‘Stranger Things’ Spends 11th 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 Sept. 7, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the 11th 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 125.1 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 11.7% in expressions compared with the previous week.

Another Netflix series, “13 Reasons Why,” stayed at No. 2, with expressions down 22.6% to 84.4 million.

Netflix’s “The Dark Crystal: Age of Resistance” rose seven spots to No. 3, with expressions up 130% to 54 million.

Netflix’s “Orange Is the New Black” dropped to No. 4. Its demand expressions dropped 8.7% to 40.5 million.

Slipping a spot to No. 5 was Amazon Prime Video’s dark superhero adaptation “The Boys,” which registered 39.6 million expressions, down 5.3% from the previous week.

Amazon Prime Video’s “Carnival Row” jumped to No. 8, from No. 26 the previous week, with expressions up 119.8% to 30.5 million. The show’s first season debuted Aug. 30.

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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 Tenth 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. 31, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the tenth 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 141.7 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 1.7% in expressions compared with the previous week.

Another Netflix series, “13 Reasons Why,” rose to No. 2, with expressions up 202% to 109 million. The third and final season of the show was released Aug. 24.

Netflix’s “Orange Is the New Black” remained at No. 3. Its demand expressions dropped 11.7% to 44.4 million.

Slipping two spots to No. 2 was Amazon Prime Video’s dark superhero adaptation “The Boys,” which registered 41.8 million expressions, down 28.3% from the previous week.

Netflix’s FBI-centered crime drama “Mindhunter” slid to No. 5, but was up 5% in demand expressions to 38.8 million.

Netflix’s “The Dark Crystal: Age of Resistance” bowed Aug. 30, helping it rise from 35th to 10th place on the weekly digital originals chart. Its expressions were up 102.1% to 23.5 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.

Analyst: Apple Expected to Top Netflix in Original Content Spend

With Apple rolling out its upgraded Apple TV+ in November, the cash-rich tech giant is reportedly set to beginning spending big dollars on original content.

New data from Ampere Analysis contends Apple will spend more than $6 billion on original content for its new subscription streaming video service — six times what it has spent in previous years, according to The Financial Times.

Apple has announced 36 original titles for the new service, an uptick in content spending that ranks it among Disney/Fox, NBC Universal/Comcast/Sky and Viacom/CBS.

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Notably, Apple’s burgeoning spending is expected to top Netflix’s $2.4 billion original content spend in 2019, according to Ampere.

“Apple’s significant increase in content expenditure highlights its commitment to the streaming video space, and its willingness to go head-to-head with the industry’s biggest spenders,” analyst Daniel Gadher wrote in a note.

Gadher believes Apple’s content spending underscore’s the company’s strategy to emulate Netflix, Amazon Prime Video and Hulu’s programming platforms.

With Disney+, HBO Max, NBC Universal’s unnamed service, and Jeffrey Katzenberg-led Quibi all entering the market, Gadher contends “high value” exclusive content will become key.

Disney has said it would spend about $1 billion on Disney+ original content, increasing to $2.5 billion by 2022. It has announced 43 original titles for the service.

Ampere expects Disney will spend $5 billion on original Disney programming plus the additional original spend from its acquired Fox assets.

Quibi, the mobile-only streaming platform concentrating on short-form video has committed $1.1 billion in original content in its first year. It has commissioned 44 new titles.

“The ability of the platforms to produce quality and differentiated content will be integral to success in a market where Netflix, Amazon and Hulu are already entrenched,” Gadher wrote.

Report: 74% of U.S. Homes Have SVOD

It is indeed an over-the-top video world.

New consumer research from Leichtman Research Group finds 74% of all U.S. households have a subscription video-on-demand (SVOD) service from Netflix, Amazon Prime, and/or Hulu — up from 64% in 2017, and 52% in 2015.

Among those with an SVOD service, 69% have more than one of these services — up from 51% in 2017, and 38% in 2015. Overall, 51% of U.S. households now have more than one SVOD service, an increase from 33% in 2017, and 20% in 2015.

These findings are based on a survey of 1,116 households nationwide and are part of a new LRG study, Emerging Video Services 2019. This is LRG’s 13th annual study on this topic.

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Leichtman found 64% of all adults stream an SVOD service at least monthly, and 41% stream more than one SVOD service at least monthly
33% of adults stream an SVOD service daily — compared to 29% in 2017, and 16% in 2015.

About 51% of ages 18-34 stream an SVOD service daily — compared with 34% of ages 35-54, and 15% of ages 55+.

Another 27% of respondents with Netflix agreed that their subscription is shared with others outside their household — compared to 19% with Hulu, and 10% with Amazon Prime Video.

Nearly 51% of adults watch video on non-TV devices (including mobile phones, home computers, tablets, and e-Readers) daily — up from 43% in 2017, and 31% in 2014.

“Nearly three-quarters of all U.S. households have at least one SVOD service, and one-third of all adults stream an SVOD service daily, including half of all ages 18-34,” Bruce Leichtman, president and principal analyst for LRG, said in a statement. “With over half of all households now getting multiple SVOD services, and new streaming services on the way, it is inevitable that the number of households having and using multiple services will continue to grow. However, with expanded options, consumers will increasingly decide which streaming services they pay for directly, and which they share with others.”

Amazon Reportedly Seeking Original Content for IMDb TV

A day after bowing mobile apps for its ad-supported video-on-demand service, IMDb TV, Amazon is reportedly in the hunt for original programming earmarked for the platform.

The platform, which is competing against The Roku Channel and Viacom-owned Pluto TV, has begun offering upfront license fees for content instead of previous revenue-sharing agreements. The move is seen as Amazon’s willingness to pay for content, and not just access.

The service made a play for Vice Media’s canceled “Vice Media News” on HBO, according to The Wall Street Journal.

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IMDb TV has also begun exploring linear feeds focusing on specific genres such as crime and lifestyle, celebrity, action and dramas.

The push for greater AVOD presence comes as Netflix, Amazon Prime Video and Hulu face a slew of SVOD competitors, including pending Disney+, Apple TV +, HBO Max from WarnerMedia, a rebooted AT&T Now online TV service and a branded service from Comcast.

“The rapid growth of free, ad-supported video streaming services has taken the industry by surprise, given that there is already so much out there,” Alan Wolk, co-founder of media consulting firm TVRev, told The Journal. “I suspect people watch them as lean-back or background TV, often as something to have on as they’re doing something else.”

Indeed, San Francisco-based Pluto TV, which Viacom acquired this year for $340 million in cash, earlier this month unveiled a new slate of genre and “pop-up” channels rolling out with content licensed from Viacom’s IP library.

The new channels include a lineup of 150+ live, linear, curated channels and thousands of on-demand movies from studios, networks, publishers and digital media companies.

 

Analyst: French Home Entertainment Third-Largest in Europe

The French TV and video entertainment market has struggled in recent years as over-the-top video undermines traditional distribution.

Now, the French, along with every other home entertainment market, has embraced SVOD as home entertainment — if for no other reason than statistics.

Futuresource Consulting says total video entertainment consumer spend is expected to exceed €7 billion ($7.7 billion) this year, making France the third-largest video entertainment market in Europe.

“Despite the closure of CanalPlay, SVOD has started to take off in France driven by Netflix’s fantastic performance,” analyst Tristan Veale, said in a statement.

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Veale attributed Netflix surge among French consumers due to part to the service spending freely for the rights to key local language TV shows, which have been well received and have created a buzz around the service.

“From 5 million subscribers at the end of 2018, representing half the market, we are expecting their sub base to grow further in 2019,” Veale said.

Indeed, SVOD revenue is expected to hit €827 million ($918 million) this year.

According to a Futuresource consumer survey, viewing Netflix on a TV is now the dominant way to watch the service in France.

“Over two-thirds of Netflix users now say viewing on any TV is their most preferred way, with Smart TV’s in particular a key driver, a trend we are seeing in many other markets we survey,” Veale said.

Notably, as myriad consumers worldwide subscribe to multiple SVOD serivces, the practice is still relatively uncommon in France, with less than 40% of SVOD households taking more than one service, with no significant challenger to Netflix since CanalPlay exited in mid-2018.

Futuresource contends the competitive landscape is expected to change as Amazon Prime Video ups its activity in the country and expected new SVOD entrants such as Disney+, Apple TV+, HBO Max and others target the French market over the next couple of years.

While these new services provide consumers more choice, Futuresource believes this trend will ultimately become frustrating for consumers, as programming choices become increasingly fragmented.

The research firm believes service providers that aggregate multiple services, provide pan-service search, navigation and provide a seamless user experience amongst the clutter of SVOD services will rise to the top.

Aggregation of other entertainment content, including video games and music, could also be a differentiator moving forward.

Companies like Apple with a broad range of TV/Video, music and games content could offer attractive “triple play” content bundles – Apple +, Apple Music and Apple Arcade, according to Futuresource.

“Gaming in particular is taking an increasing share of the consumer wallet, the French gaming software market will hit €3.5 billion ($3.88 billion) in revenue this year, with strong growth anticipated over the next few years,” Veale said.

‘Stranger Things’ Spends Ninth 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. 24, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the ninth 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 144.1 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 5.5% in expressions compared with the previous week.

Holding the No. 2 spot was Amazon Prime Video’s dark superhero adaptation “The Boys,” which registered 58.3 million expressions, up 4% from the previous week.

Netflix’s “Orange Is the New Black” remained at No. 3. Its demand expressions rose 2.8% to 50.2 million.

Netflix’s “Mindhunter” rose to No. 4 from No. 27 the previous week, up 167.7% in demand expressions to 36.9 million. The second season of the FBI-centered crime drama was released on Aug. 17.

Another Netflix series, “13 Reasons Why,” rose a spot to No. 5, with expressions up 15% to 36.1 million.

Subscribe HERE to the FREE Media Play News Daily Newsletter!

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 Eighth 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. 17, but also the data firm’s overall list of TV series from any platform, including broadcast and cable, for the eighth 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 152.6 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was down 9% in expressions compared with the previous week.

Rising a spot to No. 2 was Amazon Prime Video’s dark superhero adaptation “The Boys,” which registered 56 million expressions, down 10.3% from the previous week.

Netflix’s “Orange Is the New Black” dropped to No. 3. Its demand expressions dropped 32.4% to 48.9 million.

Hulu’s “The Handmaid’s Tale” rose to No. 4 with a 5.6% increase in expressions to 36.3 million. The finale of season three was released Aug. 14.

DC Universe’s “Titans” dropped to No. 5, with expressions down 9.8% to 32.9 million.

Subscribe HERE to the FREE Media Play News Daily Newsletter!

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.

Finding the Key to SVOD Success

Original content has been the star on SVOD services such as Netflix, Amazon and Hulu, with upcoming services Apple TV+ and Disney+ teasing originals in celebrity-filled press conferences. But catalog content is an important supporting player.

Certainly, originals can attract eyeballs, said the NPD Group’s Kathi Chandler-Payatt at last month’s EMA summit. She noted that while both original movies and episodic shows are a small percentage of content on Netflix, they garner an outsized share of viewing.

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Still, originals aren’t the only shows that keeps viewers subscribing, noted Screen Engine/ASI’s Mark Orne at the event. Subscribers often stay with a service based on go-to backup shows, mostly long-running hit comedy series, such as “The Office,” “Friends,” “South Park” and “Family Guy.” It’s why Disney+ streaming “The Simpsons” from its Fox acquisition is a smart move, he noted.

No wonder WarnerMedia pulled “Friends,” and Universal “The Office,” from Netflix for their upcoming services.

Indeed, speakers on a consumer panel at the EMA summit said that they like to stream while doing other activities, such as cleaning a room, not the kind of thing one can do while viewing a gripping original. One even noted she likes to go to sleep to certain familiar shows.

Meanwhile, a few hits might not be enough to keep viewers subscribing, as consumers are willing to pay for a month or take the free trial, watch and cancel, or share passwords, Orne said.

While they may like the occasional title equivalent of a gourmet meal, consumers also like to binge on titles that are comfort foods. SVOD services that can offer a wide menu may be the winners in the OTT race.

New Disney-Charter Deal ‘Contemplates’ Disney+ Access

Chalk up another positive for Disney+: The Walt Disney Co.’s much-hyped new subscription video-on-demand (SVOD) service, set to launch in November, may be available to Charter Communications subscribers.

A new distribution deal between Disney and Charter, announced Aug. 14, calls for the country’s No. 2 cable operator to continue carrying Disney’s TV and ESPN programming to Spectrum TV subscribers.

The deal also “contemplates Charter’s future distribution of Disney’s streaming services, including Hulu, ESPN+ and the soon-to-be-launched Disney+,” according to a press release issued by Charter.

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The deal wouldl help Disney+ in its attempt to compete with established streaming titans Netflix and Amazon.com.

In addition, Spectrum TV will also offer customers access to ESPN’s upcoming ACC Network when it launches Aug. 22.

Under the deal, Spectrum TV will continue to provide its customers widespread access to ABC, Disney Channel, Disney Junior, Disney XD, Freeform, ESPN, ESPN2, ESPN3, ESPNU, ESPNEWS, ESPN Deportes, ESPN Goal Line, ESPN Bases Loaded, SEC Network, Longhorn Network, and the newly acquired networks of FX, FXX, FXM, Fox Life, National Geographic, Nat Geo Wild, Nat Geo Mundo and BabyTV.

“This agreement will allow Spectrum to continue delivering to its customers popular Disney content, makes possible future distribution by Spectrum of Disney streaming services, and will begin an important collaborative effort to address the significant issue of piracy mitigation,” said Tom Montemagno, EVP of programming acquisition for Charter.

Sean Breen, SVP of Disney Media Distribution, added: “Our new agreement with Charter allows us to continue serving Spectrum TV customers with the full value of the Walt Disney Television and ESPN networks, including the newly acquired FX and Nat Geo networks. ACC fans can also rest assured that they will be able to watch their favorite teams on Spectrum, one of the largest distributors across the ACC footprint, when ACC Network launches next week.”