‘Stranger Things’ Spends Seventh Week Atop Parrot Analytics’ TV Demand Charts

Netflix’s “Stranger Things” remained No. 1 on not only Parrot Analytics’ digital originals rankings the week ended Aug. 10, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the seventh straight week.

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 or Hulu.

For the week, “Stranger Things” registered 167.5 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 15.7% in expressions compared with the previous week.

Netflix’s “Orange Is the New Black” remained at No. 2. Its demand expressions dropped 12.1% to 72.3 million.

Holding onto the No. 3 spot was Amazon Prime Video’s dark superhero adaptation “The Boys,” which registered 62.5 million expressions, up 15% from the previous week.

DC Universe’s “Titans” jumped two spots to No. 4, with expressions up 17.9% to 36.4 million. A trailer for the second season was released Aug. 6.

Netflix’s “13 Reasons Why” moved up to No. 5, from No. 9 the previous week, with a 26.7% increase in expressions to 34.6 million.

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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.

‘Stranger Things’ Spends Sixth Week Atop Parrot Analytics’ TV Demand Charts

Netflix’s “Stranger Things” remained No. 1 on not only Parrot Analytics’ digital originals rankings the week ended Aug. 3, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the sixth straight week.

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 or Hulu.

For the week, “Stranger Things” registered 198.7 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 14.5% in expressions compared with the previous week.

Netflix’s “Orange Is the New Black” remained at No. 2 in the week after the premiere of all 13 episodes of its seventh and final season July 26. Its demand expressions jumped 87.7% to 82.3 million.

Jumping up to No. 3, from No. 13 the previous week, was Amazon Prime Video’s dark superhero adaptation “The Boys,” which also premiered a full season July 26. It registered 54.4 million expressions, up 148.5% from the previous week.

Netflix’s Spanish-language crime drama “Money Heist (La Casa De Papel)” dropped one spot to No. 4, down 4.4% in expressions to 39.8 million.

Hulu’s “The Handmaid’s Tale” stayed at No. 5 on the digital originals chart, its demand expressions up 8.7% to 35.8 million.

Netflix’s “13 Reasons Why” jumped to No. 9 from No. 30 the previous week with a 120% rise in expressions to 27.3 million. A fourth and final season of the series was announced Aug. 1.

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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.

TV Time: Amazon’s ‘Carnival Row’ Most Anticipated New Show, Netflix’s ‘Mindhunter’ Most Anticipated Returning Show in August

Amazon Prime’s “Carnival Row” is the most anticipated new show and Netflix’s “Mindhunter” is the most anticipated returning show coming in August, according to TV Time’s “Anticipation Report” chart.

TV Time is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by more than 1 million consumers every day, according to the company. TV Time’s “Anticipation Report” is based on data from those users.

“Carnival Row,” a fantasy series about mythical creatures starring Orlando Bloom and Cara Delevingne, debuts Aug. 30. “The Dark Crystal: Age of Resistance,” a series prequel to the Jim Henson film The Dark Crystal, also debuting Aug. 30, is the No. 2 anticipated new series.

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Among returning shows, the second installment of “Mindhunter,” Netflix’s crime thriller series, debuts Aug. 16. TV Time users also anticipate three other Netflix returning series at No. 2, No. 3 and No. 4, respectively: “Cable Girls,” hitting Aug. 9; “Dear White People,” debuting Aug. 2; and “GLOW,” coming Aug. 9. Starz’s drug kingpin drama “Power,” the sixth and final season of which hits Aug. 25, took the No. 5 spot among returning series.

Most Anticipated New Shows for August:

  1. “Carnival Row” (Amazon Prime) — Aug. 30
  2. “The Dark Crystal: Age of Resistance” (Netflix) — Aug. 30
  3. “Infinity Train” (Cartoon Network) — Aug. 5
  4. “Why Women Kill” (CBS) — Aug. 15
  5. “BH90210” (Fox) — Aug. 7

 

Most Anticipated Returning Shows for August:

  1. “Mindhunter” (Netflix) — Aug. 16
  2. “Cable Girls” (Netflix) — Aug. 9
  3. “Dear White People” (Netflix) — Aug. 2
  4. “GLOW” (Netflix) — Aug. 9
  5. “Power” (Starz) — Aug. 25

Netflix’s ‘Money Heist’ Remains Top Binge, ‘The Boys’ Leads ‘Shows on the Rise’ on TV Time Charts

The Spanish-language Netflix series “Money Heist” continued to top TV Time’s “Binge Report” while Amazon Prime’s “The Boys” came in at No. 1 on its “Shows on the Rise” chart for the week ended July 28.

TV Time is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by more than 1 million consumers every day, according to the company. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

Season three of “Money Heist” dropped July 19. In this season, the Professor and his team reunite to free Rio, targeting the Bank of Spain with a new plan. Meanwhile, the Resistance continues.

“The Boys,” co-created by Seth Rogen, Evan Goldberg and Eric Kripke, dropped July 26. It follows a group of vigilantes who embark on a quest to take down selfish superheroes The Seven, a group who abuses their powers rather than using them for good.

Coming in at No. 2 on both charts was Netflix’s prison drama “Orange Is the New Black.” The seventh and final season of the series dropped July 26.

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Top Binge Shows Week Ended July 28 by Share of Binges:

  1. “Money Heist” (Netflix) — 11.78%
  2. “Orange Is the New Black” (Netflix) — 5.03%
  3. “Stranger Things” (Netflix) — 4.25%
  4. “Lucifer” (Neflix) — 2.33%
  5. “Friends” (NBC) — 2.13%
  6. “Glee” (Fox) — 1.77%
  7. “The Big Bang Theory” (CBS) — 1.47%
  8. “The 100” (The CW) — 1.24%
  9. “Brooklyn Nine-Nine” (NBC) — 1.22%
  10. “Grey’s Anatomy” (ABC) — 1.09%

 

Top Shows on the Rise Week Ended July 28 by Rise Ratio:

  1. “The Boys” (Amazon Prime Video) – 100%
  2. “Orange Is the New Black” (Netflix) — 88.5%
  3. “Veronica Mars” (Hulu) — 54.1%
  4. “Queer Eye” (Netflix) — 29%
  5. “Big Little Lies” (HBO) — 14.8%
  6. “The Flash” (The CW) — 11.9%
  7. “Supergirl” (The CW) — 11.8%
  8. “Suits” (USA) — 11.6%
  9. “Rick and Morty” (Adult Swim) — 9.9%
  10. “Station 19” (ABC) — 7.7%

AT&T Boss: HBO Max to Offer Live Sports, News — in the Future

HBO Max, WarnerMedia’s pending subscription streaming service, will “ultimately” offer live sports and news, in addition to original and catalog programming, Randall Stephenson, CEO of parent AT&T, told investors.

Speaking July 24 on the fiscal call, Stephenson said the branded OTT service would be revealed in further detail to investors in a presentation on the Warner studio lot in Burbank, Calif., on Oct. 29.

“You should assume that ultimately HBO Max will have … live sports and premium sports,” Stephenson said. “Those are going to be really, really important elements for HBO Max. The same with news.”

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The live programming and sports elements would significantly differentiate HBO Max from Netflix, Amazon Prime Video, Disney+ and Hulu, which cater to original and catalog programming.

AT&T CEO Randall Stephenson

In fact, Netflix remains adamant it will not offer live sports, a market Prime Video dabbles in with Major League Baseball and Premier League soccer in the United Kingdom.

WarnerMedia, the media successor to Time Warner, last week revealed the management team behind HBO Max, which is slated to launch in Spring 2020.

While banking on the HBO brand, the streaming service will borrow liberally throughout the WarnerMedia business portfolio, which includes Turner and Warner Bros.

Indeed, Turner has pay-TV carriage license agreements with MLB, the NBA and NCAA March Madness men’s national championship tournament. How those contracts would relate to HBO Max remains to be seen. But Stephenson doesn’t see a problem.

“There’s a lot of opportunity to take advantage of the unique content deals that we have within WarnerMedia,” he said.

The CEO said the recently-ended HBO series “Game of Thrones” significantly increased HBO digital subscribers – a trend he hopes will continue with Max.

“HBO Max will be a key part of this wireless strategy as we get into next year pairing unique premium video content with our wireless, TV and broadband business,” Stephenson said. “[It] is going to be something special in the marketplace. And the implications of that to profitability, we think, are pretty important.”

 

 

Virgin Media Adds Amazon Prime Video Direct Access

British pay-TV operator Virgin Media, beginning July 22, has added direct-access to Amazon Prime Video — six years after its landmark agreement with Netflix.

The deal affords Virgin’s 1.8 million TiVo-manufactured V6 set-top box subs access (with a separate subscription) to Amazon Originals, including “Good Omens,” “The Grand Tour,” “The Marvelous Mrs Maisel” and “Tom Clancy’s Jack Ryan,” in addition to movies and Premier League soccer matches.

“Giving our customers the telly they love in one place is at the heart of what we do” David Bouchier, chief digital entertainment officer at Virgin Media, said in a statement.

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Since Virgin Media became one of the first pay-TV operators to embrace — not shun — Netflix, more than 800 million hours of the SVOD behemoth’s programming has been streamed by subscribers.

Prime Video integration means Virgin Media subs can search, favorite and save Netflix programming on their home screen.

“Virgin TV brings the best programming together so our customers can enjoy top-class entertainment and sport when and how they want,” Bouchier said. “Alongside our leading ultrafast broadband, it’s the best way to watch the best TV.”

Ampere: U.S. Subscription Streaming Video Growth Resumes

Netflix subscriber growth in the United States may be slowing, but the domestic market for subscription streaming video is poised for expansion, according to new data from Ampere Analysis.

The London-based research group said growth in SVOD subscriptions in the U.S. resumed after peaking from Q3 2016 and Q1 2018.

Much of that renewed growth has come from Hulu topping 25 million subscribers earlier this year, in addition to pending service launches from Disney, Apple, WarnerMedia and NBC Universal.

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Although the proportion of Internet users in Europe who have a SVOD subscription is lower than in the U.S., there continues to be healthy sub growth across the Atlantic.

“The growth in SVOD subscribers in both regions will come as welcome news, particularly to those looking to enter the market this year such as Disney and Apple as it shows there is still room for growth and the opportunity to take a share of the revenue,” Minal Modha, consumer research lead at Ampere, said in a statement.

Indeed, about 80% of Internet users in Saudi Arabia and the U.S. have at least one SVOD subscription. Japan and France are the only countries where fewer than 50% have a subscription.

Subscriptions are being driven by younger demographics, with those under 35 over-indexing in each market except Saudi Arabia where it is driven by those aged 45 years and over.

All but two markets analyzed enjoyed subscriber growth between Q3 2018 and Q1 2019, with Saudi Arabia (+8.1%), Australia (+6.8%) and Denmark (+6.3%) spearheading expansion.

The Netherlands and Japan are the only markets where subscriber growth has stagnated since Q3 2018.

Netflix, Amazon, Hollywood Studios Seek Millions in Piracy Damages

Netflix, Amazon Prime Video and several Hollywood studios are seeking default judgement regarding millions in damages from a shuttered Florida-based streaming service accused of copyright infringement.

The SVOD services and studios last year — through their Alliance for Creativity and Entertainment anti-piracy coalition — filed litigation against Set Broadcast LLC, which had marketed an online set-top device dubbed “Set TV Now” affording 260,000 subscribers access to preloaded movies and TV shows.

“Defendants market and sell subscriptions to ‘SeTVnow,’ a software application that defendants urge their customers to use as a tool for the mass infringement of plaintiffs’ copyrighted motion pictures and television shows,” read the complaint filed last April in U.S. District Court in Central California, Western Division.

The complaint cited 51 copyrighted works illegally distribution causing more than $7.6 million in statutory damages. Defendants include Jason Labossiere, owner of Set TV, and employee Nelson Johnson.

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After reportedly hiring legal representation to answer the lawsuit, Labossiere and Johnson allegedly failed to respond to legal inquiries or pay their legal bills.

“Though the Setvnow service appears to no longer be available, Set Broadcast’s apparent cessation of its willful and flagrant infringement does not and should not prevent this court from exercising its discretion to permanently enjoin Set Broadcast from infringing plaintiffs’ copyrighted works,” read the amended complaint first reported by TorrentFreek.com. “There is a significant threat of continuing irreparable injuries to plaintiffs.”

Whether Netflix & Co. see any damages paid remains to be seen. Dish Network already has a $90 million judgement against Set TV that must be paid.

A hearing on the default judgement is slated for July 29.

IHS: Online Video, Social Media Usurping Traditional TV Consumption

With the rise in over-the-top video platforms coupled with ongoing social media obsession, new data from IHS Markit suggests traditional linear television consumption across all distribution channels in the United States and Europe is declining.

Total daily video consumption per person per country topped 273 minutes in 2018 — down about 4% from more than 284 minutes per person/country in 2013.

In the study first reported by Advanced-Television.com, London-based IHS contends the trend underscores consumers’ ongoing migration toward OTT video and away from traditional linear TV.

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“During previous years, non-linear television viewing was largely additive to traditional linear TV viewing, driving up the total number of minutes watched,” analyst Rob Moyser said in a statement. “However, non-linear now has become an alternative for linear TV for many consumers. As a result, total cross-platform viewing time is returning to levels seen prior to the rise of on-demand viewing.”​

Indeed, daily online video consumption of content longer than 15 minutes increased by six minutes in 2018 — driven largely by Netflix.

Social media consumption of video increased by eight minutes per day/person, and when combined with online video, totaled 303 minutes per person/day. That compared to 299 minutes in 2017.

“Mobile devices have become a key area of growth in terms of video consumption, particularly out of the home, as data plans become more affordable and screen sizes increase,” added analyst Fateha Begum. “Connected living room devices, however, present new opportunities for social platforms to reach wider audiences particularly as consumer appetite for short-form viewing improves.”

Spain Lawmakers Seeking 8% Tax on Foreign OTT Video Services

Lawmakers in Spain are looking to impose an 8% tax on over-the-top video services operating in the country, including Netflix, HBO, Amazon Prime Video, Sky Now and DAZN.

The so-called RTVE (Radio Television Espanola) tax is aimed at funding Spain’s ad-free public broadcaster, which has been undermined in recent years by plummeting advertising sales among commercial broadcasters, who contribute about 1.5% of their revenue to RTVE’s budget.

The proposed tax is incorporated in the Audiovisual Media Services Directive, which aims to level the playing among broadcasters such as Atresmedia and Mediaset, pay-TV operators/telecoms (Movistar, Telefónica España, Orange and Vodafone) and now OTT video.

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The updated law would impose a 5% tariff on in-state SVOD revenue earmarked toward domestic film production, and another 3% directed toward RTVE.

According to Spanish media site El Español, the tax would apply to revenue generated by an OTT service’s Spanish subscribers. As a result, HBO would be charged a percentage of the revenue generated by its 475,000 Spanish subs, instead of the company’s reported revenue based on the location of its tax-incentivized fiscal headquarters.

The tax  could become law by the end of the year.

Separately, local and national governments worldwide continue to search for ways to tap into the lucrative OTT landscape — with varying degrees of success.

Georgia lawmakers in February backed away from imposing a 4% tax on subscription streaming video services. The tax is still on the table for music services, video games and e-books.

“People didn’t like what has become known as the Netflix tax, so we took that off,” Rep. Bill Werkheiser told the media. “The effort initially was to help fund broadband. It won’t do that without the Netflix or streaming services tax.”