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Netflix Picks Up 'The Killing' Season Three for Streaming, Connects with Facebook

Photo of Anne Thompson By Anne Thompson | Thompson on Hollywood March 14, 2013 at 3:18PM

Netflix has picked up exclusive streaming rights for the third season of the FOX TV mystery series "The Killing" after three months, which is a much shorter window than usual. And on Tuesday, the streaming service announced a new integration with Facebook that will make it even easier for people to find the Netflix content they want. It will allow Netflix to connect its U.S. subscribers to their Facebook friends to see what they’re watching.
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"The Killing"
"The Killing"

Netflix has picked up exclusive streaming rights for the third season of the Fox TV mystery series "The Killing" after three months, which is a much shorter window than usual. 

And on Tuesday, the streaming service announced a new integration with Facebook that will make it even easier for people to find the Netflix content they want. It will allow Netflix to connect its U.S. subscribers to their Facebook friends to see what they’re watching. This is on top of the recommendation algorithms and all the big data that allowed Netflix to figure out that betting on a David Fincher/Kevin Spacey remake of favorite BBC series "House of Cards" would work. It did, even if the company spent no less than $3.8 million per episode--that was the least expensive hour in the 13 episode series. But it's their most-watched series to date.

Netflix isn't stopping in its hunt for content. That's where the new deal comes in for "The Killing," which stars Mireille Enos, Joel Kinnaman and new entry Peter Sarsgaard. Netflix will stream all 12 episodes of the third season of the Seattle crime noir just three months after AMC airs the finale, making binge viewers very happy. They have not announced the air date as yet.

"We're excited to see 'The Killing' back on TV and we're especially proud to bring Season 3 to our members so soon after it premieres on AMC," stated Netflix content officer Ted Sarandos. "'The Killing' is a terrific serialized drama and we know our members love these high-quality shows."

The new season --which began production last month--starts off one year after ex-detective Sarah Linden (Enos) closed the Rosie Larsen case. Needless to say her ex-partner Stephen Holder (Kinnaman) pulls her back in. The first two seasons of "The Killing" are already available via subscription VOD. AMC killed the show last summer but eventually opted to bring it back and ordered 12 episodes in January.

Netflix began its content experiment by streaming episodes of its first proprietary series "Lillyhammer" in early 2012, which played better on Norway's NRK network than the US. Expensive "House of Cards" made a much bigger splash. Part of how Netflix sells creative folks on making films with them is complete freedom from interference. I wonder how long they can afford to do that if that goes with no budget oversight.

Next up is a no-brainer, the return of "Arrested Development," which comes with a huge fan base, plus several comedies: a Brit import from Ricky Gervais, "Derek," "Orange is the New Black" and "Bad Samaritans."

Netflix has an aversion to marketing and involvement in production, so they're keeping a hands-off approach to these content deals. Netflix is banking that strong content will help to expand its 33 million subscribers. We still don't know if "House of Cards" had that effect.

Other companies are watching. Microsoft has set up a production studio in Santa Monica to develop content for the Xbox, reports Fortune. And Amazon Studios has modestly entered the original production fray. And there's also RedBox Instant By Verizon. The Golden Age of Cable is spurring competition.

As for the major studios, they are allowing this serious competition to encroach on declining movie audiences.


This article is related to: The Killing, AMC, Netflix, NetFlix


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.