I want Netflix to commission more scripted series with memorable characters, purposeful storytelling and satisfying payoffs—and fewer reality formats that rely on manufactured conflict. That is a preference, not a claim that reality television is inherently inferior or that Netflix viewers agree with me. The title’s “shows like these” has no named examples, so the recommendations below are my own standards for what Netflix should make more often, not a list of shows the title’s author had in mind.
What “more shows like these” should mean
A call for more of something is only useful when it says what quality is missing. I would judge a series by whether its characters change in ways the story earns, whether each episode advances a larger narrative, and whether its writing and craft feel distinctive rather than assembled from familiar beats. Those are editorial criteria, not claims about what all viewers want.
The alternative I object to is not unscripted television as a whole. Documentaries can be carefully reported and shaped; competition and other reality formats can offer genuine skill, humor or human insight. My criticism is narrower: reality programming that appears to depend on staged or amplified conflict as its main attraction, with little beyond the next argument to sustain interest.
Netflix’s viewing figures show audiences for different kinds of programming
Netflix’s global report for January through June 2026 says members watched more than 97 billion hours across genres and languages. The company reported 104 million views for the scripted series His & Hers in that period, while also highlighting documentaries including The Crash and Reality Check: Inside America’s Next Top Model. These examples establish that scripted stories and nonfiction both draw viewing; they do not establish that one category is better or that viewers want Netflix to reduce reality programming. Netflix’s first-half 2026 report defines its reporting period and examples.
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Its report for July through December 2025 likewise featured different formats: Netflix reported 94 million views for Stranger Things season 5, 93 million for the scripted series UNTAMED season 1, and 57 million for the documentary Unknown Number: The High School Catfish. Netflix’s “views” are calculated by dividing total hours viewed by runtime; they are not a count of unique people. The figures indicate engagement with those titles, not artistic merit or a viewer mandate for future commissions. Netflix’s second-half 2025 report explains the period and metric.
Why popularity is not a quality verdict
Netflix describes engagement as its best measure of member satisfaction and a driver of retention. Its Top 10 rankings use hours viewed, however, which measure watching rather than writing quality, originality or demand for a different programming mix. A highly watched title can be compelling entertainment without being especially well made; a more formally ambitious series can matter to viewers without topping a ranking. Netflix’s Top 10 methodology is useful context, not a critical scorecard.
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That distinction matters in both directions. I cannot use viewing figures to prove Netflix should make fewer reality shows, and popularity alone cannot prove that a show is artistically successful. The case for a different balance is an argument about the kind of work I want the service to invest in, not an inference from those charts.
Netflix’s announced 2026 slate is varied, but not a complete inventory
Netflix’s 2026 announcement describes a slate spanning returning series, romance, thrillers, family entertainment, animation and fantasy. The company says the announcement is not comprehensive, so it cannot support a calculation of the full year’s scripted-versus-reality split. Nor does an announced title mean it is available in every country. Netflix’s 2026 slate announcement is a snapshot of some planned programming, not a complete release ledger.
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A stronger factual argument that reality shows dominate Netflix would require a count of releases or commissions over a clearly defined period, classified by format. The figures and announcements cited here do not provide that comparison. Without it, the fair version of the complaint is personal: I would rather see fewer conflict-driven reality formats and more scripted work with lasting characters and narrative payoff.
What Netflix should prioritize
Netflix does not need to choose between scripted series and documentaries. A documentary can be deeply crafted, and a scripted series can be formulaic. The better question is whether each commission offers something its format can do well: a distinctive point of view, compelling people, careful construction, or an experience worth returning to.
Rank #4
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- For scripted series: invest in clear character arcs, purposeful episodes and endings that feel earned rather than mechanically extended.
- For documentaries: favor strong reporting, meaningful context and a coherent account over sensational framing alone.
- For reality formats: seek a premise beyond conflict—expertise, humor, discovery or relationships that develop without making manufactured antagonism the whole product.
- For the overall slate: make room for distinctive work across genres rather than treating a successful format as a template to repeat.
Director Ruchir Arun has described a familiar industry risk: “Unfortunately, our industry runs according to the flow. If one kind of story succeeds, there comes a lot of stories like that until it all goes stale.” That is his view of imitation, not proof of Netflix’s commissioning strategy. Still, it captures the creative danger behind this argument: repeating a proven surface can crowd out the stories that made it appealing in the first place. The New Indian Express interview also quotes actor Vikrant Massey saying he wants more “accessible shows”; that is his stated creative preference, not a Netflix policy.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.The case for a better balance is a matter of taste and commissioning judgment
Netflix’s own reports show that members watch scripted series, documentaries and other kinds of programming in substantial numbers. They do not settle what Netflix ought to make next. My case is that a platform with a broad slate should protect space for tightly written, memorable scripted shows and should not treat manufactured-conflict reality as an easy substitute for creative ambition. That is a defensible preference, but it should not be dressed up as a proven audience consensus or a measured account of Netflix’s output.
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