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Date:
December 3, 2021

Film Classifications Explained: A Guide to Age Ratings

You may be familiar with seeing a large 'PG' or 'R' flash on your screen before a movie begins. Most have a general idea of what these age ratings mean and how they indicate the appropriateness of a film's content. However, they may not understand the process or the criteria for how movies are classified. Today, most movies are released on multiple online platforms and movie theaters simultaneously. As a result, worldwide audiences have more access to internationally produced content than ever before, so understanding age ratings for films is more important than ever. This post discusses US film ratings are determined, explains the different movie classifications, and how they are essential in international distribution.

Why Are There Movie Ratings?

In the United States, the MPAA (Motion Picture Association of America), an industry, non-governmental organization, created the current rating system in 1968. It is designed to educate and inform parents to make appropriate movie-viewing choices for their children and families and provide a unified classification of film titles. This system was created to prevent the film industry from simply denying a film's distribution based on a set of moral standards on which not everyone may agree.

Many countries, including some of the world's largest movie markets, utilize governmental censors or regulators to provide age ratings. Unlike the US, where the banning of films is extremely rare, movies and TV shows are routinely censored or banned in countries like China, Russia, Malaysia, and several Middle Eastern countries.

What are the Ratings Used in Film Classifications?

Content is classified for audience suitability based on several factors. Most countries have a unique set of ratings, possibly none, but many classification systems look at similar influencing factors to determine an age rating. Elements such as language, sex, nudity, drug use, violence, horror, discrimination, and other dangerous behavior are common citations for different age ratings.

The same five movie age ratings in the United States have been in place since 1990 when the NC-17 rating was introduced to replace the former X-rating. We detail the individual ratings below.

General Audiences (G): This rating is generally viewed as accessible for all ages. Ideally, this rating is given to a movie deemed appropriate enough for children to watch without any permission or guidance from parents or adult guardians.

Parental Guidance Suggested (PG): With PG ratings, a parent may or may not need to make a judgment call if the material is suitable for their children. Typically, PG films may include animated violence or language that may not be suitable for younger children. In this case, a parent may accompany a child to a viewing at a movie theater.

Parents Strongly Cautioned (PG-13): This rating may be newer than you realized, having been created in 1984 to alert parents of slightly intense content. This rating gets the name PG-13 as it suggests the movie may not be appropriate for pre-teenage children. Themes such as stronger language and more graphic violence or horror may be prevalent in films with PG-13 ratings. Parents should be cautious and accompany children under 13 to see a movie with this rating.

Restricted (R): A movie with an R rating will certainly contain adult content. This means parents would be wise to learn more about the film before deciding whether to allow a child to accompany them to watch this movie. Anyone under 17 needs a parent or adult guardian present to be admitted to a film screening.

No One 17 and Under Admitted (NC-17): NC-17 ratings flag parents the movie in question is clearly for adult eyes only, and children will not be permitted to any movie theater showings, regardless of granted adult permission or not. Whereas other movie ratings allow parents to choose what their children get to see, the NC-17 rating was proposed by the National Association of Theater Owners (NATO) to prevent legal action from happening.

It is not a requirement for films or TV shows to be submitted for a rating in the US—unless they seek commercial release. A movie is labeled as unrated (UR) or not rated (NR) if no rating is sought or available. This is not common. While some filmmakers may elect not to have their films rated, they significantly reduce the work's commercial and financial opportunities. Many platforms and theaters refuse to exhibit unrated, or NC-17 films (mostly because there is little market for them), and many online platform search algorithms automatically exclude such content in their results.

How Are U.S. Movie Ratings Determined?

The MPAA ratings board consists of three MPAA staff "senior raters" and no more than ten anonymous parental members, all with kids between the ages of five and 15. Members are limited to seven year terms, or until their youngest child turns 21, whichever comes first. These board members make up a group known as the Classification and Rating Administration (CARA). Members view submitted films, discuss their thoughts, and vote on a final rating. The findings are then reported to a producer of the film. The determined rating can always be disputed by the filmmaker or re-submitted once appropriate edits are made to adjust the movie's rating before release. An appeals board can overturn rating decisions by a majority vote.

Ratings are established for the life of the film. Only in cases where revisions are made, additional content added (e.g., a "Director's Cut"), country regulatory edits are required, or the producer appeals will the MPAA reconsider re-rating a film.

For example, the MPAA originally wanted to rate Steven Spielberg's 1984 film "Indiana Jones and the Temple of Doom" with an "R" rating due to the graphic depiction of a beating heart torn from a man's chest and child slavery. Spielberg argued an "R" was too restrictive while acknowledging the film's PG rating caused difficulty for many parents given the content. He called on the MPAA to create a new rating between PG and R. The MPAA obliged, creating the PG-13 rating.

Spherex: Localized Age Ratings Services Provider

As the industry authority on local age ratings globally, our mission at Spherex is to inspire a more tolerant and harmonious world, one story at a time. When it comes to movies and TV shows, one size does not fit all. To assist filmmakers in reaching international audiences, Spherex has introduced a first-of-its-kind technology that culturally adapts content for markets worldwide to increase engagement, drive more revenue faster, and avoid legal and regulatory risk. Known as Spherex greenlight™ this technology provides content creators with the information they need to tailor their title to fit any appropriate age rating and find their best market.

Take the guesswork out of film classification and the risk out of international expansion. Contact us today!

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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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