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Leanna Perr
This might seem familiar to you: I'm sitting on my couch, aimlessly scrolling through Netflix. I examine my List, peruse the various rows vertically and horizontally and tab through the Movies and TV shows section. After what seems like hours (or maybe decades) later, I still can't frackin' pick a title. And I write a weekly "what to watch this weekend" guide! This should be easy for me!
I was pretty skeptical of it when it launched. Plus, it wasn't (and still isn't) available on Netflix's Apple TV app so I forgot about it. But while I was testing the Roku Streaming Stick 4K Plus, I noticed the Play Something option and decided to give it a shot. The results weren't at all what I imagined.
Those rows can actually make my indecision worse. I start internally arguing about whether Start Up can truly be considered a "Familiar TV Favorite" or puzzling over why Criminal Minds is in the "Award-Winning TV Shows" category.
One evening, I fired up Netflix and selected the Play Something option. It took 15 skips to discover a title that was new to me. I either had already watched something, was in the middle of watching it or I wasn't interested.
I suppose I also can't really fault Netflix for not realizing if I've watched shows elsewhere, on broadcast, cable or another streaming service (though an I've Watched This Already" button would be neat). For instance, while I viewed the first five seasons of Schitt's Creek on Netflix, I tuned into Pop TV for the final installment. I was one of millions of people who saw Seinfeld during its first run on NBC. I do have plans to rewatch it on Netflix at some point, so it's an understandable suggestion.
Only the fifteenth offering, On the Verge, was new to me (I had heard about Julie Delpy's series, but it had escaped my mind). One out of 15 isn't a great track record, though, if you want to use Play Something to find gems you don't already know about. It takes time to process what title is playing, hit next, see the new program queue up, and so on. At that point, it's taking nearly as much time as scrolling.
I didn't expect Play Something to be perfect and find exactly what would suit my mood in a particular moment within one or two recommendations. But I had hoped it might at least somewhat relieve my decision paralysis. Instead, it's added a different kind of anxiety to the Netflix experience. Maybe if I was the type of person to wake up and choose chaos, Play Something would be perfect.
Hi guys. The Microsoft Edge is my favorite browser of all times, really, but not when I try to watch netflix or other video streaming services, it always breaks, I have no ideia what to do anymore. Always when I try to play something there's an error and then I need to reload over and over again, sometimes even when I just play the video it stop working when I try to play again. Help me to keep using this best browser that I've ever seen.
I've ever tried to disable hardware acceleration, enable DRM content, install Microsoft Silverlight and a lot of other things, but I didn't get to watch so far without an error I keep receiving these error codes: D7356-7701 and others related. Is there's still something that can be done to really fix theses erros or I just have to be patient and wait for news versions of the browser?
The show (official site here), executive-produced by Mark Burnett and Roma Downey, is supposed to be about a monumental event -- the arrival of a man claiming to be the Second Coming -- but it's fuzzy and contradictory and theologically hazy, and it rolls out in ways that are, while not entirely unimaginative, ultimately utterly predictable.
The alleged messiah -- played by Belgian-Tunisian actor Mehdi Debhi -- shows up in the Middle East, all liquid dark eyes and sculpted cheekbones (looking rather like the dreamy Jesuses of Burnett and Downey's The Bible and A.D.: The Bible Continues).
He preaches first to Muslims, leading Syrian followers to the unwelcoming border of Israel. Then he vanishes, only to show up in a border town in Texas, where he preaches to a Baptist minister (John Ortiz), and his wayward daughter (Stefania LaVie Owen).
Along the way, al-Masih, as he is called, attracts the attention of a kinda Jewish CIA officer (Michelle Monaghan) and an agnostic Israeli special-operations officer (Tomer Sisley), and tells them all sorts of unsettling things about their pasts.
He winds up in Washington, D.C., where he tells the LDS U.S. president to withdraw all American troops from around the world, which will somehow bring about world peace (even Jesus didn't try to give Caesar military advice).
And, his preaching? It's a pile of New Age-y, peace-and-love, we-are-all-one-family stuff, with no deep theological grounding or specificity. Is he the Messiah? Is he the Antichrist? Is he supernatural, or just a super-good con man? The show says yes to all of these, at one point or another, offering kinda solid evidence that he's a fraud and kinda solid evidence that he's not.
The media jackals are there, led by a CNN reporter eager to do the government's bidding. And, obviously, al-Masih becomes a star on social media -- not least because he's very pretty, extremely cryptic and looks good in a hoodie.
Oh, on a technical note, the languages are all mixed up, with Israeli characters talking to each other in Hebrew, and then, incongruously, in English, while Muslims speak only Arabic; and an Algerian (?) boy speaks to an Israeli stranger in English, when we were just hearing him speak French.
One thing you can say about the real Messiah, He wasn't fuzzy or ambiguous or cryptic or vague. He said what He meant, and He meant what He said. We have no idea if He was pretty or not, but he didn't seek the limelight by landing in Rome, or try to be all things to all people. And He certainly didn't wind up in the First Century equivalent of a luxury hotel, working out on the treadmill and presumably enjoying room service (but, to be fair, we never actually see al-Masih eat or drink anything, or take a shower).
And there's a sandstorm in the Syrian desert, a tornado in Texas and flooding in Florida -- which are played as if these were unusual, End-Times sorts of things. Give me a sandstorm in Minneapolis, a tornado in the Arctic, and flooding in the Sahara, and we'll talk.
The only real Christian presence in the show is the Baptist preacher and his family, and the preacher's father-in-law (Beau Bridges), a predictably rich and smarmy televangelist. The Vatican shows up once, as part of a news report saying that it's doing an investigation, which has been referred to the Congregation for the Causes of Saints -- which, no. Nobody is considered for sainthood if he or she is still alive.
Throughout the whole 10 hours, Messiah is a series of head fakes. Did the CIA agent have an abortion, or does she have cancer, oh, wait, no, it's something else altogether. Can al-Masih heal illness and raise the dead (maybe, no and apparently yes ... maybe). It wants you to doubt, and it wants you to believe ... something. It tosses Muslims, Jews, Christians and a Mormon into a big stewpot full of portentous pronouncements and platitudes.
Messiah wants very badly to be profound, but it can't figure out what its message is, either as a story or as theology. At the end, at least one of the Jewish skeptics has a reason to believe, the Baptist pastor is disillusioned and crushed, and the Muslims -- well, a mosque gets blown up.
The creator of Messiah is Australian writer Michael Petroni, who worked on the TV series Miracles (which I quite liked), and wrote the screenplays for The Book Thief, The Chronicles of Narnia: The Voyage of the Dawn Treader, Queen of the Damned and the excellent exorcism drama The Rite (so he does have some religious cred).
Documentaries offer engaging looks at real-life stories and can often be a great way to better inform yourself about current headlines and broader social issues. That being said, the documentary genre is massive - with so much to choose from, it's easy to get intimidated and not know where to start. That's where streaming services like Netflix come in handy. Netflix's library features a wide variety of excellent documentaries that are sure to teach you something new in a compelling fashion.
If you want to get better acquainted with the world around you, look no further than these 10 documentaries, all of which can be found on Netflix. These films tackle a variety of timely and important subject matters, including climate change's effect on coral reefs, the racism of the prison industrial complex, and transgender representation in film and television.
American Factory simultaneously tackles two topics that have been discussed in stump speeches from politicians, news podcasts, and daily briefings over the past three years: the American middle class and relations between the U.S. and China. The film centers around the closing of a General Motors plant that left many jobless, an event that has become all too familiar.
When a Chinese business owner reopens the plant and hires back many of the former employees, both Chinese and American workers must reckon with their opposing manufacturing styles and practices. American Factory presents globalization in a localized context, putting real faces to those affected by large-scale issues. The documentary was released on Netflix via Barack and Michelle Obama's production company Higher Ground, and was directed by Julia Reichert and Steven Bogner.
Kirby Dick's The Bleeding Edge explains that when commercial and consumer culture infiltrate the medical field, unproven and untested devices harm the lives of countless people. Much like the opioid epidemic, profitable sectors of the healthcare industry push products to be prescribed or implanted in patients in order to make money, rather than to actually help them heal.
If you've ever seen advertisements seeking out those who've experienced the harmful affects of medical devices for a class action lawsuit, you've gotten a piece of the story. Bleeding Edge will fill in the gaps on the topic that is malpractice in the American healthcare system.
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