Latest news with #OneNight
Stuff.tv
28-04-2025
- Entertainment
- Stuff.tv
Dazn: your ultimate guide to the sports streaming service
With so many streaming services available, it can be hard to know what's what. And it can be even harder to know where to look for certain types of content. Dazn wants to make this easier, for sports content at least. Launched back in 2016, the platform is a dedicated streamer that houses all sorts of live sporting content. But what exactly is Dazn, what kind of content can you watch on it, and how much does it cost? We've gathered everything you need to know in this guide. What does Dazn offer? Play Simply put, Dazn is a live streaming service for sports content. Viewers can access events live, which is the primary focus, but can also catch up with them on demand. The platform is home to premium competitions in boxing, MMA, wrestling, women's soccer, and extreme sport. Rather than trying to find these events broadcast on a channel or on a pay-per-view event, you'll find available events on the streaming service. Currently, Dazn has partnerships with Matchroom Boxing USA and Golden Boy Promotions to provide content for viewers to watch. The platform also works alongside other promoters involved in fight sports for additional content. Extra programming is always being added, and content available can vary by region. There's also plenty of original content on there as well. Dazn's original programming includes 40 Days, Saturday Fight Live, and One Night. But you'll find other exclusive content on the streamer as well. How can I watch Dazn? Just like most streaming services, Dazn can be accessed through a range of devices connected to the internet. As you'd expect, you can watch content through a web browser on your smartphone, tablet, or computer. But you can also access the platform directly from some connected devices. These include Chromecast, Roku, Apple TV, Android TV, and most available smart TVs. Dazn is available as an app on PS4, PS5, and Xbox consoles, too. You can use Dazn on up to five different devices connected to your profile, but you can only watch on two devices at any one time. How much does Dazn cost? Play Dazn offers three different ways to subscribe to the service: monthly, annually, or on a rolling basis. Pricing varies by region. In the US, a monthly subscription is $24.99 each month, or $224.99 for an entire year. A 12-monthly plan equates to $19.99 a month. In the UK, the Monthly Saver plan is a 12-month contract that sets you back £9.99 per month. Or, you can opt for the Annual Super Saver plan, which is £99.99 for an entire year – working out to about £8.33 per month. Alternatively, you can opt for the Flexible pass, which is £19.99. It's much more expensive, but allows you to subscribe for a month with no contract, so you can cancel at any time – perfect if you just want to watch a specific event. Plans in the UK are available directly through the streaming service.
The Age
23-04-2025
- Business
- The Age
Australia is making great TV right now. Too bad it's all behind paywalls.
In 2020, amid the industry shutdown of the pandemic, the Morrison government suspended the quota regulations introduced during Keating's time as PM. These specified a minimum number of hours of locally produced content, with sub-quotas applying to drama, documentary and children's television. Loading From 2021, the overhauled regulations specified more broadly that 55 per cent Australian content had to be broadcast between 6am and midnight annually on primary channels as well as 1460 hours on non-primary channels. Foxtel's required spending on drama was reduced from 10 per cent of revenue to five. These services haven't been required to make more drama, so they haven't. And producers have migrated to the streamers because that's where the opportunities are, even if they're limited. Local industry bodies have campaigned for the streamers to be required to spend a percentage of their revenue on producing local content. And these services have lobbied vigorously against this, maintaining that they'll invest in Australian production without it being mandated. With the exception of local streamer Stan, that investment has amounted to tokenism. According to Screen Australia's latest drama report (for the 2023-24 financial year), Stan already invests considerably more than its giant global counterparts, supporting 11 local productions in that period. That's in contrast to Netflix with four, Binge/Foxtel with three and both Paramount+ and Amazon Prime having just two. The Albanese government initially announced plans for a national cultural policy to be released last July, with local content quotas to be the centrepiece. The deadline passed, without an announcement. Loading Earlier this month, amid global tensions over the Trump administration's trade tariffs, Albanese reaffirmed the government's commitment to quotas, declaring, 'We strongly support local content in streaming services so that Australian stories stay on Australian screens.' The statement came after mounting pressure from the US citing Australia's national cultural policy as damaging to its interests. The issue continues to be hotly debated, while Australian audiences suffer the effects. A 2024 study by the Queensland University of Technology revealed that, between 1999 and 2023, the broadcast hours of adult drama fell by almost 50 per cent. 'Reducing commercial broadcaster obligations over recent decades has been disastrous for the Australian community in terms of their access to freely available Australian drama,' the report concluded. There have never been more content providers yet the situation has been steadily deteriorating. Compounding that sobering situation, the streamers have been unreliable with the content they have. Significant series simply disappear when the service that holds the licence opts not to renew it. Offspring was recently unavailable anywhere, only to pop up on Stan a couple of weeks ago. One Night, made for Paramount+ in 2023, vanished within months of its premiere and is now on Netflix, with no guarantee of it staying there. The upshot of all of this instability and the dismaying lack of oversight is an industry under increasing stress and viewers with frustratingly limited access to local drama, most of which they have to pay for. It's unsatisfactory for the embattled industry and for viewers. We shouldn't have to pay $50 a month for a trickle of Aussie content on subscription platforms while commercial FTA gives us nothing but soap.
Sydney Morning Herald
23-04-2025
- Business
- Sydney Morning Herald
Australia is making great TV right now. Too bad it's all behind paywalls.
In 2020, amid the industry shutdown of the pandemic, the Morrison government suspended the quota regulations introduced during Keating's time as PM. These specified a minimum number of hours of locally produced content, with sub-quotas applying to drama, documentary and children's television. Loading From 2021, the overhauled regulations specified more broadly that 55 per cent Australian content had to be broadcast between 6am and midnight annually on primary channels as well as 1460 hours on non-primary channels. Foxtel's required spending on drama was reduced from 10 per cent of revenue to five. These services haven't been required to make more drama, so they haven't. And producers have migrated to the streamers because that's where the opportunities are, even if they're limited. Local industry bodies have campaigned for the streamers to be required to spend a percentage of their revenue on producing local content. And these services have lobbied vigorously against this, maintaining that they'll invest in Australian production without it being mandated. With the exception of local streamer Stan, that investment has amounted to tokenism. According to Screen Australia's latest drama report (for the 2023-24 financial year), Stan already invests considerably more than its giant global counterparts, supporting 11 local productions in that period. That's in contrast to Netflix with four, Binge/Foxtel with three and both Paramount+ and Amazon Prime having just two. The Albanese government initially announced plans for a national cultural policy to be released last July, with local content quotas to be the centrepiece. The deadline passed, without an announcement. Loading Earlier this month, amid global tensions over the Trump administration's trade tariffs, Albanese reaffirmed the government's commitment to quotas, declaring, 'We strongly support local content in streaming services so that Australian stories stay on Australian screens.' The statement came after mounting pressure from the US citing Australia's national cultural policy as damaging to its interests. The issue continues to be hotly debated, while Australian audiences suffer the effects. A 2024 study by the Queensland University of Technology revealed that, between 1999 and 2023, the broadcast hours of adult drama fell by almost 50 per cent. 'Reducing commercial broadcaster obligations over recent decades has been disastrous for the Australian community in terms of their access to freely available Australian drama,' the report concluded. There have never been more content providers yet the situation has been steadily deteriorating. Compounding that sobering situation, the streamers have been unreliable with the content they have. Significant series simply disappear when the service that holds the licence opts not to renew it. Offspring was recently unavailable anywhere, only to pop up on Stan a couple of weeks ago. One Night, made for Paramount+ in 2023, vanished within months of its premiere and is now on Netflix, with no guarantee of it staying there. The upshot of all of this instability and the dismaying lack of oversight is an industry under increasing stress and viewers with frustratingly limited access to local drama, most of which they have to pay for. It's unsatisfactory for the embattled industry and for viewers. We shouldn't have to pay $50 a month for a trickle of Aussie content on subscription platforms while commercial FTA gives us nothing but soap.
USA Today
12-03-2025
- Entertainment
- USA Today
Musician Raphael Saadiq talks unique gigs on heels of 'Cowboy Carter' success
AI-assisted summary Musician Raphael Saadiq is launching a one-man show called "No Bandwidth: One Man, One Night, Three Decades of Hits" starting May 31 in New York. Saadiq rose to fame as a vocalist in the R&B group Tony! Toni! Toné! and is known for his work with artists like Beyoncé and Lucy Pearl, earning him three Grammys and numerous other accolades. The "No Bandwidth" show will feature Saadiq performing music, sharing stories and connecting with the audience in a personal setting. Saadiq also recently celebrated success with Beyoncé's album "Cowboy Carter," for which he co-wrote and produced several songs. Raphael Saadiq, who has cemented his mark in the music industry over the past three decades, has a special year planned for his fans with the release of exclusive content and a new one-man show. "No Bandwidth: One Man, One Night, Three Decades of Hits" will run for only four nights, kicking off May 31 in New York before heading to Los Angeles on June 6 and his hometown of Oakland, California, on June 7 and June 8. "It'll be me singing sometimes, me playing some instruments, me talking, telling stories, talking about the past and talking about the present," Saadiq says. "We're just going to be in one place all together. It's going to be no phones. We're really going to be close and personal." Saadiq rose to fame in the '80s and '90s as the lead vocalist for the R&B group Tony! Toni! Toné! In 1999, he formed another R&B group, Lucy Pearl, and released music with its members before eventually releasing five solo albums. The versatile music mogul has earned three Grammy Awards, received 20 additional nominations, and had his work recognized by both the Oscars and Golden Globes. This year he won a Grammy for album of the year for his work on Beyoncé's "Cowboy Carter," on which he helped produce and write a number of songs. He also kicked off the year by performing at the NBA All-Star Game in Oakland and announcing the launch of his vinyl club. Need a break? Play the USA TODAY Daily Crossword Puzzle. "The (past) year has been really successful. I have worked with some amazing people," Saadiq says. "Though maybe different than some, I've had a lot of years like this." 'No Bandwidth' shows significant in more ways than one As a producer, instrumentalist, composer and songwriter, he has written and produced for music legends while becoming one himself. Some of those artists include Beyoncé, the Isley Brothers, Stevie Wonder, Whitney Houston, Erykah Badu, Solange Knowles, D'Angelo and John Legend. His first one-man show will be held at the Apollo Theater in Harlem — an intentional choice. "There's so much seasoning left on the floor at the Apollo. When you walk on that floor, you have to understand the people who worked so hard — blood, sweat and tears — and the ancestors that touched that stage," Saadiq says. "I wanted to take some of that energy and then just bring it out. Every time I go to the Apollo, I feel that way. But to go back by myself, and as a one-man show, is monumental for me." Fans can expect his performance include his work from throughout the years. "It's not about the talent that I have and have been blessed with," Saadiq says. "I've been blessed to work with so many good people. So I'm taking little pieces of everybody as I can remember, and then sort of bring it to to the stage." Through his vinyl club, Saadiq is offering fans a rare glimpse into his back catalog. Those with a membership receive exclusive quarterly releases, including his most celebrated albums, new releases and more. "It's really giving me that outlet to talk to people who really love and enjoy music," he says. 'Cowboy Carter' and Saadiq's continuous collaboration with Beyoncé While he's no stranger to collaborative and solo success, Saadiq recognizes the uniqueness of his recent endeavors, including his collaboration with Beyoncé. In addition to being a songwriter on Beyoncé's Grammy-winning hit "Cuff It" from her 2022 album "Renaissance," he co-wrote and produced a number of songs from her eighth studio album, including "Texas Hold 'Em," "16 Carriages," "Bodyguard" and "Ameriican Requiem." He also played the instruments for multiple songs, including "Ya Ya" and "Just For Fun." "I think 'Cowboy Carter' just brought the perspective that Black people sang country music first. And (Beyoncé) brought a lot of people from the past and (present)... like Shaboozey, who's been already singing country music," Saadiq says. "It sort of gave them an outlet to get out to a bigger audience." Tickets are now available for Saadiq's upcoming shows on Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.
Yahoo
12-03-2025
- Entertainment
- Yahoo
Musician Raphael Saadiq talks unique gigs on heels of 'Cowboy Carter' success
Raphael Saadiq, who has cemented his mark in the music industry over the past three decades, has a special year planned for his fans with the release of exclusive content and a new one-man show. "No Bandwidth: One Man, One Night, Three Decades of Hits" will run for only four nights, kicking off May 31 in New York before heading to Los Angeles on June 6 and his hometown of Oakland, California, on June 7 and June 8. "It'll be me singing sometimes, me playing some instruments, me talking, telling stories, talking about the past and talking about the present," Saadiq says. "We're just going to be in one place all together. It's going to be no phones. We're really going to be close and personal." Saadiq rose to fame in the '80s and '90s as the lead vocalist for the R&B group Tony! Toni! Toné! In 1999, he formed another R&B group, Lucy Pearl, and released music with its members before eventually releasing five solo albums. The versatile music mogul has earned three Grammy Awards, received 20 additional nominations, and had his work recognized by both the Oscars and Golden Globes. This year he won a Grammy for album of the year for his work on Beyoncé's "Cowboy Carter," on which he helped produce and write a number of songs. He also kicked off the year by performing at the NBA All-Star Game in Oakland and announcing the launch of his vinyl club. "The (past) year has been really successful. I have worked with some amazing people," Saadiq says. "Though maybe different than some, I've had a lot of years like this." View this post on Instagram A post shared by TONY! TONI! TONÉ! (@tonytonitoneofficial) As a producer, instrumentalist, composer and songwriter, he has written and produced for music legends while becoming one himself. Some of those artists include Beyoncé, the Isley Brothers, Stevie Wonder, Whitney Houston, Erykah Badu, Solange Knowles, D'Angelo and John Legend. His first one-man show will be held at the Apollo Theater in Harlem — an intentional choice. "There's so much seasoning left on the floor at the Apollo. When you walk on that floor, you have to understand the people who worked so hard — blood, sweat and tears — and the ancestors that touched that stage," Saadiq says. "I wanted to take some of that energy and then just bring it out. Every time I go to the Apollo, I feel that way. But to go back by myself, and as a one-man show, is monumental for me." Fans can expect his performance include his work from throughout the years. "It's not about the talent that I have and have been blessed with," Saadiq says. "I've been blessed to work with so many good people. So I'm taking little pieces of everybody as I can remember, and then sort of bring it to to the stage." Through his vinyl club, Saadiq is offering fans a rare glimpse into his back catalog. Those with a membership receive exclusive quarterly releases, including his most celebrated albums, new releases and more. "It's really giving me that outlet to talk to people who really love and enjoy music," he says. While he's no stranger to collaborative and solo success, Saadiq recognizes the uniqueness of his recent endeavors, including his collaboration with Beyoncé. In addition to being a songwriter on Beyoncé's Grammy-winning hit "Cuff It" from her 2022 album "Renaissance," he co-wrote and produced a number of songs from her eighth studio album, including "Texas Hold 'Em," "16 Carriages," "Bodyguard" and "Ameriican Requiem." He also played the instruments for multiple songs, including "Ya Ya" and "Just For Fun." "I think 'Cowboy Carter' just brought the perspective that Black people sang country music first. And (Beyoncé) brought a lot of people from the past and (present)... like Shaboozey, who's been already singing country music," Saadiq says. "It sort of gave them an outlet to get out to a bigger audience." Tickets are now available for Saadiq's upcoming shows on Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay. This article originally appeared on Nashville Tennessean: Raphael Saadiq talks about explosive year on heels of 'Cowboy Carter'
