The Rom-Com Renaissance: ‘Nobody Wants This’ Reclaims Streaming Crown
Netflix’s strategy of investing in star-driven, high-concept romantic comedies continues to pay dividends, as the second season of the series Nobody Wants This surged to the top of the streamer’s global TV charts. The series, which stars Kristen Bell and Adam Brody, secured the number one spot by registering a robust 8.6 million views in its debut week, according to the latest streaming data.
This impressive performance underscores the enduring appeal of the romantic comedy genre, particularly when anchored by familiar, bankable talent like Bell and Brody. The show, which follows the complicated dynamics of modern love in Los Angeles, successfully leveraged anticipation for its return, translating directly into significant viewing hours.
Analyzing the TV Chart Performance
The metric of 8.6 million views represents the total number of accounts that watched the series, calculated by dividing the total hours viewed by the runtime of the season. For a returning series, especially one in the competitive rom-com space, this figure indicates strong subscriber engagement and effective marketing.
Nobody Wants This is a key component of Netflix’s push to offer diverse, high-quality scripted content that appeals to broad demographics. The show’s setting in Los Angeles provides a backdrop for exploring contemporary themes of dating, career, and relationships, resonating strongly with the platform’s core audience.
Key Factors Driving Success:
- Star Power: The pairing of established television and film veterans Kristen Bell (known for The Good Place and Veronica Mars) and Adam Brody (of The O.C. fame) provides immediate recognition and draw.
- Genre Reliability: Romantic comedies offer comfort and escapism, making them highly rewatchable and easily digestible for binge-viewing.
- Seasonal Anticipation: The successful first season built a dedicated audience eager to return for the next chapter of the characters’ lives.
Film Charts Led by ‘A House of Dynamite’
While the television side was dominated by romance, the film charts saw a different genre take the lead. The movie A House of Dynamite claimed the top spot among Netflix films globally.
Although specific view metrics for the film were not immediately available in the initial report, its position at number one highlights Netflix’s continued success in acquiring or producing high-impact feature films designed for immediate mass appeal.
This dual success—a returning scripted series leading TV and a new feature film leading the movie category—demonstrates the platform’s balanced content ecosystem, catering to both long-term series fans and viewers seeking standalone cinematic experiences.
Broader Implications for Netflix Content Strategy
The latest chart results confirm several ongoing trends in the streaming landscape for 2025:
- The Value of Familiar Faces: Investing in actors with proven track records and established fan bases, such as Bell and Brody, significantly reduces the risk associated with new or returning productions.
- Genre Diversity: Netflix must maintain a strong slate across all major genres. The simultaneous success of a rom-com series and a presumably action-oriented film (A House of Dynamite) ensures the platform captures diverse viewing preferences.
- Focus on Views: Netflix’s shift to reporting ‘views’ (total hours divided by runtime) rather than just ‘hours viewed’ provides a clearer, more comparable metric of subscriber engagement and content penetration. The 8.6 million views for Nobody Wants This is a strong indicator of its reach across the subscriber base.
Key Takeaways
- Nobody Wants This Season 2, starring Kristen Bell and Adam Brody, topped the Netflix TV charts.
- The romantic comedy series achieved 8.6 million views in its first week, proving the genre’s continued popularity.
- The film charts were led by the feature movie A House of Dynamite.
- The success highlights Netflix’s balanced strategy of leveraging star power and reliable genres (rom-com and action) to drive viewership in 2025.
Original author: Peter White
Originally published: October 28, 2025
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