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After First Kill’s shock cancelation, the showrunner has hit out at Netflix


A few days after news broke that Netflix has canceled teen drama First Kill, the presenter has spoken up and has some choice words for the streaming giant.

The teen drama, which debuted in the second week of June, was given the ax on Tuesday (August 2nd) when Netflix revealed there would be no second season of the show. The cancellation came on the back of some scathing reviews, although the Netflix series seems to resonate with audiences.

Based on the short story of the same name by author VE Schwab, First Kill is a reimagining of William Shakespeare’s Romeo and Juliet. It follows Juliet of Vermont, a vampire from a long line of vampires able to live in plain sight in Savannah, Georgia.

As her sixteenth birthday approaches, Juliet, who has now spent her life living on blood pills, discovers that the pills are losing their potency and she must confront the possibility that it is time to kill them for the first time – something she doesn’t want him to do.

Matters are further complicated by the arrival of a new girl in town, Calliope Burns, with whom Juliet quickly becomes fascinated. The problem is that the history of the Calliope family is as complex as that of Juliet. She is a monster hunter raised by a family of monster hunters. And just as with fans of the stars in the original Shakespeare movie, there’s plenty of drama.

The show’s cancellation came as a surprise as it achieved very good viewership numbers, especially in the first weeks of its run. First Kill managed 30.3 million watch hours in its first three days and 48.8 million watch hours in its first full week, numbers that put it behind Stranger Things and Peaky Blinders.

Now, talking to Daily Beast (Opens in a new tab)First Kill show host Felicia D. Henderson has criticized Netflix, particularly for the show’s lack of marketing.

She said, “The art of initial marketing was beautiful. I guess I expected this to be the beginning and that the other equally important and compelling elements of the show – monsters versus monster hunters, the battle between two powerful nations, etc. – would be promoted in the end, and that didn’t happen.”

Henderson’s comments hesitate what a A source close to the show previously told The Daily Beast (Opens in a new tab) The paranormal roots of the show have been underestimated. Instead, all marketing focused on the intense love story between the two main characters, a decision they believed prevented it from reaching a wider audience.

The model, who has worked on shows like Fringe and Gossip Girl in the past, was very upbeat about the cancellation, saying, “When I got the call to tell me they hadn’t renewed the show because the completion rate wasn’t high enough, of course, I was very disappointed. Won’t it be the show? I was told a couple of weeks ago that they were hoping the completion would go up. I guess it didn’t.”


Analysis: Does Henderson have a point?

Henderson isn’t the only viewer to feel that Netflix executives have moved their goal-points in terms of numbers needed to earn another season.

Earlier in the year, when Netflix ruled out the babysitters club, Rebecca Schkert, the show’s host, sat down. Eagle (Opens in a new tab) To explain what happened. She said the streaming giant doesn’t just care about how many people watch your show, but how they do it.

At the time, Schkert said, “Completion rates are a big issue. At Netflix, it’s more about whether your show works on the platform than whether the platform works for your show. They want people to watch it a certain way, and they want shows that people watch that way.” The way – not the shows that people want to watch in their own way.”

From what Henderson said, First Kill feels like another victim of that culture. Unless you’re blown away in your first few days on the platform, in the same way that a show like The Lincoln Lawyer did, you may have a hard time getting a refresher.

That could change when the ad-supported layer of Netflix emerges, which is when the streaming giant’s CEOs have to evaluate a different type of audience. But, for now, it seems like for a show to really take off, it has to be very worthy of their binge.



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