Netflix – Irresistible of Truth – Culture

If you type “climate change” into Google, you’ll get different results – depending on what Google knows about you. With this ominous phrase begins the trailer for ‘The Social Dilemma’ – a Netflix documentary in which the streaming platform settles with Silicon Valley. There’s also dramatic music, images of social turmoil and digital depression, quickly edited interviews of critics, and animated people who become helpless puppets on corrupt corporate chords. All of this is set rhythmically by flashes and slogans such as “Fake news travels six times faster than the truth,” “There is no better tool than Facebook to control the population of an entire country,” and “This is a checkmate of humanity.” They are like heroin chips.

193 million households in 190 countries now have a Netflix subscription. This makes the company one of the largest media groups in the world. However, the red letters with the jingle “Ta-Dam” excite more charities than, say, the blue Facebook logo. There is fake news, propaganda, anger – here: sofa, blanket, comfort. Netflix and chill.

The goal is not just to offer a better TV, but a better picture to the world

But little by little, politics has also infiltrated the cozy world of digital home cinema. For example, there is a production deal with the Obama family worth millions, which mainly includes documentaries. It’s traditionally one of the platform’s strengths: Just a few months ago, Netflix created what might be the biggest cultural event of the Corona lockdown with “Tiger King.” And Netflix just caused a stir in Germany with a documentary series: In “Rohwedder – Unity, Murder and Freedom,” German unity is renegotiated once again – as a “true crime,” including whispers about alleged deep state machinations. More ideas are planned.

The question is, however, is Netflix really more trustworthy than the other new media giants?

Documentaries are apt to answer this question not only because of their success, but also because the promise of making better television is fulfilled here by presenting a better picture of the world in this way. Despite PR, which speaks volumes about the freedoms filmmakers enjoy on the platform, and despite CEO Reed Hastings’ new book No Rules, there are some unloved Netflix documentary principles.

Many Netflix documentaries have a semi-obsessive relationship with media from the pre-Netflix era. “Rohwedder” delights in television in the Kohl era, while in old cassette recordings “The Ted Bundy Tapes” is filmed. The real crime genre, just like the mantra, shows what old media actually is: traces that point to crimes. Documentaries like “Amanda Knox,” “The Disappearance of Madeleine McCann” or “Trial by the Media” make this accusation clear: they are utterly disgusted, showing classic journalism hungry for sensation and distorting the truth beyond recognition.

Confident differences such as the differences between right and wrong are often left to the users

It’s tough on Facebook, where there are two Netflix documentaries with devastating judgments, “The Great Hack” and “The Social Dilemma.” One can discuss the allegations in detail and find a number of them justified. But they are by no means selfless as they are supposed to appear. The bottom line is that there is always a strict demarcation from the rest of the bad world of the media.

In addition, Netflix often takes out entire series to follow all the tracks of the action. Viewers are taken here and there, getting to know each other, getting to know their sister and lover, hearing the blue, green and yellow striped versions of the story, and are sometimes misled, facing dead ends and unsolved mysteries.

This complexity turns pure trash like the “Tiger King” into meta trash compatible with educated citizens. Viewers become detectives, and it allows them to feel the seriousness and endure the mystery. They can afford freedom and don’t need anyone to tell them what to think: there are no rules!

At the same time, the frequent absence of an explanatory voice or a request for a main character leads to an increase in addiction and the desire to stay in touch. Netflix documentaries often end unsatisfactorily. This is an element of the drama series. It’s also an important part of internet culture: Netflix prefers to leave conservative differences, such as between right and wrong or good and bad, to users or some third party. Stories of scientific nonsense and conspiracy are frequently featured in Netflix documentaries. The story is more important than the truth anyway. True Crime picks up viewers where they’ve been in series like “House of Cards”: There are brilliant opening credits, elaborately recreated scenes, murders, mystery, suspense, detectives, witnesses, relics, drone flights, and cliffs.

The compositional nature of food documentaries is particularly surprising. Food in and of itself isn’t that exciting unless you mix it up with crime, drugs, or drama. The most important ingredient is the stories: each dish is kneaded with a region, family, ethnic group, or personal destiny until the middle morsel becomes a morsel before the digestive system becomes a philosophical metaphor for life and the man with a wooden spoon becomes an ambassador for existence.

First of all, though, Netflix is ​​a platform, in strict economic terms, meaning: a market where different shows compete for attention. Even though the algorithm makes an individual pre-selection, the most sensitive moment in each “customer journey” always comes when it is not clear what to watch next. This explains the tendency towards the chain. It explains why filmmakers report that Netflix’s primary focus when purchasing is “key visuals,” which are trailers and teaser ads designed to lure subscribers into what the service has to offer. “Tiger King,” for example, offers an irresistible mix of cute baby animals, freak shows, sex, explosions, big cats, balloons, drugs, polygamy, and contract killing; “Rohwedder” promises of killers, communism, old politicians, lethal injections, the Royal Air Force, bombings, the Stasi, criticism of capitalism, and whispers of the deep state.

The pictureThe newspaper is barren compared to what Netflix offers. Although it is not always true, it is exciting – that is, tailored to our reward centers with mathematical precision.

In other words, the underlying ideology is no less dangerous than the Facebook method, just the Netflix business model. In general, the two platforms relate to each other as Trump does to Biden: one is clearly not good for the world. and the other? Alright, let’s keep our fingers crossed.

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