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Divisive TV Show Loved by Millennials Will Disappear From Netflix Tonight

Divisive TV Show Loved by Millennials Will Disappear From Netflix Tonight

Newsweek4 hours ago

Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources.
Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content.
Some Netflix viewers are up in arms as beloved but controversial series Dexter is set to leave the streaming giant at midnight.
The crime drama series, which first aired on Showtime between 2006 and 2013, was added to Netflix two years ago, and from the very first episode has amassed legions of fans.
It's come with controversy, however: the show revolves around a serial killer, with the titular protagonist hunting down and murdering those he sees as having escaped proper punishment by the U.S. justice system.
And while the early seasons were a critical success, ratings plummeted as the series went on—and its Season 8 finale is rated 4.8 stars from user ratings on IMDB. For comparison, the infamously divisive ending to Game of Thrones fares just slightly worse, at 4 stars.
That said, Dexter proved hugely popular on Netflix: since being added in June 2024, it has enjoyed a whopping 1.01 billion viewing hours, or 94.8 million views, according to What's on Netflix.
Dexter star Michael C Hall arrives at the Showtime Celebrates 8 Seasons Of "Dexter" at Milk Studios on June 15, 2013 in Hollywood, California.
Dexter star Michael C Hall arrives at the Showtime Celebrates 8 Seasons Of "Dexter" at Milk Studios on June 15, 2013 in Hollywood, California.Why Is 'Dexter' Leaving Netflix?
Netflix has not announced the reason Dexter is leaving the service on June 19. However, it had been on the service before, and was removed in 2020 after a deal between Netflix and Showtime expired.
Netflix licenses shows and movies, and when that license expires, it is removed from the platform if it a new deal isn't reached between both parties. This can come down to whether the rights to the title are still available, how much it costs to license, and how popular a series or movie is in a given region, according to Netflix's Help Center.
Additionally, a new spin-off series of the main show, titled Dexter: Resurrection, is due to premiere on July 11, exclusively on rival streaming service Paramount+.
Paramount owns the rights to the Dexter franchise, with its streaming platform also home to other spin-off series Dexter: New Blood and Dexter: Original Sin.
What Do Fans Think About 'Dexter' Leaving Netflix?
There has been a big reaction to Dexter leaving Netflix on June 19, particularly from millennials—who would have been teenagers and young adults when the series was first released, and became part of its key audience.
Gen Z viewers who have discovered the series for the first time since it was added to the service have also shared their dismay. According to 2023 data from Statista, 41 percent of millennials reported watching Netflix daily, followed by Gen Z consumers at 34 percent. Just 14 percent of the older generation of baby boomers, reported daily use of the platform.
On X, formerly Twitter, one user wrote: "Netflix always ruins everything man I just started watching Dexter and it's leaving tomorrow," as another shared the similar sentiment: "I just got into Dexter and now it's leaving Netflix...in 23 hours."
"Nobody told me that Dexter was being removed from Netflix tomorrow so I'm bingeing the next four seasons," one user declared, as one tagged Netflix directly and said: "come on now! I just started watching Dexter and you're taking it away!!! WHHHYYYYYYY!"
On TikTok, users were just as frustrated, as one commented on a video by @bingetownjim discussing the removal: "Netflix removing anything good at this point."
"Bro I just got to season five, this has to be a joke," another lamented, as one wrote: "I'M ALMOST DONE JUST GIVE ME A BIT LONGER PLEASE."
Stock image of a person using a remote to browse a streaming service.
Stock image of a person using a remote to browse a streaming service.Where Can I Watch 'Dexter' After It Leaves Netflix?
In the United States, viewers will only be able to watch Dexter and its spin-off series on Paramount+—or, going old-school and buying the DVDs.
Those wishing to scratch their Dexter itch can also watch episodes on Apple TV, but it will cost from $2.99 per episode, according to Just Watch.
Other countries may have Dexter on Netflix for a little while longer, as What's On Netflix reports the show may depart on March 31, 2026 in the likes of the United Kingdom and Canada. This would mark exactly two years since it was added to the service in those regions.
Newsweek has contacted Netflix via email for comment on this story.

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Netflix Doc Series On Dallas Cowboys Cheerleaders Gets Even Better In Season 2
Netflix Doc Series On Dallas Cowboys Cheerleaders Gets Even Better In Season 2

Forbes

time16 minutes ago

  • Forbes

Netflix Doc Series On Dallas Cowboys Cheerleaders Gets Even Better In Season 2

Season two of Netflix's doc series 'America's Sweethearts' kicks up the drama and tears. Get out your pom-poms! The Dallas Cowboys Cheerleaders have opened their locker room doors again for the return of Netflix's hit docuseries America's Sweethearts: Dallas Cowboys Cheerleaders, which premiered on June 18 with a seven-episode second season. The new 60-minute episodes bring plenty of jump splits, high kicks, and, of course, drama. The second season is also unique in that there are more open spots for newcomers than in years past, as many veteran cheerleaders have retired. The new episodes pick up exactly one year after the show's premiere, which followed the 2023-24 squad and documented the personal stories behind the famous studded blue and white uniforms to reveal the true grit it takes to make the squad, the hard work it takes to keep your spot, and the drama among the cheerleaders and coaches behind the scenes. Emmy Award-winning director Greg Whiteley, known for the Netflix doc series Cheer and Last Chance U, delivers yet another phenomenal season. Season one was excellent, and season two kicks it up a notch. Whiteley shows what it takes to make the cut: a lot of blood, sweat, and tears. Hundreds of hopefuls submit audition tapes each year with dreams of becoming the next Dallas Cowboys Cheerleaders, but only 36 spots are available. Among the roughly 500 online hopefuls, only a select group has the opportunity to audition in person. As viewers watch, it becomes abundantly clear that these young women are extremely talented. This group is then culled down to 38 women before the final two are cut, making that year's team official. The viewer gets to tag along through training camp and the ongoing NFL season. Kelli Finglass and Judy Trammell in season two of 'America's Sweethearts: Dallas Cowboys ... More Cheerleaders' on Netflix. The second season opens with a tearful sigh as Kelli Finglass, longtime program director and former Dallas Cowboys Cheerleader, wipes away tears while discussing the power she holds to make someone's dreams come true, yet acknowledging that it often comes at the cost of another's aspirations. She and head choreographer Judy Trammell, also a former squad member, reflect on the stresses of narrowing down the hopefuls and consider the impact these decisions have on the young women involved. Season one was an instant hit when it debuted, launching onto the streamer's Top 10 worldwide chart with 2.3 million views within its first four days on the platform. The first season took an eye-opening and emotional look at the joys and pains that come with the audition process. At the time, Whiteley talked to me about the painful journey these women embark on. One reason this show is so popular is that most of the viewers can relate to wanting something, working hard to get it, and the disappointment of things not going as hoped. A challenging life truth is that sometimes, despite how hard you've worked for something, you don't get it. Both seasons explore the unpleasant truth that life isn't always fair, and we don't always get what we want even if we work hard and have the talent. Sometimes, there just aren't enough spots for everyone who deserves one. As Finglass and Trammell lament after one difficult cut, 'We just let a good one go.' Whiteley admitted that the behind-the-scenes of it all was as emotional for those filming the series as it was for the young women when they were told they didn't make it. He explained that he and his team were in the room during those brutal, life-changing cuts and that, at times, everyone was in tears alongside the young women as some saw their dreams come true and others saw theirs cut short. As he said at the time, 'I want my children to believe that if you want something and you're willing to work for it, you can get it. The hard truth is not always. I think making peace with that is something we all have to learn.' It was important to Whiteley that they show this side of the process, and what life is like on and off the field. When he was initially approached by the team for this doc series, Whiteley wasn't sure it would be a fit. 'The Cowboys are a massive, global brand, and I was nervous they wouldn't be able to give us what's required to do the type of documentary filming we seek to do. Specifically, editorial control and the kind of access we would need.' Charlotte Jones and Kelli Finglass in 'America's Sweethearts' on Netflix. Whiteley was convinced he could make this series after he had a meeting with Owner and Chief Brand Officer, Charlotte Jones (Jerry Jones' daughter). 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How the Dallas Cowboys Cheerleaders Got a 400% Pay Raise
How the Dallas Cowboys Cheerleaders Got a 400% Pay Raise

Yahoo

time28 minutes ago

  • Yahoo

How the Dallas Cowboys Cheerleaders Got a 400% Pay Raise

Jada McLean, who helped fight for a pay raise for the Dallas Cowboys Cheerleaders, is pictured in Netflix's America's Sweethearts. Credit - Courtesy of Netflix The second season of America's Sweethearts ends on a triumphant note for the Dallas Cowboys Cheerleaders. In the final 15 minutes of the Netflix documentary series' new season, which airs June 18, Megan, a four-year veteran, excitedly shares the news about a 'life-changing' 400% pay increase that the cheerleaders will be getting. We learn they will also be paid more for their appearances outside of cheering for the Dallas Cowboys. It's a happy ending to a grueling season and a key milestone in the dancers' long fight for fair pay. Over seven episodes, the series tackles how choreographers put together a 36-person cheerleading team for Dallas Cowboys football games. Just because someone has previously been on the team—those dancers are called 'veterans'—doesn't mean they'll make the team the following season. They have to audition again, alongside 'rookies,' people trying out for the first time, during an intense boot camp. So advocating for a pay raise added pressure to the situation. Jada McLean, a five-year veteran who helped lead pay negotiations after being almost evicted from her home, tells TIME that the series' existence played a big role in them getting the increases. In both seasons of America's Sweethearts, dancers talk about how they have to work multiple jobs to pay their bills, even though the Cowboys are valued at more than $10 billion. 'Having people watch the television show and speak up honestly on behalf of us and say, 'Hey, this is not right. We weren't aware that these girls are making so little'—that motivated us to speak up more for ourselves,' McLean says. Tad Carper, senior vice president of communications for the Cowboys, tells TIME via email: 'We're pleased, as you'll see in the series, that the Dallas Cowboys Cheerleaders were happy with the outcome.' Here's how the Dallas Cowboys Cheerleaders made their case for a pay raise in Season 2 and got to the end zone. Exact pay rates are not discussed in the show, and the Cowboys would not confirm the pay rates to TIME. But NBC Boston reported in 2022 that Dallas Cowboys Cheerleaders made between $15 and $20 an hour, $500 per match, and about $75,000 a year. There is also a history of dissatisfaction with Dallas Cowboys Cheerleader wages. In 2018, former Cowboys cheerleader Erica Wilkins sued, and a 2019 settlement resulted in an increase in the hourly wage from $8 an hour to $12 an hour, and an increase in game day wages from $200 to $400. While the contents of the cheerleaders' contracts are not revealed in America's Sweethearts, the disappointed reactions are well-documented in several off-hand comments throughout the latest season of the show. Some cheerleaders like Armani, a fifth-year veteran, have a job outside of cheerleading that primarily pays their bills, but many do not. Kleine, a 4-year veteran, is working four different jobs while the Cowboys are in season. In the series, Megan points out that the cheerleaders get some services like hair styling and spray tans, as part of the job. 'But at the end of the day, that doesn't pay my rent. I've got student loans, I've got car payments,' she says. The first group meeting in which cheerleaders vent about their pay happens about halfway through Season 2, in Episode 4. 'For us to all be struggling financially, I'm kind of over it,' Jada says over breakfast at a diner with other cheerleaders. 'I would love to leave this place better than it was when we started,' Armani adds. 'Our legacy will be the money,' Jada says. At the beginning of last summer, McLean tells TIME, the cheerleaders started consulting family members of alumni who were in the legal field about what their options were, and then had several meetings with the Cowboys' HR and legal teams. 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While staging a walkout and going on strike may have been talked about, McLean tells TIME they didn't follow through because the dancers were too worried about disappointing fans: 'We didn't want to let people down who were so excited to see the cheerleaders after supporting us through the first season of our television show.' Judy Trammell, a choreographer for the cheerleaders, says in the show, 'A walkout would really make me nervous, but I know people have to fight for certain things to make changes, and I understand that.' The cheerleaders continued to hold meetings to discuss the issue of pay. Amanda does bring up pay during a progress check-in she has with Trammell and the director of the team, Kelli Finglass. 'I do hope that one day we can get the cheerleaders paid more,' Amanda tells them. 'We work extremely hard, and I think all of these girls would quit their full-time jobs in order to be Dallas Cowboys Cheerleaders.' Trammell replies: 'But why do we want people to quit their full-time jobs when that's what's so impressive about ya'll?' Speaking with TIME, McLean responded to that comment: 'The reality of having to balance two or three or four jobs isn't easy, and it's hard to be the best at something when you feel like you're having to spread yourself thin in other areas instead of fully committing to that one thing.' Though she fought for the pay raise for her teammates, McLean will not be returning to the Dallas Cowboys, citing the workload and a general desire for a more flexible schedule. When asked what valuable life lessons she's learned as a Dallas Cowboys Cheerleader, she brought the conversation back to fair pay. She hopes their fight for fair pay inspires other women to speak up in their own jobs, arguing, 'at the end of the day, you don't know what's going to come from it, and it may be something that benefits you or the people who come after you.' And she hopes the Netflix series will give people a greater appreciation for the hard work that goes into cheerleading. 'We're not just pretty faces out there shaking pom poms," she says. "We're true athletes. We're women who are successful outside of the uniforms.' Write to Olivia B. Waxman at

Should you be choreographing your sex life? How intimacy coordinators can help us off-screen, too
Should you be choreographing your sex life? How intimacy coordinators can help us off-screen, too

Cosmopolitan

time41 minutes ago

  • Cosmopolitan

Should you be choreographing your sex life? How intimacy coordinators can help us off-screen, too

Think about the most memorable sex scenes from the last few years, and the chances are it involved Ita O'Brien. Connell and Marianne having sex for the first time in Normal People? Yep. Aimee teaching herself how to masturbate in Sex Education? Uh huh. The v raunchy It's A Sin montage? Arabella's blood clot interruption in I May Destroy You? The sex scene in We Live in Time that was so steamy, it ended with the cameraman facing the wall? Yes, yes, yes. O'Brien is the intimacy coordinator whose Intimacy On Set guidelines — groundbreaking guidance for filming intimate content (from kissing to sex to masturbation and beyond) — has transformed the film and TV industries. Since launching her manual in 2017, and her work then debuting in 2019's Sex Education, intimacy coordinators have become regular fixtures on set, choreographing intimate scenes (which, unbelievably, were just freestyled by actors before this), acting as a liaison between actors, directors, and the wider crew, and, in turn, helping craft more authentic, emotive, and, yes, actually arousing sex scenes. By 2020, HBO, Netflix, Hulu, Amazon, and more had all started employing intimacy coordinators, while 23 shows that utilised the role were nominated for Emmys that year. Although O'Brien started developing her guidelines in 2014, demand for them grew after Harvey Weinstein's decades of abuse were exposed in 2017 and the resulting MeToo movement saw actors share their own experience of sexual coercion, harassment, and assault on set. Today, eight years on, intimacy coordinators are now practically an industry standard, with countless actors expressing their gratitude for the role's existence (Michaela Coel even dedicated her 2021 BAFTA, for I May Destroy You, to O'Brien). 'There was absolutely a void of a practitioner to support intimate content,' O'Brien tells me when we speak to mark the release of her new book, Intimacy, which takes readers behind the scenes of her work. 'Without a professional process, [intimate content] wasn't engaged with openly or creatively, let alone putting in place agreement [between actors] and consent. It was just this unspoken thing in the script that everyone knew was looming.' This reluctance to plan or even talk about intimate scenes led to, as O'Brien puts it, 'a sense of awkwardness' that could result in people 'feeling harassed or even downright abused'. This isn't, obviously, unique to film sets — and so, you may not be surprised to hear that intimacy coordinators can be helpful off set, too. That's not to say you have to hire your own private intimacy coordinator every time you're getting laid, but, as O'Brien explores in her book, the techniques she uses on set — connecting with your body, setting boundaries, and, 'taking charge of the choreography of your intimate life' — can also have a monumental effect on your real romantic and intimate relationships, too. 'The fundamental tenets of the intimacy guidelines are open communication and transparency, agreement and consent, clear choreography, and really good closure,' explains O'Brien. And these tenets, she adds, can help make your own 'intimate life something that's important to you and something that you can explore and consider'. 'It all starts from being present in yourself,' she continues. 'We're getting so much more disembodied and living our lives on screens, so the first step is reminding ourselves to have a connection with our bodies and feel our own sensuality and sexuality.' This might just be asking yourself, 'What do I want?', which is, depressingly, something many people — and especially women — tend to forgo in their sexual lives. And, although it sounds strange, it may then be using choreography, of sorts, to figure out, experiment with, and then build on your desires — whether that's tapping into the Kama Sutra, adapting to changes to your body and libido (say, after childbirth or while taking particular medications), or scheduling time to be intimate. 'Just remember that open dialogue keeps the connection,' says O'Brien. And yet, maintaining communication — and therefore curiosity — about sex, including our own desire and sexual lives, can be difficult when it's been discouraged our whole lives. After all, a reluctance to talk about the still-taboo topic of sex is partly what led to film and TV's flippant approach to intimate content in the first place, as, according to O'Brien, there was a general view that 'everybody has sex, so we don't need a practitioner to teach skills'. The irony, of course, is that it's a lack of education about sex that tends to lead to awkwardness, misconceptions, and, in some cases, even assault — both on set and off. This isn't lost on O'Brien — in fact, she dedicates a whole chapter in her book to the importance of sex education. And not just for young people, but throughout our lives, too. 'If your sexual life is important to you, then make it part of your life to consider, nurture, and research it,' she says. 'Our sexuality, sensuality, and pleasure in our bodies is a thing of beauty — we should talk about it and engage with it as something that's not shameful and shouldn't be hidden. 'Open education around intimacy doesn't ruin children's innocence, it helps them preserve it,' she continues. 'We should be teaching our young people that sexual connection is human connection, which is about communication, and that intimacy is about consent — and anything that's out of consent is about power. It starts with helping everyone to respect themselves, listen to themselves, and honour their impulses — which really starts with giving people a language to [learn about, and be curious about] what they need from human connection.' Because what we see in film and TV can have a profound effect on our own sex lives (often for the worse), this language should exist on screen, as well as in schools and beyond — which is exactly what O'Brien is trying to do. It's about more than just showing sex; it's about showing sex that's authentic, clumsy, funny, physiologically accurate, and, importantly, centres consent. This, in turn, can give people an accessible language to talk about sex in its totality. One notable chapter in Intimacy, for example, explores the myth and reality of sexual arousal, and discusses how what we see on screen paints a false picture of how arousal — particularly women's — really works. 'Too many sex scenes subtly [create] the misleading impression that spontaneous and instant penetration is possible for men — and pleasing for most women,' O'Brien writes. 'This is simply not true. The anatomy of arousal for men and for women is utterly different.' Rarely do we see sex on screen that shows what most women need for sex: foreplay, clitoral stimulation, even lube. Talking and negotiation also tend to be noticeably absent, as do the messy realities of sex, diverse bodies, non-traditional relationship styles, and, although it's improving, portrayals of queer sex. As O'Brien writes: 'People are often turned off by the sex they see on screen, not because it is explicit but because it isn't real.' And yet, she adds: 'It is the default glass through which we see the world.' Transforming sex on screen, then, is just the beginning of a long journey to reshape sex more broadly — to normalise and eradicate shame around all kinds of sex, to encourage open communication (with ourselves and others), and to ultimately help *everyone* have better, more fulfilling sex lives. 'The shift in the industry is absolutely incredible,' says O'Brien, 'and it's happening in our drama and film schools, too, where there's now a flip to consent-based training. I hope my work and the book will encourage a ripple effect that can help people [learn and] connect [in their own intimate lives].' Intimacy by Ita O'Brien is out now via Ebury

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