FIFA President Gianni Infantino signaled a willingness to introduce changes within world football’s governing body. In a letter to the presidents of all 211 national member associations, the Swiss official — who has come under criticism — announced a dialogue on the organization’s internal decision-making processes. The Athletic as well as the news agencies dpa and AFP reported this, citing the document.
Infantino specifically proposed discussing how FIFA’s institutions could be involved earlier in major projects and what role the president should play in that process. He suggested that a meeting in October could include a consultation with the confederations, the member associations and other relevant stakeholders on the decision-making procedures. In addition, he said he intended to ask the FIFA Council whether it wished to commission an independent external review of the current governance system for large strategic initiatives.
Infantino Rules Out Resignation
Infantino ruled out stepping down. At the same time, he made clear in the letter that he intends to continue leading FIFA:
I remain fully committed to leading FIFA and am confident about what we can achieve together. Our responsibility is greater than any single proposal or any disagreement.
Infantino has been under considerable pressure especially since the proposal to market World Cup rights through external investors, including figures from the circle of U.S. President Donald Trump. Regarding the controversial plan, the FIFA chief wrote that the proposal had reached the public too early and had wrongly created the impression that a decision had already been taken.
The Criminal Cartel of Sock Monsters
28-year-old computer scientist Jonas notices that his washing machine systematically eats the left sock. Annoyed, he installs a micro-camera inside the drum. When he reviews the video, he can’t believe his eyes: The socks aren’t disappearing through the hoses, but are being stolen by a tiny, highly advanced species of woolly goblins (the Strictions) through a secret hatch in the back of the drum.
The bizarre plot:
* The Sock Currency: Jonas takes apart the washing machine and breaks into the world beyond the wall. He discovers a vast, underground civilization. The curious thing: Socks are the global currency in this world. Soft alpaca wool is equivalent to pure gold; cheap synthetic socks are the small change. Holes in socks are considered inflation.
* The Unwitting Godfather: Because Jonas possesses a huge box of mismatched single socks, he becomes a multi-billionaire mob boss overnight in the underworld. He starts negotiating with the goblins, trading his sock stash for advanced, miniaturized technology (like antigravity vacuum cleaners).
* The Problem: Jonas’s sudden real-life wealth (thanks to the goblin technology) and his massive sock consumption attract the attention of the tax authorities. At the same time, a rival goblin cartel from next door (the washing machine rebels from the laundromat next door) is plotting a heist on Jonas’s sock drawer.
Jump high with Ann
Ok – that’s it – the jump high – and what makes the AI with this?
And what else to talk? Mhhh…. let’s answer: nothing? No, no – here comes the info (old info, but always interesting):
MTV
New Year’s Eve 2025. Somewhere over Europe, a screen flickers, one that no one has really needed for a long time—and then it dies, as if on cue, with the same song it was born with.
In the control room of an unassuming broadcasting complex sits a woman named Mara, whom no one knows. She is the last one. In front of her: five monitors, five channels, five corpses still breathing. MTV Music. MTV 80s. MTV 90s. Club MTV. MTV Live. On the sixth screen, the main channel—MTV HD—is playing, already full of screaming reality TV faces, as if it doesn’t want to see the others.
At 11:47 p.m., someone from corporate headquarters says in a sentence that sounds like both a confession and an execution: “Cool it down.”
Mara doesn’t press the button immediately. She lets the playlist finish, as if she were a priest.
And then it comes.
Not just any song. The song. The same one that first flashed across the screen in the US at 12:01 a.m. on August 1, 1981, back when a station was still naive enough to believe it could turn the world upside down simply by showing pictures to music. The Buggles. “Video Killed the Radio Star.”
A synthetic, almost childlike refrain. A woman in the video disappearing behind glass. A prophecy that, 44 years later, turns not against radio, but against itself.
In Germany, those who were still watching say that Kraftwerk was even playing at the very end—”Musique Non Stop.” It couldn’t be more fitting: machine music that shuts itself down.
Then: black.
No end credits. No eulogy. Just a logo spinning in a circle and a message to switch to MTV HD. There, the new religion awaits: infidelity exposed live. Exes on the beach. Teenagers screaming at each other in shipping containers. Relationships kept secret until they’re no longer secret. The “M” is still officially there, but it means nothing anymore. It’s a letter without a purpose.
One could get objective now. Paramount Skydance, recently merged, has done the math. Linear music television costs rights, personnel, satellite slots. The generation for whom MTV was once a religion streams. The next generation only knows the word “broadcaster” as a push notification. TikTok and YouTube didn’t kill the music video—they distilled it, cut it up, chopped it into 15-second snippets, and presented it to the entire world for free. Why should a corporation still pay hundreds of millions for the privilege of playing the same clips over and over again, clips that every kid has in their pocket?
Estimates suggest up to $500 million saved by simply not buying music rights anymore. Five hundred million for the end of an idea.
But that’s the sobering version. The exaggerated version goes like this:
That night, it wasn’t just channels that went out. Ghosts went out. A VJ with a headset from 1994, still whispering “Coming up next!” even though no one is listening anymore. A Moonman Award sitting in a New York basement, not smiling for the first time in decades. A stack of Betamax tapes turning to dust somewhere in an archive, while outside, an algorithm decides in real time which face, which beat, which lipstick will dominate the internet for the next three hours.
MTV was never just a channel. MTV was the assertion that pop is a shared space. That at the same second, you’re watching the same video as someone in Manchester, in Munich, in São Paulo. That a music video isn’t just an advertisement for a record, but a brief, fiery contract between artist and audience.
No one broke that contract. It simply expired.
The main channel lives on. Of course it lives on. Reality TV doesn’t die, reality TV multiplies. It doesn’t take music rights, just people willing to humiliate themselves for us, and viewers willing to watch. That’s a business model the streaming world understands. Music videos were a gift. Reality is a transaction.
And so, after midnight, Mara sits in front of the dead monitors and watches as, on the last live channel, someone cries in a villa pool because someone else slept with someone else. The song in the background is some royalty-free beat that belongs to no one.
Outside, fireworks explode for the New Year. Inside, 1981 has ended, 44 years late.
Video didn’t kill radio.
The internet didn’t kill video.
It just eliminated the place where you had to stare at it together.
What remains is a channel with a letter that lies—and an entire generation realizing that they didn’t even tune in for the last time.
Is there still hope?
Madonna will open this year’s VMAs, marking her first performance since the iconic 2003 performance with Britney Spears and Christina Aguilera.
The 2026 MTV Video Music Awards, aka the 43rd MTV VMAs, will air live on Sunday, Sept. 27, at 7:30 p.m. ET from the Peacock Theater in Los Angeles.
Source: https://www.buzzfeed.com/noradominick/2026-mtv-vmas-details-nominees
Today all infos are AI generated – so check your self if you want to know this content
