Known for her roles in “Euphoria” and “The White Lotus,” actress Sydney Sweeney has been facing allegations of using a pirated streaming service to watch “NBC's Law & Order: Organised Crime.” Fans say that they can relate to her since the streaming services continue to increase subscription prices.
What Happened: Last week, several users took to social media and shared a screenshot of Sweeney’s Instagram story which indicated that she was watching NBC's Law & Order: Organised Crime on her television.
Fans started commenting and sharing the screenshots of her story and speculations arose that Sweeney was using an illegal streaming service called FlixTor, with some fans saying that they recognized the layout.
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One fan commented, “The way I know that damn site just by looking at the buttons below,” while another wrote, “not her using flixtor.”
However, some fans showed support for Sweeney, citing the increasing costs of legitimate streaming services. One fan wrote, “Honestly can't blame her 'cause they keep increasing the cost of streaming services,” prompting another to reply, “Even the ones we pay for they still sneak ads in!”
Sweeney’s team did not immediately respond to Benzinga's request for comment.
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Why It Matters: This incident has sparked a debate about the affordability and accessibility of streaming services. In 2022, Netflix Inc. introduced its ad-supported plan, joining other platforms like Amazon Prime Video and Disney+, offering subscribers a lower fee for content with advertisements.
In April earlier this year, Benzinga conducted a poll asking its readers how they would respond if Netflix raised its prices. 55% of the people who participated in the poll said they would cancel their memberships. Currently, Netflix costs between $6.99 and $22.99 per month, depending on the subscription plan.
Earlier this year, Deloitte’s new Digital Media Trends report revealed that U.S. consumers are spending an average of $61 per month on four subscription video-on-demand (SVOD) platforms.
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Disclaimer: This content was partially produced with the help of AI tools and was reviewed and published by Benzinga editors.
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