The rise of Gen-Z oriented Crime Dramas Explained

Over the COVID-19 lockdown period, you probably got sick of people on your social media feed talking about the new show they were binging. Maybe it was their 27th time rewatching ‘The Office,’ or perhaps they became infatuated with newer streaming hits like ‘Outer Banks’ or ‘Avatar: The Last Airbender.’

Whatever the tedious tweet might’ve been, the unexpected period stuck at home led to an almighty surge in streaming throughout lockdown and quarantine.

The explosion in binge-watching helped amplify and highlight some fascinating trends of viewing patterns among Gen-Zers. The most notable overall pattern was the prevalence of the drama genre among the younger generation. According to Morning Consult, 28.3 percent of Gen-Z adults watch dramas. Compared to comedy (16.6), animated (15.2) and reality (10), all of which categories previously thought to be more prevalent among young viewers, it’s notable that dramas have risen to the top spot.

So what’s been behind the rise? Well, it seems crime dramas, previously targeted at an older audience, have taken off with Gen-Z. In particular, two recent dramas, Emmy-nominated ‘Ozark’ and ‘Money Heist,’ which share several common themes, benefitted from new season releases that coincided well with the lockdown.

But what do the two shows, which weren’t even originally produced in the same language, have in common, and why do they explain the rise of dramas among Gen-Zers? Here are two reasons why.

Prominent Female Characters

Of all the different generations, Gen-Z is easily the most socially progressive, according to the Pew Research Center.

Starting with Ozark, it quickly becomes obvious that unlike past smash-hit dramas, that this will not be a male-dominated drama. Though Marty Byrd — the hyper-organized and detail-obsessed Chicago accountant masterfully played by Jason Bateman — is the catalyst for the series after he’s nearly executed for his money laundering partners’ greed by the drug cartel they work for, Marty’s wife, Wendy, redefines what it means to be partners in crime.

When Wendy, portrayed by Laura Linney, is first introduced as the unfaithful wife (which hardly feels like a coincidence which character was chosen to be the “cheater”), it brought flashbacks of Skyler White in ‘Breaking Bad,’ or worse, the even more stereotypical and reductive role of Carmela Soprano in ‘The Sopranos.’ Yet, the first season quickly reveals that Wendy was acutely aware of Marty’s criminal enterprises, and as the couple, along with their two kids, flee to the Ozark lakes in Missouri in a desperate attempt to appease the cartel, Wendy does just as much, if not more, than Marty to keep the money flowing and the family alive.

To achieve these ends, Wendy is often willing to bend ethical and moral lines (kidnapping a pastor’s child comes to mind) much further than the more reserved Marty, breaking the typical role of the male lead as the one willing to do what’s supposedly necessary. And Wendy and Marty aren’t the only equal criminal partnership in the series, as Jacob and Darlene Snell engage in their own 50–50 partnership of nefarious activities. Even more so than Wendy, Darlene is very much the alpha of the partnership, as her violent tendencies (spoiler) lead to her murder of cartel boss Camino Del Rio, leading to the introduction of the ruthless Helen Pierce (Janet McTeer).

Money Heist is even more direct about the prominent role women will play in the (you guessed it) bank heists the crew conducts. Both Tokyo (Ursula Corbero) and Nairobi (Alba Flores), and eventually Monica (Esther Acebo) and policewoman-turned-criminal Raquel Murillo (Itziar Ituno) too, all are vital to the success and survival of the crew.

The leads have become younger, too

When deciding whether to continue binging any show, it’s only natural to be drawn to relatable characters, and with both shows, young adults are prominent and leading characters.

As Ozark progresses into its second and third season, Jonah and Charlotte Byrd take an increasingly active and integral role in their parents’ criminal enterprises. And we haven’t even gotten to teenage criminal mastermind Ruth Langmore yet. Ruth’s evolution from a cunning schemer who is held back by her cousins’ dependence on her as her uncles continue to flounder — to Marty’s likely successor — is arguably the show’s defining character arc.

Meanwhile, in Money Heist, Rio and Denver — though polar opposites in terms of skillset — are often the glue that keeps the crew intact. When compared to comparable characters in past acclaimed crime dramas, whether it’s Walter Jr.’s almost impressive ignorance of his father’s true nature or AJ Soprano’s inclusion as a never-ending annoyance in his father’s life, the contrast is remarkable.

Conclusions

While unfortunate stereotypes still persist in both shows, like the constant highlighting and scripting of Tokyo’s impulsivity in Money Heist is constantly hammered by the rest of the cast even though each character is deeply flawed, or the emphasis of Rio’s blinding romantic pursuit of Tokyo — despite the supposedly mature characters doing the same — the shows have undoubtedly advanced the genre.

In the Sopranos, a gay relationship leads to Vito Spatafore’s murder. In both Money Heist and Ozark, gay relationships are far more prevalent and (with some exceptions) accepted.

Breaking Bad creator Vince Gilligan is famous for saying without Tony Soprano; there is no Walter White. Now that there has been a Tokyo and Ruth Langmore, all that remains to be seen is what characters will be incepted from their popularity.

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