
Crime thriller crowned Netflix's most watched Scottish show with 25 MILLION views
GET IN THE Q
GET IN THE Q Crime thriller crowned Netflix's most watched Scottish show with 25 MILLION views
Click to share on X/Twitter (Opens in new window)
Click to share on Facebook (Opens in new window)
CRIME thriller Dept. Q has been crowned Netflix's most-watched Scottish title this year.
The Edinburgh-set detective drama clocked up 25.4 million views on the streaming platform during the first half of 2025.
Sign up for the Entertainment newsletter
Sign up
3
The drama has been a hit on the streaming site
3
Dept. Q beat Baby Reindeer
The series features Matthew Goode as Detective Chief Inspector Carl Morck, an emotionally scarred detective who becomes the head of cold case unit, and was only released on May 29.
Netflix has released viewing figures for its entire catalogue in its What We Watched report.
Dept. Q held off competition from comedian Richard Gadd's drama Baby Reindeer, some of which was filmed in Edinburgh, to be the top Scottish-based show or film between January and June.
Baby Reindeer, which depicts the story of a stalker who harassed Gadd over a number of years, clocked up 4.2 million views over the six-month period.
Meanwhile, time travel historical drama Outlander also proved popular on Netflix. The seventh series had 2.8 million views while the first series had 2.6 million.
The viewers have all come from overseas because Outlander, which stars Sam Heughan and Caitriona Balfe, is not available to watch on Netflix in the UK.
Hit Scottish comedy Still Game was also a big hit for the streaming platform. The second series of the sitcom, starring Ford Kiernan and Greg Hemphill as pensioners Jack and Victor, had the most views at 600,000.
The most popular Scottish-based film on Netflix was Outlaw King, which stars Chris Pine as Robert the Bruce. The 2018 movie, which tells the story of how Bruce led 500 men to defeat the larger and better equipped English army, was viewed 2.9 million times.
Other Scottish titles on the list included the Trainspotting sequel T2 and a Kevin Bridges stand-up special which were both watched 100,000 times.
The Stephen Graham drama Adolescence was the most-watched Netflix title overall with 145 million views.
Netflix viewers brand new crime thriller 'the best since Baby Reindeer' as it achieves a 100% Rotten Tomatoes score
In a statement, Netflix said: "Watchtime - or engagement - is our best indicator of member happiness. When people watch more, they stick around longer and recommend Netflix to others.
"This report, which captures viewing in the first half of 2025, shows that people watched a lot of Netflix - over 95 billion hours - spanning a wide range of genres and languages.
"It's why we continue to invest in a variety of quality titles for various moods and tastes and work hard to make them great."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

The National
an hour ago
- The National
More Scots should benefit from Scotland's screen industry, John Swinney says
JOHN Swinney has said more needs to be done to increase the number of Scots benefitting from Scotland's screen industry. The First Minister had invited guests from across Scotland's creative industries to the headquarters of the Edinburgh International Festival on the eve of the capital's festival season. Swinney addressed the audience, where he spoke about the 'immense value' Scotland's creative industries provide and highlighted that the country's screen industry has grown at a scale that 'simply wasn't possible' before the establishment of Screen Scotland. He added that Scotland becoming a hotbed for film and TV shows has led to an explosion in the number of home-grown productions along with new and expanded studios and infrastructure, while creating a 'wide range of skills and educational opportunities'. READ MORE: Labour's governing fiasco shows Scots the urgency of independence, says John Swinney However, a number of people working in a variety of roles in the screen industry have told The National previously that production companies are prioritising crews from London over people in Scotland. The National understands that studio space across Scotland is fully booked for the remainder of the year, but despite a boom in filming in Scotland, Scottish workers in the industry are not given the opportunities to be a part of it. Speaking to The National, Swinney said that the Scottish Government needs to 'make sure' that there is better access to screen infrastructure for Scots, adding that there needs to be more recognition of the 'economic benefits' the sector brings. He said: 'I suppose there's a point about essentially the effects of success that is leading to a congestion and access to screen infrastructure. 'Now what we've got to make sure is that we have enough capacity and it's available in a financially sustainable way to meet the needs of the screen industry in Scotland. 'It's an area where we've got Screen Scotland, who's done a superb job as you heard me saying in the in the auditorium, but, we've also got to look at what might need to be deployed through economic development support and advice through Scottish Enterprise and other organisations to make sure we've got all the capacity that we require. Swinnney added: 'Because if we've got incrementally a growing strength within our screen center we should be realising the economic benefits and advantages of that. 'Of course, our college and university community will be producing talented individuals who can play a part in that, and we've got to make sure that we've got enough capacity and opportunity for that to be the case.' Swinney added that his and his Government's role is to assist artists in any way they can. The First Minister went on to make a plea to those in the industry and to wider society to look at how the arts can be better supported financially as the Government looks to boost funding to £100 million annually in the coming years. 'I'm asking that from crowdfunding to patronage, to philanthropy to local authority support and much more, we all ask ourselves how can we do more to support the arts from the grassroots up?' he said. 'How can we better support emerging artists that don't necessarily fit the current mould? 'And how, in particular, can Scotland's emerging businesses in new sectors become the new generation of patrons of the arts and culture in Scotland? 'How do we incentivise a new guard of custodians and investors in Scotland's creative economy?' Speaking to journalists after his speech, Swinney said he is open to discussions about new legislation to support the cultural sector. He said there is a sense that local authorities 'might not have a particularly explicit statutory duty to support artistic and cultural activity', suggesting this area 'might need to be strengthened'. The First Minister also spoke about how he would be a protector of freedom of speech. 'I also know that freedom of expressing is under greater and greater attack, both at home and abroad,' he said. 'I want to ensure that Scotland, the birthplace of the Enlightenment, remains a country of robust debate and inquiry. 'I firmly believe that art and culture must be able to challenge us, to ask us tough questions, and to force us to look at things from different perspectives. READ MORE: Peers' bid to stop UK recognising Palestine as a state blasted as 'deplorable' 'And, yes, it must, at times, be allowed to shock and offend us, but it can also heal us. 'Let me be absolutely clear – as First Minister, I will always protect freedom of speech in our country. 'It's not the First Minister's job to tell you what to create, nor would I ever seek to do so.'


Daily Record
an hour ago
- Daily Record
The Scheme's Marvin says it's a miracle he's alive - after hundreds of last chances
Marvin Baird has been through umpteen jail sentences probation and overdoses, all down to drugs. But he now vows to get drug free and qualify as an addiction counsellor The Scheme star Marvin Baird claims that his very survival is a miracle after 'hundreds of last chances'. The chaotic and drug-addled life has been documented in technicolour the 15 years since the Ayrshire-based documentary first aired in 2010. But despite suffering overdoses and enduring several prison terms for drugs offences, Marvin claims he is now on the brink of a drug free life. He has set himself four 'achievable' objectives that all lead to him gaining a qualification to be a drugs support worker. And Marvin is now offering support to members of the recovery community in Kilmarnock. He said: 'I am as straight as I've been for years and I have laid down four objectives that I really think are achievable. 'I want to pass my driving test, get my house done up, get clean of all drugs, including methadone, and get qualified to be a drugs counsellor. 'I'm now miles ahead of anywhere I've been in a long time and I'm determined to make it all come together. 'I know better than anyone that it's a miracle that I'm still alive after what I've been through and I've seen scores of people die in Kilmarnock from overdoses. 'I've had so many last chances - hundreds of them probably - but I'm going to take this one.' Marvin, 45, became a star after he and partner Dayna McLaughlin allowed a fly-on-the-wall film crew to record their lives as drug addicts in the tough Onthank scheme in Kilmarnock. Since then he has been preyed upon by gangsters and spent a large proportion of his life in jail or on probation for drugs offences. Marvin said he is aware that the hard drugs scene has changed dramatically in recent years - and is now more deadly than ever after a wave of new super-strong opiates hit the streets. The Daily Record has revealed this week how drug deaths are spiralling again due to the spread of these new Nitazene drugs. Marvin said: 'I'd be scared to touch heroin these days because every day it seems someone has had an overdose and so many people are dying. 'I know people who watched The Scheme or read the papers might think I'm a bit of a waster but I come from a good family and I had a good upbringing. I'm now determined to show them that I can turn my life around. 'I'm 46 in September and by the time I'm 50 I want to be drug free and working as a counsellor." Marvin said his communication skills and traumatic life make him a perfect ear to listen to. He said: 'I know that I'm a good communicator and I definitely know what I'm talking about when it comes to drug addiction because I've lived it. 'I think I can make a connection with people and help them turn their own lives around.' In March last year Marvin dodged prison for heroin possession after a sheriff heard his 'life is looking up.' Looking visibly healthier and sporting new implant teeth, Marvin admitted at Kilmarnock Sheriff Court to being caught with three wraps of the drug at his home in 2023. He escaped with a £600 fine after lawyer Callum Armour told the court: 'It's been a lifelong battle for him. He's had a long period of abstinence. 'It tells me that his life is looking up at the moment.' Those claims were quashed when Marvin was later caught smoking heroin, which led to a Drug Treatment and Testing Order being applied to him, which he claims has helped him stop taking heroin. Annie Brown, founder of the Patchwork Recovery Community in Kilmarnock, said Marvin has been an active participant in group discussions and has helped people with the benefit of his own experience. She said: 'Marvin is very well known in Kilmarnock and elsewhere but here he is just part of the group. 'It might surprise a few people to know that he is a very good communicator and he has a lot of empathy. 'We are wishing him all the best with his recovery.' Marvin's turnaround is in contrast to some other reality stars from The Scheme. Marvin, his partner Dayna and his dog Bullet became household names when the show became a surprise hit. The first episode of The Scheme attracted more than 300,000 viewers while more than 500,000 watched subsequent episodes. Marvin's 'Happy as Larry' catchphrase made him the biggest star in the show. But it was dropped after MSPs expressed concern about the BBC 'exploiting' poor people for entertainment. In 2011, ex-Scottish Tory leader Ruth Davidson branded The Scheme 'poverty pornography'. Join the Daily Record WhatsApp community! Get the latest news sent straight to your messages by joining our WhatsApp community today. You'll receive daily updates on breaking news as well as the top headlines across Scotland. No one will be able to see who is signed up and no one can send messages except the Daily Record team. All you have to do is click here if you're on mobile, select 'Join Community' and you're in! If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose 'exit group'.


The Guardian
2 hours ago
- The Guardian
How KPop Demon Hunters became the surprise Netflix smash of the summer
School is out, young audiences are available, and yet still, Hollywood animation is having a bad summer at the box office. In contrast to last year, when Inside Out 2 and Despicable Me 4 occupied two of the season's top three (and combined for about $2.7bn worldwide), it seems entirely possible that not a single fully animated movie will crack the top 10. Adding insult to injury: the Disney-Pixar original Elio has been trounced by 'live-action' remakes of Lilo & Stitch and How to Train Your Dragon, which faithfully reproduce old cartoons with bland new actors and CG visual effects. With younger audiences steered toward those movies and seemingly also welcomed into big-tent hits like Superman and Jurassic World: Rebirth, it's all the more remarkable that Netflix has somehow managed to have its biggest animated movie ever. KPop Demon Hunters, about a trio of women who form a pop group while moonlighting as, yes, demon hunters, was released in June – on the same weekend as Elio, no less – and has become a soundtrack-selling, replay-friendly phenom. Netflix numbers can be opaque, but there's confirmation in Golden, a centerpiece song from the movie, hitting #2 on the Billboard charts. When was the last time a Disney movie made a play for song of the summer? Animation seems like a safe bet for budget-conscious streaming content. After all, the much-lamented cost of a movie ticket is tripled or quadrupled when bringing a family (and then maybe tripled again if they want snacks). On a per-person basis, streaming a new cartoon is the more affordable option. But even after poaching film-makers from major animation studios, the streamers have struggled with original material; Netflix's The Sea Beast isn't anywhere near as good as Moana, with which it shares a co-director, and its Over the Moon (the directorial debut of Glen Keane, a longtime Disney animator) is downright ghastly. Spellbound, from Skydance's attempt to start their own animation house led by the disgraced former Pixar honcho John Lasseter, arrived with barely a peep last Thanksgiving. Most of the time, the Netflix charts are dominated by older animated titles from established studios like DreamWorks and Illumination. So why did KPop Demon Hunters break through? Maybe it helps that it isn't an in-house Netflix production; the movie was actually produced by Sony Pictures Animation, the studio that worked such genre-bending magic with the Spider-Verse movies. KPop isn't quite as ambitiously style-forward as that series, but it shares the same basic visual approach of intentionally choppy but eye-catching, shapeshifting animation that imitates both comic-book splash pages and anime, splattered in purple and pink hues. It's not clear when Sony decided they would pursue a streaming release, but Netflix previously distributed the similarly manic (and original) The Mitchells vs the Machines when the pandemic delayed its planned theatrical release. The Netflix-Sony cartoons seem to indicate that maybe there's more cultural cachet in standing out from the animation crowd, rather than doing off-brand versions of Disney-style songs and Pixar-style secret worlds. In particular, KPop Demon Hunters seems freer to capitalize on a cultural trend than its mainstream competition. Disney has become so self-conscious about its own iconography that its last non-sequel in-house animated feature, Wish, was an extended 100th-anniversary celebration for its parent company, packed with references to their animated classics. Their big release for this fall is Zootopia 2, a stringing out from a great original idea they debuted almost a decade ago. The other big US animation houses are similarly sequel-fixated; the last big animated release of the summer is The Bad Guys 2, from DreamWorks. Not only is KPop Demon Hunters not a sequel, nor even a comics adaptation, it feels engaged with a world outside of its parent company, no matter how heightened its wild fantasy action becomes. By making the central characters a K-pop group, the movie finds something that breaks the princess/talking animal/scrappy kid hegemony. It's about young-adult characters with major responsibilities (even if those responsibilities involve the equally fantastical pop-girlie grind and Buffy-esque demon-fighting), carried out with an aspirational big-sister energy that younger kids can watch with wide-eyed admiration usually reserved for Disney princesses. American interest in K-pop may have even peaked; technically, the optimal time for this movie might have been circa 2021 – not coincidentally, the year the movie's production was announced. But though KPop Demon Hunters has some adult themes and scary monsters, it's also pitched young enough that it's almost better-equipped than if it had come at the height of the BTS craze. The movie very much repackages K-pop for an even-broader audience of native English speakers (something K-pop itself has been doing for years at this point) in a way that draws from the trend's fandom without relying exclusively on it. Demon Hunters also constructs a fantasy version of the pop machine, particularly the astonishing levels of training received by a lot of K-pop acts; here, all the girls' hard work is entirely at the behest of their own artistic vision, and they rise-and-grind off the couch voluntarily, not because a music label is forcing them. It's probably no accident that the lower reaches of the movie's audience are probably also discovering their own music for the first time – and making their preferences known on the charts, as a whopping nine songs from KPop Demon Hunter are currently on the Billboard Hot 100. That closeness to the pop world also allows the movie to make pop stars its dauntless heroines and devious villains all at once. (The demons disguised as a boy band sing an infectious ditty called Soda Pop that even the movie's demon-savvy characters can't really resist.) So much pop taste formation involves sussing out what you find irresistible versus what you find deeply annoying, two qualities that can reverse themselves with surprising ease. Even if KPop Demon Hunters is ultimately more about self-acceptance and friendship than the dynamics of pop music, it's letting a younger audience try out pop fandom. In that way, it welcomes those viewers into the kind of faux-grownup world that they often get from PG-13 live-action superhero movies. As with superheroes, the response to this movie's success will mostly be 'make sequels to this specific movie, forever' with a possible dash of 'streaming animation is really happening this time!' It shouldn't be, though. In the wake of so many sequels from Disney, Pixar, Illumination and DreamWorks, KPop Demon Hunters is a reminder that kids in particular hunger for novelty, probably more so than their nostalgia-drunk adult counterparts. Despite their ongoing enthusiasm for any number of cartoon franchises, family audiences aren't just waiting around for Despicable Me 5. They are hoping, conscious or not, for something with more pop.