![]() ![]() “Parental controls presents a first step for parents to start the conversation about safety, privacy, age appropriate content and many other topics with their children.”Ĭhoice and control have always been important for our members, and important to us at Netflix. “Online safety, protection and safeguarding of children is a priority and we are more than thrilled to have the opportunity to work with Netflix on this resource and help inform and educate parents on how to better protect their children,” said Boris Radanovic, Engagement and Partnership Manager at UK Safer Internet. They do this work through assembling educational materials, events, informational sessions and youth panels to get young adults’ help planning future outreach. Safer Internet Centres raise awareness regarding online risks amongst children, parents, teachers and caregivers. We also continue to work with other Safer Internet Centres across the European Union. These guides are the latest collaboration between Netflix and the UK Safer Internet Centre, with whom we’ve also partnered with around Safer Internet Day. Members can then add these new and improved controls to their profile by going to their account settings on mobile or laptop devices. School leaders and parents can also download the checklist via the UK Safer Internet Centre website. The free checklists will be distributed to schools across the UK for children to give to their parents and caregivers. In order to raise further awareness about these improvements with our members, we recently worked with the UK Safer Internet Centre to create a handy guide for parents outlining Netflix's updated parental control tools. We wanted to do more to ensure that these updates - including pin protections, title restrictions and age filters - were simple to access, understand and implement. It all ends up pretty much as expected and yet also manages to take you by surprise.Earlier this year, we refreshed our parental control tools on service to make it easier for members to make the right viewing decisions for their families. Reputations are at stake, along with innocent hearts and large sums of money. Callers are received, letters are opened, gossip is breathlessly exchanged and long walks are taken on beautifully manicured lawns. Visiting the estate of her sister- and brother-in-law, (Emma Greenwell and Justin Edwards), Susan meets a dreamboat named Reginald (Xavier Samuel), who is both her perfect match and a wildly inappropriate choice.Īs it must in any decent Austen adaptation, the story more or less takes care of itself, as the action shuttles between London and various country houses. Frederica has caught the eye of Sir James Martin (Tom Bennett), described in an onscreen note (and later aloud) as “a bit of a rattle,” which is Regency slang for blithering idiot. When she is not keeping illicit company with the handsome, silent and emphatically married Lord Manwaring (Lochlann O’Mearain), the nearly penniless Susan is looking for a pair of husbands, one for herself and one for her daughter, Frederica (Morfydd Clark). The lavish costumes and lovely real estate - requirements of the genre - are offset by a fizzy, giddy mood of spirited preposterousness. There is plenty of low comedy as well, a bracing silliness that places Austen in the line of British humor that extends through P. ![]() Stillman’s script accordingly abounds in rapid-fire sallies of verbal wit that require and reward maximum alertness. It’s the Whit Stillman movie that some of us have been waiting a long time for, and also a Jane Austen movie that goes some way toward correcting the record of dull and dutiful cinematic Janeism.īased on an early, little-known epistolary novella called “Lady Susan,” “Love & Friendship” is a reminder that Austen was not only a brilliant architect of screen-friendly plots but also a very funny writer. I’m happy to report, in any case, that the release of “ Love & Friendship” mitigates both the shortage and the surfeit. I refrained from starting that sentence with “It is a truth universally acknowledged,” because it isn’t, and also because that would have been too obvious a way of calling attention to the Austen glut and its attendant clichés. In the past quarter-century or so, there have been too many Jane Austen movies and too few Whit Stillman movies.
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