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We’ve been talking about the changing tides in Netflix film for months since Dan Lin took the reins from Scott Stuber. Now, thanks to a series of The Insider Receives Studio Mandate From Jeff SnyderWe have a real inside look at what Netflix is buying, greenlighting, and aiming for in 2026, and it comes with a few surprises.
It is important to note what these mandates are and are not. tracking board (rest in peace) was used to publish annual lists in the same way The Insider did, and indeed, it gave a broad outline of what a studio wanted based on conversations and provided a general direction of travel, and was quite useful, while somewhat imprecise. When we contacted Netflix about these mandates, it previously declined to comment publicly. Still, they provide a fascinating, albeit potentially skewed, insight into the studio’s current objectives and priorities and are worth covering here, even if these might all get thrown out the window if the right project comes through the door.
Given that Dan Lin doesn’t do that many interviews (him). The last big news is the New York TimesWhile the theatrical release was the subject of most of the article), it’s nice to hear what they’re pushing for.
Some highlights:
- Netflix is aiming for only 30 original movies a year. We’ve long known that we’re no longer in the “one movie a week” era of Netflix, but it looks like we’ve reached a new milestone.
- Completeness rate is king. Music to our ears! The report clearly states that completion rate is the ultimate metric for success. We’ve been saying for years that starting a movie doesn’t matter if you turn it off after 20 minutes. Netflix wants you to stay glued to the screen until the credits roll.
- Not a first time director? According to the report, Dan Lin wants large-scale, four-quadrant event films and holiday-focused titles. To get there, he’s reportedly moving away from first-time directors in favor of established veterans. This change has been frowned upon, given that first-time directors are finding little success at the box office this year.
Action, Thriller, Sci-Fi and Horror (Ori Marmor)
Action is one of Netflix’s most impressive and practical genres. Under the supervision of Ori Marmar, the dreamer is highly interested in increasing the height Genre action films of the 90s and early 2000s– Focusing on clean, grounded takes on action-adventure and straight action-thrillers, though don’t expect any rebel moon-style projects anytime soon.
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Science fiction: Forget heavy space operas. Netflix wants “grounded,” Earth-bound (“on-world”) sci-fi. Heavy fantasy mostly happens outside, unless there is a massively strong underlying IP attached.
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horror: Gone are the days of collecting horror “leftovers” from Netflix. The new focus is on small-budget high-concept projects as well as innovative horror films involving major movie stars.
Comedy and Rom-Com (Jason Young)
Under the supervision of Jason Young, the comedy division looks to deliver a mix of large-scale event films and highly targeted, budget-friendly laughs.
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Big swings: Star-driven vehicles (with regular partners like Adam Sandler and Kevin Hart) and great comedy ensembles bridesmaids.
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Targeted Hits: Comedies for niche audiences under $20 million. There are “north stars” for the worst And roommate.
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Stand-up: Netflix is highly open to translating its vast roster of stand-up comics into feature film stars, including overall deals for partnerships with creators.
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Rom-Com: The mandate here is “outrageous” and star/character-driven. The internal comps they are pursuing include Notting Hill, there’s something about mary, crazy Stupid Loveand their own To all the boys I’ve loved before.
Family, Vacation, and Faith-Based (Kira Goldberg)
Kira Goldberg’s department reportedly has money to spend before the end of the year and wants to actively buy pitches and early development rather than pre-packaged projects.
His wish list is incredibly specific:
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Family Adventure: Like looking for native or IP-based swing Jurassic Park Or jungle cruise.
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High-Concept Family Comedy: Thinking mrs doubtfire.
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Live-action hybrid: The streamer is actively wondering if any public domain characters (like the Cheshire Cat) are up for a hybrid adaptation.
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Offbeat talent: They want genre filmmakers or big music stars who want to surprisingly develop a family film.
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YA/Coming Age: Stories based on specific worlds (finance, sports, music) or genre-bending chronicle.
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exciting: In the vein of fleshy, male-skewing thrillers burning cash.
Our takeaway
This means less for you as a customer, but theoretically much better movies. Dan Lin’s orders were reportedly clear: “Make someone’s favorite movie.” By focusing on proven directors, grounded concepts, and movies that actually hold your attention to the end, Netflix’s movie strategy has been watered down from years ago, but they can afford it, the streamer is able to supplement its own offerings with virtually everything that Sony Pictures and Universal Pictures produce immediately after their theatrical windows end. The Best of Both Worlds? We’ll see how it works!
once again, You can find the full report here, Where he also discusses Netflix UK’s mandate as well as what they’re looking for in a pickup at festivals.
What do you think of Netflix’s new game plan? Are you happy with fewer, bigger films? Let us know in the comments below!
