A couple of seasons into the run of Netflix’s System 1 docuseries “Drive to Survive,” the racing league’s governing physique, the Fédération Internationale de l’Vehicle (FIA), offered the platform with a deck containing proof of “the Netflix effect.” Because the sequence premiered in 2019 as a part of a concerted effort to broaden the game’s footprint within the U.S., officers had seen social media engagement, merchandising, attendance and rankings for race telecasts enhance in its least-penetrated main market.
“It’s tough to totally decouple — Formula 1 was doing a lot of great new stuff, you had a broadcast partner in ESPN that was also prioritizing it, and you had a partner in Netflix that was promoting the sport through the docuseries,” recollects Brandon Riegg, vice chairman, nonfiction sequence & sports activities, on the streamer. “But they for sure were very generous and said, ‘We attribute a lot of this to Netflix.’ And when you saw the gains that they made across many categories, it was impressive, and I felt like we could take credit for at least a portion of that.”
Now System 1 is poised to return the favor.
With the premiere Friday of “Senna,” a scripted miniseries concerning the life and profession of Brazilian F1 legend Ayrton Senna, the championship’s wealthy lore — replete with archival footage and FIA authorization to reconstruct races, podiums, logos, uniforms and observe layouts from Senna’s heyday — turns into the supply materials for one more evolution in some of the revolutionary relationships in sports activities leisure.
“It becomes almost like an origin story for F1,” says “Senna” showrunner Vicente Amorim. “You love ‘Drive to Survive’? You’re an F1 fan? You’re maybe thinking of watching the ‘F1’ movie next year? Maybe have a look at how it all started.”
If Warner Bros.’ 2025 function, developed in collaboration with the FIA and starring Brad Pitt, represents the game’s promotional marketing campaign on the scale of a Hollywood blockbuster, “Senna” flows as a substitute from Netflix’s distinct method to worldwide tv. The six-part sequence, which follows its dashing hero from his karting days in São Paulo to his tragic dying, at 34, through the 1994 San Marino Grand Prix, was produced in Brazil, filmed largely in Portuguese and relied on Latin American artisans, notably within the creation of its astonishing duplicate automobiles. It’s the identical regional mannequin that created crossover hits equivalent to “Élite” and “La Casa de las Flores,” utilized to some of the profitable drivers in F1 historical past.
“We really made those shows thinking they would be huge in Spain and Mexico, respectively, and I think it’s precisely their authenticity and their very specific local value, culture, look and feel that made them unique for their own countries and then globally appealing,” says Francisco Ramos, Netflix’s vice chairman of content material Latin America, who labored on each titles. “What we’ve discovered, through this journey of almost 10 years making local content outside of the U.S., is that the most accurate, authentic stories that properly represent the cultures from which they come are the ones that are able to find resonance outside of their home territory.”
Conceived by the racer’s household and Brazilian manufacturing firm Gullane, “Senna” got here to Netflix after plans for a function movie hit inventive and monetary roadblocks — and shortly discovered a loyal fan in Amorim, who vividly remembers Senna’s zenith within the late Eighties and early Nineteen Nineties, when he received three world championships. “It becomes almost like a religion,” Amorim says of rising up in Brazil throughout this era. “Every Sunday, you turn on the TV to watch Senna probably win.”
Though its focus is the triumph and tragedy of Senna’s profession, in addition to his relationships along with his dad and mom, Miltão (Marco Ricca) and Zaza (Susana Ribeiro), and his glamorous pop star girlfriend, Xuxa (Pâmela Tomé), “Senna” can be the story of a fast-modernizing sport, one on the cusp of turning into the glitzy world juggernaut it’s immediately. In 1994, the yr Senna died, the F1 world championship consisted of 16 races, 11 of them in Europe; 30 years on, the season now spans 24 races on 5 continents, together with three in america alone. And Senna himself — good-looking, media savvy and impatient with the Previous World politics he present in F1 when he joined the circuit in 1984 — was instrumental in setting the transformation in movement. As Amorim places it, “There’s an F1 ‘Before Senna’ and an F1 ‘After Senna.’”
Gabriel Leone as Ayrton Senna, proper, with Matt Mella as Senna’s teammate and rival Alain Prost.
(Alan Roskyn / Netflix)
The make-up of the “After Senna” F1 fan base is, in truth, a big a part of why Netflix has invested a lot in its partnership with the game. Though the FIA first envisioned “Drive to Survive” as a strategy to attain American viewers, in accordance with Riegg, Netflix noticed the docuseries as a “hedged bet”: If it did not catch on within the States, it nonetheless had potential in different international locations the place Netflix operates that had established F1 followings.
Ultimately, “Drive to Survive” boosted curiosity in F1 not solely within the U.S. but additionally globally: When the FIA offered Netflix with its deck concerning the sequence’ influence, “They made gains in some of the markets they thought were the most mature, including Brazil and Italy and Spain,” Riegg says.
Though Ramos insists that “Senna,” which was first introduced in 2020, was not expressly supposed to “feed off” the success of “Drive to Survive,” in some ways it epitomizes the identical effort to diversify output and viewers that has outlined Netflix’s enterprise in recent times. The discharge of promotional artwork and the trailer for “Senna” attracted curiosity not solely in Brazil but additionally in different F1 strongholds like Mexico, Argentina, Italy and Japan, whereas the docuseries could be mentioned to have primed the pump for potential viewers in locations just like the U.S. which have a much less established F1 following.
“During the process of getting this developed and made, ‘Drive to Survive’ became bigger and bigger,” Ramos says. “That’s not the way we planned it. … But for sure there’s a benefit that I cannot steer away from.”
The profit may additionally work in reverse, Riegg acknowledges, creating an opportunity “to broaden the funnel or the entry point for people that are going to become fans of Formula 1 in general, whether that’s the races or something like our documentary series.”
It’s an opportune second for Netflix’s relationship with F1 to evolve, as “Drive to Survive” confronts its first actual headwinds after years of viewership progress.
“I think there’s been a stabilization of the viewership the last couple seasons,” Riegg says. “It did the first few seasons continue to grow consistently and — I guess ‘plateau’ is one word — then found its audience. There’s a natural ebb and flow on all of these shows, especially the sports shows, or even our dating shows, which is analogous in certain ways, where some seasons you just have stronger stories than others. I think part of what F1 deals with that’s somewhat different than some of the other sports is you’ve had a winner in Max [Verstappen] and a team in Red Bull that’s really dominated for many seasons in a row so there’s sort of been less suspense and perhaps drama over the course of the season.”
What’s not but on the desk for Netflix, Riegg emphasizes, is stay System 1 racing, though the FIA’s present U.S. tv deal, with ESPN, expires in 2025. And it’s not due to the challenges the platform has confronted in scaling up its capability for stay programming, most lately through the boxing match between Jake Paul and Mike Tyson, which led to widespread complaints of freezing, buffering and poor picture high quality. It’s as a result of Netflix’s present focus vis-a-vis stay tv is on one-off occasions, fairly than on a season-long dedication. “We’re in the crawl, walk, run phase,” Riegg says. “We’re definitely not in that business right now.”
And as “Senna” itself understands, it’s commerce as a lot as horsepower that makes the wheels of the game flip. “F1 is a business,” Amorim says, repeating a real-life line from Senna rival Terry Fullerton that’s included within the sequence. “Except for two hours on Sunday.”
