When Netflix notified us of its arrival six months ago in the depths of winter and confinement, the news was greeted with curiosity, without outburst of enthusiasm. The latest forays of the Californian platform into French popular culture – establishment of Vampires in Belleville, to The revolution a gory orgy – encouraged not to set the bar too high: Omar Sy in a contemporary variation on the theme of Arsène Lupine, success was far from guaranteed.
According to platform statistics, the series has been viewed by 76 million households around the world.
In five elegantly packaged episodes, the case was over. Lupin has triumphed at home, but also on the whole planet Netflix (which looks like the Earth, except that China is absent). According to the firm’s statistics, the series has been viewed by 76 million households around the world (for Netflix, it only takes two minutes of viewing on an account to estimate that a content – series or film – has been viewed) , or more than any other.
In the United States itself, the reincarnation of the gentleman burglar has climbed to third place in the platform’s most watched series rankings, while also garnering a torrent of praise. Across the Atlantic, Lupin succeeded where Untouchables and Jurassic World had failed, making Omar Sy a star.
These first five episodes were only half of a first season dedicated to redefining the main character. As the main performer and the creator of the series, the Briton George Kay, repeat over and over again, Lupin is not the adaptation of the novels written by Maurice Leblanc at the beginning of the XXe century, but the contemporary reinvention of a French myth.
The prince of the mounts is called Assane Diop, son of Babacar (Ivorian actor Fargass Assandé), Senegalese immigrant victim of a terrible injustice at the hands of a sinister finance baron, Pellegrini (Hervé Pierre, ogresque member of the French). By filial piety as much as by malice, the young man became a thief of international stature, determined to avenge his father. In this endeavor, Assane Diop endangered the life of his own son, Raoul, whose kidnapping marked the break between the two halves of this first season.
Spirit of mystification
First announced for the end of the year and then for the summer, the conclusion of the fight initiated by the immigrant’s son against the pillar of society will not therefore have waited for the solstice to be put online. These fluctuations in the calendar were in any case only illusions, as Omar Sy agreed on France Inter: the date of June 11 was fixed for a long time. « but we did like it’s at the end of the year to surprise ”. We will put this manipulation to the account of the spirit of mystification that bathes the series rather than that of the algorithms that regulate the programming of Netflix, even if the second hypothesis is more likely.
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