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Tag: willow

  • Silicon Valley is driving users to ditch keyboards and spend hours talking to their tech

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    Gavin McNamara has abandoned his keyboard and spends all day talking rather than typing.

    He speaks for hours with his computer and phone, sending emails, writing presentations, posting on LinkedIn and even coding through conversations using an AI dictation app from San Francisco startup, Wispr Flow.

    The AI punctuates, formats and adapts his rambling into coherent copy. McNamara averages 125 words per minute, which is twice the average typing speed.

    “At this point, anything that could be done by typing, I do by speaking,” said the 32-year-old, founder of software agency Why Not Us. “I just talk.”

    Across 77 apps, he has dictated nearly 300,000 words in the past five months — that’s equivalent to writing three novels.

    California’s tech titans and startups are at the forefront of a movement to use AI and the large language models they are based on to push people to interact with technology using their voices rather than their fingers.

    “AI and LLMs have changed the dynamic,” said CJ Pais, the San Diego-based creator of free voice-to-text dictation app Handy. “Using your voice is much faster than typing.”

    A mix of independent developers and startups, including Handy, San Fransico’s Wispr Flow and Willow and others, have sprung up to offer accurate voice interaction with artificial intelligence.

    The biggest names in tech are also creating new ways for people to partner with AI. Meta’s latest smart glasses rely on voice. OpenAI and Meta have designed distinct personalities for their bots’ voice chats. Even Amazon’s Alexa and Apple’s Siri are undergoing AI upgrades, which the companies anticipate will have everyone talking to their tech much more.

    These free and paid methods for using spoken words with computers have attracted millions of users, including coders, executive assistants, lawyers, content creators, and medical practitioners. Some optimists think the keyboard could become obsolete.

    “I’m excited to announce that we’ve removed keyboards from the most prestigious television awards in the world,” Allan Guo, the founder of Willow, said in a post on LinkedIn, noting that the Emmy Awards team used Willow’s voice dictation for sending Slack messages and clearing inboxes faster in preparation for the 2026 awards.

    Over the years, big tech companies have adapted many of their products with voice-first features – for convenience. Today’s pivot away from voice as an accessibility feature to a productivity tool.

    In late 2022, the maker of ChatGPT started giving away unfettered acccess to its automatic speech recognition model called Whisper, trained on 680,000 hours of multilingual data. OpenAI shared the tech for accurate audio transcription, once a closely guarded big tech secret. Anyone could now download and run high-quality AI transcription for free on their laptop.

    The new wave of AI dictation apps uses Whisper as the foundation and builds on top to offer live dictation. While there are free alternatives, paid subscription costs between $8 and $12 a month.

    AI-powered dictation is now gaining a toehold among programmers and regular users – and getting people to talk to their laptops. Be it writing emails, sending SMS, designing a website, or giving AIs tasks, early adopters say dictation allow them to work faster, think more clearly, and be more productive.

    “The people who’ve adopted voice heavily aren’t going back. Once you’re talking 20 hours a week to your laptop, typing feels like friction,” said Naveen Naidu, the general manager of New York-based voice dictation app Monologue. “Where I think it’s heading: voice becomes the delegation layer. You speak your intent, and things happen.”

    These new AI dictation apps leverage Apple’s advanced chips on iPhones and Macs to run private on-device dictation.

    Geoffrey Huntley, an independent software developer, switched almost completely to voice for work in June.

    He often starts projects by opening a voice prompt and asking the AI to interview him about his concerns and project requirements before any code is generated.

    “I speak to it, like I’m riffing in a jazz band, backwards, forwards, backwards, forwards,” Huntley said. This vocal dance helps refine the specifications, then the AI takes the wheel, and builds software.

    Beyond coding, Huntley uses voice to “let it rip” when capturing blog post ideas or messaging, using apps like Superwhisper or Whisper Flow to get a “first dump” of thoughts before moving to a keyboard for final editing.

    A growing number of software developers in Silicon Valley are dictating coding instructions for hours at a time instead of typing. The combination of rapidly advancing AI agents that can code for hours, with voice inputs capturing thoughts faster than typing, has boosted their productivity.

    Self-described “vibe coder” McNamara built over 25 web apps in a few months, a speed of development that would be impossible without voice instructions.

    “I don’t think that [typing], by any means, would be even efficient or effective to get there as fast as I did with talking,” McNamara said.

    He used a meandering conversation and a few hours to get AI to build Sprout Gifts, a gifting registry for kids, and an app to appraise any items via photos.

    To be sure, AI can make mistakes, and its work needs to be checked.

    Meanwhile, wide adoption has brought new inconveniences, as even power users feel awkward talking to their laptops. Crowded open offices are not designed for many people to be conversing with their computers at the same time.

    “Love voice, but not in an office setting,” said one user on X. “I dislike talking around other people. I would do it in a closed-door office, or go work in my car.”

    McNamara uses headphones so people assume he is on a call.

    “It’s like the social hack that I have,” he said.

    While it is too early to call whether and when the Qwerty keyboard might follow the ticker-tape and fax machines into obsolescence, the velocity toward voice is accelerating, said Dylan Fox, founder of San Francisco-based Assembly AI, which offers audio models to companies.

    “We’re definitely in the beginning of what we think of as like this 10 to 100x increase in demand for voice, AI applications and interfaces,” he said.

    For the coder, McNamara, talking more to chatbots has made him a better buddy.

    He used to be bad at responding to texts. Now he gets back to friends right away.

    “I am so quick to respond, they are like ‘Who’s this guy?’” he said.

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    Nilesh Christopher

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  • 5 Songs By WILLOW Your Playlist Needs

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    We took another artist deep dive to help you give your playlist the ultimate Fall refresh! Best known for getting us all to whip our hair in 2010 (‘Whip My Hair’), WILLOW is a fierce, yet underrated artist who has captured our hearts with highly percussive and emotional songs. Earning a much-deserved spot on your newly curated playlist. 

    Discover underrated yet revolutionary music and heal your inner self by adding these WILLOW hits to your playlist. You will thank us later.

    ‘the fear is not real’

    ‘the fear is not real’ from her seventh studio album, empathogen, is just the start to WILLOW’s greatness. Featuring ethereal vocals, we get the perfect combination of soft rhythmic guitar paired with the right tempo to get your head bobbing. Willow reflects on her participation in the metaphorical roles of the “Prey,” “Hunter,” “Child,” and “Mother” as she navigates her internal challenges. You know what they say, ignorance is bliss. That is, until she is faced with the silence.

    “In the silence I can hear inside my mind. In the silence I can’t wear my disguise.”

    The layered harmonies on this track give a fresh and crisp sound that is purely irresistible. Trust us on this one, you will levitate.

    ‘false self’

    ‘false self’ begins with energetic and fast-paced percussion that transforms into a tasteful genre blend of soul and rock. This one is upbeat, but don’t let that fool you. ‘false self’ digs in deep, following the “blissful ignorance” themes found in ‘the fear is not real’ and furthering our understanding of the inner battle WILLOW faces. A change needs to be made, but she is unable to do so. Riding the emotional rollercoaster of this song will have you asking if the version of yourself that you know is real. 

    WLLOW sets herself apart from her peers with the production quality on this track, focusing on dynamic vocal layering traveling between your left and right headphones.  

    ‘symptom of life’

    Taking a newfound, mature approach, WILLOW starts to acknowledge the beauties that come along with life. “Looking into the shadow, now I notice the light. Magic is real, when you see it inside, you decide.”

    Dissonant piano chords accompany her haunting vocals, which make up the high intensity on this track, drawing you in for more. Don’t be afraid to hit the replay button on this one!

    ‘curious/furious’ 

    WILLOW begins accepting that life includes both highs and lows, never just one or the other. 

    “Never wear a frown because life doesn’t choose either side, win or lose, right or wrong. It’s a battle that’s all in your mind, you better open wide.” 

    Falling back on her rock roots, there is an amazing guitar solo to rock out to, creating the perfect song closing. What’s a better way to work through your emotions than headbanging? 

    ‘Split’

    WILLOW gives a raw and emotional performance in all of her songs. However, this song in particular reaches a different level of vulnerability. WILLOW shows us a side to herself that she had hoped she’d never share through songwriting, and that is heartbreak. This rock ballad has us feeling all of the bitter feels of a breakup wrapped up in a sweet treat of a song for us all.

    Know more WILLOW hidden gems? Let us know your favs that are already in your playlist by tweeting us at @thehoneypop or visiting us on Facebook and Instagram.

    Don’t miss a beat, for more new music, click here!

    TO LEARN MORE ABOUT WILLOW:
    FACEBOOK | INSTAGRAM | TWITTER | WEBSITE | YOUTUBE

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    Trinity Dixon

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  • Woven Willow Playhouses for Indoors and Out

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    Willow Pod

    Above: The Willow Pod by Willow with Roots is available by commission.

    Willow with Roots is a mother-daughter team in Worcestershire who grow their own willow, hold weaving workshops, and sell their wares—think lamp shades, baskets, and trays—via an online shop. They also do bespoke work, like the otherworldly Willow Pod, above.

    Dreaming Spires Playhouse

    Needham
    Above: Needham’s largest construction, The Dreaming Spires Willow Playhouse ($3,285) is scaled to accommodate parents as well as kids: it’s 8 feet wide, 3 feet deep, and 6 feet tall. She also makes Onion-shaped Dens that start at $767).

    Judith Needham of Surrey, England, is another willow weaver who makes her own designs (including baskets), and came up with her first playhouse for her own daughter. Needham’s willow comes from growers in Somerset, England: “It’s grown specifically for basket making; the method of cultivation, rather than the variety, is what makes the material suitable for weaving. The technique is called coppicing—each plant is cut right down to the ground during harvest in the spring leaving just a stump. New growth quickly springs from the trunk. These stems are long, thin, unbranching, and very pliable. Some plants are left to grow for two or three years to yield ten-f00t-long stems, which is what I need for playhouses, but most are cut annually making it the ultimate sustainable crop.”

    For twig playhouses that are left outdoors, Needham recommends applying an annual coat of linseed oil, and says with this protective finish, they should last for six to eight years. Most of her customers are in the UK, but to date, she’s also shipped playhouses to the States.

    Hocus Pocus

    Chapel Hill, NC-based environmental artist Patrick Dougherty roams the country creating elaborate, site-specific woven sapling installations.
    Above: Chapel Hill, NC-based environmental artist Patrick Dougherty roams the country creating elaborate, site-specific woven sapling installations.

    One of his specialities is play constructions, most of which he builds on the grounds of museums, art centers, and colleges, but on occasion, Dougherty accepts private commissions. One such is Hocus Pocus, shown here, a willow structure at Bittersweet Farms in Ennice. NC. Photograph by Robyn Dreyer. Go to Stickwork to see more and learn about his process.

    For more fanciful children’s play structures, see:

    N.B.: This post was first published July 2017. It’s been updated with new products, photos, prices, and links.

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  • ‘Run!’ Don’t Walk to Stream WILLOW’s New Music

    ‘Run!’ Don’t Walk to Stream WILLOW’s New Music

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    We’ve been riding a high this week because WILLOW dropped new music! Her latest album, empathogen, is packed with 12 heart-wrenching beautifully written songs in just a short 32-minute experience. We have to admit that it’s one of our favorite album releases this year and ‘run!’ is at the top of our May 2024 playlists. 

    If you want all the gossip on her newest music video, keep on reading, honeybee!

    Image Source: The Lede Company

    Lyrics

    One of the most exciting things about being a WILLOW fan is that her lyrics are always so innovative, raw, and real. She knows how to write relatable words that anyone can connect to in some capacity. Her passion is what makes a true artist successful in their craft.

    [Chorus]

    “I can’t get out
    No, no, I can’t get out
    No, I can’t get out
    This pattern, it’s maddening
    Making a tragedy happen that’s not even real
    Oh no, I can’t get out
    Oh, oh, I can’t get out”

    [Verse 1]

    “Stop looking at me as if I’m your friend
    And please stop talking to me like I’ll let you in
    With every breath that I take, I spiral around and around
    And then down and I’m not ever fighting back
    Against the intrusive thoughts, clarity can’t be bought
    Oh no, I won’t get out
    I won’t get, I won’t get”

    [Chorus]

    “I can’t get out
    No, no, I can’t get out
    No, I can’t get out
    This pattern, it’s maddening
    Making a tragedy happen that’s not even real
    Oh no, I can’t get out
    Oh, oh, I can’t get out”

    [Verse 2]

    “Stop looking at me as if I’m your friend
    And please stop talking to me like I’ll let you in
    And every word that you say, I’ll twist it around and around
    And then down until I can’t recognize you
    Give in to intrusive thoughts, clarity can’t be bought
    Oh no, I won’t get out
    I won’t get, I won’t get”

    Music Video

    Ok, now that you’ve read the lyrics and really soaked in the beauty of the song, it’s time to stream the music video. WILLOW never fails in the production and story of her visuals. We see her sitting in a cell, going through a string of emotions at the lens of the camera. By the end of the video she has escaped the cell and is running free on the streets, but we don’t want to spoil everything that happens in between, so you’ll just have to check out the video for yourself now. 

    Although at times hard to watch, this video hit hard and we love how she interpreted the lyrics through visual media. What was your favorite moment?

    What’s Next?

    So, what’s next? Now that you’ve fallen in love with ‘run!’ it’s time to stream the rest of WILLOW’s new album, empathogen. It has some amazing features along with a couple of our other favorite WILLOW songs like ‘b i g f e e l i n g s.’ We’re looking forward to more amazing visuals from this album along with a deluxe…maybe? (One can only hope!) 

    What was your favorite lyric from ‘run!’? What moment from the video did you love the most? Let us know in the comments below or by finding us on Twitter, Facebook, or Instagram 🐝

    TO LEARN MORE ABOUT WILLOW:
    INSTAGRAM| TWITTER | WEBSITE | YOUTUBE

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    ableimann

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  • Willow Smith Used Meditation and Workouts to Fuel the Creativity on “Empathogen”

    Willow Smith Used Meditation and Workouts to Fuel the Creativity on “Empathogen”

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    Courtesy of LG Global Life’s Good Campaign
    Courtesy of LG Global Life’s Good Campaign

    Willow Smith‘s “b i g f e e l i n g s” is the final song on her new album, “empathogen.” And, according to Smith, it’s “the most complex piece of music I’ve created in my entire career.”

    “Hopefully not the last — definitely not the last,” she qualifies. “But this one is pretty awesome.”

    The entire record — the 24-year-old’s sixth solo studio album — represents a sonic departure. Ahead of its release on May 3, Smith was a little nervous about putting it out into the world. But mostly, she was energized.

    “I’m a risk-taker, what can I say?”

    “This whole album is different from anything I’ve done, and I’m just so excited for people to hear it,” she says. “You always take a little bit of a risk, but I’m a risk-taker, what can I say?”

    Indeed, Smith has made a name for herself throughout her career for criss-crossing genres and stretching the bounds of her art. And she’s never shied away from being open and honest about how she chooses to live her life outside of music, too. That ethos is very much reflected in this latest album, she says.

    “I think I’m in a place right now in my life where I’m realizing that there’s no destination, there’s only choices every day that we make that bring us through our lives. I want to make the decision every day to be more compassionate, to be more honest, to practice my instrument with deep presence and treat it as a spiritual experience,” Smith adds. “This album is an expression of me coming to that understanding.”

    Even the album art embodies that approach — on the cover, Smith is shown smiling emphatically, her Afro and grillz standing out against an earth-colored backdrop. In another shot, she’s literally stripped down. It all connotes that honesty, that coming into herself. Smith says it was important to be present in her own body throughout making the album. Even if it wasn’t traditional, eyes-closed meditation, she’d just “tune in every once in a while.”

    “Like, can I feel my feet, can I feel my fingers, am I tapped in how my heart is feeling right now, am I tapped into my emotional state right now, instead of just being on autopilot,” she explains.

    It’d be difficult for Smith to be on autopilot right now, given everything that’s going on in her life. Just days after her album comes out, she’s releasing her debut novel, “Black Shield Maiden,” which she co-wrote with Jess Hendel. She’s also a global ambassador for LG and their Life’s Good campaign, a partnership she says was “super on the nose” given her and the brand’s commitment to high-quality audio.

    Amid all the moving parts, physical presence and mindfulness don’t just fuel her creative process; they also help her relax.

    “Pilates also kicks my ass.”

    “Weirdly enough, if I work out, it kind of counterbalances the mental and emotional fatigue. It gives me energy. I know people say that, I know that there are studies on that. But the last thing you want to do after you’ve been working all day is work out,” she says.

    Her favorite workouts right now are hot yoga and “pilates also kicks my ass,” she laughs. She loves running, too, and often listens to podcasts while doing it. Right now, she’s into “The Ancients” (she recently listened to an episode about ancient Polynesian sailing techniques) and the science podcast “Ologies with Alie Ward.”

    It’s very clear that Smith loves to learn. She’s almost done reading “The Dawn of Everything” by David Graeber and David Wengrow, a nonfiction book that looks at how society came to be. “I honestly can’t even really explain it that well because it’s deeply complex and I’m still trying to figure it out, but that’s been really cooking my noodle,” she quips.

    Getting inspired by these other forms of media brings us back to her process. It’s all about getting inspired by the possibilities within other realms. Smith says she loves walking around museums alone, for example, just taking in “all the cool shit.” And in releasing this album back out into the world, she’s keeping that inspiration loop going round and round.

    “I’m just interested to see what people get from this art I’ve been creating, and I hope that it’s a cathartic experience,” she says. That comes back to “b i g f e e l i n g s,” too: “I just want to keep helping people be inspired and feeling like they’re less alone.”

    Lena Felton is the senior director of features and special content at POPSUGAR, where she oversees feature stories, special projects, and our identity content. Previously, she was an editor at The Washington Post, where she led a team covering issues of gender and identity.

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    Lena Felton

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  • ‘Willow’ Showrunner Says It’s Not Canceled After All

    ‘Willow’ Showrunner Says It’s Not Canceled After All

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    Willow has always kind of been a dark horse of the Lucasfilm world. But reports of its Disney+ series cancellation may have been premature.

    Its showrunner, Jonathan Kasdan, recently tweeted in reference to a headline from Deadline, which reported that the show would not return for a second season on the streaming service. Instead, he clarifies a few things. The show isn’t altogether canceled… it’s more on an extended hiatus. When the production of any series or film hits a lull and actors are locked into contracts, they really have no reliable way to make income. When Disney+ shifted gears, they decided to release the show’s cast from their contracts. Hence the reports that the show was over, and now Kasdan’s insistence that it will return, eventually.

    You can read Kasdan’s lengthy letter to fans about the status of Willow below:

    READ MORE: Everything Coming to Disney+ in April

    The whole thing is indicative of a bigger problem with streaming. All of the impetus for crafting new original stories on streaming services comes from pulling in new subscribers. If your show isn’t doing that, you’re not really getting any value out of it. If people aren’t signing up for your streaming service because of a new show on the level of something like Stranger Things, you’re wasting potential.

    This is also why shows at Netflix rarely make it past the first season, even if critics fall in love with them. It’s just statistically unlikely that people are creating accounts just to watch the second season of something. Of course, retaining subscribers is also important, but how many times have you forgotten to cancel a subscription?

    Critics and fans both generally liked Willow, and it was great to see an old classic dusted off. While the original film didn’t really do as well at the box office as expected, it has become an enduring piece of high fantasy. Until Disney is convinced that people will tune in again, it’s unlikely that we’ll see Willow return.

    Sign up for Disney+ here.

    The Best TV Shows That Only Lasted One Season

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    Cody Mcintosh

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  • I Love How Queer ‘Willow’ Is, But I Hate What Happens to This Couple | The Mary Sue

    I Love How Queer ‘Willow’ Is, But I Hate What Happens to This Couple | The Mary Sue

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    I love how unapologetically queer a lot of TV is nowadays. Take Willow, for instance: They don’t have to heavily code or hint at the romance between Princess Kit (Ruby Cruz) and Jade (Erin Kellyman), her champion. The two are simply in love—and check it out, civilization hasn’t crumbled yet!

    In episode 3, “The Battle of the Slaughtered Lamb,” we meet another queer couple: Hubert and Anne, a pair of lesbian homesteaders played by Hannah Waddingham and Caoimhe Farren. Hubert and Anne are living the queer dream! They’re toasting their lunches on an open flame next to their firewood! Their forest cottage has moss on the roof! Also, Hannah Waddingham!! Of Ted Lasso and Game of Thrones fame! What a treat!

    I instantly fell in love with Hubert and Anne, and my interest in the series shot up when their scene made it look like they’d be recurring characters. That’s why their fate was especially disappointing.

    What happens to Hubert and Anne?

    Here’s a quick recap: Elora Danan escapes the monsters (known as “disciples”) sent by the Crone to capture her, and runs through the forest until she stumbles upon Hubert and Anne outside their cottage. Elora warns them about what’s coming, and the couple, awestruck that they’re in the presence of the True Empress, vow to dedicate themselves to the “great host” that’s prophesied to help her defeat the forces of darkness.

    But as they’re getting ready to leave, the disciples show up and attack. Hubert seems to kill their leader, the corrupt Commander Ballantine (Ralph Ineson), but then he swings his sword around and runs her through. Elora and Anne try to escape, but the disciples catch up and take out Anne, too.

    Yep, that’s right. They both die.

    It’s such a tremendous waste. Waddingham is absolutely delightful as Hubert, with her quirky choices of vocabulary and her unflagging cheer. Even though Anne never has a chance to get a word in, Farren’s chemistry with Waddingham is a pleasure to watch. I could hang out with these gals all series. As it is, though, they only get a couple of scenes. There’s a chance they could come back from the dead, but I’m not holding my breath.

    By killing Hubert and Anne off, the show turns them into props to show that the Crone is dangerous, which … um, we already knew. They also prompt Elora to proclaim, later in the episode, that she won’t let anyone else die because of her, but there are plenty of other paths to heroism Elora could have taken.

    Plus, by not surviving even one episode, Hubert and Anne end up as casualties of the “bury your gays” trope, in which queer characters are more likely to die in film and TV. Yeah, a lot of other characters die in this episode, too, but Hubert and Anne’s deaths still feel unnecessary.

    I’m still loving Willow, and I can’t wait to see how Kit and Jade’s relationship continues to unfold. But unless a miracle is in the works, the loss of Hubert and Anne just seems pointless.

    (featured image: Lucasfilm)

    —The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—

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  • Val Kilmer Was Written Out of ‘Willow’ Series at Last Minute

    Val Kilmer Was Written Out of ‘Willow’ Series at Last Minute

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    Val Kilmer’s character Madmartigan was one of the most iconic parts of 1988’s classic Willow. Unfortunately, he won’t be appearing in the first season of the new Willow TV series. It’s not for lack of trying on the studio’s end; Val Kilmer has had some major health challenges in recent years. He has been battling throat cancer since 2015.

    Despite reprising hs role in Top Gun: Maverick, it doesn’t seem that he’s really in a state to be making many onscreen appearances. (Maverick had to modify Kilmer’s speaking voice for clarity.) Since he was immunocompromised during the pandemic, he also couldn’t be booked for anything made during that period.

    Entertainment Weekly recently spoke with Jonathan Kasdan, the new series’ showrunner. Kasdan was eager to talk about how they’ve managed to work around Kilmer’s absence.

    We really wanted Val to come be in the show, and Val really wanted to come out and be in the show. I remember going to see Val right after this thing started to get some momentum, and I said, ‘Listen, we’re doing this. And the whole world wants Madmartigan back.’ And he was like, ‘Not as much as I do.’

    Kasdan also noted that they “started building out the first season with the intent of having him appear, [It wasn’t clear we couldn’t get him] until pretty late in the process, frankly.” After Covid, Kilmer supposedly decided he could not come out, which meant Kasdan “had to figure out a way to preserve the story we wanted to tell with him about how his story was playing out” while also leaving “open the door to any possibility in the future and also honor the spirit of him.”

    Willow is due to premiere on Disney+, on November 30, 2022.

    Sign up for Disney+ here.

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  • As subscription prices rise, here’s what’s worth streaming in November 2022: ‘The Crown,’ ‘Willow,’ ‘Mythic Quest’ and more

    As subscription prices rise, here’s what’s worth streaming in November 2022: ‘The Crown,’ ‘Willow,’ ‘Mythic Quest’ and more

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    So here’s some bad news and some, well, slightly less bad news.

    First, the bad-bad: Streaming prices are increasing almost across the board (Hulu and Apple TV+ rose in October, Disney+ will rise in December, while Netflix and Prime Video rose earlier this year), putting even more of a crunch on budget-conscious consumers.

    But now the less bad: If you can put up with commercials, there are cheaper, ad-supported versions coming your way (Netflix on Nov. 3, Disney+ in December).

    Of course, the other money-saving solution is to double down on a churn-and-return strategy and cut down on recurring subscriptions even more.

    Each month, this column offers tips on how to maximize your streaming and your budget, rating the major services as a “play,” “pause” or “stop” — similar to investment analysts’ traditional ratings of buy, hold and sell. We also pick the best content to help you make your monthly decisions.

    Consumers can take full advantage of cord-cutting by churning and returning — adding and dropping streaming services each month. All it takes is good planning. Keep in mind that a billing cycle starts when you sign up, not necessarily at the beginning of the month, and keep an eye out for lower-priced tiers, limited-time discounts, free trials and cost-saving bundles. There are a lot of offers out there, but the deals don’t last forever.

    Here’s a look at what’s coming to the various streaming services in November 2022, and what’s really worth the monthly subscription fee.

    Netflix ($6.99 a month for basic with ads starting Nov. 3, $9.99 basic without ads, $15.49 standard without ads, $19.99 premium without ads)

    Netflix has another really good month coming up.

     “The Crown” (Nov. 9), returns for its fifth season, set this time in the 1990s as scandals involving Charles and Diana plaster London’s tabloids and the role of Britain’s monarchy in modern society is thrown into question. Imelda Staunton takes over the role of Queen Elizabeth, with Dominic West as Prince Charles, Elizabeth Debicki as Princess Diana and Jonathan Pryce as Prince Philip. Controversy has already erupted over the new season, which will include Diana’s tragic death, as some have spoken out about the show’s increasingly blurry line between truth and fiction. Pryce recently told Vanity Fair, ““The vast majority of people know it’s a drama,” not a documentary. And it’s a pretty good drama.

    Netflix
    NFLX,
    -0.41%
    hasn’t had much success developing original sitcoms, but is hoping to finally break through with “Blockbuster” (Nov. 3), a workplace comedy set at the last Blockbuster video store in America, starring network sitcom veterans Randall Park (“Fresh Off the Boat”) and Melissa Fumero (“Brooklyn Nine-Nine”). There’s also “Wednesday” (Nov. 23), a horror-comedy series from Tim Burton starring Jenna Ortega as the terrifyingly snarky teen Wednesday Addams, with Catherine Zeta-Jones and Luis Guzman playing her creepy and kooky parents, Morticia and Gomez; and the third and final season of the dark comedy “Dead to Me” (Nov. 17), starring Christina Applegate and Linda Cardellini, which returns after a two-and-a-half-year layoff.

    On the drama side, there’s “1899” (Nov. 17), a mystery-horror series set aboard a transatlantic steamer ship at the turn of the last century, from the makers of the mind-bending German sci-fi series “Dark” — and if it’s even half as trippy and addictive, it’ll be terrific; Part 1 of the fourth season of the supernatural drama “Manifest” (Nov. 4), which Netflix rescued from NBC’s cancellation; and Season 6 of the soapy Spanish high-school drama “Elite” (Nov 18).

    More: Here’s everything new coming to Netflix in November 2022, and what’s leaving

    There’s also the timely documentary “FIFA Uncovered” (Nov. 9), digging into the scandal-plagued organization behind the World Cup; “Pepsi, Where’s My Jet” (Nov. 17), a documentary about a man who sued Pepsi in the 1980s to get a free Harrier fighter jet; the fifth installment of “The Great British Baking Show: Holidays” (Nov. 18); and the new standup comedy special from the outgoing “Daily Show” host, “Trevor Noah: I Wish You Would” (Nov. 22).

    On the movie front, there’s “Enola Holmes 2” (Nov. 4), a sequel to the hit 2020 movie about Sherlock Holmes’ younger sister, played by Millie Bobby Brown (“Stranger Things”), as young detective Enola sets out to investigate her first case; “Slumberland” (Nov. 18), a comedy adventure about a young girl exploring the dreamworld, starring Mallow Barkley and Jason Mamoa; and Lindsay Lohan is back with a Christmas rom-com, “Falling for Christmas” (Nov. 10).

    Who’s Netflix for? Fans of buzz-worthy original shows and movies.

    Play, pause or stop? Play. When it’s at the top of its game, as it is again this month, Netflix is a must-have, at whatever price tier.

    Disney+ ($7.99 a month)

    The TV world has been abuzz about prequels for the past few months, but it’s all about sequels in November for Disney+.

    The biggest of the bunch is “Willow” (Nov. 30), a follow-up series to the cult-favorite 1988 fantasy movie of the same name. The magical adventure is set 20 years after the events of the film, and Warwick Davis returns as farmer-turned-sorcerer Willow Ufgood, who leads an unlikely group of heroes on a quest to save their world. It should be fun for the whole family.

    Disney
    DIS,
    +1.45%
    also has “Disenchanted” (Nov. 18), a sequel to the 2007 hit movie “Enchanted.” The musical fantasy is set 10 years after the happily-ever-after ending, with Giselle (Amy Adams) questioning her happiness and inadvertently setting her two worlds askew. Patrick Dempsey, James Marsden and Maya Rudolph co-star. And then there’s “The Santa Clauses” (Nov. 16), as Tim Allen reprises his role of Santa Claus, who’s now facing retirement and looking for a replacement, in a new miniseries spinoff of the family-movie trilogy.

    Also of note: “The Guardians of the Galaxy Holiday Special” (Nov. 25), as Star-Lord and the gang kidnap Kevin Bacon; the live performance “Elton John: Live from Dodger Stadium” (Nov. 20), the pop icon’s final show in North America; and weekly episodes of “Dancing With the Stars” (season finale Nov. 21), the “Star Wars” prequel “Andor” (season finale Nov. 23) and “The Mighty Ducks: Game Changers” (season finale Nov. 30).

    And heads up: Prices for the ad-free tier will jump to $10.99 a month in December, after Disney+ launches its ad-supported tier for $7.99 a month.

    Who’s Disney+ for? Families with kids, hardcore “Star Wars” and Marvel fans. For people not in those groups, Disney’s library can be lacking.

    Play, pause or stop? Play. There’s something for everyone in the household — even grumps who aren’t “Star Wars” fans can get into “Andor,” which absolutely works as a dark, gripping, spy thriller. Meanwhile, fans are realizing it just might be the best “Star Wars” series or movie ever made.

    HBO Max ($9.99 a month with ads, or $14.99 without ads)

    HBO Max is bringing back  “The Sex Lives of College Girls” (Nov. 17) for its second season. Created by Mindy Kaling and Justin Noble (who also teamed on Netflix’s “Never Have I Ever”), the ensemble comedy about four college roommates picks up right after Thanksgiving break, with the girls organizing a “sex-positive” male strip show. It’s sharp, funny, and less cringey than its title suggests.

    Then there’s “A Christmas Story Christmas” (Nov. 17), a nostalgic sequel to the 1983 classic, starring Peter Billingsley as a grown-up Ralphie who returns to his hometown to try to give his kids a perfect Christmas. It’s risky reviving such a beloved movie, and this could either be wonderful or terrible, there’s really no middle ground.

    HBO Max also has a slew of documentaries, including “Love, Lizzo” (Nov. 24), about the pop superstar’s inspiring life story; “Shaq” (Nov. 23), a four-part docuseries chronicling the rise to superstardom of NBA Hall of Famer Shaquille O’Neal; “Low Country: The Murdaugh Dynasty” (Nov. 3), a true-crime series about a South Carolina lawyer’s scandalous fall; and “Say Hey, Willie Mays!” (Nov. 8), a film exploring the life, career and social impact of the greatest baseball player who ever played the game.

    See more: Here’s everything new coming to HBO Max in November 2022, and what’s leaving

    And every week brings new episodes of Season 2 of the very dark vacation comedy “The White Lotus,” Season 3 of “Pennyworth: The Origin of Batman’s Butler” and Season 2 of the cult documentary “The Vow.”

    Who’s HBO Max for? HBO fans and movie lovers.

    Play, pause or stop? Pause and think it over. “The White Lotus” and “The Sex Lives of College Girls” are both worth watching, but beyond that it’s kinda “meh” this month. And Max is too pricey for “meh.”

    Amazon Prime Video ($14.99 a month)

    Amazon
    AMZN,
    -6.80%
    is bringing the star power in November, starting with the Western drama series “The English” (Nov. 11), starring Emily Blunt as an aristocratic Englishwoman who teams with a Pawnee scout (Chaske Spencer) on a mission to cross the violent 1890s American frontier. It looks stylish and bloody — and promising.

    Meanwhile, James Corden and Sally Hawkins star in “Mammals” (Nov. 11), a dark comedy series about modern marriage; pop star-turned-actor Harry Styles stars in “My Policeman” (Nov. 4), a drama about forbidden romance that’s getting very “meh” reviews in its theatrical release; and Kristen Bell, Ben Platt and Allison Janney star in “The People We Hate at the Wedding” (Nov. 18), a raunchy comedy set at a dysfunctional family wedding.

    More: Here’s what’s coming to Amazon’s Prime Video in November 2022

    There’s also NFL Thursday Night Football every week, and new episodes of the intriguing sci-fi drama “The Peripheral,” which is giving very “Westworld”-but-slightly-less-confusing vibes.

    Who’s Amazon Prime Video for? Movie lovers, TV-series fans who value quality over quantity.

    Play, pause or stop? Pause. There’s good stuff here, but nothing that feels must-see.

    Paramount+ ($4.99 a month with ads but not live CBS, $9.99 without ads)

    Taylor Sheridan (“Yellowstone,” “1883,” “Mayor of Kingstown”) has another new series: “Tulsa King” (Nov. 13), starring Sylvester Stallone as a former New York mafia capo who gets freed from prison after 25 years and settles in Tulsa, Okla., to build a criminal empire of his own. Showrunner Terence Winter (“The Sopranos,” “Boardwalk Empire”) knows a thing or two about mob shows, and this one could be good.

    Paramount+ also has the spinoff series “Criminal Minds: Evolution” (Nov. 24), about an elite team of FBI profilers unraveling a network of serial killers; the family movie “Fantasy Football” (Nov. 25), about a girl who can magically control how her NFL-player dad performs on the field; and the series finale of “The Good Fight” (Nov. 10), which its creators promise will be “cataclysmic.”

    There’s also the Thanksgiving Day Parade (Nov. 24) and a ton of live sports, including college football on Saturdays, NFL football on Sundays (and Thanksgiving Day), and group-stage matches for UEFA’s Champions and Europe leagues.

    Who’s Paramount+ for? Gen X cord-cutters who miss live sports and familiar Paramount Global 
    PARA,
    +3.37%
     broadcast and cable shows.

    Play, pause or stop? Pause. Besides its solid live-sports lineup, it’s a good time to catch up and binge “The Good Fight,” and “Tulsa King” could be worth a watch too.

    Hulu ($7.99 a month with ads, or $14.99 with no ads)

    Hulu has a couple of interesting offerings in November, but nothing that screams must-see. Yet, at least.

    FX’s “Fleishman Is in Trouble” (Nov. 17) stars Jesse Eisenberg as a newly divorced dad whose promiscuous dive into app-based dating is disrupted when his ex-wife disappears and leaves him with their kids. Claire Danes, Lizzy Caplan and Adam Brody co-star in the eight-episode drama, which is based on Taffy Brodesser-Akner’s best-selling novel.

    There’s also “Welcome to Chippendales” (Nov. 22), a true-crime series starring Kumail Nanjiani as the immigrant founder of the 1980s male-stripper franchise, which chronicles his business empire’s rise and fall amid a blizzard of sex, drugs and violence.

    Meanwhile, Adam McKay (“The Big Short”) and Billy Corben (“Cocaine Cowboys”) have the documentary  “God Forbid: The Sex Scandal That Brought Down a Dynasty” (Nov. 1), about the private life of Christian televangelist and former Liberty University president Jerry Falwell Jr. and his very public downfall.

    See: Here’s everything new on Hulu in November 2022 — and what’s leaving

    There are also the final two episodes of “Atlanta” (series finale Nov. 10), whose fourth season has returned to brilliance after an underwhelming Season 3 over the summer, and new episodes every week of ABC’s “Abbott Elementary.”

    Who’s Hulu for? TV lovers. There’s a deep library for those who want older TV series and next-day streaming of many current network and cable shows.

    Play, pause or stop? Stop. While you won’t regret paying for Hulu if you already do, there’s not a lot to lure new subscribers this month.

    Apple TV+ ($6.99 a month)

    Apple TV+ is too inconsistent to be worth the $2-a-month price hike that was just announced, so it’s best to strategically plan when to stream — wait until a good series or two are completed, for example, and binge them all in a month, then cancel. Repeat as needed.

    And it actually is a decent month for Apple. Its second-best comedy, “Mythic Quest” Nov. 11), returns for its third season, with Ian (Rob McElhenny) and Poppy (Charlotte Nicdao) gearing up for war against their old videogame company. With a perfect blend of humor and heart, it’s one of the best workplace comedies on TV.

    Meanwhile, Season 2 of “The Mosquito Coast” (Nov. 4) finds the fugitive Fox family finally hiding out in Central America, after a tedious premise-pilot of a first season that wasted good actors (Justin Theroux and Melissa George) and beautiful cinematography with nonsensical plot twists, while the action series “Echo 3” (Nov. 23) stars Luke Evans and Michiel Huisman as former soldiers trying to rescue a kidnapped scientist in the jungles of South America.

    Apple
    AAPL,
    +7.56%
    also has a pair of high-profile original movies: “Causeway” (Nov. 3), starring Jennifer Lawrence as a former soldier struggling to adjust to civilian life in New Orleans, co-starring Brian Tyree Henry, and “Spirited” (Nov. 18), a musical twist on “A Christmas Carol” told from the ghosts’ point of view, starring Ryan Reynolds and Will Ferrell.

    Who’s Apple TV+ for? It offers a little something for everyone, but not necessarily enough for anyone — although it’s getting there.

    Play, pause or stop? Stop. There’s just not enough to justify a month-to-month subscription. December is a better bet, with “Mythic Quest” and a new season of “Slow Horses” running concurrently.

    Peacock (free basic level, Premium for $4.99 a month with ads, or $9.99 a month with no ads)

    The World Cup from Qatar (Nov. 20-Dec. 18) will be broadcast on Fox and FS1, so cord-cutters are out of luck, unless you subscribe to a live-streaming service like Hulu Live or YouTube TV. However, Peacock will stream every match in Spanish, which could be a decent Plan B for soccer fans.

    And that “it’ll-do-but-it’s-not-exactly-what-I’m-looking-for” description is the running theme for Peacock. November will bring a handful of originals that are unlikely to move the needle, subscriber-wise: There’s the musical-comedy spinoff series “Pitch Perfect: Bumper in Berlin” (Nov. 23), starring Adam Devine; “The Calling” (Nov. 10), a crime drama about a religious cop, from David E. Kelley and Barry Levinson; the Macy’s Thanksgiving Day Parade (Nov. 24); and the streaming debut of Jordan Poole’s sci-fi/horror hit “Nope” (Nov. 18).

    Sports-wise, Peacock has the National Dog Show (hey, it’s a competition!) on Nov. 24, NFL Sunday Night Football every weekend, a full slate of English Premier League matches through Nov. 13, and a ton of golf and winter sports.

    Who’s Peacock for? If you have a Comcast 
    CMCSA,
    -0.06%
     or Cox cable subscription, you likely have free access to the Premium tier (with ads) — though reportedly not for much longer. The free tier is almost worthless, but the recent addition of next-day streaming of NBC and Bravo shows (like “Saturday Night Live” and “Real Housewives”) bolsters the case for paying for a subscription. Still, Peacock is still not really necessary unless you need it for sports.

    Play, pause or stop? Stop. There’s not a lot that’s particularly enticing right now, even on the sports side.

    Discovery+ ($4.99 a month with ads, or $6.99 with no ads)

    More of the same in November for Discovery+, which is a feature, not a bug. Highlights include the vegan cook-and-chat show “Mary McCartney Serves It Up” (Nov. 1); “Tut’s Lost City Revealed” (Nov. 3), about a 3,000-year-old Egyptian city recently discovered by archaeologists; “Vardy vs Rooney: The Wagatha Trial” (Nov. 19), the inside story of the tabloid-fodder “Wagatha” scandal between the wives of English soccer stars; and Season 2 of the excellent CNN food series “Stanley Tucci: Searching for Italy” (Nov. 30). Full disclosure: There are also a handful of sappy holiday movies guest-starring some HGTV and Food Network stars, but they look terrible and I expect better from you, a discerning reader/viewer.

    Who’s Discovery+ for? Cord-cutters who miss their unscripted TV or who are really, really into “90 Day Fiancé.”

    Play, pause or stop?  Stop. Discovery+ is still fantastic for background TV, but it’s not worth the cost. Still, it should add value when the reconfigured Warner Bros. Discovery 
    WBD,
    +3.68%
      combines it with HBO Max next summer.

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