Beyoncé's Performance Highlighted Netflix's NFL debut on Christmas Day

 32-time Grammy winner Beyoncé. (The AP/File Photo)
32-time Grammy winner Beyoncé. (The AP/File Photo)
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Beyoncé's Performance Highlighted Netflix's NFL debut on Christmas Day

 32-time Grammy winner Beyoncé. (The AP/File Photo)
32-time Grammy winner Beyoncé. (The AP/File Photo)

Beyoncé provided more excitement than either game during Netflix’s NFL debut on Christmas Day.

Riding into her halftime appearance on a white horse, the 32-time Grammy winner rocked her hometown Houston crowd with a nearly 13-minute performance on Wednesday.

She surprised fans by bringing along Shaboozey to perform “Sweet Honey Buckiin” and Post Malone joined her for “Levii's Jeans.”

The action on the field didn't live up to expectations as the NFL showcased four of the AFC's top five teams, The AP reported.

Patrick Mahomes and Travis Kelce exposed a glitch in Pittsburgh's defense during Kansas City's 29-10 rout in the first game.

The broadcast itself went off just fine, quickly becoming the second-most popular live title on Netflix to date, according to NFL Media.

Lamar Jackson and the Ravens led C.J. Stroud and the Texans to 17-2 at halftime before Beyoncé stole the show.

Mariah Carey opened Wednesday’s doubleheader with a taped performance of “All I Want for Christmas is You” and then the two-time defending Super Bowl champion Chiefs trounced the Steelers to clinch the No. 1 seed in the AFC.

There were no signs of any major streaming issues during the game after Netflix experienced minor blunders at the start of the pregame show. The broadcast opened with roughly 10 seconds of silence because it appeared studio host Kay Adams’ microphone wasn’t turned on.

Beyoncé's live performance at NRG Stadium was supposed to be the biggest test for the streaming giant and it seemed to go off without a hitch.

Mahomes threw for 320 yards and three touchdowns and Kelce had eight catches for 84 yards and one score as the Chiefs (15-1) earned a first-round bye and home-field advantage throughout the AFC playoffs. The Steelers (10-6) have lost three straight games and may have to settle for a wild-card spot instead of an AFC North title.

Netflix agreed to a three-year contract in May to broadcast Christmas Day games. The NFL is expected to give the streaming service one of its biggest days since the site launched in 1998.

Netflix’s 282.3 million subscribers in more than 190 countries could stream the games, marking the first time one outlet distributed an NFL game globally. Netflix had the games available in five languages — English, French, Spanish, Portuguese and German.

Netflix had problems streaming the Mike Tyson-Jake Paul fight on Nov. 14. The bout peaked at 65 million concurrent streams, including 38 million concurrent streams in the United States. According to the website Down Detector, nearly 85,000 viewers logged problems with outages or streaming leading up to and during the fight.

There were fewer complaints on Wednesday.

According to NFL Media, viewers in all 50 states tuned in within minutes of the pregame show going live and viewers from nearly 200 countries watched the first game. Before the Ravens-Texans kicked off, Netflix reported that it eclipsed its peak concurrent viewers of any Christmas in the past four years.

The NFL was playing its first games on a Wednesday since the Steelers and Ravens were forced to play on Dec. 2, 2020, because of the COVID-19 pandemic. The only other time the league played on a Wednesday since 1948 was in 2012 when the Giants and Cowboys met in the season opener.

Commercials Netflix promoted its own programming in addition to the usual slew of advertisements. The first teaser trailer for “Happy Gilmore 2” was released before kickoff. Adam Sandler is back as Happy Gilmore for the sports comedy that hits the streaming service in 2025. Travis Kelce also was featured in a trailer filled with cameos by celebrities, including Bad Bunny and Kid Cudi.

New Christmas tradition The NFL played its first games on Christmas Day in 1971 with a pair of divisional playoff games. The league avoided playing on Dec. 25 from 1972-88 and shifted its full slate of games to Saturday if Christmas fell on a Sunday. Since 1989, there have been 30 games on Christmas, never more than three on that day. But the NFL went out of its way to schedule two games on Wednesday to accommodate its $150 million deal with Netflix.

Broadcasting teams J.J. Watt, a three-time AP Defensive Player of the Year and brother of Steelers four-time All-Pro edge rusher T.J. Watt, and former NFL wide receiver Nate Burleson shared analyst duties for the Chiefs-Steelers game, with Ian Eagle on play-by-play.

“I’m extremely proud of him and also slightly concerned he’s getting close to a lot of my records,” J.J. Watt said of his younger brother at the start of the broadcast.

Noah Eagle, Ian’s son, was on play-by-play for the Ravens-Texans game, with former NFL tight end Greg Olsen in the analyst seat.

Not a first This wasn’t the first time NFL games aired exclusively on a streaming service. The league’s Thursday night games are in their third season on Amazon Prime Video, Peacock streamed the Packers-Eagles game in São Paulo, Brazil, in Week 1 and Prime Video will stream a wild-card game. Also, the “Sunday Ticket” package moved to YouTube TV last year.

The largest audience for a streamed-exclusive NFL game was 23 million on Peacock for last season’s AFC wild-card game between the Miami Dolphins and the Chiefs.



Ari Aster Made a Movie About Polarized America. ‘Eddington’ Has Been Polarizing

Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)
Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)
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Ari Aster Made a Movie About Polarized America. ‘Eddington’ Has Been Polarizing

Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)
Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film "Eddington" at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (AP)

A Post-it note sat near Ari Aster while he wrote “Eddington”: “Remember the phones.”

“Eddington” may be set during the pandemic, but the onset of COVID-19 isn't its inciting incident. Outside the fictional New Mexico town, a data center is being built. Inside Eddington, its residents — their brains increasingly addled by the internet, social media, smartphones and whatever is ominously emanating from that data center — are growing increasingly detached from one another, and from each other’s sense of reality.

“We’re living in such a weird time and we forget how weird it is,” Aster says. “Things have been weird ever since we were able to carry the internet on our person. Ever since we began living in the internet, things have gotten weirder and weirder.”

“It’s important to keep reminding ourselves: This is weird.”

Moviegoers have grown accustomed to expecting a lack of normalcy in Aster's movies. His first three films — “Hereditary,” “Midsommar,” “Beau Is Afraid” — have vividly charted strange new pathways of dread and deep-rooted anxiety. Those fixations make Aster, a master of nightmare and farce, uniquely suited to capturing the current American moment.

“Eddington,” which A24 releases in theaters Friday, may be the most prominent American movie yet to explicitly wrestle with social and political division in the US. In a showdown between Joaquin Phoenix’s bumbling right-wing sheriff and Pedro Pascal’s elitist liberal mayor, arguments over mask mandates, Black Lives Matter protests and elections spiral into a demented Western fever dream.

At a time when our movie screens are filled with escapism and nostalgia, “Eddington” dares to diagnose something frightfully contemporary. Aster, in a recent interview at an East Village coffee shop he frequents, said he couldn’t imagine avoiding it. “To not be talking about it is insane,” he said.

“I’m desperate for work that’s wrestling with this moment because I don’t know where we are. I’ve never been here before,” says Aster. “I have projects that I’ve been planning for a long time. They make less sense to me right now. I don’t know why I would make those right now.”

Predictably polarizing

“Eddington,” appropriately enough, has been divisive. Since its premiere at the Cannes Film Festival in May, Aster’s film has had one of the most polarizing receptions of the year among critics. Even in Cannes, Aster seemed to grasp its mixed response. “I don’t know what you think,” he told the crowd.

Some critics have suggested Aster's film is too satirical of the left. “Despite a pose of satirical neutrality, he mainly seems to want to score points off mask-wearers, young progressives, anti-racists and other targets beloved of reactionaries,” wrote The New Yorker’s Justin Chang. For The New York Times, Manohla Dargis wrote: “Aster knows how to grab your attention, but if he thinks he’s saying something about America, the joke is on him.”

Aster was expecting a divisive reaction. But he disputes some of the discourse around “Eddington.”

“I heard one person say it was harder on the left than the right, and I think that’s pretty disingenuous,” he says. “In the film, one side is kind of annoying and frustrating and hypocritical, and the other side is killing people and destroying lives.”

For Aster, satirizing the left doesn’t mean he doesn’t share their beliefs. “If there’s no self-reflection,” he says, “how are we ever going to get out of this?”

Capturing ‘what was in the air’

Aster began writing “Eddington” in June 2020. He set it in New Mexico, where his family moved when he was 10. Aster wanted to try to capture the disconnect that didn’t start with the pandemic but then reached a surreal crescendo. He styled “Eddington” as a Western with smartphones in place of guns — though there are definitely guns, too.

“The dread I was living with suddenly intensified. And to be honest, I’ve been living with that level of dread ever since,” Aster says. “I just wanted to see if I could capture what was in the air.”

Scripts that dive headlong into politics are far from regular in today’s corporate Hollywood. Most studios would be unlikely to distribute a film like “Eddington,” though A24, the indie powerhouse, has stood behind Aster even after 2023's $35 million-budgeted “Beau Is Afraid” struggled at the box office. A24 has shown a willingness to engage with political discord, backing last year’s speculative war drama, “Civil War.”

And Aster's screenplay resonated with Phoenix, who had starred in “Beau Is Afraid,” and with Pascal. In Cannes, Pascal noted that “it’s very scary to participate in a movie that speaks to issues like this.” For Phoenix, “Eddington” offered clarity and empathy for the pandemic experience.

“We were all terrified and we didn’t fully understand it. And instead of reaching out to each other in those moments, we kind of became antagonistic toward each other and self-righteous and certain of our position,” Phoenix earlier told The AP. “And in some ways it’s so obvious: Well, that’s not going to be helpful.”

‘A time of total obscenity’

Since Aster made “Eddington” — it was shot in 2024 — the second administration of President Donald Trump has ushered in a new political reality that Aster acknowledges would have reshaped his film.

“I would have made the movie more obscene,” he says. “And I would have made it angrier. I think the film is angry. But I think we’re living in a time of total obscenity, beyond anything I’ve seen.”

“Eddington” is designed to be argued over. Even those who find its first half well-observed may recoil at the violent absurdism of its second half. The movie, Aster says, pivots midway and, itself, becomes paranoid and gripped by differing world views. You can almost feel Aster struggling to bring any coherence to his, and our, modern-day Western.

But whatever you make of “Eddington,” you might grant it’s vitally important that we have more films like it — movies that don’t tiptoe around today in period-film metaphor or avoid it like the plague. Aster, at least, doesn’t sound finished with what he started.

“I’m feeling very heartbroken about where we are, and totally lost, so I’m looking for ways to go into those feelings but also to challenge them. What can be done?” Aster says. “Because this is a movie about people who are unreachable to each other and completely siloed off, or fortressed off, a question that kept coming to me was: What would an olive branch look like? How do we find a way to reengage with each other?”