Glen Powell’s meteoric rise in Hollywood has been nothing short of fascinating, and the news of Hit Man getting a series adaptation on Netflix feels like the next logical—yet thrilling—step in his career. Personally, I think what makes this particularly fascinating is how Powell has managed to pivot from blockbuster roles like Top Gun: Maverick to a quirky crime comedy that’s now spawning a franchise. It’s a testament to his versatility as an actor and his savvy as a producer. But let’s dig deeper—what does this adaptation really mean for Powell, Netflix, and the broader entertainment landscape?
First, the fact that Hit Man is getting a series adaptation at all is a bold move. The film, directed by Richard Linklater, was a delightful blend of dark humor and character-driven storytelling. What many people don’t realize is that turning a self-contained movie into a series is risky. The original film’s charm lay in its tight narrative and Powell’s magnetic performance as Gary Johnson, a professor moonlighting as a fake hit man. Stretching that premise into a series could either dilute its uniqueness or expand its world in exciting ways. I’m cautiously optimistic, especially since Stephen Falk, the creator of You’re the Worst, is writing it. Falk’s knack for sharp dialogue and flawed characters could be the perfect match for this material.
One thing that immediately stands out is Netflix’s decision to greenlight this project after the film’s massive success on the platform. Hit Man wasn’t just a hit—it was a phenomenon, topping global charts and racking up 1.5 billion minutes watched in its first week. If you take a step back and think about it, this is a prime example of Netflix’s strategy to milk its most successful properties for all they’re worth. But here’s the kicker: Hit Man wasn’t originally a Netflix film. The streamer acquired it for $20 million, a gamble that paid off spectacularly. This raises a deeper question: Are we entering an era where streaming platforms don’t just produce content but actively hunt for proven successes to repurpose?
From my perspective, this trend could have far-reaching implications. It’s not just about Hit Man—it’s about the broader shift in how Hollywood values and monetizes intellectual property. Studios are increasingly treating films as pilots for potential series, and actors like Powell are becoming multi-hyphenate creators who control their own destinies. What this really suggests is that the line between film and TV is blurring faster than ever, and that’s both exciting and unsettling.
A detail that I find especially interesting is Powell’s involvement as both star and executive producer. This isn’t just a paycheck gig for him—it’s a passion project. He co-wrote the film, and his commitment to the character of Gary Johnson is evident. But here’s where it gets tricky: Can lightning strike twice? The film’s success was partly due to its tight, 90-minute runtime and Linklater’s directorial touch. A series will require a different pacing and tone, and I can’t help but wonder if the magic will be lost in translation.
If you ask me, the key to making this series work lies in its ability to expand the world without losing sight of what made the film special. Gary Johnson’s dual life as a professor and faux hit man is inherently intriguing, but it’s the relationships—particularly his connection with the woman who hires him—that give the story its heart. A series could explore more of those dynamics, maybe even introduce new characters and subplots. But it needs to tread carefully. Too much expansion, and it risks becoming a caricature of itself.
What makes this particularly fascinating is how it fits into the larger trend of Hollywood’s obsession with franchises. From Marvel to The Boys, audiences are devouring serialized storytelling. But Hit Man feels different. It’s not a superhero epic or a dystopian thriller—it’s a character-driven comedy with a dark edge. If Netflix can pull this off, it could pave the way for more mid-budget, quirky projects to get the franchise treatment.
In my opinion, the success of this series will hinge on one thing: authenticity. The film worked because it felt fresh and original, not because it was trying to set up a sequel or spin-off. If the series feels like a cash grab, audiences will see right through it. But if it stays true to the spirit of the film while adding new layers, it could be something truly special.
As for where I’d like to see the character go next? Personally, I’d love to see Gary Johnson’s moral dilemmas explored in greater depth. The film hinted at his internal conflict, but a series could really dive into what it means to live a double life. What many people don’t realize is that the most interesting stories aren’t about the disguises or the missions—they’re about the person underneath.
In the end, the Hit Man series is more than just another Netflix project. It’s a litmus test for the future of storytelling in the streaming age. Will it be a thoughtful expansion of a beloved film, or a soulless attempt to capitalize on its success? Only time will tell. But one thing’s for sure: Glen Powell is at the center of it all, and I, for one, can’t wait to see what he does next.
