‘Stranger Things’ Moves Past ‘WandaVision’ to Return to Top Spot on Parrot’s Digital Originals Demand Chart

Netflix’s perennially popular “Stranger Things” returned to the No. 1 spot on Parrot Analytics’ digital originals U.S. chart the week ended April 10. It had 41.5 times the demand of an average series after a 10.3% spike in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity. It was No. 6 on Parrot’s list of all TV shows.

The surge follows stars David Harbour and Millie Bobby Brown teasing spoilers for the upcoming season on Instagram live.

“WandaVision,” the first Disney+ series set in the Marvel Cinematic Universe, slipped to No. 2 after six weeks in the top spot. A month after its finale it dropped 0.6% in demand expressions to grab 40.7 times average demand. It was No. 7 on the list of overall TV shows.

That pushed the second Disney+ Marvel original series, “The Falcon and the Winter Soldier,” down a spot to No. 2 on the digital originals chart after a modest 1% gain in demand expressions the week of its fourth episode (of six total). It had 39.6 times average demand and was No. 10 on the list of overall TV show demand.

Disney+ had a third show in the top five digital originals with the live-action “Star Wars” series “The Mandalorian,” which held steady at No. 4, garnering 37.3 times the demand of the average show after a 1.9% rise in demand expressions.

Netflix’s perennially popular “Stranger Things” slipped to No. 3 on the digital originals chart with 37.5 times average demand and a 5% drop in demand expressions.

Rounding out the top five for the third week was Netflix’s “Cobra Kai” with 29.4 times average demand and a 6.7% drop in demand expressions.

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A “digital original” 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+.

The No. 1 overall TV series in terms of online demand was “Attack on Titan,” with 67.5 times average demand.

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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 demand for TV content in a given market 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. Results are expressed as a comparison with the average demand for a TV show of any kind in the market.

Research: HBO Max Subs More Likely to Pay for Additional Services

HBO Max subscribers in the United States are far more likely than Disney+ or Netflix subscribers to pay for additional video services, according to Interpret Insights’ New Media Measure.

While 27% of HBO Max subscribers pay for four to five other video services, only 12% of Netflix subscribers and 17% of Disney+ subscribers do the same, suggesting that HBO Max “is seen as highly complementary to other options in the market,” according to Interpret.

While HBO Max has benefited from Warner Bros. movies debuting on the service at the same time they hit theaters, that is poised to change next year as an (albeit shorter) theatrical window returns, according to Interpret.

“The big challenge as HBO Max enters 2022 will be securing exclusive content to maintain this momentum,” Interpret wrote.

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Nielsen: Brand Integration Key to Marketers for Ad-Free SVOD

With advertising not on the table for marketers thus far on Netflix, Amazon Prime Video and Disney+, consumer brands looking to capitalize on the SVOD powerhouse’s subscriber bases need to get resourceful.

With 23% of the total time spent in front of the television during an average week last December devoted to streaming video, Americans streamed more than 132 billion minutes, with big SVOD providers such as Netflix and Prime Video accounting for more than half (53%) of the distribution, according to new data from Nielsen.

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While product placement in movies and TV shows isn’t new, one of the most basic tenets of an advertising plan remains the ability to deliver the right message to the right consumer. Today, marketers are employing new tactics such as becoming part of content storylines, amplifying their presence well beyond passive product insertions.

With Netflix generating almost 75 million subscribers in North America through 2020, Nielsen contends 10.4% of the streamer’s audience for original series “Cobra Kai” does not watch traditional linear television. As a result, brands such as Enterprise Car Rental, Coors, Dell Computer and Mercedes Benz featured prominently in the first two seasons of “Kai.”

Besides placement, Coors actually factored into the storyline of series character Johnny Lawrence. It’s his favorite beer, and he drinks a lot of it on the show. That calculated product favoritism paid off for Coors.

Nielsen says the Golden, Colo.-based brewer’s exposure on the show garnered almost 170 million equivalized and valued impressions among viewers 21 and older through the first four weeks the program was available on Netflix. Separately, character Daniel LaRousso runs a car dealership, and thus it’s no surprise that cars play a notable role in the plot, including the destruction of Johnny’s beloved Firebird and the Dodge Challenger that ultimately replaces it.

However, much of the inventory at Daniel’s lot, however, is luxury cars,
which provides Mercedes-Benz, Audi and others the opportunity to take center stage throughout the episodes.

Brand integrations in “Cobra Kai” delivered Mercedes-Benz on average more than 43 million impressions among viewers 18-49, according to Nielsen. And in the first four weeks of being available on Netflix, season one of “Kai” delivered Dell more than 70 million impressions to viewers 18-49, a key age demo for computer users.

“Branded integrations in SVOD programming don’t just provide exposure in an ad-free environment, they reach audiences that traditional TV typically doesn’t,” read the report. “SVOD programs tend to reach lighter viewers of traditional TV, which makes the incremental reach of SVOD significant.”

Indeed, in a four-week period, Nielsen found that 19% of the combined total audience exposed to both “Cobra Kai” and linear-TV programming featuring Coors ads watched only “Cobra Kai.”

“Branded integrations provide advertisers and agencies with a modern way to integrate brands into the burgeoning streaming realm while simultaneously gaining incremental reach,” Nielsen wrote.

 

Data: Despite Hype, Disney+ Still a Distant Third Among U.S. Streamers

With Netflix, Amazon Prime Video and Hulu essentially creating the subscription streaming video market, it’s not surprising that the three streaming services make up 65% of the U.S. SVOD market.

New data from JustWatch suggests Netflix remains the market leader over Prime Video by a 10% margin, and upstart Disney+ is in close contention with Disney-controlled subsidiary Hulu for third place.

Netflix, JustWatch data shows, is No. 1 at 31%, with Amazon Prime Video at 21% and Hulu and Disney+ tied at 13%. All figures are for the first quarter of 2021.

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In March, Disney+ overtook Hulu to become the third-largest streaming service in the US. Peacock and Disney+ were the only streaming services to gain domestic market share or remain the same through the first quarter, while all of the others decreased.

“We see Disney+ as a global predator for Netflix subscribers, reaching 100 million subs just 16 months after launch,” Laura Martin, analyst with Needham, wrote in a March 15 note. “It took Netflix 10 years to reach 100 million subs.”

‘WandaVision,’ ‘The Falcon and the Winter Soldier’ Give Marvel Top Two Spots on Parrot’s Digital Originals Demand List

“WandaVision,” the first Disney+ series set in the Marvel Cinematic Universe, remained No. 1 for a sixth consecutive week on Parrot Analytics’ digital originals U.S. chart the week ended April 3. It had 40.8 times the demand of an average series after a 3.9% drop in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity. It was No. 7 on Parrot’s list of all TV shows.

Meanwhile, the second Disney+ Marvel original series, “The Falcon and the Winter Soldier,” jumped two spots to No. 2 on the digital originals chart after a 13.9% spike in demand expressions to give it 39.1 times average demand. It was No. 10 on the list of overall TV show demand.

Disney+ had a third show in the top five digital originals with the live-action “Star Wars” series “The Mandalorian,” though it dropped a spot from the week before, to No. 4, garnering 36.5 times the demand of the average show after another 0.35% dip in demand expressions.

Netflix’s perennially popular “Stranger Things” slipped to No. 3 on the digital originals chart with 37.5 times average demand and a 5% drop in demand expressions.

Rounding out the top five for the second week was Netflix’s “Cobra Kai” with 31.4 times average demand and a 0.2% drop in demand expressions.

With the animated “Star Wars: The Clone Wars” at No. 6, Disney+ had four shows in the top 10 digital originals, while Netflix had five, including “Lucifer” at No. 7, “The Witcher” at No. 9 and “The Crown” at No. 10.

The top 10 original not from one of those two streamers was HBO Max’s “Titans” at No. 8.

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A “digital original” 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+.

The No. 1 overall TV series in terms of online demand was “SpongeBob SquarePants,” with 66.3 times average demand.

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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 demand for TV content in a given market 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. Results are expressed as a comparison with the average demand for a TV show of any kind in the market.

Disney+ Bows Marvel Studios’ ‘Loki’ Series Trailer; Streaming Exclusively Starting June 11

Disney April 5 unveiled the trailer to the new Marvel Universe live-action series “Loki,” which will begin streaming exclusively June 11 on Disney+.

In the series, the mercurial villain Loki (Tom Hiddleston) resumes his role as the God of Mischief in a period that takes place after the events of Avengers: Endgame.

After absconding with the Tesseract, Loki is a fish-out-of-water when he lands in a world of trouble with the bureaucratic TVA (Time Variance Authority). Joining Hiddleston’s return as the title character are Owen Wilson, Gugu Mbatha-Raw, Sophia Di Martino, Wunmi Mosaku and Richard E. Grant. Kate Herron directs and Michael Waldron is head writer.

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Report: Disney+, HBO Max to Drive Eastern Europe SVOD Growth

The pending international launch of HBO Max and further expansion of Disney+ will contribute to Eastern Europe’s SVOD sector finally taking off in relation to long established market pushes in Western European territories as the U.K., France, Germany, Italy, Spain and the Nordics.

Digital TV Research forecasts 40 million SVOD subscriptions in Eastern Europe by 2026, up from 15 million at the end of 2020. From the 25 million additional subscriptions, Russia will generate 10 million and Poland 6 million.

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Netflix will have 12.29 million subscribers by 2026, more than double its 2020 total. Its Russian subscriber base will grow significantly due to its recently-signed partnership with National Media Group. Disney+ will have 5.8 million subs by 2026 despite only starting in mid-2021.

WarnerMedia will launch HBO Max in 2H21. Digital TV Research forecasts 1.22 million paying subs by 2026, with many more continuing to receive HBO online as part of their pay-TV subscription.

“There will still be plenty of room for growth beyond our forecast period as only 17% of the region’s TV households will subscribe to at least one SVOD platform by 2026,” analyst Simon Murray said in a statement.

Nielsen: Amazon’s ‘Coming 2 America’ Dominates Weekly Streaming

Amazon Prime Video’s pandemic decision to license Paramount Pictures’ Coming 2 America paid dividends, with the sequel co-starring Eddie Murphy and Arsenio Hall topping all content streamed on living room televisions for the week of March 1-7, according to new data from Nielsen.

Paramount sold the movie rights after exhibitors were forced to shut down due to government mandates due to coronavirus infection concerns.

The movie tracked more than 1.4 billion minutes streamed, easily topping Netflix’s Bigfoot Family and Golden Globe winner I Care a Lot with 363 million minutes each respectively. It marked the first time a non-Netflix title has finished atop the weekly chart Nielsen launched last September.

Brian Fuhrer, SVP of product strategy, said 40% of the movie’s viewers originated in black homes, which he said helped place a motion picture ahead of original TV and licensed content.

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“It’s very rare for a movie to take the top slot,” Fuhrer said. “We have to go all the way back to [Netflix’s] Spenser Confidential, and more recently [Disney’s] Soul, which was supplanted by [Warner Bros. Pictures’] Wonder Woman 1984 for a movie to win the week.”

Notably, “WandaVision” (924 million) could not unseat Netflix’s “Ginny & Georgia” (1.16 billion) for top spot on the original series chart.

“‘WandaVision’ had a great run, in the top 10 every week, it just couldn’t take the top slot,” Fuhrer said. “I think this was the peak.”

Source: Nielsen SVOD Content Ratings (Amazon Prime, Disney+, Hulu, and Netflix), Nielsen National TV Panel, U.S. Viewing through Television.

 

Licensed Content

Rank

SVOD Provider

Program Name

Number of Episodes

Minutes Streamed
(Millions)

1 Netflix “Criminal Minds” 307 929
2 Netflix “Grey’s Anatomy” 366 858
3 Netflix “Good Girls” 34 579
4 Netflix “NCIS” 353 555
5 Netflix “Schitt’s Creek” 80 493
6 Netflix “Cocomelon” 6 475
7 Netflix “Heartland” 158 475
8 Netflix “iCarly” 60 431
9 Netflix “Supernatural” 328 400
10 Netflix “The Sinner” 24 334

Movies

Rank

SVOD Provider

Program Name

Number

Minutes Streamed
(Millions)

1 Amazon Coming 2 America 1 1,413
2 Netflix Bigfoot Family 1 363
3 Netflix I Care a Lot 1 363
4 Disney+ Raya and the Last Dragon 1 355
5 Netflix Moxie 1 257
6 Netflix Biggie: I Got A Story To Tell 1 203
7 Disney+ Moana 1 185
8 Netflix The Dark Knight 2 176
9 Netflix No Escape 1 141
10 Disney+ Frozen 1 134

Report: Disney+ a Hit Among Swedish Families With Children

Disney+ only launched in Sweden in 2020, but already the branded SVOD platform has resonated in Sweden, especially among families with young children. New data from Mediavision contends Disney+ generated 450,000 subscribers in the Northern European country just two weeks after launching on Sept. 15. By comparison, Netflix took a year to reach the same subscriber tally after bowing in 2012.

The reason? Children’s programming. Disney is an international force with few equals when it comes to kids content.

In total, kids content accounts for 13% of the total runtime (hours of content) across the Swedish VOD streaming market in Q1 2021. The share of kids content is higher for Disney+ than other streaming services included in the analysis (excluding services solely providing kids content).

“Families with children are without a doubt a strong consumer segment for Disney+ — and Mediavision can conclude that Swedish consumers rate Disney highest of all streaming services in the kids genre,” read the report.

However, in absolute terms — Netflix has the market’s largest kids content library in number of titles and total runtime.

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Disney+ Tops 50% of Indian SVOD Subscriber Market

In the lucrative — and booming — Indian subscription streaming VOD market, Disney+ is beating industry veterans Netflix and Amazon Prime Video handily. New data from London-based research firm Omdia (formerly IHS Markit) finds the service accounted for 50% of all SVOD subs in India in 2020. India represents 30% of Disney’s 100+ million SVOD subs globally.

Online video subs revenue grew 142% primarily due to the global pandemic, with revenue rising from $265 million in 2019 to $639 million at the end of 2020. Disney+ Hotstar and Netflix accounted for 78% of the total online video subscription market revenue.

Disney acquired Indian digital platform Hotstar through its $71.3 billion acquisition of 20th Century Fox assets two years ago.

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Over the past year, Disney+ Hotstar has tripled its subscriber base from 8 million to 25.6 million. This growth is partly down to the bundling of Disney+ and Hotstar, as well as the postponement of the start of the Indian Premier League (IPL) cricket from April to September as well as competitive pricing plans and exclusive rights to foreign content such as “Game of Thrones.”

Netflix India also grew its subscription base significantly, rising to 4.4 million, up from 2.4 million in 2019.

“The COVID-19 pandemic accelerated the growth rate of an already dynamic and robust OTT market,” analyst Constantinos Papavassilopoulos said in a statement. “The basic elements that will propel the market to further growth in the near future are already there: very affordable mobile broadband prices, high penetration of smart-phones, a population eager to consume more content, an ever-growing investment in Indian originals and a plethora of choices with more than 40 OTT services operating in the country.”

Indeed, India is a market obsessed with mobile access to media. The world’s No. 2 population has more than 1.1 billion cellphone subscribers. Omdia says 82% of Indian online video services are accessed through smartphones, with only 39% accessing content through dedicated TV apps.

Disney+ Hotstar offers three content packages. The VIP plan (INR 399 per year) offers dubbed local language content, while Premium (INR 299 per month) offers both English and dubbed version of content. In terms of device access, the VIP plan only allows its subs to watch on one screen in HD while Premium plan allows subscribers to watch on two screens simultaneously in Full HD.

Separately, India was the launch site for Netflix’s first mobile-only SVOD plan, while Amazon bowed a $1.20 priced Prime Video plan. Lionsgate launched a branded SVOD service in India, dubbed Lionsgate Play, to go along with its Starz Arabia streaming service.

In 2021, Amazon and Netflix will continue their large investment in original Indian content, with the two services set to invest around $340 million, representing 52% of the total content investment. Omdia expects that close to 400 original titles (mostly series) will be produced this year by foreign and local Indian OTT services.

By offering affordable streaming plans and partnering with large telecoms such as Jio Reliance, Bharti Airtel and Vodafone India, Omdia expects that mobile-only SVOD subscriptions will continue to grow over the next couple of years. However, these plans face increased challenges from traditional pay-TV services, which are aggregating OTT video with their core linear TV service.