Netflix’s ‘Locke & Key’ Top Returning Show, ‘Dune’ Top Movie Anticipated in October

Netflix’s “Locke & Key” was the most anticipated returning show, “CSI: Vegas” was the top anticipated new show, and Dune was the top anticipated movie on the TV Time charts for October.

“Locke & Key,” an adaptation of the comic book series, follows three siblings and their mother who move into their ancestral home, Keyhouse, after the father is murdered under mysterious circumstances. The house, they discover, is full of magical keys that may be connected to the father’s death. Season two debuts Oct. 22.

“CSI: Vegas” has stars William Petersen and Jorja Fox returning to their roles in the long-running “CSI” crime drama franchise. It debuts Oct. 6.

Dune, the latest adaptation of Frank Herbert’s sci-fi best-seller, will be released concurrently in theaters and on the HBO Max streaming service Oct. 22. It stars Timothee Chalamet, Rebecca Ferguson and Zendaya.

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TV Time, owned by Whip Media, is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by more than 1 million consumers every day, according to the company. TV Time’s “Anticipation Report” is based on data from those users.

Most Anticipated New Shows for October:

  1. “CSI: Vegas” (CBS) — Oct. 6
  2. “Chucky” (Syfy) — Oct. 12
  3. “4400” (CW) — Oct. 25
  4. “Invasion” (2021) (Apple TV+) — Oct. 22
  5. “Ghosts” (U.S.) (CBS) — Oct. 7

 

Most Anticipated Returning Shows for October:

  1. “Locke & Key” (Netflix) — Oct. 22
  2. “You” (Netflix) — Oct. 15
  3. “Succession” (HBO) — Oct. 17
  4. “Another Life” (2019) (Netflix) — Oct. 14
  5. “Love Life” (2020) (HBO Max) — Oct. 28

 

Most Anticipated Movies for October:

  1. Dune (Warner) — Oct. 22
  2. Venom: Let There Be Carnage (Sony) — Oct. 1
  3. No Time to Die (MGM) — Oct. 8
  4. The Many Saints of Newark (Warner) — Oct. 1
  5. The Guilty (Netflix) — Oct. 1
  6. Halloween Kills (Universal)— Oct. 15
  7. The Last Duel (20th Century Studios)— Oct. 15
  8. Last Night in Soho (Focus)— Oct. 29
  9. The French Dispatch (Searchlight)— Oct. 22
  10. Antlers (Searchlight)— Oct. 29

‘Sex Education’ Top Streaming Original, ‘Shang-Chi’ Top Movie on Weekly TV Time Charts

Netflix’s “Sex Education” led the TV Time chart of top streaming originals and Shang-Chi and the Legend of the Ten Rings the TV Time chart of top movies among U.S. consumers for the week ended Sept. 26.

The British dramedy “Sex Education” follows a socially awkward teen who lives with his sex therapist mom and offers sex advice to his peers. Season three started streaming Sept. 17.

The latest Marvel feature Shang-Chi and the Legend of the Ten Rings is only showing in theaters and has earned nearly $200 million at the box office domestically.

The charts replace TV Time’s weekly binge and rising show charts.

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TV Time, a Whip Media company, is a free TV and movie viewership tracking app with 18 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app. The movie rankings are determined by theatrical or streaming movies with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.

“Lucifer,” the sixth and final season of which debuted on Netflix Sept. 10, fell to No. 2 on the streaming originals chart. It follows Lucifer’s exploits on Earth.

Apple TV+’s “Ted Lasso,” which garnered four Emmys Sept. 19 including Outstanding Comedy Series, remained at No. 3 on the streaming originals chart. Jason Sudeikis won an Emmy for Lead Actor, Hannah Waddingham for Supporting Actress, and Brett Goldstein for Outstanding Supporting Actor in the series, season two of which began streaming July 23.

At No. 2 on the movies chart was 20th Century Studios’ Free Guy, starring Ryan Reynolds as a bank teller who discovers he is actually a background player in an open-world video game.

Malignant, which debuted in theaters and on HBO Max Sept. 10, fell from No. 1 to No. 3. It’s a possession thriller from director James Wan (The ConjuringInsidious).

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Top Streaming Originals Among U.S. Consumers for the Week Ended Sept. 26:

  1. “Sex Education” — Netflix
  2. “Lucifer” — Netflix
  3. “Ted Lasso” — Apple TV+
  4. “What If …” — Disney+
  5. “Star Wars: Visions” — Disney+ (Season Premiere)
  6. “The Circle” (U.S.) — Netflix
  7. “Only Murders in the Building” — Hulu
  8. “Squid Game” — Netflix
  9. “Titans” (2018) — HBO Max
  10. “Nine Perfect Strangers” — Hulu

 

Top Movies Among U.S. Consumers for the Week Ended Sept. 26:

  1. Shang-Chi and the Legend of the Ten Rings — Disney
  2. Free Guy — 20th Century Studios
  3. Malignant — Warner Bros.
  4. Kate — Netflix
  5. Black Widow — Disney
  6. Candyman — MGM
  7. Old — Universal
  8. Cruella — Disney
  9. The Suicide Squad — Warner Bros.
  10. Cinderella — Amazon Prime Video

‘Lucifer’ Top Streaming Original, ‘Malignant’ Top Movie on Weekly TV Time Charts

Netflix’s “Lucifer” led the TV Time chart of top streaming originals and Malignant the TV Time chart of top movies among U.S. consumers for the week ended Sept. 19.

The charts replace TV Time’s weekly binge and rising show charts.

“Lucifer,” the sixth and final season of which debuted on Netflix Sept. 10, follows Lucifer’s exploits on Earth.

Malignant, which debuted in theaters and on HBO Max Sept. 10, is a possession thriller from director James Wan (The Conjuring, Insidious).

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TV Time, a Whip Media company, is a free TV and movie viewership tracking app with 18 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app. The movie rankings are determined by theatrical or streaming movies with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.

Disney+’s “What If …?” came in at No. 2 on the streaming originals chart. The Marvel Universe animated anthology series debuted Aug. 11. It explores major Marvel moments had they gone differently.

Apple TV+’s “Ted Lasso,” which garnered four Emmys Sept. 19, including Outstanding Comedy Series, landed at No. 3 on the streaming originals chart. Jason Sudeikis won an Emmy for Lead Actor, Hannah Waddingham for Supporting Actress, and Brett Goldstein for Outstanding Supporting Actor in the series, season two of which began streaming July 23.

Among movies in the top 10, the latest Marvel feature Shang-Chi and the Legend of the Ten Rings, only showing in theaters, took the No. 2 spot, while Netflix’s Kate, an actioner about a poisoned assassin who has less than 24 hours to find out who ordered the hit and exact revenge, landed at No. 3.

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Top Streaming Originals Among U.S. Consumers for the Week Ended Sept. 19:

  1. “Lucifer” — Netflix
  2. “What If …?” — Disney+
  3. “Ted Lasso” — Apple TV+
  4. “Sex Education” — Netflix (Season Premiere)
  5. “The Circle” (U.S.) — Netflix
  6. “Only Murders in the Building” — Hulu
  7. “Titans” — HBO Max
  8. “Nine Perfect Strangers” — Hulu
  9. “Y: The Last Man” — Hulu (Series Premiere)
  10. “Evil” — Paramount+

 

Top Movies Among U.S. Consumers for the Week Ended Sept. 19:

  1. Malignant — Warner Bros.
  2. Shang-Chi and the Legend of the Ten Rings — Disney
  3. Kate — Netflix
  4. The Suicide Squad — Warner Bros.
  5. Cruella — Disney
  6. Cinderella — Amazon Prime Video
  7. Black Widow — Disney
  8. Reminiscence — Warner Bros.
  9. Candyman — MGM
  10. The Voyeurs — Amazon Prime Video

New App Aids in Streaming Movie Search, Discovery

A new app called Picticular promises to help movie fans easily and conveniently find films currently streaming on all platforms as well as upcoming releases. The app also offers recommendations and, in the future, will allow movie ticket sales.

Similarly to a dating app, users can either swipe right or left to accept or reject film choices as suggested by the app’s proprietary AI technology.

Conceived in 2018 and co-founded by serial entrepreneur Todd Courtney, pioneering Google senior executive Marcel Van Lohuizen and former iHeartMedia executive Lasse Hamre, Picticular says its advantage is its laser focus on films and how to easily access them — either on a streaming platform for immediate viewing or for marketing purposes for a new film.

“We’re all film enthusiasts and there were countless times when I just gave up on my search for a film,” Courtney said. “There had to be a better and more convenient way to access films, particularly with the growing universe of streaming platforms. With Picticular, the fun of discovery begins while the frustration ends.”

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Beyond the ability to easily find films on streaming platforms, Picticular also offers:

    • Immediate accessibility of content: Users can click on films in the app and can immediately begin viewing the film on the streaming platform’s app;
    • Friend matching: App allows friends to privately share selections with each other;
    • Ticket purchasing: Moviegoers can soon purchase theater tickets directly from the app;
    • Entertainment news: Movie fans will receive celebrity and entertainment news updates;
    • Recommendations: With proprietary AI technology, the app will provide film suggestions to the user, based on previous selections.

 

Picticular also has established relationships with Hollywood. Most recently, Saban Films, which releases around 30 films per year through Paramount or Lionsgate, has been using the app since last December. For the Mel Gibson film Fatman, Picticular captured comprehensive user data and the trailer had nearly two million views.

“As a studio executive, the benefits are significant,” said Jonathan Saba, SVP of distribution and marketing for Saban Films. “For example, Picticular’s private swiping feed ensures an impulsive decision around each film that ultimately provides us with invaluable data. The app allows for full visibility of past or current films with a critical monetization model and branding opportunities.”

The Home Team Scores

The year 2020 will go down in the history books as the year of COVID-19, a once-in-a-century pandemic that shut down the nation – the world – until scientists could figure out exactly what the hell was going on.

It was also the year when all entertainment became home entertainment. With theaters dark, studios pivoted to premium video-on-demand (PVOD) – which in reality is nothing more than a higher-priced home window – to give consumers an alternative venue to watch their first-run movies.

It’s still too soon to talk definitively about lasting changes brought on by the pandemic. But there are certainly some good, solid, educated guesses that can be made.

First and foremost, the hallowed three-month theatrical window is gone. Out the door. Kaput. It’s been outdated for years; even the biggest theatrical blockbusters typically run out of steam after three or four weeks on the big screen, and there’s no reason in the world other windows have been kept shut for such a long period of time.

As a result, PVOD is not going to go away with the virus. When movie theaters fully reopen, which hopefully won’t be too much longer, they’re still going to be sharing the wealth with other platforms with such familiar acronyms as PVOD, PEST (I never did like that one!), and, of course, SVOD. We must remember that in the wake of the World Health Organization’s March 2020 declaration of a global pandemic, all movies did not go the PVOD route. Several big films were sold to Netflix, beginning with Paramount’s romantic comedy The Lovebirds, the first theatrically canceled film to go straight to a third-party streaming service. And then later in the year came the stunning, and disruptive, announcement by WarnerMedia that its entire 2021 theatrical slate would be released simultaneously to its upstart streaming service, HBO Max, which clearly needed (and still needs) a boost.

Regardless, the common denominator for all these acronyms is home viewing. And that means home entertainment – which Media Play News had a big role in redefining several years back as any filmed content available for on-demand viewing by the consumer,  regardless of whether it was bought or rented on disc or digital or streamed over the Internet – will remain the dominant way people will consume entertainment even when the pandemic is just a distant memory.

As our third annual marketing issue shows,  studios during the pandemic year of 2020 epitomized the expression, “When the going gets tough, the tough get going.” With theaters out of the picture (literally as well as figuratively), marketing shifted toward home audiences and, invariably, campaigns were either started or completely run by home entertainment marketers.

They were no longer playing second fiddle to their theatrical counterparts; they took the lead and saved what could have been a catastrophic year by eventizing PVOD releases and aggressively mining their catalogs for anniversary and other promotional opportunities.

At several studios, home entertainment marketing teams have been merged with their theatrical and, in some cases, television counterparts to create hybrid marketing organizations geared to the new reality of multi-window, multi-platform releases.

But let’s never forget who got the proverbial ball rolling. When Hollywood was down, it was the home team that stepped up to the plate.

Survey: Despite Box Office Comeback, Reluctance to Return to Theaters Grows

People are less willing to watch new movies in theaters than they were a year ago, despite the easing of COVID-19 restrictions and an accelerated schedule of big new feature films headed for the big screen.

So says a new survey by Whip Media, which attributed the reluctance to continuing concerns about health, the surge in subscription streaming, and the emergence of PVOD.

In the survey, twice as many people said they will see movies in theaters less often than they did in a similar survey a year ago. Among respondents who said they intend to return to theaters in 2021, 24% of respondents said they plan to go to the theater less often, versus 12% in a 2020 survey.

Also, in the 2021 survey, 68% said they plan to go to the movies with the same frequency as before the pandemic, compared with 80% in 2020.

Among respondents who said they will go to the theater less:

  • 67% said the top reason was they can get the movies they like on streaming services (Netflix, Amazon, Disney+). This is 21% higher than when asked the same question in 2020.
  • 40% in 2021 said they can watch the movie as a PVOD release, versus 30% in 2020.
  • 52% said they will go less as they are concerned about health and safety (2021) vs. 69% in 2020.

 

The survey also found that families have fueled a 35% growth in PVOD over the past year.

Meanwhile, the survey asked consumers (who said they are interested in seeing a particular movie) where they preferred to watch it. Marvel’s Black Widow was the movie that viewers most wanted to see in the theater, rather than at home, with 68% of those surveyed saying they would prefer to watch it in the theater versus 32% who plan to watch it at home. The film was followed in the survey by another Marvel Comics-based film Shang-Chi and the Legend of the Ten Rings, with 64% of those surveyed preferring to see it in the theater. That movie was followed in the survey by F9 (63% theatrical preference), Suicide Squad (58%) and A Quiet Place II (55%) as the movies viewers most want to see in theaters.

Meanwhile, the top titles in the survey that consumers said they plan to watch at home are family-oriented ones with Space Jam: A New Legacy (69%), Cruella (64%), and Jungle Cruise (61%) topping that list.

Overall, 90% of respondents said they plan to return to the movies, and 28% are already going or ready to go as soon as theaters nearby open.

Whip Media polled U.S. 1,904 consumers April 28-29, 2021, and 6,000 April 29-30, 2020. Results were balanced to reflect U.S. census population gender and age (13-54).

TV Time: Warner’s ‘Mortal Kombat’ Most Anticipated Movie in April

Warner Bros.’ Mortal Kombat was the most anticipated movie in April on the TV Time chart.

Based on the video game franchise of the same name, the film follows Shaolin Monk Liu Kang, from Earth, who gets invited as a competitor in a mysterious, intergalactic tournament of ancient martial arts. It premieres April 23 in theaters and on WarnerMedia’s HBO Max streaming service.

A Whip Media company, TV Time is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by nearly 1 million consumers every day, according to the company. TV Time’s “Anticipation Report” is based on data from those users.

Tom Clancy’s Without Remorse, premiering on Amazon Prime April 30, took the second spot on the chart. The action thriller is based on the 1993 novel of the same name by Tom Clancy and is a spin-off of the Jack Ryan film series.

Coming in at No. 3 was Netflix’s Thunder Force, premiering April 9 on the streaming service. Starring Melissa McCarthy, Octavia Spenser and Jason Bateman, the film follows two childhood best friends who reunite as an unlikely crime-fighting superhero duo when one invents a formula that gives ordinary people superpowers.

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Also from Netflix, Stowaway, premiering April 22, took the fourth spot on the chart. In the film starring Anna Kendrick, Daniel Dae Kim, Shamier Anderson and Toni Collette, a three-person crew on a mission to Mars faces an impossible choice when an unplanned passenger jeopardizes the lives of everyone on board.

Another space story, Lionsgate’s Voyagers, landed at No. 5. Starring Colin Farrell, Tye Sheridan, Lily-Rose Depp and Fionn Whitehead, the film follows a crew of astronauts on a multi-generational mission who descend into paranoia and madness, not knowing what is real or not. It hits theaters April 9.

Rounding out the chart at No. 6 was Concrete Cowboy, which began streaming on Netflix April 2. Starring Idris Elba and Caleb McLaughlin (“Stranger Things”), it follows a rebellious teen, sent to live with his estranged father for the summer, who finds kinship in a tight-knit Philadelphia community of Black cowboys.

 Most Anticipated April Movies

  1. Mortal Kombat – April 23 (Warner Bros., theaters and HBO Max)
  2. Tom Clancy’s Without Remorse – April 30 (Amazon Prime)
  3. Thunder Force – April 9 (Netflix)
  4. Stowaway – April 22 (Netflix)
  5. Voyagers – April 9 (Lionsgate, theaters)
  6. Concrete Cowboy – April 2 (Netflix)

 

TV Time features a global community of 16 million users who have reported more than 18 billion views of TV and movie content across 230,000 titles.

PlayStation Store Dropping Digital Movie and TV Show Sales and Rentals

The Sony PlayStation Store will drop the sale and rental of digital movies and TV shows, beginning Aug. 31. The platform, which has sold and rented studio movies since 2008, cited an increase in the consumer adoption of subscription streaming services and ad-supported VOD services, for the decision.

“At [Sony Interactive Entertainment], we strive to provide the best entertainment experience for PlayStation fans, and that means evolving our offerings as customer needs change,” Vanessa Lee, head of video business for Sony Interactive Entertainment, wrote in a March 2 blog post. “We’ve seen tremendous growth from PlayStation fans using subscription-based and ad-based entertainment streaming services on our consoles.”

The PlayStation Store was not a member of Movies Anywhere, the studio-backed transactional retail platform that includes Vudu, Microsoft’s Movies & TV, DirecTV, Xfinity Store, Amazon Prime Video, Apple TV, Google Play, Verizon, FandangoNow and Row8.

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Users can still access movie and TV content they have purchased through PlayStation Store for on-demand playback on their PS4, PS5 and mobile devices, she wrote.

“We thank our fans for their continued support, and we look forward to further enhancing the entertainment experience on PlayStation,” read the blog.

The move follows the 2019 shuttering of Sony PlayStation Vue, the  online TV platform that in 2015 followed Dish Network’s Sling TV into the nascent streaming market.

Ironically, Sony is pulling out of the TVOD retail market at a time when digital sales and rentals are at an all-time high, thanks in part to the coronavirus pandemic. According to DEG: The Digital Entertainment Group, digital sales of movies, TVs shows and other filmed content, known as electronic sellthrough, rose 16% to $3 billion. Digital rentals were up 18%, to $2.3 billion.

AARP Announces Nominees for Annual ‘Movies for Grownups’ Awards’

The American Association of Retired Persons (AARP) Feb. 8 announced it list of feature films nominated for the nonprofit’s annual “Movies for Grownups Awards,” set to broadcast on PBS March 28.

Feature films contending for the Best Picture/Best Movie category include A24’s Korean family drama Minari; Searchlight Pictures’ Nomadland; Amazon Studios’ One Night in Miami; Netflix’s The Trial of the Chicago 7; and Hulu’s The United States vs. Billie Holiday.

For two decades, AARP’s Movies for Grownups program has championed movies for the 50-plus-year-old audience, fighting industry ageism and encouraging movies that resonate with older viewers.

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“Each year, we spotlight films that feature today’s crucial issues and top grownup talents,” Tim Appelo, AARP film and TV critic, said in a statement.

Hoda Kotb, NBC News’ “Today” co-anchor, will host the awards ceremony broadcast by “Great Performances” at 8 p.m. on PBS, pbs.org/moviesforgrownups and the PBS Video app. The MFG Awards winners will be announced on March 4 at www.aarp.org/moviesforgrownups.

In the Best Actress category, nominations go to Michelle Pfeiffer (French Exit), Robin Wright (Land), Sophia Loren (The Life Ahead), Viola Davis (Ma Rainey’s Black Bottom) and Frances McDormand (Nomadland). In the Best Actor category, Ralph Fiennes (The Dig), Delroy Lindo (Da 5 Bloods), Anthony Hopkins (The Father), Gary Oldman (Mank) and Tom Hanks (News of the World).

The nominees for Best Supporting Actress are Glenn Close (Hillbilly Elegy), Candice Bergen (Let Them All Talk), Jodie Foster (The Mauritanian), Yuh-Jung Youn (Minari), and Ellen Burstyn (Pieces of a Woman). In the Best Supporting Actor category, Clarke Peters (Da 5 Bloods), Demián Bichir (Land), Bill Murray (On the Rocks), Paul Raci (Sound of Metal) and Mark Rylance (The Trial of the Chicago 7).

2020 Movies for Grownups nominees for Best Director are Spike Lee (Da 5 Bloods), George C. Wolfe (Ma Rainey’s Black Bottom), Regina King (One Night in Miami), Aaron Sorkin (The Trial of the Chicago 7) and Lee Daniels (The United States vs. Billie Holiday).

In the inaugural year, Movies for Grownups Awards has added categories in Television/Streaming, the nominees for Best Series are HBO Max’s “Perry Mason” and “Succession,” Apple TV+ series “Ted Lasso,” Netflix’s “The Crown,” and NBC’s “This Is Us.”

In the Best TV Movie/Limited Series category, nominations go to Hulu’s Mrs. America, Amazon Prime Video’s Small Axe, Netflix’s The Queen’s Gambit and Unorthodox, and HBO Max’s Watchmen.

The Television/Streaming nominees for Best Actress are Jennifer Aniston (“The Morning Show”), Cate Blanchett (Mrs. America), Regina King (Watchmen), Laura Linney (“Ozark”) and Catherine O’Hara (“Schitt$ Creek”). In the Best Actor category, Jason Bateman (“Ozark”), Ted Danson (“The Good Place”), Hugh Grant (The Undoing), Ethan Hawke (The Good Lord Bird) and Mark Ruffalo (I Know This Much is True).

George Clooney will receive the esteemed Movies for Grownups Career Achievement Award. He joins a list of previous AARP Movies for Grownups Career Achievement honorees, including Annette Bening, Kevin Costner, Robert De Niro, Michael Douglas, Morgan Freeman, Shirley MacLaine, Helen Mirren, Robert Redford, Susan Sarandon and Sharon Stone.

The complete list of the Movies for Grownups Awards Nominees:

  • Best Picture/Best Movie for Grownups: MinariNomadlandOne Night in MiamiThe Trial of the Chicago 7The United States vs. Billie Holiday
  • Best Actress: Viola Davis (Ma Rainey’s Black Bottom), Sophia Loren (The Life Ahead), Frances McDormand (Nomadland), Michelle Pfeiffer (French Exit), Robin Wright (Land)
  • Best Actor: Ralph Fiennes (The Dig), Tom Hanks (News of the World), Anthony Hopkins (The Father), Delroy Lindo (Da 5 Bloods), Gary Oldman (Mank)
  • Best Supporting Actress: Candice Bergen (Let Them All Talk), Ellen Burstyn (Pieces of a Woman), Glenn Close (Hillbilly Elegy), Jodie Foster (The Mauritanian), Yuh-Jung Youn (Minari)
  • Best Supporting Actor: Demián Bichir (Land), Bill Murray (On the Rocks), Clarke Peters (Da 5 Bloods), Paul Raci (Sound of Metal), Mark Rylance (The Trial of the Chicago 7)
  • Best Director: Lee Daniels (The United States vs. Billie Holiday), Regina King (One Night in Miami), Spike Lee (Da 5 Bloods), Aaron Sorkin (The Trial of the Chicago 7), George C. Wolfe (Ma Rainey’s Black Bottom)
  • Best Ensemble: Da 5 Bloods, Ma Rainey’s Black Bottom, One Night in Miami, Promising Young Woman, The Trial of the Chicago 7
  • Best Intergenerational: Hillbilly Elegy, Minari, On the Rocks, The Father, The Life Ahead
  • Best Buddy Picture:  Bad Boys for Life, Bill & Ted Face the Music, Da 5 Bloods, Let Them All Talk, Standing Up, Falling Down
  • Best Screenwriter: Danny Bilson, Paul De Meo, Kevin Willmott, Spike Lee (Da 5 Bloods); Paul Greengrass, Luke Davies (News of the World), Kemp Powers (One Night in Miami), Ruben Santiago-Hudson (Ma Rainey’s Black Bottom), Aaron Sorkin (The Trial of the Chicago 7)
  • Best Time Capsule: Ma Rainey’s Black Bottom, Mank, One Night in Miami, The United States vs. Billie Holiday, The Trial of the Chicago 7
  • Best Grownup Love Story: Emma.Ordinary LoveSupernovaWild Mountain ThymeWorking Man
  • Best Documentary: A Secret Love, Crip Camp, Diana Kennedy: Nothing Fancy, Dick Johnson Is DeadSky Blossom: Diaries of the Next Greatest Generation
  • Best Foreign Language Film: Another Round (Denmark), Bacurau (Brazil), Collective (Romania), The Life Ahead (Italy), The Weasels’ Tale (Argentina)
  • Best Series: “Perry Mason,” “Succession,” “Ted Lasso,” “The Crown,” “This Is Us”
  • Best TV Movie/Limited Series: Mrs. America, Small Axe, The Queen’s Gambit, Unorthodox, Watchmen.
  • Best Actress (TV/Streaming): Jennifer Aniston (“The Morning Show”), Cate Blanchett (Mrs. America), Regina King (Watchmen), Laura Linney (“Ozark”), Catherine O’Hara (“Schitt$ Creek”)
  • Best Actor (TV/Streaming): Jason Bateman (“Ozark”), Ted Danson (“The Good Place”), Hugh Grant (The Undoing), Ethan Hawke (The Good Lord Bird), Mark Ruffalo (I Know This Much Is True).

Comscore Launching Cross-Platform Movie Transaction Data Service

Comscore Jan. 25 announced new software that aims to report daily movie sales regardless of release windows and platform. This will include a new reporting system to track box office movies’ performances across all platforms.

Dubbed “Movies Everywhere,” the new product will meld Comscore’s census-based box office and transactional video measurement with OTT video rentals and streaming views. The service will measure a movie’s box office performance in combination with demographics, audience sentiment and consumer behavior, from the big-screen theatrical presentation to the small screen multi-platform release.

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“The undeniable reality is that the pandemic has forced us all to throw out conventional wisdom and take a fresh look at how we operate,” Chris Aronson, president of domestic distribution at Paramount Pictures, said in a statement. “We’re confident that people are going to return to theaters in force. But with more consumer choices for content consumption, means we need new solutions to truly understand audience behavior as they engage with content on their terms and their screens. We all have to adapt.”

Comscore will provide the ability to track and synthesize the demographics of moviegoers as well as individuals who viewed advertisements. In the face of rapidly-evolving media consumption patterns, studios could benefit from having audience information available at both the national and regional levels — to identify behavioral trends that can help inform optimal release windows.

“We’ve seen incredible changes in audience behavior over the past year in the way that people consume content,” said Erik Lomis, president of distribution, United Artists Releasing. “As a result, the industry needs to reinvent the way we capture audience engagement.”

Movies Everywhere is the latest in a series of product innovations that Reston, Va.-based Comscore has developed during the coronavirus pandemic, including a new and improved movies reporting and analytics suite and the release of its next generation movie theater management system.

“Just as we delivered the first transparent studio share reports and the first Movies on Demand promo conversion analysis, we are once again innovating to provide studios the consideration needed to reinvent their strategies and thrive in this new era,” said Comscore CEO Bill Livek.