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Meet the Netflix executive responsible for your recommendations

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Meet the Netflix executive responsible for your recommendations

There’s no red carpet for people who make sure Netflix provides an appealing user experience; no Emmy or Oscar for an app that gives you the right recommendations for what to watch next.

But those functions, when working correctly, are an advantage for Netflix in the streaming wars. Chief Product Officer Eunice Kim is the executive in charge of overseeing much of what makes Netflix tick — such as incorporating new features into the streaming service including live events, ads and mobile games.

Her team analyzes consumer behavior on Netflix to determine which shows and movies could excite viewers next on the streaming service and makes sure that the viewing experience is smooth. As such, she’s among the most important Netflix executives you’ve probably never heard of. That comes with the territory of being the person making sure Netflix is a seamless product, one of the most underappreciated aspects of the streaming wars.

“We make it look easy, but it’s not actually that easy under the hood,” said Kim. “If we’re doing our jobs, we shouldn’t be talking about the product all that much, but it should be working for people.”

Kim, who was promoted to the role in October, joined Netflix in early 2021. She previously served in product management roles at Google Play and YouTube. She grew up in Fremont, Calif., where her dad launched a startup out of their garage and she soldered motherboards. When she’s not looking at screens, she enjoys gardening.

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She spoke with The Times in an interview at Netflix’s Los Gatos headquarters. This conversation has been edited for length and clarity.

How do you see the Netflix product experience evolving as the company adds different types of content, like games or live events?

These new content types require us to really evolve the experience that lives today. We like to joke that our current homepage experience on TV is about 10 years old. That doesn’t mean we haven’t done tremendous amounts of work to improve it over time. But at its core, it’s remained the same and it really was built and designed for a streaming video-on-demand service. Every facet of how we’ve arranged everything anticipates an on-demand video experience.

LOS GATOS, CA – JAN 11: Eunice Kim, Netflix’s Chief Product Officer, is photographed at the Netflix offices in Los Gatos, CA on January 11, 2024.

(Benjamin Heath / For The Times)

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Live TV is like, “Hey, everyone gather on the couch now and watch it now,” right? So the signals we send to people [to tell users] now’s the time to gather are super important. In games as well, the content engagement and pattern is very different. You can play the same game for a few years, if you’re really into it.

You’ve said Netflix users on average watch six genres. How do you anticipate what people are feeling like watching?

We want to pay attention a little bit more closely in real time to the way that you’re browsing the service, so that we can interpret that a little bit faster. For example, you dwelled a little bit on this trailer — that’s maybe of interest. We’re really just trying to make sure that timeliness is built a little bit more deeply into the way that we understand your needs.

To some extent, familiarity breeds interest. Like the first time you see something, you may or may not be paying attention, then you hear about it through word-of-mouth, maybe there’s an L.A. Times critic’s review that you saw, you see a TikTok video on that title, there’s the billboard that’s on Sunset Boulevard. So it may be all of those things lead up to some degree of interest for a title.

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Let’s use an example to explain how the recommendations work. Like, say, the sci-fi movie “Rebel Moon.”

The very simple signals for us are that you are watching more content and that you’re showing us that you enjoy it, meaning that you finish the whole movie or you give it a thumbs up at the end. When we think about the categories that help us decide what we like, there are a couple of things we look for, including your past viewing behavior. Is “Rebel Moon” similar to other kinds of content that you watch on the service? Or you watched the trailer twice, or you added it to your list or you opened the email about “Rebel Moon.”

And then there’s what tells us how we know that “Rebel Moon” is a sci-fi movie. It sounds very basic, but when you have thousands of titles on the service, how do we classify that? Sci-fi is a broad category. “Dune” is a very different flavor from “Rebel Moon.” So the precision of our understanding of the content at what we call the metadata level also helps us understand the content similarities.

How does user behavior and data affect what trailers or promotion we see for Netflix content?

The way we present each title can be slightly different for each person. We might be playing up the angle about the race car drivers being part of a live event like “The Netflix Cup,” or the golf players being part of it because we think you’re going to recognize the face because we know that you watched “Formula 1: Drive to Survive.” Of course, not everyone who watches Netflix will be interested in a given event. We want to make sure we reach the right people. If we’ve never seen any indication that you have any interest in sports, it’s unlikely that we would put that in front of you.

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How many different trailers are there for each show or movie?

For our bigger titles, we might have up to six on average.

There was a technical issue with the reality dating show “Love Is Blind’s” live reunion in April, which was one of Netflix’s early efforts in live programming. How has Netflix improved its livestreaming capabilities since then?

That was definitely a humbling moment for us. We definitely took stock and asked ourselves, what can we do better? We’ve really mainly just been focused on improving our technical capabilities and our operations behind this and are super excited about the way that we were able to pull off “The Netflix Cup” and more recent live events that we’ve had on the service. So we’re feeling pretty good, that we’ve learned from that and evolved from it.

In any complex technical system, there can be any number of things that go wrong, right? There’s never a world in products and tech where there are no mistakes. That’s just not possible. So really the name of the game is how quickly did you catch your mistakes and fix them? That’s half the battle in our world.

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How is Netflix working to improve the experience for gamers? For example, on the mobile app, gamers still need to download the games via the Apple and Google app stores first, rather than have it be instantly playable on the Netflix app.

Downloading from the app stores is something we do because those are the policies that we abide by in partnership with Google and Apple. We try to make that discovery as simple and seamless as possible. I think about one feature we’re particularly proud of that made this easier for our members. If you’re on your iPhone and you find a game, we have what we call a “bottom sheet experience.” [It] just kind of slides up, and you can just press “install,” and that installs without landing you in the app store. That had a really nice bump in impact in terms of making that experience easier for our members.

Netflix has expanded the number of games it offers. Are games driving engagement?

We’re at almost 90 games right now. We’ve been very pleased with the progress we’ve made and met the goals that we had for 2023 around engagement.

How did you get interested in this type of work?

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My dad did a classic hardware startup out of his garage. So from a young age, I learned how to solder motherboards and inventory microchips and would write marketing materials for COMDEX, which was the big computer trade show back then.

Discussions about technology and reading sci-fi were part of my family upbringing. It was ironic that I ran away to the East Coast for college to be a writer because I was just so tired of the tech-speak, but it drew me back because there’s something really profound about the way that technology can enable our lives and bring us joy. It can also bring us misery if we’re not careful. I think finding that right balance is super important.

Entertainment

Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

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Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.

The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.

Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..

“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.

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Representatives for Soho House and Vichique Maya were not immediately available for comment.

Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.

After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”

According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”

She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.

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“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.

The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”

She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”

When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”

Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.

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In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.

However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”

In February, the plaintiff said that she was forced to quit her job.

One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.

It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.

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In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .

Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

“Mercy”

(Thriller/Crime: 1 hour, 39 minutes)

Starring: Chris Pratt, Rebecca Ferguson, Kali Reis

Director: Timur Bekmambetov

Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)

Movie Review:

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“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.

Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.

Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.

All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)

“Return to Silent Hill”

(Horror: 1 hour, 46 minutes)

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Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange

Director: Christophe Gans

Rated: R (Bloody violent content, strong language and brief drug use.)

Movie Review:

“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.

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Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).

Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.

Grade: D (Do not return to see this.)

“Sentimental Value”

(Drama: 2 hours, 13 minutes)

Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning

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Director: Joachim Trier

Rated: R (Language, sexual reference, nudity and thematic elements)

Movie Review:

“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).

This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.

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Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.

“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.

Grade: A- (Any motive valuable movie.)

“In Cold Light ”

(Crime: 1 hour , 36 minutes)

Starring: Maika Monroe, Allan Hawco and Troy Kotsur

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Director: Maxime Giroux

Rated: R (Violence, bloody images, strong language and drug material)

Movie Review:

“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.

Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).

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For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.

French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.

Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).

Grade: C- (Just cold and dark.)

More movie reviews online at www.valdostadailytimes.com.

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

As the media industry took stock of Paramount Skydance’s startling acquisition of Warner Bros. Discovery, one question lingered on the minds of many in the news business and beyond: What will this mean for CNN?

The iconic 24-hour cable news network is among the various Warner Bros. assets that would be scooped up by Paramount in a deal announced Thursday that could transform the media landscape.

Paramount has undergone a swift transformation under Chief Executive David Ellison following his family’s acquisition of the company last summer. These changes reached CBS News almost immediately with the appointment of Bari Weiss, the controversial Free Press co-founder, as its new editor in chief.

Bari Weiss moderated a town hall with Erika Kirk, widow of slain conservative activist Charlie Kirk.

(CBS via Getty Images)

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Weiss’ tenure so far has been rocky.

Her decision to pull a “60 Minutes” story about conditions inside an El Salvador prison that housed undocumented Venezuelan migrants from the U.S. received widespread criticism and accusations of political motivation. The network said the story was held for more reporting, and the segment eventually aired.

There was more upheaval last week at the news magazine, when “60 Minutes” correspondent and CNN news anchor Anderson Cooper announced that he’d be leaving to spend more time with his family.

And earlier this year, a veteran producer at “CBS Evening News With Tony Dokoupil” was fired after he expressed disagreement about the editorial direction of the newscast.

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Now, the concern is that similar changes could be in store for CNN, which has long been a target of President Trump’s ire. He has personally called for the ouster of hosts at the network who have questioned his policies.

CNN Worldwide Chief Executive Mark Thompson tried to quell some of those fears, particularly inside his own newsroom.

In an internal memo dated Thursday and obtained by The Times, Thompson urged employees not to “jump to conclusions about the future” and try to concentrate on their work.

“We’re still near the start of what is already an incredibly newsy year at home and abroad,” he wrote in the note. “Let’s continue to focus on delivering the best possible journalism to the millions of people who rely on us all around the world.”

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

(Shannon Finney / Getty Images for Semafor)

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CNN declined to comment beyond Thompson’s memo.

Ellison has said his vision for a news business is one that is ideologically down the middle.

“We want to build a scaled news service that is basically, fundamentally in the trust business, that is in the truth business, and that speaks to the 70% of Americans that are in the middle,” he said during a Dec. 8 interview on CNBC, shortly after Warner said it had chosen Netflix as the winning bidder for its studios, HBO and HBO Max. “And we believe that by doing so that is for us, kind of doing well, while doing good.”

Ellison demurred when asked whether Trump would embrace him as CNN’s owner, given the president’s past criticisms of the network.

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“We’ve had great conversations with the president about this, but … I don’t want to speak for him in any way, shape or form,” he said.

First Amendment scholars have raised concerns about press freedom and free speech rights under the Trump administration, particularly after last month’s arrest of former CNN journalist Don Lemon and the Federal Communications Commission’s pressure on late-night hosts like Jimmy Kimmel and Stephen Colbert.

Press freedom groups have long asked questions in other countries about how authoritarian regimes use their power and “oligarchical alliances to belittle, silence, and punish independent journalistic voices, or to steer media ownership toward … a preferred version of the truth,” said RonNell Andersen Jones, a 1st Amendment scholar and distinguished professor in the college of law at the University of Utah, in an email.

“We see them asking at least some of these questions about the U.S. today,” she wrote.

Apprehension about the merger also extends beyond its implications for CNN and the media business.

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Lawmakers such as Rep. Laura Friedman (D-Glendale), Sen. Adam Schiff (D-Calif.) and Sen. Cory Booker (D-N.J.) have raised concerns about how the consolidation of two major Hollywood studios could affect industry jobs and film and television production — which has significantly slowed since the pandemic, the dual writers’ and actors’ strikes in 2023 and corporate cutbacks in spending.

Sen. Elizabeth Warren (D-Mass.) called the deal an “antitrust disaster” that she feared could raise prices and limit choices for consumers.

“With the cloud of corruption looming over Trump’s Department of Justice, it’ll be up to the American people to speak up and state attorneys general to enforce the law,” she said in a statement.

Already, California Atty. Gen. Rob Bonta has said the merger isn’t a “done deal,” adding that he is in communication with other states attorneys general about the issue.

“As the epicenter of the entertainment industry, California has a special interest in protecting competition,” he posted Friday on X.

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The deal is subject to approval by the U.S. Justice Department. Bonta and other state attorneys general are expected to file a legal challenge to the mega-merger on antitrust grounds.

Ellison addressed some of these concerns in a statement Friday.

“By bringing together these world-class studios, our complementary streaming platforms, and the extraordinary talent behind them, we will create even greater value for audiences, partners and shareholders,” he said. “We couldn’t be more excited for what’s ahead.”

Times staff writer Meg James contributed to this report.

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