding, allowing a brief moment of silence for the tension in the air to dissipate as he lit his cigarette with a lighter he pulled out of his left pocket from his yellow trousers.

A low, rumbling chuckle escaped the stranger’s throat. “Lucky or not, you must have done some good for your country, sir,” The stranger saluted the private, which was followed by a once-over. The private was unsure if the gesture was genuine or mocking. “I'm sure you'll be in the history books, Emily.” The private’s last name was read aloud slowly as the stranger’s eyes followed the yellow embroidered letters against the rectangular leather patch on the uniform’s right breast.

“Private Emily." The private corrected him by emphasizing his rank with a noticeable growl in his tone. The stranger paused for a few seconds as his face fell with eyes that studied the private’s now stiff posture. He didn't look intimidated, however. Just amused. Emily’s thick eyebrows furrowed as the stranger’s cackle cut through the commotion of the lounge for a few seconds.

“I’m sorry,” the stranger said through his laughter. When he noticed Emily’s furious expression, he suppressed his hysterics through a forced fit of coughing. He hit his chest a few times as he cleared his throat and straightened himself up in his chair. “I’m sorry, I do apologize. I should know better than to offend someone in uniform” Emily noticed the stranger trying to fight back a smile and simply turned his entire body away from him to look at the bar with crossed arms. It was getting increasingly busy with more marines huddling around the area to hound the poor bartender for another round of beers.

“Drink?" The stranger offered out of the blue.

“... Drink?" Emily echoed.

“Yes, drink. Would you like to have a drink with me?” The stranger clarified as he paused to take a moment to study Emily’s expression as he flicked the excess cigarette ash away from him. “Somewhere more intimate, of course."

Emily’s response was a pregnant pause. He looked exceptionally conflicted, silently loathing the idea of dedicating more time towards an individual he found to be mildly infuriating. The stranger’s subtle smile grew as he silently acknowledged the private’s hesitation. He could tell he couldn't explicitly tell him no out of being polite.

“I… I can't.” Emily mumbled.

“You can't?" The stranger tilted his head for a second.

“‘Fraid so."

"Why not?”

Emily internally began to choose his words carefully. “I…. I’d probably be a bore. I’m a lightweight, horrible at small talk…” Emily insisted, stumbling over his words, noticing the stranger smiled at him with eyes that showed that he was just getting more interested in him. He had to think of a quick alibi to get out of the situation.

“I have to be home soon, anyway. My mother and all…”

“Yes, your mother," the stranger nodded sagely, standing up with a sigh. “What a shame. It could've been my treat." Even in his brief disappointment, he was still smiling.

Emily stubbed out the cigarette he wasted on the ashtray with a guilty expression. “Let's make it a date. I'm going to a tavern with friends tonight. Perhaps we can set up a time to meet there.” The stranger looked towards nothing in particular before smiling. “I'd like that." He sat down next to the private, who pulled out a piece of paper. The stranger handed him a ballpoint pen to write his name and phone number on it. Once he finished, the stranger glanced over the note quietly.

“It's official then, Mr. Private Henry Emily."

“You don't have to call me that… at the tavern, I mean." Emily scratched behind his head.

“Of course. You’re off the clock, I get it." The stranger chuckled again. The private smiled for a few seconds as he simply stared at the stranger. He couldn't help being charmed by him.

“Thank you," Emily smiled. “Mr…"

“Afton.” The stranger completed his statement politely. “But you can call me William. Mr. Afton was my father."

"Thank you, William.” Emily corrected himself, silently wondering why his cheeks began to grow hot. William simply nodded.

"A pleasure.”

July 11th, 1955 - 2:35 AM - The Emily Household

For the past three hours, Henry could not sleep.

He had been silently studying the scattered, textured pattern of the popcorn ceiling. He noticed how it changed dramatically when the occasional passing car introduced a light traveling through his window’s blinds for only a few seconds. The clock ticked quietly in the background as Henry rolled over on his side, sinking into the cheap, twin-sized mattress of his bed to let out a sigh he had no idea that he'd been holding for a while. His eyes were plastic-wrapped with tears as prolonged rage was growing in his stomach. He hated how the entire night at the tavern unexpectedly ended after his feelings got the better of him. He longed for the attention of a man he didn't particularly like.

William was infuriating. He was the human embodiment of a mosquito bite that would only heal if you stopped scratching it, but you can't. Henry had never kissed another human being before, but he was convinced that William was an abysmal kisser. In fact, William was horrible at most things. He had no reason to crave his presence.

He rolled over to his other side.

Up to this point, he was comfortable sleeping in his empty room that was a part of his childhood home that had been frozen to time ever since he enlisted from the military. He was happy with eating with his parents at dinnertime, spending the rest of the night reading a book and going to sleep with nothing but his thoughts to accompany him. Henry was content with this life up until last night. He blinked furiously to try and keep the tears burning his eyes from rolling down his face. Henry sniffled. The young man whimpered as tears began to stain the fabric of his light blue pillow case. There was a pain that stung terribly in his chest. He wanted to curl up in a ball and die. It would've been a kinder fate compared to his current emotions. How pathetic.

The sound of the landline in the kitchen pulled him back into reality. He quickly climbed out of bed and ran towards the kitchen, as he didn't want to risk waking his parents up. The phone didn't have a chance to ring again as Henry picked up the receiver and held it to his ear, speaking in a strained whisper.

“Hello?"

“Oh, so now you answer." It was William.

“Now…? I was asleep. It's…” he let the air linger as he glanced at the cat-shaped clock in the kitchen. "... two in the morn—”

"I am aware.” His tone wasn't nearly as bright compared to a couple of hours ago. It was just ice cold. Henry paused, twirling the curling receiving cord nervously with his index finger.

“Listen. I know you're upset over what happened last night. I shouldn't have left you there like that. I'm sorry.”

There was a long, uncomfortable pause. The silence was deafening to the point Henry could only hear his heart rate accelerate and his throat close as he waited for a response. William finally broke the silence with a forced laugh.

“I’m sorry," He was always condescending, but now there was venom in his words. “You’re sorry? Is that supposed to make me feel better? Everything is just fine and dandy?”

"Well, no, but I figured—”

"I figured a man whose job is to be loyal to his country would know better than to treat a friend like that.”

"I was scared!" Henry raised his voice, before looking around the kitchen. “I was scared. I never felt that way before.” He repeated in a hushed tone.

"So you leave me high and dry because you were skittish.”

"William. Please.”

"No,” William took a short pause. Henry could hear him take a swig from a glass bottle. "You are pathetic, do you know that? I probably felt the same way that you did and you left me there. You left me there all alone.”

His voice was breaking. Henry stood there, holding the receiver to his ear with both of his hands as he breathed heavily. Both men were on the verge of tears. He blinked a few times, sniffling.

"I-I’m sorry, I don't know… I…I want this to work out. I want to be your friend," Henry wiped a few tears from his eyes. William didn't say anything. “I need to have a friend in my life. The other guys don't give a fuck about me. You made me feel special. I need you in my life…. I need you.”

William didn't speak. He sounded choked up on the phone. There was a long moment of silence, tension growing in the air as their relationship, undefined at the moment, was on the line.

"I…. It's fine. You can make it up to me, right?" William sniffled.

“Yes, absolutely." Henry's eyes widened for a few seconds out of slight desperation.

“Then it's settled. We can try again… you can try again,” William clarified after a brief pause. "I… tolerate your presence. It'd be a waste to let this friendship end after a simple mistake."

Henry could hear his smile through the phone. Although the air was still tense, the thought of pleasing his friend made him feel comforted.

“Thank you. Maybe we can discuss plans in the morning?"

“Sure, let's sleep on it. Good night, Henry."

“Good night."

[grantmentis]

2024 PWHL BROADCAST SCHEDULE SUMMARY:

PWHL season opener will be available to Canadian viewers live on CBC, TSN, and Sportsnet national television feeds, streamed on CBC Gem, ca, the CBC Sports app for iOS and Android devices, TSN.ca, the TSN app, and Sportsnet+. French-language coverage will appear on ICI TOU.TV.

PWHL season opener is available to United States regional TV viewers with MSG Networks and NESN.

All subsequent PWHL regular-season games are available to Canadian viewers on coverage divided across TSN, CBC, and Sportsnet which includes linear television and streaming on TSN+, CBC Gem, ca, the CBC Sports app, and Sportsnet+. Additional games will be announced pending NHL and AHL playoff schedules.

French-language coverage of all Montreal games will be split between RDS and Radio-Canada, ICI TOU.TV.

MSG Networks will be the home of all 24 PWHL New York games.

NESN will be the home of all 24 PWHL Boston games for fans in New England, excluding Fairfield County. Fans in New England can watch on NESN or stream on the NESN 360 app by logging in with their TV provider or purchasing a direct subscription.

League agreements with regional networks allow out-of-market distribution including the potential for games to be added on Sportsnet Pittsburgh and other networks on a case-by-case basis.

All PWHL games will be streamed on the league’s YouTube channel and available outside of Canada.

The league may announce additional broadcast partners throughout the season.

EDIT: Bally Sports North has also been added as a partner for PWHL Minnesota games

[911lsbts]

The move of flagship 9-1-1 to ABC, due on financial reasons, was announced in May. Now its spinoff, 9-1-1: Lone Star, which was renewed for a fifth season by Fox in May, will not return with new episodes this spring. Instead, the drama starring Rob Lowe, will produce 12 episodes to air in fall 2024, making fans’ wait for Season 5 extra long.

Like any other linear or streaming series, 9-1-1: Lone Star has been impacted by the double Hollywood strike. Earlier this fall, Fox and producing studio 20th Television had been discussing an 18-episode order, six episodes for midseason and 12 for fall, sources said. As the SAG-AFTRA strike stretched into November, those plans changed, and the two sides ultimately agreed on 12 episodes for fall 2024.

Fox needs 9-1-1: Lone Star next fall. Like other broadcast networks, Fox is delaying its new 2023-24 scripted series, dramas Doc and Rescue: Hi-Surf, to 2024-25, aiming at a fall/January launch when the network has NFL and MLB coverage as promotional platform. As Fox’s most established, longest-running and highest rated remaining drama, 9-1-1: Lone Star is expected to be used as a lead-in to help get both series off the ground.

[ncisfranchise-source]

It came down to the wire, but NCIS: Hawai’i ultimately didn’t make the cut for next season at CBS. The news comes days before the network is set to announce its fall schedule on May 2 and before the Season 3 finale of Hawai’i is scheduled to air on May 6. According to sources, the episode was not meant to be a series finale and includes a tease for what was to come but fans won’t be left reeling by a major cliffhanger.

The cancellation is not a complete shocker since, as Deadline has been reporting, NCIS: Hawai’i was on the bubble. Still, the outcome is surprising since I hear an effort was made to extend the drama’s run for at least an abbreviated fourth and final season, with producers agreeing to a massive budget cut and open to other concessions in order to keep the show going.

Hawai’i, the first series in the NCIS franchise with a female lead, Vanessa Lachey, is now the first series in the franchise not to get a proper sendoff after a brief run compared to its predecessors NCIS, renewed for a 22nd season, NCIS: Los Angeles (14 seasons) and NCIS: New Orleans (7). It is unclear whether series producer CBS Studios would shop the drama but there are no obvious buyers, with Paramount+ already stocked up with two NCIS original series, Sydney and the Tony and Ziva spinoff.

Attracting sizable viewership on a linear network is quite a challenge, so it is not common these days for a network to let go of the #12 most watched non-sports program on broadcast that averages 7.8 million linear viewers (most current) and 10M in Live+35 multi-platform viewing.

That is what CBS is doing with the cancellation of NCIS: Hawai’i, which added some star power and NCIS continuity this season with NCIS: Los Angeles‘ LL Cool J who has been in every episode.

It comes on the heels of Top 25 series So Help Me Todd and CSI: Vegas getting the axe last Friday. As I noted in the CBS Renewal Status Report earlier this month, the network was going to have to make some painful cancellation decisions, getting rid of shows other networks would’ve been happy to renew.

The series, as well as So Help Me Todd and CSI: Vegas, ultimately became a casualty of a strong schedule, a cost-management drive and overall uncertainty at the parent company Paramount Global, which is in the process of being sold.

Even before CBS’ lineup, delayed by the strikes, launched with the Super Bowl, the network already had committed to five new scripted series for next season, dramas Matlock, Watson and NCIS: Origins and comedies Poppa’s House and a Young Sheldon spinoff, with renewal conversations on NCIS: Sydney also well underway.

Then CBS’ originals returned, exceeding expectations, with the network claiming the top 16 most watched shows of its premiere week and 14 of the top 20 non-sports programs overall this midseason in Nielsen most current linear viewership.

With no obvious weaklings, Blue Bloods getting a final run next season and S.W.A.T. surprisingly uncanceled, the network had to cut deep in purging its slate to make room for the additions.

Just a year ago, a renewal for Hawai’i would’ve been a no-brainer: it’s part of a storied franchise with solid rating and crossover potential with the mothership series that yielded big ratings in January 2023. But now, CBS already has three other NCIS series already locked for next season: the original series, renewed for Season 22, Sydney, returning for a second season, and the upcoming Young Gibbs prequel NCIS: Origins. There is also the Tony & Ziva NCIS spinoff series greenlighted by Paramount+, making for a crowded NCIS field.

With strong multi-platform performance, as NCIS: Hawai’i ranked above several CBS dramas that have been renewed, including FBI: Most Wanted, FBI: International and S.W.A.T., it probably came down to money.

Even with the proposed budget cuts, NCIS: Hawai’i was still going to be expensive. Its long-term prospects were unclear — whether it would become a big global hit and moneymaker like its franchise predecessors. With CBS’ parent company focused on its short-term balance sheet as it prepares to sell, a corporate decision was made not to take a chance and find out.

In NCIS: Hawai’i, Special Agent in Charge of NCIS Pearl Harbor Jane Tennant (Lachey) and her team balance duty to family and country, investigating high-stakes crimes involving military personnel, national security and the mysteries of the island itself.

Alex Tarrant, Noah Mills, Jason Antoon, Yasmine Al-Bustami, Tori Anderson and Kian Talan also star. Matt Bosack, Jan Nash, Christopher Silber and Larry Teng served as executive producers.

In a recent Deadline interview, CBS Studios President David Stapf spoke about how “wholly unique” Hawai’i is while also being part of the franchise as the first NCIS series with a female lead, Lachey, and with its Hawai’i locale. “We were just coming off Hawaii Five-0, a very successful show,” he said of the spinoff’s origins. “People love that setting, it plays well over the globe.”

[squidsquidsquidsquidsquidgame]

Hey! Could you write about how Hyunju and female reader deal with a divorce even though they have a child,please?

Fractured Light

Pairing: Hyunju × Female Reader Genre: Drama, Angst, Hurt/Comfort, Family, LGBTQ+ Word Count: ~2,000 (adjust as needed) Warnings: Infidelity, Divorce, Emotional abuse, Mentions of spiraling mental health, Co-parenting struggles, Mild mentions of dysphoria

Summary: After discovering Hyunju’s secret messages to other women, the reader faces the painful decision to divorce—even as they share a young daughter. As Hyunju spirals into guilt and self-destruction, both must navigate the fractured remnants of their family while trying to hold onto love in new, difficult ways.

The night you found the texts, the house was quiet.

The baby monitor glowed soft green on the nightstand, broadcasting the slow, sleepy breathing of your daughter from down the hall. You were only grabbing Hyunju’s phone to silence the endless vibration—until your thumb hesitated on the screen. The name wasn’t familiar. The message preview wasn’t innocent.

You didn’t mean to look further. But once you opened the thread, there were more. Flirting. Compliments. Photos.

Not just one girl. Several.

And then the house wasn’t so quiet anymore.

Hyunju hadn’t meant for it to go that far. That’s what she said, sitting at the edge of your shared bed, knees trembling, face blotched with guilt.

“It wasn’t physical,” she said, as if emotional betrayal wasn’t enough to split something so carefully built. “I didn’t touch anyone. I just… I needed to feel wanted. I don’t even know who I am anymore.”

But you had already been holding her through that struggle. Through the hormone crashes. The tears over stubble, dysphoria, the world’s coldness. You’d kissed her shoulder on the hard nights, whispered affirmations she couldn’t say to herself. You’d thought love was enough.

But love can’t stop someone from running away.

You signed the papers six weeks later. Your daughter was barely two.

At first, Hyunju visited often. She brought snacks she thought your daughter would like, bought her picture books and promised to read them over video calls when she wasn’t around. You tried—God, you tried—to keep things civil. For your daughter.

But something in Hyunju started to crack after a few months. The messages got erratic. One night she showed up two hours late, eyes red and tired, talking a mile a minute about a new job that didn’t pan out, how the city felt “too loud,” how she hated looking in the mirror again.

You asked her if she was okay. She laughed too hard and said, “You’re not my wife anymore. You don’t have to ask.”

Spiraling became her routine.

She moved apartments three times in six months. Started and quit two jobs. Started hormones again. Stopped. Started again. Ghosted friends. Called you at 3 a.m. sobbing. Then didn’t answer texts for days. You’d have to gently explain to your daughter why Mommy didn’t come this week.

“She’s not feeling well,” you’d say.

“Does she still love me?” your daughter asked once, eyes big and soft.

You nodded. Even if it broke your own heart. “Yes, baby. So, so much.”

Hyunju didn’t know how to fix herself. Not yet. Maybe not ever. The guilt ate her alive. Not just for the cheating—but for not being strong enough to be the kind of parent she wanted to be.

She started writing letters she never sent. Drew little cartoons of your daughter and stuck them to her fridge. She kept her photo in her wallet even when she barely had money for rent.

The spiral wasn’t linear. Some days she clawed her way out. Some days she fell harder. But always, in the center of that storm, was the quiet ache of what she’d lost: a home, a woman who loved her, a family that could’ve been.

You weren’t angry anymore.

Just tired.

And sad.

You co-parented. You set boundaries. You reminded her of birthdays, gave her grace when she missed them, and didn’t make excuses when your daughter started noticing.

But you never stopped hoping she’d climb back out of the dark. Not for you. Not for the marriage. But for the little girl who still called her “Mommy,” and drew hearts with all three of your names inside them.

Even broken things can heal, you told yourself.

But some cracks never disappear.

And maybe that's okay.

[iheartvelma]

They’re aiming for kids with a YouTube Shorts series.

The article discusses the aging Trek fanbase and how their latest series aren’t attracting new viewers.

Well — as someone who grew up on it via reruns — I think the answer is obvious for Paramount.

Put Star Trek back on traditional linear, terrestrial, over-the-air and cable TV.

Regrow the audience, the old fashioned way, for the potential majority of audiences which don’t have Paramount+!!

They own CBS! Surely they have a slot in their lineup that isn’t devoted to the latest NTSC:SUV:CSV spinoff??

And remember, the Star Trek fanbase was grown through syndication. There’s a back catalogue now of 935 episodes across all the series ready to be licensed out.

I grew up watching Trek reruns on Sunday mornings at 10am on CBMT-6, our CBC station in Montreal. Then later, TNG arrived on our local CTV station, and then the followup series. I think of all of them, only Enterprise aired first on Space, the Canadian version of Syfy.

They’d rerun all the series during the summer to get us primed for the new seasons in the fall.

And of course the movies would eventually trickle down to TV, too, after running their course in theaters, on pay-per-view, and home video rentals. That was the big event, and we’d tape it (ads and all).

Reruns helped people discover the shows. The streaming era’s lack of reruns is really hurting shows’ longevity and long-tail possibilities. And that’s true of all TV, not just Trek.

How would anyone today discover, say, classic sitcoms? You don’t get an AP Bio or Abbott Elementary without a Welcome Back, Kotter, nor do you understand the great chain of family sitcoms without seeing at least one episode of All In The Family.

Just the work of Norman Lear alone could be a whole college degree!

TV without reruns is like an art museum that walls off everything older than 2015.

You’d only be able to see current works without any context — no sense of the history, interplay, influences, social movements, then-current events, or evolution of art that led us to today.

No algorithm can replace the intentionality of the old-school broadcast schedule, nor the serendipity of discovery.