Rather than chasing sequels and reboots, Netflix is betting its 2026 film strategy on a massive investment in original storytelling and a renewed focus on the theatrical comedy.
The streaming giant’s need for original content is one of the main reasons Netflix fought fiercely to acquire Warner Bros. But even after losing the bid to Paramount earlier this month, the priority remains.
“We’re zigging where legacy studios are zagging,” Dan Lin, Netflix’s film chairman, said Wednesday at Netflix’s slate event in Hollywood.
Last year, 18 of the top 20 theatrical films were based on already established intellectual property, like with sequels and remakes. The only two original ideas to break through were Ryan Coogler’s “Sinners” and Zach Cregger’s “Weapons.” Both of these films were received well by audiences and earned golden statues at this year’s Oscars.
Lin said that at Netflix, 2025’s slate was the “exact opposite,” where half of the films it released last year were based on original storytelling.
“We have a very healthy content budget. So if there’s a great movie out there, we’ll go out and either build it or acquire it,” Lin said.
Bela Bajaria, the company’s chief content officer, said the company isn’t too concerned with the theatrical element that other studios can offer when hunting for these original stories, as Netflix is a streaming-first company.
“We’ve always had competition. This isn’t really any different,” said Bajaria. “It’s to understand what the competition is, not head in the sand at all. [We have] to understand what the market is and continue to look ahead.”
It’s not just original ideas that Netflix is scouting; the streamer’s also looking to fill gaps in genres. In recent years, comedies have fallen out of favor with major studios— leaving room for streamers like Netflix to expand. This year, Netflix is looking to break through with upcoming comedy productions like Kevin Hart’s bachelor party-driven “72 Hours,” John Cena and Eric André’s buddy comedy “Little Brother” and Eva Longoria’s “Fifth Wheel,” which Lin describes as “our version of ‘Bridesmaids.’”
“We’re taking the chance, and we’re making the movies,” Lin said. “It’s what we’re delivering, I hope, [it’s] what audiences want and what they’re craving. There are a lot of genres that you just can’t find in theaters anymore. So, we’re making those kinds of movies.”
In addition to emphasizing comedies, there’s a lot of opportunity to develop young adult films, Lin said. Netflix has upcoming titles such as “Voicemails for Isabelle,” starring Zoey Deutch and Nick Robinson, and “Roommates,” with Sadie Sandler, to draw in younger movie watchers.
One genre in which Netflix doesn’t see much success is live musical adaptations, so it’s “not an area that I’m leaning into,” Lin said. He first joined the company in 2024 and has since green-lighted 88 films.
Netflix subscribers watch about seven movies a month, according to the streamer’s data. So, with the push for original stories, the streamer is hoping to meet its consumers’ demands.
The current strategy is to release up to four “event films” a year. For 2026, Netflix is looking at Greta Gerwig’s “Narnia” adaptation and David Fincher’s follow-up to “Once Upon a Time … in Hollywood” as its big hitters.
“It’s all very under wraps right now, but it’s something that I’m just so thrilled about because it was the book of my childhood. It was the book series that I loved, and I lived through, and I spent so much time imagining myself inside of Narnia,” Gerwig said in a video message during the Netflix event. “It’s been a joy and an honor to be the person who gets to imagine this universe.”
Gerwig’s “Narnia” is set to hit Imax this Thanksgiving and start streaming on Netflix come Christmas.
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