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    Pull It Together, Netflix!

    Erratic behavior: Netflix quits name-plagued Qwikster and continues to dig its own grave

    Minh Vu
    Minh Vu
    Oct 11, 2011 | 9:15 am

    Netflix took 22 days to realize that splitting up their service into two separate websites was not a good idea, and has now scrapped the plan altogether. In a new blog post detailing the reversal, CEO Reed Hastings writes, “It is clear that for many of our members two websites would make things more difficult, so we are going to keep Netflix as one place to go for streaming and DVDs.”

    The announcement is just another sign of Netflix’s recent erratic behavior and has elicited mixed responses from analysts and subscribers. On Netflix’s Facebook page, user posts have varied in reaction to the news. Some are praising Netflix for finally listening to their subscribers, while others are not as forgiving and wonder how many times Netflix can mess up before enough is enough. Analysts have called the move desperate, and others worry about the long-term effect the reversal will have on the company.

    In Reed’s apology last month, he claimed that Netflix would work hard to regain the trust of their subscribers. As a subscriber, I must say that they’ve been doing a pretty lousy job at regaining my trust. Sure, I can forgive the company for this misstep. The idea of rebranding their DVD service as Qwikster never seemed logical in the first place, and acknowledging this mistake seems to be a step in the right direction. But the flip-flopping, coupled with Netflix’s recent woes, makes it harder and harder to be confident in the company’s future.

    I realize that in the past, companies have been able to rebound from rolling out a product that customers weren’t satisfied with. Coca-Cola’s New Coke is a good example. They rolled out New Coke in 1985, and in just less than three months, reverted back to classic Coke — and still lived to tell the tale.

    But I’m not sure Netflix will be so lucky. The company is stumbling at a time when competitors such as Amazon and Hulu are on the rise and gaining popularity, making it easier for disgruntled subscribers to abandon ship. (Here's a look at how Netflix, Blockbuster, Amazon and Hulu all stack up against each other in the streaming content business, via PaidContent.)

    Hollywood studios and cable programmers aren’t making it any easier on Netflix, either. The studios have caught on to the amount of money they can make from streaming content and have made streaming their collections of movies and TV shows considerably more expensive for Netflix.

    Analysts, customers and even non-subscribers are certainly watching for the Netflix’s next move and wondering whether or not the company can ever rebound from their downward spiral. As much as Netflix has disappointed me, I have a small glimmer of hope that they will pull through. After all, have we forgotten about the days of $5 movie rentals and insurmountable late fees? I sure haven't.

     
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    Movie Review

    Realism and strong performances power new war drama Warfare

    Alex Bentley
    Apr 11, 2025 | 4:30 pm
    Cast of Warfare
    Photo courtesy of A24
    Cast of Warfare

    At this point in movie history, there are precious few ways to make a war film feel original. Every major American war, including the most recent ones in Iraq and Afghanistan, has been covered, and the “war is hell” idea has been featured in too many films to count. So for a film like the new Warfare to stand out, it needs to do something that other war films have not.

    To say that it accomplishes that goal is an understatement. Set in Iraq in 2006, it follows a platoon of soldiers tasked with helping to gain control of the city of Ramadi, a hotbed of activity in the war at that time. But this is not a story of good triumphing over evil, nor one that tries to examine exactly what the U.S. military was trying to accomplish in the war. Instead, it’s just a story of a group of young men trying to do the job they’re asked to do, and what happens to them during that mission.

    It presents as fact, with no judgment either way, that one squad of the platoon overtakes the home of two Iraqi families as part of the mission. An ensuing firefight pins the soldiers down with almost no way to escape, and subsequent rescue attempts by other squads result in multiple casualties. The bulk of the film focuses on how the shell-shocked and injured soldiers react to the situation in which they find themselves.

    Written and directed by Alex Garland (Civil War) and Ray Mendoza, the film is based on the memories of Mendoza and his fellow soldiers of this exact situation they experienced. As such, the film does not attempt to add extra drama or even emphasize one character over another. In fact, the first 30-40 minutes of the film are relatively boring, as the squad relays information about their position to other, unseen people.

    The men in the platoon are not exactly interchangeable with each other, but the way the film is structured, they’re essentially equals. It’s easy to tell who the leaders are, but those giving orders are not treated as more important to the film than those carrying them out. This is especially true when things go to hell, as each person goes from trying to fight to trying to survive, with their training coming into play in different ways.

    The situation depicted in the film is somewhat mundane - it’s not some big battle or a turning point in the war - but the intensity with which Garland and Mendoza stage it makes it enormously impactful. They put the audience right in the thick of the carnage, and the horrific injuries inflicted on some of the men, as well as the seemingly never-ending screams of pain emanating from them, can be difficult to take.

    The cast features a few actors who are starting to make names for themselves (Will Poulter, Joseph Quinn, Noah Centineo, Charles Melton Michael Gandolfini), others who’ve had smaller impacts (D’Pharoah Woon-A-Tai, Cosmo Jarvis, Evan Holtzman), and plenty of others who have yet to get their big breaks. Each of them does their job extremely well, which in this case means that they complement each other’s performances, with none of them overshadowing the others.

    Warfare is not an overtly political film, and yet the politics of war are inextricable from the story it tells. Neither anti-war nor pro-war, it simply lays out the facts of one individual mission in a larger conflict, and each viewer will likely take away something different from the experience of watching it.

    ---

    Warfare is now playing in theaters.

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