Report: Global OTT Video Revenue to Reach $129 Billion by 2023

Spurred by Netflix and Amazon Prime Video, worldwide revenue from online access to TV shows and movies is projected to reach $129 billion in 2023 – more than double the $53 billion generated in 2017, according to new data from Digital TV Research. Global OTT video revenue is expected to reach $71 billion this year.

From the 138 countries covered in DTV report, “Global OTT TV & Video Forecasts,”the top five will command 69% of worldwide revenue by 2023. This percentage is down from 73% in 2017; suggesting the rest of the world will grow at a faster rate. Or that both Netflix and Amazon Prime Video are global operations.

OTT revenue will exceed $1 billion in 17 countries by 2023; up from 10 countries in 2017.

“No prizes for guessing that the U.S. will remain the dominant territory by some distance,” Simon Murray, principal analyst at DTVR, said in a statement. “However, its share of global revenue will fall from 43% in 2017 to 37% by 2023. We forecast that revenue in the U.S. will more than double between 2017 and 2023 – adding nearly $25 billion to reach $48 billion.”

Next to the U.S. – birthplace of OTT video – China will add $17 billion to nearly triple its OTT video revenue to $26 billion. China’s share of the world’s total will climb from 16% in 2017 to 20% in 2023.

Subscription video on-demand became the largest OTT revenue source in 2016 by overtaking ad-supported VOD. SVOD’s share of the total will increase from 47% in 2017 to 53% in 2023. The report contends that SVOD revenue will climb by nearly $44 billion between 2017 and 2023 to take the total to $69 billion.

AVOD revenue will increase by $27 billion between 2017 and 2023 to take its total to $47 billion (36% of total revenue).

BBC Boss Strikes Populist Chord; Calls for Increased Funding, Greater Oversight on Foreign OTT Video

As expected, Tony Hall, director general of the publicly-owned British Broadcast Corporation, Sept. 18 issued a call to arms of sorts, as the public service broadcaster competes against international over-the-top video behemoths Netflix and Amazon Prime Video, among others.

In a keynote to the 2018 Royal Television Society London Conference in London, Hall said the BBC, which is funded by the government through a special tax, is increasingly asked to do more with less as operating budgets get cut.

He said that while Netflix and Amazon will spend a combined $13 billion on original content this year, the BBC and other public broadcasters will spend around $3.3 billion. Hall said the spending gap is resulting in a dearth of local content production, which he claims impacts British culture.

“Netflix and Amazon are not making up the difference,” Hall said. “Ofcom’s data suggests that less than 10% of the [catalog] of Netflix and Amazon [is] comprised of content produced in the U.K. Two separate estimates have suggested their investment into new U.K. programs is around £150 million a year.”

The executive believes reduced spending on localized content negatively impacts British viewers and the country.

“The content we produce is not just an ordinary consumer good,” Hall said. “It helps shape our society. It brings people together, it helps us understand each other and creates an incredibly powerful shared narrative.”

Specifically, the BBC claims to be a superior value economically to British consumers. Hall said each hour of BBC TV costs households 8 pence per hour to consume. For an equivalent SVOD service it’s around 17 pence and hour. And for a pay-TV service it’s 35 pence.

He said British media content is also a source of “soft power” required to combat fake news and online disinformation, which Hall claims contributes to the “undermining of traditional truths and values.”

The executive outlined five courses of action the BBC is addressing, which include original local content production, reinventing BBC services, investing more in children’s and young adult content, fighting fake news, and thinking beyond its London headquarters.

“But while we believe the BBC’s public mission is as important as ever, and that we can do more for Britain, we do not believe this ambition is sustainable with the resources we have,” Hall said.

He called on Britain to do more to support the broader PSB “ecology,” while sustaining “great relationships” with companies like Google, Apple, Netflix and Amazon Prime Video.

Indeed, many “original” Netflix shows in the United States are licensed from the BBC, including, “River,” “The Great British Baking Show,” “The IT Crowd,” “Foyle’s War,” “Jonathan Strange & Mr. Norrell,” “Wallander,” “Broadchurch,” “Planet Earth,” “London Spy,” and “Call the Midwife,” among others.

Netflix just announced it has secured exclusive U.S. rights to BBC One Drama, “Bodyguard, set to begin streaming Oct. 24.

“It’s important we work with them now and in the future,” Hall said.

At the same time, Hall argued “it cannot be right” that the U.K. media industry is competing against global SVOD giants with “one hand tied behind its back.”

He said the BBC is often hamstrung by government-mandated competition rules, advertising, taxation, content regulation, terms of trade and production quotas – rules he said “barely” apply to Netflix & Co.

“That needs rebalancing,” Hall said. “The big picture is a simple one: the public believes in public service broadcasting and a strong BBC.”

‘[Netflix & Co.] have their job to do, their services to provide. We have ours. Scale is not everything. Smaller can be beautiful,” he said.










Report: Content, Ease of Use Driving Global SVOD Growth

Original content – including localized fare, coupled with simplified billing and low-cost business models are driving over-the-top video service subscriber growth, according to new data from Vindicia, a Belmont, Calif.-based business-to-consumer subscription management company.

Research exploring the prospects of premium OTT service across Western Europe, U.S., Latin America and Asia Pacific was conducted by research firm MTM on behalf of Vindicia and found that the U.K. will remain the largest market for premium OTT in Western Europe, with revenue forecast to rise from $1.18 billion in 2017 to $1.63 billion by 2020.

In the U.S., OTT subscription revenue will surge past $21.2 billion by 2020, up from $16.4 billion in 2017. While Netflix, Amazon and Hulu will continue to dominate, direct-to-consumer offerings from the likes of Disney, specialist services such as Crunchyroll and WWE, and live sports delivered via OTT will also flourish.

Revenue from OTT services will also grow rapidly in Asia Pacific, albeit from a low base in some cases. Thailand, for instance, will see revenues rise from $66 million in 2017 to $108 million in 2020, while Indonesia will expand from $26 million to $72 million in the same period. The market for premium OTT services in Asia Pacific will be driven by pan-regional players, such as HOOQ, Viu and iflix, that focus on local content and are priced for local audiences.

“The demand for high-quality paid-for video services delivered via OTT is growing in all regions of the world,” Nick Thomas, associate director at MTM and author of the report, said in a sttement. “While it is important to understand local and regional trends, industry executives in all markets now recognize that exclusive content, appropriate pricing and seamless payment solutions are all key to acquiring new subscribers.”

Indeed, the premium OTT market in Australia is one of the largest in the Asia Pacific region and will continue to see considerable growth, with revenue reaching $420 million by 2020, up from $280 million in 2017, the study found. Netflix will be the dominant subscription service in Australia for the foreseeable future.

In Latin America, improved broadband connectivity is driving growth in premium OTT subscriptions, where local content offerings are bundled with internet access. However, greater connectivity is also encouraging content piracy. Mexico will become the largest market in Latin America for premium OTT services by 2020, with revenues forecast to reach $678 million, up from $410 million in 2017, according to the report.

“As revenue for premium OTT services increase in all regions and the global players continue to dominate, a common thread to this research is that consumers will nevertheless choose to subscribe to niche content when the price and the experience are right,” said Kris Nagel, head of Vindicia. “Premium OTT services that offer local, live and linear content, and that can also seamlessly integrate with payment platforms to make payments almost invisible to the user, can expect strong subscription growth going forward.”



Demand for ‘Tom Clancy’s Jack Ryan’ Nearly Doubles as Amazon Series Breaks Into Digital Originals Top 10

A modest rise in demand of less than 5% was enough to propel “Stranger Things” into the No. 1 position on the digital originals chart for the week ended Sept. 8, breaking a five-week hold on the top chart position by “Orange is the New Black,” Parrot Analytics data shows.

Both digital originals series are from Netflix. “Orange,” a drama about women in prison, saw its Demand Expressions fall by about 6% during the week, to 31.4 million,  and finished the week at No. 2.

“Demand Expressions” is a proprietary metric used by Parrot Analytics to measure 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.

A third Netflix series, “Ozark” shot up to No. 2 from No. 10 the previous week, thanks to an 85% spike in Demand Expressions the week after the launch of Season 2. “Ozark” stars Jason Bateman as financial planner Marty Byrde, who relocates his family from a Chicago suburb to a resort town in the Ozarks after a money-laundering scheme goes wrong – only to become entangled with a whole new breed of organized crime.

An even bigger week-to-week gain was posted by Amazon Prime Video’s “Tom Clancy’s Jack Ryan,” which broke into the top 10 with a 95% gain in Demand Expressions. The action series debuted at No. 7 in the week following its Aug. 31 launch.

Amazon had already announced a second season before the series even premiered.

Hulu’s “Castle Rock,” a horror series based on the writings of Stephen King, slipped to No. 4 from No. 3 the prior week, with demand essentially flat. Also down a notch is “Voltron: Legendary Defender” (Netflix), which took over the No. 5 spot from still another Netflix series, “Disenchantment.”

“Disenchantment,” created by “The Simpsons” and “Futurama” creator Matt Groening, suffered a drop in demand of more than 12% and finished the week at No. 9.

“Disenchantment” is Netflix’s sixth animated series targeting adults. The first, “Bojack Horseman,” returned to the top 10 the week ended Sept. 8 with a 72% gain in demand, with more than 19.3 million Demand Expressions – enough for a seventh-place finish.

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.

OTT Video Revenue Booming in Western Europe

Ongoing proliferation of Netflix and Amazon Prime Video subscription streaming video services is having implications across Western Europe.

OTT video revenue will reach $23.02 billion in 2023; more than double the $9.84 billion recorded in 2017, according to new data from Digital TV Research. Revenue for 18 countries is expected to climb by $2.63 billion in 2018 alone.

“The [United Kingdom] is the largest OTT revenue earner in the region by some distance: Its $2.98 billion generated 30% of the 2017 total,” Simon Murray, principal analyst at Digital TV Research, said in a statement. “The U.K.’s $6.80 billion in 2023 will represent a similar proportion.”

SVOD became the region’s largest OTT revenue source in 2016 and will reach 54% by 2023, up from 45% in 2017.

SVOD revenue will almost triple by reaching $12.47 billion in 2023 – up from $4.44 billion in 2017. The U.K. will remain the SVOD revenue leader by some distance – generating as much as second-placed Germany and third-placed France combined by 2023.

DTR estimates Western Europe will have 98.85 million SVOD subscribers by 2023, up from 50.34 million at end-2017. Nearly 15 million subs will be added in 2018 alone, with 11 million more expected in 2019.

By 2023, 69.3% of Western European TV households will subscribe to an SVOD platform; up from 38.4% at end-2017. Norway will have the highest proportion at 104.8% by 2023. Germany, Italy, France and Spain will all fall below the regional average by 2023.

Netflix will remain the largest SVOD platform by some distance, with 49.75 million paying subscribers in 2023 – or half of the region’s total. This is the same as the 2017 proportion. The 2023 total includes 22 million Amazon Prime Video subscribers.


Report: EU Local Content Quotas No Threat to Netflix

With the European Union reportedly set to vote in December on mandating over-the-top video subscription services offer at least 30% local content in each country of operation, Netflix would appear to have few concerns meeting the quotas, according to a note by investment bank Exane BNP Paribas.

Since expanding its SVOD service globally in 2016, Netflix has aggressively sought out localized original and catalog content in each country.

With the streaming service expected to spend more than $13 billion on original content this year, much of the budget is targeted towards developing local programming for subscribers in Europe, South America and Asia.

Indeed, Netflix’s Spanish production, “La Casa de Papel,” is the most-watched foreign-language content in the SVOD pioneer’s history.

“Netflix is already reportedly close to having 30% European content,” investment bank Exane BNP Paribas wrote in a note. “To comply with the rules, any service operating within the EU could merely maintain a similar ‘European’ fraction of its overall catalogue. However, specifics of the commission’s plan could add serious complications that effectively fragment both a service’s catalogue and pricing depending on the country where it’s being viewed.”

According to the bank, each country member in the EU would have 20 months to apply the law on OTT video services operating within their borders – including possibly upping the quota to 40%.

“Individual countries could also choose to require surcharges to support their national production funds,” wrote the bank. “Consequently, Amazon Video in France might require 10% French content, or Germany’s Netflix would need to raise prices to subsidize other companies’ production efforts.”

Regardless, Netflix is spending nearly $1.2 billion (€1 billion) this year on local content to comply with possible EU guidelines, Reed Hastings, co-founder and CEO of Netflix, told a film confab in Lille, France earlier this year.

“We’re building rapidly towards that [30%],” Hastings said. “There is great regulation that is very useful. It’s up to us in every country to participate and follow those regulations.”


Tom Clancy’s Jack Ryan


Amazon Prime Video;
Stars John Krasinski, Abbie Cornish, Wendell Pierce, Ali Suliman, Dina Shihabi, Timothy Hutton.

Despite being one of Tom Clancy’s most enduring literary characters, including a stint as president of the United States, Jack Ryan’s cinematic exploits have not been so consistent.

Sure, adapting the books have led to a handful of entertaining espionage thrillers, all the while producers seem intent on making Jack less of the analyst he is in the books and more of a hands-on, American James Bond type of secret agent. And after a few films that seemed to follow the progression of the novels, the film series veered into prequel territory, exploring Jack’s early years with the CIA.

The most-recent film, 2014’s Jack Ryan: Shadow Recruit, wasn’t even based on one of the novels, looking in on Jack in one of his first big cases for the CIA and his rise to action-hero status. However, its lackluster box office performance cast further doubt on the future of more Jack Ryan adventures on the big screen.

Instead, the character’s handlers took the “Hannibal” route by putting the character at the center of a television series, where the story could be given a chance to develop at a reasonable pace.

The show, as with Shadow Recruit before it, focuses on the younger Jack Ryan, adjusting to a career in the CIA after an injury-shortened military career. And like that film, it’s not specifically based on any of the novels, though it seems to borrow a few elements from them, most notably Executive Orders.

Here, Jack is an analyst for a secret CIA division tracking terrorists’ finances. He believes that a new power in Islamic extremism is about to make a major move, but his evidence is sketchy and no one wants to believe him until he forces the issue by convincing the authorities to freeze the suspects’ bank accounts, thus setting off a sequence of events that exposes a new terrorist faction led by a sheik named Suleiman who wants revenge on the West for the death of his family during military strikes when he was a boy.

One key to the effectiveness of the series is the casting of John Krasinski as Jack Ryan, grounding the character as an analyst and unlikely field operative, as opposed to the films that tend to want to cast action-hero types in the part. Krasinski’s presence lends credence to both the idea that Jack could be in over his head but that, over time, he can become more adept at field work.

The show takes its time to get going as is establishes all its main characters, their motivations and locales in great detail, which can be a bit of a chore for the audience at first when the show shifts so much of its time away from what Jack is up to. One of the subplots involves Suleiman’s wife, who begins to fear the man her husband has revealed himself to be and takes steps to protect herself and her kids from his actions.

The show also spends time with Jack’s courtship of his future wife, Kathy, now played by Abbie Cornish, who is wary of their potential relationship since he keeps spouting an unconvincing cover story about a mundane State Department job to explain why he keeps getting whisked away in helicopters to travel to the Middle East and returns with fresh stab wounds.

Aside from its slow pacing in the early episodes, the biggest mark against the show is the way it relies on operational sloppiness on the part of its law enforcement contingent to allow key bad guys to keep getting away so they can carry out their plans. It would be one thing if the show were trying to depict inter-agency rivalries, a la The Looming Tower, but that’s not the case here, and the plot contrivances that do pop up are so obvious as to be distracting.

The eight-episode series also attempts to take a thoughtful examination of many different angles of the War on Terror. While noble in its intent, it does result in a few subplots that don’t seem to lead anywhere, most notably with a U.S. drone pilot who feels guilty over killing enemy combatants from 10,000 miles away.

Eventually, though, the storylines converge in a satisfying way that raises the stakes for Jack both personally and professionally, and should leave viewers eagerly awaiting the upcoming second season.

Amazon Prime Video Double-Faulting at U.S. Open Tennis Tournament?

Amazon Prime Video, unlike Netflix, isn’t adverse to streaming live sports. It is spending a reported $50 million annually for “NFL Thursday Night Football” through 2019.

The e-commerce behemoth also inked a five-year, $40 million deal to exclusively stream in the United Kingdom the U.S. Open Tennis Championships, currently taking place in Flushing Meadows, N.Y., through Sept. 9.

Amazon spared no expense for the tournament, building a TV stage and hiring veteran commentators, including former men’s champion Jim Courier, to cover the event.

But controversy quickly befell the live streams, with Prime Video subscribers turning to social media to vent their frustration about the poor picture/sound quality and lack of recording option, among other issues.

“This is just terrible. Tennis fans in the U.K. are in shock about this service,” wrote one viewer.

“This doesn’t feel like the future of live TV, blocky and jumpy and unwatchable on the Samsung Smart TV app,” wrote another.

In fact, Amazon was so inundated with complaints — about 90% of comments rated the live streams 1 or 2 stars — it suspended the comments section on Aug. 29.

“This product currently has limitations on submitting reviews. There can be a number of reasons for this, including unusual reviewing activity,” wrote Amazon.

A rep for Amazon U.K. attributed the issues to an IT problem, which the rep said was fixed by Aug.30. Amazon also reinstated the comments section.

“We are working with customers to address specific issues – we listen to all customer feedback and are always working to improve all aspects of our service,” said the rep, as reported by The Guardian.

Amazon isn’t alone among online platforms struggling to replicate linear TV sports broadcasts.

YouTube TV experienced technical issues streaming select soccer matches during the recent World Cup in Russia. Formula One was forced to issue refunds to subscribers of its nascent OTT video service following technical issues during the Spanish Grand Prix.

And DAZN, an over-the-top subscription video streaming service based in London, was forced to apologize to viewers following technical issues streaming Serie A Italian pro soccer.



Report: Nearly 70% of U.S. Households Have SVOD Service

New consumer research from Leichtman Research Group finds that 69% of all U.S. households have a subscription video-on-demand (SVOD) service from Netflix, Amazon Prime, and/or Hulu – up from 52% in 2015.

Among those that have an SVOD service, 63% have more than one of these services – up from 38% in 2015.  Overall, 43% of U.S. households now have more than one SVOD service, an increase from 20% in 2015.

“More than two-thirds of all U.S. households now have at least one SVOD service, including those sharing services with others outside their household,” Bruce Leichtman, president of LRG, said in a statement. “Overall, 43% of households now have more than one SVOD service, and 33% of all adults use more than one SVOD service monthly, an increase from 15% in 2015.”

Other survey findings include that 30% of adults stream an SVOD service daily – compared to 29% in 2017, and 16% in 2015.

More than 52% of ages 18-34 stream an SVOD service daily – compared to 31% of ages 35-54, and 11% of ages 55+.

About 28% of Netflix subscribers share their membership with others outside their household – compared to 22% with Hulu, and 10% with Amazon Prime Video.

More than 53% of TV households get both a pay-TV service and an SVOD service, 25% only get a pay-TV service, 16% only get an SVOD service, and 6% get neither pay-TV nor SVOD.

Finally, 46% of adults watch video on non-TV devices (including home computers, mobile phones, iPads, tablets, and eReaders) daily – up from 41% in 2016, and 27% in 2013.

The data is based on a survey of 1,153 households nationwide.

Amazon Bowing Prime Original Series ‘King Lear’ Sept. 28

Amazon Aug. 23 announced that its original Prime series, “King Lear” – starring Oscar winners Anthony Hopkins and Emma Thompson – will begin streaming on Sept. 28.

Other Prime Originals coming to the service in September include series premieres of “Six Dreams” (Sept. 7) and “Forever” (Sept. 14) as well as season 1a of “Pete the Cat” (Sept. 7) and season 2b of “Wishenpoof” (Sept. 7).

Additionally, Prime Video will begin streaming season two of PBS’s British series, “Victoria,” starting Aug. 25.

Meanwhile, Prime Video’s entire September release slate of licensed third-party content includes:

September 1 series:

Asylum, Season 1

The Blue Rose, Season 1

The Broker’s Man, Seasons 1-2

The Field of Blood, Seasons 1-2

Golden, Season 1

The Kevin Bishop Show, Season 2

London Irish, Season 1

The Palace, Season 1

Parents, Season 1

Rocket’s Island, Seasons 1-3

Sam’s Game, Season 1

Texas Rising, Season 1

The Triangle, Season 1

Trust, Season 1

Westside, Seasons 1-3

Wild at Heart, Seasons 1-8


1492: Conquest of Paradise(1992)

A Field in England(2013)

A Good Woman (2006)

A Love Song for Bobby Long (2004)

A Murder of Crows (1999)

A Turtle’s Tale: Sammy’s Adventures (2010)

A Turtle’s Tale 2: Sammy’s Escape from Paradise (2012)

All You Can Eat Buddha (2017)

Bandits (2001)

Beowulf (2007)

Big Top Pee-wee (1988)

Blow Out (1981)

Bolero (1984)

Can’t Stand Losing You: Surviving the Police (2012)

Chinatown (1974)

Cool It (2010)

Double Impact (1991)

DragonHeart (1996)

Dressed to Kill (1980)

Fall Time (1993)

Fighting Temptations (2003)

Ghostbusters (1984)

Ghostbusters II (1989)

Going Overboard (1989)

Gutland (2017)

Hard Rain (1998)

Harry and Paul’s History of the 2s (2014)

Harry Price: Ghost Hunter (2015)

Hotel for Dogs (2009)

House of D (2004)

Hustle & Flow (2005)

Ingenious (2009)

Jerry Maguire (1996)

Joyride (1997)

Kill Me Again (1989)

Lea to the Rescue (2016)

Luk’Luk’I (2017)

Miami Vice (2006)

Over the Top (1987)

Paycheck (2003)

Poltergeist II: The Other Side (1986)

Prancer (1989)

Primal Fear (1996)

Pumpkinhead (1988)

Pumpkinhead II: Blood Wings (1994)

Resurrecting the Champ (2007)

Robin Hood: Prince of Thieves (1991)

Roger Dodger (2002)

Rustlers’ Rhapsody (1985)

Senorita Justice (2004)

Sleepless in Seattle (1993)

Small Town Saturday Night (2010)

Smokey and the Bandit (1977)

Stealth Fighter (1999)

The Amityville Horror (1979)

The Dark Half (1993)

The Eagle (2011)

The Great Outdoors (1988)

The Longest Yard (1974)

The Man Who Lost His Head (2007)

The Perfect Weapon (1991)

The Score (2001)

There Will Be Blood (2007)

Tonightly (2008)

What’s Eating Gilbert Grape (1993)

 Sept. 2


Future World (2018)

Sept. 4


Beirut (2018)

Crescent (2017)

Strangers Prey at Night (2018)

Sept. 6


Pistorius (2018)

Cesar Chavez (2014)

Sept. 8


From Paris with Love (2009)

Stronger (2017)

Sept. 12


Grace Unplugged (2014)

Sept. 14


High Fantasy (2017)

Sept. 15


On Chesil Beach (2018)

Sept. 16


Baby Mama (2008)

I Am Wrath (2016)

The Good Shepherd (2006)

Sept. 20


Jugnu (1973)

This is Home: A Refugee Story (2018)

Sept. 21


My Little Pony (2017)

Sept. 22


For Colored Girls (2010)

Hot Summer Night (2018)

Sept. 27


Escape Plan 2 (2018)

Sept. 28


Hannah (2017)

Plonger (Diving) (2017)

Suburbicon (2017)

Sept. 29


Jigsaw (2017)

New in September – Available to purchase on Prime Video:

Sept. 4


Jurassic World Fallen Kingdom (2018)

Sept. 11


Uncle Drew (2018)

Sept. 26


This Is Us, Season 3, NBC

Sept. 27


Modern Family, Season 10, ABC

Sept. 28


Grey’s Anatomy, Season 14, ABC

The Good Place, Season 3, NBC

New in September for streaming on Prime Video Channels

Sept. 8

Live Sports

UFC 228: “Woodley vs Till,” UFC

Sept. 9


Kidding, Season 1, Showtime

Shameless, Season 9, Showtime

Sept. 14-16

Live Sports

AVP – Honolulu

Sept. 16


Warriors of Liberty City, Mini-Series, Starz

Sept. 21-23

Live Sports

Laver Cup – Chicago

Sept. 24


Magnum PI, Season 1, CBS All Access

Sept. 25


FBI, Season 1, CBS All Access

Sept. 27


Murphy Brown, Season 1, CBS All Access

Live Sports

Thursday Night Football: Minnesota Vikings vs Los Angeles Rams, Game 4, Prime Video

Sept. 30


God Friended Me, Season 1, CBS All Access