Last year the Obamas penned a huge deal over at Netflix to produce “...a diverse mix of content, including the potential for scripted series, unscripted series, docu-series, documentaries and features." We’ve just recently found out the six programs they’re producing:
American Factory, a documentary about life in Ohio after a Chinese billionaire opened a factory and hired 2000 local workers.
Bloom, a post WWII drama.
Crip Camp, documentary about disability rights.
Listen to Your Vegetables & Eat Your Parents, a kids show about food and stories from all over the world.
And three untitled projects: one about Frederick Douglass based on the Pulitzer Prize-winning book by David W. Blight, An adaptation of a NYT series, called “Overlooked” and a series based on the book The Fifth Risk: Undoing Democracy - a look at the transition to Donald Trump’s presidency through the lens of federal bureaucrats.
All set to be released on Netflix soon.
And now, the Obamas enter the podcasting business with the multiyear deal between their Higher Ground Productions and Spotify. Of course, you’ll have to be a premium (paid) member of Spotify in order to listen to any of the Obama produced material but, that’s probably to be expected. With something like 100 million paid subscribers, Spotify is certainly the place to go when producing high end podcasts.
From statements by the Obamas about the Spotify deal:
President Obama, “We’ve always believed in the value of entertaining, thought-provoking conversation. It helps us build connections with each other and open ourselves up to new ideas. We’re excited about Higher Ground Audio because podcasts offer an extraordinary opportunity to foster productive dialogue, make people smile and make people think, and, hopefully, bring us all a little closer together.”
Michelle Obama, “We’re thrilled to have the opportunity to amplify voices that are too often ignored or silenced altogether, and through Spotify, we can share those stories with the world. Our hope is that through compelling, inspirational storytelling, Higher Ground Audio will not only produce engaging podcasts, but help people connect emotionally and open up their minds — and their hearts.”
As of today, Spotify has not yet released details on specific projects the Obamas will produce, but did state the programming will be “a diverse slate of original podcasts."
Which, to be honest - could mean, literally - anything. =)
Stranger Things, one of Netflix’s biggest hits is, allegedly - plagiarized from another source. At least that’s the claim by Charlie Kessler, a long time Netflix digital/technical operation crew member. And - I kind of buy it. After reading more about it, the lawsuit appears to have some merit. Let me break it down for you:
Netflix released Stranger Things in July of 2016; it was an instant hit. If you have not seen it, the show is about weird, macabre happenings around the small town of Hawkins, Indiana during the early 80’s, and how several twelve year olds become unlikely heroes. The main protagonist(s) of the show come from the nearby underground Military base. A Military base that performs horrible cross dimension experiments on children!
The show dripped with Spielberg, King, Gygax nostalgic lore and was both a critic darling and fan favorite.
Now, keep in mind that if a show is released in July 2016 that means it was in pre-production probably early 2015, shot principle photography mid to late 2015 and did post production visual effects, sound editing/mixing, original score recording late 2015 to early 2016. Key point there being - we know the production of Stranger Things began at least - early 2015.
BUT - you can’t go into production unless you have a completed concept. So the Duffers had to have pitched to Netflix before they went into pre-production (obviously), then Netflix had to greenlight the show, and then get money to the producers of Stranger Things (Also, at the time the show title was “The Montauk Experiment.” This is important later)
This kind of stuff doesn’t happen overnight. In fact, as someone who bounced around the industry, I know it takes quite a bit of time. I’m going to say that all of the pitching/accepting had to begin near the end of 2014. I think that’s a reasonable estimate.
Which, brings us to Charlie Kessler. According to Kessler’s IMDB page, he worked on Netflix productions since 2015’s Jessica Jones, before that he had some crew success on other networks and video games going back to 2005. He’s been around the biz and knows the industry. And, here’s the kicker - Kessler claims that he (and his agents, maybe) met the Duffer brothers at the 2014 Tribeca Film Festival and pitched them the idea for a Montauk military base / conspiracy sci-fi series based on his (Kessler’s) short film “Montauk.” Kessler claims the meeting lasted “ten to fifteen minutes.”
Well, I just looked up the 2014 Tribeca Film Festival and see that it took place from April 16th to april 27th. That’s mid 2014. So the timeline for Kessler’s case works out. If he’s telling the truth, then:
Now, as you may (or may not) know the underground Montauk Air Force Base in Long Island, NY - swirls with conspiracy theories, most of which revolve around the US military conducting experiments on teleportation, thought & behavior control, black hole research, parallel universe theory and, of course - time travel. Often, these experiments were said to be using children as test subjects. Oh, and here’s a good one - even though the base shut down decades ago, no one remembers what they worked on at Montauk Air Force Base because - they’re minds were all wiped clean! =)
And if you’re thinking, “Wow, those conspiracies actually do sound just like Stranger Things” season one. Well - that’s the whole point, ain’t it? But, as you no doubt probably see - stories about Montauk Air Force Base and conspiracies surrounding it, are nothing new. And they are all similar. So, it is totally believable that, in general - two different people can have similar ideas about famous events. I buy that.
BUT - now we have a series of coincidences - there’s the timing of it all, the former show title and subsequent change, and the fact that all of this was pitched to them a few months before the Duffer brothers pitched the idea to Netflix. Again, it’s reasonable to assume that they all had similar ideas. But - it does seem suspicious. And by the way, sorting this all out is exactly what the court system is for. Right?
Now, on the flip side - the Duffer brothers say that they never, ever met Charlie Kessler and never heard any kind of pitch from him. At all. And, that he’s lying. Fair enough. Hence the lawsuit. Which has just moved forward because an L.A. judge denied summary judgement to the Duffer brothers.
What summary judgement would have meant is that, the judge could have decided the outcome of the case without a trial. Summary judgements are more likely to be held under lock and key so, for example - you and I would not have heard what the verdict and/or payout to the alleged damaged party would have been. A trial and verdict is more likely to go public. Which is something the unusually secretive Netflix didn’t want.
The Duffer brothers have been saying since day one that they came up with the idea of Stranger Things years ago. As in - back in 2010, which would have been four years before they had the alleged meeting with Kessler. TMZ even reported, “We have the emails that prove the Duffer brothers talked via email in 2010 about ideas for Stranger Things.” TMZ didn’t publish the emails but claim there are 2 from 2010 and one from 2013 where the Duffer brothers discuss the Montauk show premise between themselves. Which might suggest they didn’t steal the entire show idea.
And I will take it back to the - but two people can have similar ideas about famous world events. For example, it’s very possible that before the Duffer brothers and Kessler ever met, they all had similar ideas about Montauk. BUT, during the Kessler pitch to the Duffer brothers, it’s possible he (Kessler) pitched specific things to the Duffer’s that - ended up on Stranger Things.
That would be a problem.
The Duffer brothers, and Netflix, all say this is a meritless lawsuit and that there is definitive proof the Duffer’s didn’t steal ideas, but the judge clearly thought otherwise ruling that the Duffer’s “lack verifying evidence of the originality of their idea.”
To be perfectly honest, I suspect it’s a bit of both. I’m willing to bet that, independently of each other, both parties came up with similar ideas. Then, a pitch meeting happened between Kessler and the Duffers, coincidentally, about their similar ideas. Then, the Duffers - probably on accident - took some ideas from said pitch meeting and placed the ideas in Stranger Things. Which led Kessler to believe, “The Duffer must have taken their entire idea for Stranger Things - from my pitch meeting!”
Anyway. The case goes to trial in May.
Stranger Things season three will be released on Netflix in July, 2019.
I am probably like you in that - I hardly ever watch the Emmy Awards. And why is that? Well, for starters there was a run of 20 years where the exact same network shows won year after year. And if it wasn’t the exact same show it was, well, kind of the same type of show. Hill Street Blues, LA Law, NYPD Blue, The Practice, West Wing, the Sopranos. Seriously, that was like - 20 years! The same shows.
And what about those same 20 years in comedy? Well - Cheers, Murphy Brown and Frasier basically dominated from 83-98. Fifteen years and three shows pretty much won year after year.
And that gets pretty dull.
Don’t get me wrong. The morning after the Emmy’s I would always check in to see who won. But I don’t think I saw the show once between maybe 1988 and 2005. Or maybe I saw it once, or twice. But not often.
And that seems to be par for the course for most Americans. Now, keep in mind that the Emmy awards never kept track of viewers until 1990 and for about a decade viewership remained consistently within the 15-20 million range; however, ever since Ryan Seacrest took over the Emmy awards in 2007 (where The Sopranos and 30 Rock won top honors) the Emmys have struggled to get more than 12 million viewers.
There was one highlight in 2013 where show host Neil Patrick Harris brought in almost 18 million viewers (I watched that one!) but for the most part viewership has been declining for the past decade.
This seems odd to me. Once the “Golden Age of Television” began, about - ten years ago, I assumed that a wider variety of nominated shows would bring in a wider audience. For those not in the know, the “Golden Age of Television” has kind of universally been known as the rise of the cable programing and the decline of network TV all within the past decade.
Basically, all it suggests is that extremely high quality, high concept, original and sophisticated TV is universally found on cable stations these days, with the networks picking up a rare gem but usually floundering in the dark with dead fish, after dead fish.
Again, I assumed that a wider net cast by the Emmys would pull in a bigger catch. But, I was wrong. (And enough with the fish metaphors).
The most Emmy nominations by network for 2018 (2017 was similar with Netflix and HBO swapping places):
Wow. So Netflix received almost as many nominations as all three major networks combined. Of course, with the amount of original content that Netflix pumps out, I guess I am not surprised (I confess I get a little overwhelmed when decided what to watch on Netflix). But still. How long are the networks going to broadcast the Emmy awards when the prime time networks hardly win any Emmys?
In the past ten years, all the best drama winners have been from cable stations (mainly AMC and HBO). Best variety show has been a cable show since 2003 (Comedy Central has dominated this category until HBO took over very recently). Admittedly, 6 of the past 10 comedy winners were from the networks but that was because Modern Family won for 5 years in a row until Veep (HBO) took over for three years. Glancing over all acting categories I would say there is a pretty even mix of network to cable stations winning.
So, yes, there is a network that wins here there and everywhere but those number dwindle as the years pass. One doesn’t need to be a rocket scientist to see where this is heading.
Anyway, it has been reported everywhere that this year was the lowest rated Emmy awards ever. I don’t know why. Perhaps audiences have grown tired of the same old cable shows winning again and again. And I guess I can’t blame them. It’s the very same reason I stopped watching in the first place.
Also, it should be noted. I didn’t watch the Emmy awards this year, either. But the morning after I looked over the winners and I did watch the opening monologue, which I thought that was pretty good. So I attached it.
And for those that are interested in such things, here is a list of all the nominations and winners:
Louie Anderson," Baskets"
Alec Baldwin, "Saturday Night Live"
Tituss Burgess, "Unbreakable Kimmy Schmidt"
Brian Tyree Henry, "Atlanta"
Tony Shalhoub, "The Marvelous Mrs. Maisel"
Kenan Thompson, "Saturday Night Live"
Henry Winkler, "Barry" *WINNER
Zazie Beetz, "Atlanta"
Alex Borstein, "The Marvelous Mrs. Maisel" *WINNER
Aidy Bryant, "Saturday Night Live"
Betty Gilpin, "GLOW"
Leslie Jones, "Saturday Night Live"
Kate McKinnon, "Saturday Night Live"
Laurie Metcalf, "Roseanne"
Megan Mullally, "Will & Grace"
Antonio Banderas, "Genius: Picasso"
Darren Criss, "The Assassination of Gianni Versace: American Crime Story" *WINNER
Benedict Cumberbatch, "Patrick Melrose"
Jeff Daniels, "The Looming Tower"
John Legend, "Jesus Christ Superstar Live in Concert"
Jesse Plemons, "USS Callister (Black Mirror)"
Jessica Biel, "The Sinner"
Laura Dern, "The Tale"
Michelle Dockery, "Godless"
Edie Falco, "Law & Order True Crime: The Menendez Murders"
Regina King, "Seven Seconds" *WINNER
Sarah Paulson, "American Horror Story: Cult"
Anthony Anderson, "Black-ish"
Ted Danson, "The Good Place"
Larry David, "Curb Your Enthusiasm"
Donald Glover, "Atlanta"
Bill Hader, "Barry" *WINNER
William H. Macy, "Shameless"
Pamela Adlon, "Better Things"
Rachel Brosnahan, "The Marvelous Mrs. Maisel" *WINNER
Allison Janney, "Mom"
Issa Rae, "Insecure"
Tracee Ellis Ross, "Black-ish"
Lily Tomlin, "Grace and Frankie"
Sara Bareilles, "Jesus Christ Superstar Live In Concert"
Penelope Cruz, "The Assassination of Gianni Versace: American Crime Story"
Judith Light, "The Assassination of Gianni Versace: American Crime Story"
Adina Porter, "American Horror Story: Cult"
Merritt Wever, "Godless" *WINNER
Letitia Wright,"Black Mirror (Black Museum)"
Jeff Daniels, "Godless" *WINNER
Brandon Victor Dixon,"Jesus Christ Superstar Live in Concert"
John Leguizamo, "Waco"
Ricky Martin, "The Assassination of Gianni Versace: American Crime Story"
Edgar Ramirez, "The Assassination of Gianni Versace: American Crime Story"
Michael Stuhlbarg, "The Looming Tower"
Finn Wittrock, "The Assassination of Gianni Versace: American Crime Story"
Jason Bateman, "Ozark"
Sterling K. Brown, "This Is Us"
Ed Harris, "Westworld"
Matthew Rhys, "The Americans" *WINNER
Milo Ventimiglia, "This Is Us"
Jeffrey Wright, "Westworld"
Claire Foy, "The Crown" *WINNER
Tatiana Maslany, "Orphan Black"
Elisabeth Moss, "The Handmaid's Tale"
Sandra Oh, "Killing Eve"
Keri Russell, "The Americans"
Evan Rachel Wood, "Westworld"
Nikolaj Coster-Waldau, "Game of Thrones"
Peter Dinklage, "Game of Thrones" *WINNER
Joseph Fiennes, "The Handmaid's Tale"
David Harbour, "Stranger Things"
Mandy Patinkin, "Homeland"
Matt Smith, "The Crown"
Alexis Bledel, "The Handmaid's Tale"
Millie Bobby Brown, "Stranger Things"
Ann Dowd, "The Handmaid's Tale"
Lena Headey,"Game of Thrones"
Vanessa Kirby, "The Crown"
Thandie Newton, "Westworld" *WINNER
Yvonne Strahovski, "The Handmaid's Tale"
"The Amazing Race"
"American Ninja Warrior"
"RuPaul's Drag Race" *WINNER
"At Home with Amy Sedaris"
"I Love You, America"
"Saturday Night Live" *WINNER
"Tracey Ullman's Show"
"Full Frontal with Samantha Bee"
"Jimmy Kimmel Live!"
"Last Week Tonight with John Oliver" *WINNER
"The Daily Show with Trevor Noah"
"The Late Late Show with James Corden"
"The Late Show with Stephen Colbert"
"The Assassination of Gianni Versace: American Crime Story" *WINNER
"Curb Your Enthusiasm"
"The Marvelous Mrs. Maisel" *WINNER
"Unbreakable Kimmy Schmidt"
"Game of Thrones" *WINNER
"The Handmaid's Tale"
"This Is Us"
I just finished Netflix’s “The Keepers,” a seven-part, true crime docu-series about the unsolved 1969 murder of Sister Cathy Cesnik and the following abuse scandal at the Catholic school she taught at. The series is raw and harrowing and shocking. The amount of women and boys that one priest was able to abuse and cover up for decades is almost unbelievable.
Because we’ve seen this kind of scandal before. And we’ll see it again. The Spotlight abuse cover up as reported in the Boston Globe in 2002 and dramatised into an Academy Award winning movie of the same name.
And now comes the Pennsylvania cover up. A new 1356 grand jury report documents that more than 300 priests abused more than 1000 children.
From the opening paragraph of the grand jury report:
“We, the members of this grand jury, need you to hear this. We know some of you have heard some of it before. There have been other reports about child sex abuse within the Catholic Church. But never on this scale. For many of us, those earlier stories happened someplace else, someplace away. Now we know the truth: it happened everywhere.”
Later, it reported:
“We were given the job of investigating child sex abuse in six dioceses .. We heard the testimony of dozens of witnesses concerning clergy sex abuse. We subpoenaed, and reviewed, half a million pages of internal diocesan documents … Most of the victims were boys; but there were girls too. Some were teens; many were prepubescent. Some were manipulated with alcohol or pornography. Some were made to masturbate their assailants, or were groped by them. Some were raped orally, some vaginally, some anally. But all of them were brushed aside, in every part of the state, by church leaders who preferred to protect the abusers and their institution above all.”
Wow. Protect the institution above all.
But, of course - that’s how it’s always been. Or more importantly, “protect all the men.” Keep in mind, this report is only from a single state and covers the last 70 years. Multiply that by 50 states and then don’t forget to add in the previous four, five or ten centuries.
As usual it took the Vatican a few days to respond. Don’t ask me why it took them two bloody days to come up with the words, “Shame and sorrow” but there it is. The rest of us, within seconds of reading the news collectivilly had plenty to say and was probably more along the lines of, “Wow. The sick fucks running the Catholic Church covered up for another bunch of child raping male priest fuck heads! Just like they always do!”
Seriously, that took me all of twenty seconds to come up with. But as usual the Catholic Church waited to see if this recent abuse scandal would blow over and so they bit their tongue and said nothing. (Which is what they are good at).
Here is a video at MSNBC where survivors share their survival stories. One, an elderly man talks about his abuse in 1948 and flat out says incredulously (and correctly), “Who would believe me. A priest abused me? In 1948?”
He was right then. And he would have been right up to until … maybe two days ago when this grand jury report came out. I hate to be a cynic and assume that thing will go back to priests raping children because, after all - the Church has a lot of money to spend on PR and lawyers.
But that’s probably what will happen. Until the people at the top of the Church go to jail for this - things will only temporarily change at the bottom of the totem pole.
I mean, the Pope could do something about it. The Pope could, basically fire the shit out of all top brass involved. But, to be honest, he would have to probably get rid of the vast majority of the Church top brass all over the world. These scandals are just all too common and widespread for most top brass priests to not have their hands dirty at one point or another.
Actually, to be fair, I don’t know if the Pope can “fire” priests. Excommunicate them? Maybe that’s it. Maybe the Pope should just excommunicate 100 percent of all the priests above the level of OT V!
No, wait. That’s Scientology.
Well, whatever, The Pope can fire the shit out of them too.
I hope some justice happens and a lot of priestly heads will roll (metaphorically speaking). Alas, I just expect the Church to throw their endless cash reserves at the problem and it will all go away.
And then the Catholic priests will again, come out, come out from wherever they are.
And finally, does anyone else understand how Catholic priest sexual abuse would drop to about 0.0 percent if all priests were women?
True Crime documentaries are nothing new. A few of the better ones have even freed innocent victims from jail for crimes they did not commit. The Thin Blue Line (1988) is a documentary film directed by Errol Morris that covers the story of Randall Dale Adams, who was convicted and sentenced to death for a murder he did not commit. One year after the release of Thin Blue Line Adam’s was exonerated and released from prison.
The Paradise Lost Trilogy covers the infamous West Memphis Three case where three teenage boys were convicted and sentenced to life in prison for murders they did not commit. After 19 years in prison and two Paradise Lost sequels, new DNA evidence was found that linked a known serial rapist to the killings and the West Memphis Three were released from prison.
Netflix has a variety of crime docu-series available to stream. The most popular being last years ten part Making a Murderer, directed by Laura Ricciardi and Moira Demos. Season 1 was a huge hit for Netflix and season 2 is expected on Netflix by the end of 2018.
And now Netflix has again struck true crime gold with The Staircase, a 13 part series directed by Jean-Xavier de Lestrade that covers the 2001 accidental death, or murder, of Kathleen Peterson . Kathleen was found covered in blood at the bottom of the stairs at her and husband Michael Peterson's home. Michael says she was drunk and slipped down the stairs. The police and the DA say that Michael Peterson bludgeoned her to death. 16 years of legal proceedings followed.
While the director and producers have very carefully claimed The Staircase is an unbiased look at the American justice system it becomes pretty clear that the docu-series is extremely pro Michael Peterson.
And that’s fine because, after watching the entire 13 part series I’m on the fence as to his guilt or innocence. Which, I suppose - makes for fine viewing. I found the series to be more satisfying, than Making a Murderer which is equally on the side of the white male man accused of murder. What I mean by “more satisfying” is that, agree with the conclusion of The Staircase or not - it has an ending. Making a Murderer for all it’s pros and cons - is just going to go on and on.
So what exactly is “The Staircase” about? (A spoiler free breakdown)
Fair question. As mentioned above - it’s mainly about the legal proceedings of Michael Peterson who is accused of murdering his wife. It covers Michael's life in great detail including the lives of his children and his charismatic lawyer, David Rudolph.
People are fascinating. Late great film critic Gene Siskel always said that an actor’s face is far more interesting than an explosion. And that carries over to documentaries and real life. People are interesting and flawed and ridiculous and they lie when they should tell the truth and they tell the truth when they should probably lie. And that’s what’s great about The Staircase. It's about people. I liked Michael Peterson, I liked David Rudolph, I like Michaels daughters and one of his sons.
I found one of the other sons a little shady, only to find out that said son had a weird, extensive criminal history - none of which was presented in the docu-series. In fact, there was considerable amount of “strangeness” cut out of the series. Accused murderer Michael Peterson had a fifteen year love affair with The Staircase editor even though the director and producers all claim that fact didn’t affect her judgement as she cut together the series.
Um - maybe that’s true. But probably not.
There is a hugely popular theory of how Kathleen actually accidentally died that is oddly absent from the series. There theory is equally absurd as it is plausible. If you want to continue a spoiler free review do not click this link here (which discusses the theory in detail).
But the main thing I found odd about The Staircase is the lack of empathy towards Kathleen Peterson - the victim. The woman who either tragically died or was murdered. We know virtually nothing about her other than - she's the victim. Maggie Serota writes a really nice piece for Spin.com called Netflix’s The Staircase Doesn’t Seem Particularly Concerned With Kathleen Peterson.
From her piece:
“Like a supporting female character in a mafia movie, the Kathleen presented in the crime doc had no interior life of her own and existed only to know other people, namely her husband and likely killer Michael…”
Serota’s observation is spot on. For a 13 hour series covering the death (possible murder?) of Kathleen Peterson - we are presented very little information as to … well, anything about her. Which means the show produces very little empathy for the victim, other than a few harrowing photographs of the crime scene. And worse than that, doesn't even try to produce empathy for her. According to The Staircase, Kathleen Peterson is basically just - "the dead woman."
And that seems like a professional choice by the director, the producers and the editor in an effort to slant the viewer towards the idea that Michael Peterson is innocent.
And maybe he is. But Kathleen Peterson is dead under mysterious circumstances. And her in debt husband needed money. And Kathleen had a huge life insurance policy. By the way, if you are suddenly thinking, “You said this was spoiler free!” I assure you that information was spoiler free. You know why? Because the 13 part series doesn’t even bother to mention the fact that there was a money problem and a huge life insurance payout. (Motive, anyone?)
Michael Peterson received one third of the life insurance policy, which he spent on legal fees. The other two thirds of the money went to Kathleen’s first husband and her daughter from that previous marriage.
All that being said, I found The Staircase to be fascinating and in places, quite shocking. There are story twists in the series that, if you viewed them in a feature film you would say to yourself, “No way is this even remotely plausible!” But as they say, “Life is stranger than fiction.” And the events surrounding the death / possible murder of Kathleen Peterson are certainly that - strange.
All thirteen one hour episodes of The Staircase are currently streaming on Netflix.
Burger King hit viral gold with its recent ad riffing off the repeal of net neutrality rules. Let’s face it - a lot of people don’t know, or don’t care, what net neutrality is. But they should. And Burger King, apparently, is just the sort of giant company to tell you all about it.
Very basically, net neutrality forces all internet providers to treat all web traffic equally. Which is precisely how the internet has worked since Al Gore created it (That was a joke! But if you just felt your blood pressure rise upon hearing the oft repeated Fox Fake News Story that Al Gore “claimed” to create the internet - I will go on a limb and say you probably don’t know a thing about net neutrality, either).
Burger King claims the ad is filled with real people, not actors but my Spider Sense tingles at the idea. These people might not be trained, professional actors but I suspect some (if not all) of them were in on it from the get go.
But that doesn’t really change the point of the video. In it - when customers order a Whopper they are told there are different price depending on how fast you want the Whopper cooked - the MBPS (making burgers per second) speed. If you want to wait for twenty or thirty minutes - your Whopper will be $5. If you want your Whopper in 90 seconds - your Whopper will be $26.
Same Whopper. Different price. Net Neutrality at it’s finest. But Burger King employees make it clear - these are not our rules - we just have to enforce them. Watch the above linked video as customers get more exasperated and furious.
And why do we have this ridiculous ad? Because the FCC repealed Obama-era neutrality rules and now internet provider giants can throttle and / or block websites that don’t pay the fee for faster speeds.
Internet providers can even block or throttle websites that do pay the faster fee. I mean, I don’t know about you but I swear to God that my Netflix streaming has sucked since Jan 1. It was like over night too. And Netflix has paid the faster streaming fees to the internet provider giants.
I used to be able to watch HD streaming with - well, you know … perfect HD quality! Now, half the time, the picture is so pixelated, HD looks like a bad, out of focus print from the 1920’s. I kid you not.
But maybe that’s just me. I’m sure with net neutrality rules gone Netflix will clear right up ASAP.
This week I heard a surprising announcement from a regular guest on The Tech Night Owl LIVE. So we presented tech commentator Rob Pegoraro, who writes for USA Today, Yahoo Finance, Consumer Reports, Wirecutter and other publications. During this episode, Rob put the FCC’s decision to abandon net neutrality into perspective, and I’ll have more to say about that shortly. The main question, of course, is whether ISPs will begin to prioritize net traffic, or will the possibility of negative publicity and potential lawsuits postpone — or prevent — any changes for the near future? Rob also discussed the end of AIM, and how this pioneer instant messaging app influenced an entire industry? And do we really need lots of messaging apps to stay in touch with our contacts? Gene laughingly referred to Rob as a turncoat as he explained why he, a long time Mac user, recently purchased a PC notebook to replace his aging MacBook Air.
So why did Rob switch?
Well, his response was reasonable. He didn’t want to spend more money for a MacBook Pro, and the recent pathetic upgrade to the MacBook Air didn’t appeal to him. He chose, instead, an HP 2-in-1 notebook. And since, for the most part, he could use the same apps and services on both the macOS and Windows, it wasn’t so big a deal, at least so far. But will he feel the same a few months from now? He laughingly suggested turning it into a Hackintosh, by following the online instructions to induce it to run macOS. But that process may not work on an off-the-shelf PC notebook. Usually, it requires picking and choosing parts tested and found to be compatible, and outfitting a custom-built PC with them.
You also heard from tech journalist Jeff Gamet, Managing Editor for The Mac Observer. As the segment began, Jeff complained that his copy of Skype 7 for the Mac was upgraded to Skype 8 without his approval, and he doesn’t like the all-new interface. In an extended discussion of net neutrality, Gene pointed out that more and more cable companies are embedding Netflix into their set-top boxes, perhaps as a move to help reduce cord cutting. As the pair moved into pop culture mode, Gene mentioned the latest reported move by Apple to add original TV content, with a direct-to-series order for a new sci-fi series from producer Ronald D. Moore, whose previous shows include Battlestar Galactica. Jeff explained in great detail why the fabled Star Wars lightsaber would be impossible to use in a real world setting. Gene suggested that the DC Comics super heroes on TV are better than their movie counterparts. And what about having different actors portray such characters as the Flash and Superman?
On this week’s episode of our other radio show, The Paracast: Gene and Chris present Alejandro Rojas of OpenMinds.tv for a 2017 retrospective and a preview of the 2018 International UFO Congress and Film Festival. Alejandro is the host for Open Minds UFO Radio show, and emcee for IUFOC. He is also a blogger for the Huffington Post. As a UFO/Paranormal researcher and journalist, Alejandro has spent many hours in the field investigating anomalous phenomena up close and personal. Gene and Chris will also talk shop with a focus on UFOs. There will also be a pop culture-related discussion about what both regard as the sad state of pop music.
GETTING IT WRONG ABOUT NET NEUTRALITY
Part and parcel of our polarized society is the feeling that, if we accept the other side’s approach, it may be the end of the world as we know it. They wish us ill, and are doing foolish and/or evil things to take us all down.
Now I’m not going to dwell on my political viewpoints about the crazy things that are going on in Washington, D.C. except for one thing, and that’s the promise — or threat — that net neutrality is ending soon.
As is often true, the facts are more nuanced, and whatever does happen can be overturned by a future FCC, and we start all over again.
So this past week, the Republican majority of the FCC decided to undo a move by its predecessor that, among the things, prevented ISPs from prioritizing Internet traffic. What this meant is that these companies could not demand that a high-traffic service pay extra to enter a fast lane.
Those who opposed net neutrality, including FCC chairman Ajit Pai, claimed that putting restrictions on ISPs would somehow prevent them from improving and expanding their services. Being forced to allow online traffic to flow freely was somehow an impediment to growth.
I’m not sure I see how, or any evidence that this could happen. But it’s unfortunate that the cable TV talking heads who interviewed Pai — or at least the ones I’ve seen — simply allowed him to repeat his unproven talking points without questioning the logic. There was no request for evidence that what he said was true.
Supporters of net neutrality also maintain that it’s not just about getting miserable performance from Netflix or Amazon Prime Video, with constant buffering even on a fast connection. What about the streaming startup, a company that wanted to someday compete with Netflix? If they had to pay extra to achieve good performance, it’s likely that they wouldn’t be able to attract venture capital to cover their costs.
This, too, may be an overwrought conclusion if we assume things will return to the way they were before the concept of net neutrality ever arose.
A key reason for government regulation is not that regulators just need something to do. It’s often in response to a need, to address abuses by private industry. That explains why there are rigid controls covering the approval of a new drug by the FDA in the U.S. It means that pharmaceutical companies have to subject new drugs to a rigid set of tests to make sure they actually perform as advertised without seriously endangering one’s life in the process. Or at least disclose the dire side effects so you know what you’re in for.
Net neutrality was a response to something the ISPs did, which was to slow down such services as Netflix, largely because they sucked up huge quantities of data.
As of now, Netflix consumes nearly 37% of all Internet traffic, and when you add all the streaming services it’s 70%. That also includes such services as YouTube, iTunes, Amazon Prime Video, Hulu, Dish Network’s Sling TV and DirecTV NOW.
That leaves 30% for the rest of online traffic.
From a business point of view, I suppose it made sense to focus on the worst abusers and see if there’s a way to manage the load without inconveniencing other customers. Back in 2014, there were reports that such ISPs as Comcast and Verizon were putting the brakes on Netflix. In turn, Netflix reportedly paid extra in order to deal with the situation, with reports of mixed success.
During that period, you may have experienced constant buffering from Netflix. Loads of complaints from customers and tech companies helped influence the previous FCC to reclassify an ISP as a Title II communications service, thus preserving net neutrality. Prior attempts were blocked in the courts.
Despite the new regulations, there were recent reports that Verizon, particularly through its high-speed FiOS service, was once again throttling Netflix and even YouTube. So it seems peculiar that the FCC would believe that ending net neutrality was a good idea.
But what’s also happening is even more interesting. It appears that Netflix is taking a “can’t beat them so join them” approach, which is to strike deals with some ISPs, so their app appears as just another premium channel on a cable set-top box, similar to HBO and Showtime. What this means is that the ISP would, in exchange for offering Netflix without speed restrictions, get a piece of the action. By being part of their regular cable service, the load on broadband bandwidth would be sharply reduced.
By including Netflix — and I suppose Hulu and other services can be offered in the same fashion — customers are being offered more attractive cable packages that might help stem the tide of cord cutting.
While an experiment with Netflix and DirecTV appears to have ended, you can get it on at least some cable boxes from Comcast, Cox, Verizon and other services. You’ll have to check with your cable company to see which hardware it’s offered on, and how much it costs.
Now when I checked with the cable company I use, Cox, it appears Netflix is available on their Contour 2 box, but is limited to HD. If you have a 4K TV, you’ll have to still depend on a smart TV or a streamer, such as an Apple TV 4K, and certain models from Roku and other companies. As it stands, the cable and satellite companies are only testing the 4K waters. Higher resolution means there is less space for other channels, so it may be a juggling act until capacity is boosted.
In any event, despite the FCC’s vote, net neutrality isn’t going away tomorrow. There’s a comment period, and the attorneys general of a number of states are planning to file lawsuits. So this matter may not be resolved for months or years, depending on court rulings and potential appeals. I suppose it’s possible that the U.S. Supreme Court will get involved.
After all is said and done, I doubt the ISPs are going to act hastily, knowing the political winds may likely change with the next administration. In the meantime, if more cable and possibly the satellite companies strike deals with Netflix and other services to offer them premium channels, that might sharply reduce the load on their systems.
So they wouldn’t have any motive to throttle anyone’s traffic, and it would also provide an additional revenue stream. Assuming Netflix’s 4K service comes to your cable box, would that influence your decision about cord cutting?
So it’s possible that the ISPs and streaming companies could work out reasonable solutions without harming anyone, assuming the price you pay doesn’t change too much. That said, net neutrality offered more than a few ounces of protection against the worst offenders. The suggestion that it may have stifled innovation is absurd. The move to embed Netflix on cable boxes clearly disproves that claim.
There are plenty of reasons why Amazon Instant Video is the fastest growing streaming video app, and many of them have nothing to do with streaming video. We’ll get to those. First, though, let’s focus on what makes Amazon better than Netflix and Hulu when it comes to streaming video apps.
If you’re like me, you’ve probably tried all three of the big three streaming video apps. And if you’re like me, you grew tired of the Netflix and Hulu libraries pretty quickly. Netflix might have a vast library, but it’s all crap. And while Hulu boasts about providing all the best television at a discount and with limited commercials, it doesn’t have the movie selection of either Netflix or Amazon Prime. Amazon Prime has the most quality titles from the silver screen and your flatscreen. I always seem to find something to watch with Amazon Prime, and I used to tune into Netflix and Hulu just to turn it off having found nothing to watch. The quality of titles is important to people, and Netflix and Hulu just aren’t providing the content people want.
Remember when Netflix and Hulu were in a price war? Well, that war is over and both sides lost. Price is no longer the driving force when it comes to choosing a streaming video app. If there’s one thing the internet has done well it’s helped consumers make more informed purchasing decisions. Both Netflix and Hulu can be had for as little as $7.99 per month, but my Amazon Prime membership at $8.25 per month ($4.083 per month if you’re a student) is much more valuable than the 26 extra cents I pay. Here's why:
I don’t even get my $8.25-worth of monthly value out of the streaming video. I could go most the year without streaming anything and probably still find value in paying for Amazon Prime. I get free, two-day shipping on any Amazon-fulfilled product I purchase. That’s worth $8.25 almost every time I make a purchase. I also get access to Prime Pantry – a service that not only saves me money on home essentials but trips to the store and time standing in line. I get all my non-refrigerated food, cleaning supplies, toiletries and garbage bags delivered to my door. I just have to remember to order them when stock is getting low.
I watched Spectre on my Hisense 4K UHD TV using Amazon Prime last night and was shocked by how far televisions have come. I didn’t think picture quality could get much better because the human eye can only see so much. I was wrong (because I sit/lay pretty close to my TV), and Amazon Prime seems to be the most committed to providing new, 4K UHD content, despite it only being available in the US, UK and Canada.
I haven’t listened to any of Amazon Prime’s 2,000,000 or so songs or any Amazon playlists, but it’s just another reason why Amazon Prime is more valuable than both Netflix and Hulu. I have purchased vinyl records from Amazon and taken advantage of their digital music downloads, which neither Netflix nor Hulu offer.
Amazon Prime is just better than Netflix and Hulu, so pony up and pay the $99-annual fee or just give it a try for $10 per month. I think you’ll find it’s worth it.
Remember way back in 2011 when Netflix bungled their streaming/DVD unveiling and announced a 60 percent price increase? Social outrage resulted in an almost 80 percent drop in Netflix’s share price in four months, and cost them over 800,000 subscribers.
Well, Netflix is back at the bungling with its March announcement for plans to drop its five star rating system in favor of a “thumbs up/thumbs down” approach. Netflix has an adorable short video explaining the change. The “ratings makeover” was widely reported online but had little impact on social media, and, in turn, the internet released a collective, “meh.” But now that Netflix has actually gone through with the change, subscribers are not happy.
The fine folks over at the The Mary Sue covered the Reddit and Twitter hate with their “Backlash Against the New Netflix Rating System Shows That People Want and Miss Nuance.” Polygon, Variety and even the New York Post jumped on the bandwagon with “Thumbs Down” editorials. I found Indiewire’s “Netflix’s New Rating System is a Terrible Idea” to be the best read.
But Todd Yellin, Netflix's VP of Product, sticks to his guns. “Five stars feels very yesterday now. The five-star rating system really projects what you think you want to tell the world. But we want to move to a system where it’s really clear, when members rate, that it’s for them, and to keep on making the Netflix experience better and better.”
It will make my Netflix experience better, huh? What kind of malarkey is this? It’s actually making me kind of angry. Don’t make me angry, Netflix. You wouldn’t like me when I’m angry.
Ugh. And maybe (depends on how angry I get).
My first and foremost thought about the change is the lack of nuance. Netflix’s five star rating broke it down like this:
1 star: Hated it
2 stars: Didn’t like it
3 stars: Liked it
4 stars: Really liked it
5 stars: Loved it
There are problems already. Do you know how many films I want to rate 3.5 stars? Or 2.5 stars? Lots! That’s how many! Lots! Netflix doesn't allow that! One to five stars is already a tad limiting and now they expect me to vote yes or no? Um, I don’t think so. In fact, I’m pretty sure I will just not rate movies on Netflix. It’s not improving my Netflix experience, yet.
I decided to post a righteous, whiny rant on my Facebook page and complain about Netflix. I sought solace from my English-y lit friends, and Pat Harrigan, part time editor for M.I.T. Press and author of the novel “Lost Clusters,” does not disappoint, “Dammit! 1-5 is perfect; it maps intuitively onto an A-F grading system, and avoids having to distinguish Jesuitically between things like “9 or 10 stars .. Godfather 1 vs. Godfather 2? No one has the time for that; give them both 5 stars and move on. But thumbs up vs. down is a commercial distinction (“buy vs. don’t buy"). Siskel and Ebert both hated it, and you’re right to hate it too.”
Yes. That! You win!
Actually, though, to be fair, Gene Siskel, the late Chicago Tribune film critic and co-host of At the Movies and The Siskel and Ebert Show, eventually warmed to the thumbs up/down system. Siskel writes, "What's the first thing people ask you? Should I see this movie? They don't want a speech on the director's career. Thumbs up--yes. Thumbs down--no."
Roger Ebert, the late Chicago Sun Times film critic and co-host of said shows, had problems with all the limiting systems. Ebert responds to Siskel: “That makes sense, but in a written review thumbs up/down has the effect of nudging a lot of films from 2.5 (a negative review) to three stars (a positive one). There is never any doubt about giving four stars, or one star. The problem comes with the movies in the middle.” Ebert goes on to wonder if instead of worrying about Yes/No or the amount of stars attached, perhaps one should just, “...consider actually reading the review?” Roger Ebert’s thoughts on star ratings for film reviews and on reviewing, in general: “You Give Out Too Many Stars.”
I tend to lean more towards Ebert’s thinking. Yes, a star rating has problems, especially with the muddy middle portions, but it’s still vastly superior to a thumbs up/down. Siskel’s, “Should I see this movie? Yes/No” could be answered, “I can’t just say yes or no to that. Let’s talk about it. What other movies do you like? What do you not like? Do you like seeing movies with strong female leads? Does excessive swearing bother you?” So on and so forth. I can’t just answer that question yes or no. I need nuance and information. I need more and more nuance and information!
They do. I found it. Let’s see how well it works. I watched a movie six years ago. I can’t remember if it was DVD or streaming, but I want to see what rating I gave it. I follow these steps:
Ugh. Who doesn’t love scrolling through pages and pages of information? I sure do!
It hasn’t even been two full weeks and I find all sorts of dubious recommendations with Netflix’s new system. Based on all our previous ratings their algorithm now creates a “percent” for everything on Netflix. The percent should communicate to you “the percentage chance one will like this particular movie/TV show/documentary.” So, if I see a movie with a 90 percent green marker there is a high chance I will like it. The opposite should be true as well. Seems easy enough. The more you thumb up/down, the more Netflix will be able to improve your experience!
Except, getting back to the “dubious recommendations,” I see many movies I rated two stars come back to me with a Netflix Approved 98 percent chance of “liking it.” I see many movies I rated four stars come back to me with a Netflix Approved 40 percent chance I will like it. Like I said, “dubious recommendations.” You know what? Maybe it’s time to jump ship for Amazon Prime.
Look, I know the deal. There are more important things going on, and besides, no one will get cancer from Netflix’s new system (at least not that Netflix would ever admit to!). All this does is affect my entertainment consumption. But as for something that affects my entertainment consumption, it’s an obnoxious, time-wasting change.
And obnoxious, time-wasting changes make me angry. And when I’m angry, I smash!