Originally published in print in September 2021.
After recently finishing Lupin, a French mystery thriller produced by Netflix, I wasn’t shocked to see how well the show was received. What did pleasantly surprise me, however, was the reach this international series gained. Estimated to have had 70 million viewers in its first month, the series surpassed recent streaming successes such as Bridgerton and The Queen’s Gambit in the same timeframe. Watching the series will certainly bring these numbers into context. Its 93% rating on Rotten Tomatoes is largely, I believe, down to the excellent portrayal of the series’ protagonist by renowned French actor Omar Sy. It has since gone on to claim the spot as Netflix’s most popular international series, a title befitting for a show with such stunning cinematography, music, and story.
But this noteworthy reception of an international series isn’t a new phenomenon for the modern age streaming giant. La Casa de Papel, more commonly known as Money Heist, received critical acclaim when it was first released in 2017. The show has since gone on to be renewed for five seasons, with the last slated to be released over two parts in the autumn/winter of 2021. A series that leans on its Spanish roots incredibly well, the show grabbed Best Drama Series at the 2018 Emmys and has perfectly reinvigorated Spanish TV, giving it the attention it thoroughly deserves in an industry dominated by the English language.
Notwithstanding these incredible series, I cannot forget about two personal favourites. Ragnarok, a show that zeroes in on the environmental damage being done to the glaciers of Norway through its exploration of traditional Norse mythology is something of a treat in this modern era of television. Its angsty teen drama feel is married with the aforementioned Nordic fantasy aesthetic to tell a beautiful cautionary tale. Not to mention, the relationships between the characters feel tight yet fragile, as if one action could turn the show’s network of personalities on its head. It harkens back to my days of reading Percy Jackson with the integration of legends and myths into the contemporary. While the show can be silly at times, it is a surprisingly entertaining watch and again regularly appears alongside the aforementioned series when discussing Netflix’s most popular international shows.
Another stellar example of this rise in fame of non-English series that is close to my heart comes in the form of the German thriller Dark, a surprisingly engrossing show that takes elements from hit science fiction tales and puts a unique spin on it. While many comparisons are often drawn to Netflix’s other major science fiction title Stranger Things, the show holds its own against stiff competition, regularly appearing on most watched lists and being praised for its dark tone and ambitious narrative. In particular, the second of three seasons received worldwide acclaim for the continuation of its mythos, delving further into Twin Peaks territory rather than journeying down the goofy avenue taken by Stranger Things in its later seasons. The lighting and score play their parts to perfection in Dark’s gritty depiction of a small German town. The score is gritty, but cerebral with Sci-Fi undertones throughout, while the lighting is notably dark and unique, perfectly encapsulating the atmosphere and tone of the show’s three seasons. Thus it is distinguished entirely, I believe, from the aforementioned American Sci-Fi hit.
Notwithstanding the accolades these shows have accrued, I think it is important to explore how these shows are drawing crowds from across the world, and not just the native speakers of the show’s language. One important element I believe stands out from the outset. The streaming age ushered in a new way of broadcasting TV not just to a specific audience, but worldwide, affording more opportunities for marketing and publicity by the platforms on which these shows are streamed. Netflix has excelled in this area, publicising shows like Dark and La Casa de Papel as distinctive, unique series in their own right, including them in its Originals scheduling plans and giving them the same level of marketing attention as Bridgerton or The Witcher. In doing so, the streaming platforms of today are shining the spotlight on more localised directors and actors, those perhaps unknown to a global audience, and letting them shine.
Another central reason these shows are bringing in the audiences they have done is their variety. While the TV industry is inherently limitless, by including stories from across the globe and not just those set in American suburbs, New York City, or quaint British towns, those who regularly flock to streaming platforms for their small-screen fix are experiencing new cultures, new atmospheres and new languages without even leaving their living rooms. With the recent uptick in remakes and reboots of shows and films of years gone by, the popularity of more diverse series is sure to be welcomed, and thankfully the TV industry is currently embracing the stories many would never get to experience.
I’m more than happy that Netflix, in particular, have had their eyes opened to the beauty and quality of the television on display in different languages, cultures, and environments, and believe that this is just the beginning of a more diverse lineup of regular small-screen entertainment, one that explores stories from across the globe.
