And true-crime limited series Murdaugh Murders and British horror-thriller film The Strays, both released Wednesday, have been building search interest on Google.īut TV shows need to eclipse half a billion hours to make it onto the all-time list, and films need more than 200 million. Meanwhile, teen mystery hit Outer Banks returned on Thursday with its third season and racked up 155 million watch hours in just four days. But because this season is being released in two parts and the second half of the fourth season won't be released March 9, the final tally for You's full viewership won't be clear until early April. And each subsequent season of the show has grown in popularity. The show, a popular psychological thriller about a serial killer, generated 183.9 million hours of viewing since then. That means you can see titles with "Top 10" badges in Netflix's app for days, but they still may not be generating enough hours of viewing to make the all-time rankings.įor example, the first half of You's fourth season came out Feb. Shows and movies need sustained popularity in many countries to crack into the all-time most watched charts. Why the all-time rankings don't include Outer Banks, Murdaugh Murders, The Strays or You (yet) These all-time rankings are also updated every Tuesday, whenever any programs make it into the charts during the week prior. Comedy is what keeps you going.If a new season releases its episodes in two parts on different dates, Netflix counts the watch time of the first volume's episodes for their first 28 days, then it counts the watch time of the second volume's episodes for their first 28 days. "It doesn’t matter that the guy can’t cut hair! More than that, the underlying principle was if you’re a minority in a predominantly white society, you have to laugh. "It was the first Black business you really saw on television," Worrell told the Guardian. The British sitcom has generally been an extremely white genre, but after decades in which Black characters turned up in sitcoms largely for comedy bigots to gawk furiously at, Desmond's was a sitcom written by Black writers, for a Black cast, and made by a predominantly Black crew. It's still very funny, and still an important way-marker. It may be more than 30 years old, but its energy and sense of daring – what other sitcom would have its central characters getting held up at gunpoint – mean it still feels fresh. Trix Worrell's landmark Channel 4 sitcom set in a Peckham barbershop is one of the big winners of the streaming revolution, earning another life and new viewers on Netflix and All4. The fifth season arrived a half-decade later and reunited the cast, but it was no use: the old magic was gone. Due to scheduling conflicts, the characters are rarely in the same room all at once – a real problem for a show that relied so heavily on the Bluth family’s chemistry. It ultimately took seven years for Netflix to step in and for the actors to relent, but it was far from the reunion people were hoping for. The brilliant cast soon found success elsewhere – most notably Michael Cera in Juno – but Arrested Development fans refused to stop campaigning for a fourth season. But the show’s cult status couldn’t protect it against subpar viewing figures, and it was predictably cancelled after its third season. ‘The story of a wealthy family who lost everything, and the one son who had no choice but to keep them all together’, creator Mitchell Hurwitz’s show was as clever as it was funny, as joyfully weird as it was ambitious in its storytelling, and we’d go as far as to say that the second season is just about perfect. View full post on Youtube Arrested Developmentĭuring its original run on Fox, from 2003 to 2006, Arrested Development felt revolutionary. Fifteen years and nine seasons later, The Office (USA) is treated by many critics as either equal to or better than the BBC original – and while those critics are unequivocally wrong, it’s still a must-watch (even if it did overstay its welcome). Steve Carell’s wide-eyed take on the branch manager, Michael Scott, quickly escaped David Brent’s body-popping shadow and became an iconic, fully realised character in his own right, and Jim (Tim) and Pam’s (Dawn) will-they-won’t-they romance was handled with aplomb. Creator Greg Daniels went back to the drawing board for the second season, and his decision to ditch the cringe and adopt a brighter, more absurdist tone soon paid off in spades. It was fine funny enough, but a lot of it felt over-sanitised and misjudged. The first season didn’t do much to change their minds. Way back in 2005, comedy fans feared that an American adaptation of The Office – one of the most quintessentially British sitcoms of all time, bathed in tragicomic banality – was doomed to fail. View full post on Youtube The Office (USA)
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