IMDb: ‘Birds of Prey’, ‘Star Trek: Picard’ Most Anticipated Movie, TV Show in 2020

Online movie/TV database IMDb.com has announced the Top 10 movies and TV shows of 2019, as well as the most anticipated movies and TV shows of 2020.

Rather than base its rankings on statistical samplings or critic reviews, Amazon-owned IMDb determines its list by the actual page views of the more than 200 million monthly visitors to the website. The data is derived from the subscription-based IMDbPro movie and TV rankings, which are updated weekly throughout the year.

IMDb Top 10 Movies of 2019
Joker (Warner Bros.)
Once Upon a Time in Hollywood (Sony Pictures)
Avengers: Endgame (Disney/Marvel)
Captain Marvel (Disney/Marvel)
It: Chapter Two (Warner Bros.)
The Lion King (Disney)
Spider-Man: Far From Home (Sony Pictures)
Alita: Battle Angel (Disney/Fox)
Aladdin (Disney)
Us (Universal Pictures)

IMDb Top 10 TV Shows of 2019
“Game of Thrones” (HBO)
“Chernobyl” (HBO)
“Stranger Things” (Netflix)
“The Umbrella Academy” (Netflix)
“The Boys” (Amazon Prime Video)
“Black Mirror” (Netflix)
“The Walking Dead” (AMC Network)
“Peaky Blinders” (Netflix)
“Sex Education” (Netflix)
“You” (Netflix)

IMDb Most Anticipated Movies of 2020
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (Warner Bros.)
Sonic the Hedgehog (Paramount Pictures)
Top Gun: Maverick (Paramount Pictures)
No Time to Die (MGM)
Black Widow (Disney/Marvel)
Mulan (Disney)
Wonder Woman 1984 (Warner Bros.)
Dune (Warner Bros.)
The King’s Man (Disney/Fox)
Fast & Furious 9 (Universal Pictures)

IMDb Most Anticipated New TV Shows of 2020
“Star Trek: Picard” (Paramount Pictures)
“The Falcon and the Winter Soldier” (Disney+)
“The New Pope” (HBO)
“The Walking Dead: World Beyond” (AMC Network)
“Snowpiercer” (TNT)
“The Stand” (CBS All Access)
“The Outsider” (HBO)
“Stargirl” (DC Universe, The CW)
“Hunters” (Amazon Prime Video)
“Katy Keene” (The CW)

For comparison purposes, the IMDb 2018 year-end Top 10 lists are available here: www.imdb.com/best-of/2018.

Disney+ Mobile App Tops 22 Million Downloads

The Disney+ mobile app has been downloaded more than 22 million times since the service went live Dec. 12, according to new data from Apptopia. Disney said it had 10 million sign-ups to the service in the first 24 hours.

The tracking firm said the service has about 9.5 million daily mobile users and has generated about $20 million in revenue — based on $5 monthly fee when paid annually upfront.

Apptopia data, which claims to track more than 250,000 apps worldwide, does not include streaming media devices Roku, Apple TV and websites.

“We believe Roku is seeing more engagement due to people watching a lot of Disney Plus,” Apptopia said in a statement.

Separately, Google claims Disney+ was the most-searched brand in 2019.

Analyst: SVOD Growth Leading to Media Consolidation

The subscription streaming video market has just expanded with the inclusion of Disney+ and Apple TV+ into a market controlled by Netflix, Amazon Prime Video and Hulu. And next year includes the addition of HBO Max and NBC Universal’s Peacock.

Heading into 2020, new projections from Strategy Analytics Television & Media Strategies suggests the SVOD market will consolidate with third-party traditional media companies eyeing a seat at the table through mergers and acquisitions.

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The London-based research firm says traditional domestic pay-TV operators will lose nearly 9% of their subscriber base in 2020 with third-party media companies eyeing mergers and acquisitions to remain relevant.

“As a result of the proliferation of broadband and connected devices consumers have more choices than ever in how, when, and where they connect with movies, TV, music, and games,” Michael Goodman, director, digital media strategies, said in a statement. “As consumer adoption of online alternatives grows the degree of disruption felt by traditional distribution models is accelerating.”

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‘Mandalorian’ Tops Parrot Analytics’ TV Demand Charts for 3rd Week

The Disney+ “Star Wars” series “The Mandalorian” remained at No. 1 on not only Parrot Analytics’ digital exclusives rankings the week ended Dec. 7, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital exclusive” is Parrot’s term for 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+.

For the week, “The Mandalorian” registered 118.9 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 10% in expressions compared with the previous week.

DC Universe’s “Titans” stayed at No. 2 on the digital exclusives chart, with expressions down 13% to 74.7 million. The finale of the second season was released Nov. 29.

Netflix’s “Stranger Things” remained No. 3, registering 73.8 million expressions, down 3.4% from the previous week.

Netflix’s “The Crown” remained at No. 4 on the exclusives chart, with expressions down 21.2% to 37.5 million.

Another Netflix series, “Lucifer,” stayed at No. 5, its expressions down 7.7% to 29.1 million.

Amazon Prime Video’s “The Marvelous Mrs. Maisel” jumped up from No. 57 to No. 6, with expressions up 126.4% to 27.7 million. The third season of the Award-winning series was released Dec. 6.

DC Universe’s animated “Harley Quinn” placed at No. 9 after premiering Nov. 29, up from No. 47. Expressions rose 97.9% to 27.4 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 exclusive 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.

Verizon CEO: Free Disney+ Promotion a ‘Win, Win’

Following the Nov. 12 launch of the Disney+ subscription streaming service, Verizon began offering new and existing mobile subscribers 12 months of free access to the SVOD service.

Verizon CEO Hans Vestberg told Fox Business response to the promotion has been strong. Indeed, 10 million consumers signed up for Disney+ in the first 24 hours, with 15 million reportedly becoming subscribers in the first five days — many due to the Verizon promo.

Verizon subs accessing Disney+ automatically transition to the $6.99 price plan after one year unless they cancel their membership.

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“We can partner with anyone, and we partner with the best brands and, of course, Disney+ is a win-win,” Vestberg said Dec. 5. “I mean, we are gaining and they are gaining in this partnership.”

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The CEO wouldn’t disclose initial viewership data, saying the promo melds the telecom’s 5G partnership with Disney, which includes undisclosed initiatives with Disney Innovation Studios and theme parks.

Verizon had more than 156 million subscribers at the end of the second quarter this year.

“I think we both are very happy with … the start of [the relationship],” Vestberg said.

Disney+ Generates 15 Million Subs in First Five Days

Disney’s high-profile subscription streaming service generated 15 million subscribers in the first five days following its Nov. 12 launch, according to new data from IMA Research.

By comparison, Apple’s branded streaming service has generated 1.1 million subs since its Nov. 2 debut.

Citing respondents from a survey of 1,097 people between Nov. 14 and 17, IMA found awareness of Disney+ extremely strong (63%) compared with 34% for Apple TV+.

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Of those aware of the streaming service, 28% reported already subscribing or intending to do so, while 40% said they would utilize a free promotion, including Verizon’s free 12 months of Disney+ service to mobile subscribers.

Nearly half (47%) of respondents thought the $6.99/month to be fair; while 25% found it too expensive. The Disney/Pixar catalog is its most attractive feature to respondents, while 24% of respondents say they would cancel an existing streaming or pay-TV service in favor of Disney+.

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Women (68%) were more aware than men (61%). Age played a factor regarding awareness of Disney+, with 70% awareness among 18- to 24-year-olds; 55% awareness among 55-64. Awareness among the oldest respondents (65+) increased to 62%.

Interestingly, almost half (49%) of respondents were not planning to subscribe to Disney+, with 23% not sure. Meanwhile, only 10% of respondents said they intended to subscribe to Apple TV+.

IMA said respondent intent to subscribe to Disney+ translated to about 23 million households. Among those with intent, 69 percent said they had already subscribed, making the early adopters total over 15 million households.

“Our estimate is in line with the 15.5 million sign-ups through the first 13 days of launch reported by Apptopia1, which included some foreign subscribers as well. (Disney reported over 10 million sign-ups by the day after launch2.).

IMA found 40% of respondents seeking to stream Disney+ (or already streaming) would do so through a free promotion; 35% would pay $6.99 monthly; 13% would pay $12.99 for a monthly bundle of Disney+, Hulu, and ESPN+; and 12% would pay a reduced annual fee of $69.99 (which was reduced even further as a Cyber Monday promotion).

“If the current and future subscribers break down in this fashion, and we apply it to the 23 million households with intent, they would generate $1.3 billion annually,” Jeff Hoyt with IMA Research wrote.

Hoyt said breaking down intent with actual subscription results in about 15+ million households having already subscribed to Disney+, which equates to $900 million annually.

For Apple TV+, Hoyt contends that if all 1.1 million households are paying $4.99 per month, the projected annual revenue reaches $66 million.

Main attractions to Disney+: 46% selected Disney/Pixar Catalog; 38% selected Marvel/Star Wars/National Geographic Catalog; 26% selected new original content; 25% selected $6.99/month pricing; and 21 percent selected promotions to try the service free.

On the $6.99 price point, IMA found 47% think the price is fair, 17% found it “good” and 11% found it a “great” deal. Another 25% found the price too expensive.

“It is too early to predict whether Disney+ will steal significant market share from existing competitors (i.e Netflix), but 24% of those subscribing or intending to subscribe indicated they would cancel an existing streaming/pay service in exchange for Disney+,” Hoyt wrote.

The analyst contends the best predictor of subscriber intent is a subscription to Hulu, which is owned by Disney and offered in a money-savings bundle with Disney+ and ESPN+.

According to Apptopia1, both Hulu and ESPN have seen downloads increase since the launch of Disney+, with Hulu seeing the biggest boost.

“Even if Disney does steal market share away from its competition, Disney+ appears to be doing a good job so far of not cannibalizing itself,” Hoyt wrote.

Panelists Discuss SVOD Services, Data at ‘Variety’ Conference

SVOD services’ design, data collection and effect on content creation were front and center at the Variety Innovate conference Dec. 5.

On the heels of its launch Nov. 12, Michael Cerda, VP of product at Disney+, told attendees, “What it really comes down to is building a really compelling consumer experience that’s easy to use that honors the content.

“We weren’t going to reinvent the wheel, but what you do is put touches in.”

That included putting buttons on the site with brand names such as Marvel, Disney and National Geographic that help consumers find the content they want.

“It’s pretty straightforward,” he said.

Households can have up to seven profiles, with kids getting buttons that appeal to them, such as “character sets like princesses,” rather than brands.

Executives also quietly tested Disney+ in the Netherlands for a month before its U.S. launch, he noted.

As for the much-reported glitches at launch, he said, “It’s software and stuff happens with software. You deal with it quickly.”

“Amongst CTO’s there’s a great deal of empathy for Disney,” said Jeremy Legg, CTO, WarnerMedia, who noted that its upcoming SVOD service HBO Max will be using human curation, in addition to algorithms, to help consumers discover content.

The services are using data and algorithms to better target consumers.

“All of us are using some sort of personalization algorithm,” said Lindsay Silver, VP of product at Conde Nast.

“We collect 100 terabytes of data every day,” added Jim Denney, VP of product management at Hulu.

That data is combined with input from such sources as surveys and ethnographic studies.

“You have to collect all these things,” Denney said.

Variety co-editor-in-chief and moderator Andrew Wallenstein asked if streaming services can gauge such things as interest “when Baby Yoda comes on screen,” referring to the new Disney+ original “The Mandalorian.”

“We do have real-time video analytics,” Cerda said. “You pay attention to this stuff.”

“You have to pick and chose what works together,” said Sonu Durgia, director, product management, search, Walmart Labs. She noted that someone who buys diapers might be receptive to content for young kids.

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The growth of streaming services has generated an explosion in spending on content, noted Wallenstein.

“We have crossed the $100 billion mark,” he said with spending in 2019 at an estimated $108.2 billion, according to the magazine’s research.

One content producer taking advantage of this explosion is legendary TV creator Chuck Lorre, who at the event explained how his “The Kominsky Method” on Netflix has changed how and what he writes. For one thing, appealing to the advertising sweet spot of those 18-49 isn’t a concern with streamers.

“You’re not concerned with how old the audience is,” he said. “You are determining if there is one.”

This allowed Lorre to explore a subject with “Kominsky Method” that he couldn’t on broadcast TV.

“I wanted to write about the minutia of getting old,” he said, as well as older folks’ “fears of being irrelevant.”

Writing for a streaming service without commercials also allows for different pacing.

“You’re not writing to an ad break,” he said. “You’re not writing to the ‘Perils of Pauline’ cliffhanger [hoping the viewer will come back].”

He compared watching a season of “Kominsky Method” to a four-hour movie or reading a book. Viewers can choose when they want to pause before continuing the story.

“In the Netflix environment, if an audience is watching show four, you know they’ve watched one, two and three,” he said, which isn’t true in broadcast TV.

“It changes the way the story unfolds,” he added. “It’s not so episodic.”

 

‘Mandalorian’ Tops Parrot Analytics’ Global In-Demand Charts

After just three weeks since its Nov. 12 debut on the new Disney+ subscription streaming service, the live-action “Star Wars” series “The Mandalorian” is the most in-demand series in the world, according to data tracking firm Parrot Analytics.

The show has already been the top series in the United States for the past two weeks according to Parrot’s proprietary “demand expressions” metric, toppling a 21-week run by Netflix’s “Stranger Things.”

Parrot Analytics’ measurement of demand for television shows includes social media engagement, video streaming and peer-to-peer protocols, photo sharing, blogging, and research platforms.

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For the week ended Dec. 1, “The Mandalorian” was 31.9 times more in-demand than the average title on a global basis. In comparison, Netflix’s “The Crown,” which just launched its third season, achieved 15 times the average, “Stranger Things,” which hasn’t had a new episode since July, registered a 18.9 multiplier. Among network and cable series, the CW’s “The Flash” was at 21.6 times, and HBO’s “Game of Thrones” managed 28.3 times.

“The Mandalorian” is also in the running for the Most In-Demand Series Debut in the World at the upcoming Global TV Demand Awards. Other contenders in this awards category include Amazon Prime Video’s “The Boys,” Netflix’s “The Umbrella Academy,” Apple TV+’s “See” and the HBO miniseries Chernobyl.

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Taking place Jan. 21 at the NATPE: Miami conference, Parrot Analytics’ Global TV Demand Awards honors the most in-demand shows of 2019. In addition to the Most In-Demand Series Debut category, other categories include: Most In-Demand TV Show in the World, Most In-Demand Digital Original in the World, Most In-Demand Drama Series in the World, Most In-Demand Comedy Series in the World, Most In-Demand Documentary Series in the World, Most In-Demand Variety Series in the World, Most In-Demand Reality Series in the World, Most In-Demand Superhero Series in the World, Most In-Demand Export From Latin America, Most In-Demand Export From Asia, and Most In-Demand Export From Europe.

The winners of the 2nd Annual Global TV Demand Awards will be determined based on demand data from Jan. 1 to Dec. 31, 2019.

 

‘Mandalorian’ Tops Parrot Analytics’ TV Demand Charts for 2nd Week

The Disney+ “Star Wars” series “The Mandalorian” remained at No. 1 on not only Parrot Analytics’ digital exclusives rankings the week ended Nov. 30, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital exclusive,” previously known as 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+.

For the week, “The Mandalorian” registered 132.3 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 31.9% in expressions compared with the previous week, when it had 100.3 million expressions.

DC Universe’s “Titans” rose a spot to No. 2 on the digital exclusives chart, with expressions up 20.6% to 85.9 million. The finale of the second season was released Nov. 29.

Netflix’s “Stranger Things” dropped to No. 3, registering 76.3 million expressions, down 6% from the previous week.

Netflix’s “The Crown” remained at No. 4 on the exclusives chart, with expressions up 14.2% to 47.6 million.

Another Netflix series, “Lucifer,” climbed a spot to No. 5, its expressions up 6.7% to 31.6 million.

Netflix’s “The Dragon Prince” jumped up from No. 57 to No. 6, with expressions up 158.3% to 31.1 million. The third season of the animated series was released Nov. 22.

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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 exclusive 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.

Netflix Movie Catalog Down 40% Since 2014

Netflix’s catalog of feature-length movies is shrinking. The SVOD behemoth had 40% fewer movies (2,600 titles) to stream in November than it did during the same month five years ago.

As major studios pull back content for proprietary distribution and Netflix greenlights original feature-length titles, the service had 3,848 movies to stream as of Nov. 20. That compared to 6,494 titles in March 2014, according to new data from Streaming Observer.

NBC Universal, Fox, WarnerMedia, and Disney all continue to pull content from Netflix to underline their own streaming service ambitions.

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While Netflix’s domestic movie offerings have been in decline, the tally meets or exceeds the service’s feature-film catalog in its foreign regions:

Australia – 3,480
Canada – 3,844
Germany – 2,704
India – 3,515
Japan – 3,046
Mexico – 2,839
New Zealand – 3,436
United Kingdom – 3,710

Streaming Observer cites growing competition in the SVOD market for the movie drain. Until recently, just Netflix, Amazon Prime Video and Hulu had the resources to license movies from studios — with Netflix outbidding the others for premium titles (i.e. landmark Disney deal).

Now with Disney+, NBC’s Peacock, HBO Max and Hulu in or entering the OTT market, their studio parents continue to pull movies from Netflix and compete with it for any available properties.

As a result, Netflix has shifted its focus to developing proprietary movies and TV series rather than licensing outside content, spending billions over the last several years in the process.

While Netflix has significantly upped spending on original movies, production not surprisingly fails to match combined Hollywood output. The opposite is true for TV shows. Netflix has actually rebuilt its TV show library over the past few years from 1,197 shows in 2016 to 1,784 titles today.