(Interest in sports documentaries, which make up the smallest portion of the documentary market per Parrot’s data, grew slightly faster, though mostly all of that increase could be attributed to the popularity of the Michael Jordan docuseries The Last Dance.) In data prepared for The Ringer in May, Parrot revealed that true crime was not only the biggest documentary subgenre, but that it was also growing faster than nearly any of the others.
NETFLIX SERIAL KILLER SHOW SERIES
Parrot Analytics-a media-tracking company that measures audience demand with a formula that accounts for streams, search-engine traffic, illegal downloads, and social media- said in April that the documentary genre as a whole had become the fastest-growing segment of the streaming industry, with the number of series growing 63 percent between January 2018 and March 2021. In fact, you can basically guarantee the company will score another one later this month when it debuts Myth & Mogul: John DeLorean.Įxpanding the scope beyond Netflix reveals similar trends throughout the industry. The instantly memeable Tiger King may have been the peak of the current wave of interest, but the biggest name in streaming doesn’t need Joe Exotic or Carole Baskin to make a hit. And cumulatively, they’ve spent 232 days in the streamer’s top 10-a total that covers nearly half of the days tracked by The Numbers. The above list covers a lot of ground-stories of famous serial killers and assorted real-life bogeymen, an art-heist series with a Boston accent, the early-quarantine balm Tiger King-but these 18 films and series make up the bulk of Netflix’s output in the true-crime genre for the past 18 months. 1 and held that position for a total of 58 days-or more than 12 percent of the days available in the data set. Since then, eight Netflix true-crime docs have hit no. The movie-industry tracking website The Numbers maintains daily rankings for the streamer dating back to March 24, 2020, about a month after Netflix rolled out the top-10 feature on its app. Despite the limited domestic attention paid to Sophie outside the platform, the series became the latest in a long line of recent true-crime docs to garner substantial buzz.īut even with that success, Sophie may have underperformed relative to Netflix’s other recent nonfiction crime series. 4 in Netflix’s daily top 10 on July 1 and spent six days on the list. None of that seemed to deter viewers from tuning in, though.
NETFLIX SERIAL KILLER SHOW FULL
The series drew praise from European critics, with the Telegraph and the Independent both giving Sophie four stars, and the Irish Times calling it “gripping” and praising it for bringing “the victim to life as a woman full of passion.” Stateside, however, Sophie failed to generate similar interest: Review aggregator Metacritic lists just two entries from U.S.-based publications, and an essay in BuzzFeed said that while the series “wrestles with the allure of the dead white woman”-a growing criticism of true crime-it ultimately doesn’t rise above the trappings of the genre.
On June 30, Netflix debuted its latest big-ticket true-crime documentary, Sophie: A Murder in West Cork, a three-part deep dive into the extravagant life and mysterious death of a French television producer who was killed at her vacation home in southern Ireland in 1996.
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