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Drive to Survive: The Art of Artificial Drama

The seventh season of the Netflix series follows the same codes as the previous episodes, a sign of a format that is running out of steam and has lost the naturalness of the actors in the paddock, who have become skilled actors in the service of a poorly put together scenario. Spoiler alert for those who have not yet watched it.

Published 10/03/2025 à 14:05

Cyprien Juilhard

  Comment on this article! 2

Drive to Survive: The Art of Artificial Drama

@Netflix

Drive to Survive (DTS) has one quality that can't be taken away from it. It pushes us to question the boundary between series and documentary. The Netflix show has been playing on this ambiguity for seven years, offering exclusive images of the paddocks that delight fans of Formula 1, while rewriting the history of a sport that was already exciting enough not to need a boost in sensationalism. However, the series did a world of good for the premier category of motorsport, dusting it off and removing its label as an elitist discipline. Thanks to the streaming platform, F1 audiences have exploded around the world, and drivers – and even some team bosses – have become real celebrities. With this conquest of a new audience, particularly in the United States, F1 has re

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2 Comment (s)

DANIEL MEYERS

10/03/2025 at 06:38 a.m.

"the famous scenes supposed to be taken on the fly are seriously lacking in spontaneity" "Drive to Survive offers little more than what we already see on television" Really? Sure, you've seen all the episodes? Of course the usual flaws are there, among other things, what we most often criticize, the lack of respect for temporality, but ultimately it's normal, it's NOT a summary in the literal sense of the season, having seen all the seasons I think it's much better than two or three years ago, and then the release online a week before the new season serves as a very good warm-up!

DANIEL MEYERS

10/03/2025 at 06:25 a.m.

Drive to Survive offers little more than what we already see on television.

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