Friday night in the UK is not getting the same excitement it has had in just over a year – it may be Monday or Wednesday as long as we keep locking up.
But even though our leaders lifted restrictions last night, opened the pubs, backed up warnings and allowed you to plug your grandmother in, I might have waited a day to go outside.
That’s because Netflixnarrative series Formula 1: Sail to Survive first their third season last night.
In short, Sail to Survive following Formula One teams over a season of more than 20 races, filming the traveling circus around the world and getting initial insights into controversies, accidents and, at least this year, coronavirus.
For many, it’s a place to jump into the world of motorsport – a fully-fledged picture of a racing series marked “boring” by purists.
For others, it’s a behind-the-scenes look at a sport they’re religiously pursuing, but they can’t get the padded response of the lucky few.
But let’s talk figures.
The series aired in March 2019, detailing the 2018 Formula One World Championship season, and its impact was felt before the second season was about to begin.
Nearly 10 per cent of the UK Netflix viewers watched the series within its first 28 days – 62 percent of new fans were under the age of 35 – while F1 had 99 percent social media growth between 2019 and 2020, although some of that has to be believed for their improvement. media team.
The fun days seem to be something you do go on for an hour or two on the weekends and then a bit of questionable punditry. The sports documentary has kicked the industry into new gear.
This isn’t the interesting idea that has been invented in the last decade – sports reporting has been around for a long time – but streaming services and online content have dramatically changed the game.
Documentaries are very “in-house” at the moment.
Said Daniel Ricciardo of McLaren Sail to Survive put the sport on the map in the United States – a market that F1 vice-president Bernie Ecclestone failed after decades at the helm – with the Australian driver noticing when he was regularly recognized on the streets after the broadcast a documentary.
The tide turned when Liberty Media bought Ecclestone out in 2017, turning a remote sport full of seemingly obscene personalities into a media intruder and showcasing his assets.
A summary of the Lando Norris driver from the PR team during last year’s race weekend in Australia gives an accurate summary of the old and the new.
Norris is being fed what he calls the media in the early stages of the COVID-19 revolution – what he has to say is very neutral, reads like a press release, while the documentary showing that he is an extraordinary driver with a very subconscious mind.
Previously, Norris’ personality may have been clearly represented, but his acceptance of social media and outdoor media has made him one of the biggest stars in the sport.
Having had the opportunity to work at the F1 race in 2016, the difference between that and now is stark, and the media personalities are not just on the grid.
Haas doesn’t seem to have the greatest assets of any of their drivers, but the principle of its team – effectively a motorsport version of a manager.
Gunther Steiner has become a cult hero on him Sail to Survive, getting more air time than it would normally on a race weekend, partly due to its ability to fill a jar within a few minutes.
At the risk of sounding like I’m on the payroll for Liberty Media, let’s move on to the Chicago Bulls.
The last dance reported on Jordan Jordan’s years at the Bulls, seen as one of the greatest teams in the history of the National Basketball Association (NBA).
Interestingly, I was not interested in basketball from the 2002 lukewarm movie Like Mike, but the series caused me and many others around the world who were circling our toes in the early months of the pandemic.
Fill in the blanks for ESPN excluding the NBA and overall, each program introduced a live view in the U.S. of an average of 5.6 million people, excluding on – demand streams.
Globally, 23.8 million people watched the series outside the U.S. within the first month since its release Netflix.
Memories of Michael Jordan, his teammates, and even his rivals have gone up in price after the documentary, and now the 58-year-old appears to be at his most relevant. from his playing days.
But it would be foolish to think that these documentaries benefit everyone involved.
Sunderland ‘Til I Die is a Shakespearean tragedy, allowing viewers to see the collapse of one of the most supported football clubs in England.
Despite watching a return to the Premier League in season one, harassment and financial mismanagement from a team led by former boss Martin Bain came to an end, criticizing them to the third level. of English football.
Unfortunately, Bain was the only person to use a cryogenic room bought by the club, costing six figures despite the financial situation.
He was replaced by David Brent-esque’s Stewart Donald and Charlie Methven, who were more interested in turning Stadium of Light into Ibiza than getting results on the pitch.
Former manager Chris Coleman expressed his delight with filming during his tenure and there are few who say he helped the club from attracting a steep international fan base.
With a series on American football star Tom Brady also in the works, the audience is there for more documentary series in the future over sports – and there seem to be some rules to success.
Control the commentary, do it as a retrospective documentary instead of live if you can, and more importantly – don’t Sunderland AFC