Netflix Unveils its Top 10 Programs in U.S.

Netflix via Twitter unveiled the top 10 most popular series, films and documentaries released on the service in the United States in 2019.

The feature comedy Murder Mystery, starring Adam Sandler and Jennifer Aniston, topped the overall list. It was also the top movie.

The lists are based on titles released on Netflix in 2019 and are ranked based on accounts that choose to watch 2 minutes or more of a title during its first 28 days on the service this year. The service noted that titles released this month may incorporate viewing predictions.

The top 10 most popular releases:

  1. Murder Mystery
  2. “Stranger Things 3”
  3. 6 Underground
  4. The Incredibles 2
  5. The Irishman
  6. “The Witcher”
  7. Triple Frontier
  8. Extremely Wicked, Shockingly Evil and Vile
  9. “The Umbrella Academy”
  10. The Highwayman

 

The top 10 most popular series releases:

  1. “Stranger Things 3”
  2. “The Witcher”
  3. “The Umbrella Academy”
  4. “Dead to Me”
  5. “You: S2”
  6. “When They See Us”
  7. “Unbelievable”
  8. “Sex Education”
  9. “13 Reasons Why: S3”
  10. “Raising Dion”

 

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The top 10 most popular movie releases:

  1. Murder Mystery
  2. 6 Underground
  3. The Incredibles 2
  4. The Irishman
  5. Triple Frontier
  6. Extremely Wicked, Shockingly Evil and Vile
  7. The Highwayman
  8. Spider-Man: Into the Spider-Verse
  9. Ralph Breaks the Internet
  10. Secret Obsession

 

The top 10 most popular documentary releases:

  1. Conversations With a Killer: The Ted Bundy Tapes
  2. Our Planet
  3. Fyre: The Greatest Party That Never Happened
  4. Homecoming: A Film by Beyonce
  5. Don’t F**k With Cats: Hunting an Internet Killer
  6. Abducted in Plain Site
  7. The Disappearance of Madeleine McCann
  8. The Family
  9. Street Food
  10. Kevin Hart: Don’t F**k This Up

 

For more Netflix U.S. top 10s see the Twitter thread.

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Streaming, Consolidation Dominate Top 10 Home Entertainment Stories of 2019

Streaming and consolidation dominated the home entertainment headlines in 2019, with the Walt Disney Co. leading the way. Netflix got some subscription streaming competition, and free streaming through advertising, or AVOD, emerged as a new star. It was also a year that saw the home entertainment industry lose a venerable studio player that had helped birth the business more than 40 years prior — 20th Century Fox Home Entertainment. Meanwhile, physical disc sales and rentals continued a structural decline, while electronic sellthrough, the digital sale of content, was a solid performer in the transactional business.

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Here are the top 10 home entertainment stories of 2019, as chosen by Media Play News staff:

  1. Disney Acquires Fox: Disney closed its $71.3 billion purchase of 20th Century Fox Film Corp. The deal included myriad Fox properties, including Fox’s interest in Hulu and 20th Century Fox Home Entertainment, which helped birth the home video industry in 1979. The merger also saw the departure of several executives, including Mike Dunn and James Finn at Fox and Janice Marinelli, president of global content sales & distribution for Disney’s direct-to-consumer & international unit.
  2. Disney + Bows: Calling it the company’s most-important consumer product ever, Disney CEO Bob Iger announced the launch of Disney+, a standalone SVOD service aimed at taking on segment pioneer Netflix and Amazon Prime Video. The service launched Nov. 12 at $6.99 a month offering a trove of catalog movies, including its venerable animated classics and Marvel hits, and catalog TV shows, in addition to original “Star Wars” series “The Mandalorian,” an instant fan hit from director Jon Favreau. Disney also unveiled the bundle offer of ESPN+, Hulu (now controlled by Disney) and Disney+ at $12.99 a month.
  3. AVOD in the Spotlight: Advertising-supported video-on-demand, or AVOD, emerged from the SVOD shadows, gaining traction among subscription-weary consumers looking for free content. Mega-media companies Comcast, Viacom (through the acquisition of Pluto TV) and Amazon (through IMDb) acknowledged the growing market. Reports surfaced that Comcast is eyeing acquiring AVOD player Xumo TV to go along with 2020’s Peacock streaming service debut.
  4. Apple TV+ Launches: Apple Nov. 1 launched a standalone branded subscription streaming service at $4.99 a month, Apple TV+, in more than 100 countries and regions through the Apple TV app. Original content included Golden Globe-nominated “The Morning Show,” “See,” “For All Mankind” and “Dickinson.”
  5. Electronic Sellthrough Continues to Grow: Outside of subscription streaming video, the only home entertainment category to post an increase in consumer spending during much of 2019 was electronic sellthrough, the digital purchase of movies and other content. The segment generated an estimated $1.9 billion in consumer spending through the third quarter of 2019, up 6.7% from the previous-year period, according to DEG: The Digital Entertainment Group.
  6. Redbox Gets Into Content, Out of Disney Movie Code Sales: Redbox launched Redbox Entertainment, a new label to acquire and produce content exclusive for Redbox’s 50 million kiosk consumers. The company tapped Broad Green Pictures and Lionsgate veteran Marc Danon to head content acquisition. The kiosk vendor also settled 2-year-old litigation with Disney, agreeing not to sell the studio’s digital movie codes.
  7. Filmmakers Tweak UHD: The UHD Alliance, along with leaders in consumer electronics, Hollywood studios and members of the filmmaking community, announced collaboration on a new viewing mode for watching movies and episodic TV called “Filmmaker Mode,” designed to reproduce the content in the way the creator intended.
  8. Netflix Takes a U.S. Sub Hit: Disaster struck Wall Street favorite Netflix after the streaming behemoth posted a 126,000 domestic subscriber loss in Q2 after projecting growth of 300,000 subs. It was Netflix’s first domestic sub loss since 2011 when co-founder/CEO Reed Hastings announced the short-lived separation of the company’s DVD rental business from its subscription streaming business. Regardless, stock plummet nearly 20% (or $26 billion) in value after the disappointing numbers.
  9. Changes Afoot at Vudu: Vudu — rumored to be up for sale by owner Walmart, which executives told The Information considers it a non-core business — quietly downsized support for its Vudu To Go/In-Home Disc to Digital app, effective Jan. 1, 2020. The digital movie transactional service will still allow users to convert DVD and Blu-ray movies for digital access by scanning UPC codes on the Vudu app via select portable devices such as a mobile phone and tablet.
  10. Netflix Hails Discs: Taking its eye off its dominant streaming business for a moment, Netflix acknowledged a milestone: Delivery of 5 billion discs since the launch of its legacy disc-by-mail rental service more than two decades ago. The disc rental: Paramount’s Rocketman.

A Message to Our Readers for 2020

As we put a wrap on 2019, I want to send my thanks to all of our loyal readers for your support of Media Play News — and our mission to cover the at-home and direct-to-consumer sector of the entertainment business, from transactional to streaming.

Thanks to you — and, of course, to our team of editors, writers, and designers — our online readership has nearly doubled over the last year. Comparing November 2019 to November 2018, our unique visitor count was up 85%, while our total monthly visits rose 99%, according to our hosting service, Haus Interactive.

Our monthly print and digital magazine, meanwhile, continues to serve as a curated collection of the month’s biggest stories — and an archival record of a business that remains resilient and vibrant more than 40 years after it was birthed by Andre Blay and a collection of 50 leased titles from Fox that he issued on videocassette.

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Two years ago, we set out to redefine the concept of home entertainment, broadening the definition to include any filmed content available for on-demand viewing by the consumer — regardless of whether it was bought or rented on Blu-ray Disc, DVD or digital, or streamed via Netflix, Amazon or Hulu.

Since then, the disc market has been revitalized by 4K Ultra HD. Digital distribution has posted impressive growth numbers as consumers realize the latest theatrical blockbusters simply aren’t available on Netflix. And the subscription streaming market, which Netflix pioneered more than a decade ago, this year saw the launch of two other high-profile services, Disney+ and Apple TV+ — with more on the way in 2020.

Mega-mergers saw AT&T buy Warner Bros. and Disney purchase, and then absorb, the venerable 20th Century Fox film studio.

And original content, made expressly for the small screen that is the focus of Media Play News’ coverage, was the darling of the year, with Apple TV+ earning Golden Globe nominations out of the gate and Redbox launching a new content acquisition and production division to further its transformation into a multi-channel content provider and programmer.

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Here at Media Play News, we scored a number of high points. Our Fast Forward awards honored four key digital retailers at a sold-out luncheon. Our second annual Women in Home Entertainment issue shone the spotlight one some of the brightest minds in our business, from Andrea Downing of PBS to Netflix’s Cindy Holland. Our 40 Under 40 issue, also in its second year, gave well-deserved recognition to the leaders of tomorrow. And at the end of summer we brought onboard a razor-sharp social media marketer and our Instagram posts are now generating hundreds, if not thousands, of likes.

I wish you all a prosperous, healthy and happy new year — and, again, thanks for your support.

Sincerely,

Thomas K. Arnold, Publisher and Editorial Director, Media Play News

French Series ‘No Second Chance’ and ‘Just One Look’ to Stream on PBS Masterpiece Prime Channel in January

Two French series based on books by best-selling author Harlan Coben will stream on the PBS Masterpiece Prime Video Channel beginning in January, “No Second Chance” and “Just One Look.”

The PBS Masterpiece Prime Video Channel is $5.99 per month with an Amazon Prime or Prime Video subscription.

“Walter Presents: No Second Chance, Season 1,” hitting screens Jan. 3, follows Dr. Alice Lambert, who realizes that her life has taken a drastic turn when she wakes up in the hospital from an eight-day coma. Her husband has been killed, she has been shot, and her young daughter Tara has been abducted. One afternoon she receives a phone call and a package containing a piece of Tara’s clothing. The abductors are asking for 1 million euros in exchange for her baby with one single rule: no police involvement. She embarks on a desperate hunt for Tara — with help only from her former lover, Richard.

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“Walter Presents: Just One Look, Season 1,” streaming beginning Jan. 24, stars Virginie Ledoyen (Leonardo DiCaprio’s co-star in The Beach) as Eva. Eva leads a peaceful life in France happily married to Bastien along with their two children, Max and Salome. One day a mysterious photograph arrives and threatens to turn her life upside down. The photo is of her husband Bastien with a mysterious woman’s face scratched out. He denies any recollection of the event and the next night, he leaves with the children to stay in a hotel. Suddenly Eva loses all contact with him and the children. She now has only one goal: to find them at all costs, even if the scars of her own past begin to resurface.

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Ivanka Trump Named CES Keynote Speaker

Just before Christmas, Ivanka Trump, advisor to her father, President Donald Trump, was quietly named one of several keynote speakers at the upcoming CES Jan. 7-12, 2020, in Las Vegas.

Ms. Trump will take the keynote stage with Gary Shapiro, CEO of CTA, on Jan. 7 at 2 p.m. PT in the Venetian’s Palazzo Ballroom. They will discuss employer-led strategies to reskill workers, create apprenticeships and develop K-12 STEM education programs.

Ivanka Trump

“CES has consistently proven to be one of the most influential technology events in the world and I am excited to join this year for a substantive discussion on the how the government is working with private sector leaders to ensure American students and workers are equipped to thrive in the modern, digital economy,” Trump said in a statement.

In her White House role, Trump reportedly focuses on the economic empowerment of women and their families, skills-training and workforce development. Her work includes serving as co-chair of the National Council for the American Worker with U.S. Secretary of Commerce Wilbur Ross, which helps shape administration efforts to develop a competitive workforce for the future, according to a PR statement.

“As a business leader and entrepreneur, Ivanka Trump is an advocate for creating family-sustaining jobs through workforce development, education and skills training,” said Shapiro.

Trump joins other CES keynote speakers, including Samsung CEO of Consumer Electronics Division Hyun-Suk Kim; Daimler Chairman Ola Källenius; Delta Air Lines CEO Ed Bastian; NBC Universal Chairman of Advertising and Partnerships Linda Yaccarino, Quibi CEO Meg Whitman and founder Jeffrey Katzenberg, Salesforce Chairman and co-CEO Marc Benioff and Unilever CEO Alan Jope.

Befitting her father’s tumultuous presidency, Ivanka has been criticized for myriad — often partisan issues — not the least of which is her limited tech background.

“It would be better if the background of the keynote speaker actually fit the industry it is serving and inspirational rather than talking heads and political,” Cindy Chin, CEO of the consultancy CLC Advisors, told The Guardian. 

Regardless, Shapiro said Trump was more than welcome at the world’s largest consumer electronics show to share “her vision for technology’s role in creating and enabling the workforce of the future.”

Research: 85% of U.S. Homes Get Internet Service

New consumer research from Leichtman Research Group found that 85% of U.S. households get an Internet service at home, compared with 84% in 2014 and 80% in 2009.

Broadband accounts for 96% of households with an Internet service at home, and 82% of all households get a broadband Internet service — an increase from 79% in 2014 and 71% in 2009.

In addition, 81% of adults access the Internet on a smartphone (and an additional 1% access the Internet on another type of mobile phone), up from 63% in 2014. Overall, 75% of households now get Internet service both at home and on a mobile phone, an increase from 59% in 2014.

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“This year’s study demonstrates a growing reliance on broadband Internet services in the home, with an increase in the time spent online at home, including the frequency of watching Internet-delivered video,” analyst Bruce Leichtman said in a statement. “It is most common for home Internet service to be complemented by Internet service on a mobile phone. Three-quarters of households now get Internet service both at home and on a mobile phone, while the segment opting to solely access the Internet on a mobile phone has plateaued.”

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These findings are based on a telephone survey of 1,121 households from throughout the United States. This is LRG’s seventeenth annual study on this topic.

Other related findings include:

  • 10% of households only get Internet service at home – compared to 25% in 2014.
  • 50% not online at home access the Internet on a mobile phone (and an additional 2% access the Internet on another type of mobile phone), representing 8% overall.
  • 86% of households use at least one laptop or desktop computer — 93% of this group get an Internet service at home.
  • 54% of those not online at home do not use a laptop or desktop at home
  • 50% with an Internet service at home watch video online daily — compared with 29% in 2014, and 16% in 2009.

 

Among adults with an Internet service at home, the mean time spent online at home is 3.7 hours per day — up from 2.8 hours per day in 2014, and 2.2 hours per day in 2009.

Oh, What a Year — With Transformational Changes, Home Entertainment in 2019 Got Smaller — and Bigger

The phrase “transformational change” has been used so much it’s become a cliché — and yet there really is no better way to describe what happened in not just home entertainment, but also the entertainment industry overall, in 2019.

The completion in March of the Walt Disney Co.’s purchase of 20th Century Fox saw the number of major studios drop to five from six. Some of the home entertainment sector’s most familiar faces were suddenly gone, including Mike Dunn, the longtime leader of Fox’s home entertainment unit, and Danny Kaye, the visionary behind Fox Innovation Labs. Later, in the summer, Janice Marinelli, Disney’s home entertainment chief, also exited in a surprise move, given that she had opened an office on the Fox studio lot and was reportedly screening staffers.

In November, two new streaming giants emerged to take on longtime leader Netflix, Apple TV+ and, most significantly, Disney+.

Meanwhile, a new flavor of streaming gathered momentum: free to consumers, paid for by advertisers. Among the heavyweights jumping into what’s known as “AVOD” are ViacomCBS, with its Pluto TV acquisition, and Comcast Corp., which in December was reported to be in advanced talks to acquire Xumo TV, which boasts more than 140 digital channels of programming across 12 genres, including sports, news, kids and family entertainment.

The overall impact of all these developments on home entertainment: It got smaller — and bigger.

Smaller, because the traditional transactional business model that has defined home entertainment since its birth more than 40 years ago has increasingly come under fire, with subscription streaming, in particular, gobbling up more and more consumer attention — and dollars — that previously would have gone toward buying or renting movies, either on disc or through digital retailers.

But also bigger, because streaming, in its various incarnations, is now widely accepted as being part of home entertainment — which is now broadly defined as people watching what they want, on demand. There’s even a new name for all of this — direct-to-consumer — which was first adopted by Disney and is now used interchangeably with “home entertainment.”

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Bob Buchi, president of Paramount Home Entertainment, says 2019 “was the year of transition.”

“From media mergers and changing consumer viewing habits to the explosion of streaming services, the landscape has shifted dramatically,” he says.

The Nov. 1 launch of Apple TV+ marked the tech giant’s entry into the content business, with nine original series. One of them, “The Morning Show,” picked up several Golden Globe nominations from the Hollywood Foreign Press Association (HFPA), a first for a new streaming service.

Less than two weeks later, Disney launched its much-ballyhooed Disney+, with a full menu of in-demand movies and series — including the “Star Wars” spinoff “The Mandalorian.” Disney said more than 10 million people signed up for the service in the first 24 hours. By the end of November, the service had 24 million subscribers, according to estimates from Wall Street firm Cowen & Co. (Netflix as of October had more than 60 million domestic subs.)

“It’s an exciting time and we believe we have a unique and significant role to play,” Ricky Strauss, president of content and marketing for Disney+, told Media Play News on the eve of the service’s launch. “Disney+ will compete based on the unparalleled strength of our brands, the quality of our intellectual property, and expertise in high-quality video streaming.”

And yet industry insiders insist that despite streaming’s growth, there’s room for transactional — largely because new theatrical films, particularly the blockbusters, aren’t available on SVOD services. This distinction has prompted FandangoNow, one of the big digital retailers, to boldly proclaim on its home page, “New releases not on Netflix, Amazon Prime or Hulu subscriptions.”

“Because we’re the first point of entry for fans to see movies in theaters, and first at home, we’ve seen a significant growth among consumers who are excited to own movies as soon as they’re available digitally,” says Cameron Douglas, head of FandangoNow. “Fans looking for high-quality content right out of theaters, including 4K HDR movies, don’t have to wait until they arrive later on subscription services, and innovative deals like rental binge bundles and the availability on new platforms keep them coming back to transactional digital services like our own.”

“New movie releases continue to be sought out by consumers during the first window in the home amidst the frenzied buzz around new streaming services,” adds Michael Bonner, EVP of digital distribution for Universal Pictures Home Entertainment. “While there’s no denying the landscape is becoming more competitive, this business has successfully co-existed with abundant availability of non-transactional content for a long time and we expect it to continue to do so.”

“There is space — and demand — for both transactional content as well as streaming — just as there is consumer interest in both digital and physical,” says Amy Jo Smith, president and CEO of trade association DEG: The Digital Entertainment Group.

Beyond new releases, streamers have a limited selection of older films and TV shows, particularly with their increased focus on original content.

“For many consumers, their streaming options are good enough,” says Mark Fisher, president and CEO of home entertainment trade association the Entertainment Merchants Association (EMA). “But just like the days when the first video rental stores opened and made it easy for the consumer to watch anything they wanted to watch when they wanted to watch it, online VOD retailers offer that same opportunity to the consumer. I know that every time I see a montage of old movie clips, I’m driven to watch titles that aren’t new releases — and these are titles not readily (or easily) found on the streaming services.”

Sales of digital movies, in particular, were a bright spot, with consumer spending up nearly 7% in the first nine months of 2019, according to trade association DEG: The Digital Entertainment Group.

“We’ve continued to see growth in EST (electronic sellthrough) — both in our new releases and in our catalog,” says Jason Spivak, EVP of distribution, for Sony Pictures Home Entertainment. “Certainly the enhanced consumer experience enabled by Movies Anywhere is part of that, as is increasing consumer connectivity in their homes. EST continues to gain prominence in our marketing planning, release data scheduling, and retailer partnerships.”

Ron Schwartz, president of Lionsgate Home Entertainment, says Lionsgate EST revenue grew 30% this year, “four to five times faster than the overall industry. With increased collaboration between studios and retailers, and more offerings such as dynamic bundling, customers are starting to build their lockers up to 10-plus titles. Recent data shows that once a customer gets to between 10 and 12 titles in their locker, their EST purchasing behavior doubles.”

In addition to selling movies, digital retailers also offer them for a la carte streaming, the digital equivalent of a physical movie rental. Redbox remains the only retailer to offer both digital and physical rentals, the former through an e-commerce site and the latter, through a network of more than 40,000 kiosks situated outside (or inside) large retailers like Walmart, convenience and drug stores, and other retailers.

“Redbox owns the transactional space with more transactions across physical and digital formats — for rental and purchase — than any other transactional provider,” says Redbox CEO Galen Smith.

In 2019, he said, Redbox expanded its offering of 4K Ultra HD discs into new markets, and stepped up promotions as well, with its Back to the Movies campaign and a joint Dinner & A Movie offering with meal delivery service DoorDash.

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In addition, Redbox Entertainment, a new content acquisition and production division, has further transformed Redbox into a multi-channel content provider and programmer. Launched in October, the new division is headed by Marc Danon, who spent eights at Lionsgate, most recently as SVP of acquisitions and business development.

Disc sales in 2019 continued to decline in the low double digits, with DEG reporting that in the first nine months of the year, combined 4K Ultra HD, Blu-ray Disc, and DVD revenues were down 18.5% to an estimated $2.3 billion — exactly half what they amounted to five years ago, in 2014.

But studios continued to support the disc. And while a trend among smaller titles is to release them only on DVD and digital, bypassing Blu-ray Disc, major new releases are still getting significant marketing campaigns behind them, particularly for the 4K Ultra HD editions. The UHD disc also made headlines last August when the UHD Alliance, along with leaders in consumer electronics, the Hollywood studios and members of the filmmaking community, announced collaboration on a new viewing mode for watching movies called “Filmmaker Mode,” designed to reproduce the content in the way the creator intended. Filmmaker Mode, bowing next year, will allow viewers to enjoy a more cinematic experience on their UHD TVs when watching movies by disabling all post-processing (e.g. motion smoothing, etc.) so the movie or television show is displayed as it was intended by the filmmaker, preserving the correct aspect ratios, colors and frame rates.

“For the time being, 4K UHD is still the gold standard for at-home content,” says Jim Wuthrich, president of Warner Bros. Home Entertainment & Games. “With hardware costs dropping and television functionality such as Filmmaker Mode being made available next year, there is still a great value proposition in owning content in 4K UHD, both physically and digitally, as is still represents the best home-viewing experience.”

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“As evidenced by the exceptional growth of 4K UHD to date, it is clear that there is a sizable appetite for premium high-definition products, and that format plays a meaningful role in boosting retail traffic,” says Eddie Cunningham, president of Universal Pictures Home Entertainment.

Retail partnerships are key, Cunningham adds. “Given that physical and digital transactional consumption rates are remaining steady year over year and that disc purchases are making up more than half of that consumption, there’s no question that movie buyers continue to be vitally important to retail,” he says. “At no other time in our industry has it been more critical to ensure that we work together to retain the loyalty of movie consumers, creating urgency for our products and delivering the utmost value, quality, accessibility and convenience possible.”

 

‘The Witcher’ Conjures No. 1 Spot on Parrot’s TV Demand Charts

Netflix’s”The Witcher” took over the No. 1 spot on not only Parrot Analytics’ digital originals rankings the week ended Dec. 28, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital original” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video, Hulu or Disney+.

All eight episodes of the series, which is based on a series of fantasy novels, were released on the streaming platform Dec. 20. For the week, “The Witcher” registered 126.8 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was  up 361% in expressions compared with the previous week, when it was No. 9.

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The Disney+ “Star Wars” series “The Mandalorian,” which had been the top digital original for five weeks, slid to No. 2, with 115.7 million expressions, a 2.1% bump from the previous week. The finale of the first season debuted Dec. 27.

Netflix’s “Stranger Things” dropped to No. 3 on the digital originals chart,  registering 74.9 million expressions, up 6.4% from the previous week.

DC Universe’s “Titans” slipped a spot to No. 4 on the digital originals chart, with expressions down 3.1% to 53 million.

Amazon Prime Video’s fourth season of “The Expanse” dropped a spot to No. 5, with expressions down 5.8% to 37 million.

Netflix’s “You” returned with its second season Dec. 26, and thus jumped to No. 7 on the originals chart from No. 15 the previous week, with expressions up 43.5% to 33.8 million.

The Apple TV+ series “Truth Be Told” gained 24.8% in expressions from the previous week to 32 million, climbing to No. 9 from No. 13 following its Dec. 27 first season finale.

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The Demand Expressions metric draws from a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Media Play News has teamed with Parrot Analytics to provide readers with a weekly top 10 of the most popular digital original TV series in the United States, based on the firm’s  proprietary metric called Demand Expressions, which measures global demand for TV content through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites.

Cal Cruises Past Illinois in Redbox Bowl

The California Golden Bears scored in each quarter to beat the Illinois Fighting Illini, 35-20, at the second-annual Redbox Bowl Dec. 30 at Levi’s Stadium in Santa Clara, Calif.

The matchup between schools from the Pac-12 and Big Ten college football conferences saw Cal quarterback Chase Garbers and running back Christopher Brown lead the Golden Bears to their first bowl win since 2015. Cal finished the season 8-5. Illinois (6-7) hasn’t won a bowl game since 2011 when it last finished with a winning season.

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The schools split a $3.6 million payout from the Fox Sports telecast.

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Horror Movie ‘The Shed’ on Disc Jan. 7

RLJ Entertainment, a division of AMC Networks, will release the horror movie The Shed on Blu-ray Disc and DVD Jan. 7.

Written and directed by Frank Sabatella, the film stars Jay Jay Warren (“Bosch”), Cody Kostro (“City on a Hill”), Sofia Happonen (Woman of a Certain Age), Frank Whaley (Pulp Fiction), Siobhan Fallon Hogan (Men in Black) and Timothy Bottoms (The Last Picture Show).

In The Shed, Stan (Warren) and his best friend Dommer (Kostro) have put up with bullies their entire lives. All of that changes when Stan discovers he has a murderous vampire living in his shed.

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