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I got involved with the organization in 2014 when I was speaking at a conference in Baltimore that was partly sponsored by Girls Develop it, and I got to learn about their mission from one of their instructors who was also speaking at the event. – Girl Develop It is a non-profit focused on empowering women through affordable classes and workshops on coding and design. You are also into Girls Develop it – what's the story about that? We let our curiosity and lead the way, and we understand that one size does not fit all. – This is one of the main challenges and joys of working at Netflix, and it feels like we're approaching this challenge the right way, with humility and an open mind.
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158 million subscribers in more than 190 countries and territories around the world! How do you work with cultural differences? That design show is held out in the open so passersby can stop and see what we're up to.Īnd you are global. For example, we have a weekly design show where designers are encouraged to show their work no matter how early or late in the design process they may be. Where there might be challenges is keeping that collaboration door open, and we recognize this challenge and are constantly working to figure out ways to address it. I've found that once I've engaged with an internal stakeholder on a project, they're open to collaboration, and they get the value of design. – UX is understood to be a valuable component of our business. Is it obvious for every part of the company, or is it sometimes a struggle like in other companies? UX is a foundation for Netflix, is the impression for many. For example, conducting a qualitative study with eight participants yields data that can inform design decisions the key is to approach design as a vehicle to ask questions, and sometimes that question can be answered by a few people trying a scrappy prototype. I would encourage organizations that don't have access to data or A/B testing infrastructure to expand their definition of data. The team that discusses those tradeoffs is cross-functional, with engineers, researchers, designers, and product managers all weighing in with different perspectives. In my experience, productization is never 100 percent straightforward, and there are almost always tradeoffs to make when interpreting data. For example, after the results of an A/B test are analyzed, the project team gets together to discuss the data and our next steps. – I would also say that we're more data-informed than data-driven. We partner very closely with the Consumer Insights team, to come up with questions we'd like to answer together through quantitative and qualitative research studies so that we can better understand the customer. As a design team, we're passionate about understanding and advocating for our members, and in the Growth team's case, the non-members. Data is informative, but it's one part of the picture. – I can't speak to the content decisions since that's not my area of expertise, but on the product design side, there are many data sources that factor into our decision-making. It feels almost like the algorithms are part of the design team, what're your thoughts about that? How would you say that differs from organizations that don't have access to that amount of user data? Based on the book The Bang Bang Club: Snapshots From a Hidden War, co-written by Marinovich and Silva.I get the impression that Netflix is extremely data-driven in how you approach design. All four leads are quite good, particularly Kitsch, who would go on to play another Carter (John) lost in another world gone mad (Mars) Malin Akerman also proves she can do more than look good in Watchmen superhero garb as the Club’s publisher, Robin Comley.
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Director Steven Silver’s harrowing drama captures a world gone stark raving mad, one filled with unspeakably brutal violence and carnage that affects the four photographers in radically different ways, though they all stay fiercely dedicated to their cause to the point where capturing “the truth” almost becomes a mad vendetta. The Club (originally named “The Bang Bang Paparazzi” but changed at the request of its members because, well, what journalist wants to be referred to as “paparazzi?”) consisted of Kevin Carter ( Taylor Kitsch), Greg Marinovich ( Ryan Phillippe), Ken Oosterbroek (Frank Rautenbach) and Joao Silva (Neels Van Jaarsveld), photojournalists based in South Africa from 1990 through 1994 who went to extremes in documenting the days prior to the downfall of Apartheid.
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“Bang-bang” is a colloquialism used by conflict photographers to describe the sound of gunfire, and “The Bang Bang Club” certainly heard a lot of that.