Radar and Sonarr are tools to track movies and TV shows respectively. You can add a movie/show to track, tell it the quality you want it in, and set up Prowlarr or Jackett to give Son/Radarr the access to the torrent trackers it needs. You can also use Usenet but I have no experience there.

It will search those torrent trackers for releases matching your movies/shows in the quality and language you set for them and send the downloads to the torrent client you set up. When the client finishes downloading, Son/Radarr copies (or hardlinks) the files to your library folders.

If Son/Radarr is tracking a show that you currently have downloaded in 480p, but the quality profile allows upgrades up to 1080p, it will search for 720p and 1080p releases and pick the best match it can find. When the torrent client finishes downloading it, Son/Radarr will automatically replace the 480p release with the 1080p release it just downloaded.

I recommend against gogs. It’s missing lots of features that I expected and I ended up switching to gitea anyways. Gitea works well for everything I need and forgejo is a fork of gitea that I might switch to in the future.

Why not use a reverse proxy to keep everything on port 443 behind your own domain or duckdns? /gen

My provider order for stuff that Sonarr handles (shows/anime):

1. TheTVDB
2. AniDB
3. TheMovieDb
4. The Open Movie Database
5. Missing Episode Fetcher

I don’t know what the last two are and I doubt they ever get used. Sonarr uses TheTVDB

I’d like to add that Jellyfin has a provider order that it checks for metadata from. I had some issues until I changed the order to pull metadata from the same provider that Sonarr and Radarr use. Once it checked there for metadata first, everything lined up and I’ve had exceptionally few issues.

For anyone wondering, their account was created two days ago and half of their handful of comments are like this. That person is baiting. Just report, block, and move on.

Golang v1.0 was released in March of 2012. Not sure I would consider it a new language.

I don’t think this lends enough credit to how centralized the music industry is and the role that plays. If you want the world’s music catalogue, you need contracts with like three companies. That level of centralization makes it straightforward to get a music catalogue going with basically everything someone might want to listen to, but it also severely hampers your ability to do anything those three companies don’t want. If anyone’s wondering why Spotify is pushing podcasts so hard, it’s because that’s the only way for them to get out from under the thumb of the few music megacorps that they have to license from to stay relevant. Spotify needs a revenue stream less dependent on the big three and it sees podcasts as its way out.

I’m sure music files being smaller and easier to pirate helped light a fire under the ass of the music industry to modernize, but that isn’t the only factor at play here and I don’t even think it’s one of the main ones. If I recall correctly, Spotify is the company who went to the music labels asking for a contract. In order to show that the tech works, they had to pirate the initial catalogue until they had deals with music labels to license the music. Spotify brought their streaming vision to the music industry, not the other way around.

I believe Netflix had a good catalogue at first because every other company was sleeping on the streaming boom that Netflix was ahead of the curve on. Netflix could get good streaming license deals because nobody really cared about this little company they’d never heard of. As soon as everyone realized what was up, they scrambled to copy Netflix and pulled their libraries to fracture the streaming space.

From the start, the music industry knew what Spotify was and could be and knew how to use their leverage to keep themselves on top (Spotify isn’t functionally allowed to be their own license for music creators, for example). I don’t think the movie streaming space realized what Netflix was until it blew up.

I don’t think the problem is that movie/tv hasn’t “figured it out.” The music space would be just as fractured if it wasn’t as centrally organized. I think the problem is that the industries are just structured really differently, so they played out really differently.

To be clear, I’m not defending the music or movie/tv industry. I just think the situations are more nuanced than “music freaked out and got their shit together and movie/tv hasn’t yet.”

Few reasons. First, the United States is huge. Texas alone is twice the size of Germany. Second, the U.S. has three main power grids. The left half, the right half, and Texas. It’s a little more complex than that, but the important part is that Texas is on its own. Third, Texas hates people. They let companies deregulate to hell and back, even at the expense of its residents.

The combination of being on its own power grid, deregulating that power grid and the companies that maintain it, and not taking proper precautions to protect its residents all leads to a less-than-reliable power grid when it gets hit with any non-standard weather. Texas especially needs to prepare for climate change, but things could definitely be going better…

Kopia actually has a GUI option too! I use it all the time! I pair it with a docker webdav server running on my server pc across the room.