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Column: Elon Musk's dumbest idea is to send human colonists to Mars

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Column: Elon Musk's dumbest idea is to send human colonists to Mars

The image of Elon Musk that may be dominating people’s mindspace at the moment is of his prancing about joyously — and, yes, a tad weirdly — behind Donald Trump on the podium during the latter’s Oct. 5 rally in Butler, Pa.

But how many people noticed the clue to Musk’s worldview on display at the event? For visible under his jacket was a T-shirt bearing the legend, “Occupy Mars.”

That’s a pointer to one of Musk’s most dearly held goals, which is to populate Mars with humans, transported to the Red Planet presumably by Musk’s rocketship company SpaceX. Musk has been airing this idea for years, even a decade or more. His mantra, as he tweeted as recently as a few weeks ago, is that “becoming multiplanetary is critical to ensuring the long-term survival of humanity and all life as we know it.”

Outer space seems designed to kill us.

— Scientific American

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Musk brings up the idea of colonizing Mars so often that it can properly be regarded as a whim of iron. It’s a whim because he plainly hasn’t pondered soberly the obstacles in the way.

The technical challenges of sending a spacecraft to Mars, the distance to which from Earth averages about 140 million miles, are plainly the least difficult, since we’ve already done it: NASA landed the robotic rovers Spirit and Opportunity on Mars in January 2004.

Spirit functioned for five years, sending telemetry back to Earth from its five-mile range; Opportunity ranged over 28 miles of the Martian landscape for an amazing 15 years (its fascinating and endearing life story is told by “Good Night Oppy,” a documentary streaming on Amazon Prime).

All the other challenges are harder, and many are not amenable to human ingenuity at this stage. They’re financial, biological and psychological — and also technical, when the question is not how to get to Mars but how humans can function and survive once we’re there, much less establish a permanent presence.

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Musk’s timeline for colonizing Mars has shifted constantly since he began bringing it up. Last month he announced that the first Mars-bound Starships would launch (unmanned) in two years, when Mars and Earth come to their nearest approach, as they do every 26 months or so.

If the landings succeed, the first crewed missions would take place two years later. Further flights, he said, would fulfill the goal of building a “self-sustaining city in about 20 years.”

Yet he also has talked about sending 1 million human colonists for that self-sustaining city in Mars by 2050, a mere 24 years after the first manned touchdown. In 2020 he posited building a fleet of 100 Starships every year for 10 years, parking them and their passengers in Earth orbit to await the next Earth-Mars near approach.

Such pronouncements have often elicited credulous reactions from Musk’s interviewers. They should know by now, however, that taking them at face value is the wrong way to bet.

Musk is notorious for the unreliability of his timing and engineering forecasts. While his words are taken as gospel by his fan base, many in the automotive and high-tech communities have learned from bitter experience not to trust them. It’s proper to ask whether he has ever met a self-imposed deadline for bringing out a new product or feature or fulfilled his claims for their capabilities.

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The freshest example was his Oct. 10 unveiling of prototypical self-driving taxis and vans amid claims that his EV company Tesla would have fully autonomous vehicles on the road next year. Tesla shares fell nearly 9% the next day, thanks to world-weary investors who had heard such overcooked claims from him before. (A prototype humanoid robot introduced at the same event and implied to operate autonomously was later revealed to be human-assisted.)

If Musk can’t meet deadlines a few years off, then, why would anyone buy projections dated a quarter-century into the future?

Fancies about interplanetary travel may have their sedulous followers, but skepticism about Musk’s Martian fantasy have been mounting. Last month, the Wall Street Journal did the math on the 26-month cycle in which the Earth and Mars approach each other close enough to make travel between them practical, and reported that Musk’s timeline for Mars settlement was unlikely within his lifetime. (He’s 53.)

As for the other obstacles, they’re legion. One is the question of who would pay for the project. As rich as he is — he is often described as the richest or second-richest person on Earth, with a fortune estimated at $195 billion — he doesn’t have the resources to go it alone.

Indeed, without its billions of dollars in U.S. government contracts, SpaceX would be going nowhere fast, even in Earth orbit. But whether the U.S. would have the political will or fiscal capacity to mount a project estimated to cost $1 quadrillion (that’s 1,000 trillions) is doubtful in the extreme even if spread out over several decades.

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Space aficionados often compare the drive to explore other worlds to the impulse that sent humans on voyages around the world, depicting our forebears’ curiosity about our own planet as an innate curiosity that defines us as an alpha species. It’s comforting to think of ourselves that way, but more than a little pompous.

The truth is that the chief impulse that sent Europeans around the world was commercial. The Spanish came to the New World in search of gold, Russians for pelts, others for spices, raw materials, fishing grounds, etc., etc. They spent fortunes in these efforts, but they were willing to invest on the expectation of a healthy financial return.

Human interplanetary exploration will be more dangerous and more costly, especially if robots can do the work, and the lack of a discernible economic return a greater obstacle. “We haven’t even colonized the Sahara Desert, the bottom of the oceans or the moon, because it makes no economic sense,” the physician Danielle Teller observed nearly a decade ago. “It would be far, far easier and cheaper to ‘terraform’ the deserts on our own planet than to terraform Mars. Yet we can’t afford it.”

NASA estimates the length of a voyage to Mars as at least nine months, during which the passengers would be bombarded by radiation and their bodies warped by weightlessness and by Martian gravity, which is 38% that of Earth. It may not be a survivable journey.

“Outer space seems designed to kill us,” Scientific American observed last year. “Humans evolved for and adapted to conditions on Earth. Move us off our planet, and we start to fail — physically and psychologically. The cancer risk from cosmic rays and the problems that human bodies experience in microgravity could be deal-breakers.”

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Astronauts on the International Space Station, where the stays have typically been six months or less (a few record breakers have approached or exceeded one year), were known to have experienced weightlessness-associated visual impairments due to changes in the eye that were “not fully reversible upon return to Earth,” according to a 2018 study.

What would the colonists find upon arrival?

They would encounter a barren landscape without water or breathable atmosphere, bathed in deadly solar and galactic radiation from which Earthbound humans are protected by our planet’s atmosphere and magnetic field. Food, water and other resources would have to be shipped from home, at distances that make the supply frighteningly undependable. They would have to live underground, adding to psychological disorientation compounded by their sheer remoteness; they would be the first humans who were living beyond a view of Earth itself.

Mars is more inhospitable to human occupation than the most punishing terrestrial environments, such as Antarctica and the remote desert. Its average surface temperature is minus 85 degrees, and can fall as low as minus 225 degrees.

Then there are the psychological pressures of underground life hopelessly far from home. An oft-mentioned cautionary tale is the experience of Biosphere 2, in which eight volunteers — four men and four women — were sealed in a futuristic glass structure in Arizona from 1991 to 1993 as an experiment in remote self-sustained living.

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They raised crops and domestic animals for food and enjoyed their lifestyle, until “the human element” intervened, as one of the subjects wrote later. “We contracted a syndrome psychologists call irrational antagonism. That is, we split into two groups of four. A power struggle over the project’s direction made things much worse.” Their oxygen supply dwindled, producing a syndrome resembling altitude sickness, due to a miscalculation about photosynthesis.

They had encountered an age-old phenomenon common in insular communities cut off from home. The leader of the 19th century California utopian community Kaweah put it into words: His people “divided into factions, and fractions of factions,” he wrote. “Otherwise good people seem to take a delight in finding flaws in their neighbors.”

It may be that technological advances will eventually overcome these obstacles. But it’s also true that human ingenuity already has produced a solution to some of the most pressing: robots. For what Spirit and Opportunity proved is that there’s little of value that humans can do in deep space that robots can’t do as well, or better.

The ultimate question about Musk’s project is why? His vision seems to have been formed at the age when adolescents become enthralled by science fiction movies set in faraway galaxies — which isn’t to say that they can remain entertaining for adults, too.

But for him, reality is a distraction. For less than the stupendous cost of colonizing Mars, humanity could address the issues that Musk feels will make the Earth uninhabitable, such as global warming. Leaving an Earth warmer by 2 degrees centigrade for Mars “would be like leaving a messy room so you can live in a toxic waste dump,” Kelly and Zach Weinersmith wrote in their 2023 book, “A City on Mars: Can We Settle Space, Should We Settle Space, and Have We Really Thought This Through?”

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Good question. Musk plainly hasn’t thought it through, at least not enough to avoid dismissing the challenges with hand-waving. But we can. Our imperative is to fix the home we live in before setting forth to ruin another one.

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Disney to cut hundreds of employees in latest round of layoffs

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Disney to cut hundreds of employees in latest round of layoffs

Walt Disney Co. launched another deep round of layoffs on Monday, notifying several hundred Disney employees in the U.S. and abroad that their jobs were being eliminated amid an increasingly difficult economic environment for traditional television.

People close to the Burbank entertainment giant confirmed the cuts, which are hitting film and television marketing teams, television publicity, casting and development as well as corporate financial operations.

The move comes just three months after the company axed 200 workers, including at ABC News in New York and Disney-owned entertainment networks. At the time, the division said it was trimming its staff by 6% amid shrinking TV ratings and revenue.

Disney declined to specify how many workers were losing their jobs. The cutbacks — the fourth round of layoffs in less than a year — come after Disney Chief Executive Bob Iger acknowledged to Wall Street that Disney had been pumping out too many shows and movies to compete against Netflix.

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The programming buildup accelerated as the company prepared to launch Disney+ in late 2019, and it bulked up its staff to handle the more robust pipeline.

But the company has since retrenched, recognizing the need to focus on creating high-quality originals that meet Disney’s once lofty standards.

Disney has faced significant budget pressures after promising investors that its direct-to-consumer services — Disney+, Hulu and ESPN+ — would achieve profitability last year. The company lost billions of dollars over several years in its strategic shift to streaming, but it reached its goal to make money on streaming last fall.

Still, streaming subscribers can be fickle, creating a daunting new reality for the company that could long count on cable TV subscriptions as one of its most reliable economic pillars. Cord-cutting has taken a heavy toll.

The entertainment giant — one of Southern California’s largest private sector employers — has eliminated more than 7,000 jobs since 2023.

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The traditional TV and film units felt the brunt of the downsizing during the last year. In July, the company slashed about 140 workers, primarily in its Disney entertainment unit. The company’s TV stations also lost staff members and ABC News shed about 40 employees last October.

ABC News largely escaped this week’s cuts, according to one knowledgeable person who was not authorized to discuss the internal moves.

ABC News still boasts healthy audiences for its newscasts, but the ABC television network and Disney-owned entertainment channels have seen dramatic viewer defections as consumers switch to streaming services, including Netflix, Paramount+ and Disney+.

ABC’s prime-time schedule has lost considerable steam. For the just-ended broadcast television season, ABC mustered only three shows in Nielsen’s top 20 rankings. “Monday Night Football on ABC” ranked seventh by averaging more than 10 million viewers, “Saturday Night Football” ranked 18th with 7.4 million viewers and freshman drama “High Potential” made the cut at 20th with an average audience of 7.1 million, according to Nielsen.

Monday’s eliminations come three weeks after Disney presented its fall lineup to advertisers, leaning heavily on its sports stars including Peyton and Eli Manning rather than actors from its entertainment programming.

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ESPN was spared the ax as the sports unit is preparing for its high-stakes launch this fall of a stand-alone ESPN streaming service, the knowledgeable person said.

The move comes amid a strong run for Disney’s film studio, which has celebrated blockbuster box office results from its live-action “Lilo & Stitch,” which has earned $610 million in ticket sales globally, according to Box Office Mojo.

A month ago, Disney issued strong fiscal second-quarter earnings. The company reported $23.6 billion in revenue for the three months that ended March 29, a 7% increase compared with the same quarter a year earlier. Earnings before taxes totaled $3.1 billion, up $2.4 billion from last year.

Hollywood trade site Deadline first reported the news of the latest Disney cuts.

The landscape has been increasingly challenging for traditional companies. In addition to Disney, Warner Bros. Discovery, Paramount Global and even such tech companies as Amazon and Apple have fired workers.

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In late May, NBCUniversal cut 54 jobs in Los Angeles, according to state employment records. Six Flags Entertainment Corp. laid off 140 workers.

Disney shares closed down 9 cents to $112.95.

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The Imports the U.S. Relies On Most From 140 Nations, From Albania to Zimbabwe

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The Imports the U.S. Relies On Most From 140 Nations, From Albania to Zimbabwe

President Trump’s on-and-off tariffs have created deep uncertainty about the cost of imported goods — and it’s not always clear what goods will be most affected with any given country.

The largest U.S. imports from many countries are oil and gas, electronics, cars and pharmaceuticals. But there’s another way to look at what Americans import: trying to measure a country’s distinct contribution to the U.S.’s total needs.

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For example, China’s largest exports to the U.S. — by dollar value — are electronics. But the U.S. also imports large quantities of electronics from elsewhere. Nearly 100 percent of imported baby carriages, however, come from China.

Switzerland, meanwhile, is responsible for nearly all of America’s imported precious metal watches. Ethiopia, on the other hand, sends the U.S. around 2 percent of its imported knit babies’ clothes — but that’s a larger share than for any other item it exports to the U.S.

The table below shows the item the U.S. relies on most from each of 140 trading partners. (We took out items that the U.S. also exports in large quantities, such as petroleum.)

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What the U.S. is most reliant on from each country

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COUNTRY ITEM
Canada Live pigs
Peru Calcium phosphates
South Africa Chromium ore
Switzerland Precious metal watches
China Baby carriages
Mexico Self-propelled rail transport
Portugal Natural cork articles
India Synthetic reconstructed jewelry stones
Italy Vermouth
Indonesia Palm oil
Madagascar Vanilla
Turkey Retail artificial filament yarn
Brazil Semi-finished iron
Vietnam Coconuts, brazil nuts, and cashews
Australia Sheep and goat meat
New Zealand Misc. animal fats
Gabon Manganese ore
Chile Refined copper
Netherlands Bulbs and roots
Spain Olive oil
Taiwan Tapioca
Argentina Groundnut oil
Colombia Cut flowers
Bolivia Tungsten ore
Dominican Republic Rolled tobacco
Cote d’Ivoire Cocoa paste
Germany Felt machinery
Finland Cobalt oxides and hydroxides
Japan Pianos
Israel Phosphatic fertilizers
Philippines Coconut oil
France Insect resins
Thailand Sugar preserved foods
Malaysia Rubber apparel
Ireland Sulfonamides
Pakistan Light mixed woven cotton
Singapore Glass with edge workings
Guatemala Bananas
Ecuador Cocoa beans
South Korea Rubber inner tubes
Jamaica Aluminum ore
Bangladesh Non-knit babies’ garments
Austria Handguns
United Kingdom Antiques
Cambodia Gum coated textile fabric
Nicaragua Rolled tobacco
Guyana Aluminum ore
Ukraine Seed oils
Belgium Flax woven fabric
Bahrain Stranded aluminum wire
Sri Lanka Coconut and other vegetable fibers
Morocco Barium sulphate
Romania Steel ingots
Norway Carbides
Sweden Stainless steel ingots
Costa Rica Bananas
Honduras Molasses
Paraguay Wood charcoal
Denmark Casein
Tunisia Pure olive oil
Russia Phosphatic fertilizers
Fiji Water
Hong Kong Pearls
Nepal Knotted carpets
Poland Processed mushrooms
Lebanon Phosphatic fertilizers
Croatia Handguns
Bulgaria Non-retail combed wool yarn
Laos Barium sulphate
Mozambique Titanium ore
Ghana Cocoa beans
Bahamas Gravel and crushed stone
Greece Dried, salted, smoked or brined fish
Jordan Knit men’s coats
Czech Republic Rolling machines
El Salvador Molasses
Egypt Spice seeds
United Arab Emirates Raw aluminum
Uganda Vanilla
Nigeria Raw lead
Uruguay Bovine, sheep, and goat fat
Latvia Book-binding machines
Kazakhstan Ironmaking alloys
Cameroon Cocoa paste
Lithuania Wheat gluten
Oman Metal office supplies
Hungary Seed oils
Belize Molasses
Faroe Islands Non-fillet fresh fish
Qatar Pearls
Myanmar Misc. knit clothing accessories
Zambia Precious stones
Slovenia Packaged medications
Senegal Titanium ore
Algeria Cement
Haiti Knit T-shirts
Kenya Titanium ore
Liechtenstein Iron nails
Georgia Ironmaking alloys
Liberia Rubber
Serbia Rubber inner tubes
Iceland Fish fillets
Democratic Republic of the Congo Refined copper
Botswana Diamonds
Chad Insect resins
Zimbabwe Leather further prepared after tanning or crusting
Luxembourg Polyamide fabric
Panama Non-fillet fresh fish
Albania Ironmaking alloys
Estonia Fishing and hunting equipment
Ethiopia Knit babies’ garments
Namibia Wood charcoal
Venezuela Processed crustaceans
Slovakia Rubber tires
Lesotho Knit men’s shirts
Tanzania Precious stones
Papua New Guinea Vanilla
Mauritius Processed fish
Saudi Arabia Iron nails
Moldova Wine
Suriname Non-fillet fresh fish
Angola Pig iron
Armenia Diamonds
Trinidad and Tobago Non-fillet fresh fish
Macau Knitted hats
North Macedonia Curbstones
Togo Fake hair
Bosnia and Herzegovina Non-knit women’s coats
Republic of the Congo Antiques
Azerbaijan Ironmaking alloys
Iraq Antiques
Libya Misc. vegetable products
Cyprus Olive oil
Kuwait Ironmaking alloys
Malta Air conditioners
British Virgin Islands Diamonds
Brunei Knit T-shirts
Cayman Islands Phones
Equatorial Guinea Knitted hats
Sint Maarten Hard liquor

Curious where the U.S. imports a particular item from? You can look it up below.

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Searchable table

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About the data

We analyzed U.S. International Trade Commission data on goods imported for consumption in 2024. We used product descriptions from the Observatory of Economic Complexity to label the goods, and edited these descriptions lightly.

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We grouped goods using the first four digits of their code in the Harmonized Tariff Schedule, which lists categories of products.

We excluded goods that are widely produced in the U.S., using export data to remove goods where the U.S. exports at least 25 percent of what it imports by value.

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We included only trading partners that export at least $50 million of goods each year to the U.S.

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From 'Squid Game' to 'Frankenstein,' Netflix takes brand promotion to a new level at Tudum

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From 'Squid Game' to 'Frankenstein,' Netflix takes brand promotion to a new level at Tudum

Vanessa Agabo-Davalos has spent hours watching the dystopian drama “Squid Game” on Netflix. But nothing could prepare the 21-year-old college student for seeing one of the show’s actors walk the red carpet a few feet in front of her.

She found herself starstruck in the presence of Kang Ae-sim, who portrays Geum-ja (Player 149) on the South Korean thriller. All the more so when they snapped a photo together.

“You forget everything. You forget how to talk — it’s just like ‘Wow, I saw you on TV,’” said Agabo-Davalos, who traveled an hour from the Inland Empire and can’t wait to see the final season this month. “I feel like it’s a dream come true for the ones that really enjoyed these shows.”

She was among the more than 9,500 Netflix fans who gathered Saturday at the Kia Forum in Inglewood for Netflix‘s Tudum live event, an hours-long extravaganza meant to hype up audiences for upcoming series, movies and returning franchises.

People traveled from all over the world to celebrate their love for shows including “Squid Game,” Addams Family series “Wednesday” and sci-fi show “Stranger Things.”

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During Netflix’s variety-show like program onstage at the famed venue, the company showed off how its computer animated version of Tony Tony Chopper, a toddler-sized reindeer-boy character in the live action pirate series “One Piece,” would appear in the upcoming season.

Oscar-winning director Guillermo del Toro unveiled a new teaser trailer for his November Netflix movie, “Frankenstein,” starring Oscar Isaac and Mia Goth, who both appeared onstage with the filmmaker. Fans also saw the first six minutes of the first episode of Season 2 of “Wednesday,” which will be released in August.

The event, named after the sound that plays before a Netflix program begins (“tuh-dum”), was part of Netflix’s ongoing effort to harness the enthusiasm its viewers have for its most popular programs and inspire them to keep streaming.

“It is about celebrating fans and giving something back to them,” Netflix’s Chief Marketing Officer Marian Lee told The Times after the event. “Of course it is also about promoting … we have a huge slate coming up.”

Netflix hosted the first Tudum event in 2020 in São Paulo, which came from the company’s Brazil team, which had an idea for an event that rewarded the streamer’s fans of young adult shows. That later led to Tudum evolving into different formats including festivals and livestreams, events that were more like a fan convention.

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In 2023, Netflix held Tudum again in São Paulo, drawing more than 35,000 attendees and more than 78 million views through Netflix’s social channels.

But Saturday’s festivities in Inglewood took Netflix brand promotion to a new level.

It was the first time Tudum was livestreamed directly on Netflix, rather than on YouTube or social media outlets. The event played like a roughly two-hour live variety show, featuring “ask me anything” segments, as well as performances from music artists including Lady Gaga, who appears in the next season of “Wednesday.”

Xavier Woods, left, and Kofi Kingston attend Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.

(Emma McIntyre/Getty Images for Netflix)

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There was plenty of cross promotion of Netflix content during the show, as WWE wrestlers talked about why people should tune into their weekly live show on the platform, while also speaking about their love for “One Piece,” based on manga.

Tudum host Sofia Carson touted her upcoming Netflix movie, “My Oxford Year,” which also stars Corey Mylchreest, known for portraying King George III in Georgian era romance series “Queen Charlotte” from the “Bridgerton” universe. Sesame Street‘s Cookie Monster also made an appearance with actors Ben Affleck and Matt Damon, who star in the new Netflix movie “The RIP.”

“I don’t think another studio can pull this off in the way that we did,” Lee said. “Fandoms can be unique and distinct. They’re putting all those fans in a room together, WWE fans next to [mystery movie] ‘Knives Out’ fans next to Lady Gaga fans for ‘Wednesday.’ That’s an incredible achievement. That is something only Netflix can do.”

To some people, Tudum is a page borrowed from Walt Disney Co., which hosts the biennial D23 fan convention in Anaheim, pulling together disparate fandoms (Disney princesses, Marvel, Pixar, Star Wars) to converge in the same place. It raises the question: Does Netflix, a streaming service that produces shows from just about every genre for just about every kind of audience, have fans in the same way that Disney does?

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Over the years, Netflix has expanded its live events and in-person experiences to keep viewers engaged. Those have included “Bridgerton” balls, Netflix-themed eateries and retail stores selling merch based on “Stranger Things” and other shows.

Lee declined to say how much Netflix spent on the event. Some fans bought tickets, ranging from $25 to $75, while others said they scored free tickets. Netflix said tickets sold out in about a week.

Netflix doesn’t have iconic animated characters like Mickey Mouse or storied franchises like “Star Wars” or Marvel. But Netflix’s strategy is to have something for everyone, and because of that, people are reluctant to quit it, industry observers say, even as economic anxieties run rampant.

“That is the competitive advantage of Netflix,” said Larry Vincent, a marketing professor at USC Marshall School of Business. “It really has become the big tent of streaming. They’ve invested pretty significantly to develop a stockpile of content.”

The streamer said last year it had more than 301 million subscribers globally. On Saturday, the attendees reflected that expansive audience.

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Fans at Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.

Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.

(Adam Rose/Netflix)

Fans dressed up as their favorite characters from Netflix shows. People wore black dresses similar to Wednesday’s attire, straw hats in support of “One Piece” and green tracksuits like the ones players wear in the deadly “Squid Game.”

When Cookie Monster appeared behind a DJ booth on the “N” shaped red carpet to sing “‘C’ is for Cookie,” adults in “Squid Game” tracksuits joined in the chorus.

“It’s all-encompassing and global and passionate,” Tudum host Carson, known for starring in Netflix movies including “Carry-On” and “Purple Hearts,” said in an interview after the event ended. “It is truly extraordinary to feel the love from every single part of the world — it crosses languages, it crosses cultures.”

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Shaheidi Jimenez, 21, came to the Netflix event as a fan of “Wednesday” and “Squid Game.” She hadn’t watched “Stranger Things,” but seeing the screaming fans for the show’s actors on the red carpet made her more curious about the sci-fi series.

“When I see the cast, it makes me want to watch it now,” Jimenez said. “I’m familiar with them more. It makes me want to watch the show and probably get into it.”

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