Tech / Technology

How to watch the LSU vs. Alabama football without cable: kickoff time, streaming deals, and more

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The best live streaming services to watch the Alabama vs. LSU college football game without cable.
Alabama Crimson Tide player catches ball.

Wondering how to watch college football this season? Here are your best options:

Most affordable

Paramount+ with Showtime

7-day free trial, then $11.99/month

Mashable Image


Most channels

FuboTV

7-day free trial, then $74.99/month

FuboTV logo

The Alabama and LSU football teams are scheduled to meet in a Southeastern Conference contest on Saturday, Nov. 4, 2023, at Bryant-Denny Stadium in Tuscaloosa, Alabama. The game is scheduled to start at 6:45 p.m. CT. 

Alabama, ranked No. 8 in The Associated Press poll, enters the matchup 7-1 overall and 5-0 in the SEC. Most recently, Alabama defeated Tennessee 34-20 on Oct. 21. No. 13-ranked LSU comes into the contest 6-2 overall and 4-1 in the SEC. On Oct. 21, LSU beat Army 62-0. Entering Saturday, Alabama leads the all-time series 55-27-5 vs. LSU. 

Nick Saban is the Alabama football head coach. Brian Kelly is the LSU football head coach. 

Alabama vs. LSU football kickoff time and network

The Alabama vs. LSU football game is scheduled to be broadcast on CBS at 6:45 p.m. CT on Saturday, Nov. 4. The CBS broadcasters are scheduled to be Brad Nessler (play-by-play), Gary Danielson (analyst), and Jenny Dell (sideline reporter). 

Cable and satellite TV are no longer mandatory for enjoying sports. Consider live streaming Saturday’s game via services like Paramount+ and FuboTV.

Best streaming services for the LSU vs. Alabama football game

Watching college football requires a streaming service if you don’t have cable or satellite TV. For the LSU vs. Alabama football game on Saturday, here’s the top streaming options.

Most affordable: Paramount+


Paramount+ logo

Credit: Paramount+


Paramount+ with Showtime

7-day free trial, then $11.99/month



If you want to watch just CBS or just the Alabama vs. LSU football game, Paramount+ offers a solution. 

New subscribers to Paramount+ get a seven-day free trial. Then for the Paramount+ plan that includes live streaming CBS, you need the Paramount+ with Showtime tier, which is $11.99/month. If you choose the annual plan, it is $119.99 for a year, saving about $1.99/month. 

Paramount+ gives students a 25% discount.

Most channels: FuboTV


FuboTV

7-day free trial, then $74.99/month



With FuboTV, new subscribers can enjoy a seven-day free trial and more than 250 live TV channels, along with the ability to simultaneously stream on 10 devices. College football fans can subscribe for $74.99/month, ensuring access to CBS for anticipated matchups such as Alabama vs. LSU football. 

FuboTV’s sports channel offerings include ABC, ACC Network, Big Ten Network, CBS, CBS Sports Network, ESPN, ESPN2, ESPNews, Fox, FS1, FS2, Golf Network, Marquee Sports Network, Monumental Sports, NBC, NBCSN, NFL Network, Pac-12 Network, and SEC Network. 

Tech / Technology

Perfect movie to kick off the Christmas season: ‘Anna and the Apocalypse’

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Directed by John McPhail, “Anna and the Apocalypse” is a musical holiday horror movie that deserves your attention. “Dickinson”s Ella Hunt stars.
A blood-spattered Anna, played by Ella Hunt, holds a large candy cane weapon.

Do you like Christmas movies, but wish they were gorier? Are you a fan of zombie flicks, but yearn for a zombie musical? Do you want every musical you watch to be full of holiday cheer? Perhaps with some high school drama tossed in the mix? Then, you’re going to want to witness Anna and the Apocalypse. Directed by John McPhail (Dear David) this Christmas-set zombie musical spectacular from 2018 is the perfect transition film to shift horror lovers from spooky season to Yuletide scares.

What’s Anna and the Apocalypse about?

Ella Hunt dances in school in "Anna and the Apocalypse."


Credit: Orion/Vertigo/Kobal/Shutterstock

Christmas is just around the corner in the small Scottish town of Little Haven, and Anna (Dickinson‘s Ella Hunt) is at odds with her father (Mark Benton) about her post-high school plans. Before university next fall, she wants to travel the world. But her dad thinks that would be a waste of time. Unfortunately, the zombie apocalypse doesn’t care about family squabbles. It hits right before Christmas — and right before Anna and her father can reach any kind of resolution.

To save her dad and make it out of town alive, Anna teams up with her devoted best friend John (Malcolm Cumming), snarky student activist Steph (Sarah Swire), plucky aspiring filmmaker Chris (Christopher Leveaux), and school jerk Nick (Ben Wiggins). What follows is a mad scramble for survival with a healthy dose of Broadway flair.

Anna and the Apocalypse is a comedy that takes its musical numbers seriously.

Ella Hunt wanders among zombies.


Credit: Orion/Vertigo/Kobal/Shutterstock

The musical numbers are the highlight of Anna and the Apocalypse, launching an already-enjoyable Christmas horror movie into the stratosphere. Take the earnest and angsty “Hollywood Ending.” Sung by students in their school cafeteria and complemented by lunch tray choreography, this tune with High School Musical vibes reminds us that life is not at all like the teen movies — something that Anna and the Apocalypse‘s ending takes to heart.

Also of note is the cheerful, poppy “Turning My Life Around.” In this chipper song, Anna and John walk/dance to school, earbuds in and singing their hearts out —oblivious to the zombie carnage playing out all around them. It’s a delightfully ironic scene, one that calls to mind a similar sequence of apocalyptic unawareness from Shaun of the Dead.

My favorite song on the whole soundtrack has to be Nick’s “Soldier at War,” an epic zombie-killing anthem reminiscent of “Eye of the Tiger.” The number is Anna and the Apocalypse at its most fun. Nick and his fellow bullies kill zombies using everything from bats to watermelons to video game controllers. On the one hand, it’s an absolute banger of a song that will no doubt get stuck in your head. On the other hand, it’s a ridiculous example of posturing in the face of death — with Wiggins selling the arrogance with charismatic gusto. However, Anna and Steph’s unimpressed expressions are an excellent contrast to Nick’s musical bragging.

Anna and the Apocalypse has fun with holiday horror — and gore.

Ella Hunt as Anna Shepherd and Malcolm Cumming as John in "Anna and the Apocalypse."


Credit: Orion/Vertigo/Kobal/Shutterstock

This being a zombie movie, there’s plenty of violence to go around — only here it comes with a Christmas twist. Anna and John encounter zombies dressed as snowmen and Santa. The undead crash the school’s holiday concert and invade a Christmas tree emporium. Anna’s weapon of choice in the final act is a big, sharpened prop candy cane, because why not? It’s a gleefully unhinged way to get into the holiday spirit.

In addition to all the genre-melding, Anna and the Apocalypse makes a real effort to examine how teenagers on the brink of adulthood come to terms with the apocalypse. Turns out the sudden arrival of zombies really puts your life in perspective. Anna worries about her future and her relationship with her father. Meanwhile, John struggles to admit his romantic feelings for Anna in what ends up being a solid subversion of the Nice Guy trope.

These more dramatic emotional beats don’t always land. For instance, a subplot involving a control freak teacher (Paul Kaye) escalates unbelievably quickly. But Anna and the Apocalypse certainly gets points for trying. Using a zombie apocalypse, Christmas, and catchy tunes to tackle teenage anxieties is no small feat, and the movie sometimes falters as a result of its own ambition. Fortunately, you’ll be too distracted by fun set pieces and the cast’s fully committed performances to care that much.

So sharpen your candy canes, warm up your vocal cords, and start your December off right with Anna and her friends. And zombies.

Anna and the Apocalypse is now streaming on Shudder, and is also available on Apple TV+, Amazon Prime, Vudu, and more.

UPDATE: Oct. 31, 2023, 10:47 a.m. EDT This post has been updated to reflect Anna and the Apocalypse’s current streaming availability.

Tech / Technology

Google Chrome on iPhone now lets you move the address bar

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Google Chrome users can now move the address bar to the bottom, but only iPhone users can take advantage of this new feature.
Google Chrome moves address bar

Google added a new feature to Chrome that is reminiscent of Safari’s current design. You can now move the address bar to the bottom of the screen.

This means you no longer have to stretch your thumbs to reach the top of your phone in a way that interrupts your typing flow. Sorry, Android users — this feature is only available to iPhone users at this time.

Google Chrome address bar move feature

You can move the Google Chrome address bar to the bottom or keep it at the top.
Credit: Google

Why move the address bar to the bottom?

Phones are gigantic these days. Hell, the Samsung Galaxy S23 Ultra and the iPhone 15 Pro Max have nearly seven-inch displays — they’re practically tablets.

Apple iPhone 15 Pro Max in white titanium

The iPhone 15 Pro Max in all of its giant glory.
Credit: Stan Schroeder / Mashable

As such, the top of the screen is becoming harder for our thumbs to reach. So Google is allowing users to move the address bar to a more convenient position.

“We know people prefer different address bar positions depending on the size of their hands and devices, and we took those preferences into account when building this highly requested feature,” said Nick Kim Sexton, Google product manager for Chrome.

If you prefer the address bar on top, don’t worry: You can simply leave it in its default position.

How to move the address bar to the bottom

To move the address bar to the bottom, you must press and hold it. Next, select the “Move address bar to bottom” option. That’s it!

You can also go to Settings, tap on “Address bar,” and choose your preferred position.

Tech / Technology

The AI Seinfeld show loop broke but it’s still alive

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The artificial intelligence version of “Seinfeld” is still running, after the Twitch stream seemed to have broken.
A screenshot of the AI version of Seinfeld, where two characters sit in a living room.

An AI-rendition of Seinfeld has been playing on an infinite loop on Twitch since December 2022, confounding the internet in more ways than one. But it seemed to have broken, almost forever, yesterday.

Nothing, Forever, launched by generative media lab Mismatch Media and created primarily via OpenAI, seemed to glitch for a few days. Fans and viewers took to X, pointing out both the low viewership on the Twitch channel and the fact that the digital characters were shown standing silently.

404Media’s Jason Koebler wrote that the show “is very broken, stuck on a short, repeating loop for days.”

However, the show appears to have resumed, finding a flow and somewhat of a plot again. The Twitch channel has very few viewers though, oscillating between 40 and 70 people at most given times. The channel, entitled “WatchMeForever”, has around 170,000 followers. At its peak popularity, nearly 20,000 people were tuned in at once.

Nothing, Forever previously faced a lapse back in March, when its Jerry Seinfeld-like character made a transphobic comment. It received a two-week ban from Twitch, making a comeback with new guardrails in place, according to the Mismatch Media creators. When it made its return, the characters were entirely replaced with non-Seinfeld characters — the ensemble now consists of Manfred, Kelly, Nick, and Leo – with little explanation.

As I was watching, it does seem like the series is taking an eerily meta, existential turn. From its genesis, the protagonists of the series were highly-pixelated and distinctively robotic. Their conversations, at the time of writing this article, only heightened this Black Mirror-esque endeavour.

The characters talk about past lives, the illusion of time, feeling of dread, and being forcibly stagnant. “Guys, does anyone else feel like we’re stuck in a loop?”, one character asks. “We need to get out of this diner,” another says, eating at a table likely resembling the original Seinfeld restaurant. Later, another character talks about the vast nothingness of existence. “Reality is malleable like a dream,” he writes on a computer. An ominous hum is in the background throughout.

“The utter chaos of this,” says one. “It’s beyond comprehension. The point is, this conversation makes absolutely no sense.”