This extreme, half-hour game show, hosted by actor Jaleel White, features contestants battling each other and their fears in a series of challenges. But there's a twist to the game. All the challenges are played in complete darkness -- no lights, no blindfolds. While participating in a series of nerve-racking games, the contestants face their fears and unexpected surprises. All of the contestants' senses are put to the test, including smell, touch, taste and even the control of their own motor movements.
Runtime: 30 minutes
Total Blackout - Blackout (Britney Spears album) - Netflix
Blackout is the fifth studio album by American singer Britney Spears. It was released on October 25, 2007 through Jive Records. Opting to re-establish her music career after her fourth studio album, In the Zone (2003), she began planning the project in 2006. Work continued into 2007, during which time Spears' much-publicized personal struggles, including several instances of erratic behavior and her divorce from Kevin Federline overshadowed her professional endeavors. Blackout represents a musical departure from Spears' earlier work featuring a foreboding and atmospheric tone in terms of musical and lyrical direction. She collaborated with producers including Danja, Bloodshy & Avant, Sean Garrett, and The Neptunes in several recording studios around the United States, including Spears' home in Los Angeles, with the intention of creating uptempo, high-energy music. Their efforts resulted in a primarily dance-pop and electropop record, which sees additional influences from Euro disco, dubstep and funk. The lyrical themes revolve around love, fame, media scrutiny, sex, and clubbing. Upon its release, Blackout received generally favorable reviews from music critics; some complimented it as Spears' most progressive and consistent album. The Times named it as the fifth best pop album of the decade. Blackout was originally scheduled to be released on November 13 in the United States, though it was ultimately rush-released after several unauthorized internet leaks. It was expected to debut at number one on the US Billboard 200, but debuted at number two with first-week sales of 290,000 copies after a last-minute rule change. Consequently, Blackout is distinguished as Spears' first studio album not to debut at number one in the United States, although it was later certified platinum by the Recording Industry Association of America (RIAA) for exceeding one million shipments. The album charted in within the top ten of several national charts internationally, and has attained several certifications worldwide. Three singles were released from Blackout. Its lead single “Gimme More” peaked at number three on the US Billboard Hot 100. Follow-up singles “Piece of Me” and “Break the Ice” respectively peaked at numbers eighteen and forty-three on the US Billboard Hot 100. Unlike her previous albums, Spears did not heavily promote Blackout; her only televised appearance for Blackout was a universally panned performance of “Gimme More” at the 2007 MTV Video Music Awards. In 2012, the album was added to the library and archives of the Rock and Roll Hall of Fame.
Total Blackout - Critical reception - Netflix
Blackout received generally favorable reviews from music critics. On music review aggregator Metacritic the album holds a score of sixty-one out of hundred (indicating “generally positive reviews”) based on 24 critical reviews. Stephen Thomas Erlewine, senior editor of AllMusic, described the album as “state-of-the-art dance-pop, a testament to skills of the producers and perhaps even Britney being somehow cognizant enough to realize she should hire the best, even if she's not at her best.” Dennis Lim of Blender deemed it as “her most consistent [album], a seamlessly entertaining collection of bright, brash electropop.” Margeaux Watson of Entertainment Weekly commented that while the album is not poetry, “there is something delightfully escapist about Blackout, a perfectly serviceable dance album abundant in the kind of bouncy electro elements that buttressed her hottest hits.” A reviewer for NME said that the heavily treated vocals make Spears sound robotic, adding that “it could really do with a few more human touches.” Pitchfork's Tom Ewing called “Get Naked (I Got a Plan)” the centerpiece of the album, and added that “like most of Blackout, is superb modern pop, which could probably only have been released by this star at this moment. Britney as walking catastrophe makes for great car-crash copy and her record can fit into that if you want it to.” Ewing also compared the relationship between Spears and Blackout with American television series Twin Peaks, saying that what made the show “so great wasn't the central good-girl-gone-bad story, it was the strangeness that story liberated. And Britney's off-disc life is both distraction from and enabler for this extraordinary album”. Mike Schiller of PopMatters said that “Right down to its utterly garish cover, Blackout is utterly disposable and ultimately forgettable.” Melissa Maerz from Rolling Stone explained that Blackout “is the first time in her career that she's voiced any real thoughts about her life” and that “she's gonna crank the best pop booty jams until a social worker cuts off her supply of hits.” Rob Sheffield of the same magazine described Blackout as “one of the most influential albums in modern pop”. Slant Magazine writer Sal Cinquemani compared the album unfavorably to In the Zone, saying that although Blackout “scores well, and its hotness quotient is remarkably high, [it] isn't much of a step forward for Britney following 2003's surprisingly strong In the Zone, for which she received a writing credit on a majority of the songs (as opposed to a scant three here).” Andy Battaglia of The A.V. Club said Blackout “counts both as a significant event and as a disquieting aberration that couldn't be more mysteriously manufactured or bizarrely ill-timed” in which “every song counts as markedly progressive and strange.” Alexis Petridis from The Guardian called it “a bold, exciting album: the question is whether anyone will be able to hear its contents over the deafening roar of tittle-tattle.” He elaborated that when faced with a public image in freefall, an artist has two options: making music “that harks back to your golden, pre-tailspin days” to “underlin[e] your complete normality” or “to throw caution to the wind: given your waning fortunes, what's the harm in taking a few musical risks?” Petridis commented that Spears opted for the latter and the results were “largely fantastic.” Kelefa Sanneh of The New York Times said, “The electronic beats and bass lines are as thick as Ms. Spears's voice is thin, and as the album title suggests, the general mood is bracingly unapologetic.” Sanneh added that said Spears became a spectral presence in her own album, explaining that when compared to her previous records, “[she] cuts a startlingly low profile on Blackout [...] Even when she was being marketed as a clean-cut ex-Mouseketeer, and even when she was touring the country with a microphone that functioned largely as a prop, something about her was intense.” Peter Robinson of The Observer stated that Spears “delivered the best album of her career, raising the bar for modern pop music with an incendiary mix of Timbaland's Shock Value and her own back catalogue.” The Phoenix's Ellee Dean said the album “may be more a tribute to the skills of the A-list producers who guided her through the disc than to any of her own talents. But at least she was smart enough to accept that guidance.” In his consumer guide for MSN Music, critic Robert Christgau gave the album a B+ and said that “From 'Gimme More_s 'It's Britney bitch' hiya to 'Piece of Me_s single-of-the-year sonics, from 'Ooh Ooh Baby_s 'feel you deep inside' to 'Perfect Lover_s 'touch me there', this album is pure, juicy, plastic get-naked.” Blackout was ranked by Rolling Stone at number fifty on their list of the 100 Best Albums of 2007. The album topped Billboard's Reader's Choice poll as the best album of the year.
Total Blackout - References - Netflix