GP RACING APRIL 2020 51
the team was dressedup inretro costumes.
The standout scene of the whole series is post-
race in the Mercedes debrief room. Hamilton
is a broken man after crashing
out of the lead and then losinga
minute in the pitlane as the team
fumbles over what tyre set to fit
while changingthe f ront wing. He
cannot understand his mistake
or come to terms with it. “I’m so
fucking sorry,” Hamilton tells Wolff.
“I’m distraught.” He’s suddenly
vulnerable; a soon-to-be six-time
world champion, the greatest driver
of his generation, standing like a child,stroking
his face, is a classic tell of insecurity and desireto
reassure oneself.
Of course what makes thispure TV gold is
the unique access Netflix gets, far superior to
anything granted to Sky or the other majorbroadcasters, who pay much higher rights fees.
This has caused some tensionswith Liberty,
although the broadcasters recognise the job the
Netflix series is doing for the sport.
WatchingDrive to Surviveyou realiseit wins
hands down over the live broadcast becausethe
producers have both the access andthe time
to reflect.Netflix tells a more authenticstory
which makes itso ap pealing.It can access the
meaningful radio conversationsbetween the
teams and the drivers, which don’t alwayscome
across on liveTV.
When you think all of this through you see that
TV commentators and viewers are effectively
“outsiders”, only
getting a small part
of the story. This is
something F1will now
need to address for the
live TV coverage.
It can also learn
from the emphasis
on engagement in the
camerawork; shots
of the mechanics and
engineerswatching races are closer up and more
personal than the live TV coverage, so emotions
are more raw and youcan really feel how
committed andengaged the supportteams are.
While I enjoyed season two hugely and could
watch it many times, I have threecriticisms.The first isthat it is very male dominated. Of
course this reflects thespor t to some extent, but
in reality it’s less so thesedays than comes across
here. Another would be that a great opportunity
is missed to run some sustainability narrative
through the story and drop in references for the
casual fans about how F1 is a research lab for
the automotive industry, driving the amazing
efficiency of the hybrid engines. It only needs the
odd beat here and there to plant an important
message in audiences’ minds.
Finally, the producers seemto have fallen into
a classictrap, one hard to avoid for newcomers.
In year twothey’ve been drawn intothe world
of F1 as they’vegot to hangout with the people.
The risk isthat as Netflix has become partof the
scene itself, it has lostthat someof that detached
perspective that made season one so unique.
And quite frankly, there is too much racing in
it. I never thought I’d hear myself say that.WithaccesstoMercedesandFerrari
thistimearound,seasontwoof
Drive toSurvivehascontinuedto
attractnewfanstoF1“THE RISK IS THATAS NETFLIX
HAS BECOMEPART OF THE
SCENE ITSELF, IT HASLOST
SOME OF THAT DETACHED
PERSPECTIVE THAT MADE
SEASON ONE SO UNIQUE”
JAMES ALLENGP RACING APRIL 2020 51
the team was dressedup inretro costumes.
The standout scene of the whole series is post-
race in the Mercedes debrief room. Hamilton
is a broken man after crashing
out of the lead and then losinga
minute in the pitlane as the team
fumbles over what tyre set to fit
while changingthe f ront wing. He
cannot understand his mistake
or come to terms with it. “I’m so
fucking sorry,” Hamilton tells Wolff.
“I’m distraught.” He’s suddenly
vulnerable; a soon-to-be six-time
world champion, the greatest driver
of his generation, standing like a child,stroking
his face, is a classic tell of insecurity and desireto
reassure oneself.
Of course what makes thispure TV gold is
the unique access Netflix gets, far superior to
anything granted to Sky or the other major
broadcasters, who pay much higher rights fees.
This has caused some tensionswith Liberty,
although the broadcasters recognise the job the
Netflix series is doing for the sport.
WatchingDrive to Surviveyou realiseit wins
hands down over the live broadcast becausethe
producers have both the access andthe time
to reflect.Netflix tells a more authenticstory
which makes itso ap pealing.It can access the
meaningful radio conversationsbetween the
teams and the drivers, which don’t alwayscome
across on liveTV.
When you think all of this through you see that
TV commentators and viewers are effectively
“outsiders”, only
getting a small part
of the story. This is
something F1will now
need to address for the
live TV coverage.
It can also learn
from the emphasis
on engagement in the
camerawork; shots
of the mechanics and
engineerswatching races are closer up and more
personal than the live TV coverage, so emotions
are more raw and youcan really feel how
committed andengaged the supportteams are.
While I enjoyed season two hugely and could
watch it many times, I have threecriticisms.The first isthat it is very male dominated. Of
course this reflects thespor t to some extent, but
in reality it’s less so thesedays than comes across
here. Another would be that a great opportunity
is missed to run some sustainability narrative
through the story and drop in references for the
casual fans about how F1 is a research lab for
the automotive industry, driving the amazing
efficiency of the hybrid engines. It only needs the
odd beat here and there to plant an important
message in audiences’ minds.
Finally, the producers seemto have fallen into
a classictrap, one hard to avoid for newcomers.
In year twothey’ve been drawn intothe world
of F1 as they’vegot to hangout with the people.
The risk isthat as Netflix has become partof the
scene itself, it has lostthat someof that detached
perspective that made season one so unique.
And quite frankly, there is too much racing in
it. I never thought I’d hear myself say that.WithaccesstoMercedesandFerrari
thistimearound,seasontwoof
Drive toSurvivehascontinuedto
attractnewfanstoF1“THE RISK IS THATAS NETFLIX
HAS BECOMEPART OF THE
SCENE ITSELF, IT HASLOST
SOME OF THAT DETACHED
PERSPECTIVE THAT MADE
SEASON ONE SO UNIQUE”
JAMES ALLEN