Netflix’s weekly Top 10 is becoming a case study in softer returns for scripted originals. In the October 26–November 1 window, Lupin Part 4 was the most-watched title on the platform with 10.8 million views — but the launch was smaller than the comparable stretch for the previous season.
A No. 1 with a smaller base
The French heist series led the non-English TV rankings. The new part also pushed earlier seasons back into the chart: Part 1 drew 5.2 million views, Part 2 added 3.2 million, and Part 3 picked up 3 million. That is a clear catalogue halo.
The difficult comparison sits underneath. In the same availability window last season, Lupin Part 3 recorded 14.1 million views. Part 4 therefore returned at a lower level, fitting a pattern of weaker launch momentum for Netflix’s returning scripted titles.
English TV leans on nostalgia
The One About Matthew Perry opened as the top English TV series with 9.5 million views in its first weekend. The three-part documentary, pitched as the first in-depth look at the late actor to feature new testimonials from loved ones and collaborators, finished roughly 30% ahead of Nobody Wants This Season 3.
Nobody Wants This rose slightly to 7.2 million views in its first full week, though it is still tracking below where Season 2 began. Below placed third with 3.8 million, half its prior-week total, while The Diplomat Season 4 collected 2.9 million and Love Is Blind 2.8 million.
Film and non-English tell the same split
Animals topped the English film list with just 4.7 million views. The non-English film chart was stronger: Surviving Hurricane Otis led with 12.4 million views.
What the numbers suggest
- 10.8M – Lupin Part 4, the week’s top title.
- 9.5M – The One About Matthew Perry, top English TV debut.
- 7.2M – Nobody Wants This Season 3, slightly up in its first full week.
- 3.8M – Below, halved from the prior week.
The takeaway for entertainment marketers is not simply that Lupin won the week. It is that the new season lifted the entire franchise without restoring prior scale. Returning series need re-launch mechanics — demand generation, hooks, and a catalogue push — rather than relying on established fandom alone.
Source: Deadline
