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Bridgeton’s reign 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 in the period drama if it maintains the current rate of views, an unexpected success even for the creators and responsible for the service.
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Exact numbers related to the show, with the original title Squid Game, have not been revealed, 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 September 17th, and shows no signs of stopping, as word-of-mouth only helps this growth; the idea that Round 6 could become the biggest in history came from the company’s own CEO, Ted Sarandos.
We don’t know the exact details of the show, but at least we know what he’s up against. Bridgerton’s first season figures show that 82 million accounts on the platform watched a total of 625 million hours of the show in its first 28 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.
It was an unexpected success for both Netflix and creator Hwang Dong-hyu. This is the director of A Fortaleza’s first venture with a television product, and while Round 6 received massive publicity from Netflix as part of the company’s push for regional content, it was social media and user advertising 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 report is written, for example, Round 6 appears in first place among Brazilians, ahead of other recent premieres such as Sex Education and Missa da Meia-Noite, as well as notorious champions such as Carrossel and Lucifer. The same is repeated in other territories and, while there is no news of a renewal, the popularity already indicates that it should happen.
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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 for a jackpot. 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.