Gulf countries Tuesday threatened Netflix with legal action for broadcasting content that "contradicts" Islam, and Saudi state media indicated that the offending material centred on shows depicting sexual minorities.
A statement issued jointly by the Saudi media regulator and the six-member Gulf Cooperation Council, headquartered in the Saudi capital Riyadh, did not specifically identify the offending material, referring only to content that "contracts Islamic and societal values".
"The platform was contacted to remove this content, including content directed to children," the statement said.
Regional authorities "will follow up on the platform's compliance with the directives, and in the event that the infringing content continues to be broadcast, the necessary legal measures will be taken."
Saudi state media went further, highlighting movies and shows featuring LGBT characters.
There was no immediate reaction from Netflix.
One segment on the state-run Al-Ekhbariya news channel deplored "movies and series for children with scenes promoting homosexuality under a dramatic cover via Netflix".
A lawyer said in an on-air interview that these were "very unfortunate and painful clips for our children, grandchildren and the next generation".
A separate segment, also on Al-Ekhbariya, showed clips from the animated show Jurassic World Camp Cretaceous in which two female characters kiss, though the channel blurred their faces.
The channel interviewed a self-described "family and educational adviser" who said offensive material was "sneaking into our homes" and that the country faced a "censorship crisis".
Gulf countries have repeatedly locked horns with US film distributors over content related to sexual minorities, especially in films.
The United Arab Emirates in June banned the Disney animated film "Lightyear", which contains a lesbian kiss.
The UAE is considered one of the more liberal countries in the Gulf region, though films with adult content are routinely cut or edited.
Saudi Arabia, which only opened cinemas in 2017, asked Disney in April to cut "LGBTQ references" in the Marvel superhero film "Doctor Strange in the Multiverse of Madness".
Disney did not comply and the film ultimately was not screened in the kingdom.
In June, Saudi state media filmed officials seizing rainbow-coloured toys and articles of clothing from shops in the capital as part of a crackdown on homosexuality, which is a potential capital offence in the kingdom.
Items targeted in the raids included rainbow-coloured bows, skirts, hats and pencil cases, most of them apparently manufactured for young children.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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