The following podcast contains no explicit language whatsoever.

Our apologies.

I'm Stephen McHaff, and this is the Slate Culture Gab Fest,

Thousands Ridicule Teen Singer Edition.

It's Wednesday, March 23, 2011.

On today's program, a new and original television series is only the latest

business model for, of all things, Netflix. Rebecca Black and her tweenie-bopper-decapitate

me now hit Friday and the right to delink your identity from Internet eternity, in other words,

the right to be forgotten. Joining me today are Slate's deputy editor, Julia Turner. Hello, Julia.

Hi, Steve. It's good to be back in the friendly confines.

Indeed.

And our, uh, uh, uh, but, uh, that, uh, hi Dana. Hey, Steve. How you doing? Pretty well.

Good. Um, are you, I wish there was a rotating Kia or somewhere on the trade floor with us, but it's nice to be back in the wild-post. I wish we all had margaritas in our water glasses. I know. I was going to ask, Dana, have you slept off your drunk? You good to go? I'm good. All right. Splash some cold water on all of us.

Julia, let's start with Netflix.

Isn't it somewhat amazing that perhaps the crudest business model to emerge in the age of the Internet,

simply mailing people physical copies of DVDs,

not only made obsolete blockbuster, but has created

actually quite forward-looking, in a business sense, progressive company that is able to

not only adapt and not only not only not die, but thrive. Its stock is screamingly high,

and now it tells us it's going to create original programming.

And to that end, it's signed up two enormous A-listers, right?

David Fincher, fresh off of the successive...

...