posted by Liam Dryden

Cameron Dallas’ documentary isn’t the first YouTuber-led project to be panned on Netflix; so what is it about them that isn’t translating?

“Chasing Cameron” is officially out and the reviews for Cameron Dallas’ show are in; and surprise! They’re not great. So far, critics have used such descriptions for the former Vine star’s tour movie as “propaganda with teeth“, “peak nothing” and “a 10 hour advertisement for Dallas and MAGCON“. Yikes.

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But regardless, there’s one thing that critics seem to agree on; fans of Dallas and his ilk will eat the ten-episode series right up. However, “Chasing Cameron” isn’t the first time that Netflix have taken a star of online video under their wing, only to be panned by a greater audience.

We were ecstatic when we learned that Miranda Sings would be getting her own Netflix series; and when the 8-episode season premiered on the platform in late 2016, it was favoured by the thousands of people who were familiar with the stylings of Colleen Ballinger‘s weird alter-ego. The rest of the world, however, was  a little more mixed; and the negative reviews from confused audiences has sadly left the series with a 3-star rating on Netflix.

Additionally, recently added to the site is Joe Sugg and Caspar Lee‘s wacky roadtrip adventure, “Joe & Caspar Hit The Road”. Fans of the duo loved it, and it was well-received on both BBC iPlayer and its DVD release. But its induction to Netflix has resulted in it being hammered down in reviews, averaging at a grand total of one star.

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So why does the Netflix audience hate YouTubers so much? And What Has Chasing Cameron Taught Us?

Here’s the thing: Netflix has something for everyone. But at the same time, it has stuff that people might not be interested in. The usual, less maddening course of action would be to not watch that stuff and move on to the things you do like. But many viewers have elected not to give YouTube-led content that same buffer; instead going in on reviews as if they’re single-handedly ending a career.

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Honestly, it probably has a lot to do with how little these shows translate outside of the target audience. And maybe Netflix isn’t the best platform to host something so niche. And maybe Cameron Dallas’ doc is genuinely that bad. But hopefully when our favourite creators launch into their exciting new projects of 2017, they’ll do so with the intent not just to sell to their fans, but to sell themselves to a potential new audience. Just, y’know, not in the way “Chasing Cameron” did.

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