The reign of Bridgeton as the most watched series in Netflix history, according to rankings released this week, could be threatened. According to the streaming service, Round 6 could take the lead of the period drama if it maintains the current rate of views, an unexpected success even for creators and responsible for the service.
The exact numbers related to the show, with the original title Squid Game , were not disclosed, as Netflix does not usually provide this type of update. However, we know that the show remains in the first place globally since its debut, on the day 17 of September, and it shows no signs of stopping , as word-of-mouth only helps in this growth; the idea that Round 6 could become the biggest in history came from the company’s CEO, Ted Sarandos.
No we know the exact details of the show, but at least we know what he’s up against. The numbers from the first season of Bridgerton indicate that 28 millions of accounts on the platform watched a total 28 million hours of the show in its first few 17 days of availability; the metric used by the platform takes this criterion into account and considers any profile that spends at least two minutes connected to content as a viewer.
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It was an unexpected success for both Netflix and creator Hwang Dong-hyu. This is the first venture by the director of A Fortaleza with a television product, and while Round 6 has received massive publicity from Netflix as part of the company’s incentive to regional content, it was social networks and advertising among users that further increased interest, as well as the constant presence on the screens of all subscribers as one of the most watched series.
At the time this article is written, for example, Round 6 appears in first place among Brazilians, ahead of other recent premieres such as Sex Education and Midnight Mass, as well as notorious champions such as Carousel
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If you’re living in a bubble, Round 6 explores characters with social and financial problems, who engage in a deadly game in exchange a hefty sum. Among criminals, parents facing the loss of their children or elderly people who need to take care of their health, Hwang develops a critique of the division between classes in South Korea and satirizes reality shows, with violent scenes that contrast with the childish and colorful aspect of the villains and machines used to murder the losers.
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