Disney+ Executive Agnes Chu Departing for Condé Nast Entertainment

Agnes Chu, SVP of content at Disney+, is leaving the upstart subscription streaming video service in August for Condé Nast Entertainment’s streaming video operations. CNE develops, produces and distributes video content across 17 brands, including Bon Appétit, Glamour, GQ, Vanity Fair, Vogue and Wired.

In her new role, Chu will lead CNE’s next phase of expansion, a key part of the company’s global growth strategy, which includes the newly launched brand studios for The New Yorker. She will join the company in September and report to Condé Nast CEO Roger Lynch.

Agnes Chu

As SVP of content for Disney+, Chu commissioned a portfolio of feature, scripted, unscripted and animated entertainment.

Partnering with The Walt Disney Studios, Walt Disney Television, Pixar, Marvel Studios, Lucasfilm and National Geographic, among others, Chu launched Disney+ with an original slate recently recognized with 19 Emmy nominations in the service’s inaugural year.

Chu joined Disney in 2008 and has held a variety of roles for the company, including at Walt Disney Imagineering and for Bob Iger as VP, office of the chairman and CEO. She started at Disney-ABC Television Group in digital short form development and production, rising to current and daytime programming at ABC Entertainment.

Earlier in her career, Chu worked in documentary production, with credits on the Oscar-nominated Enron: The Smartest Guys In The Room and “The Blues,” a seven-part film series on PBS with directors Martin Scorsese, Clint Eastwood and Alex Gibney.

Disney+ to Bow ‘Black Beauty’ Later This Year

SVOD service Disney+ will stream a contemporary adaptation of Anna Sewell’s classic 19th century novel Black Beauty later this year.

The story, featuring Kate Winslet (as The Reader) and starring Mackenzie Foy (Interstellar), follows Black Beauty, who is a wild mustang born free in the American west. When she is captured and taken away from family, her story intertwines with that of 17-year-old Jo Green, similarly grieving over the loss of her parents. The two slowly develop a bond that is built on love, respect and mutual healing.

Iain Glen (“Game of Thrones”) and Claire Forlani (Meet Joe Black) also star.

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Netflix, HBO Dominate Primetime Emmy Noms, With Disney’s Original Streaming Series ‘The Mandalorian’ Grabbing 15 Noms

It’s the Netflix/HBO Primetime Emmy Awards slugfest with the two media giants generating 267 combined nominations, including Netflix’s record 160 nominations for the 72nd Primetime Emmy Awards, which were announced July 28 in Los Angeles. HBO held the previous record for nominations with 137 in 2019.

HBO’s “Watchman” generated the most nominations with 26, with Amazon Prime Video’s “The Marvelous Mrs. Maisel” was next with 20. Netflix’s “Ozark” and HBO’s “Succession” trailed with 18 nominations each. Notably, upstart Disney+ scored 15 nominations for Jon Favreau’s breakaway original hit “The Mandalorian.”

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Other standouts included Netflix’s “The Crown” and “Hollywood,” with 13 and 12 nominations, respectively. Others include: Unbelievable,” and “Unorthodox,” and comedies “Dead to Me” and “The Kominsky Method,” as well as its competition series “Nailed It.” NBC (47) and ABC (36) led all broadcasters with 83 combined nominations.

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WarnerMedia Entertainment received 112 total nominations, which included TBS (4) and truTV (1). In addition to “Watchman” and “Succession,” the former Time Warner company generated 11 nominations for “Westworld,” 9 nominations for “Last Week Tonight with John Oliver,” eight noms for “Insecure,” six for “Euphoria,” five for “Big Little Lies.” “McMillion$” generated five, followed by “Curb Your Enthusiasm,” with four; “A Black Lady Sketch Show (3); “Bad Education,” one nomination for “I Know This Much is True,” one for “The Outsider,” one for “The Plot Against America”; “Catherine the Great,”  “Silicon Valley (1); “Ballers” (1); “We’re Here” (1); “The Apollo,” (1); “We Are The Dream: The Kids of the Oakland MLK Oratorical Fest (1) and one for “Moonlight Sonata: Deafness in Three Movements.”

Jimmy Kimmel is scheduled to host the live show on Sept. 20 from Los Angeles.

‘Stranger Things’ Tops Parrot Digital Originals Chart For Week Ended July 25

Netflix’s “Stranger Things” took the top spot on Parrot Analytics’ digital originals rankings the week ended July 25, its sixth consecutive week at No. 1. The popular series had 60.1 times the demand of the average series, while demand for the show dropped 6.75% from the previous week.

The Disney+ live-action “Star Wars” series “The Mandalorian” rose a spot to No. 2 for the week, though it was down 4.6% in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity. It had 45.6 times the demand of the average show.

The Disney+ animated series “Star Wars: The Clone Wars” slipped to No. 3, with 43 times the average demand and expressions down 12.4%.

DC Universe’s “Titans” rose to the No. 4 spot with 37.2 times average demand and expressions up 1.6%.

Netflix’s “The Witcher” rose to No. 5, from No. 9 the previous week, growing demand 3% to gain 35.4 times the average show.

Netflix’s “Warrior Nun” placed at No. 10 with 30.2 times average demand and a 10.7% drop in expressions. The action series was released July 2.

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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 top overall TV series was again Nickelodeon’s “SpongeBob SquarePants,” with 108.2 times average demand. “Stranger Things” was No. 4 on the overall TV list.

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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.

Analyst: HBO Max, Peacock Have Highest-Rated Programming

HBO Max and NBCUniversal’s Peacock may be latecomers to the subscription video-on-demand party, but their catalog programming ranked higher in July than Netflix, Amazon Prime Video and Disney+, according to new data from online media guide JustWatch.com.

From June 19 to July 20, JustWatch top movies streamed (in order) included Palm Springs, Independence Day, Greyhound, Knives Out, Ford v Ferrari, The King of Staten Island, The Old Guard, Irresistible, 1917 and Relic. Top TV shows included “Yellowstone,” “The Legend of Korra,” “Alone,” “The Alienist,” “The Twilight Zone,” “Better Call Saul,” “Schitt’s Creek,” “Mad Men,” “The Good Place” and “Perry Mason.”

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Citing July ratings from IMDb.com, JustWatch, which offers online content guides to third-party SVOD and AVOD platforms, analyzed catalog programming across the various streaming channels, which excluded original programming.

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The company said 86% of Peacock’s catalog is rated between 6 to 9 on IMDb ratings, which is runner-up to HBO Max, with 92% of its catalog receiving the same IMDb rates — but ahead of Netflix Amazon Prime Video and Disney+.

When comparing each catalog’s quality, most of HBO Max’s content is rated an 8, which JustWatch clarified does not mean HBO has the most titles compared with Netflix.

‘Stranger Things’ Tops Parrot Digital Originals Chart For Week Ended July 18

Netflix’s “Stranger Things” took the top spot on Parrot Analytics’ digital originals rankings the week ended July 18, its fifth consecutive week at No. 1. The popular series had 64.4 times the demand of the average series, while demand for the show dropped 4.1% from the previous week.

The Disney+ animated series “Star Wars: The Clone Wars” rose three spots to No. 2, up 27% in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity. It had 49 times the demand of the average show. The series undoubtedly received a boost from the July 13 announcement that a spinoff series called “The Bad Batch” would debut on Disney+ in 2021.

The Disney+ live-action “Star Wars” series “The Mandalorian” slipped a spot to No. 3 for the week, earning 47.7 times average demand with expressions up 3.9%.

DC Universe’s “Doom Patrol,” which is now also available on Warner’s HBO Max streaming service, held onto the No. 4 spot with 42 times average demand and expressions up 1.6%.

The digital original series with the biggest jump into the top 10 was Netflix’s “Lucifer,” which grabbed the No. 5 spot after spending the previous week at No. 13. A trailer for the supernatural drama’s upcoming fifth season bowed July 13, prompting a 39% increase in demand and giving the show 39.3 times the demand over the average series. The first half of the new season will debut Aug. 21.

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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 top overall TV series was again Nickelodeon’s “SpongeBob SquarePants,” with 104.8 times average demand. “Stranger Things” was No. 4 on the overall TV list.

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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.

Animated ‘Star Wars’ Spinoff ‘The Bad Batch’ to Debut on Disney+ in 2021

Disney+ July 13 announced development of a new animated series from Lucasfilm called “Star Wars: The Bad Batch” to debut on the subscription streaming service in 2021.

A spinoff of “Star Wars: The Clone Wars,” “Bad Batch” focuses on an elite squadron of clone trooper commandos. The team was introduced during the first story arc of the final season of “The Clone Wars” released on Disney+ earlier this year, as they were fighting for the Galactic Republic against Separatist forces in the Clone Wars taking place between Attack of the Clones and Revenge of the Sith.

The Bad Batch on “Star Wars: The Clone Wars”

Members of Bad Batch each possess a singular skill that differentiates them from typical clone troopers and makes them extraordinarily effective soldiers and a formidable crew. The show will take place in the aftermath of the Clone Wars, as the team takes on daring mercenary missions as they struggle to stay afloat and find new purpose.

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“Star Wars: The Bad Batch” is executive produced by Dave Filoni, Athena Portillo, Brad Rau and Jennifer Corbett, with Carrie Beck as co-executive producer and Josh Rimes as producer Rau is also serving as supervising director with Corbett as head writer.

“Giving new and existing fans the final chapter of ‘Star Wars: The Clone Wars’ has been our honor at Disney+, and we are overjoyed by the global response to this landmark series,” said Agnes Chu, SVP of content at Disney+. “While the Clone Wars may have come to its conclusion, our partnership with the groundbreaking storytellers and artists at Lucasfilm Animation is only beginning. We are thrilled to bring Dave Filoni’s vision to life through the next adventures of the Bad Batch.”

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‘Stranger Things’ Tops Parrot Digital Originals Chart For Week Ended July 11

Netflix’s “Stranger Things” took the top spot on Parrot Analytics’ digital originals rankings the week ended July 11, its fourth consecutive week at No. 1. The popular series had 67.9 times the demand of the average series, while demand for the show rose 3.2% from the previous week.

The Disney+ live-action “Star Wars” series “The Mandalorian” rose a spot to No. 2 for the week, earning 46.5 times average demand with expressions down 1%.

Netflix’s “Dark” dropped a spot to No. 3. The German sci-fi drama had a 22% drop in demand but was still 44.7 times more in demand than the average show.

DC Universe’s “Doom Patrol,” which is now also available on Warner’s HBO Max streaming service, climbed a spot to No. 4 with 41.8 times average demand and expressions down 0.4%.

The digital original series with the biggest jump into the top 10 was Netflix’s “The Umbrella Academy,” to No. 8 from No. 26 the previous week. The trailer for the upcoming second season debuted July 8, helping give the show a 67% bump in demand expressions and 34.7 times the demand of the average show.

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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 top overall TV series was again Nickelodeon’s “SpongeBob SquarePants,” with 104.7 times average demand. “Stranger Things” was No. 3 on the overall TV list.

Subscribe HERE to the FREE Media Play News Daily Newsletter!

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.

Study: Average U.S. SVOD Household Has Access to Almost 100,000 Hours of Content

The average U.S. SVOD household has access to almost 100,000 hours of content, delivered via 3.8 different services, according to research from Ampere Analysis.

It would take 11 years to watch it all back-to-back, and nearly 70 years if the average viewer watched an average of four hours per day, according to Ampere. The main factors driving this increase in content availability are consumer uptake of Amazon Prime’s booming portfolio and the addition of new services such as Disney+ to the household mix, according to the study.

SVOD engagement is even more prominent in households with young kids. Those households have access to nearly five different SVOD services, more than any other demographic. This is up significantly from 3.5 in the same period last year, largely due to the launch of Disney+, and the high uptake of the family-friendly service in the group, according to Ampere. The content available to this demographic group via the VOD services in their household now stands at an average of 102,000 hours.

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Even adults who live alone have an average of 3.1 services, with the average one-person SVOD household having 85,500 hours — almost 10 years — of content at their fingertips.

Almost one third of U.S. SVOD households subscribed to Disney+ in Q1 2020. The service comes with a 4,200-hour catalog and thus adds an average of 1,400 hours of content to the typical SVOD household’s portfolio, Ampere noted.

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Amazon has more than doubled its content catalog in the United States since Q3 2017 according to Ampere Analytics data. The 60% of SVOD households who have both Netflix and Amazon accounts can access more than 100,000 hours of TV shows and movies.

“Consumers already have a vast amount of content at their disposal, and a U.S. household who subscribes to both Netflix and Amazon currently has access to more than 100,000 hours of content from those two services alone,” Ampere senior analyst Toby Holleran said in a statement. “As the market fragments further with additional direct-to-consumer services and households hit a spending ceiling, consumers will become more selective about their SVOD choices. The more expensive services, alongside those without a clear brand and proposition, will find the going gets tougher.”

Report: Young Adults Willing to Buy PVOD Movies

Premium video-on-demand, affording consumers concurrent access to new-release theatrical movies in the home, has been resurrected from its deathbed by studios as a distribution alternative with the coronavirus pandemic shuttering movie theaters.

New data from Hub Entertainment Research finds PVOD is embraced by young consumers, with more than 60% of survey respondents (18-34 years old) indicating they would probably pay to stream a just-released movie.

That interest is nearly non-existent among older consumers (35+), with just 12% indicating interest and only 2% saying they would “definitely” pay for PVOD.

The data comes from Hub’s “Monetizing Video” study, conducted in June among 2,036 U.S. consumers with broadband, age 16-74, who watch at least 1 hour of TV per week.

Notably, price doesn’t appear to be an issue for young consumers when it comes to streaming a first-run film in the home. Assuming a price of $15 to stream, 67% of 18- to 34-year-olds would definitely or probably pay. The proportion is virtually the same (65%) at $25. Amazingly, a majority of young viewers (57%) would also be willing to pay $50.

“For younger movie fans … the strong preference for streaming for TV and first-run movies, has the potential to fundamentally shift the entertainment distribution dynamic, assuming the industry is ready to accept the collateral damage —to the pay television and theater industries,” Peter Fondulas, principal at Hub and co-author of the study, said in a statement.

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Separately, 70% of respondents cited Netflix, Hulu, Disney+ and Amazon Prime Video as the best value for the money among all all streaming services. Among traditional pay-TV subscribers (cable, satellite, telecom), only about 40% said they get at least good value.

Respondents on average said they pay $94 monthly for pay-TV/streaming — about $22 more than they would like to pay. Traditional pay-TV subs are the most likely to feel their total TV bill is higher than what’s reasonable, according to the study.

Those who have a cable, satellite, or telco subscription — regardless of separate streaming services — feel they pay $29 more than they should be paying.

For consumers who only have cable, satellite, or telco service, the actual vs. reasonable gap is actually greater: They pay $37 more than they consider reasonable. With an actual/reasonable gap of only $6, consumers who have streaming services only — no pay-TV service — are the most likely to feel they’re paying the amount they should be paying.

“At a time of tremendous economic uncertainty, streaming services with deep catalogs of content fill a critical emotional need for consumers: The need to satisfy their home entertainment needs at a manageable cost,” Fondulas said.