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Date:
July 17, 2020

Anti-Racism Debate on UK TV Shows

The impact of George Floyd's death in Minneapolis is reverberating across the world. In the entertainment industry, the incident and subsequent movement are compelling broadcasters in many countries to reassess available content for racially insensitive material. In the UK, an episode of the 1975 comedy sitcom "Fawlty Towers" was temporarily removed from BBC owned UKTV's streaming service as it contains offensive racist language. Scenes show an exchange between characters Major Gowen and his female friend where they refer to Indians using the 'N-word.'

In a statement , UKTV said "The episode contains racial slurs so we are taking the episode down while we review it. We regularly review older content to ensure it meets audience expectations and are particularly aware of the impact of outdated language. Some shows carry warnings and others are edited. We want to take time to consider our options for this episode."

John Cleese, who plays Basil Fawlty in the series has slammed the move as "cowardly and gutless" and accused the BBC of trying to appease a few people. In a statement on Twitter he said "I would have hoped that someone at the BBC would understand that there are two ways of making fun of human behavior. One is to attack it directly. The other is to have someone who is patently a figure of fun, speak up on behalf of that behavior."

The episode remains available on other streaming platforms like Britbox, also partly owned by the BBC with the guidance of "contains some offensive racial language of the time and upsetting scenes" and Netflix where it carries the warning "Language, discrimination."

Another popular British comedy "Little Britain," released on television in 2003, was removed from the iPlayer and Britbox platforms by the BBC due to the spotlight on racism. The show contains parodies of everyday life in Britain and has long received criticism for its portrayal of black and Asian characters by using blackface -- a concept where nonblack actors use dark makeup to represent a caricature of a black person.

Creators of the show, Matt Lucas and David Walliams have publicly apologized and expressed regret for doing roles in which they played characters of other races using blackface. "Come Fly with Me" -- a mockumentary series created by the duo that released in 2010 has also been taken off Britbox and BBC iPlayer for its use of dark makeup by white protagonists.

Netflix meanwhile, has removed "Little Britain" and "Come Fly With Me" from their list of catalogue offerings in addition to other British comedies like "The League of Gentlemen" and "The Mighty Boosh." Netflix has not commented on cutting these shows, or if they will be available in the future. It is assumed this was done for the reasons of white actors essaying roles of people of color.

In contrast, ''The League of Gentlemen'' and ''The Mighty Boosh'' remain available on BBC iPlayer with the BBC director general Tony Hall stating "We are constantly assessing whether things feel appropriate. Using art, film, comedy, whatever, to help put context on the way that people thought, the way they behaved, and make that come to light now, and help us with the issues we're currently dealing with, I think is really important. We all need that context and we need that history."

''Saturday Night Takeaway,'' the British comedy where creators Anthony McPartlin and Declan Donnelly impersonate people of color using dark makeup and prosthetics to prank celebrities. McPartlin and Donnelly requested the broadcaster ITV pull the show from its offerings.

Netflix and BBC in a bid to act swiftly in the wake of the George Floyd incident, remain at odds on which shows to censor. Conversely, actors such as John Cleese believe that satirical shows tackle racism rather than promote it and should not be subjected to censorship. The decision by streaming services to remove material featuring racist depictions, though haphazard, is generally welcomed by artists of color in a number of countries including Australia . However, many also think it is ultimately a simple move that should not preclude the services from the more meaningful work of investing in additional diverse stories.

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Spherex Classification Tool Now Approved for Home Entertainment Content in Australia

The Albanese Government has updated the Spherex Classification Tool approval to include ratings for theatrical releases, home entertainment, and streaming content in Australia. Spherex was previously approved to classify online films.

The update underscores the Australian Classification Board’s confidence in Spherex as a tool to help Australian viewers make informed choices about the content they consume. This means Australians can now access a range of new films sooner than they might across all formats and windows.

Spherex has a longstanding relationship with the Australian Classification Board. Since 2020, Spherex has collaborated closely with the Australian Government to ensure its technology reliably generates classification decisions that meet Australian standards and viewers' expectations.

As the world’s only commercial provider of local age ratings, Spherex has successfully produced classification decisions for high volumes of online content in over 100 countries. Since 2018, Spherex has issued over one million age ratings for digital content, including films, TV shows, and trailers, distributed by its clients worldwide.

Spherex customers, including Umbrella Entertainment, Madman Entertainment, and Sugoi Co., rely on its AI-based platform to obtain local age ratings in Australia and significantly improve efficiency, cost reduction, and market reach.

Discover how Spherex's cutting-edge AI-based platform can streamline your content classification process and enhance your market reach while reducing costs.

Visit spherex.com today and see how we can support your content distribution needs.

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Spherex Featured in the DPP's IBC 2024: Demand versus Supply Report

Spherex was featured in the DPP’s IBC 2024: Demand versus Supply Report, a comprehensive look at how the M&E industry is meeting key customer demands. The report focuses on the topics of empowering creators, understanding audiences, engaging users, and innovating the newsroom. It also highlights many of the technical innovations seen at the recent IBC Show.

An article by Spherex’s CEO Teresa Phillips titled "Navigating Cultural Resonance in Global Media: The Art and Science of Culture Mixing" was featured in the report, exploring how Spherex is pioneering the future of culturally informed content.

Teresa shares how cultural mixing has become a critical strategy for creating content that appeals to diverse audiences in today's global media landscape. This phenomenon involves blending elements from different cultures to craft films and television shows that resonate globally while adhering to local regulations.

However, the process of culture mixing is fraught with risks. Superficial or stereotypical representations can lead to accusations of cultural appropriation or insensitivity, alienating audiences and damaging a company's reputation. For example, imposing Western concepts on Eastern content without proper context can feel inauthentic and jarring to local viewers. These missteps highlight the need for a nuanced understanding of cultural elements to ensure that content is respectful and engaging.

To address these challenges, M&E companies are increasingly turning to data-driven solutions. Platforms like SpherexAI utilize artificial intelligence to analyze visual, audio, and textual elements, providing insights into how well content aligns with cultural and regulatory standards across over 200 countries and territories. This approach helps media companies understand the "cultural distance" between a title's origin and its target market, enabling them to make informed decisions about global distribution.

By leveraging these advanced tools, M&E companies can go beyond traditional content localization. They can create media that actively engages and resonates with diverse audiences. As the industry continues to evolve, those companies that embrace culturally informed, data-driven approaches will be better positioned to succeed, fostering cross-cultural understanding and trust while delivering globally appealing content.

Download the report here.

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One of the conundrums of streaming is that although a service can deliver content globally, it is not guaranteed to be acceptable in a particular local market. Netflix found this out when it announced global availability in 2016 at CES and was quickly banned in markets like Indonesia, where some of the content was deemed too violent or sexual. In 2016, without boots on the ground in a local market, it wasn’t easy to assess whether a show or movie would be culturally acceptable.

Today, global media companies are acutely aware of the importance of their content’s cultural fit. Moreover, they have a company like Spherex to help them prepare their content to ensure it fits with any country of interest. I interviewed Teresa Phillips, the Co-Founder and CEO of Spherex, at the recent OTT.X Summit in Los Angeles. She explained how the company is leveraging AI and its massive cultural profiling database to help companies prepare content for target markets. She also explained how, in the near future, AI would aid the company in measuring a movie or show’s cultural distance from a regional market and help it avoid falling into the failure zone between cultural fit and novelty interest.

Listen to the full interview here.

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