Squid Game’s success reopens who pays debate over rising internet traffic

Demand for capacity grows on back of hit Netflix shows, online games and more

The breakout success of the South Korean drama Squid Game has prompted a local broadband provider to launch legal action to force the maker, Netflix, to help pay for the huge surge in traffic, the latest flashpoint in the argument over who should carry the burden of the spiralling costs of data fuelled by the global streaming boom.

From Netflix’s latest global sensation and livestreamed Premier League football matches on Amazon Prime Video, to bandwidth-busting traffic when hit online games such as Fortnite or Call of Duty are updated, the demand for internet capacity has undergone unprecedented growth in recent years.

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Bob Mortimer: ‘I’m comfortable with getting older, but I try not to look in the mirror’

The comedian, 62, on growing up shy in Middlesbrough, losing his dad, meeting Vic Reeves, and the deep contentment of fishing

I was quite a shy boy. Growing up in Middlesbrough, I felt a bit of an outsider. My three elder brothers are funny and boisterous and I was in awe of them. I felt like an appendage. It’s probably the curse of being a younger kid. I’ve seen some become the loudest because they fight for their place, and others retreat to the fringes. I was in the latter group.

If you’re the quietest at home, it’s tough to find a voice. I’ve always been quite a good mate to have because of that. If I ever did make a connection with anyone, it was very precious to me. My friendships are everything.

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Squid Game lays bare South Korea’s real-life personal debt crisis

Household debt is now equivalent to over 100% of GDP and has gone hand in hand with a dramatically widening income gap

After midnight, when the crowds of revellers have gone, Choi Young-soo* crouches in a shabby alleyway in Seoul’s wealthy Gangnam district. This is the only time that the 35-year-old, a part-time food delivery rider, dare leave his tiny room at a cheap hostel he shares with about 30 other people.

The rooms, he says, are “only slightly bigger than coffins”.

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‘You upgrade your phone, why not your marriage?’ The TV show set to send divorce rates soaring

Ingmar Bergman’s Scenes from a Marriage shook the world – and spiked divorce rates. Could the remake, with Jessica Chastain and Oscar Isaac, be even more controversial? Its director Hagai Levi bares all

In 1973, Ingmar Bergman released Scenes from a Marriage. The seminal Swedish TV series saw a luminous Liv Ullmann and a tortured Erland Josephson play Marianne and Johan, whose marriage is deliquescing with the most elegant ugliness. Their pain is exquisite and their liberation hard-won, but it is – in the end – a victory for authenticity. For these perfect people are trapped by convention.

“It was very political and very revolutionary,” says Hagai Levi, the Israeli director who has just remade the series for HBO, with Jessica Chastain and Oscar Isaac in the lead roles. “And very outrageous! Back then, even the word ‘divorce’ was shocking.” In Bergman’s series, the couple are crushed by the weight of their own seeming perfection, the relinquishment of which makes it feel so emancipating, and so novel. This was not an Ibsen rehash, a Doll’s House message (“it’s OK to leave bad people”) but something much more seismic, in the 70s at least. Even though Johan is the jerk who takes off, the point is: sometimes neither party is bad – they are simply not themselves until they part.

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‘I don’t judge his decision to die’: the hit podcast about love, loss – and Britney Spears

When Chris Stedman’s friend Alex took his own life, he left him a final puzzle to solve. Unread charts Stedman’s journey down a rabbit hole of grief and realisation

“When someone dies, there are always questions that will be left unanswered. But what happens when you lose someone and they leave you a trail to follow after they are gone?”

Chris Stedman is explaining the central conceit of his podcast Unread. The four-part series sees the writer and podcaster memorialise his friend Alex, who took his own life in late 2019, via narration, voice notes and testimonies from mutual friends. It also follows Stedman’s quest to better understand his friend’s life, digging into parts of his history that he didn’t know existed. Bringing together an affecting story and a compelling mystery, Unread garnered critical acclaim from the likes of Vulture, and has been among the podcast highlights of the year since its release in July.

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Game of Thrones prequel: why we’ll all be hooked to House of the Dragon

The first trailer for the upcoming fantasy spin-off promises epic action on a vast scale, with “gods, kings, fire and blood”. Resistance is futile!

The Game of Thrones finale is still fresh in the mind of the public. Why, it only seems like yesterday since the world came together to witness the culmination of George RR Martin’s Song of Ice and Fire saga, asking itself questions like “WHY IS EVERYTHING SO DARK?” and “WHY HAS MY FAVOURITE TV SHOW GOT MASSIVELY CRAP?”

But two and a half years is a long time in the world of intellectual property and, reasoning that it’s still much easier to get viewers to watch a spin-off of something they grew to hate than to make them invest in something new, GoT prequel House of the Dragon is now on the horizon.

House of the Dragon will premiere in 2022

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From bawdy fun to fantasising with Demi Moore: the best erotic podcasts

If it’s audio kink you’re after, there’s a podcast for that. Rhik Samadder picks out the best out of the horny bunch

The biggest noise on the audio porn scene is Dipsea, whose range of consensual, sex-positive stories are written by women, for women. The stories, all between 10 and 20 minutes long, are streamlined, yet grounded in character and situation. By the time things descend into panting, the idea is that attuned listeners will be, too. The app has more than 400 stories behind a paywall: straight and queer and diverse in content, with a few enticing freebies concerning military-style yoga instructors and massages between friends. Anyone whose primary erogenous zone is inside their head will find succour here.

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Bridgerton Emmy winner Marc Pilcher dies of Covid at 53

The hair and makeup designer, who won for the Netflix show, was double-vaccinated and had no underlying health conditions

Marc Pilcher, the Emmy-winning hair stylist and makeup designer known for his work on Bridgerton, has died of Covid at the age of 53.

News of Pilcher’s death comes just weeks after he won a Creative Emmy for his work on the Netflix hit. He was double-vaccinated and had no underlying health conditions, as confirmed to Variety by his agency, Curtis Brown.

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Armistead Maupin and Laura Linney: how we made Tales of the City

‘I thought we were going to make history with our same sex kiss. And we did. There were protests all over America – and a bomb threat in Chattanooga’

Armistead Maupin, author and executive producer of the Channel 4 series

I wrote Tales of the City for the San Francisco Chronicle. It then mushroomed from one novel into a series of nine. To say my parents didn’t like them would be an understatement. When Tales came out in 1978, they wrote to me: “Read Tales of the City today; moving to Zanzibar tomorrow.” There were a lot of gay characters in Tales, that was kind of the point, but my books were never prurient.

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The rise of ‘citizen sleuths’: the true crime buffs trying to solve cases

Inspired by hit podcasts and documentaries, ordinary people are trying to track down fugitives and reopen cold cases. But should they be?

Although the story you are about to read involves a fugitive, law enforcement and a six-month chase across Mexico, for Billy Jensen it was just another day on the job. In 2017, Jensen was on the hunt for a pale, ginger, tattooed California killer hiding out in Mexico. Jensen uploaded a photo of the fugitive to Facebook. “¿Has visto a este hombre?” he asked, using Facebook’s targeted ad tools to ensure the post was seen by people living near American bars. Tips came flooding in. One tipster snapped a photo. In just 24 hours, Jensen had his guy.

Unfortunately, the killer was on the move. It took half a year of similar posts for the 49-year-old Jensen to finally get the suspect apprehended by the Mexican police – for Jensen isn’t a police officer himself, or a detective, or an FBI agent. He is a podcaster, author, journalist, and self-described “citizen sleuth”.

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‘His rage, his pain, his shame, they’re all mine’: Jeremy Strong on playing Succession’s Kendall Roy

Strong’s role as the self-destructive media heir takes commitment – and the actor goes all in

• Plus: inside the Succession writers’ room

Earlier this year, Jeremy Strong left his apartment in Brooklyn, walked across the bridge to Manhattan and headed towards the far west side of the island, where he was filming the third season of the feverishly adored and heavily accoladed HBO series Succession. Strong plays Kendall, the alternately bullied and rebellious son of the vilified, Murdoch-esque media tycoon Logan Roy, played by Brian Cox, and Succession follows the jostling among the patriarch’s four children for his affection and respect, both of which he generally withholds. None of them is as visibly crushed by this as Kendall, who bears more than a slight resemblance to James Murdoch, even down to the dabblings in hip-hop. With every timid step Strong makes on screen, every apologetic dip of his chin when he starts to talk, he captures the pain of a son who knows he has failed to live up to his father’s expectations from the first time he cried. He won an Emmy last year for the role, beating, among others, Cox, in neatly Freudian style.

Strong likes to walk while learning his lines, so on that day in New York as he was walking he was also talking, reciting a speech he would soon be saying to Cox, in which Kendall tries to curry favour with his father, but also to be seen as his own man. “Suddenly, out of the corner of my eye, I saw a ghost-grey Tesla rolling to a stop, so I looked in it, and there was James Murdoch,” Strong says when we meet in a London hotel. “He looked at me and I looked at him, and there was a flicker between us. Then he was gone. So we had a moment.”

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Guy Pearce: ‘There’s always someone you want to punch’

Neighbours launched him, and since then the star of Memento and Zone 414 has seized his Hollywood roles with a unique intensity. He talks about death, drugs, being a dad and divorce

At the start of this century, Guy Pearce was sitting pretty. He had shaken off the frothy soap bubbles of Neighbours, where he was one of the show’s original batch of pin-ups, along with Kylie Minogue and Jason Donovan, and was proving himself a versatile film actor – first as a sharp-clawed drag artist in The Adventures of Priscilla, Queen of the Desert, then as a clench-jawed cop in LA Confidential.

Awaiting release was the existential thriller Memento, directed by a promising up-and-comer named Christopher Nolan. First, though, he heard whispers that Kenneth Turan, the film critic of the LA Times, had been singing his praises in a review of the military courtroom drama Rules of Engagement.

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Britney vs Spears review – Netflix doc is schlocky, trashy and deeply uncomfortable

Certainly not in the pop star’s best interests, this disturbing film gives redemption stories to controversial figures from Britney’s past. Nothing about this feels right

What is in Britney Spears’ best interests? It’s a question that has been discussed and dissected by those around the pop star for 13 years, often abstractly, or with feigned concern, in the press or in court documents. It has been that way since she was placed in a controversial conservatorship, presided over by her father, Jamie, in 2008. It’s a question also posed by film-makers, whose narrative arcs often involve picking at the scabs before reaching for the plasters. In February, the New York Times documentary Framing Britney Spears recast her career through a post-#MeToo lens, via familiar shots of Spears shaving her head and distressing images from 2008 of her in the back of an ambulance prior to being involuntarily committed to a psychiatric ward. A month after it aired, Spears said on Instagram that she was “embarrassed by the light they put me in” and that “she cried for two weeks”. In May, Spears called the BBC documentary The Battle for Britney: Fans, Cash and a Conservatorship hypocritical. “I think the world is more interested in the negative !!!!” she said.

In this context, Netflix’s Britney vs Spears – directed and narrated by fan and film-maker Erin Lee Carr – feels uncomfortable. Conceived two and half years ago as an insight into “[Spears’] artistry and her media portrayal”, the film was hastily retooled after Framing Britney Spears and Spears’ explosive testimony at a conservatorship hearing in July. Oddly, the documentary chooses not to place Spears’ own words – a rarity for so long – at the start of the film. Rather it follows a standard chronological narrative, zipping through the successes of the early years before homing in on troubled times. It pores over Spears’ divorce from Kevin Federline in a way that feels tabloid-y, while dramatic instrumental music hums underneath. It often has the feel of a schlocky true crime documentary, with Carr and the journalist Jenny Eliscu shown riffling through papers, or sticking name tags on pictures showing the main protagonists. Anytime Jamie Spears is mentioned we get a slow zooming shot of his face.

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Squid Game: the hellish horrorshow taking the whole world by storm

In the gory thriller that has swiftly become a smash hit on Netflix, competitors play children’s games for huge cash prizes … and if they lose, they die. Can you stomach it?

What if winning playground games could make you rich? That’s the basis of Squid Game – the South Korean show currently at number one on Netflix around the world – where debt-ridden players sign up to compete in six games for a cash prize of 45.6 billion won (around £28m). The small print: if you lose, you get killed. In the first episode, a game of Grandma’s Footsteps (known as Red Light, Green Light in South Korea) leaves bodies piled high as the shell-shocked winners proceed to round two. It’s blood-splattered child’s play – a kind of Takeshi’s Castle with fatalities, or Saw with stylish shell suits.

If you can stomach the events of the first episode, what follows is a tightly written horror thriller that has captivated viewers. The nine-part series is the first Korean show to reach the top spot on the streaming platform in the US, and is currently number one in the UK. Its success won’t come as a surprise to a generation of viewers who got hooked on murderous dystopian series The Hunger Games and cult favourite Battle Royale. But Squid Game’s backdrop is South Korea’s present-day, very real wealth inequality.

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China clamps down on cartoons in latest morality move

Entertainment industry told to uphold ‘truth, goodness and beauty’ and remove vulgar and violent content

China’s broadcasting regulator said it will encourage online producers to create “healthy” cartoons and clamp down on violent, vulgar or pornographic content, as Beijing steps up efforts to bring its thriving entertainment industry to heel.

The National Radio and Television Administration said in a notice posted late on Friday that children and young people were the main audience for cartoons, and qualified agencies need to broadcast content that “upholds truth, goodness and beauty”.

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Roger Michell: a quiet genius still hitting his stride | Peter Bradshaw

The director’s death aged 65 is a huge blow for British cinema, whose very best qualities – of wit, intelligence and subtlety – Michell exemplified

Roger Michell was the TV and movie director who had a midas touch with actors and with a particular type of English material: witty, literate, poignant and romantic. Michell was a master at directing anything on the continuum between Jane Austen and Richard Curtis, and knew what animated both.

Related: Roger Michell – a career in pictures

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‘Astronauts check our scripts!’: inside the new age of sumptuous sci-fi TV

With clone emperors in haute couture and exotic wolf-lizards poised to attack, Foundation and For All Mankind herald a new era of ravishing spectaculars. Can they do for sci-fi what Game of Thrones did for fantasy?


Dynastic infighting, the decline and fall of a mighty empire, tyrannical rulers and fantastical beasts. You might be forgiven for thinking that Apple’s Foundation – starring Jared Harris and The Hobbit’s Lee Pace – is staking a claim as heir presumptive to the iron throne of Westeros. Or at least that the new adaptation of Isaac Asimov’s seminal series of books – a galactic saga that takes place over several centuries – might succeed in doing for science fiction what Game of Thrones did for fantasy.

Certainly, sci-fi TV has never looked so sumptuous, with court scenes resplendent with couture that wouldn’t look out of place at the Met Gala, and as many candles and torches as there are strip lights. But for David S Goyer, the showrunner charged with bringing the ambitious story to TV, the influence of the fantasy hit was more nuanced.

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Y: The Last Man review – a stale, male manbaby mess

Disney+’s new drama imagines what the world would look like if there was just one man left on Earth … by sidelining the women who would be in control. What a waste of time

There is much to say about the protagonist of Y: The Last Man (Disney+ in the UK), had we but time and space. For the sake of practicality, let us confine commentary to this: having a whining slacker manbaby as the sole surviving male after a mysterious plague wipes out the rest of XY humanity and upon whom the future of everything depends feels … yeah, about right. Why not get this last undeserved heap of attention, resources and every other goddamned thing shovelled at your emblematically incompetent ass?

I should possibly have recused myself from watching the series until I was in a better mood. On the other hand, there’s something inescapably irritating about switching between looking at the television screen and a phoneful of real-life headlines and not being able to pick out much difference between the fictional dystopia and reality.

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Netflix acquires works of Roald Dahl as it escalates streaming wars

Content deal over author of children’s classics such as Matilda and The BFG is firm’s biggest to date

Netflix has acquired the works of Roald Dahl, the author of children’s classics including the BFG, Fantastic Mr Fox and the Witches, in the streaming company’s biggest content deal to date.

The agreement struck by Netflix, which already has a deal in place with the Roald Dahl Story Company (RDSC) to license 16 titles, will help it build its content arsenal in the streaming wars against rivals including Disney+, Amazon Prime Video and HBO Max.

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The Many Saints of Newark review – Sopranos prequel keeps it in the family

Michael Gandolfini is goosebump-inducing as the young Tony Soprano, amid race riots and antagonism towards rival African American gangs

Maybe it was inevitable that the greatest TV show in history should spawn a feature-length prequel that is somehow disappointing: it is watchable but weirdly obtuse with a tricksy narrative reveal that doesn’t add much. The Many Saints of Newark, co-written by the Sopranos’ legendary creator David Chase and directed by Alan Taylor, gives us the childhood of a leader: the teenage Tony Soprano, growing up in New Jersey in the 1960s, specifically the time of the 1967 Newark riots, which caused the “white flight” racism that explains the older Tony having that palatial home way out there in the suburbs that he drives up to in the opening credits each episode.

Young Tony is portrayed with goosebump-inducing deja vu by Michael Gandolfini, son of the late James Gandolfini, who played the role on TV. Tony’s sleepy-eyed sensitivity, his melancholy, his glowering resentment and dangerous hurt feelings are there in embryo. His father, Johnny, is played by Jon Bernthal, and his terrifying mother Livia by Vera Farmiga who gives a superb rendering of Livia’s own haughty mannerisms. But you could spend this entire movie hanging on for the first sign of those all-important petit mal fainting fits that the TV show said originated in Tony’s dad. Is history being rewritten, or misrememberings corrected?

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