Ahead of Nov. 1 Launch, Studies Show High Awareness, Demand for Apple TV+ SVOD Service and Shows

Leading up to the highly anticipated debut of Apple TV+ Nov. 1, research firms are tracking high awareness for the SVOD service and original shows.

Parrot Analytics is tracking pre-release demand for the new streamer’s original series, including “See,” “For All Mankind,” “Dickinson” and “The Morning Show.” According to pre-release demand data captured leading Oct. 21-27, the company found that the upcoming Apple TV+ shows are well ahead of the audience demand average across all TV shows in the United States over the same time period.

“See” and “For All Mankind” were already attracting 11.7 and 11.1 times more demand than the average TV show in the United States ahead of launch, respectively, according to Parrot. “Dickinson” registered 3.3 times the demand average while “The Morning Show” managed 1.8 times the average in the United States during that time period.

Parrot also compared the pre-release U.S. and global demand for Apple TV+’s four top series to that of other hit streaming shows. For example, U.S. pre-release demand for the Apple TV+ series tracked well ahead of that of Hulu’s first season of “The Handmaid’s Tale” in the week leading up to their respective premieres. In its analysis, the company compared the average U.S. demand over the period Oct. 21-27, 2019, for the Apple TV+ series to “The Handmaid’s Tale” season one demand over its seven-day pre-premiere period April 17-23, 2017.

Findings include:

  • “See” was 897% ahead of “The Handmaid’s Tale” in the lead-up to its premiere.
  • “For All Mankind” was 842% ahead of “The Handmaid’s Tale” in the lead-up to its premiere.
  • “Dickinson” was 184% ahead of “The Handmaid’s Tale” in the lead-up to its premiere.
  • “The Morning Show” was 54% ahead of “The Handmaid’s Tale”in the lead-up to its premiere.

 

Internationally, the Apple TV+ shows don’t fare as well, according to Parrot research. Pre-release demand for “The Handmaid’s Tale” in most international markets pre-launch was well ahead of the pre-release demand for the Apple TV+ series on a per capita basis.

“Based on the demand that we are seeing, Apple TV+ promotion of the series in the U.S. has put them in a position to succeed domestically,” said Courtney Williams, head of partnerships, Parrot Analytics, in a statement. “However, they have to rapidly accelerate their international marketing if they hope to be a key player in the global streaming wars. The advantage of active and ongoing hardware penetration will be key domestically and should provide the necessary foundation to drive demand globally.”

Parrot also compared the pre-release demand for Apple TV+ originals over the seven-day period Oct. 21-27, 2019, with the pre-release demand for Netflix’s “The Umbrella Academy” (Feb. 5-11, 2019). Parrot found that “For All Mankind’s” pre-release demand is 54% ahead of the pre-release demand for “The Umbrella Academy” for the comparable lead-up period.

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Meanwhile, another study from Ampere Analysis found more than one in three (38%) U.S. respondents said they were aware of the Apple TV+ product, already higher than some peer group services — such as HBO Max — at 30%. Awareness among Apple device owners was 51% versus 25% for non-Apple device owners, and skewed towards a younger demographic. While younger Apple owners said they were the most likely to subscribe, their lack of interest in Apple TV+ original content presents a potential barrier to sign-ups, according to Ampere.

“The core target group for Apple TV+, in the short term at least, will be existing device owners aged 18-34,” said Minal Modha, consumer research lead at Ampere, in a statement. “Given the popularity of Apple devices in households, there’s already a large potential customer pool in the U.S. To sustain subscriber growth for TV+ in the longer term, Apple will want to move beyond its own device universe, and ensure it appeals to those outside its brand ecosystem.”

Apple’s decision to include the TV+ service with new device purchases appeals particularly to the younger consumer. Ampere found that 21% of Apple device owners are likely or highly likely to subscribe (compared to 13% of non-Apple owners). This rose to 29% of the 18-24 age group, and dropped to 14% of those 55-64, and 9% of those over 65.

Indicating a potential boost to Apple’s hardware business, 9% of respondents said they would buy a new Apple device to get a year’s free access to Apple TV+ and a further 9% said it would encourage them to replace their existing Apple device sooner. Ampere estimates that there are 81 million Apple device-owning households and if 10% were to replace their device six months earlier than planned because of TV+, it would generate an additional $400 million in net device margin for Apple. The same analysis for non-Apple customers suggests potential net device margin of nearly $120 million. Even under conservative device purchase and replacement assumptions, Apple will be able to offset significant sums of its U.S. content expenditure, according to Ampere.

The survey found that “The Morning Show,” a comedy drama series starring Jennifer Aniston, Reese Witherspoon and Steve Carell, would appeal to 35% of Apple customers (versus 25% of non-Apple device owners). “See,” a futuristic sci-fi drama starring Jason Mamoa, has a similar and strong appeal.

The survey highlighted lack of interest in Apple TV+ content as the biggest barrier to subscribing, alongside households saying that they already have enough SVOD services to keep them happy. Apple’s competitive price point of $4.99 was not a seen as a barrier.

“Apple has a different business model from the other new platform launches in that it is able to use Apple TV+ to incentivise and accelerate device replacement — and therefore generate larger cash flow through those sales to fund content spend,” Modha said in a statement. “While the research found that the main barrier to uptake of the service is a lack of interest in the content on offer, this is mainly due to Apple being new to the original content space and consumers not knowing what to expect. As Apple TV+ begins to roll, we expect this barrier will be overcome.”

Parrot Analytics Unveils Most-In-Demand Shows So Far in 2019

Data analytics company Parrot Analytics gave attendees a sneak peek of the most-in-demand shows of 2019 so far Oct. 15 during the MIPCOM global TV conference.

Parrot Analytics will host the Global TV Demand Awards for the second year at NATPE Miami Jan. 21, honoring the world’s most popular shows in several categories for 2019.

Among the 12 award categories are the Most In-Demand Superhero, Comedy, and Documentary Series in the World, as well as the Most In-Demand Exports from Latin America, Asia and Europe.

Most In-Demand Superhero Series in the World (in order) are:

  • Arrow
  • DC’s Legends of Tomorrow
  • Doom Patrol
  • Gotham
  • Marvel’s Agents of S.H.I.E.L.D.
  • Marvel’s Daredevil
  • Marvel’s the Punisher
  • Supergirl
  • The Flash
  • Titans

 

Most In-Demand Comedy Series in the World (in order) are:

  • Brooklyn Nine-Nine
  • Friends
  • Modern Family
  • Orange is the New Black
  • Shameless
  • The Big Bang Theory
  • The Good Place
  • The Office
  • This is Us
  • Young Sheldon

 

Most In-Demand Documentary Series in the World (in order) are:

  • Anthony Bourdain: Parts Unknown
  • Blue Planet
  • Cosmos: A Spacetime Odyssey
  • Dynasties
  • Leaving Neverland
  • Nova
  • Our Planet
  • Planet Earth
  • Surviving R. Kelly
  • Wild Wild Country

 

Most In-Demand Export from Latin America (in order) are:

  • 3%
  • A Fazenda
  • El Chavo
  • El corazón nunca se equivoca
  • El payaso Plim Plim, un héroe del corazón
  • Galinha Pintadinha
  • La Rosa De Guadalupe
  • MasterChef Brazil
  • Porta Dos Fundos
  • Soy Luna

 

Most In-Demand Export from Asia (in order) are:

  • Attack on Titan
  • Dragon Ball Super
  • Mirzapur
  • My Hero Academia
  • Naruto
  • Naruto: Shippuden
  • One Piece
  • One Punch Man
  • Pokémon
  • Sacred Games

 

Most In-Demand Export from Europe (in order) are:

  • Black Mirror
  • Doctor Who
  • La Casa De Papel (Money Heist)
  • Peaky Blinders
  • Peppa Pig
  • PJ Masks
  • Sherlock
  • Strike Back
  • The Grand Tour
  • The Last Kingdom

 

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“As we’re getting into the last quarter of 2019, Parrot Analytics is taking a look at how some of the biggest series in the world are doing thus far. It’s a race to the end of the year and we are looking forward to soon revealing the most in-demand series in the world,” said Rebekah Zabarsky, director of marketing, Parrot Analytics, and awards executive producer in a statement. “At the Global TV Demand Awards in January at NATPE, we’ll celebrate the impact of these shows with a formal presentation of all the winners. For now, we’re highlighting six of the 12 categories to showcase how the TV landscape continues to change with new premieres and established series battling it out for viewers’ attention across all platforms and around the world.”

Parrot Analytics uses a 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.

Report: Netflix Captured 62.6% of Global Demand for Originals in Q2

Netflix’s original series commanded more audience demand in the second quarter of 2019 than originals of any other streaming platform in the world, according to Parrot Analytics’ second quarter Global TV Demand Report.

With 62.6% of global demand for digital original series, Netflix is the leader. Still, its global market share was down 3.1% from its Q1 result of 64.6% and down 9% from its 2018 71% full-year result.

Parrot Analytics, the leading television data analytics firm focused on gauging trends and demand for content around the world, examined the demand share for global SVOD platforms, digital original series popularity, and the market-specific genre demand shares in Q2 2019 in its Q2 Global Television Demand Report. The report features market-specific analyses including the United States, Canada, Brazil, Germany, Switzerland, South Korea, Indonesia, Taiwan, Saudi Arabia and the United Arab Emirates.

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“With Netflix taking the lion’s share of global demand for its original series, it’s not surprising that in the second quarter of this year the service continues to lead in the drama genre for most markets,” commented Samuel Stadler, VP of marketing, Parrot Analytics, in a statement. “’Lucifer’ has come out on top in six markets examined and ‘Stranger Things’ was the most in-demand digital original in the U.S. and South Korea for Q2. We expect ‘Stranger Things’ will have a sizable impact on overall platform demand for Netflix in the U.S. and other key markets in the third quarter.”

Sci-fi dramas were the most in-demand in half of the markets analyzed, while superhero, crime dramas and comedy dramas also showed increased demand, respectively, across all 10 markets, according to the report. In the popular action/adventure genre category, DC Universe originals beat out Netflix originals in demand share in the U.S., Canada, Brazil and Taiwan.

Parrot Analytics: Netflix Original Titles Accounted for 64.6% of Expressed Demand Globally in Q1

Netflix original digital titles accounted for 64.6% of expressed demand globally in the first quarter, according to the latest edition of The Global Television Demand Report from Parrot Analytics.

Each quarter, the report analyzes the global market share of the leading SVOD services, based on how much demand exists in each market for their original content offering over the last 24 months. Parrot Analytics operates the world’s largest TV content analytics dataset, enabling it to analyze demand for content in 100-plus territories around the world, for all content genres, across all TV platforms, according to the firm.

Covering 10 global markets, the latest report takes a look at SVOD market share trends, genre trends and the content demand distribution of selected digital originals in each market.

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Findings in Q1 revealed the audience demand for Netflix Originals compared to all digital original series in each market. Based on audience demand data for digital originals, Netflix’s market share in each market is:

– South Africa (67.9%)
– Hungary (67.4%)
– Russia (67.3%)
– Belgium (66.9%)
– Ireland (66.4%)
– United Kingdom (62.3%)
– United States (63.1%)
– Netherlands (62.9%)
– Japan (60%).

Domestically, Netflix’s “Stranger Things” was the most in demand digital original series in Q1, according to the report.

Media Play News has teamed with Parrot Analytics to provide readers with research 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.

‘Black Mirror’ Tops Parrot Analytics Digital Originals Chart

“Black Mirror,” the Netflix anthology series that some critics have likened to a modern-day “Twilight Zone,” shot up to No. 1 from No. 4 on Parrot Analytics’ digital originals chart the week ended June 15.

The series, which often revolves around the unanticipated consequences of new technologies, generated more than 66.4 million average daily Demand Expressions during the week, Parrot says, a nearly 60% spike from the prior week.

The gain came after the June 5 debut of Season 5.

“Black Mirror” ended a three-week run at No. 1 for “Stranger Things,” which slipped to No. 2 with 62.9 million average daily Demand Expressions, a nearly 12% increase from the prior week. The series will likely reclaim the top spot in the coming weeks, as Season 3 is set to debut on July 4.

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Demand Expressions is a proprietary Parrot Analytics metric that 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.

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.

“Black Mirror,” which premiered in December 2011, and ran for two seasons, on British television, was acquired by Netflix in September 2015. Two six-episode seasons debuted in October 2016 and December 2017, respectively. A standalone interactive film, Black Mirror: Bandersnatch, was released last December.

Demand for third-ranked “When They See Us,” the controversial miniseries about the Central Park Five that was created, co-written, and directed by Ava DuVernay for Netflix, remained relatively flat, with 51.4 million average daily Demand Expressions compared to 52.5 million the prior week.

The four-episode drama series is based on the notorious 1989 Central Park jogger case, in which five juveniles – four black and one Latino – were sent to prison for allegedly raping a white woman jogger. They were exonerated after the real rapist confessed, but by then had already served their time.

“Lucifer,” based on a character from the DC Comics comic-book series “The Sandman,” slipped to No. 4 from No. 3 the prior week, with a 10% drop in demand.

Rounding out the top five on the digital originals chart was Hulu’s “The Handmaid’s Tale,” the same ranking as in the previous week.

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.

Parrot Analytics: Demand for “Game of Thrones” Soars With Premiere of Season Eight

In the United States, premiere day demand for season eight of “Game of Thrones” was 6.2 times higher compared to season seven, according to Parrot Analytics’ Demand Expressions measurement.

The overnight demand leading up to the season eight premiere April 14 was most pronounced in the United States, increasing by more than 37%. Demand increased 35% in the United Kingdom (premiere day demand 6.3 times higher than season seven) and 17% in China (2.7 times higher than season seven).

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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.

Out of 100-plus markets under measurement by Parrot Analytics, demand in the U.S. was 55% ahead of the U.K., 99% ahead of France, 106% ahead of Canada, 111% ahead of Australia, 156% ahead of Germany, 251%-plus ahead of Brazil and 2,100% ahead of China.

Netflix Originals Demand Share to Overtake Licensed Content by Fall 2019

Demand for Netflix Originals is estimated to overtake the share of demand for licensed titles by October 2019, according to new research by Parrot Analytics and Kagan, a media research group within S&P Global Market Intelligence.

Netflix has a goal of having 50% of its content be comprised of Netflix originals, notes the report, which leverages Parrot Analytics’ Demand Expressions metric, which uses social media, video streaming, photo sharing, blogging, micro-blogging, fan and critic rating platforms, peer-to-peer protocols and file sharing sites to measure consumer demand.

The report compared the sum of U.S. demand for both Netflix original series, and the licensed titles available on the U.S. Netflix service each month. While currently the most in-demand content tends to be licensed titles, the proportion of the demand share from Netflix original titles has generally grown month over month, according to the report. Overall, for the 12 months analyzed, the demand share for Netflix originals grew an average of 1 % each month. From July 2017 to June 2018, the streaming service’s reliance on licensed content dropped by 10.9%. Based on these 12 months of data, the report forecasts that Netflix will generate 50% of U.S. audience content demand with its own original content from October 2019 onward.

The report from Parrot Analytics and Kagan also looked at demand for television content across streaming subscription video-on-demand platforms in the United States. Overall, the report found demand for content on all major SVOD platforms, including Netflix, Hulu, HBO Now, Showtime, and Starz, has increased over the past year.

For the premium channel VOD platforms (HBO Now, Showtime, and Starz), new content from their linear channels tends to be the most in-demand, the study found. However, Parrot Analytics affinity analysis reveals that the respective back catalog of each VOD platform continues to play an important role, indicating that older titles likely remain an important driver of subscriber loyalty.

“The future for the industry is likely to be even more crowded and the winners are still unknown,” said Deana Myers, research director, S&P Global Market Intelligence. “Walt Disney is expected to debut its SVOD service in 2019 and its proposed buy of the studio and libraries of 21st Century Fox will add a vast amount of content to this service. Other anticipated SVOD launches include those by Apple and WarnerMedia. We estimate the overall US SVOD industry has many strong years of growth in its future, particularly as competition from Disney and Apple could impact the market.”

Other new entrants to the online video space, such as Facebook Watch, YouTube and DC Universe, are also investing heavily in originals and acquired content, the research firms noted. At the same time, content spending for Netflix, Amazon and Hulu is expected to continue to grow at double digit rates.

The research in this report is based on a catalog demand analysis of digital-only Netflix and Hulu services, and a premium channel VOD demand analysis based on TV demand data pertaining to HBO Now, Showtime and Starz.

‘Narcos: Mexico’ Netflix Debut Pushes Show to No. 6 on Digital Originals Chart

The big winner among digital originals in the week ended Nov. 17 was “Narcos: Mexico,” which shot up to No. 6 on the weekly digital originals chart from No. 14 the prior week with a 38% spike in demand, Parrot Analytics says.

The catalyst was the Nov. 16 debut of the show’s new season. The reset “Narcos: Mexico” jumps back in time to the 1980s to show the origins of the Mexican drug war, a shift from the series’ previous focus on the Colombian cartels.

The drama is one of seven Netflix series to command the top seven spots on the digital originals chart. 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.

“The Chilling Adventures of Sabrina” remained No. 1 on the chart for the third consecutive week, despite a second weekly decline in demand.

The reboot of “Sabrina, the Teenage Witch” generated 46.8 million average daily Demand Expressions during the week, down more than 16% from the prior week, Parrot Analytics says.

Demand Expressions is a proprietary metric used by Parrot Analytics to measure global demand for TV content. The 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.

“Marvel’s Daredevil,” also from Netflix, moved back up to No. 2, again switching places with “Stranger Things,” which finished the week at No. 3. Both series experienced drops in demand – 2.8% for “Daredevil” and 15.5% for “Stranger Things.”

“House of Cards” and “The Haunting of Hill House” repeated at Nos. 4 and 5.

Ranked at No. 9, Amazon Prime Video’s “Homecoming” is the only half-hour drama series on the chart, with18.6 million average daily Demand Expressions.

It’s followed, at No. 10, by Netflix’s “13 Reasons Why” – which reappeared in the top 10 as it resumes production for Season 3.

The third season of the teen drama will be the first without the star of Seasons 1 and 2, Katherine Langford. Langford led the first season as Hannah Baker, the teen who commits suicide after leaving a  box full of cassette tapes for her good friend Clay (Dylan Minnette) that explain the 13 reasons she decided to end her life.

She returned in Season 2, appearing in Clay’s visions, but has since said she will not be around in Season 3.

Langford told Entertainment Weekly, “For me, letting Hannah go was in Season 1; Season 2 was for Clay to let her go. It was being able to assist Clay on that journey as Hannah and let Clay have his moment to let Hannah go.”

In October, it was confirmed that Langford 13 has joined the cast of Avengers 4. While details about the actress’ character have yet to be revealed, The Wrap reported that Langford has already completed filming.

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.

‘Chilling Adventures of Sabrina’ No. 1 for Second Straight Week on Digital Originals Chart

“The Chilling Adventures of Sabrina” remained No. 1 on the digital originals chart for the second consecutive week, despite a drop in Demand Expressions by more than 11% during the week that ended Nov. 10, according to Parrot Analytics.

The reboot – which is much darker than the original, comedic “Sabrina, the Teenage Witch” – captured the top chart position the previous week in the wake of its Oct. 26 Netflix debut. The number of Demand Expressions for “Sabrina” slipped to 55.7 million from 62.9 million the prior week.

Demand Expressions is a proprietary metric used by Parrot Analytics to measure global demand for TV content. The 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.

“Stranger Things,” also from Netflix, rose a notch to No. 2 with a modest gain in demand of less than 4%, swapping places with  “Marvel’s Daredevil,” which slipped to No. 3 after a 14.5% drop in demand.

“House of Cards,” the first Netflix digital original, shot up to No. 4 from No. 10 the previous week in its first full week of availability, with a 56.3% spike in demand. Season 6 of the political drama – the first without star Kevin Spacey, whose career was derailed by a sexual abuse scandal – debuted Nov. 2. Netflix has already announced Season 6 will be the series’ last.

Also soaring up the charts was Amazon Prime Video’s “Homecoming,” which driven by a 45.4% gain in Demand Expressions debuted on the digital originals chart at No. 7.

The series launched on Amazon Nov. 3 and marks Julia Roberts’ television series debut; the series is based on a podcast of the same name.

Rounding out the top five on the digital originals chart was “The Haunting of Hill House,” which slid a notch from No. 4 the prior week after a 14.5% drop in demand.

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.

Hulu’s “The Handmaid’s Tale” reappeared in the top 10, at No. 9, with a 4.1% bump in demand.

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.

Parrot Study: Majority of Viewers Multitask While Watching TV

While 13% of Americans report that they do nothing else while watching TV, completely undistracted viewers are a minority, according to a study from Parrot Analytics.

The study surveyed 500 Americans, asking the question: “While watching TV shows, what other activities are you commonly doing as well?” The content of each answer to this open-ended question was assigned to the best-fitting category or categories.

Using tech devices was by far the largest category of activities done while watching TV, with 26.8% of responses involving a phone, tablet or computer, according to the study. The second most common activity was eating a meal at 13.8%. Other findings include:

  • 12.7% read while watching TV, with those that specified material mentioning newspapers, novels and magazines in that order;
  • 8.9% did household chores, such as cooking, cleaning or folding laundry, while watching TV;
  • 6.3% worked or studied while watching TV show;
  • 6% did arts, crafts and puzzles while watching TV, including sketching, painting and crosswords, with the most common such activity being sewing, knitting or crocheting;
  • 3.2% said that while they may start watching a show, they end up sleeping instead;
  • and 3.2% said they watch TV while doing a physical activity such as working out.

Finally, 6% answered with something that didn’t fit into one of the above categories. The “other” category included respondents who said they use their TV time to bond with their family and a handful who said they like to watch a second TV show while watching TV.

Of the 26.8% of respondents who answered that they use a tech device while watching television, about a quarter (26.6%) said that they were primarily using it to check social media or emails while watching television. The most common social media site mentioned was Facebook, followed by Snapchat and Twitter. The same percentage of respondents answered that they were browsing the Internet while watching TV. Uses mentioned included online shopping and looking up details about the show being watched. Among device users, 21% said they played a game while watching TV.

For more information, contact Parrot here.