‘Ginny And Georgia' Season 3 Premieres Weirdly Low On Netflix's Top 10 List

Forbes19 hours ago

Ginny and Georgia
Netflix
One of Netflix's biggest hits, Ginny and Georgia, has returned for a long-awaited season 3 after an enormous time gap that left season 2 on a cliffhanger. Now, while Ginny and Georgia has returned for season 3, I am surprised to see where it's debuted on the Netflix top 10 list.
As we speak, after yesterday's release and today's top 10 list update, Ginny and Georgia is all the way down at #8 on the top 10 list, unusual for a show you would imagine would debut near the top, if not assuredly #1 given its history of success on Netflix.
What's going on here? I'm not precisely sure. It just doesn't track that seven other shows would be higher than the return of Ginny and Georgia, which has commanded tens of millions of Netflix viewership hours. Rather, Sirens, the sister-based drama starring Meghann Fahy and Milly Alcock has been planted at #1 for two weeks and remains there now.
Weirdly, the Netflix banner for the show actually says it's #1 on the Top 10 list despite it saying #8 literally right above that. Maybe this is a technical issue?
Ginny and Georgia
netflix
One theory about Ginny and Georgia's performance is simply that many people didn't get the memo that it's returned, given the sheer wait time between seasons. It has been almost two and a half years exactly between season 2 and 3, where season 2 was out on January 5, 2023, and season 3 just came out on June 5, 2025.
Even in this streaming era of lengthy waits, that's usually 1.5-2 years. 2.5 is really pushing it, especially for a series that should not require any vast amount of VFX work or a hyper-busy A-list cast.
There have been social media jokes about how the show has taken so long to get through three seasons, Ginny's younger brother Austin, played by Diesel La Torraca, has grown roughly two feet and looks sort of absurd now if the show is claiming he's the same character age in a shorter period of time.
I do expect viewership of Ginny and Georgia to pick up, but this is certainly strange to see with a show this high-profile that was supposed to be anticipated by fans. Again, maybe many just didn't know it was out and weren't tracking the marketing being done. Or there wasn't enough marketing in the first place.
The moral of the story here is that Netflix has to stop these insanely long gaps between seasons of shows. It's exhausting for audiences and ridiculous for a show like Ginny and Georgia in particular. But who knows when this trend will end.
Follow me on Twitter, YouTube, Bluesky and Instagram.
Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.

Hashtags

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Misty Copeland Changed Ballet. Now She's Ready to Move On.

New York Times

22 minutes ago

New York Times

Misty Copeland Changed Ballet. Now She's Ready to Move On.

After 25 years with the company, Misty Copeland is retiring from American Ballet Theater. While the departure of ballet's biggest crossover star is certainly a momentous occasion, it's also not exactly a surprise. The 42-year-old has been away from the Lincoln Center stage for five years, spending that time raising a son with her attorney husband, Olu Evans, and working with her namesake foundation, which aims to bring greater diversity, equity and inclusion to the dance world — at a time when that mission is newly fraught. Copeland will give a farewell performance with A.B.T. this fall, putting a cap on a career that was both groundbreaking and improbable. She grew up in near poverty in Southern California and was frequently homeless, her mother struggling to make ends meet for Misty and her five siblings. Eventually, she found solace and stability in dance, though she didn't seriously pursue the art form till she was 13 — late for a budding ballerina. Despite that, and the historical struggles for people of color to break into the often hidebound world of classical dance, she eventually joined A.B.T. in 2001, and after a 15-year climb, she became the first Black woman ever to be named a principal dancer with the company. Speaking with me last month, Copeland explained that although she was personally at peace with the decision, she also knows that she is stepping away at a difficult cultural moment. The whole idea of D.E.I., the value of which she came to both embody and now works to promote, is under political attack, and arts institutions are being forced to reckon with partisan antagonism. So there was a lot for her to wrestle with as she looked back on the legacy she will leave behind and ahead to the rest of her life. Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio App You've been ramping down dancing for a while. Why does now feel like the time to make an official retirement announcement? In all honesty, I've wanted to fade away into the background, which is not really possible. The legacy of what I've created, the way that I'm carrying so many stories of Black dancers who have come before me — I can't just disappear. There has to be an official closing to my time at American Ballet Theater, this company that has meant everything to me. It was in 2019 that I was processing that I think this is the end of this chapter, and though I wasn't saying it out loud to the world, I've already moved on to that next place of what I want to be doing. Want all of The Times? Subscribe.