Lando Norris has strongly criticized the latest season of the Netflix series Drive to Survive, accusing its producers of misrepresenting reality for dramatic effect. The McLaren driver expressed frustration over what he described as misleading portrayals, fabricated narratives, and inaccurate depictions of relationships between drivers.
Since its debut in 2019, the documentary series has played a major role in boosting the popularity of Formula One, offering behind-the-scenes access to teams and drivers. While it has been largely embraced by fans and the sport’s stakeholders, concerns have repeatedly been raised about the way it edits and presents stories to heighten drama.
In the latest season, Norris features prominently in his title battle with Max Verstappen. Despite his willingness to be open with the filmmakers, he expressed disappointment over the way the show framed his interactions with Verstappen, falsely suggesting conflict between the two when they remain close friends.
“They need to show the truth about people more,” Norris stated. “I’m not a fan of fake stuff. I want facts, not made-up scripts and fabricated nonsense. The way they portrayed Max and me as being against each other so much it’s unnecessary. There’s already drama, they can just show the facts. They don’t need to exaggerate.”
One particular instance that angered Norris was how the show depicted his first Grand Prix victory in Miami last season. The series framed it as a tense battle with Verstappen, when in reality, Norris won comfortably. Additionally, footage of Verstappen appearing unhappy was used to suggest disappointment over Norris’s win, but it was later revealed that the clip was actually filmed at a different race, the Dutch Grand Prix. The producers later admitted this was an error and removed it from the series.
Verstappen, who had congratulated Norris and even celebrated with him after the Miami victory, has long voiced concerns over the show’s editing practices. He has previously stated that he prefers to limit his involvement, criticizing the way rivalries are sometimes exaggerated for entertainment.
Norris warned that selective editing could mislead fans and create false impressions about drivers and their relationships. “To portray someone in an incorrect way means people will form opinions based on false information,” he said. “That’s not fair. When a show has such a massive following, people believe what they see, and it’s almost like lying.”
Despite these criticisms, the series continues to be a major factor in the growth of Formula One’s global audience. Filming for the next season has already begun at the Australian Grand Prix, and Norris acknowledged that the show’s impact on the sport has been significant. However, he believes it should prioritize authenticity over dramatization.
“The most important thing is to show the truth about the people in F1 the drivers, the engineers, the team bosses,” he emphasized. “If they lose that, they lose the point of having the series.”
The production company behind the series defended its approach, stating that the narratives it presents are based on real events and that the show aims to make Formula One more appealing to a broader audience. They also acknowledged that occasional mistakes occur due to the fast-paced nature of production and stated that errors, such as the misused Verstappen footage, are corrected when identified.
Formula One itself continues to support the series, highlighting its contribution to the sport’s rising popularity. While acknowledging that some criticisms exist, representatives argue that the show’s overall impact has been overwhelmingly positive.
