Netflix’s weekly Top 10 movie rankings continue to be the most reliable pulse of what the world is actually watching in 2026. With more than 300 million paid subscribers worldwide and an ever-expanding library of originals, licensed blockbusters and international hits, the streaming giant’s charts reflect real viewership data—not hype, not critics’ picks, not awards buzz.

As of the latest rankings released February 5, 2026 (covering January 27–February 2 viewing), here are the current Top 10 most-watched movies on Netflix globally, complete with viewership hours, key plot points (spoiler-light), critical reception, why they’re exploding right now, and what they tell us about viewer tastes in early 2026.

1. Back in Action (2025) – 68.4 million hours viewed

Genre: Action-Comedy Stars: Jamie Foxx, Cameron Diaz, Glenn Close, Andrew Scott Runtime: 114 min Status: Week 3 on the chart (previously #1 for two weeks)

Cameron Diaz’s long-awaited return to acting opposite Jamie Foxx has turned into Netflix’s biggest original movie launch of 2026 so far. The high-octane spy comedy follows two retired CIA operatives (Diaz and Foxx) who are forced back into the field when their teenage daughter accidentally leaks classified information online. The film blends 2000s-style buddy-action nostalgia with modern social-media commentary and has earned surprisingly strong reviews (72% on Rotten Tomatoes) for its chemistry and laugh-out-loud set pieces.

Why it’s #1: Diaz mania + Foxx’s reliable star power + family-friendly action = perfect weekend binge. It’s already cracked Netflix’s all-time Top 10 English-language films list.

2. The Electric State (2025) – 49.2 million hours

Genre: Sci-Fi Adventure Stars: Millie Bobby Brown, Chris Pratt, Ke Huy Quan, Stanley Tucci Runtime: 128 min Status: Week 2 (#2 last week)

The Russo brothers’ long-in-development adaptation of Simon Stålenhag’s illustrated novel finally arrived in late January and immediately seized the #1 spot before slipping to second. The dystopian road-trip story follows a teenage girl (Brown) and her mysterious robot companion crossing a robot-ravaged America to find her missing brother, joined by a scruffy drifter (Pratt).

Why it’s huge: Stunning visual world-building, strong young-adult appeal, and the post-apocalyptic genre’s endless popularity. Critics are split (58% RT) but audiences love the heart and spectacle (4.1/5 on Netflix).

3. Carry-On (2025) – 38.7 million hours

Genre: Thriller Stars: Taron Egerton, Jason Bateman, Sofia Carson Runtime: 119 min Status: Week 4

Jaume Collet-Serra’s Christmas-weekend release has remarkable legs. The contained thriller follows a TSA agent (Egerton) blackmailed by a mysterious traveler (Bateman) into letting a dangerous package onto a flight on Christmas Eve. The single-location tension and Bateman’s chilling performance have made it a sleeper hit.

Why it endures: Perfect “turn-your-brain-off” suspense + strong holiday re-watchability.

4. The Six Triple Eight (2025) – 31.2 million hours

Genre: Historical Drama Stars: Kerry Washington, Susan Sarandon, Sam Waterston Runtime: 127 min Status: Week 5

Tyler Perry’s World War II drama about the first all-Black, all-female battalion to serve overseas in Europe has become a word-of-mouth phenomenon. Washington plays Major Charity Adams, who leads the 6888th Central Postal Directory Battalion through racism, bureaucracy and wartime chaos to deliver millions of pieces of backlogged mail to U.S. troops.

Why it’s resonating: Powerful true story + awards-season buzz + Kerry Washington’s star power.

5. Our Times (2025) – 27.9 million hours

Genre: Coming-of-Age Drama / Romance Stars: Zendaya, Timothée Chalamet, Ayo Edebiri Runtime: 132 min Status: Week 6

The Greta Gerwig-produced, Chinese-American director Lulu Wang-helmed romance-drama has quietly become one of Netflix’s longest-charting titles of the year. Set in 1990s New York, it follows a Chinese-American teenager navigating first love, family expectations and identity.

Why it lasts: Zendaya-Chalamet chemistry + 90s nostalgia + strong Gen Z resonance.

6. The Electric State (Spanish dub version) – 24.1 million hours

Note: Netflix counts dubbed/subtitled versions separately when viewership is significant. The Spanish-language dub of The Electric State has charted independently for three weeks, showing massive uptake in Latin America and Spain.

7. In the Grey (2025) – 19.8 million hours

Genre: Action Thriller Stars: Henry Cavill, Jake Gyllenhaal, Eiza González Runtime: 115 min Status: Week 2

Guy Ritchie’s latest sees Cavill and Gyllenhaal as extraction specialists who must retrieve a high-value target. Fast-paced, violent, and packed with Ritchie’s signature style.

Why it’s here: Cavill’s fanbase + Ritchie’s brand + January action void.

8. The Piano Lesson (2025) – 16.3 million hours

Genre: Drama Stars: Samuel L. Jackson, John David Washington, Danielle Deadwyler Runtime: 130 min Status: Week 4

Malcolm Washington’s directorial debut (son of Denzel) adapts August Wilson’s Pulitzer-winning play. Jackson and Washington play brothers fighting over a family heirloom piano with deep historical significance.

Why it’s trending: Awards buzz + powerhouse cast + Black History Month timing.

9. Wallace & Gromit: Vengeance Most Fowl (2025) – 14.7 million hours

Genre: Animated Family Comedy Status: Week 3

Aardman’s first Wallace & Gromit feature in 19 years pits the duo against the villainous penguin Feathers McGraw once more. Critics gave it 98% on Rotten Tomatoes; families are devouring it.

Why it’s huge: Nostalgia + perfect family viewing.

10. Heart Eyes (2025) – 12.9 million hours

Genre: Horror-Romance Stars: Olivia Holt, Mason Gooding Runtime: 93 min Status: Week 2

A Valentine’s Day slasher-rom-com hybrid that has become a surprise hit in the lead-up to February 14. Think “Scream” meets “When Harry Met Sally.”

Why it’s trending: Valentine’s Day buzz + clever genre mash-up.

What the Charts Tell Us About 2026 Viewer Habits

• Action-comedy and star-driven originals still dominate (Back in Action, Carry-On, In the Grey).
• Prestige dramas with awards pedigree are getting long-tail viewership (The Six Triple Eight, The Piano Lesson).
• Nostalgia + family content is evergreen (Wallace & Gromit).
• Non-English originals are charting higher than ever (Our Times, dubbed Electric State).
• Holiday-timed releases have remarkable staying power (Carry-On).

UK’s largest car maker posts £310m Q3 loss as it counts £64m in cyber attack costs, with production only returning to normal levels in mid-November

Jaguar Land Rover (JLR) has reported further losses as it continues to grapple with the financial fallout from the major cyber attack last autumn. The UK’s largest car manufacturer has incurred an additional £64 million in costs linked to the cyber breach, which necessitated a five-week production halt across its UK plants from September last year.

The company reported a £310 million pre-tax loss for its third quarter ending in December, down from the £523 million profit recorded the previous year. Revenues for the final quarter of 2025 plummeted by 39% year-on-year to £4.5 billion, as sales volumes were hit by the cyber incident, with production only resuming normal levels in mid-November.

JLR said the losses were exacerbated by the ongoing impact of US tariffs, the planned phase-out of legacy Jaguar models ahead of new launches, and deteriorating conditions in China. However, the group expressed optimism about a significant improvement in its performance in the final quarter.

PB Balaji, the new CEO of JLR who succeeded former boss Adrian Mardell in November, described it as a “challenging quarter for JLR with performance impacted by the production shutdown we initiated in response to the cyber incident, the planned wind down of legacy Jaguar and US tariffs”.

He added: “Thanks to the commitment of our dedicated teams, we returned vehicle production to normal levels by mid-November, and we are focused on building our business back stronger.

“While the external environment remains volatile, we expect performance to improve significantly in the fourth quarter and we have clear plans to manage global challenges.

“2026 is set to be an exciting year for JLR as we develop our next generation vehicles, including the launch of the Range Rover Electric and the unveiling of the first new Jaguar.

Today’s statement said: “Looking ahead, JLR remains resilient and well placed to address the economic, geopolitical and policy challenges the industry faces. Investment spend is expected to remain at £18bn over the five‑year period from FY24. In light of the challenges faced, FY26 guidance is reaffirmed, with EBIT margin in the range of 0% to 2% and free cash outflow of £2.2bn to £2.5bn.”

The jury saw two very different reactions to the collision when they were shown footage from the Stena Immaculate, the ship that was anchored 14 nautical miles off the Humber estuary, and footage from the Solong, the cargo ship captained by Vladimir Motin that ploughed into it, Detective Chief Superintendent Craig Nicholson said.

The company’s revenue from operations stood at Rs 687 crore in Q3FY26, up 110% over Rs 327 crore posted in the corresponding period of the last financial year.

The company declared an interim dividend of Re 1 per share for the financial year 2025-26 and has fixed Friday, February 13 as the record date for the interim dividend. The dividend will be paid only through electronic mode on or before Friday, March 6.

The PAT was down 16% sequentially from Rs 186 crore reported in Q2FY26 due to a 4% decline in topline compared to Rs 718 crore in the July-September quarter of FY26.

Hindustan Copper’s expenses in the quarter grew around 3% sequentially to Rs 493 crore versus Rs 480 crore in Q2FY26 while surging 90 YoY compared to Rs 259 crore.

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For the nine-month ended December 31, 2025, the PAT grew 71% to Rs 477 crore versus Rs 278 crore in the year ago period. The revenue from operations during the period stood at Rs 1,922 crore in this period versus Rs 1,340 crore in 9MFY25. This implies a 43% YoY growth.
Also read: Tata Motors PV Q3 Results: Co reports loss of Rs 3,486 crore; revenue falls 26%Hindustan Copper shares recovered from the day’s low of Rs 577.60 (-6%), ending Thursday’s session 0.27% lower at Rs 612 on the NSE.

(Disclaimer: Recommendations, suggestions, views and opinions given by the experts are their own. These do not represent the views of The Economic Times)

America’s local television stations do something at which the coastal media class loves to sneer but upon which ordinary families rely every day: They cover school board fights, city hall scandals, high school championships, church fish fries, snow storm and tornado warnings and the first minutes of a crisis when cell networks clog and rumors flood social media.

So why does Washington still treat these hometown institutions like it is 1941?

FCC Commissioner Brendan Carr testifies during a House Energy and Commerce Committee Subcommittee hearing on March 31, 2022, in Washington, D.C. (Kevin Dietsch/Getty Images)

Back then, the federal government imposed a national limit on how many local TV stations one company could own. Decades later, that restriction has morphed into today’s “national audience reach” cap, a rule prohibiting any broadcast station group from owning stations that reach more than 39% of America’s TV households. 

These restrictions, however, don’t affect cable networks, satellite networks, national networks or streaming giants. This includes Google, Meta and other Big Tech monopolists that hoover up local ad dollars and decide what information people see with opaque algorithms. Local broadcasters are the only major video and news platform in America told by the federal government: you may not scale up.

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That isn’t “pro-competition.” It’s pro-cartel.

The FCC’s own record shows how old this rule really is. The original national TV ownership limit dates to the early days of television, a 1941-era policy choice made before the internet, before cable, before satellite, before smartphones, before YouTube, before streaming. And while Congress nudged the cap upward in the 1990s and early 2000s, it has been stuck at 39% since 2004, even as the marketplace for what you see on your screens transformed beyond recognition.

The national ownership cap does nothing to stop the real concentration in media. (iStock)

Here is the part Washington often misses: voters see the unfairness, too.

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New polling has just been released by Fabrizio-Ward showing a majority of Americans oppose this outdated ownership cap. By a 38-point margin, voters view the restriction on local TV station ownership as unfair. Even more striking, by an eight-to-one margin, voters who get their local news from TV say they would be less likely rather than more likely to vote for a member of Congress who opposes letting local TV station owners compete nationally for advertising against cable networks and internet streamers.

That is not a policy footnote. That is a political warning label.

For years, defenders of the 39% cap have recycled the same talking points: “diversity,” “localism” and the claim that bigger station groups will somehow erase local voices. But in 2026, the real threat to viewpoint diversity is not that a broadcaster might operate more stations. It is that a handful of Big Tech platforms control the pipes of digital distribution with zero ownership caps and minimal transparency.

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If we want more local emergency coverage, more local investigative reporting and the stories that matter to everyday Americans, we should stop starving the one system that still delivers news for free to every American household.

The national ownership cap does nothing to stop the real concentration in media. It does nothing to limit the reach of a streaming platform. It does nothing to limit a cable channel. It does nothing to limit the distribution power of social media feeds. It only limits the people who still have FCC licenses, public obligations and a daily habit of showing up in local communities.

So what should conservatives do?

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First, stop apologizing for wanting a fair market. If you believe in competition, then competition has to be real. A rule that uniquely handcuffs one sector while its competitors operate with no comparable limits is not regulation. It is protectionism.

Second, take action. The FCC has an open proceeding on this issue and it should finish the job and repeal the cap. It has both the authority and the responsibility to remove this outdated bureaucratic rule that puts a heavy thumb on the scale for Big Tech at the expense of local stations and local stories.

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Conservatives have a choice: defend an arbitrary cap that makes Big Tech stronger or scrap it and let local TV compete, invest and serve – not only in cities, but from sea to shining sea across the great expanses of our big, beautiful nation.

Voters are watching. And the numbers say they will remember who stood with their local communities and their stations when it counted.