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‘Titans’ Moves Up to No. 2 on Parrot’s Digital Originals Chart; ‘Stranger Things’ Still No. 1

HBO Max’s superhero series “Titans” climbed two spots to No. 2 on Parrot Analytics’ digital originals chart the week ended Nov. 18.

The show saw a 4% rise in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity, giving it 38.2 times average demand. The show’s fourth season premiered Nov. 3.

But Netflix’s supernatural thriller “Stranger Things” remained No. 1 on the chart despite an 8% drop in demand expressions. Still, the series had 68.3 times the demand of an average series, enough for a fourth-place finish on Parrot’s list of overall TV shows.

The Disney+ “Star Wars” spinoff “Andor” rose from No. 5 to No. 3, taking 37.7 times average demand following a 7% rise in demand expressions as the show nears the end of its first season.

Netflix’s “The Crown” moved up from No. 7 to No. 4. The fifth season of the show, featuring a new cast exploring the British royal family’s tumultuous life in the 1990s, was released Nov. 9 with all 10 episodes. For the week, it had a 21% increase in demand expressions and 37.6 times average demand.

Hulu’s “The Handmaid’s Tale” fell from No. 2 to No. 5 with a 9% decrease in demand expressions after its fifth season finale Nov. 9, giving it 36.7 times the demand of an average series.

“Game of Thrones,” on HBO and streaming on HBO Max, was the No. 2 overall TV show in demand expressions for the week (behind perennial favorite “SpongeBob SquarePants”). It fell from the top spot the previous week.

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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+.

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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.

Parrot Assisting Sony in Streaming Content Strategy

Audience demand measurement firm Parrot Analytics has partnered with Sony Pictures Entertainment’s Data Analytics & Business Intelligence division to support Sony’s TV programming and strategy for its linear business as well as content production, distribution, and sales to other distributors, including the leading global SVODs.

“Parrot Analytics’ expertise in the global streaming space will help Sony — which does not have an in-house streaming service — to make the best decisions in pricing content and targeting that content to the right buyer,” according to Parrot. “Above all, Parrot Analytics’ global demand data allows Sony to bring more leverage to the negotiating table in executing content sales and distribution deals.”

“We are thrilled to work with Sony Pictures Entertainment and ensure this iconic creator of some of the world’s most beloved and in-demand movies and TV series is efficiently targeting its content at the right SVODs and other distributors for the right price,” Alejandro Rojas, VP of applied analytics at Parrot Analytics, said in a statement. “We will be identifying sales opportunities by analyzing supply and demand among key SVOD players, analyzing content trends to develop new productions aligned with the market needs, and analyzing the demand performance of Sony’s productions on individual SVOD players.”

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“Our goal at Sony is to bring technology and emotion together. We are at the Entertainment and Motion Pictures division, but Sony is, at its core, a technology company,” Liz Sanderson, head of data analytics and business intelligence LATAM for Sony Pictures Entertainment, said in a statement. “This aligns perfectly with Parrot Analytics’ desire to bring together creators and consumers. Our partnership combines the cutting-edge predictive analytics that Parrot Analytics has with Sony’s legacy of making some of Hollywood’s most iconic content, and its expertise in production and excellent storytelling — the key ingredients to deliver emotions to consumers. Because of Parrot Analytics we are able to understand new content, evaluate our own content against the competitors, and identify which platforms are the best fit for our content. This will ultimately allow us to delight the audience and minimize risks.”

Parrot Analytics is working with Sony’s Latin American division, focusing on the key international markets of Argentina, Brazil, Colombia and Mexico.

Parrot: Three Conglomerates Control Half of U.S. Audience Demand for TV Content

Due to the combination of Discovery Inc. and WarnerMedia’s assets, just three conglomerates — the Walt Disney Company (19.7%), Warner Bros. Discovery (17.8%) and Paramount Global (12.5%) — now control half of the U.S. audience demand for TV content, according to data from Parrot Analytics.

In terms of content, the audience for Warner Bros. Digital’s HBO Max continues to grow rapidly. The total U.S. demand for HBO Max’s original series is up 102% since Q1 2021, more than double the growth rate of its combined competition, according to Parrot. This is a strong leading indicator for further subscriber growth, which should accelerate in Q3 and Q4 with the long-awaited “House of the Dragon” debuting later this month, according to the research company.

While Paramount Global is in third place in corporate share, Paramount+ is tied for fourth in on-platform demand, and stuck in seventh in originals demand share in the United States and worldwide. That said, Paramount+’s originals demand share has grown for four straight quarters, and the total demand for its originals has grown 30 points faster than the competition since Q1 2021. This has coincided with massive increase in Paramount+’s subscriber base, according to Parrot.

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Parrot Analytics demand data also shows a hypothetical merger between NBCUniversal’s and Paramount Global’s media assets would create a company that accounts for 22.6% U.S. corporate demand share, roughly three percentage points higher than Disney. The Warner Bros. Discovery merger put it within two points of Disney in this category, but NBCUniversal and Paramount combined would immediately leapfrog Disney as the dominant media company in the United States in terms of cross platform audience demand for TV content, according to Parrot.

In Q1, WarnerMedia (11.7%) and Discovery Inc. (6.6%) were in third and sixth place respectively. By combining forces, Warner Bros. Discovery (17.8% in Q2) is immediately the second-biggest media conglomerate. Paramount Global dropped to third place from its long hold on second place, behind Disney, following the Warner Bros. Discovery merger.

On-platform demand share is an indicator of which platforms are more likely to be a consumer’s default “streaming home,” according to Parrot. HBO Max is in a solid third place for on-platform demand share — which includes all licensed and exclusive programming available on HBO Max. Adding Discovery+’s on-platform demand to HBO Max would create a service with 17.9% demand share, just a few points behind Hulu (19.2%) and Netflix (19.4%). Paramount+ (8.2%) is tied with Amazon Prime Video (8.2%) for fourth place. This ranking matters because surveys suggest consumers are willing to pay for three to four streaming services.
Getting into fourth place, or third if possible, is thus crucial for Paramount+’s long term viability as a standalone streaming service, according to Parrot.

The total demand for HBO Max originals has doubled since the beginning of 2021 with U.S. audiences, up 102%. The total demand for originals from all other streamers was up 44% in the same amount of time, meaning demand for HBO Max originals has grown at more than double the rate of the competition, according to Parrot. Q2 2022 saw a further acceleration of demand growth for HBO Max originals — up 21.4% versus 12% for all others. This was led by surprise breakout hit “Our Flag Means Death,” according to Parrot. Although it ended in late March, the queer pirate workplace comedy grew its audience demand in the weeks and even months following its season one finale, becoming the most in-demand HBO Max original in Q2 2022 in the United States and worldwide.

Demand growth for Paramount+ originals maintained or trailed that of all other streaming services through Q3 2021, but since Q4 2021, Paramount+ originals have grown at a significantly faster pace than that of other services, according to Parrot. Since Q1 2021, the total demand for Paramount+ originals grew 76%, significantly higher than the growth rate of all non-Paramount+ streaming originals, which were up 46%. This has been the result of a newfound focus on original series, led by “Star Trek: Picard,” “Star Trek: Strange New Worlds,” “Halo,” “1883,” “Mayor of Kingstown” and more, according to Parrot. While Paramount+ has a lighter supply of originals than most of its rivals, it has the highest average demand per original series of any of the major services over the last year, according to Parrot.

Both Paramount+ and HBO Max have seen sizable growth in originals demand share in the last year, according to Parrot. In the United States, HBO Max grew from 5.8% in Q2 2021 to 7.5% in Q2 2022, and Paramount+ increased from 3.4% to 5.4% over the same time. These demand share increases have directly carved into Netflix’s dominant position in the market, according to Parrot. Both services are accounting for an increasing share of the most in-demand streaming originals with U.S. consumers.
In Q2 2022, HBO Max and Paramount+ were both tied for second place (11.5% each) — behind Netflix (32.8%) — in the U.S. share of outstanding and exceptional series, according to Parrot. That is, shows that sustained more than 8 times the demand of the average show in the United States for an entire quarter and were thus in the top 2.9% of all shows.

HBO Max’s audience is very close to the industry standard as far as gender breakdown is concerned, according to Parrot The platform skews slightly more male than the industry average. Discovery+ on the other had over-indexes with women by a significant margin, likely a result of its emphasis on unscripted lifestyle programming, according to Parrot.

Discovery+ over-indexes with those older than 40, which will help fill in HBO Max’s large underperformance with this segment, according to Parrot. HBO Max over-indexes with Gen Zs and Millennials, which Discovery+ is lacking at the moment, Parrot notes.

Parrot Analytics Names Two New Partnership Execs

Entertainment research firm Parrot Analytics has added Laurine Garaude as partnerships director for EMEA and Grant Cover as partnerships director for North America.

Garaude is the former head of the MIP Markets for what is now RX France (previously Reed MIDEM). In her new position, she will help entertainment companies inform their strategic content decisions through demand-driven solutions. She will work with executive teams across strategy, finance, research, programming, distribution and marketing functions to add value and drive industry growth.

Cover spent 15 years at Gracenote and Nielsen, where he most recently served as SVP of client solutions, leading the client business relationships with CBS and Paramount+. In his new position, he will help entertainment companies solve their most critical business questions, from content investments and valuation to programming, distribution and D2C growth, by leveraging Parrot Analytics’ unique data products and strategic insights.

“Parrot Analytics’ attention economy metrics quantify how content resonates with billions of audiences globally,” Wared Seger, CEO of Parrot Analytics, said in a statement. “Our client base around the world continues to expand and we are seeing growing demand for our data and insights from the industry. This is an exciting growth period for our company and we are thrilled to have Laurine and Grant join our team. Their wealth of experience and knowledge will be invaluable as we continue to scale our business. With Laurine and Grant on board, we will continue to innovate and provide the most comprehensive and complete view on the global business of entertainment to our client partners.”

Before joining Parrot Analytics, Garaude had been a longstanding executive leader at Reed MIDEM (now RX France), part of the RELX Group, since first joining in 1993. As Director of its television division since 2009, Garaude led the growth and development of the flagship international MIPCOM and MIPTV entertainment markets held in Cannes. Under her tenure, MIPFormats was launched in 2011, followed by regional markets MIP Cancun in 2015 and MIP China in 2017. She also introduced new events, including the World Premiere TV Screenings, which have become signature highlights of MIPCOM and MIPTV, the Women in Global Entertainment Lunch and the Diversify TV Excellence Awards. In 2020, spurred on by the pandemic, Mrs. Garaude led the digital transformation, introducing successful virtual markets across the MIP portfolio.

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“I am so thrilled to join Wared Seger and the team at Parrot Analytics,” Garaude said in a statement. “I have always been passionate about the international content industry and I am continuously inspired and motivated by the positive impact of technology on content and the business of entertainment. In the last few years especially we have all seen the exponential growth and influence of content from around the world, with some local series becoming worldwide hits. Global content investments have continued to ramp up also and there is now more competition than ever. This is why it is so important today to find the right balance of intuition, great talent, smart insights and value-adding datasets to help de-risk decisions and investments. Parrot Analytics is an innovation leader and the time has come for our industry to embrace data at the decision making table. I am looking forward to helping executive teams to optimize their content decisions and help them succeed with their international growth strategies at this very exciting yet critical time.”

During his tenure at Gracenote and Nielsen, Cover worked closely with studios, networks, talent agencies, production companies and performance marketing agencies, bringing to market client-focused solutions and services.

“It’s a perfect time to be joining Parrot Analytics,” Cover said in a statement. “The content industry must adapt to the attention economy. The increasing number of platforms and competition for audience attention is already stretched thin. Parrot Analytics has a distinct and complete toolkit to measure and capture attention metrics that is unbiased, nuanced and holistic. The positive momentum of the company and the differentiated solutions prove that the timing is right for Parrot Analytics to become the global leader in unlocking the power of the attention economy. I couldn’t be more excited to join Parrot Analytics and I am confident my background and expertise will help Parrot Analytics continue to scale and grow.”

‘Stranger Things’ Still Leads Parrot’s Digital Originals Demand Chart

Netflix’s “Stranger Things” remained No. 1 on Parrot Analytics’ digital originals U.S. rankings the week ended April 29. Indeed, the top five digital originals remained the same from the prior week.

“Stranger Things,” a sci-fi fantasy series about the supernatural experiences of a group of young friends, posted a 6.57% fall in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity, tallying 52.6 times the demand of an average series. “Stranger Things” was No. 3 on Parrot’s list of overall TV shows. The fourth season of the series is set to debut May 27.

Remaining at No. 2 was HBO Max’s “Our Flag Means Death,” a comedy about a wealthy British fop who decides to become a pirate captain in the 18th century. The show posted 37.6 times average demand after a 3.68% drop in demand expressions.

Netflix’s “Bridgerton” remained at No. 3, with 34.3 times average demand after a 6.24% dip in demand expressions. The period drama from producer Shonda Rhimes is inspired by Julia Quinn’s novels and follows the eight close-knit siblings of the Bridgerton family as they seek love and happiness in London high society. Season two began streaming March 25.

The Disney+ Marvel series “Moon Knight” remained No. 4 with 34 times average demand after a o.86% drop in demand expressions. The Marvel Comics series, which started streaming in weekly episodes March 30, stars Oscar Isaac as a mild-mannered gift shop employee who finds he’s been given the powers of an Egyptian moon god.

The Disney+ “Star Wars” series “The Mandalorian” stayed No. 5 on the digital originals chart, grabbing 33.9 times average demand after a 0.88% fall in demand expressions.

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The No. 1 overall TV series in terms of online demand was “SpongeBob SquarePants,” with 71.7 times average demand.

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Parrot: Netflix Share of Streaming Originals Dropped in Q1 as Competition Increased

Netflix’s demand share of streaming originals once again hit new lows in Q1 2022, sitting at 45.2% globally (down from 45.4% in Q4 2021) and 42.4% in the United States (down from 43.6% in Q4 2021), according to Parrot Analytics.

Meanwhile HBO Max, Paramount+ and Disney+ — all SVODs backed by traditional media conglomerates — saw significant gains in the most recent quarter.

Global demand for original content from all of Netflix’s competitors grew 80.8% between Q1 2020 and Q1 2022, more than triple the 25.5% growth for Netflix originals over the same time, according to Parrot.

From Q1 2020 to Q4 2021, Netflix’s global subscribers grew from roughly 183 million to 222 million, a 21.3% increase in total subscribers. This is remarkably similar to the 22.8% growth in total demand global for Netflix originals from Q1 2020 to Q4 2021, showing the key link between demand for original content and subscriber growth, according to Parrot.

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The gap between the growth in demand for Netflix’s competitors’ original content and its own is further evidenced in Netflix’s market share dropping dramatically in the past two years — from 55.7% to 45.2% globally, and from 52.4% to 42.2% in the United States between Q1 2020 and Q1 2022.

Netflix’s global demand share for streaming originals is down from 50.2% in Q1 2021 and 55.7% in Q1 2020. Disney+ and HBO Max have grown from a combined 6.7% share in Q2 2020 (the first quarter they were both available) to 15.5% in Q1 2022. That 8.8 percentage point gain from these Disney and Warner Bros. Discovery owned streamers accounts for the vast majority of the 9.8 percentage point drop that Netflix has taken over the same time period, showing how much these traditional media companies are directly eating into Netflix’s streaming dominance, according to Parrot.

Netflix remains the dominant service for original content demand with its 45.2% global share, which is still larger than that of its six closest competitors combined — Amazon Prime Video, Disney+, HBO Max, Apple TV+, Hulu and Paramount+, which make up a total of 42.4% share globally. That said, its competitors are catching up — in Q2 2020 (HBO Max’s launch quarter), Netflix’s six closest competitors combined for 33.4% global demand share, while Netflix stood as 55%. HBO Max (6.7%) jumped ahead of Apple TV+ (6%) this quarter, as demand for “Ted Lasso” faded while Max launched a trio of hit originals targeting significantly different audience sectors with “Station Eleven,” “Peacemaker” and “Our Flag Means Death,” according to Parrot.

Netflix had a steeper decline with U.S. consumers, dropping from 43.6% in Q4 2021 to 42.4% in Q1 2022. Netflix’s U.S. share was 48.1% in Q1 2021 and 52.4% in Q1 2020. Paramount+ and HBO Max had very strong quarters in the United States, and accounted for much of Netflix’s losses in demand share in Q1 2022. HBO Max grew from 6.2% to 6.9%, and overtook Apple TV+ in the category with a hits such as “Our Flag Means Death,” “Peacemaker” and “Station Eleven.” Paramount+ grew from 4.4% to 5% on the back of “Yellowstone” spin-off “1883,” as well as a new season of “Star Trek: Picard.”

Netflix is doing well in on-platform demand share, especially considering a plurality of demand for content available on Hulu is non-exclusive licensed content, which has less of an impact on subscriber growth and retention, according to Parrot. While there is currently a major drop from second to third place in HBO Max on-platform demand with U.S. audiences, a combination of HBO Max and Discovery+, which Warner Bros. Discovery leadership has repeatedly emphasized is in the works, would make up 18.3% share, just 0.4 percentage points behind Netflix. “This imminent platform combination represents a strong competitor to Netflix for second place in on-platform demand share, showing how much of a direct threat Warner Bros. Discovery poses to Netflix’s grasp on the entertainment habits of tens of millions of American consumers,” according to Parrot.

Disney+’s “The Book of Boba Fett” narrowly beat out Netflix’s “The Witcher,” both of which debuted in late December 2021, as the most globally in-demand series in Q1 2022. Netflix did account for four of the top 10 streaming originals with global audiences for the quarter, tied with Disney+, which also had four. While that is a strong showing, it still represents a significant decline from recent times. Just last quarter Netflix had four of the top five global originals, and in Q1 2021 Netflix accounted for seven of the top 10 originals worldwide. Once again, competition from traditional media — Disney+ in this case — is cutting into Netflix’s core areas of streaming dominance, according to Parrot.

‘Stranger Things’ Takes Top Spot on Parrot’s Digital Originals Demand Chart

Netflix’s sci-fi series “Stranger Things” led Parrot Analytics’ digital originals U.S. rankings the week ended April 15.

The series posted a 32% jump in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity, pushing it to 46.8 times the demand of an average series. “Stranger Things,” which was No. 6 on Parrot’s list of overall TV shows for the week, got a push from Netflix’s April 12 drop of a new trailer for its fourth season.

Dropping to No. 2 on the chart was Netflix’s period drama “Bridgerton,” with 39.5 times the demand of an average series, a drop of 15% in demand expressions. Inspired by Julia Quinn’s novels, the series follows the eight close-knit siblings of the Bridgerton family as they seek love and happiness in London high society.

Falling from No. 2 to No. 3 on the digital originals chart was HBO Max’s “Our Flag Means Death,” a comedy about a wealthy British fop who decides to become a pirate captain in the 18th century. The show posted 39.1 times the demand of the average series, a drop of 1%.

Disney+’s latest Marvel series “Moon Knight” tallied 34.2 times the demand of the average series to take the fourth spot on the originals chart, a 1% jump in demand expressions.

Meanwhile, Disney+’s “Star Wars” series “The Mandalorian” dropped from No. 4 to No. 5 on the digital originals chart, grabbing 33.8 times the demand of the average series after a 2% drop in demand expressions.

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The No. 1 overall TV series in terms of online demand was “SpongeBob SquarePants,” with 60.2 times the demand of an average show.

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Parrot Analytics: Disney+ Second Only to Netflix in U.S. Originals Demand

Disney+ is the second-most in-demand platform for original series with U.S. audiences. and The Walt Disney Company is in first place in corporate demand share, according to data from Parrot Analytics.

Disney+ became the second-most in-demand streaming service for original content with American audiences for the first time ever last quarter with an 8.9% share, leaping over longtime second place holder Amazon Prime Video with 8.6%, according to Parrot.

Disney remains far and away the top media conglomerate in the United States when it comes to corporate demand share — a consolidation of original demand where platforms are combined based on their corporate parent, according to Parrot. Disney’s 20.1% share last quarter was well ahead of second place ViacomCBS (13.1%). Disney’s share is larger than the combined share of WarnerMedia and Discovery (12.1% + 7.1% = 19.2%), which are in the process of merging. Collectively, the six largest media corporations control almost three quarters of U.S. demand for TV series, while 27.4% of audience attention goes to originals from other platforms.

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Parrot also found:

Disney is in second place in overall demand for original children’s content.
Disney+ and Hulu originals accounted for five of the six most in-demand new series released in the U.S. in the last quarter.
Disney+ accounted for four of the 10 most in-demand digital original series with both U.S. and worldwide audiences last quarter.

OTT.X Presenters: Online Viewing Growing and Services Proliferating in COVID Era

COVID accelerated online viewing, viewing habits are undergoing a big transformation, and the proliferation of OTT services has prompted the need to aggregate and partner, research presenters said at the OTT.X Fall Summit in Los Angeles Sept. 1.

“In December 2019, before the viewing uptake [with stay-at-home orders] we saw about 68 million OTT households watching about 6.4 billion hours of OTT content in a month,” noted Ray Yinger, director of marketing solutions at Comscore. “By June of 2021, this had risen to about 82 million active OTT homes watching about 8.3 billion hours of content through OTT. Though we see a bit of a dropoff after January of 2021 as some of the states began opening up and we began leaving our homes a little bit, the number of households who engage in various OTT services stays very strong. As the data show, the overall appetite for OTT content accelerated through the pandemic. More households than ever before now engage in OTT services.”

With the increased viewership also came an explosion of OTT services.

“As of the first half of 2021, there are globally 5,000 active SVOD services, more than 2,000 active AVOD and free TV services and over 1,200 transactional services available to the global consumer,” noted Marija Masalskis, advertising research lead at Omdia.

Consumers are finding services on smart TVs and other aggregation players.

“When we asked consumers how they found something to watch, flicking through channels and services came up on top, particularly among the U.S. consumers,” Masalskis said. “So what this really means is that you need to be available on these platforms that enable this new channel flicking, enable seamless discovery of content, enable consumers to just lean back and scroll through and find your service.”

Other partnerships are key, as they offer free-with-sub bundles and prime placement.

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“Partnerships with global telcos and digital aggregators are essential, not just for SVOD companies to subsidize their offering but also to AVOD companies, particularly as you see the emergence of connected TV advertising,” she said. “In fact, we expect TV to account for 25% of all online video spend by 2025. And we do expect that partnerships and alliances will be absolutely necessary to reach the scale that will enable AVOD services to compete.”

Another key is consumers’ perception of value. Consumers are willing to pay less and wait through ads, and the higher-priced premium model isn’t necessarily most profitable for services such as Hulu.

“The user that pays a smaller subscription price but is exposed to advertising brings in more revenue than the user that is on their most premium tier opting to pay more to not see ads,” Masalskis said, adding “they perceive that they are getting a premium service for a discount.”

Also, binge viewing may be on the wane as a way to attract subscribers.

“What we started to see recently is that acquisition shows are starting to have a weekly release and retention shows are being dropped as a binge,” said Renee Engelhardt, global director of partner insights at Parrot Analytics.

Streaming services aren’t the only beneficiaries of the new order.

Nelson Granados, professor of information systems and technology management, Pepperdine University, noted that in addition to video streaming, digital video rental is holding its ground and digital sellthrough is continuing to grow (8% from 2016 to 2021).

“There is a market for electronic sellthrough and it’s growing, so there is a market for downloading content and it’s steadily growing unaffected by SVOD,” he said.

YouTube and Google TV Using Parrot Analytics Data and Consulting

YouTube and Google TV are utilizing Parrot Analytics’ global audience demand data and entertainment consulting services, Parrot announced.

Parrot Analytics’ data products provide near real-time updates on the most in-demand TV series and streaming platforms in any market in the world, according to the company. The insights help inform YouTube and Google TV’s content programming decisions, Parrot announced.

“We are thrilled to be working with the world’s leading video entertainment and TV platform,” Parrot Analytics CEO Wared Seger said in a statement. “By sharing our expertise, data and consulting services in global audience demand, YouTube and Google TV will continue to evolve their content strategy based on the latest trends. We are excited to further our mission of helping more content owners and brands succeed on any screen, anywhere in the world.”

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Parrot Analytics is a global audience demand analytics company. The company helps clients with decisions in the areas of IP and content development, programming, distribution, audience and brand activation as well as global OTT strategy and operations.