Netflix fans have claimed they are hooked from the very first scene
12:50, 04 Nov 2026Updated 12:50, 04 Nov 2026
The show has been compared to High Potential(Image: ABC)
Netflix’s latest addition has left fans immediately hooked and binging as many episodes as possible.
An ‘intense’ crime thriller is now available on the streaming giant’s platform. Some have already claimed that it is better than other popular shows such as High Potential and The Rookie.
Dozens of episodes of Will Trent have recently been added to the streamer’s ever changing library. The show is based on a series of novels written by Karin Slaughter. The author penned a dozen books featuring the character as recently as 2024.
Like the original stories, the series follows Special Agent Will Trent who was abandoned at birth and endured a harsh coming-of-age in Atlanta’s overwhelmed foster-care system. This had a lasting effect on him and, despite being dyslexic, he rose the ranks at the Georgia Bureau of Investigation.
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He is highly observant and determined to make sure that nobody else feels as he did. Despite achieving the highest clearance rate of cases in his department, he finds this causes some friction on the team.
While it originally aired in the US back in 2023, the first three seasons of the show are now available on Netflix for UK based subscribers. Even better news is that if users find themselves binge watching it quickly enough, they can find the fourth over on Disney+, with a fifth season expected to release early next year.
Some even suggest that it is superior to similar crime dramas, in particular a few very popular ones considered to be in the more ‘cosy crime’ subgenre. A fan shared on Reddit : “I think most people will agree with this, but I haven’t seen it mentioned before, so… Will Trent gets lumped together with The Rookie and High Potential but I think it’s better, deeper, darker and funnier than the others.”
Another agreed and replied: “I agree with you. I only lump together those other shows with Will Trent because they’re the same kind of procedural drama. I think Will Trent is of a higher calibre, though. Also, as a mother through (private) adoption, I think the foster care angle is very well done, for the most part.”
One fan claimed: “I think Will Trent stands alone. It is truly the most unique show, with the most intense scenes — I feel the same way about them that I do when watching The Pitt.”
Someone else added: “I jumped so hard in the first episode! I was hooked and couldn’t stop! I gobbled up the first three episodes voraciously! I have been binge watching the series since.”
Other viewers have shared their recommendation online stating they were hooked from the first scene. Someone else made a different comparison as they posted: “I love this show it’s like Monk combined with Elementary. Quirky Sherlock type with a bad upbringing and makes it work despite his dyslexia and his on-again-off-again relationship with a fellow cop.”
It tells the remarkable true story of a resistance hero and his courage in the face of terror during World War Two
Number 24 has been hailed as ‘outstanding’(Image: IMDB)
There is no shortage of films about the Second World War, but this “masterpiece”, now streaming on Netflix, tells the long-forgotten tale of one man’s extraordinary bravery in the face of unimaginable terror.
The Norwegian film draws on the real-life experiences of resistance fighter Gunnar Sønsteby during the conflict. Starring Sjur Vatne Brean in the lead role and helmed by director John Andreas Andersen, Number 24 charts Sønsteby’s journey from 1940 through to the end of the Second World War.
Taking its title from Sønsteby’s most frequently used code name, Number 24 delves into how the Oslo Group carried out sabotage operations and assassinations throughout the war. The film is narrated by an elderly Sønsteby as he recounts his remarkable experiences to a group of students.
Both film fans and critics alike are utterly captivated by this raw and gritty war film, which currently holds a perfect score on the film review site Rotten Tomatoes.
One critic wrote: “Based on the real-life story of Norwegian hero Gunnar Sønsteby, director John Andreas Andersen delivers a gripping, often violent thriller that highlights the best and worst of humankind.”, reports Wales Online.
Another said: “This biopic about Gunnar Sønsteby, the most highly decorated citizen in Norway, explores the moral grey areas during war under brutal invading forces. Switching between the past and the present, the film sensitively contrasts justice and necessity.”
Meanwhile a third added: “The director crafts a mostly patriotic picture of a man solely dedicated to duty. It’s an uncompromising approach that often makes for a stirring watch even through a narrow lens.”
Fans were equally effusive in their praise. One wrote: “The lead actor is phenomenal. As a man of laser focus and few words, Gunnar commands the screen through the smallest, most restrained expressions and every one of them lands. It’s a masterclass in subtlety, and he delivers a gripping, believable performance.”
Another said: “Well worth watching! Makes me want to go and learn more about this incredible person. You will need a tissue at the ending. You will also need to use your pause button to read the subtitles at the end – they do contain useful information.”
While a third contributed: “Important WWII story of resistance in Norway. Thought provoking and moving. Different points of view from being in different positions when war comes into your life, your family and your country.”
And another wrote: “WOW! WOW! ! . Fantastic in every way My wife and I loved this. So realistic and well acted, directed,etc. Watch,enjoy and respect the Norwegian patriots.”
As Netflix grapples with fallout from historic layoffs and upheaval in its senior executive ranks, the streaming giant is facing mounting scrutiny from investors about its growth strategy, diversification plans and response to rising competition from the likes of YouTube.
But the biggest challenge confronting the Los Gatos, Calif., company may be something more fundamental: a clash between the firm’s roots as a technology-driven upstart and its ambition to be a force in Hollywood.
Increasingly, tensions have flared between the L.A.-based executives dedicated to movies and TV shows and its engineers and technologists in Silicon Valley. Internal disputes have erupted over how best to expand the business and promote content on the platform to boost audience engagement, according to former Netflix employees and industry insiders who spoke to The Times.
The friction has deepened since co-founder Reed Hastings stepped away from management, handing the reins in January 2023 to Ted Sarandos and Greg Peters, who share the job of chief executive.
The dual-boss structure has at times hobbled the company and contributed to muddled messages and some costly misfires, such as its foray in the games business, said the sources, who were not authorized to speak publicly due to the sensitivity of the topic.
“With two CEOs, it’s hard to have a singular vision,” said a former Netflix executive who was not authorized to speak publicly.
Netflix declined to comment for this article.
But a person close to the company disputed the claim that there was a culture divide in Netflix.
“The idea that this is a power struggle between Hollywood and Silicon Valley misses how Netflix actually operates,” said the person, who was not authorized to speak publicly. “Ted and Greg bring different perspectives to the table, and that’s the point. They debate, make decisions together and recognize that neither great content nor great technology succeeds here without the other.”
Netflix, which laid off 6% of staff this month, has faced rising pressure after losing its status as a Wall Street darling and a Hollywood star.
(Allen J. Schaben/Los Angeles Times)
Only about 1% of the largest 3,000 publicly traded companies in the U.S. have co-CEOs, according to research firm Equilar. But there are high-profile examples of the arrangement, including software company Oracle, Comcast Corp., Spotify and private equity behemoth KKR.
The Larry Ellison family, which this month merged Paramount Skydance and Warner Bros. Discovery in a $111-billion transaction, installed scion David Ellison as CEO and the former leader of Mattel Corp., Ynon Kreiz, as co-CEO. Hollywood has had prosperous pairings, including longtime Warner Bros. studio chiefs Bob Daly and Terry Semel. Disney achieved tremendous success in the early 1990s when the late Frank Wells worked alongside former CEO Michael Eisner.
“The division of labor is just extremely powerful,” said Henning Piezunka, a management professor at the University of Pennsylvania’s Wharton School. “If there is a disagreement between the CEOs, you still have two very smart people that are battling it out, and I kind of prefer that over one single person making the decision.”
But Netflix’s top leaders now face mounting pressure as the company has lost its status as a Wall Street darling and a Hollywood star.
Investors have grown impatient; they want to see better growth metrics, which has become increasingly difficult as the service, which has more than 325 million subscribers, has neared saturation in the U.S.
This month, Netflix laid off 6% of its staff, including several key movie and TV executives. It bounced its chief content officer, Bela Bajaria, replacing her with former Fox and Disney executive Peter Rice, who starts on Monday. Several programming executives were also let go, including film chief Dan Lin and his top deputy, Doug Belgrad, and the director of original TV series, Carolina Garcia.
“They have got to have a plan to reignite revenue growth, and it can’t just be about making better TV content,” said Laura Martin, media analyst with Needham & Co. “Everybody’s trying to make hit content.”
Former Netflix Chief Executive Reed Hastings, left, and Ted Sarandos attend at 2011 launch party in Mexico City.
(Elizabeth Fuentes/Getty Images)
A dynamic leader
Former CEO Hastings, who co-founded the company in Scotts Valley just outside of Santa Cruz in 1997, was a dynamic leader. The mathematics and computer science graduate, who spent two years in the Peace Corps, launched Netflix by mailing DVDs in red envelopes to customers bothered by Blockbuster Video chain’s practices and late fees. In 2007, Netflix began offering streaming.
Hastings oversaw the creation of a pioneering technology that could offer helpful recommendations to users on what to watch next.
That recommendation algorithm has long been viewed as Netflix’s secret sauce. It quickly became the envy of rival entertainment firms that were late to recognize how disruptive the streaming business would become.
With Hastings, a Silicon Valley entrepreneur at the helm, power at the company was cleanly split between the tech teams who worked at its Bay Area headquarters and the executives who worked with talent and content on Sunset Boulevard in Hollywood.
Hastings established Netflix’s unique left-brain/right-brain culture, where people pitching projects were encouraged to openly debate and disagree.
To prepare for an eventual leadership transition, the company set up a dual CEO structure in 2020 by promoting Sarandos, its longtime content chief, to co-CEO.
Hastings, a 66-year-old billionaire, stepped down in 2023 as co-CEO, leaving his lieutenants in charge.
Hastings did not respond to a request for a comment.
Sarandos, 62, was known for making splashy bets on programming that paid off, including agreeing to pay $100 million for the first two seasons of a political drama, “House of Cards,” starring Kevin Spacey and Robin Wright that turned into one of Netflix’s first big TV hits.
Peters, 55, who was previously chief operating officer, has a tech background that complemented Sarandos’ entertainment industry insights. He holds a bachelor degree in physics and astronomy from Yale University and was taught code by his mother, a computer programmer.
Under Sarandos’ leadership, Netflix grew its presence in Hollywood and created content teams internationally. With Hastings no longer in the day-to-day mix, the power tilted toward Hollywood and Sarandos, who oversees the bulk of the company’s $20-billion programming budget.
“Over time, the center of gravity moved to L.A.,” one industry executive said.
The company expanded its business, including offering customers a cheaper subscription plan with ads. It also pushed into live sports, which Bajaria championed, and games.
The Dallas Cowboys’ Gene Jones, left, and Jerry Jones chat with Netflix executive Ted Sarandos during a 2025 premiere at the Egyptian Arena Theatre in Hollywood.
(Amy Sussman / Getty Images)
Escalating tensions
But as Netflix expanded and diversified, internal divisions intensified over operations and strategy.
In one instance, tech employees were surprised when Sarandos’ team signed a deal to release 2024 NFL Christmas Day games on Netflix without consulting tech and product executives, whose staffers would be responsible for providing the tech support for such a key event, two people familiar with the matter said. Those concerns were magnified after Netflix experienced widespread technical difficulties during the streaming of the Mike Tyson-Jake Paul fight that November, though the NFL broadcast was largely free of glitches.
Disputes also emerged over how best to promote and market shows and movies on the platform. Under Hastings, the trailers and thumbnails of programs were overseen by the product team, who analyze consumer behavior. But Sarandos has given the company’s marketing team more control over the promotional assets of programs, leading to disagreements with the product team over how to best to represent programs and engage viewers, two people familiar with the matter said.
Another source of internal friction has centered on Netflix’s aggressive venture into games that Peters championed, as part of a strategy to diversify its business and retain subscribers.
The streamer acquired several game studios beginning in 2021, investing billions into the space, sources said.
But the effort has badly misfired. In August, Netflix announced it was closing Hollywood-based gaming studio Night School and shuttering Finland-based gaming studio Moonloot. It previously shuttered Allen, Texas-based Boss Fight Entertainment.
The focus on games also sparked disagreements between Peters and Sarandos, who believed the tech and product teams were giving too much attention to games, creating confusion among teams over how they should operate, said a source with knowledge of the matter.
The leaders also disagreed in other areas as well, including over a 2025 deal with French broadcaster TF1 to bring its free channels into Netflix in France as a way to draw more viewers to both services.
Peters pushed for the deal, which Sarandos initially opposed, and the debate delayed an effort that could have helped the business sooner, according to three people familiar with the deal who were not authorized to comment. The TF1 partnership was a success that Netflix wants to replicate with other partners.
Sarandos and Peters also raised eyebrows when they appeared to send conflicting signals on the company’s interest in buying Warner Bros. During an Oct. 8, 2025, conference appearance, Peters said Netflix had a deep heritage of being a builder rather than a buyer.
“One should have a reasonable amount of skepticism around big media mergers,” Peters said. “They don’t have an amazing track record over the history of time.”
Netflix executives Greg Peters, left, and Ted Sarandos, right, visit a studio lot with Warner Bros. Discover chief David Zaslav.
(Joe Pugliese and John Nowak / For Warner Bros. Discovery)
A week later, Sarandos called Warner Bros. Discovery CEO David Zaslav to express interest in acquiring Warner’s streaming and studios business, according to regulatory filings. Netflix in December unveiled its $82.7-billion proposal, which Peters also supported, according to knowledgeable sources.
But, after spending months touting the benefits that Warner assets would bring, Netflix abruptly pulled out of the auction in late February when Paramount’s Ellison upped his company’s offer. Warner executives expected Netflix to go the distance, but they soon recognized deep anxiety within Netflix’s board, according to an executive who was not authorized to speak publicly.
Netflix’s stock hasn’t recovered. Its shares traded for $109 before the Warner bid. On Friday, the stock closed at $65.85.
Netflix is profitable, with net income increasing 44% to $3.7 billion in the third quarter and revenue up 12% to $12.87 billion from the third quarter a year ago, but the company remains under scrutiny by Wall Street.
Sarandos in an earnings call last week there is “no need for a fundamental shift in the strategy” but said the company needs to develop more hit shows in the U.S. that can “travel around the world.”
Netflix projected its revenue would come in the lower range of its estimate for the year, citing a lower ad revenue forecast.
“Their advertising growth has been very slow … and the video game business has been disappointing,” Martin, the analyst, said. “The problem is that the market is maturing and they need a Plan B, and they don’t really have a Plan B right now.”
A ‘superb’ mystery series now streaming in the UK has been hailed as perfect for Death in Paradise fans. The New Zealand produced show made its debut earlier this year in its native country and is now available for viewers to catch up on.
The entire first season of Blue Murder Motel was added to ITVX recently. The good news for those who have already watched all episodes and enjoyed it is that a second season is on the way in the future.
But for those who are unaware, the series follows Australian married police detectives Vanessa and Cole who decide to finally leave their cop careers and their home behind them. They have finally invested in their dream, a cute 13-room motel in a sunny, ocean-side New Zealand town.
However, a series of murders in their new hometown inspire them to investigate and to help the local, inexperienced, sole-charge police officer solve the crimes. It’s not long before their new business is referred to by neighbours as the Blue Murder Motel.
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The little known series has not managed to gain enough reviews online to register a score on website Rotten Tomatoes. However, it has still managed to gain enough attention for many viewers to share their recommendations. One write-up labelled the series as ‘superb’ and claimed the show is “a huge hit” back in New Zealand and Australia, and apparently viewed in the same way as Death in Paradise and Shetland is to UK audiences.
It added: “The setting is glorious, the murder mysteries are quirky yet entertaining and the characters are genuinely likeable. If you’re looking for an escapist series that you won’t tire of easily, Blue Murder Motel is a very good choice.”
Many fans agree and urge fans of cosy crime who need a new binge worthy show to check it out. One fan posted online: “It’s funny, cosy and surprisingly sharp, with great chemistry, small-town chaos and a mystery that hooks you fast. Perfect comfort-crime vibes and I can’t wait to keep watching. Episode one complete sold me on this show!”
Another agreed: “Just binged the first six episodes and had to pause to say how much fun this new show is. It’s a classic cosy crime show so if you’re not a fan of that genre scroll on, but the end of episode six just turned everything upside down! Was not expecting that and I’m here for it.”
