Entertainment
Netflix helped bring F1 to new heights. Now the sport is poised to return the favor
A few seasons into the run of Netflix’s Formula 1 docuseries “Drive to Survive,” the racing league’s governing body, the Fédération Internationale de l’Automobile (FIA), presented the platform with a deck containing evidence of “the Netflix effect.” Since the series premiered in 2019 as part of a concerted effort to expand the sport’s footprint in the U.S., officials had seen social media engagement, merchandising, attendance and ratings for race telecasts improve in its least-penetrated major market.
“It’s tough to totally decouple — Formula 1 was doing a lot of great new stuff, you had a broadcast partner in ESPN that was also prioritizing it, and you had a partner in Netflix that was promoting the sport through the docuseries,” recalls Brandon Riegg, vice president, nonfiction series & sports, at the streamer. “But they for sure were very generous and said, ‘We attribute a lot of this to Netflix.’ And when you saw the gains that they made across many categories, it was impressive, and I felt like we could take credit for at least a portion of that.”
Now Formula 1 is poised to return the favor.
With the premiere Friday of “Senna,” a scripted miniseries about the life and career of Brazilian F1 legend Ayrton Senna, the championship’s rich lore — replete with archival footage and FIA authorization to reconstruct races, podiums, logos, uniforms and track layouts from Senna’s heyday — becomes the source material for yet another evolution in one of the most innovative relationships in sports entertainment.
“It becomes almost like an origin story for F1,” says “Senna” showrunner Vicente Amorim. “You love ‘Drive to Survive’? You’re an F1 fan? You’re maybe thinking of watching the ‘F1’ movie next year? Maybe have a look at how it all started.”
If Warner Bros.’ 2025 feature, developed in collaboration with the FIA and starring Brad Pitt, represents the sport’s promotional campaign at the scale of a Hollywood blockbuster, “Senna” flows instead from Netflix’s distinct approach to international television. The six-part series, which follows its dashing hero from his karting days in São Paulo to his tragic death, at 34, during the 1994 San Marino Grand Prix, was produced in Brazil, filmed largely in Portuguese and relied on Latin American artisans, particularly in the creation of its astonishing replica cars. It’s the same regional model that created crossover hits such as “Élite” and “La Casa de las Flores,” applied to one of the most successful drivers in F1 history.
“We really made those shows thinking they would be huge in Spain and Mexico, respectively, and I think it’s precisely their authenticity and their very specific local value, culture, look and feel that made them unique for their own countries and then globally appealing,” says Francisco Ramos, Netflix’s vice president of content Latin America, who worked on both titles. “What we’ve discovered, through this journey of almost 10 years making local content outside of the U.S., is that the most accurate, authentic stories that properly represent the cultures from which they come are the ones that are able to find resonance outside of their home territory.”
Conceived by the racer’s family and Brazilian production company Gullane, “Senna” came to Netflix after plans for a feature film hit creative and financial roadblocks — and soon found a devoted fan in Amorim, who vividly remembers Senna’s zenith in the late 1980s and early 1990s, when he won three world championships. “It becomes almost like a religion,” Amorim says of growing up in Brazil during this period. “Every Sunday, you turn on the TV to watch Senna probably win.”
Although its focus is the triumph and tragedy of Senna’s career, as well as his relationships with his parents, Miltão (Marco Ricca) and Zaza (Susana Ribeiro), and his glamorous pop star girlfriend, Xuxa (Pâmela Tomé), “Senna” is also the tale of a fast-modernizing sport, one on the cusp of becoming the glitzy global juggernaut it is today. In 1994, the year Senna died, the F1 world championship consisted of 16 races, 11 of them in Europe; 30 years on, the season now spans 24 races on five continents, including three in the United States alone. And Senna himself — handsome, media savvy and impatient with the Old World politics he found in F1 when he joined the circuit in 1984 — was instrumental in setting the transformation in motion. As Amorim puts it, “There’s an F1 ‘Before Senna’ and an F1 ‘After Senna.’”
Gabriel Leone as Ayrton Senna, right, with Matt Mella as Senna’s teammate and rival Alain Prost.
(Alan Roskyn / Netflix)
The makeup of the “After Senna” F1 fan base is, in fact, a significant part of why Netflix has invested so much in its partnership with the sport. Although the FIA first envisioned “Drive to Survive” as a way to reach American viewers, according to Riegg, Netflix saw the docuseries as a “hedged bet”: If it failed to catch on in the States, it still had potential in other countries where Netflix operates that had established F1 followings.
In the end, “Drive to Survive” boosted interest in F1 not only in the U.S. but also globally: When the FIA presented Netflix with its deck about the series’ impact, “They made gains in some of the markets they thought were the most mature, including Brazil and Italy and Spain,” Riegg says.
Although Ramos insists that “Senna,” which was first announced in 2020, was not expressly intended to “feed off” the success of “Drive to Survive,” in many ways it epitomizes the same effort to diversify output and audience that has defined Netflix’s business in recent years. The release of promotional art and the trailer for “Senna” attracted interest not only in Brazil but also in other F1 strongholds like Mexico, Argentina, Italy and Japan, while the docuseries might be said to have primed the pump for potential viewers in places like the U.S. that have a less established F1 following.
“During the process of getting this developed and made, ‘Drive to Survive’ became bigger and bigger,” Ramos says. “That’s not the way we planned it. … But for sure there’s a benefit that I cannot steer away from.”
The benefit might also work in reverse, Riegg acknowledges, creating a chance “to broaden the funnel or the entry point for people that are going to become fans of Formula 1 in general, whether that’s the races or something like our documentary series.”
It’s an opportune moment for Netflix’s relationship with F1 to evolve, as “Drive to Survive” confronts its first real headwinds after years of viewership growth.
“I think there’s been a stabilization of the viewership the last couple seasons,” Riegg says. “It did the first few seasons continue to grow consistently and — I guess ‘plateau’ is one word — then found its audience. There’s a natural ebb and flow on all of these shows, especially the sports shows, or even our dating shows, which is analogous in certain ways, where some seasons you just have stronger stories than others. I think part of what F1 deals with that’s somewhat different than some of the other sports is you’ve had a winner in Max [Verstappen] and a team in Red Bull that’s really dominated for many seasons in a row so there’s sort of been less suspense and perhaps drama over the course of the season.”
What’s not yet on the table for Netflix, Riegg emphasizes, is live Formula 1 racing, although the FIA’s current U.S. television deal, with ESPN, expires in 2025. And it’s not because of the challenges the platform has faced in scaling up its capacity for live programming, most recently during the boxing match between Jake Paul and Mike Tyson, which led to widespread complaints of freezing, buffering and poor image quality. It’s because Netflix’s current focus vis-a-vis live television is on one-off events, rather than on a season-long commitment. “We’re in the crawl, walk, run phase,” Riegg says. “We’re definitely not in that business right now.”
And as “Senna” itself understands, it’s commerce as much as horsepower that makes the wheels of the sport turn. “F1 is a business,” Amorim says, repeating a real-life line from Senna rival Terry Fullerton that’s included in the series. “Except for two hours on Sunday.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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