![]() ![]() Here are those Top 10 lists on which we based the above all-timer top 10 list. However, the further back you go, the less likely that becomes as Netflix simply had fewer subscribers back in the pre-2021 years. The caveat here is data was only recorded from June 28 2021, so a few earlier outliers may belong in this list. Stranger Things Season 4 - 140 million views However, if we forget that for a moment, Netflix has given us the tools to work out the true most-watched content on the entire platform, based on view count, regardless of type. But thinking about how Netflix would go about compensating for that for more than a minute gives us a headache. Of course, the Netflix view count stats don’t account for folks who gave up on Wednesday at episode two. Stranger Things clocks in at 13 hours, while Wednesday is a tighter six hours 49 minutes, suggesting it has likely been seen by more people. Around that long ago is when the first humans were believed to have popped up in what today we call Greece. It’s why Wednesday: Season 1 is ranked at number one with 1.718 billion hours even though people spent longer watching Stranger Things Season 4, 1.838 billion hours. It divides the total number of hours viewed by the length of a show or movie. This is a pretty crude calculation, according to Netflix. ![]() However, look a little closer and you’ll notice Netflix does not actually rank its TV shows by “hours viewed.” It lists by view count instead. This has been bumped up to 91 days, letting shows and movies with a long tail get an advantage over releases that hit big but fade quickly. What changed? Netflix used to give us stats for the first 28 days, the total number of hours viewed. It racked up 2.2 billion hours viewed according to Netflix’s stats. The most popular piece of content across all categories and languages, though, is Squid Game. One notable change is that Wednesday is now the most popular piece of English language content on the entire service, with 1.7 billion hours viewed. Not necessarily for everyone, but a treat for film buffs.Netflix has reworked how it rates the popularity of its TV shows and movies, resulting in a fresh view on the most-watched Netflix movies and shows of all time. Mank is a film that's sympathetic to the plight of the writer, given added pathos in the fact that its screenplay was written by Jack Fincher – David's own late father. It's gorgeously shot and impeccably performed – not just by Oldman, but by an ensemble including Amanda Seyfried as actor Marion Davies, Charles Dance as Kane-alike publishing magnate William Randolph Hearst, and Tom Burke as a sparingly-deployed Welles. Fincher luxuriates in depicting the old studio system of Golden Age Hollywood, but he doesn't don rose-tinted glasses for the era itself – zoning in on the cracks, inequalities and concerns of the '30s and '40s movie industry (and beyond), while tapping into resonances that still feel surprisingly relevant today (Nazis, the future of cinema). Mank is part origin story of, part companion-piece to Orson Welles' classic Citizen Kane – starring Gary Oldman as Kane's alcoholic screenwriter Herman J. Six years after Gone Girl, David Fincher returned to movies with a film delving into the history of Hollywood itself. That it's warm and funny too, with believably messy but empathetic characters, make it a must-see. That Saint Frances plays out both of these storylines concurrently without conflating the two (spoiler: Frances doesn't suddenly regret having an abortion after she bonds with Bridget) feels quietly revelatory – and the film has a similarly straight-up approach to its depictions of post-natal depression, motherhood in same-sex relationships, breastfeeding, and periods. Meanwhile, she finds out that she's pregnant by her sort-of-boyfriend Jace (Max Lipchitz) and decides to have an abortion, facing the physical and emotional aftermath of the procedure. She plays Bridget, a New Yorker who becomes nanny to mischievous six-year-old Frances (Ramona Edith Williams) – even though she doesn't really like kids. Kelly O'Sullivan confirms herself as a witty and honest new filmmaking voice as the writer and star of Saint Frances – a film that pushes the 30-something-woman-wonders-what-to-do-with-her-life American indie drama into refreshing territory rarely explored on screen. ![]()
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