‘The End of the F**king World’ Tops TV Time Charts

“The End of the F**king World,” streaming on Netflix, topped both the binge and the “Shows on the Rise” TV Time charts for the week ended Nov. 10.

TV Time 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 service. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

The second season of “The End of the F**king World,” which follows two misfit teens, hit screens Nov. 5. Season two takes place two years after their traumatic road trip in season one. The show was also the top “Show on the Rise” for the week.

Netflix’s “Atypical,” the third season of which debuted Nov. 1, came in at No. 2 on the binge chart for the week, just ahead of perennial binge favorite “Friends.”

No. 2 rising show was HBO’s “His Dark Materials,” based on the trilogy of fantasy novels by Philip Pullman, followed at No. 2 by Netflix’s “She-Ra and the Princesses of Power,” a reboot of the kids’ animated show. The fourth season of “She-Ra” debuted Nov. 5.

Also, of note, three of the originals from new SVOD service Apple TV+, which debuted Nov. 1, came in at Nos. 6 (“Dickinson”), 7 (“The Morning Show”) and 8 (“See”) on the “Shows on the Rise” chart.

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Top Binge Shows Week Ended Nov. 10 by Share of Binges:

  1. “The End of the F**king World” (Channel 4/Netflix) — 9.90%
  2. “Atypical” (Netflix) — 4.79%
  3. “Friends” (NBC) — 2.15%
  4. “Riverdale” (The CW) — 1.61%
  5. “Grey’s Anatomy” (ABC) — 1.53%
  6. “How to Get Away With Murder” (ABC) — 1.19%
  7. “The Good Place” (NBC) — 1.14%
  8. “Brooklyn Nine-Nine” (NBC) — 1.10%
  9. “Lucifer” (Netflix) — 1.10%
  10. “The Big Bang Theory” (CBS) — 1.03%

 

Top Shows on the Rise Week Ended Nov. 10 by Rise Ratio:

  1. “The End of the F**king World” (Channel 4/Netflix) — 98.8%
  2. “His Dark Materials” (BBC One/HBO) — 97.4%
  3. “She-Ra and the Princesses of Power” (Netflix) — 96.2%
  4. “Greenleaf” (OWN) — 75.8%
  5. “Queer Eye” (Netflix) — 74.3%
  6. “Dickinson” (Apple TV+) — 60.6%
  7. “The Morning Show” (Apple TV+) — 53%
  8. “See” (Apple TV+) — 50.4%
  9. “The Resident” (Fox) — 48.5%
  10. “We Are the Wave” (Netflix) — 46.5%

Netflix’s ‘Atypical’ Top Binge, New ‘War of the Worlds’ Adaptation Top ‘Show on the Rise’ on TV Time Charts

Netflix’s “Atypical” was the top binge, while Canal+’s contemporary adaptation of “War of the Worlds” led the “Shows on the Rise” on the TV Time charts for the week ended Nov. 3.

TV Time 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 service. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

The third season of top binge “Atypical” hit screens Nov. 1. The coming-of-age story follows Sam (Keir Gilchrist), a 19-year-old on the autism spectrum as he searches for love and independence. The series also took the bronze on the “Shows on the Rise” chart.

Behind perennial binge favorite “Friends” on the binge chart at No. 3 was Amazon’s “Tom Clancy’s Jack Ryan.” Season two of the series, based on novelist Clancy’s character and starring John Krasinski, hit screens Oct. 31. The series also came in at No. 4 on the “Shows on the Rise Chart.”

“War of the Worlds,” an eight-episode, English-language adaptation of the H.G. Wells story set in contemporary Europe, was the top rising show. It stars Elizabeth McGovern and Gabriel Byrne.

The No. 2 rising show was Netflix’s anime series “Kengan Ashura,” season two of which premiered Oct. 31.

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Top Binge Shows Week Ended Nov. 3 by Share of Binges:

  1. “Atypical” (Netflix) — 10.93%
  2. “Friends” (NBC) — 2.14%
  3. “Tom Clancy’s Jack Ryan” (Amazon) — 2.11%
  4. “Grey’s Anatomy” (ABC) — 1.52%
  5. “Riverdale” (The CW) — 1.50%
  6. “How to Get Away With Murder” (ABC) — 1.25%
  7. “Peaky Blinders” (BBC One) — 1.24%
  8. “BoJack Horseman” (Netflix) — 2.50%
  9. “Daybreak” (Netflix) — 1.24%
  10. “Lucifer” (Netflix) — 1.24%

 

Top Shows on the Rise Week Ended Nov. 3 by Rise Ratio:

  1. “War of the Worlds” (Canal+) — 99.9%
  2. “Kengan Ashura” (Netflix) — 96%
  3. “Atypical” (Netflix) — 95.6%
  4. “Tom Clancy’s Jack Ryan” (Amazon) — 95.4%
  5. “Silicon Valley” (HBO) — 88.4%
  6. “EastEnders” (BBC One) — 86.5%
  7. “Brotherhood” (Netflix) — 84%
  8. “Super Dragon Ball Heroes” (YouTube) — 81.7%
  9. “Prank Encounters” (Netflix) — 79.6%
  10. “Last Week Tonight With John Oliver” (HBO) — 66.4%

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.”

TV Time: Disney+ and Apple TV+ Originals on List of Top Anticipated New Shows

Netflix dominated the list of top anticipated returning shows, while originals from upcoming streaming services Apple TV+ (launching Nov. 1) and Disney+ (bowing Nov. 12) made the list of top anticipated new shows on TV Time’s November charts.

TV Time 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.

Traditional TV entrant “His Dark Materials,” a magical adventure based on Philip Pullman’s trilogy of novels and starring Ruth Wilson, James McAvoy and Lin-Manuel Miranda, took the top spot on the anticipated new shows chart. It premieres Nov. 4 on HBO in the United States and Nov. 3 on BBC One in the United Kingdom.

Coming in at No. 2 on that new show chart was “The Mandelorian” from Disney+, bowing with the service Nov. 12. Set in the Star Wars universe and created by Jon Favreau, the series follows an independent bounty hunter on the outskirts of the galaxy — far from the authority of the New Republic.

Two shows launching with Apple TV+ Nov. 1 came in at Nos. 3 and 4 on the new show chart. Taking the bronze was “See,” starring Jason Momoa and Alfre Woodard, which is set in a dystopian future where surviving humans are blind. “The Morning Show,” which came in at No. 4, is a drama about morning TV that stars Reese Witherspoon, Jennifer Aniston and Steve Carrell.

Rounding out the top five anticipated new shows was DC Universe’s “Harley Quinn,” an animated series based on the DC comic book character. Kaley Cuoco (“The Big Bang Theory”) lends her voice to the series.

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Among returning shows, Netflix took three of the top five spots. “The End of the F***ing World,” the second season of which bows Nov. 5, came in at No. 1. “The Crown,” the third season of which launches Nov. 17, took No. 3. And “Atypical,” also in its third season and debuting Nov. 1, came in at No. 4.

Adult Swim’s highly anticipated and delayed fourth season of the animated hit “Rick and Morty” (due Nov. 10) took the silver on the returning chart, while Amazon Prime’s “Tom Clancy’s Jack Ryan,” the second season of which debuts Nov. 1, rounded out the top five.

Most Anticipated New Shows for November:

  1. “His Dark Materials” (HBO) — Nov. 4 (Nov. 3 on BBC One)
  2. “The Mandelorian” (Disney+) — Nov. 12
  3. “See” (Apple TV+) — Nov. 1
  4. “The Morning Show” (Apple TV+) — Nov. 1
  5. “Harley Quinn” (DC Universe) — Nov. 29

 

Most Anticipated Returning Shows for November:

  1. “The End of the F***ing World” (Netflix, Channel 4) — Nov. 5 (Nov. 4 on Channel 4)
  2. “Rick and Morty” (Adult Swim) — Nov. 10
  3. “The Crown” (Netflix) — Nov. 17
  4. “Atypical” (Netflix) — Nov. 1
  5. “Tom Clancy’s Jack Ryan” (Amazon Prime) — Nov. 1

Netflix’s ‘BoJack Horseman’ Top Binge, ‘Daybreak’ Top ‘Show on the Rise’ on TV Time Charts

Netflix’s “BoJack Horseman” was the top binge, while the service’s “Daybreak” led the “Shows on the Rise” on the TV Time charts for the week ended Oct. 27.

TV Time 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 service. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

The fifth season of top binge “BoJack Horseman” debuted Oct. 25. The irreverent animated comedy, which was also No. 7 on the Shows on the Rise chart, follows BoJack (Will Arnett), a failed sitcom star from the favorite family sitcom “Horsin’ Around” who has been trying to find his way through a muddle of self-loathing, whisky and failed relationships. Following catalog hit “Friends” on the binge chart at No. 3 was Netflix’s global original “Baby,” the second season of which debuted Oct. 18. The Italian series is a coming-of-age story that explores the unseen lives of Roman high schoolers.

Top rising show “Daybreak” debuted on Netflix Oct. 24. Set in a post-apocalyptic world in the wake of a nuclear blast, the series follows marauding high schoolers in the city of Glendale, Calif. Netflix’s “Brotherhood,” which hit screens Oct. 25, took the silver on the rise chart. The global original from Brazil, set in the mid-90s, follows Cristina, an honest and dedicated lawyer, who discovers that her estranged brother has been in prison and is a leader of a rising criminal faction. Coerced by the police, she is forced to become an informant and work against him.

Hulu’s Stephen King multiverse show “Castle Rock” made an appearance at No. 6 on the Shows on the Rise chart. Its second season debuted Oct. 23.

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Top Binge Shows Week Ended Oct. 27 by Share of Binges:

  1. “BoJack Horseman” (Netflix) — 2.50%
  2. “Friends” (NBC) — 2.44%
  3. “Baby” (Netflix) — 2.38%
  4. “Insatiable” (Netflix) — 2.23%
  5. “Greenhouse Academy” (Netflix) — 2.08%
  6. “Grey’s Anatomy” (ABC) — 1.61%
  7. “Brooklyn Nine-Nine” (NBC) — 1.53%
  8. “The Big Bang Theory” (CBS) — 1.36%
  9. “Daybreak” (Netflix) — 1.36%
  10. “Peaky Blinders” (BBC One) — 1.33%

 

Top Shows on the Rise Week Ended Oct. 27 by Rise Ratio:

  1. “Daybreak” (Netflix) — 100%
  2. “Brotherhood” (Netflix) — 99.9%
  3. “Il Collegio” (Rai 2) — 97.4%
  4. “Greenhouse Academy” (Netflix) — 96.7%
  5. “The Kominski Method” (Netflix) — 96.7%
  6. “Castle Rock” (Hulu) — 93%
  7. “BoJack Horseman” (Netflix) — 91.3%
  8. “EastEnders” (BBC One) — 87.6%
  9. “Silicon Valley” (HBO) — 75.5%
  10. “Will & Grace” (NBC) — 72.6%

Study: Consumers Worried About Too Much Choice, Increased Cost Amid Streaming Wars

As the subscription streaming wars heat up, most people (70%) believe that there will be too many streaming choices, and 87% worry it will become too expensive to keep up, according to a new study.

TV Time, an online tracking platform for TV and movie viewership, along with UTA IQ, UTA’s data and analytics group, conducted the study, “Beyond the Big Three,” to understand consumer sentiment surrounding the new streaming media landscape. The study focused on awareness, purchase intent, and the features and offerings that drive, or slow, consumer adoption. Conducted in September 2019, it surveyed 4,816 respondents in the United States and 1,818 total respondents in the Netherlands, Canada and Australia. The U.S. population results were balanced by age and gender (13-54).

Overall, a substantial number of consumers in the study said they intend to add one (42%) or two (20%) new streaming services.

Other key findings were:

  • After cost, the biggest frustrations were the need to toggle between services (67%), account setup and management (58%), and the inability to find content easily (45%).
  • People were willing to accept some form of ad-supported model (44%) compared to a subscription-only model (56%) if advertisements alleviated service cost.
  • Consumers valued library content more than originals. Almost all respondents (90%) characterized it as “important” or “very important.” This compared to 68% who shared the same feeling about originals.

 

Brand awareness findings included:

  • Disney+ and Apple TV+ had the highest levels of awareness (88% and 63%, respectively) among the upcoming services, followed by HBO Max (37%) and NBCU’s Peacock (28%).
  • Families (57%) were no more or less likely to subscribe to Disney+ than households without children (55%), illustrating the strength of Disney’s adult franchises.
  • Consumers were attracted to most of Disney’s library franchises with Marvel (77%) and Pixar (71%) ranking the highest. “The Mandalorian” followed by Marvel’s “Falcon & Winter Soldier,” “WandaVision,” “Loki,” “Hawkeye” and “She-Hulk” were among the most anticipated Disney+ original shows.
  • The intent to subscribe to AppleTV+ increased by ten percentage points when respondents were told about the type of content and talent involved.

 

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“In a television landscape that is experiencing such intense disruption, we are seeking to better understand how consumer preferences and attitudes play into it,” said Joe Kessler and David Herrin of UTA IQ in a statement. “It is indeed the Golden Age of Television, in that there are more great shows being made, more competition for eyeballs and ultimately, greater demand for creative talent, than ever before. Research like this helps us look beyond the horizon and make more informed decisions as we work together to navigate these monumental shifts in the marketplace.”

While the study found that Disney+ is currently best positioned for success, it does not appear that the platform will pose a major threat to existing services, as a majority of respondents (70%) indicated they were not “likely” or “very likely” to drop a current service if they subscribed to Disney+.

Subscription intent for Disney+ is somewhat lower outside of the United States, the study found, and varies significantly by country, at 56% in the U.S. compared to 49% in the Netherlands, 42% in Canada and 38% in Australia.

“While Disney+ appears well-positioned to succeed internationally, it may require additional focus in strategic markets to encourage people to subscribe,” said Alex von Krogh, VP of TV Time, in a statement. “It will be important to track how people engage with their programming from a global perspective and how that compares to competitors in those markets.”

Report: Amazon to Overtake Walmart as Largest Domestic Retailer in 2022

Amazon is set to become the largest retailer in the United States by 2022, overtaking current leader Walmart, according to a report from market research firm Packaged Facts. The firm bases the forecast on the expectation that Amazon sales will continue to grow at a much faster rate.

The report, Amazon Strategies and the Amazon Shopper, 2nd Edition, analyzes the e-commerce giant’s activities in grocery, pet products and financial services.

“Amazon already has an enormous impact on e-commerce sales, benefitting from its creation of an endless online aisle with products at competitive prices,” David Sprinkle, research director for Packaged Facts, said in a statement. “Packaged Facts estimates that Amazon’s U.S. gross merchandise sales will comprise 43% of U.S. e-commerce sales in 2019, up from 28% in 2015. By 2022, we forecast that Amazon will contribute almost half of U.S. e-commerce sales.”

Despite Amazon’s continued growth, Walmart does have advantages Amazon presently cannot match, even when accounting for Amazon’s innovative incorporation of natural supermarket chain Whole Foods in 2017 or its partnership with department store retail chain Kohl’s, according to the firm. Most notably, Walmart’s in-store services strongly differentiate it from online competitors such as Amazon, which cannot provide such services, as well as from its brick-and-mortar competitors, many of which do not offer the same breadth of offerings or cannot match Walmart’s pricing. These services therefore not only produce revenue but also significantly drive traffic, which is even more vital at a time when brick-and-mortar retailers of all shapes and sizes seek to revitalize in-store traffic, according to the firm.

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Packaged Facts survey data found that more than 20% of Walmart purchasers use in-store services (including purchasing/using a range of financial services, on-site pharmacy, and optical and photo processing). In addition, Walmart is the click-and-collect king, according to the firm. Among survey respondent click-and-collectors, 43% identified Walmart as the pick-up location for their last click-and-collect order, three times the percentage of those who cited runner-up Target.

Netflix’s ‘Insatiable’ Top Binge, ‘Living With Yourself’ Top ‘Show on the Rise’ on TV Time Charts

Netflix’s “Insatiable” took the top spot on the “Binge Report,” while the service’s “Living With Yourself” led the “Shows on the Rise” on the TV Time charts for the week ended Oct. 20.

TV Time 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. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

The second season of “Insatiable,” about a once-overweight beauty queen seeking revenge, hit screens Oct. 11. Following “Insatiable” at No. 2 on the binge chart was another Netflix show, the global original “Baby,” the second season of which debuted Oct. 18. The Italian series is a coming-of-age story that explores the unseen lives of Roman high schoolers.

“Baby” also took the No. 4 spot on the “Shows on the Rise” chart, which was led by Netflix’s “Living With Yourself,” which also hit screens Oct. 18. The new Netflix show stars Paul Rudd as a man struggling in life. When he undergoes a novel spa treatment that promises to make him a better person, he finds he’s been replaced by a new and improved version of himself. Amazon’s new show, “Modern Love,” which debuted Oct. 18, took the silver on the “Shows on the Rise” chart. The American romantic comedy series stars Anne Hathaway, Tina Fey, Dev Patel, Catherine Keener, Andrew Scott and John Slattery. Taking the bronze on the “Rise” chart was HBO’s “Watchmen,” based on the graphic novel. It debuted Oct. 20 and stars Regina King.

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Top Binge Shows Week Ended Oct. 20 by Share of Binges:

  1. “Insatiable” (Netflix) — 4.56%
  2. “Baby” (Netflix) — 2.76%
  3. “Friends” (NBC) — 2.46%
  4. “The Hook Up Plan” (Netflix) — 2.23%
  5. “Big Mouth” (Netflix) — 1.79%
  6. “Brooklyn Nine-Nine” (NBC) — 1.76%
  7. “Peaky Blinders” (BBC One) — 1.70%
  8. “The Big Bang Theory” (CBS) — 1.47%
  9. “Grey’s Anatomy” (ABC) — 1.43%
  10. “Lucifer” (Netflix) — 1.30%

 

Top Shows on the Rise Week Ended Oct. 20 by Rise Ratio:

  1. “Living With Yourself” (Netflix) — 100%
  2. “Modern Love” (Amazon) — 99.9%
  3. “Watchmen” (HBO) — 99.9%
  4. “Baby” (Netflix) — 98%
  5. “The House of Flowers” (Netflix) — 95.8%
  6. “Impulse” (YouTube Premium) — 92.1%
  7. “The Purge” (USA) — 86%
  8. “Saint Seiya” (TV Asahi) — 65.9%
  9. “Arrow” (The CW) — 57.5%
  10. “Charmed” (The CW) — 41%

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.

Netflix’s ‘Big Mouth’ Again Top Binge, CW’s ‘Batwoman’ Top ‘Show on the Rise’ on TV Time Charts

Netflix’s “Big Mouth” took the top spot on the “Binge Report” for a second week, while The CW’s “Batwoman” led the “Shows on the Rise” on the TV Time charts for the week ended Oct. 13.

TV Time 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. The weekly “Binge Report” ranks shows with the most binge sessions. A binge session is when four or more episodes of a show are watched and tracked in the app in a given day. The “Shows on the Rise” chart is calculated by determining the week-over-week growth in episodes watched for a given program.

The third season of “Big Mouth,” an animated series aimed at adults, hit screens Oct. 4. It follows pre-teens and teens experiencing the wonders and horrors of puberty.

“Batwoman,” which premiered on The CW Oct. 6, stars Ruby Rose as Kate Kane, who is seeking justice as Batwoman in Gotham City.

Two Netflix shows, “Insatiable” and “The Hook Up Plan,” took the silver and bronze spots on both charts. “Insatiable,” the second season of which hit screens Oct. 11, was the No. 2 binge and No. 3 show on the rise. It follows a once-overweight beauty queen seeking revenge. “The Hook Up Plan,” a French series, was the No. 2 show on the rise and No. 3 binge. Set in Paris, the series follows a group of friends who hire a male escort to date their perpetually single friend Elsa. In the second season, which also debuted Oct. 11, Elsa returns to Paris after four months away.

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Top Binge Shows Week Ended Oct. 13 by Share of Binges:

  1. “Big Mouth” (Netflix) — 3.88%
  2. “Insatiable” (Netflix) — 3.13%
  3. “The Hook Up Plan” (Netflix) — 3.o7%
  4. “Friends” (NBC) — 2.37%
  5. “Peaky Blinders” (BBC One) — 2.24%
  6. “Brooklyn Nine-Nine” (NBC) — 1.94%
  7. “The Big Bang Theory” (CBS) — 1.53%
  8. “Elite” (Netflix) — 1.39%
  9. “Lucifer” (Netflix) — 1.33%
  10. “Disenchantment” (Netflix) — 1.30%

 

Top Shows on the Rise Week Ended Oct. 13 by Rise Ratio:

  1. “Batwoman” (The CW) — 99.9%
  2. “The Hook Up Plan” (Netflix) — 96.9%
  3. “Insatiable” (Netflix) — 96%
  4. “Haunted” (Netflix) — 92.8%
  5. “Coronation Street” (ITV) — 87.8%
  6. “All American” (The CW) — 86.9%
  7. “Legacies” (The CW) — 86.9%
  8. “Super Dragon Ball Heroes” (YouTube) — 84.9%
  9. “Riverdale” (The CW) — 80.2%
  10. “Mr. Robot” (USA) — 76%