What’s New on Netflix: Alice, Wayward, Billionaires’ Bunker

The streamer’s new slate veers heavily towards global thrillers and prestige drama, with highlights including a second season of Alice in Borderland, buzzy small‑town exposé Wayward, and high-stakes apocalypse saga Billionaires’ Bunker from Mexico. It’s a trio that nicely embodies the Netflix programming playbook: international prestige tentpoles, star-led originals and conversation-sparking genre fare that travels well in multiple markets.

With Netflix reporting more than 270 million global subscribers in recent earnings, and pointing to strong engagement around non‑English series, the service continues to bet on cross-border hits that feel local while scaling worldwide. Here’s what should take pride of place in your watchlist — and why.

Billionaires’ Bunker: How the rich are preparing for doomsday

In the Mexican drama Billionaires’ Bunker, two dynasties at war lock themselves inside a fallout shelter as the world outside burns — only to find out that the real threat is the rot they took with them.

From Jesús Colmenar, David Barrocal and José Manuel Cravioto and starring Joaquín Furriel, Natalia Verbeke and Carlos Santos, it’s a glossy, claustrophobic thriller with elbows sharp as knives and an edge of TV‑MA.

The premise plays into an actual trend: luxury bunkers. From Kansas’s retooled “Survival Condo” project to New Zealand compounds they read about in the nation’s most storied newspapers, the preparedness boom of the ultra-wealthy has been well-covered. Google Trends has reliably spiked during geopolitical flashpoints that have left the world fearing nuclear war, and that cultural anxiety is a rich soil from which to grow drama. Anticipate power plays, moral triage and an unsettling calculus about whose life gets saved when both space — and humans — grow scarce.

Wayward: Toni Collette challenges the ‘troubled teen’ industry

In Wayward, Toni Collette plays the tough-as-nails head counselor of Tall Pines Academy, a rural facility that seeks to “fix” adolescence — and that might be covering up abuses beneath its therapeutic veneer. With episodes directed by Euros Lyn, Renuka Jeyapalan and John Fawcett, and a cast led by Mae Martin and Sarah Gadon, the drama doesn’t shy away from its slow‑burn revelations or institutional rot. It’s TV‑MA for a reason.

The backdrop to the show is torn from real headlines. The Government Accountability Office and state attorneys general have reported myriad failings and abuse in the youth residential treatment industry, leading to hearings and reforms around the nation. That context lends Wayward a disconcerting plausibility: the humdrum jargon of “behavioral correction,” the financial incentives and the complicit community that allows it to endure. If you were hooked on limited series such as Unbelievable, anticipate a similarly thorny blend of character study and systemic criticism.

Alice in Borderland S3: Resetting the game, upping the stakes

Barely crawling out of season two with a metaphorical escape hatch, Arisu and Usagi are thrown back into the survival games by a mysterious professor — and this time, perhaps even more twisted rules. The director, Shinsuke Sato, is back for this follow-up, as well as the stars Kento Yamazaki (above), Tao Tsuchiya and Nijirō Murakami, who have returned to keep the franchise rolling along — but not at the expense of its pulse-pounding puzzle-box DNA.

Netflix’s own Top 10 list had previously seen Alice in Borderland rank among the most-viewed Japanese live‑action series on the platform, a breakout that has benefited from riding the same high-concept survival storytelling tidal wave which propelled Squid Game to new heights.

In Season 3 the challenge becomes narrative escalation: keeping the players’ psychology at the front of it all, while topping what had been done before. Sato has a good track record of kinetic, dialogue‑y action, plus the larger mythos suggestions — cards and suits and systems (and so on) — suggest that there are still layers to flip.

Also coming: other comfort rewatches and niche gems

Genre swings and familiar favorites round out the week:

• (complete seasons) for sword‑and‑sandals loyalists
• Family-friendly refreshers like Blippi’s Job Show
• Thriller imports including The Guest
• Stand-up with Cristela Alonzo: Upper Classy
• Pulpy picks such as San Andreas
• Documentary and true‑crime titles like Crime Scene Zero and ConMom
• Haunted Hotel and House of Guinness for a seasonal chill — and some brand lore

What to watch first on Netflix this week and why

If water‑cooler TV is what you want: begin Billionaires’ Bunker. The premise — bunker politics! — is Monday‑morning tailor‑made for discourse. For prestige drama with real‑world resonance: choose Wayward — moody, meditative and likely to haunt you. Desperate for adrenaline: line up Alice in Borderland S3, and let the episodic cliffhangers work their magic. For kids looking for a safe detour recovery show? Oleonius Sons is ideal for a long‑weekend binge.

Why this lineup matters to Netflix and what it signals

The formula highlights Netflix’s scale advantage: fund local productions that can break out globally, combine with star-led English‑language series and then surround the headliners with licensed comfort food. Industry trackers including Ampere Analysis have observed foreign‑language originals coming of age, and Netflix has confirmed an investment of “mid‑teens” working its way into investor letters over the past few years. This week’s offerings tick every strategic box — big swings, broad appeal and sufficient variety to prevent households from churning.

Bottom line: three strong anchors, each with distinct flavor. Whether you’re in the mood for elite panic, institutional intrigue or game‑theory mayhem, Netflix’s huge pickup serves it up — and tees up plenty to talk about once the credits roll.