Drive to Survive viewing figures tumble as Netflix reveals season six audience

Sam Cooper
The Drive to Survive season six logo

Drive to Survive has spawned similar stye docu-series in other sports.

Netflix’s Drive to Survive has lost 23.2% of its viewers after the sixth season arrived on the streaming service.

The F1 docu-series has been a huge hit for Netflix since debuting in 2019 but it would appear the audience is beginning to fall away.

Figures released by Netflix show that 2.9 million viewers watched it during the first three days, a drop of 23.2% from the previous year.

Drive to Survive suffers audience loss following release of season six

Drive to Survive has no doubt had a huge impact on F1 with more fans flocking to the series but it has also come in for its fair share of criticism such as creating false narratives and not portraying races in the correct order.

And the latest viewing figures would suggest there is some fatigue with the show following the release of its sixth season.

As first reported by F1 broadcasting journalist Dave Nelson, 23.2% fewer people tuned in to watch the series in its first few days of release.

Of those that did, there was a sharp drop off with 21.8 million hours consumed compared to the 25.76 million hours of last year, a 15.4% fall.

Netflix is famously secretive about full viewing figures but Drive to Survive is clearly one of its more successful shows given the streaming giant’s desire to create similar docu-series in golf and tennis.

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Shortly before the launch of season six, executive producer James Gay-Rees spoke to F1.com on how they had more footage than ever before to work with

“With the nature of the show, you have to shoot a lot of material in order to get an episode,” he said. “We don’t use quite a lot of stuff, because editing is just a brutal process, but they all do give a lot, which we’re extremely grateful for.

“Any ‘access show’ basically works on the basis of 20 to one, so for every 20 hours you shoot you can use one hour. That’s just an industry rule of thumb. It might be 10 here, 30 for others, but that’s not unheard of for all these shows.

“If you’re shooting a show about an airport or a hospital you’ll shoot way more than you use by definition. It’s observational film-making; you’re not shooting a fixed script, you’re shooting material, which you then pull together to make episodes.”

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