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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We regularly review older content to ensure it meets audience expectations and are particularly aware of the impact of outdated language.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 CEO Teresa Phillips Talks Practical AI for Global Content Localization at EnTech Fest

At this year’s DEG EnTech Fest, Spherex CEO and Co-Founder Teresa Phillips joined a panel to explore one of the most practical and impactful uses of AI in entertainment today: localization.

During the session titled “Practical AI For Speed and Savings in Localization,” Phillips shared how Spherex is leveraging AI to deliver “deep video understanding” that accelerates compliance and rating decisions in over 200 markets. As she explained, understanding the context—cultural, visual, and narrative—is crucial in determining whether a piece of content is suitable for audiences worldwide.

“AI can now detect not just what happens in a scene, but how it might be interpreted in different cultural and regulatory environments,” said Phillips. For example, in Scandinavian countries, if a trusted figure, such as a clergy member, commits an unethical act onscreen, it can dramatically impact a film’s age rating. SpherexAI is trained to identify these nuanced moments, flagging them for human review when needed.

Phillips also highlighted the role of AI in augmenting human decision-making, noting that “AI agents can be trained to ask humans the right questions—like whether the drinking in a scene is casual or excessive—ensuring more consistent, scalable evaluations.”

The conversation also acknowledged the broader industry shift that AI is bringing to localization workflows—from quality control (QC) to artwork generation, compliance, and project management. With automation poised to displace some entry-level roles, Phillips raised a key question for the future: “If junior roles are the first to be automated, how do we bring new talent into the industry? We have a responsibility in our organizations to create opportunities for the next generation.”

Joining Phillips on the panel were Silviu Epure (Blu Digital Group), Chris Carey (Iyuno), Kelly Summers (The Sherlock Company), and Duncan Wain (Zoo Digital), offering a 360° view on how AI is transforming the way stories cross borders.

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Why Content Differentiation Matters More Than Ever

In today’s fragmented global media landscape, a one-size-fits-all approach no longer works. Media companies face increasing pressure to tailor their content strategies to suit diverse regulatory standards, cultural norms, and viewer expectations.To thrive, they must adopt a new mindset—content differentiation—as both a business imperative and a competitive advantage.

What Is Content Differentiation?

Content differentiation is the strategic process of customizing how media is packaged, presented, and monetized based on the context in which it is distributed. Unlike basic content localization, which focuses mainly on language and format adjustments, content differentiation goes deeper. It aligns content with the regulatory, cultural, and commercial realities of each market, platform, and audience.

The goal is to ensure that content resonates locally while maintaining global scale. Differentiation helps media companies maximize reach, reduce regulatory risk, and improve monetization—all without compromising creative intent.

Why It’s Needed Now
  • Regulatory Complexity: Governments are tightening rules around age ratings, depictions of violence, sexuality, religion, and topics of national interest. These laws vary widely across regions, creating a compliance minefield for global distributors.
  • Cultural Expectations: What works in one market can trigger backlash in another. Cultural nuances—around gender roles, family dynamics, or social taboos—shape how content is perceived and whether it’s embraced or rejected. In many cases, outdated depictions of identity, relationships, or social dynamics can resurface as flashpoints when content is distributed years later in new markets.
  • The Importance of Metadata: Streaming platforms now host massive libraries with considerable overlap in titles across services. In this environment, having accurate, detailed metadata—including production details, talent, , and advanced descriptors—is critical for making content discoverable, marketable, and ultimately profitable. Without it, even high-quality content risks being overlooked.
Meeting the Challenge with SpherexAI

Solving these challenges requires more than manual review or basic tagging—it demands a scalable, intelligent system that understands both the content itself and its contextual significance. That’s where SpherexAI comes in.

SpherexAI is a high-fidelity metadata platform built to help media and entertainment companies implement content differentiation at scale. Using multimodal AI, it analyzes every frame of video—evaluating visuals, audio, dialogue, and on-screen text—to generate rich, actionable metadata that informs compliance decisions, discovery, and monetization.

SpherexAI extends beyond basic content tagging. It analyzes material against global regulatory requirements, identifies cultural nuances and sensitivities, and detects potential risks prior to distribution. Additionally, it enhances content visibility in crowded platform environments by enriching metadata with precise descriptors, scene-level details, emotional tone analysis, and contextual insights—elements that improve content discovery and ad targeting.

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If you're ready to differentiate your content for every audience, platform, and region, SpherexAI can help. Contact us to schedule a demo or speak with our team about how metadata-driven intelligence can power your global strategy.

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NAB 2025 – Recognizing a Changed Industry

Another National Association of Broadcasters (NAB) conference is in the books, and if anything has changed in the media and entertainment industry, the conference and attendees were there to discuss it. From content evolution to changes in audience preferences to AI being everywhere, to trade uncertainty, it was a topic of conversation at NAB 2025. Official categories included: Artificial Intelligence, Cloud Virtualization, Creator Economy, Sports, and Streaming. If a general conclusion could be drawn, it’s that the legacy media business no longer cuts in today’s market, and to survive these new realities, businesses must rethink how they fit in.

Everything Is Changing

One of the biggest takeaways from NAB is the impact the creator economy is having on the industry. Dozens of panels focused on how individuals and small-team productions have upended traditional business models and economics, attracting large audiences from traditional producers while also siphoning away ad revenues and production contracts. Recognizing this trend, hundreds of exhibitors demonstrated how their products or services support all types of creators while also providing benefits to traditional media companies. The NAB also introduced two new initiatives to support this growing sector: the Creator Council and the Creator Lab.

In a keynote session, media cartographer Evan Shapiro highlighted the extent of the shift, pointing out that by 2027, the creator economy is expected to grow to half a trillion dollars, nearly doubling its value from last year ($250 million). Shapiro, recognizing the difference between the creator economy and influencers, cites their effectiveness in attracting and engaging large audiences without having to deal with “gatekeeper-led content.” His final point was that this new reality presents the M&E industry with two options: embrace it or get left behind.

Market and Regulatory Uncertainty

The current uncertainty in global trade markets and the impact of tariffs on product purchases has cast a significant chill on many exhibitors at NAB. This was especially true for those companies whose products were manufactured or included parts from impacted countries or markets (services are not yet subject to tariffs). Many companies encouraged customers to expedite purchases to take advantage of existing inventories and avoid significant cost increases as tariffs are implemented. Attendees and speakers also expressed concerns about how regulatory changes from the FCC and regulators in other countries might impact  children's television programming, the news distortion policy, technical rules (e.g., ATSC 3.0), and TV carriage rules (e.g., non-duplication, and syndicated exclusivity).

Monetization Evolves as Markets Evolve

The continued growth of OTT/FAST and the rapidly expanding creator economy means competition for eyeballs and ads will only become more intense. Evidence of this was on clear display during NAB 2025:

  • Traditional Broadcast Disruption: The rise of streaming services and changing viewer habits are challenging traditional broadcast models, necessitating a reimagining of revenue strategies.
  • Fragmented Audiences: The audience is increasingly fragmented across linear streaming, on-demand platforms, and traditional broadcast, making it more difficult for advertisers to reach consumers effectively.
  • Hybrid Models: Streaming services are increasingly adopting hybrid monetization models, such as AVOD or FAST, to supplement their subscription revenues.

A key component of all of these strategies is high-fidelity metadata. Without it, content marketing, search, and discovery, as well as contextual advertising, are much more difficult to achieve. With it, compliance, brand safety, and audience acceptance increase significantly.

AI Everywhere

Artificial Intelligence (AI) and its increasing impact on content creation, marketing, and virtual production were everywhere at NAB 2025. Nearly 300 exhibiting companies from around the world demonstrated products that included or were enhanced by AI across every phase of content production, marketing, advertising, and distribution. Among them, Spherex highlighted its flagship product, SpherexAI, and demonstrated how it is transforming global video compliance and contextual advertising through scene-level intelligence and cultural insight. It also facilitates ad placement where they will resonate and yield better audience results.

The takeaways from NAB 2025 paint a clear picture: the media and entertainment landscape is in constant flux, demanding adaptability and innovation for survival. The undeniable surge of the creator economy, coupled with market and regulatory uncertainties and the evolving monetization models driven by streaming, presents both challenges and opportunities for traditional and new players. Overlaying all of this is the pervasive influence of artificial intelligence, poised to reshape every facet of the industry.

Ultimately, NAB 2025 underscored a fundamental truth: standing still is no longer an option. The future of media and entertainment belongs to those who embrace change, leverage new technologies, and understand the shifting dynamics of both content creation and audience engagement.

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