Why Netflix’s Lowest Rated Original Series Is Actually A Win for Viewers

Mainstream audiences were predisposed not to like Pompidou.

The British television series, starring Matt Lucas (Little Britain) and featuring an anthropomorphic dog that seems to principally read while wearing glasses, is an all-visual comedy — characters communicate through noises, gibberish, and gestures, but actual words are rarely spoken. On paper, Pompidou certainly seems like it would be something on Netflix, something you would find in hidden in the middle of the endlessly scrolling comedy section. However, it’s not exactly the kind of program that you would imagine sporting the treasured “Netflix Original” logo.

Yet here we are.

At this point in television and streaming history, the term “Netflix Original” is synonymous with quality. House of Cards has won four Emmys and two Golden Globes for its first and second seasons. Critical darling Orange is the New Black won three Emmys for Season One, which doesn’t even cover how the show’s actresses, writers, and creator, Jenji Kohan, have become outspoken advocates for feminism, diversity, and the LGBT community (if you need proof, look no further than the spectacular Laverne Cox.) Even Netflix’s latest original series, Daredevil, has more than exceeded expectations, gaining wonderful reviews.

The streaming service deserves all the good buzz about its original programming because Netflix Originals are just good. Even lesser known shows such as BoJack Horseman and Peaky Blinders have been met with overwhelmingly positive reviews and star counts in the fours and fives.

That’s not the case with Pompidou. The show is currently averaging at a 2.1 stars rating from Netflix users. Even Jackass Presents: Bad Grandpa.5 averages at 3.6 stars. What gives?

At first glance, this seems to be a case of Netflix misreading its audience. The argument can be made that the British sitcom was never intended for American audiences, which is plausible. As of 2014, viewers in the U.K. account for roughly 3 million of the service’s subscribers. However, that’s not the case. Pompidou has a joint production deal with Netflix and BBC and is currently playing on BBC One on a weekly basis. Netflix’s involvement relies heavily on bringing the show to American viewers.

Also, the show’s all-visual format is not one that has been proven to be popular in recent years. Pompidou has largely been described as a Mr. Bean-esque sitcom, but even Rowan Atkinson’s visual antics were limited to only two or three sketches. Pompidou is the first all-visual half hour sitcom. That fact alone essentially transforms Matt Lucas’ creation into a six-episode experiment. The show wasn’t a safe bet.

However, it doesn’t matter that Pompiodu’s reviews are largely negative or that its Netflix rating is shockingly low for an original series. What matters is that Netflix is trying something truly new. The service is no longer constraining itself to only safe bets.

This is a far cry from Netflix’s start in original programming. The premise of House of Cards was constructed largely from big data algorithms designed to give viewers exactly the show they wanted. Even Netflix’s more experimental shows have the star and name power to make them successes. Jenji Kohen is still revered for creating Weeds. Daredevil isn’t just some no-name superhero series; Matt Murdock is a beloved character that comes with Marvel’s seal of approval. BoJack Horseman has Will Arnett, and Peaky Blinders stars Cillian Murphy. As gifted of a comedian as Matt Lucas is, he just doesn’t have the same name recognition in America as he does overseas. And that’s good.

I think what we’re seeing is a threefold expansion of Netflix’s original content.

1) Avoid creating programming that could be considered “traditional”

Investing in Pompidou, which is so very clearly an experiment in programming itself, reveals that Netflix feels comfortable enough in the market to be willing to take risks. After all, cult shows don’t become cult shows because they follow the standard play-by-play of typical television. Instead, they are innovative in some way or another. They capture something different about the human experience. Compare Arrested Development to almost any of the sitcoms of its time, and you’ll see that.

2) Develop programming aimed at international audiences

This partnership has also shown that Netflix may be more open to collaborating with audiences and creators oversees. Pompidou marks Netflix’s first investment in original comedy outside of the United States, and this global move makes sense. After all, one thing that sets the service apart is its more global reach. Hulu is still a U.S. only service, and while HBO does have a presence in several international markets, its streaming service currently remains only in the States.

Also, because of the show’s near-silent nature and reliance on sight gags, Pompidou seems pre-packaged to be appealing to a global audience. With episode titles such as “Hunger” and “Cold,” the series largely focuses on universally shared experiences that require little to no cultural explanation. This is miles away from Bojack or OITNB’s brand of pop culture-laced quips.

3) Recognizing that families are an underserved audience

Finally, but importantly, Pompidou reveals what may be Netflix’s next big focus: family programming. Netflix’s current lineup can be clearly divided between shows for kids and shows for adults, but that’s changing. Netflix just announced it will be making a 13-episode reboot of Full House — the show that is the epitome of wholesome family entertainment. Pompidou, a family-friendly comedy, can arguably be the first drop in the service’s family-focused bucket.

Recently, Netflix’s CEO Reed Hastings told the New York Times, “We want the original content to be as broad as human experience.” As odd as Pompidou is, it certainly represents a specific cross section of the human experience, one composed of distinctly British humor, base human needs, and film and television’s rich history of silent entertainment.

And how is this six-episode experiment? Quirky, unexpected, but overall enjoyable. There are few things out there like Pompidou in the world and rightfully so. It’s similar to some of Adult Swim’s more obscure content in that it will only take a few minutes for viewers to decide whether or not the show is for them.

And if the show proves too strange for you, open up a bottle of wine and drink away. Trust me when I say that it plays even better when you’re tipsy.

[You can stream Pompidou on Netflix]

Kayla Cobb is a proud graduate of Clemson University and loves her cat and TV shows more than some people love their kids. You should really follow her on Twitter at @KaylCobb.

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