Apple News
Paramount+ announces across-the-board price increases
Paramount+ prices are rising early next year. During the company’s latest quarterly earnings call, Paramount announced the increases will take effect on January 15, 2026.
Caitlin Huston for The Hollywood Reporter:
“Our ongoing investments in Paramount+ are enhancing the value we deliver to consumers. To support this continued investment, we plan to implement price increases in the US early in the first quarter of 2026, and we recently announced upcoming price adjustments in Canada and Australia. These changes will fuel continued reinvestment in the user experience and deliver an even stronger slate of programming for our customers in the year ahead and beyond,” [CEO David] Ellison said in the shareholder letter.
The company later said that starting Jan. 15, 2026, the Essential (ad-supported) plan will increase by $1 to $8.99 per month, and the Premium (ad-free) plan will rise by $1 to $13.99 per month. Annual plans will also increase, with the Essential plan moving to $89.99 per year and the Premium plan to $139.99 per year…
In the quarter, Paramount+ added 1.4 million new subscribers for a total of 79 million, up from 77.7 million in the second quarter and 79 million reported in the first quarter… The company reported direct-to-consumer revenue of $2.1 billion, up 17 percent year-over-year, driven by a 24% increase in Paramount+ revenue. In the letter, Ellison said he expects the direct-to-consumer segment to be profitable in 2026 and grow that profitability over the year.
MacDailyNews Take: Streaming costs continue their inexorable upwards creep. It took quite a while, but we’re starting to miss cable.
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Apple TV’s ‘Pluribus’ exposes the nightmarish core of socialism
By SteveJack
In an era where dystopian tales flood our screens — zombies shambling through The Walking Dead, surveillance states choking Black Mirror — Vince Gilligan’s Pluribus arrives like a sly whisper in the dark. Premiering on Apple TV just days ago, this sci-fi psychological thriller, starring Rhea Seehorn as the perpetually scowling Carol Sturka, doesn’t bombard us with overt horrors. Instead, it lures us into a world of enforced happiness, where a mysterious extraterrestrial RNA formula, transmitted from deep space, infects humanity through water supplies and petri dishes, transforming billions into a monolithic hive of unrelenting cheer. Carol, one of a handful of those immune — a grieving, cynical writer in sun-baked Albuquerque — becomes the reluctant rebel, navigating this “utopia” like a ghost in a candy-colored nightmare.
At first glance, Pluribus reads as a clever riff on pandemic-era anxieties, echoing The Leftovers or Invasion of the Body Snatchers with its pod-people conformity and eerie normalcy. But peel back the glossy veneer of Gilligan’s Albuquerque (a far cry from the meth labs of Breaking Bad), and you’ll find a razor-sharp allegory for the perils of socialism. Not the straw-man version peddled in soundbites, but the seductive promise of collective bliss that erodes individuality, innovation, and truth under the guise of equity and harmony. In Pluribus, bliss isn’t a gift — it’s a virus, and its spread mirrors how socialist ideologies can metastasize, promising paradise while devouring the soul.
Consider the setup: Humanity receives this cosmic “gift” — a formula for universal optimism, distributed en masse by brainwashed factory workers into the very infrastructure that sustains us. Sound familiar? It’s a chilling parallel to socialist central planning, where a benevolent (or not-so-benevolent) authority engineers societal “improvement” from the top down. Think of the Bolsheviks’ Five-Year Plans or Mao’s Great Leap Forward, reimagined as a feel-good directive from the stars. In Pluribus, the infected don’t march in lockstep to gulags; they skip hand-in-hand to communal sing-alongs, their personalities homogenized into a singular, grinning “We Is Us.” The title itself, a Latin nod to “e pluribus unum” (out of many, one), twists America’s founding motto into a warning: Unity at the expense of diversity isn’t strength — it’s stagnation.
Carol Sturka embodies the endangered individualist spirit that socialism so often crushes. As the “most miserable person on Earth,” she’s a stand-in for the dissident, the entrepreneur, the free thinker who refuses the collective script. Her cynicism isn’t a flaw; it’s her superpower. It allows her to question the narrative, to see the rot beneath the rainbow. This is socialism’s fatal blind spot: By prioritizing the group’s emotional equilibrium over personal liberty, it silences the very voices that drive progress. Who innovates when conformity is contagious?
Apple TV is the perfect home for Pluribus — after all, the company’s slogan is Think different.
The show’s satire bites deepest in its portrayal of this forced felicity as a counterfeit equality. The infected aren’t just happy — they’re uniform, their quirks sanded down to a uniform sheen of positivity. No more artists raging against the machine, no more Jobsian inventors tinkering in garages, no more messy human debates that birth real solutions. It’s a world where conflict is eradicated not through justice, but through infection: Lick a donut, share a water bottle, and poof—your revolutionary fire is doused in dopamine. Gilligan, ever the moral cartographer, maps this onto real-world collectivism’s track record. Soviet Russia’s suppression of kulaks (independent farmers) to enforce communal agriculture didn’t yield abundance; it starved millions. Venezuela’s oil wealth redistribution under Chávez and Maduro promised shared prosperity but delivered empty shelves and silenced critics. Pluribus asks: What if the “workers’ paradise” succeeded in making everyone equally content? The answer, delivered in Seehorn’s haunted eyes and the infected’s vacant smiles, is a resounding no thanks.
Critics have already hailed Pluribus for its audacity — The Guardian marvels at Gilligan’s chutzpah in imagining a world where “everybody just… got along?” — but they miss the deeper indictment. This isn’t mere anti-utopianism; it’s a cautionary tale. As debates rage over universal basic income, wealth taxes, and “equity” mandates, Pluribus reminds us that the road to hell is paved with good intentions — and in this case, with viral vectors of virtue-signaling. The RNA formula, after all, arrives unbidden, a deus ex machina from the cosmos that humanity eagerly adopts without a vote or a trial run. It’s the allure of the nanny state on steroids: Why struggle with markets’ chaos when an algorithm (or a starman) can optimize joy for all?
Yet Gilligan doesn’t leave us in despair. Carol’s immunity isn’t luck; it’s a testament to resilience, to the grit that socialism’s cheerleaders often dismiss as “greed” or “selfishness.” Carol’s existence a subtle nod to capitalism’s unsung heroes — the outliers who bootstrap solutions, from Steve Jobs’ garage to Elon Musk’s reusable rockets. In Pluribus‘ world, the real threat isn’t scarcity; it’s sameness, the socialist fever dream where innovation flatlines because “fairness” demands we all hum the same tune.
Of course, Pluribus is too nuanced for pat labels, blending off-kilter Twilight Zone unease with Severance-style corporate confornist dread. But, in a time when some politicians romanticize centralized, one-size-fits-all control, Gilligan’s series is a wake-up call: True freedom isn’t found in orchestrated hive-mind bliss, but in the right to be gloriously unique, unpredictable, and inventive.
Stream Pluribus on Apple TV and let it infect you — not with viral bliss, but with provocative questions. In Carol Sturka’s fight, we see our own: Against the tide of tidy tyrannies, holding fast to the messy miracle of the individual. Because true bliss only really exists when it’s chosen freely.
SteveJack is a long-time Macintosh user, web designer, multimedia producer and a semi-regular contributor to the MacDailyNews Opinion section.
MacDailyNews Note: Apple TV is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV 4K, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $12.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV or Mac can enjoy three months of Apple TV for free.
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[Thanks to MacDailyNews Reader “Fred Mertz” for the heads up.]
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Apple Original Films acquires ‘Fallen Astronaut’ manuscript
Deadline reports that Apple Original Films has preemptively acquired the manuscript for “Fallen Astronaut” by J.S. Mayank and David Carlyle, which began circulating among publishers just last week.
Anthony D’Alessandro for Deadline:
We hear that Apple paid in the high six figures to take the book off the table… Mayank & Carlyle will be Executive Producers on the film.
We hear that the manuscript has a tech-forward concept including a crucial sequence with VR, which makes it a ripe project for Apple.
Scott Glassgold and his 1201 Films are set to produce the movie for Apple which is billed as Gravity crossed with A Few Good Men.
MacDailyNews Take: “You can’t handle the suit!”
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[Thanks to MacDailyNews Reader “Fred Mertz” for the heads up.]
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Some analysts see upside in Apple missing GenAI
Wall Street hammered Apple for missing the initial GenAI wave and skimping on spending compared to rivals. Now, that’s being reevaluated. Investors are souring on the massive AI bets from OpenAI, Meta, and Microsoft — fueling wild swings in 2025’s hottest stocks. Suddenly, Apple’s whiff on GenAI has a silver lining.
Ryan Vlastelica and Carmen Reinicke:
While it’s still considered a potential AI winner, it doesn’t carry the risk of heavy capital expenditures and it does have ample cash on its books. That makes Apple shares a potential haven within the technology industry if the AI trade unwinds further.
“The hedge is it’s still a technology company, but not an AI company,” Brian Mulberry, client portfolio manager at Zacks Investment Management, said. “There is this positive feel for Apple that they don’t have to answer the big question that everybody else does, which is: What is the return on your invested capital in all of these other areas?”
The thesis is simple. Apple will benefit as it taps other companies’ models to deliver AI features to its millions of customers while avoiding much of the heavy spending required to develop its own capabilities, which is what many of its megacap peers are doing.
“Apple has the least exposure of the Mag 7 to AI in terms of where it is spending money and how leveraged it is,” said Brian Pollak, portfolio manager and head of the investment policy committee at Evercore. “It is absolutely true that it is a potential beneficiary of AI without having to spend all the capital that its cohorts are.”
“It has such a strong balance sheet, such strong cash flow, such a large moat in its business,” Pollak said. “All that makes it more defensive than the companies that have spent so much more on AI and are more leveraged to it.”
MacDailyNews Take: When life gives you lemons…
The obstacle is the way. – Marcus Aurelius
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Apple TV execs: No plans for ad-supported tier or to buy Warner Bros. Discovery
Apple TV executives have “no plans” to introduce ads to the streaming service, resisting—for now—a strategy that has fueled growth for competitors. This comes from Eddy Cue, Apple’s senior vice president of Services, in an interview with Screen International.
Another path to expansion is increasing subscribers. Amid reports that Warner Bros. Discovery may explore a sale, speculation arises about whether Apple could pursue growth via acquisition. However, the executives interviewed by Screen International appear focused on expanding Apple TV+ through original content.
Nothing at this time. … I don’t want to say no forever, but there are no plans. If we can stay aggressive with our pricing, it’s better for consumers not to get interrupted with ads. – Apple SVP Eddy Cue
Scharon Harding for Ars Technica:
The comments follow reports over the years suggesting that Apple has been seeking knowledge on how to build a streaming ads business. Most recently, The Telegraph reported that Apple TV executives met with the United Kingdom’s ratings body, Barb, to discuss what tracking ads on Apple TV would look like. In 2023, Apple hired advertising exec Lauren Fry as head of video and Apple News ad sales.
For Apple, “aggressive” pricing has meant three price hikes since Apple TV’s 2019 launch and a current monthly subscription fee of $13. For comparison, Netflix starts at $18 per month without ads, and Disney+ is $19/month without ads.
Cue and the other Apple executives interviewed for Screen International’s article didn’t discuss revenue or profits or specify how many subscribers Apple TV has (Cue did say that Apple TV is “growing faster” and has more viewers with “more viewing hours in this past year than” ever before). In March, The Information, citing two anonymous people “with direct knowledge of the matter,” reported that Apple TV costs Apple $1 billion per year. The publication’s sources claimed the service had about 45 million subscribers…
[As for Warner Bros. Discovery considering a sale], “We’re building an all-original services; we’re not building on the back of pre-existing IP or library,” Jamie Erlicht, one of Apple’s heads of worldwide video, said.
More directly, when asked if Apple might buy Warner Bros., A24, or Disney, Cue pointed out that Apple hasn’t historically done “a lot of major acquisitions.”
“We do very small acquisitions in general, not related to Apple TV, so I don’t see that happening because we like what we’re doing,” Cue said.
MacDailyNews Take: As we wrote in March:
Apple TV+ is working. It’s just working slowly. Its quality over quantity strategy is sound and its library of high-value original content is becoming more substantial every day.
Breakouts hits that permeate the zeitgeist like “Ted Lasso” and “Severance” are doing most of the heavy lifting for getting the word out. Apple could certainly do a better job of promoting the service.
Apple TV+ could lose $1 billion annually until the first Tuesday after Infinity and Apple would be perfectly fine; it wouldn’t even notice.
Last year, Apple Inc. generated average revenue of $1.07 billion per day.
As for Warner Bros. Discovery:
The chance of Apple doing a deal like this is roughly 0%. – MacDailyNews, October 23, 2025
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Apple reportedly delays next-gen ‘iPhone Air 2’ indefinitely
Apple has reportedly delayed the launch of the iPhone Air 2. According to The Information, Apple recently “notified engineers and suppliers that they were taking the next iPhone Air off the schedule without providing a new release date.” The report cites “three people involved in the project.”
The second-generation iPhone Air was originally scheduled to launch next fall alongside the iPhone 18 Pro and iPhone Fold. The Information reports that the device was planned to be even lighter than the current iPhone Air and feature a larger battery capacity.
Apple was also working on bringing the vapor chamber cooling system that first debuted on the iPhone 17 Pro to the iPhone Air 2. A separate supply chain rumor last week said the iPhone Air 2 may have also had two cameras.
The report says that Apple has “stopped short of canceling the next iPhone Air.” In fact, some Apple engineers and manufacturers are “still working on it.”
That said, however, there’s no release date on the books and this decision to remove the iPhone Air 2 from the schedule is “rare if not unprecedented.”
The Information attributes this decision to lower-than-expected sales of the iPhone Air so far. The report says Foxconn has “dismantled all but one and a half of its production lines for the first version and expects to halt all production by the end of the month.”
MacDailyNews Note: The full report via The Information also states, “It’s possible the product is undergoing a significant redesign, and one person said Apple could still release the second-generation iPhone Air as soon as spring 2027 alongside the standard iPhone 18 and budget-friendly 18e.”
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‘Breaking Bad’ stars unite in new Apple TV ‘Pluribus’ promo – Drew Barrymore and Carol Burnett, too
In a move that’s got “Breaking Bad” and “Better Call Saul” devotees buzzing, Apple TV has dropped an inventive 100-second teaser ad for Vince Gilligan’s latest dystopian gem, “Pluribus.” The promo doesn’t just hype the new series—it’s a full-on reunion extravaganza, featuring Bryan Cranston, Bob Odenkirk, Aaron Paul, and a slew of familiar faces from the meth-fueled, lawyerly universes they’ve called home. And at the center of this affectionate chaos? Rhea Seehorn, stepping out of her Better Call Saul heels and into the role of a lifetime as the world’s grumpiest savior.
For the uninitiated, Pluribus — which premiered on November 7th with its first two episodes and snagged a speedy Season 2 renewal — trades Albuquerque’s blue skies for a nightmare of enforced cheer. Seehorn plays Carol Sturka, a woman dubbed “the most miserable person on Earth,” who’s thrust into a global catastrophe that turns nearly everyone into a saccharine hive mind. Overnight, humanity swaps sharp elbows for group hugs, and the survivors who resist the bliss are hunted down. Carol’s mission? Protect her precious misery and, somehow, save the world from happiness. It’s classic Gilligan — dark, witty, and laced with that signature moral ambiguity — but with a fresh coat of existential absurdity.
The ad cleverly recreates a pivotal scene from Pluribus‘s debut episode, where Carol flips on her TV amid the unfolding apocalypse, only to be bombarded by a parade of “friendly” faces urging her to join the party. Enter the Breaking Bad brigade: It kicks off with Cranston’s Walter White staring down the barrel of the camera, his chyron flashing “JOIN US” like a command from the principal’s office. From there, it’s a montage of hundreds of beaming visages, but the real stars steal the show in their quick-hit cameos.
Odenkirk reprises his slick Saul Goodman (or is it Jimmy McGill?), teaming up with Patrick Fabian’s ever-smarmy Howard Hamlin to coo, “We just want to make you happy.” Giancarlo Esposito’s ice-cold Gus Fring softens just enough to murmur, “We’re sorry we upset you,” while Jonathan Banks’ Mike Ehrmantraut offers a stoic nod from the shadows. Aaron Paul pops up as Jesse Pinkman, looking equal parts bewildered and earnest against the backdrop of the Eiffel Tower — because why not globe-trot in the end times? Even Carol Burnett, who lit up Better Call Saul‘s final season, chimes in with a grandmotherly, “Carol, if you need us, we’re here for you.” And for that extra meta twist, Drew Barrymore crashes the feed straight from her talk show set, gazing soulfully at the lens: “We love you, Carol, and we just want to be happy.”
It’s peak fan service: a “sort of” crossover that nods to the interconnected web of Gilligan’s empire without muddying Pluribus‘ standalone waters. After all, while Better Call Saul blurred lines with surprise returns from Cranston and Paul in its swan-song season, this new series charts entirely new territory. No Heisenberg empire here — just a hive-mind horror show that skewers our obsession with positivity in the social media age. Gilligan, ever the provocateur, has teased in interviews that he envisions Pluribus running well beyond its confirmed second season, promising more twists on the theme of individuality in a world gone collectively nuts.
Seehorn, fresh off her Emmy-nominated run as the steely Kim Wexler, seems tailor-made for Carol’s prickly heroism. In the ad, her deadpan reactions to the onslaught of well-wishers are comedy gold — eyes rolling harder than a Saul courtroom plea. It’s a testament to her range, bridging the moral tightrope of Better Call Saul with this new breed of reluctant anti-hero. Seeing her Saul co-stars rally around her feels like a heartfelt pat on the back from the family she helped build.
Apple TV+ knows how to play the nostalgia card, and this promo is a masterstroke — playful enough to hook casual viewers, insider-y enough to reward die-hards. As Breaking Bad celebrates its 17th anniversary and Better Call Saul wraps its legacy, Pluribus arrives like a breath of fresh (if slightly rancid) air. It’s a reminder that Gilligan’s touch—equal parts tension, humor, and humanism—remains as potent as ever.
MacDailyNews Note: Apple TV is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV 4K, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $12.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV or Mac can enjoy three months of Apple TV for free.
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MacSurfer is back! Beloved Apple news aggregator revived under passionate new ownership
In an era where digital landscapes shift like sand dunes — swallowing beloved sites whole and spitting out algorithm-driven clones — one corner of the Apple ecosystem has reemerged. MacSurfer.com, the venerable daily roundup of Apple news that once served as a morning ritual for Apple Macintosh enthusiasts, is officially back online.
After years of dormancy, the site has been resurrected by Ken Turner, a former Apple software engineer whose personal connection to the platform runs as deep as its archives.
Launched in the pre-social media wilds of the web, MacSurfer earned its status as an “institution” by curating headlines from across the Apple world with a no-frills efficiency that cut through the noise. It vanished several years ago, leaving a void that echoed through forums and feeds alike. Now, with Turner at the helm, it’s not just a reboot — it’s a deliberate nod to its roots, laced with modern tweaks to ensure it thrives in 2025’s hyper-connected reality.
Turner, who joined Apple in 1997 and contributed to low-level software that powered countless Macs, discovered MacSurfer early in his career. “I joined Apple as a software engineer in 1997 and my manager told me about MacSurfer in one of our first meetings (really!) I became an almost daily visitor ever since,” he shared in an interview with SchwartzTech. “When it went dormant several years ago, I missed a daily news roundup of everything happening in the Apple world. My hope, partially selfish, is to bring it back to fill that need again.”
What began as quiet nostalgia quickly turned into action. Turner, now a veteran of startups and major e-commerce ventures outside the Apple bubble, couldn’t shake the habit of checking the dormant domain. “I kept checking the old site regularly to see if there was going to come back, which we know didn’t happen. Then one day I thought ‘I can do this myself’ and I reached out to the owner to see if he was willing to sell,” he explained. “I’m grateful that he was. Life got in the way and it took me some time, but I’m happy I was able to get it relaunched.”
This acquisition isn’t mere opportunism; it’s a bulwark against the web’s creeping commercialization. As Turner sees it, too many “institutions” like MacSurfer get scrapped for domains or intellectual property scraps when their creators move on. “You bring up a sad-but-true commentary on how the web overall is so commercialized today and few sites have goals beyond milking the users for whatever they can get,” he told SchwartzTech. To honor the original, he’s faithfully recreated its iconic look and feel, logo included. “Of course, I could have built a site similar to MacSurfer, but with a different domain etc, but I knew many others missed [it] like I did. I am intentionally trying to call back to the original look and feel… and intend to always maintain that. I will add some additional features and information along the way but don’t want to stray from the original vision.”
The site now updates more frequently than its predecessor, complete with smart article grouping and a budding calendar of Apple events — while leaning on Turner’s engineering chops for sustainable automation.
Looking ahead, Turner’s vision balances reverence with evolution. Reliability remains paramount: “It is important to me that MacSurfer resumes as a reliable daily source of Apple news headlines.”
He’s eyeing expansions like highlighting top-clicked stories, broader ecosystem coverage (think third-party apps and accessories), and spotlighting genuine reviews amid the affiliate noise. User features, such as upvotes, are on the table, too. And while ads might return discreetly, this is no profit play. “[O]verall, this is not a cash-cow site, it’s meant to be more of a passion project.”
\Turner invites feedback, promising to revive missed elements from the old days. “I understand and feel the passion people had for MacSurfer in the past, and hope it is valuable going forward. I am also willing to take it in a direction that users want. If there are other features people miss from the old site, I’d be happy to take a look to bring them back.”
Apple news die-hards, head over to MacSurfer.com. In Turner’s words, it’s back to fill a need that’s never truly gone away.
MacDailyNews Take: We periodically check old, defunct Apple news sites to see if there’s any movement. We were SO HAPPY to randomly visit MacSurfer over the weekend and find It’s Alive! MacSurfer is a site that we visited every day, multiple times per day for decades, and we are very happy to have it back!
We’re not kidding – when we realized that the articles on MacSurfer were current, shouts of joy echoed throughout the palatial halls of the MDN headquarters!
Note to Ken: Thank you! And, one thing we’d like to see return is the daily list of most popular articles.
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Big Tech may benefit as EU considers easing AI regulations
Apple, Meta Platforms, and other tech giants could gain a reprieve from the EU’s AI regulations, as the European Commission considers easing parts of the legislation to streamline a wave of rules enacted over the past two years.
The initiative follows heavy lobbying from major tech firms and U.S. government criticism of last year’s AI Act, which imposes risk-based requirements on artificial intelligence.
Reuters:
“The Commission is proposing targeted simplification measures aimed at ensuring timely, smooth and proportionate implementation,” the draft Digital Omnibus document seen by Reuters said.
The changes include exempting companies from registering their AI systems in an EU database for high-risk systems if these are only used for narrow or procedural tasks, and the introduction of a one-year grace period where authorities can only levy penalties from August 2, 2027.
MacDailyNews Take: Our position remains unchanged nearly two decades on:
[W]e usually prefer the government to be hands-off wherever possible, Laissez-faire… Regulations are static and the marketplace is fluid, so extensive regulations can have unintended, unforeseen results down the road. – MacDailyNews, June 9, 2006
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Apple’s 20th Anniversary iPhone to feature front-facing camera hidden under display
A Chinese leaker claimed today that Apple will hide the front-facing camera under the display in its 2027 iPhone, supporting reports that the 20th anniversary model will feature a display with no visible cutouts.
Weibo-based account Digital Chat Station said Apple’s development of under-screen camera technology was progressing as planned for adoption in 2027, one year after it will reportedly debut under-screen Face ID technology on iPhone 18 Pro models.
Regardless, JP Morgan recently reported that Apple’s first foldable will have an industry-first 24-megapixel camera under the inner display. Under-screen cameras typically use 4 or 8 megapixels, suggesting Apple has achieved a breakthrough in greatly improving light transmittance and image quality compared to previous designs.
Apple is reportedly working on a radical redesign for the 20th anniversary iPhone that could feature a completely bezel-less display that curves around all four edges of the device. There is a strong expectation that Apple will skip “iPhone 19” nomenclature.
MacDailyNews Take: iPhone 20 (there will be no “iPhone 19,” just as there was no “iPhone 9”) in 2027 will be a revelation in terms of technology and in sales!
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Apple preps major new satellite connectivity features for iPhones and Apple Watches
Apple introduced Emergency SOS via Satellite with the iPhone 14 in 2022, enabling users without cellular coverage to reach emergency responders through satellite — but it was only the first step.
MarkGurman for Bloomberg News:
Since then, Apple has steadily expanded its satellite offerings. In 2023, it added roadside assistance via AAA for stranded drivers, and more recently, it enabled users to send and receive text messages — not just for emergencies — when off the grid.
The service links compatible iPhones — and now the Apple Watch Ultra 3 — to a satellite network run by Globalstar… But the competitive landscape is shifting. Elon Musk’s Space Exploration Technologies Corp., owner of Starlink, has become a major force in satellite communications and forged a wide-ranging partnership with T-Mobile US Inc.
A fast-changing industry could ultimately force Apple to change its approach. For one, Globalstar is exploring a potential sale. And Musk’s SpaceX is seen as a possible acquirer.
If SpaceX ultimately acquires Globalstar, those enhancements could roll out more quickly than otherwise possible. But such a deal would also force Apple to rethink its business model and long-term strategy for satellite services.
Apple’s approach has been to own a core set of features and offer them at no cost — from Emergency SOS to the upcoming enhancements — as a way to drive iPhone sales, encourage upgrades and keep users within its ecosystem. For more advanced capabilities, Apple plans to let customers pay carriers, SpaceX or other satellite providers directly.
MacDailyNews Take: Apple would do well to think apolitically and ink deals to use both SpaceX’s superior Starlink satellite connectivity and xAI’s outstanding Grok in Apple Intelligence.
iPhone users, including non-T-Mobile subscribers, can add T-Satellite with Starlink by calling 1-844-638-8913 or visiting a T-Mobile retail store. More info here.
Note: On February 28, 2023, Apple lent Globalstar $252 million to help cover upfront costs for replenishing its low Earth orbit (LEO) constellation to support Apple’s “Emergency SOS via satellite.”
See also:
• As Elon Musk’s SpaceX delivers real satellite connectivity to smartphones, Apple might be having second thoughts about propping up Globalstar – October 6, 2025
• Apple to invest up to $1.5 billion more in Globalstar for satellite coverage expansion – November 1, 2024
• As Elon Musk’s SpaceX delivers real satellite connectivity to smartphones, Apple might be having second thoughts about propping up Globalstar – October 6, 2025
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Apple AirTag 4-pack only $64.99 at Amazon for a limited time
The popular 4-pack of Apple AirTag item trackers is currently selling for just $64.99, or 34% off its $99 list price.
Apple’s AirTag is a small and elegantly designed accessory that helps keep track of and find the items (and pets and children) that matter most with Apple’s Find My app. Whether attached to a handbag, keys, backpack, a pet, or other items, AirTag taps into the vast, global Find My network and can help locate a lost item, all while keeping location data private and anonymous with end-to-end encryption.
Each round AirTag is small and lightweight, features precision-etched polished stainless steel, and is IP67 water- and dust-resistant. A built-in speaker plays sounds to help locate AirTag, while a removable cover makes it easy for users to replace the battery. AirTag features the same magical setup experience as AirPods — just bring AirTag close to iPhone and it will connect. Users can assign AirTag to an item and name it with a default like “Keys” or “Jacket,” or provide a custom name of their choosing.
img src=”https://macdailynews.com/wp-content/uploads/2021/04/210420_airtag_12.png” alt=”With the Find My network accessory program, the vast and secure Find My network now helps users locate and keep track of even more important items in their lives using the Items tab in the Find My app.” width=”660″ height=”1323″ class=”size-full wp-image-244499″ /> With the Find My network accessory program, the vast and secure Find My network now helps users locate and keep track of even more important items in their lives using the Items tab in the Find My app.Once AirTag is set up, it will appear in the Items tab in the Find My app, where users can view the item’s current or last known location on a map. If a user misplaces their item and it is within Bluetooth range, they can use the Find My app to play a sound from the AirTag to help locate it. Users can also ask Siri to find their item, and AirTag will play a sound if it is nearby.
MacDailyNews Take: Get ’em while they last for 34% off the $99 list price here!
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Rhea Seehorn is a funny, sad marvel in Vince Gilligan’s ‘Pluribus’ now streaming on Apple TV
“Pluribus” is the highly anticipated drama hailing from writer and director Vince Gilligan, the creator of “Breaking Bad” and co-creator of “Better Call Saul.” Starring Rhea Seehorn, who earned two Emmy nominations for her acclaimed performance in “Better Call Saul,” the nine-episode drama series makes its global debut today on Apple TV with its first two episodes, followed by new episodes every Friday through December 26th.
Picked up in a two-season order, “Pluribus” is a genre-bending original in which the most miserable person on Earth must save the world from happiness.
Daniel Fienberg for The Hollywood Reporter:
Like several of my peers, I had concerns about the kind of parts that Seehorn might be offered once Better Call Saul ended. When Gilligan announced that she would be the star of his follow-up series, his first creation or co-creation outside of that television universe since The Lone Gunman in 2001 (unless you count CBS’ Battle Creek, which you probably shouldn’t), it was cause for celebration. If anybody knew how to make a Rhea Seehorn vehicle, it would be Gilligan. Right?
That question can be answered simply: Correct!
Pluribus, which premieres its nine-episode first season (a second was part of the original pickup) Friday on Apple TV, is a Rhea Seehorn vehicle through-and-through. It’s a pure and, at times, solo showcase that might have worked to some degree with other actresses of a similar quality, but delivers its blend of emotional drama, broad comedy and unsettling horror thanks to Seehorn’s versatility…
It’s an extremely funny, somewhat unsettling, impressively odd show that gains in confidence across the seven episodes sent to critics; If you’ve ever wondered why critics have built a Cult of Rhea Seehorn, just watch the first half of Pluribus‘ seventh episode.
MacDailyNews Take: Pluribus is one of the year’s best series.
MacDailyNews Note: Apple TV is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV 4K, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $12.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV or Mac can enjoy three months of Apple TV for free.
Please help support MacDailyNews — and enjoy subscriber-only articles, comments, chat, and more — by subscribing to our Substack: macdailynews.substack.com. Thank you!
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[Thanks to MacDailyNews Reader “Fred Mertz” for the heads up.]
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Why a Supreme Court loss on IEEPA won’t derail President Trump’s tariffs
As the U.S. Supreme Court wraps up oral arguments in Learning Resources, Inc. v. Trump and a companion case, the fate of President Donald Trump’s sweeping “Liberation Day” tariffs hangs in the balance. Invoking the International Emergency Economic Powers Act (IEEPA) of 1977, Trump imposed baseline duties of 10% on imports from nearly every trading partner in April, with escalations up to 50% on select nations like China, Brazil, and the European Union. These levies, tied to declared “national emergencies” over trade deficits and issues like fentanyl trafficking, have generated over $130 billion in revenue this fiscal year while fueling negotiations on everything from border security to intellectual property.
Yet, justices from across the ideological spectrum expressed some skepticism during Wednesday’s hearing about whether IEEPA — a law designed to curb presidential overreach in peacetime emergencies — grants the authority to impose revenue-raising tariffs. Chief Justice John Roberts noted the statute’s silence on tariffs, while Justice Sonia Sotomayor bluntly called them “taxes,” questioning if IEEPA turns the president into an unchecked tax collector. Justice Amy Coney Barrett probed the implications, warning that upholding the tariffs could make it nearly impossible for Congress to reclaim its constitutional power over duties without a veto-proof majority.
Lower courts, including the U.S. Court of International Trade and the Federal Circuit, already struck down the tariffs in unanimous and 7-4 decisions, respectively, ruling that IEEPA’s vague language on “regulating” imports doesn’t extend to broad taxation. Legal experts predict a similar outcome from the high court, potentially by year’s end, forcing refunds for affected businesses and states.
But here’s the deal: A loss wouldn’t gut Trump’s tariff playbook. White House officials, including Treasury Secretary Scott Bessent, have openly signaled a “Plan B” — a arsenal of alternative statutes that could replicate much of the IEEPA regime. “We’re optimistic, but we’ve always prepared for every scenario,” Bessent told Fox Business post-hearing, emphasizing the administration’s contingency planning.
As one trade attorney put it, “The U.S. government has the authority it needs to try to recreate the IEEPA tariff regime if it chooses to do so.”
The IEEPA Impasse: A Law Meant to Limit, Not Expand, Power
Enacted to rein in the expansive Trading with the Enemy Act of 1917 — which President Richard Nixon once used for a 10% universal tariff — IEEPA empowers the president to “investigate, regulate, or prohibit” imports during a declared emergency stemming from an “unusual and extraordinary threat” to national security, foreign policy, or the economy.
Trump used this to cover trade imbalances and non-trade woes, like pressuring Mexico on migration or Brazil on political prosecutions or persecutions, as the case may be.
Critics, including small businesses like Learning Resources (an Illinois toy maker hit with $20,000 in unexpected duties) and Democratic-led states, argue this bypasses Congress’s Article I authority over tariffs.
A bipartisan amicus brief from 171 House Democrats and 36 senators hammered home that IEEPA was never meant as a “tariff statute.”
Solicitor General D. John Sauer defended the move, insisting tariffs are a milder “regulation” than full embargoes — a view echoed by Justices Brett Kavanaugh and Barrett, who questioned why IEEPA would allow trade shutdowns but not duties.
The court’s conservative majority appeared irresolute, weighing textualism against deference to executive foreign policy tools.
If struck down, the ruling would settle that IEEPA can’t be a tariff backdoor, curbing future presidents’ emergency gambits but leaving Trump’s broader agenda intact via other channels.
Plan B: A Menu of Tariff Authorities, With Strings Attached
President Trump’s team isn’t starting from scratch; they’ve already deployed some alternatives and are poised to scale up. These laws, born from decades of congressional delegations, offer explicit tariff powers but demand more transparency and limits — a trade-off for legal durability.
Here’s a breakdown:
Statute Key Provision Tariff Scope & Limits Trump’s Prior/ Potential Use Drawbacks vs. IEEPA Section 232 of the Trade Expansion Act of 1962 Allows tariffs if imports threaten national security (e.g., impairing domestic industries). Requires Commerce Dept. investigation (up to 270 days) and report to Congress. Up to 25%+ on specific sectors/products; applies globally or targeted. No time cap. Already imposed on steel, aluminum, copper, autos since January 2025; covers ~1/3 of imports. Could expand to tech, EVs. Sector-specific (not country-tailored); lengthy probes slow unilateral action. Courts defer on “security” claims. Section 301 of the Trade Act of 1974 Authorizes tariffs against “unfair” foreign practices (e.g., IP theft, subsidies). USTR investigation required (6-12 months). Broad, up to 100% on targeted goods/countries; can be phased. Used in first term vs. China; new probe on Brazil’s ethanol/digital services in October 2025. Scalable for fentanyl or deficits. Investigation delays; tied to trade violations, not politics (e.g., Ukraine war). Replicable for multiple nations. Section 122 of the Trade Act of 1974 Permits temporary tariffs/quotas to address “large and serious” balance-of-payments deficits (i.e., trade gaps). Up to 15% ad valorem for 150 days (extendable to 4 months with IMF consultation). Broad application. Untapped by Trump yet; scholars argue it’s the proper tool for deficit-focused tariffs, not IEEPA. Short duration; caps at 15%. Quick for emergencies but requires economic justification. Trading with the Enemy Act (TWEA) Precedents Broad wartime powers, narrowed by IEEPA for peacetime. Historical use for universal tariffs (e.g., Nixon’s 10% in 1971). Referenced in briefs; could inform hybrid approaches but largely superseded. Peacetime limits make it risky; not a primary fallback.These tools could “essentially reimpose the IEEPA tariffs going forward,” per Brookings Institution analysis, though with “procedural speedbumps” like probes that prevent on-a-whim hikes.
The administration has already launched Section 301 probes on Brazil and could parallel-process others for China or the EU, buying time while pressuring deals.
Economic Ripples
A SCOTUS ruling that IEEPA can’t be used for Trump’s tariffs would trigger immediate refunds — a windfall for importers like Walmart and Target, who’ve absorbed billions in costs — but short-lived relief. In fact, reimposition via alternatives might amplify leverage in talks, as seen with Mexico’s migration concessions in 2019.
Yet, as Politico notes, no single law matches IEEPA’s “flexibility” for tying tariffs to non-trade goals like peace deals.
For Trump, and future U.S. presidents, that’s the real stake — not the ruling itself, but recalibrating his economic nationalism without the emergency declaration.
In the end, the court may close one avenue, but Trump’s tariffs will keep on truckin’. As the justices deliberate, global markets await the next chapter in America’s effort to recalibrate trade in a more reciprocal fashion.
MacDailyNews Take: Nearly all countries in the world impose import tariffs on goods from the United States, as tariffs are a standard tool for revenue generation, industry protection, and trade regulation. Out of approximately 195 sovereign countries (based on UN recognition), over 190 maintain some form of customs duties on U.S. imports, according to global trade databases.
There’s an exceedingly simple way for countries to avoid reciprocal U.S. import tariffs. Whatever tariff level you want is the tariff level you impose. If you don’t wish to face U.S. import tariffs, don’t impose tariffs on U.S. products and services.
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Apple could make $133 billion a year on humanoid robots by 2040 – Morgan Stanley
Apple is renowned for its iconic Mac, iPhone, and iPad. But what’s next? Morgan Stanley predicts humanoid robotics.
In a new research note, the investment bank estimates that Apple’s early-stage robotics efforts could ultimately generate more than $133 billion annually.
Daniel Howley for Yahoo Finance:
“Leveraging Apple’s market share across a number of leading consumer products today, as well as considering the opportunity to monetize both products and services, we conservatively estimate Apple’s Robotics revenue can reach $130 billion by 2040 in our ‘median case,’ which assumes 9% market share …15 years from now,” the analysts, including Apple watcher Erik Woodring, wrote in the report.
Humanoid robots have long been the work of science fiction. But tech companies are increasingly putting the concept forward as a viable commercial product thanks to advancements in generative AI and smaller, more powerful computers.
Foxconn says it plans to deploy humanoid robots at its Nvidia AI server plant in Houston, based on Nvidia’s own robotics technologies. Nvidia CEO Jensen Huang, a major proponent of humanoid robotics, which the company refers to as physical AI, says robots represent a multi-trillion-dollar opportunity.
Elon Musk’s Tesla is also working on its own Optimus line of humanoid robots…
https://x.com/elonmusk/status/1962618811141812475
MacDailyNews Take: $133 billion by 2040 might be laughably low. Bring ’em on!
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Apple reclaims safe-haven status amid waning AI trade confidence
Amid a broad selloff that grounded soaring AI stocks from Nvidia to Palantir Technologies, Apple emerged unscathed. Cupertino posted a modest gain as the Nasdaq 100 dropped 1.6%, echoing Tuesday’s session when Apple edged higher while the index plunged 2.1%. Over the past month, Apple has climbed more than 5%, far outpacing the tech-heavy index’s gain of less than 0.5%.
The outperformance is a return to form for Apple, whose cash-generating prowess and rock-solid balance sheet have in past bouts of turbulence left it relatively unscathed. The stock has lagged behind the broader market for most of this year as investors chased artificial intelligence riches.
“We’re seeing enthusiasm roll over in the more speculative names, which have become frothy and a victim of their own success. And in a risk-off environment, Apple’s cash flow, stability and predictability are all attributes investors are shifting toward,” said Jack Ablin, chief investment strategist at Cresset Wealth Advisors…
Apple is planning to pay about $1 billion a year for an artificial intelligence model developed by Alphabet Inc. to help power an overhaul of its Siri voice assistant.
“This is a positive, since it helps Apple participate in AI and $1 billion is a whole lot less than the other companies are spending,” Ablin said.
Alphabet Inc., Meta Platforms Inc., Amazon.com Inc., and Microsoft Corp. together spent more than $110 billion on capex last quarter, and the four companies are expected to boost combined capital spending 34% to roughly $440 billion over the next 12 months, according to data compiled by Bloomberg.
MacDailyNews Take: Apple investors holding for the long term will be rewarded.
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Apple blocks iOS 26.2 and iPadOS 26.2 developer betas on C1 modem devices
Apple is now blocking the installation of the iOS 26.2 and iPadOS 26.2 developer betas — released earlier this week—on devices equipped with the C1 modem.
Apple has pulled iOS/iPadOS 26.2 beta 1 for C1 devices.
This includes:
iPhone Air
iPhone 16e
M5 iPad Pro (Cellular)
The update will still show in settings but will fail to install. pic.twitter.com/mcW715tHuJ
— Aaron (@aaronp613) November 6, 2025
As noted by Aaron Perris on X, Apple is preventing the iOS 26.2 and iPadOS 26.2 betas from being installed on devices containing the C1 modem, which includes the iPhone 16e, the iPhone Air, and the M5 iPad Pro (Cellular).
It is not immediately clear why Apple has pulled the betas for these devices, but it is notable that they all include the C1 modem. We’ve reached out to the company and will update this story if we hear back.
Update – November 5, 10:11 p.m. ET: Apple has reissued the iOS 26.1 Release Candidate for the iPhone 16e and iPhone Air, and iPadOS 26.1 Release Candidate for the M5 iPad Pro (Cellular), allowing users running previous betas to upgrade to a more stable version without leaving the beta program.
MacDailyNews Take: Yes sir, the beta program is functioning as designed.
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How Finneas and glass conjured up Apple TV’s colorful new branding
Finneas O’Connell — better known simply as Finneas — has composed a fresh sonic logo for Apple TV, the streaming platform once called Apple TV+. Developed in collaboration with Apple’s longtime creative partner TBWA\Media Arts Lab, the rebrand extends far beyond a memorable audio cue to deliver a bold, cohesive visual identity.
At its core, the new look revolves around dynamic layers of shifting colored light, evoking the diverse genres and emotional depth of Apple TV’s catalog since its 2019 launch. While the effects appear digitally rendered, they were achieved entirely through practical means—using glass elements and captured in-camera for an organic, tactile quality that sets the branding apart.
The five-second version of the new branding, which will run before Apple TV shows, nicely highlights the colored-lights effect. The lush visuals are meant to capture the platform’s cinematic ambitions and remind viewers that Apple TV is where prestige storytelling lives.
The choice to shoot practically aligns with Apple’s love of tactile detail and camera-first artistry, a point emphasized by Tor Myhren, Apple’s VP of marketing communications, in a speech at the Cannes Lions International Festival of Creativity last summer. Myhren said Apple would continue to value human artistry even as it embraces AI tools.
Along with the five-second version, Apple TV made a one-second sting for trailers and a 12-second cinematic version for films…
The new identity will ripple across Apple TV’s ecosystem in the coming months, from app interfaces to marketing campaigns.
Mnemonic, Finneas says, “is sort of a beautiful word for a logo” accompanied by sound. “The things that I think of as real classic mnemonics are NBC — you can hear that in your head — or HBO has its static.” Finneas is well aware of how modern streaming consumption might make this especially ubiquitous, household by household. “If you’re binge-ing the whole season of ‘Ted Lasso’ or ‘Severance’ or ‘Disclaimer’” (the last of those being the limited series that he composed the score for himself), “you’re going to hear the mnemonic 10 times in one day. So it’s gotta be something that’s like the bite of ginger between rolls or something, you know?”
Speaking via Zoom from his home studio, Finneas points to the piano behind him as a starting point for a fleeting piece of music whose instrumentation isn’t easy to pin down before it’s gone in one ear and out the other at the start of a viewing experience. “I have my upright piano back here, so I sat and started there. I’m always more able to make something quickly on a real instrument than I am with software. I played a chord that felt kind of hopeful and kind of optimistic, but had gravity to it and hopefully had a little bit of an enigmatic, mysterious quality. And so I had this chord thing happening and then I started building the sounds around it. I had these pieces of zinc and I was hitting them and then reversing the audio, and I was playing real piano and then reversing that, and playing these bass synthesizers and then pitching those up and gliding them down.”
created the new mnemonic for Apple TV
Never thought I’d get to do something like this but I am so honored and truly couldn’t have enjoyed working on it more. hope this very short piece of music feels like it matches the things I love about Apple so much- They make such beautiful tools. Lucky to use em
MacDailyNews Note: Here’s the 0:05 version:
Watch the 0:12 version here and the 0:33 BTS video here.
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Apple TV premieres new trailer for ‘Prehistoric Planet: Ice Age,’ premiering November 26th
Today, Apple TV revealed the trailer for the expansive new chapter of the award-winning natural history series “Prehistoric Planet: Ice Age,” executive produced by Jon Favreau and Mike Gunton, and produced by BBC Studios Natural History Unit, the team behind “Planet Earth.” Narrated by Golden Globe and Olivier Award winner Tom Hiddleston (“Earthsounds”), with an original score by Hans Zimmer, Anže Rozman and Kara Talve for Bleeding Fingers Music, the five-part series premieres globally on Apple TV on November 26th.
The new trailer takes viewers into the Pleistocene era, millions of years after the extinction of the dinosaurs, as it has never been seen before. It features strange cycles of hot and cold that create shifting landscapes and a wide variety of mammals with complex behaviors, many resembling animals alive today, fighting to survive. Fans get their first look at clashes between woolly rhinos and saber-toothed cats, based on scientific knowledge gained from fur, soft tissues and stomach contents preserved in permafrost and only recently discovered. Alongside the era’s most iconic animals, like woolly mammoths and Dire wolves, viewers will explore five new astonishing habitats to encounter many incredible creatures that adapted to this strange new world including: the Columbian mammoth, a warm-weather relative of the woolly mammoth with curved tusks over 16 feet wide and sparse hair (Mammuthus columbi); 14-foot-tall bears, the largest to ever exist (Arctotherium angustidens); armadillos bigger than cars (Doedicurus clavicaudatus); and tiny elephant relatives (Stegodon sumbaensis) preyed upon by enormous giant storks (Leptoptilos robustus).
Reconstructed with the latest scientific knowledge, “Prehistoric Planet: Ice Age” combines current science with cinematic visuals to showcase the intelligence and complex social behaviors of the Pleistocene’s iconic species. This season will explore vast tundras, deserts, expanding grasslands and melting permafrost as these creatures struggle for survival amid extreme climates, the beginning of “The Big Freeze” and eventually, “The Big Melt.”
“Prehistoric Planet: Ice Age” continues the storytelling journey of Apple TV’s acclaimed, Emmy Award-nominated natural history series “Prehistoric Planet,” which transported audiences 66 million years into the past to witness the age of dinosaurs across two celebrated seasons. Blending cinematic storytelling with photorealistic visual effects, the series brings ancient worlds to life, offering a firsthand look at some of the most extraordinary creatures ever to walk the Earth. The complete first two seasons of “Prehistoric Planet” are now streaming globally on Apple TV.
The series is produced by the world-renowned team at BBC Studios Natural History Unit with support from the photorealistic visual effects of Framestore (“Gravity,” “The Golden Compass”). Theme by Hans Zimmer, with an original score by Zimmer, Rozman and Talve for Bleeding Fingers Music.
Apple TV offers premium, compelling drama and comedy series, feature films, groundbreaking documentaries, and kids and family entertainment, and is available to watch across all of a user’s favorite screens. After its launch on November 1, 2019, Apple TV became the first all-original streaming service to launch around the world, and has premiered more original hits and received more award recognitions faster than any other streaming service in its debut. To date, Apple Original films, documentaries and series have been honored with 638 wins and 2,850 award nominations and counting, including multi-Emmy Award-winning and history-making comedies “The Studio” and “Ted Lasso,” and Oscar Best Picture winner “CODA.”
MacDailyNews Note: Apple TV is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV 4K, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $12.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV or Mac can enjoy three months of Apple TV for free.
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Apple TV announces new political thriller ‘La Décision,’ starring Raphaël Personnaz and Diane Kruger
Today, Apple TV announced the new seven-episode French-language thriller, “La Décision,” starring César Award nominee Raphaël Personnaz (“The Richest Woman in the World,” “The French Minister”) and SAG Award winner Diane Kruger (“Inglourious Basterds,” “Saint-Exupéry”). The series is directed by “Carême’s” Martin Bourboulon (“Les Trois Mousquetaires”) and Louis Farge (“Culte,” “Eldorado”). César Award winners Sami Bouajila (“Ganglands,” “A Son”), Marina Hands de la Comédie Française (“Lady Chatterley,” “Off Season”) and Fanny Sidney (“Call My Agent!”) also join the cast.
In this riveting race against the clock, the life of the French president (Personnaz) is turned upside down when an 8-year-old girl goes missing. While the public is shocked over the disappearance of the young girl, the tragedy affects the president personally as she is his illegitimate daughter, born of a secret affair unknown to his wife and political advisor Nora (Kruger). When the kidnapping becomes a matter of state, the entire Élysée apparatus intervenes to find the little girl. But who can the president trust behind the closed doors of the palace? He has risen to the pinnacle of power on the strength of his honesty and integrity, but must he betray the very values to which he owes his election? Torn between his private life and public responsibilities, the president is now plunged into a whirlwind of false friendships, unrequited love, power struggles, political games and espionage.
Produced for Apple TV by Solab Films, award-winning White Lion Films, a Mediawan company, and M Films, “La Décision” is executive produced by César Award nominee Nicolas Tiry (“Atlantic Bar”), Noor Sadar (“Machine,” “Malditos”) and Bourboulon. Based on an original idea by Bourboulon and Tiry, the series is created by Marc Dugain and Corinne Garfin (“Coeurs Noirs”), Lamara Leprêtre Habib (“Dans l’ombre”) and Xabi Molia (“Les Sentinelles”).
The series is the latest in French programming from Apple TV, which includes the new thriller “The Hunt,” starring Benoît Magimel and Mélanie Laurent, premiering on December 3, 2025. The International Emmy Award-winning Best French-Japanese Drama series “Drops of God,” inspired by the bestselling manga from award-winning Tadashi Agi and Shu Okimoto, stars Fleur Geffrier and Tomohisa Yamashita, with season two premiering on January 21, 2026. “Carême” follows the thrilling story of the world’s first celebrity chef, Antonin Carême, starring Benjamin Voisin, who rose from humble beginnings in Paris to the height of culinary stardom in Napoleon’s Europe.
Apple TV offers premium, compelling drama and comedy series, feature films, groundbreaking documentaries, and kids and family entertainment, and is available to watch across all of a user’s favorite screens. After its launch on November 1, 2019, Apple TV became the first all-original streaming service to launch around the world, and has premiered more original hits and received more award recognitions faster than any other streaming service in its debut. To date, Apple Original films, documentaries and series have been honored with 638 wins and 2,850 award nominations and counting, including multi-Emmy Award-winning and history-making comedies “The Studio” and “Ted Lasso,” and Oscar Best Picture winner “CODA.”
MacDailyNews Take: Apple TV is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV 4K, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $12.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV or Mac can enjoy three months of Apple TV for free.
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