And that, regardless, popularity in the streaming era is fickle indeed. But if any streaming success as reportedly stratospheric as Lupin’s was in back in January can fizzle out so thoroughly, that what should have been one of 2021’s most hotly anticipated returns comes back to find that its original American audience has, for the most part, moved on? Well, let’s just say it’s a biting reminder not to put too much faith in whatever numbers Netflix (or any other streamer) *chooses* to volunteer.
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To then be told that, as of January 2021, the most binged new series in Netflix history was a complexly plotted French heist drama about a dark-skinned Black man using France’s own inherent racism to, as they say, manger les riches? Well, that felt, legitimately, thrilling.
But numbers as specific as 62, 63, 70 million, with a context not just of “at least 2 minutes watched,” but rather whole household binges? That’s momentous. Our capacity for #takes is, collectively, colossal.Īs Bloomberg’s Lucas Shaw underscored in a recent look at the streaming industry’s trend towards opacity, “e are entering a world where it is getting harder and harder to determine what is popular, and what is not.” Which is to say: It’s shocking to be given any insight into the stats that make the streaming economy tick.
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But while it’s true that many of these have managed, in the past month, to whip TV Twitter (and Reddit and Tumblr, etc) up into one minor #take frenzy or another, it shouldn’t necessarily have followed that these frenzies would suck up so much oxygen that Lupin’s moral Part 2 victory would go entirely unheralded. Beyond the borders of the OG streamer, that same three-week period on either side of Lupin’s return-that is, the same window in which one might have also expected to see a new surge from January’s Lupin social tsunami-also saw the hotly anticipated premieres of iCarly (on Paramount+), Physical (on Apple TV+), Tuca and Bertie (on Adult Swim), Starstruck (on HBO Max), and Loki (on Disney+). Of course, not every pop culture obsession revolves around Netflix. But whereas global and American charts more or less matched up at the start of the month, each seeing the debut season of Sweet Tooth take the baton from the final season of Lucifer on June 6, the remainder of June was absolutely dominated, in the U.S., by NBC’s already-canceled sci-fi mystery Manifest. Certainly, it performed well per streaming analytics service FlixPatrol, it topped the global Netflix charts the first week following Part 2’s release. And honestly, while we’ll obviously have to wait until mid-July for Netflix to report any new first month binge numbers (or not), I can’t help but imagine that, if any summer show is going to break January’s 70-million household record, it won’t be Lupin. Well, in case you missed it-as most people seemed to-Part 2 officially hit our queues on June 11. I mean, who wasn’t holding their breath over the fate of France’s sweetest Arsène-loving teen? Personally, I was ready for Assane (Omar Sy) to burn down whatever abandoned château he might find, if it meant saving Raoul (Etan Simon) from Pellegrini’s creepy be-scarf’d henchman (Adama Niane).
And with Part 1’s wild, beach-set cliffhanger of an ending, so too did the possibility that the series might break its own record whenever Part 2 eventually arrived. The cultural power of Lupin felt undeniable. Again, critics-this one absolutely included-couldn’t get enough. Again, the pop culture podcast cycle was running at full-tilt. By the end of January, with an astonishing 70 million reported household binges to its first-month name, a French heist drama called Lupin came out of nowhere and absolutely crushed it. Incredibly, that new record stood for barely a month. It hardly came as a surprise, then, to find Netflix self-reporting, a little over a month later, that the platform had seen a staggering 63 million households binge the series’ debut season in its first four weeks-a new record, given the mere 62 million who had reportedly binged Netflix’s other blockbuster 2020 hit, The Queen’s Gambit, over the same period.
Hitting just as our collective pandemic exhaustion butted up against television’s typical mid-holiday lull, the fizzy Shonda Rhimes romance almost immediately found itself garnering wall-to-wall coverage from critics (including Paste) the Internet over, the takes feeding the ever-hungry flames of Twitter’s Trending Topics forge and generating enough #content to keep the pop culture podcast ecosystem rolling in takes well past the end of the calendar year. Back in December, as a tortuous 2020 was finally coming to a close, Netflix’s highly-anticipated Bridgerton became the late-breaking belle of the streaming ball.
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