The Top 10 for the week of February 9 to 14, 2026, on streaming does not point to a single trend or a major cross-platform phenomenon. On the contrary, it reveals a fragmented ecosystem in which each service seems to operate according to its own logic and speak to emotionally distinct audiences. The result is less a direct competition for attention and more a mosaic of simultaneous viewing behaviors.

There is, however, a subtle common thread: a preference for recognizable properties. Franchises, established universes, proven titles, or stories based on real events dominate nearly all rankings. This is not a week of discovery. It is a week of trust.

This Top 10 is not about what premiered with noise, but about what offers predictability in an environment saturated with disposable novelties. Audiences do not seem interested in narrative risk right now. They want to know exactly what they will get before pressing play.

Netflix

Netflix’s Top 10 remains the most heterogeneous and, precisely because of that, the most revealing of the platform’s breadth. Among films, real-life scandal documentaries, older comedies, family titles, and recent thrillers coexist. There is no aesthetic or thematic coherence, only the logic of familiarity.

The simultaneous presence of titles related to Ghislaine Maxwell reinforces how true crime centered on real figures continues to be a constant engine of engagement. It does not depend on release timing, only on ongoing relevance. It is content that returns cyclically whenever public interest is reignited.

Norbit and Overboard appear as pure comfort choices, films that function almost like emotional background noise. They require no cognitive investment and offer no surprise. They fill time rather than create memory.

Among series, Bridgerton remains a structural presence on the platform. It is no longer an event but an environment. Love Is Blind confirms the persistent strength of romantic reality shows as light, continuous viewing. Jeffrey Epstein: Filthy Rich resurfaces, once again driven by the intersection of historical scandal and renewed curiosity.

Netflix continues to operate as streaming’s great video store. It does not organize audience taste. It absorbs it.

HBO Max

HBO Max’s ranking is dominated by genre fiction and a strong catalog. Among films, suspense, horror, and science fiction narratives stand out, including titles tied to pandemics and global threats. The simultaneous presence of 28 Days Later and 28 Years Later suggests chain viewing, driven by curiosity or franchise rediscovery.

M3GAN 2.0 and Woman of the Hour reinforce interest in contemporary thrillers with a clear identity. They are not necessarily blockbusters, but they offer a distinct proposition, something increasingly valued in a landscape crowded with indistinguishable content.

Among series, the platform reaffirms its positioning as a home for adult drama and auteur animation. The Pitt leads, sustained by intense storytelling and character focus. A Knight of the Seven Kingdoms continues to demonstrate durable strength, confirming that the Westeros universe remains one of the few capable of generating sustained engagement without relying solely on novelty.

Industry and Primal reinforce the idea of implicit curation. HBO Max viewers expect to find a guiding creative vision behind the content.

Disney+

Disney+’s Top 10 highlights the strength of the company’s historical catalog. Among films, family franchises, animation, and already established titles dominate overwhelmingly. The Devil Wears Prada reappears as proof that the recent past of pop culture remains an extremely valuable asset. Prey and Predator: Badlands show that even darker properties within the brand find an audience inside the Disney ecosystem.

The presence of animated titles such as Rio and Despicable Me confirms shared household viewing, especially during periods without major children’s theatrical releases.

Among series, the ranking mixes teen drama, adult productions, and family content, reflecting the platform’s attempt to broaden its base beyond children. The Beauty and Love Story suggests interest in darker or more ambiguous romantic narratives, while Grey’s Anatomy and Modern Family function as pillars of continuous binge-watching.

Disney+ bets less on immediate impact and more on longevity.

Prime Video

Prime Video continues to operate as a space for direct, pragmatic consumption. Among films, action, thrillers, and contemporary romances with low critical buzz but high immediate appeal dominate. The Wrecking Crew leads without necessarily generating cultural conversation, but it fulfills its function as efficient entertainment.

Apocalypto reappears as a modern classic of physical intensity, while romantic titles indicate a slight seasonal shift associated with Valentine’s Day.

Among series, Beast Games dominates as a large-scale competitive reality show, confirming the platform’s investment in formats designed for continuous engagement. Fallout remains a strong franchise sustained by a dedicated fandom. The presence of Yo soy Betty la fea underscores the enduring power of Latin American telenovelas in the digital environment.

Prime does not seek prestige. It seeks retention.

Paramount+

Paramount+ presents perhaps the most coherent ranking in terms of identity. Mission: Impossible — The Final Reckoning leads comfortably, reaffirming the strength of classic franchises as the service’s primary engine.

Among series, South Park, Yellowstone, and Tulsa King outline a loyal, adult audience with little interest in experimentation. These long-running properties function as the platform’s emotional signature.

Paramount+ does not attempt to reinvent its catalog. It capitalizes on what already works.

Apple TV+

Apple TV+’s ranking remains singular. Nearly all titles are originals, reinforcing the strategy of building brand identity through curation and prestige.

Among films, F1 and Eternity appear as event products designed as much for positioning as for viewership. Among series, Hijack, Severance, and Ted Lasso maintain a constant presence, indicating consumption driven by reputation and recommendation rather than novelty alone.

Apple does not compete for weekly volume. It competes for perceived value.

Miscellaneous Top 10

1 — Hijack
2 — A Knight of the Seven Kingdoms
3 — Steal
4 — Love Story
5 — The Wrecking Crew
6 — The Beauty
7 — The Pitt
8 — Bridgerton
9 — His & Hers
10 — The Rip