Netflix’s “Monster: The Lizzie Borden Story” didn’t just hold its viewers in week two. It added to them.
The fourth season of the anthology pulled 14.5 million views in its second week, a 20% increase over its premiere-week result. That put it No. 1 on Netflix’s global English TV chart. The show reached the Top 10 in 92 countries, up from 89 in week one, and hit No. 1 in 36 markets, up from 16.
Why a week-two gain is unusual
Most big launches front-load: the first week is the peak, and week two drops as the marketing burst fades. A second-week jump usually means word of mouth is bringing in people who skipped the debut. For Netflix, that converts a launch event into a sustaining hit and strengthens the case for the series in local recommendation rows.
The cast includes Ella Beatty as Lizzie Borden, with Vicky Krieps, Rebecca Hall, Charlie Hunnam and Sarah Paulson. The season is part of the controversial “Monster” franchise, which has managed to generate large global numbers despite its polarising subject matter.
The chart in context
On the TV list, the gap between the top title and its nearest scripted rival is the headline. “Wonka’s The Golden Ticket” opened at No. 2 with 4.6 million views; YA series “Crew Girl” took No. 3 with 4.5 million after a Season 2 renewal; and “A Different World” landed at No. 4 with 4.2 million. That leaves roughly a 10-million-view gap between Monster and the next original.
On the film side, “Unabomber” opened at No. 1 with 16.4 million views. The drama stars Russell Crowe, Jacob Tremblay, Annabelle Wallis and Shailene Woodley in a retelling of Ted Kaczynski’s path from Harvard prodigy to domestic terrorist. “Best of the Best” followed with 7.3 million views, and “The Whisper Man” logged 4 million.
What media planners should do
- Watch retention, not just launch spikes: a big premiere can be bought; a week-two rise usually cannot.
- Use market breadth as a planning input: 36 No. 1 markets and 92 top-10 countries make this a global tentpole.
- Compare chart gaps between titles: concentration of attention can support premium placement decisions.
For entertainment marketers, the actionable signal is clear: when a title grows after its debut, it becomes lower-risk inventory for sponsorships, ad-tier placement and co-marketing. Tracking velocity beats reacting to a single day-one number.
Source: TheWrap
