Netflix? More like Netflop.

door for other conversations about conspiracy theories as well. Smith said that one conspiracy theory that he believes in is one that involves the government.

“The government does a lot of things that they don’t want us to know about,” Smith said.

Garrett, too, has others that he believes in as well.

“Kurt Cobain didn’t kill himself, Zuckerburg is a reptile man, and the Earth is rectangular,” Garrett said.

His message to non-believers is simple and direct.

“They’re dumb,” Garrett said. “They need to grow up and get educated.”

Freshman mass communication major Gracie Hagen said that she doesn’t believe in the Gates theory, though she did have one about the moon landing.

“I think the moon landing might be fake,” Hagen said. “Just when you look at all the things about it, and you realize that they would do it just to get there first — they just have a lot of reasons to fake it,” Hagen said.

Lilyanna Kovacheva Senior Writer

On Feb. 1, Netflix announced its plan to enforce stricter password-sharing guidelines. These new guidelines include a strict limit on the number of users that are permitted on each account. IP verification of logins and other tools will be utilized to detect logins from households outside the main holder’s address.

The streaming platform revealed that devices using a Netflix account would need to be logged into their household network every 30 days. Otherwise, the account would be blocked.

According to Netflix’s website, accounts are only allowed to be shared in one household. The website defines a household as the group of people in one house.Netflix states that people who are not in your household will need to sign up for their own account to be able to watch Netflix.

Just days after announcing these new guidelines to enforce less password-sharing, Netflix claimed that the announcement was posted by accident.

“No one’s going to pay for that, because the only reason that people use Netflix is purely because they don’t have ads already,” said Zayne Ridge, freshman Psychology major. “These new changes and ‘accidents’ are just going to open up the opportunity for their competitors to swoop in and give users a reason to switch to another platform.”

Recently, the platform said it will begin notifying their users in Canada through email about their new limitations on who can access their account from outside the account holder’s household. Netflix stated that an ad-supported plan that can be used by one person on one device in one location will be launched — and that plan will cost $5.99 per month.

“I have a few streaming platforms, like Amazon Prime, Hulu, HBO Max and Netflix,” said Matthew Seton, senior marketing major. “I use all of those because they offer a lot of variety, and I don’t have any ads. Some of the accounts are my own. Mainly, my friends and I just share multiple accounts together.”

A GC poll was taken to gauge students’ reactions to the major platforms’ recent actions and announcements. Eleven percent of students said that they would purchase the Netflix ad-supported plan, while 89% of students said they would not purchase the new plan if it was offered.

Netflix is facing a lot of backlash due to their recent changes, and many students at GC are on the same page.

Eighty-seven percent of GC students surveyed said that they shared an account with users from another household.

“Thankfully, I just use my parents’ Netflix account, so it wouldn’t affect me financially if Netflix did stick to their ‘every 30 day’ rule,” said Kassandra Garland, junior mass communication major. “I wouldn’t personally pay for another Netflix account, but I really do use Netflix, but I’m in college, and I don’t go home every 30 days, so it really feels unfair.”

This new change might cause issues for college students that use their parents’ Netflix account in their college housing. Even though students are still part of the family, they will not qualify under the single-household rule.

“If their account is allowed to have multiple users on it, then why does it matter where the account holder is watching from?” Garland said.

Claire O’Neill | Art Director

Album Review: Caroline Polachek’s “Desire, I Want to Turn Into You”

the infamous “sophomore slump” claiming yet another victim.

remix featuring Charli XCX and George Daniel.

Coming off the heels of her first solo album, critical darling “Pang,”

Caroline Polachek, co-founder of now-disbanded indie-pop outfit Chairlift, released her sophomore project, “Desire, I Want to Turn Into You,” on Feb. 14.

I stumbled upon Polachek’s work after hearing her feature on Charli XCX’s “New Shapes,” one of the singles released in the lead-up to the release of her latest album, “Crash.” Immediately, I was blown away by Polachek’s angelic, falsetto-fueled vocals. In a matter of days, I found myself binging through her discography. I was three years late to the “Pang” Party, but I was hooked.

Naturally, as I sat down — on Valentine’s Day, fittingly — to listen to “Desire, I Want to Turn Into You,” I was a little bit worried about

“Pang” is a top-notch pop record in its own right. It being Polachek’s first solo fare only set a near-impossible bar for her follow-up to clear. I thought she might have come out of the gate too hot for her own good.

But, oh, was I wrong.

“Desire, I Want to Turn Into You” is on-par with — if not outright better than — “Pang.”

“Welcome to My Island,” the album’s opener, gives listeners a taste of the masterclass in worldbuilding Polachek pulls off on the rest of the record. The track’s lyrics discuss Polachek’s hopes of escaping the daily judgment she receives from her family and existing — on a dreamy, idyllic island — as a feeling: desire. Although the version of the song that made it onto the record’s tracklist is near-perfect, Polachek also released an absolute banger of a

The album’s next three tracks, “Pretty in Possible,” “Bunny Is a Rider” and “Sunset” form a triad of bright, energetic songs I know I will be listening to all summer long. “Bunny Is a Rider,” an anthem about the elusive, enigmatic people in our lives, is definitely my favorite of the three, but “Sunset” is a beautiful, warm piece of flamenco pop.

“Crude Drawing of an Angel,” a pitstop onethird of the way through the record, is Polachek’s heartfelt meditation on the desperation and panic of attempting to preserve her fading memories of someone she has lost.

“Look over the edge, but not too far,” Polachek mutters at the outset of “I Believe,” a gut-wrenching tribute to the late, great SOPHIE.

Polachek’s light, electronic-infused refrain of “hah, hah, hah” on the front half of the song are a clear homage to those found throughout Sophie’s sole studio album, “OIL OF EVERY PEARL’S UN-INSIDES.”

Grimes and Dido join in on Polachek’s exploration of her complicated feelings — once contempt and disdain, now intense affection — towards the person she finds emotional solace in, “Fly to You.”

“Say you want to show me a place; the place is here; the here is inside you,” Polachek says on the opening verse of “Blood and Butter,” a four-anda-half-minute embodiment of all the feelings — affection, desire, longing — the album is after.

From there, on the ethereal “Hopedrunk Everasking,” Polachek’s fantasy of existing beyond the barriers of death and time is laid to bare.

“They’ll find our bones, and yet, they won’t,” Polachek says. “Pull close to me and never be alone.”

At the end of the song’s second verse, she extends a single “ooh” for 45 seconds as the instrumental crescendos, matching Polachek’s vocals and producing a sense of sonic euphoria. Each time I hear it, I think I am going to start levitating.

“Butterfly Net” and “Smoke” serve as a sort of decel lane guiding listeners from the magical mountaintop of “Hopedrunk Everasking” to the album’s closer, “Billions,” with the constant refrain of “nah, nah, nah” on “Smoke” feeling as if Polachek is escorting you off of the elliptical, experimental soundscape the record exists within. “I’ve never felt so close to you,” Polachek repeats over and over as “Billions” comes to a close.

It appears the goal she outlines on “Welcome to My Island” — exploring her own desires, connecting with whoever is the object of her affection — has been achieved.

Hooked on the freneticism of its titular feeling, Polachek’s “Desire, I Want to Turn Into You” synthesizes the past and the present, the historic and the hypermodern, crafting a siren song for all-time.