Yes, Netflix has placed (or recategorized) Michelle Obama's 2020 documentary *Becoming* in a way that it appears in the Kids/Children's section, at least in the U.S. as of early February 2026. Recent reports and widespread social media discussion indicate that the film was moved or added to the Kids category, where it ranked as high as #4 in the U.S. Kids Top 10. This change occurred around the time it was surging back into the general (adult/main) Top 10 Movies list—re-entering at #8 and climbing to #6—prompting speculation that the recategorization affected its visibility in adult rankings. Key points from coverage: It remains searchable and accessible in adult/documentary categories (e.g., listed under Documentary Films, Biographical Documentaries, etc., with a PG rating). The shift to Kids appears to have removed or reduced its prominence in the standard adult Top 10 dashboard. This sparked backlash, confusion, and claims of deliberate manipulation (some tying it to comparisons with other political documentaries like one on Melania Trump). Sources like Newsweek reported user outrage over its appearance in the kids section, noting it was recategorized as a "Kids film." Netflix's official page describes it as a documentary (genres: Documentary Films, Biographical Documentaries, Social & Cultural Docs), but top charts can involve separate ranking logic, and titles can rank in multiple categories if deemed suitable (it's PG-rated and inspirational, so potentially eligible for family/kids viewing). The change seems real and recent (surfacing prominently in late January/early February 2026 amid renewed popularity), though Netflix hasn't publicly explained it as a permanent "move" from Documentary—more like an addition or algorithmic shift affecting charts. Some users called it a glitch or error, while others saw intent. For the latest status, check Netflix directly, as category and ranking placements can fluctuate.

In Cool Hand Luke (1967), the "Man with No Eyes" refers to Boss Godfrey (played by Morgan Woodward), the silent, rifle-toting walking boss (guard) on the chain gang. The inmates nickname him this because he constantly wears mirrored sunglasses that completely hide his eyes, making him appear emotionless, inhuman, and detached. The metaphor is rich and multi-layered, serving as one of the film's key symbols of oppressive authority: Dehumanization and lack of soul/empathy — The phrase plays on the common idea that "the eyes are the windows to the soul." By hiding his eyes behind reflective lenses, Godfrey symbolically has no soul or no capacity for compassion. He becomes an ominous, almost supernatural figure of pure enforcement and death — a faceless instrument of the system rather than a person who can connect or show mercy. This makes him terrifying and mythic to the prisoners, like a demon or the Grim Reaper. One-way surveillance and power imbalance — The mirrored sunglasses allow Godfrey to see the inmates clearly (his gaze is always reflected back at them), while they cannot see into him or read his intentions. This reinforces the total control of the prison system: the authorities watch everything, but offer no reciprocity, humanity, or "communication" (echoing the Captain's famous line about a "failure to communicate"). Abstraction of evil/authority — He represents the cold, impersonal brutality of the institution — silent, implacable, and always ready to kill (he's an expert marksman who shoots without hesitation, even at small birds). Actor Morgan Woodward described his character as a "walking Mephistopheles" (a devil-like figure), emphasizing this demonic, judgmental presence. In the film's broader themes — rebellion, nonconformity, and the crushing of the individual spirit — the "Man with No Eyes" embodies the ultimate enforcer of conformity. Luke's defiance challenges this faceless power, and in the end, it's Godfrey who shoots Luke, but Dragline's attack on him (knocking off the sunglasses) symbolically diminishes that impenetrable authority, even if just momentarily. The nickname and visual motif powerfully capture the dehumanizing nature of unchecked institutional power.

Apple CEO Tim Cook called for "deescalation" in Minneapolis, where two people have been killed by federal agents this month.

ALT: a man in a tuxedo is dancing in a ballroom surrounded by balloons .