Liz Feldman Inks New Netflix Overall Deal and Secures Series Order for Dark Revenge Comedy All the Rage

The creative partnership between powerhouse showrunner Liz Feldman and Netflix continues to deepen as the streamer officially greenlights a new half-hour dark comedy series, All the Rage. Feldman, the architect behind the critically acclaimed, Emmy-nominated hit Dead to Me, has not only secured a series order for this new project but has also finalized an extension of her overall deal with the streaming giant. This strategic move ensures that Feldman will remain a cornerstone of the Netflix comedy slate, continuing to develop, write, and produce both television series and feature film projects for the platform.

Joining Feldman in this venture is collaborator Kelly Hutchinson, a veteran writer whose portfolio includes significant contributions to Dead to Me and the Apple TV+ series Palm Royale. The duo, who share a personal history spanning three decades, will serve as co-creators and executive producers on the project. The production will be bolstered by the heavy-hitting team at Gloria Sanchez Productions, with Will Ferrell and Jessica Elbaum serving as executive producers, alongside Christie Smith of Rise Management.

A Narrative Built on Personal History

All the Rage is framed as a dark revenge comedy, a genre territory that Feldman has mastered throughout her career. The plot centers on Emma and Eli, two long-estranged friends who find themselves reunited by a shared past and a singular, volatile goal: dismantling the life of the man responsible for their historical fracture.

In a joint statement, Feldman and Hutchinson emphasized the deeply personal roots of the project. "We’re thrilled to tell this completely made-up story about revenge inspired by our very real friendship of 30 years," the duo stated. "Thank you to Netflix for being the best partners in the biz and, more importantly, for paying us to finally work through 30 years of neurosis and resentment."

The thematic focus on trauma, female friendship, and the dark undercurrents of suburban life appears to be a natural evolution of the tone Feldman established in Dead to Me. By leaning into the "dark revenge" trope, the series aims to capture the same critical success that defined her previous work, which was lauded for its ability to balance grief with sharp, acerbic wit.

Chronology of the Netflix Partnership

Liz Feldman’s relationship with Netflix has been a defining narrative in the streaming era’s approach to talent retention. The chronology of this partnership highlights a period of intense creative output:

• 2020: Feldman signs her inaugural overall deal with Netflix following the explosive success of the first season of Dead to Me.
• 2022: Dead to Me concludes its three-season run, solidifying its status as one of the platform’s most consistent performers in terms of both critical reception and viewer retention.
• 2023-2024: Feldman begins development on No Good Deed, a project starring Lisa Kudrow and Ray Romano.
• 2025 (July): Reports circulate regarding the status of No Good Deed, which, while not formally canceled, faced significant production delays and a pause in momentum, mirroring broader industry trends of reassessing "prestige" comedy budgets.
• Late 2025: The official announcement of the All the Rage series order and the extension of Feldman’s overall deal, signaling a renewed commitment from the streamer to her specific brand of storytelling.

Industry Context and the "Prestige Comedy" Model

The commissioning of All the Rage arrives at a pivotal moment for Netflix’s comedy division. As the streaming landscape matures, platforms are increasingly moving away from the "volume-first" model toward a strategy that prioritizes "prestige" projects—shows that have high critical ceiling potential and high-profile talent attached.

Tracey Pakosta, VP of Comedy Series at Netflix, underscored the strategic value of this partnership. "We’re excited to continue our partnership with Liz and bring more of her distinct, brilliant vision to audiences worldwide," Pakosta noted. "Her decades-long friendship with Kelly fuels their unique and sharp creative chemistry, which they showcased during their collaboration on Dead to Me. We’re thrilled to have them join forces again for All the Rage, which is sure to blend dark comedy and emotional depth like only Liz and Kelly can."

The decision to pair Feldman with a veteran writer like Hutchinson is a common industry tactic designed to insulate a production from the pressures of showrunning. By building a writing room around a pre-existing creative shorthand, Netflix is positioning All the Rage to be a smooth production, mitigating the risks of development hell that often plague high-concept comedies.

Analyzing the Strategic Implications

The renewal of Feldman’s deal is a clear indicator that Netflix remains committed to the "auteur" model for television. In an era where many streamers are cutting costs and reducing their overall deal slates, the decision to retain Feldman suggests that her output provides a measurable return on investment.

Data from the success of Dead to Me suggests that Feldman’s work performs exceptionally well in the "long tail" of viewership—meaning audiences continue to discover and binge her shows long after their initial release dates. By keeping her under an overall deal, Netflix essentially secures an "insurance policy" on high-quality comedy content.

Furthermore, the involvement of Gloria Sanchez Productions—the banner co-founded by Will Ferrell and Jessica Elbaum—adds a layer of commercial viability to the project. Gloria Sanchez has been instrumental in bridging the gap between indie-style character studies and mainstream commercial hits, such as Booksmart and Hustlers. The involvement of such a production house suggests that while All the Rage is a dark comedy, Netflix views it as a potential breakout hit with broad appeal.

Future Outlook and Talent Representation

The project is currently in the early stages of pre-production, with the primary focus now shifting to casting and the assembly of a writers’ room. Given the high-profile nature of the creators and the production team, industry insiders expect a significant talent search for the roles of Emma and Eli.

The representation landscape for the project is equally high-caliber. Liz Feldman is represented by CAA and Rise Management, while Kelly Hutchinson is represented by UTA, SEL Media Group, and the legal firm Goodman, Genow, Schenkman, Smelkinson & Christopher. Will Ferrell is represented by UTA, Mosaic, and an extensive legal team, highlighting the significant resources being funneled into the project’s development.

As the industry continues to navigate the post-strike environment and the shifting economics of subscription video on demand (SVOD), the success of All the Rage will be a litmus test for the viability of the half-hour dark comedy format. If the series can replicate the cultural footprint of Dead to Me, it will likely cement Feldman’s status as a top-tier showrunner for the remainder of the decade.

For the audience, the show represents a return to the specific tonal signature that made Feldman a household name: the intersection of trauma, humor, and the messy reality of human relationships. As Netflix continues to refine its strategy, projects like All the Rage serve as the anchor points that keep subscribers engaged, proving that even as the industry changes, the demand for high-quality, character-driven storytelling remains the most consistent variable in the entertainment ecosystem.