Adolescence becomes Netflix's 2nd most-watched English show surpassing Stranger Things 4
The UK limited series 'Adolescence' has emerged as Netflix's second most-watched English-language series ever. The series surpassed the popular web show 'Stranger Things Season 4' in global views.As of June 1, the series has recorded an impressive 141.2 million views since its launch on March 13, which was just 80 days ago. In comparison, 'Stranger Things Season 4' garnered 140.7 million views during its first 91 days of release in 2022, according to Netflix's metrics.
Netflix's all time top 10 global English series (Photo Credit: Netflix)
advertisement'Adolescence' is a critically acclaimed show that explores the emotional and complex journeys of teenagers facing the challenges of growing up. Its raw storytelling and strong performances have won the hearts of viewers worldwide since its March 2025 release.
On the other hand, 'Stranger Things' is Netflix's blockbuster sci-fi thriller set in the 1980s. The series blends supernatural mystery with nostalgic pop culture that follows a group of kids in the small town of Hawkins. They uncover government secrets and face otherworldly forces. Since its 2016 debut, it has been one of Netflix's flagship shows.Meanwhile, the Netflix original series 'Wednesday' (2022), remains at the top of the list with 252.1 million views in its initial 91 days. While considering all languages, 'Squid Game Season 1' enters the list with a massive 265.2 million views, followed by 'Squid Game Season 2' with 192.6 million views, placing it between 'Wednesday' and 'Adolescence'.advertisementOn the weekly chart from May 26 to June 1, 'Sirens' led the pack with 18.2 million views, increasing from 16.7 million the previous week. It was closely followed by 'Cold Case: The Tylenol Murders', which drew 11.9 million views within just four days of release.Other popular shows making the list include 'Dept. Q' at No. 3 with 6 million views, 'American Manhunt: Osama bin Laden' at No. 4 with 5.4 million, and 'Bet' at No. 5 with 2.9 million views.'The Four Seasons' continues to impress as the longest-running show on the charts, holding the No. 7 spot in its fifth week with 2.4 million views. Sharing the No. 8 position are 'Fred' and 'Rose West: A British Horror Story', 'She the People', and 'Forever', each with 2.3 million views.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
18 minutes ago
- Indian Express
Kapil Sharma blames Archana Puran Singh for Navjot Singh Sidhu's absence from The Great Indian Kapil Show: ‘Kudsi padi hai, banda hadap gayi'
Navjot Singh Sidhu recently made a grand comeback to Kapil Sharma's Netflix show The Great Indian Kapil Show 3, as a co-judge with Archana Puran Singh. While his return was met with applause in the first episode of the latest season, his seat was empty in the second episode. With the entire team of Metro… In Dino as guests, both fans and Kapil wondered where Sidhu was. Apparently, Archana had locked him in his own vanity van. After kicking off the episode, a surprised Kapil asked Archana, 'Sidhu ji kidhar hain? (Where is Sidhu ji)' To which, she replied, 'Mujhe kya pata (I don't know).' The camera then cut to the former cricketer in his vanity van, struggling to come out as the door has been locked from the outside. Looking clueless, he complained while knocking, 'I have knocked 2-3 times, no one is opening it. Oye, hello! Who locked the door? Is there anyone outside?' A post shared by Netflix India (@netflix_in) Kapil Sharma then asked Archana Puran Singh, 'Gaayab toh nahi kar diya unko? (Did you make him disappear?)' Archana quipped, 'Netflix ka koi cup hai jo main gaayab kar dungi? (Is he a Netflix cup that I'd make him disappear?)' Kapil replied, 'Matlab cup, plate utha leti ho? (So you steal cups and plates?)' To this, she joked, 'It's an old habit — leave it.' Kapil then started dialing Sidhu's number to check where he was. But Archana, who had his phone with her, cut the call and said, 'I told you he won't take your call. He'll take some other commentary work — you just worry about your show.' Kapil laughed it off, saying, 'Sidhu ji bhi na, ek din mein do-do kaam pakad lete hain. (Sidhu ji, I tell you — he takes up two jobs in a single day!)' ALSO READ | Kapil Sharma calls Archana Puran Singh's vlogs 'an excuse for her family to feast for free': 'It's not called a vlog, it's called fraud' During Sunil Grover's act in the episode, he appeared as veteran actor Mithun Chakraborty. As he delivered his punchlines, clips were shown on the screen of him—dressed as Sidhu—laughing on the couch. Towards the end, when the cast of the film played musical chairs, Archana Puran Singh tried to explain the rules. Kapil Sharma quipped, 'Yes, she will tell. Inse acha kaun jaanta hai ki kudsi kaise hadapte hain? (Who knows better than her how to snatch someone's chair?) Kudsi padi bhi hui hai, banda hadap gayi (The chair was right there, and she took the man's spot too).' At the end, Archana was seen unlocking the door of Sidhu's vanity van and hiding behind it. He came out and said, 'Who locked it? Jhaklandi. Mil gaya na, photo taang dunga killi par.' After which, the actor was seen laughing and dancing celebrating a successful mission of not letting Sidhu reach the sets. A post shared by Netflix India (@netflix_in) The episode featured the cast of Metro In Dino, including Konkana Sen, Pankaj Tripathi, Fatima Sana Shaikh, Aditya Roy Kapur, Neena Gupta, Anupam Kher, Sara Ali Khan, Ali Fazal, and their director Anurag Basu. It is streaming on Netflix.
Mint
28 minutes ago
- Mint
Love between women comes of age with ‘Mrs Dalloway'
Ruth Vanita At 100, Virginia Woolf's classic remains startlingly original—both in its style and depiction of female sexuality Natascha McElhone and Lena Heady in 'Mrs Dalloway' (1997). Gift this article A hundred years ago, Virginia Woolf published Mrs Dalloway, my favourite of all her novels. From the time English novels first appeared in the 18th century, many of them were named after women—Moll Flanders (1722, by Daniel Defoe), Clarissa (1748, by Samuel Richardson), Evelina (1778, by Frances Burney), Emma (1815, by Jane Austen). Most of their heroines are young women and most novels are about falling in love and getting married. Mrs Dalloway (1925) is unusual because it is about a 51-year-old woman, a wife and mother, who has experienced more than one love, and the love of whose life was a woman. A hundred years ago, Virginia Woolf published Mrs Dalloway, my favourite of all her novels. From the time English novels first appeared in the 18th century, many of them were named after women—Moll Flanders (1722, by Daniel Defoe), Clarissa (1748, by Samuel Richardson), Evelina (1778, by Frances Burney), Emma (1815, by Jane Austen). Most of their heroines are young women and most novels are about falling in love and getting married. Mrs Dalloway (1925) is unusual because it is about a 51-year-old woman, a wife and mother, who has experienced more than one love, and the love of whose life was a woman. Mrs Dalloway packs its startling originality into less than 64,000 words. James Joyce's Ulysses, published three years earlier in 1922, is about four times as long. Both novels are about one day in the life of one person. Nothing particularly important happens on this day. In the morning, Clarissa Dalloway walks in London, as Woolf loved to do, in the afternoon she rests, and in the evening, she gives a party. Mrs Dalloway is not about events. It reveals the horrors of war and the self-importance and egotism of colonial bureaucrats but its concern is with the pains and pleasures of individuals. It is about how we live as much in memory and imagination as in a house or a city. Clarissa experiences everything, from fresh morning air to meeting old friends, in two dimensions—the past and the present. She has a tranquil and affectionate marriage, but she fondly recalls Peter, the man she refused to marry because she found his insistence on sharing everything 'intolerable". Although their intimacy was exciting, she refused his proposal because she knew, with wisdom remarkable in a young woman, that 'a little licence, a little independence there must be between people living together day in day out in the same house". This is a sentiment which anyone who has been married for many years would understand. It is also one with which the great heroines of English comedy, from Shakespeare's Rosalind to Austen's Elizabeth Bennet, would surely agree. A few pages into the novel, Clarissa thinks, with some guilt vis-à-vis her kind and considerate husband, about her lack of erotic warmth towards men, her 'cold spirit", which Peter too comments on. She knows, though, that she has felt for women 'what men felt". In an extraordinary passage, Woolf describes female desire in a way that evokes orgasm, specifically female orgasm: 'It was a sudden revelation, a tinge like a blush which one tried to check, and then, as it spread, one yielded to its expansion, and rushed to the farthest verge and there quivered and felt the world come closer, swollen with some astonishing significance, some pressure of rapture, which split its thin skin and gushed and poured with an extraordinary alleviation over the cracks and sores! Then, for that moment, she had seen an illumination; a match burning in a crocus; an inner meaning almost expressed. But the close withdrew; the hard softened. It was over—the moment." This is the best description of female orgasm I have ever read. As all great writing does, it colours precise description with something more than mere technical detail. The match burning in the crocus, like the Buddhist jewel in the lotus, lights up the world, connects the individual to the universe. Continuing to think about 'falling in love with women," Clarissa recalls her youthful love for her friend Sally Seton. She 'could not take her eyes off" Sally, she imbibed Sally's radical ideas about literature, society and life, she admired Sally's beauty as well as her reckless, unconventional behaviour. At first, Clarissa thinks that she cannot feel her old emotions again, but as she undresses and re-dresses, the feeling starts returning to her. As a young girl, dressing to meet Sally, she had felt, as Othello felt when he met his wife, 'if it were now to die, 'twere now to be most happy." As she and Sally walked together at night, Clarissa remembers 'the most exquisite moment of her whole life" when Sally 'kissed her on the lips". She felt as if she had been given 'something infinitely precious," when Peter interrupted. The interruption was a painful shock to her. She compares it to running your face against a granite wall in the dark, and she also felt Peter's 'hostility; his jealousy; his determination to break into their companionship." 'Mrs Dalloway' is not about events. It is about how we live as much in memory and imagination as in a house or a city. Mrs Dalloway is the first major novel in English to explicitly depict a woman falling in love with another woman. The year it was published, Woolf, who was 43 years old, began a passionate affair with the novelist Vita Sackville-West, who was a well-known lesbian and married to a gay man. In her diaries and letters, Woolf evokes Vita's 'incandescent" beauty in lyrical terms: 'she shines in the grocer's shop in Sevenoaks with a candle-lit radiance, stalking on legs like beech trees, pink glowing, grape clustered, pearl hung." Three years later, in 1928, when Radclyffe Hall's lesbian novel, The Well of Loneliness, was censored, Woolf and her close friend, the novelist E.M. Forster, who was also gay, published a letter of protest. Hall refused their attempt to draft a statement that many writers were willing to sign, because Hall wanted them to defend the book on the basis of its literary merit, not merely on the basis of freedom of speech. Neither Woolf nor the other writers thought that The Well of Loneliness was a work of literary excellence. Nevertheless, Woolf was ready to testify in court on its behalf but the court ruled out all testimony and banned the book. The Well of Loneliness is a historically important book read mainly by scholars today; Mrs Dalloway is as vital and surprising now as it was when first published. Woolf's novel Orlando, published in 1928, is much acclaimed these days because it is about miraculous sex change and identity. Orlando is inspired by love. Woolf wrote it as a portrait of Sackville-West. But Orlando is not about love. It is a portrait of a remarkable bisexual person. Mrs Dalloway is a far greater novel than Orlando. At the end of Mrs Dalloway, Clarissa hears about the suicide of a traumatised soldier, Septimus, who was married to a woman but loved a man who died in the war. Clarissa senses, almost mystically, that she is similar to Septimus and that he died holding on to the thing that matters most whereas she and her friends have let go of it. Is that thing love? Is it the ecstatic sense of oneness with the universe? She is not sure but she knows that it is obscured in her own life: 'closeness drew apart; rapture faded, one was alone. There was an embrace in death. But this young man who had killed himself—had he plunged holding his treasure? 'If it were now to die, 'twere now to be most happy,' she had said to herself once, coming down in white." The novel ends with love—Peter filled with excitement at the sight of Clarissa, Clarissa's husband Richard with love for their daughter, and Sally's statement, 'What does the brain matter compared with the heart?" Ruth Vanita is a professor, translator and author, most recently of the novel A Slight Angle. Topics You May Be Interested In
Indian Express
an hour ago
- Indian Express
Amitabh Bachchan got embarrassed by sounds Shilpa Shirodkar's mom was making as I massaged her shoulders, reveals Anupam Kher
Anupam Kher didn't end up becoming an actor in films right after graduating from the National School of Drama in Delhi in 1978. Interestingly, he completed a three-month massage course, gave professional massages for a short while, and eventually, even provided his services to his co-stars on film sets. 'I'd completed my formal education. I was sitting in the Bengali Market (in Delhi) not knowing what to do. Then I saw an ad in the newspaper of a massage course at the Oberoi Hotel. I did a three-month massage course and then gave massages for two months,' revealed Kher. On the latest episode of The Great Indian Kapil Show season 3 on Netflix, Anupam Kher recalled giving massages to his co-stars between takes on the sets of Mukul Anand's 1991 crime action drama Hum. 'Right after giving massage to Danny (Denzongpa) and others, when I began doing the massage of Shilpa Shirodkar's mother, there was an electricity cut,' said Kher. 'Shilpa's mom kept saying, 'Oh, Anupam!' so Amitabh said, 'Bhaiya, light jaldi le kar aao (Please get the lights back on quickly),' recalled Kher, laughing, revealing how Bachchan was embarrassed by the sounds Shirodkar's mother was making then. Host Kapil Sharma even joked that the Saaransh actor was giving massage to others only so he could get to Shirodkar's mother. Kher denied that and jokingly warned Sharma to not suggest the same. Hum starred Amitabh Bachchan, Rajinikanth, Govinda, Shilpa Shirodkar, Denzongpa, Anupam Kher, Kadar Khan, Annu Kapoor, Vijay Khote, and Shammi, among others. It's best known for its dance song 'Jumma Chumma De De,' featuring Bachchan and Kimi Katkar. Shilpa Shirodkar's mother Veena Shirodkar was a former model who passed away in 2008. Meanwhile, Anupam Kher was on The Great Indian Kapil Show along with his co-stars and director to promote their upcoming romantic anthology Metro… In Dino, slated to release in cinemas on July 4. Produced by Bhushan Kumar's T-Series, the spiritual sequel to Anurag Basu's 2007 directorial Life… in a Metro also stars Neena Gupta, Pankaj Tripathi, Konkona Sen Sharma, Aditya Roy Kapur, Sara Ali Khan, Ali Fazal, Fatima Sana Shaikh, Rohan Gurbaxani, and Saswata Chatterjee, among others. In an exclusive interview with SCREEN, Kher recalled when he first moved to Mumbai to become an actor back in 1981, the city has held him captive since. 'Mumbai is a very intoxicating city. It's like a security blanket. There's no other city in the world, other than New York to an extent, which is so generous. It gives at least one chance to everyone who comes here. It's true that if you've lived here, you can't live anywhere else. It's truly bindaas,' said the actor. Also Read — Anupam Kher says long-distance marriage with Kirron Kher doesn't bother him much: 'Aashiqui is difficult in practical life' 'But Mumbai is very dominating in the beginning. Because you're part of the crowd. But any kind of a person can live here. I haven't seen anyone starve to death here. Someone was telling me vada pao has been one of the top seven meals of the world. I've had so much vada pao myself,' he added.
