Netflix employees join wave of tech activism with walkout over Chappelle controversy

Slew of walkouts by tech workers, unthinkable mere years ago, shows workers ‘now understand their labor power’, expert says

Employees at Netflix halted work on Wednesday and staged a protest outside the company’s Los Gatos, California, headquarters to condemn the streaming platform’s handling of complaints against Dave Chappelle’s new special.

The actions – which hundreds participated in – are the latest in a string of highly visible organizing efforts in the tech sector, as workers increasingly take their grievances about company policies and decisions public.

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Netflix and Unesco search for African film-makers to ‘reimagine’ folktales

Competition opens to find six young creators in sub-Saharan Africa who will be funded to produce movies for 2022

For Nelson Mandela they were “morsels rich with the gritty essence of Africa but in many instances universal in their portrayal of humanity, beasts and the mystical.”

Passed down through the generations, whispered at bedtimes and raucously retold by elders, folktales have long been a mainstay of African cultural heritage.

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Squid Game is Netflix’s biggest debut hit, reaching 111m viewers worldwide

The dystopian drama tops the streaming service’s charts in more than 80 countries, bumping aside recent Regency-era romp, Bridgerton

Dystopian South Korean drama Squid Game has become Netflix’s most popular series ever, drawing 111 million fans since its debut less than four weeks ago, the streaming service said Tuesday.

The unprecedented global viral hit imagines a macabre world in which marginalised people are pitted against one another in traditional children’s games. While the victor can earn millions in cash, losing players are killed.

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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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Courage in a crisis: how everyday citizens coped with Covid across the world

In a new Netflix documentary, the stories of activists and volunteers who stepped up to help during an impossible time are celebrated

The film-makers behind Convergence: Courage in a Crisis set out to make a documentary on the pandemic, not politics. But separating the pandemic from politics can be as difficult as convincing your anti-vaxxer aunt to log off Facebook.

Director Orlando von Einsiedel, alongside an ensemble of co-directors spread across the globe, from the US to India, began collaborating on the kaleidoscopic film in early April last year. They were capturing the uncertainty and the chaos, the apocalyptic emptiness of lockdowns, and the people who stepped up to help their communities; not just medical staff in underfunded and overwhelmed healthcare systems in places like Lima and London, but also those who stepped up to alleviate their burden.

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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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Netflix’s Diana: The Musical is the year’s most hysterically awful hate-watch | Stuart Heritage

The filmed Broadway show has crash-landed early on the streamer with hilariously awful songs, a musical mess to rival Cats

Logically, it makes perfect sense that Diana: The Musical should exist. After all, Diana, Princess of Wales lends herself extraordinarily well to musical theatre. Hers was a story of wealth and betrayal, of high camp and tragedy, plus she also happened to be an enormous fan of the medium. If you built a time machine and used it to tell Diana that she would one day get her own Evita, she would be absolutely thrilled.

However, Diana died a quarter of a century ago and will never get to see Diana: The Musical. Some people get all the luck.

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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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Modesty pouches and masturbation montages: the making of Sex Education

The rude, raucous and revolutionary comedy is back for another term. The stars and creators reveal how it became one of Netflix’s biggest British hits

Sex Education is back with a bang. Several, in fact. The Netflix hit’s third series starts with an epic sex montage. There’s sex in a car; in a living room; in a variety of teenage bedrooms. There are casual encounters, committed relationships, sex together, alone, virtually, playing the drums and with a sci-fi theme. It is a symphony of shags, an opera of orgasms, all set to the thumping beat of the Rubinoos’ I Think We’re Alone Now. As the old saying goes, there’s nowt so queer as folk, and Sex Education is determined to prove it.

The Netflix comedy-drama only began in 2019, but thanks to its cross-generational, multinational appeal, it already seems like part of the cultural landscape. The funny, frank, flamboyant show about teenage life, sex and identity is an awards magnet and has made stars of its young cast, who now front fashion campaigns and appear regularly on stage and cinema screens. Gillian Anderson and Asa Butterfield star as mother and son Jean and Otis Milburn, who live in an enviable, chalet-style house overlooking the gorgeous Wye valley.

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Kitchen nightmares: do we need more celebrity cooking shows?

The release of Paris Hilton’s Netflix series where she semi-cooks semi-dishes is the latest in an increasing trend of stars spending more time in the kitchen

To state the obvious, nobody is going to watch Cooking With Paris to sharpen their culinary skills. The new Netflix series piggybacks on last year’s bizarre, almost Lynchian YouTube video where Paris Hilton cooked what can only be described an anti-lasagne, and stretches it out to a painful degree. In episode one, Hilton attempts to make marshmallows for Kim Kardashian and grunts with disgust when they make a mess of her lace gloves. In episode two, Hilton takes time out from making a funfetti flan to pose in the photo booth she installed in her living room. If you hang around long enough to find out what happens in episode three, you’re a braver soul than me.

Related: Cooking With Paris review – Hilton in the kitchen? Prepare to have your mind blown

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‘A malignant narcissist’: uncovering the dark side of John DeLorean

The defining car mogul’s ego and criminality are explored in the eye-opening new Netflix docuseries Myth & Mogul: John DeLorean

In Northern Ireland, many still revere the automotive magnate John DeLorean as a local hero for situating his car factory in Belfast at the height of the Troubles, a time of extreme economic deprivation during which the influx of jobs came as a godsend. Others – his family, his personal confidantes, his colleagues, the FBI officials responsible for his eventual arrest – remember the business tycoon as a greedy, flagrantly unethical megalomaniac. The new miniseries Myth & Mogul: John DeLorean triangulates the truth in hiding somewhere between these two characterizations.

Related: Myth & Mogul: John DeLorean review – how years of lies felled an automotive giant

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Listen up: why indie podcasts are in peril

As big spenders such as Amazon and Spotify fill our ears with more commercial, celebrity-driven fare, can grassroots, diverse shows survive?

The British Podcast Awards were different this year. Held in a south London park, they had a boutique festival feel, with wristbands and tokens for drinks, an open-sided tent for the actual awards, and people lounging on blankets in front of the stage. There were also sponsor areas – those small, picket-fenced areas where invitees could drink and mix with brand bigwigs. Awards are expensive to stage, and to give any sort of a professional sheen, money is needed. In 2017, the BPA sponsors included Radioplayer and Whistledown, an independent audio creator. In 2021, the BPA was “powered by Amazon Music”. Spotify, Stitcher, Audible, Acast, Global, BBC Sounds, Podfollow and Sony Music also dipped into their sponsorship pockets. Clearly, podcasting has gone up in the world.

Over the past 18 months, podcasting has hit the corporate big time. Apple, long the most recognisable name in podcasting, its iTunes chart being the public measure of any show’s success, is attempting, clumsily, to move from being a neutral platform that hosts shows into one that makes money from podcasting (by, for example, charging creators for highlighted spots).

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Looking for love? Dress as a shark! Is Sexy Beasts a new low for dating shows?

A disturbing new Netflix series makes dates dress up as animals – from rhinos to insects – so that choices are made on personality not looks. So why is everyone involved so hot?

“Ass first, personality second,” says a deadpan beaver at a bar. Meanwhile, a panda with pleading eyes says she wants a baby by the age of 26. A rhino in a dress shirt chips in with “Vulnerability is our biggest muscle” – and gets a high five from a delighted dolphin.

What fresh hell is this? Are we not, for just one moment, deserving of a rest? Netflix says no. After holding us hostage for three weeks with Love Is Blind – in hindsight, not a good use of our last days before the pandemic – the evil-genius algorithm has come up with another “dating experiment”.

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I Think You Should Leave: the sketch show exposing our online egomania

Digging deep into the nonsensical and narcissistic – yet apparently acceptable –ways that we behave online, Tim Robinson’s Netflix series is ahead of the curve

In the first season of I Think You Should Leave, Tim Robinson’s superlative Netflix show, there’s a sketch that made me laugh more than any joke I have ever seen on social media. In it, a trio of brunching women decide to post an attractive picture of themselves on Instagram, accompanied by an obligatory and utterly transparent self-deprecating caption, “so it doesn’t look like you’re just bragging”. But one of the party can’t get to grips with this odd internet etiquette. “OK, got it,” she grins earnestly. “Slopping down some pig-shit with these fat fucks, and I’m the fattest of them all. If I died tomorrow no one would shed a tear. Load my frickin’ lard carcass into the mud, no coffin please, just wet, wet mud. Bae.”

You might think the vortex of narcissism, desperation and mindless rote behaviour that characterises many people’s Instagram use would be an obvious, not to say rather tired, subject for satire by now. In fact, TV comedy that mines laughs from the warped ways people behave online is vanishingly rare. But I Think You Should Leave – which returned for a much-lauded second season this week – does it in practically every sketch, drilling down into the absurdity of online interaction, and, in doing so, exposes the half-obscured egomania and self-interest that drives it.

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Spike Lee: ‘You hope that black people will stop being hunted down like animals’

The director has spoken about race at the Cannes film festival, where he is the first black president of the Palme d’Or jury

Spike Lee commented on the US’s current racial justice crisis in typically forthright fashion at the Cannes film festival on Tuesday, saying he hoped the time had come that “black people will stop being hunted down like animals”.

Lee, who is the president of the jury that will pick the winner of the Cannes Palme d’Or, was speaking at the jury’s press conference on the first day of the festival. Having been asked a question about his 1989 film Do the Right Thing, which contains a scene in which a black youth, Radio Raheem, is killed by police, Lee responded: “I wrote it in 1988. When you see brother Eric Garner, when you see king George Floyd murdered, lynched, I think of Radio Raheem; and you would think and hope that 30 motherfucking years later, that black people stop being hunted down like animals.”

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Sweet Tooth: the prescient pandemic hit bringing joy to the masses

Centred on a killer virus, Sweet Tooth could have been the most troubling TV to watch during Covid. Instead, as its creators and star Nonso Anozie attest, the Netflix show has become a smash because it’s so redemptive – and happy

The pandemic might not be over yet, but you can already trace a line through the culture it has produced. The overenthusiastic “let’s put on a show!” mania of cast reunions filmed over Zoom quickly gave way to the gnawing listlessness depicted in Bo Burnham’s comedy special Inside. Another part of the line, however, happened by accident.

Netflix’s Sweet Tooth is a series about a devastating global pandemic that kills millions of people and resets humanity. It was filmed last summer, in that brief golden gulp between Covid lockdowns. However, Sweet Tooth wasn’t rush-produced to reflect the situation; instead, it is based on a decade-old graphic novel and has been in development for five years.

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New David Attenborough film looks at Australia’s bushfires and the climate crisis – video trailer

Breaking Boundaries: the Science of our Planet is a new Netflix documentary from Sir David Attenborough that visits scientists working on melting ice, the degradation of the Amazon, and the loss of biodiversity, and looks at the 2019-2020 'summer from hell' black summer bushfires that destroyed large swathes of Kangaroo Island

• David Attenborough Netflix documentary: Australian scientists break down in tears over climate crisis

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‘Silicon Six’ tech giants accused of inflating tax payments by almost $100bn

Study claims firms paid $96bn less in tax between 2011 and 2020 than the notional figures cited in their annual reports

The giant US tech firms known as the “Silicon Six” have been accused of inflating their stated tax payments by almost $100bn (£70bn) over the past decade.

As Chancellor Rishi Sunak called on world leaders to back a new tech tax ahead of next week’s G7 summit in the UK, a report by the campaign group Fair Tax Foundation singled out Amazon, Facebook, Google’s owner, Alphabet, Netflix, Apple and Microsoft.

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‘My parents still have no clue what I’m doing’: Lupin star Omar Sy on Hollywood, fame and fighting racism

After a decade in Hollywood, French actor Omar Sy returned home to star in Netflix’s much-loved hit, Lupin. He talks about playing the charming thief, growing up with Arsenal’s Nicolas Anelka and his battle with racism

Actors, obliged to exhaustively market their wares, will pose for hours in front of posters of their latest film or TV show. They’ll hop between city premieres, sit on dreary festival panels, tell rehearsed comic stories on night-time talkshows, then get up early to be on breakfast radio. Before meeting Omar Sy, a 43-year-old Frenchman who stars in the massively popular Netflix drama Lupin, I’d never heard of an actor picking up a bucket and brush to spend a day gluing up their own billboard posters on the Paris metro. Sy, who is 6ft 2in, born in a working-class Parisian suburb to West African parents, explains the thinking behind this unusual marketing stunt that took place just before the first series of Lupin debuted earlier this year.

“A lot of people know me in Paris,” begins Sy, who worked as a comedian in France through his 20s before becoming a film star there in his early 30s. “Because people in France have watched me in stuff for years, I’m used to meeting strangers who recognise me and who already have smiles on their faces.” In Lupin, lightly adapted from the classic heist books by Maurice Leblanc, Sy plays a French-Senegalese man called Assane Diop, an anonymous Parisian who is used to being ignored and overlooked in his home town, but who is willing to use that to his advantage while robbing the city’s jet-set blind. “The show is entertainment and we want to have fun with it,” he says, “but at the same time we’re talking about something very serious: that some people in France are simply not seen.”

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Netflix shuffle: is the new ‘play something’ feature worth it?

The streamer’s new feature promises to combat endless scrolling by offering you what they think you want to watch

If you log on to Netflix any time soon, you’re likely to see the words “play something” dangling below the profile icons on the menu screen. Click these words and you’ll be taken directly to the platform’s latest experiment in home entertainment: force feeding.

Related: Netflix records dramatic slowdown in subscribers as pandemic boom wears off

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