‘Haunting of Bly Manor’ Top Binge on TV Time Charts

Netflix’s “The Haunting of Bly Manor” was the top binge on the TV Time charts for the week ended Oct. 18, while the French series “La Flamme” led the rising show chart.

From “The Haunting of Hill House” creator Mike Flanagan, “The Haunting of Bly Manor” is the next chapter of “The Haunting” anthology series. After an au pair’s tragic death, Henry Wingrave hires a young American nanny to care for his orphaned niece and nephew who reside at Bly Manor with the estate’s chef, groundskeeper and housekeeper. But all is not as it seems at the manor, and centuries of dark secrets are waiting to be unearthed. The series, which hit screens Oct. 9, also came in at No. 10 on the rising show chart.

Taking the silver on the binge chart was “Emily in Paris.” Created, written and executive produced by Darren Star (“Sex and the City”), “Emily in Paris,” which reigned a No. 1 for the previous two weeks, debuted Oct. 2 on Netflix. It follows Emily (Lily Collins), an ambitious 20-something marketing executive from Chicago, who unexpectedly lands her dream job in Paris when her company acquires a French luxury marketing company.

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 network displayed is the network where the show first aired (e.g. “Friends” on NBC).

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Top Binge Shows Week Ended Oct. 18 by Share of Binges:

  1. “The Haunting of Bly Manor” (Netflix) — 5.53%
  2. “Emily in Paris” (Netflix) — 4.42%
  3. “Modern Family” (ABC) — 1.99%
  4. “How to Get Away With Murder” (ABC) — 1.94%
  5. “The Boys” (Amazon) — 1.57%
  6. “Lucifer” (Netflix) — 1.55%
  7. “Grey’s Anatomy” (ABC) — 1.51%
  8. “The Office” (NBC) — 1.50%
  9. “Friends” (NBC) — 1.35%
  10. “One Piece” (Fuji TV) — 1.33%

 

Top “Shows on the Rise” Week Ended Oct. 18 by Rise Ratio:

  1. “La Flamme” (Canal+) — 99.8%
  2. “Kipo and the Age of Wonderbeasts” (Netflix) — 94%
  3. “Doc in Your Hands” (Rai 1) — 92.5%
  4. “Star Trek: Discovery” (CBS All Access) — 81.4%
  5. “Fear the Walking Dead” (AMC) — 57.4%
  6. “black-ish” (ABC) — 51.5%
  7. “RuPaul’s Drag Race All Stars” (VH1) — 50.3%
  8. “To the Lake” (THT) — 47.9%
  9. “Riverdale” (The CW) — 40.1%
  10. “The Haunting of Bly Manor” (Netflix) — 36.6%

Netflix’s ‘The Haunting of Bly Manor’ Top Rising Show, ‘Emily in Paris’ Top Binge on TV Time Charts

Netflix’s “The Haunting of Bly Manor” was the top rising show while the service’s “Emily in Paris” was again the top binge on the TV Time charts for the week ended Oct. 11.

Top rising show “The Haunting of Bly Manor” comes from “The Haunting of Hill House” creator Mike Flanagan and is the next chapter of “The Haunting” anthology series set in 1980s England. After an au pair’s tragic death, Henry Wingrave hires a young American nanny to care for his orphaned niece and nephew who reside at Bly Manor with the estate’s chef, groundskeeper and housekeeper. But all is not as it seems at the manor, and centuries of dark secrets are waiting to be unearthed in this chilling gothic romance. The show, which debuted Oct. 9, also took the silver on the binge chart.

Created, written and executive produced by Darren Star (“Sex and the City”), “Emily in Paris,” which was the top binge for a second consecutive week, follows Emily (Lily Collins), an ambitious 20-something marketing executive from Chicago, who unexpectedly lands her dream job in Paris when her company acquires a French luxury marketing company. The series debuted Oct. 2.

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 network displayed is the network where the show first aired (e.g. “Friends” on NBC).

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Top Binge Shows Week Ended Oct. 11 by Share of Binges:

  1. “Emily in Paris” (Netflix) — 7.90%
  2. “The Haunting of Bly Manor” (Netflix) — 4.20%
  3. “How to Get Away With Murder” (ABC) — 2.29%
  4. “Modern Family” (ABC) — 1.96%
  5. “Lucifer” (Netflix) — 1.68%
  6. “The Boys” (Amazon) — 1.62%
  7. “Grey’s Anatomy” (ABC) — 1.55%
  8. “The Office” (NBC) — 1.46%
  9. “Friends” (NBC) — 1.32%
  10. “The 100” (The CW) — 1.32%

 

Top “Shows on the Rise” Week Ended Oct. 11 by Rise Ratio:

  1. “The Haunting of Bly Manor” (Netflix) — 97.5%
  2. “The Walking Dead: World Beyond” (AMC) — 78.4%
  3. “Al Nadam” (Al Jadeed) — 68.8%
  4. “The Walking Dead” (AMC) — 62.4%
  5. “Haikyu!!” (Tokyo Broadcasting System) — 55.1%
  6. “Jujutsu Kaisen” (MBS) — 50%
  7. “Emily in Paris” (Netflix) — 42.6%
  8. “Good Morning, Veronica” (Netflix) — 36.9%
  9. “Supernatural” (The CW) — 32%
  10. “Riverdale” (The CW) — 29.8%

‘Mulan’ Tops FandangoNow, Vudu Charts

Disney’s Mulan topped the Vudu and FandangoNow charts for the week ended Oct. 11.

Both are transactional video-on-demand services owned by Fandango.

The live-action remake of the Disney animated classic became available for $29.99 premium purchase at the services Oct. 6. The title had previously been exclusively available via Disney+.

Coming in at No. 2 on the Vudu chart was Vertical Entertainment’s action film Ava, starring Jessica Chastain. The film, which became available for TVOD Sept. 25, follows a deadly assassin who works for a black ops organization, traveling the globe specializing in high-profile hits. When a job goes wrong, she is forced to fight for her own survival. It landed at No. 3 on the FandangoNow chart.

Happy Halloween Scooby-Doo! took the bronze on the Vudu chart, while other family-friendly Halloween titles Hocus Pocus (No. 6) and Beetlejuice (No. 10) also landed among the Vudu top 10.

Taking the silver on the FandangoNow chart was Trump Card, an anti-socialism documentary from conservative pundit Dinesh D’Souza.

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Vudu’s top 10 titles for the week ended Oct. 11, in terms of revenue, were:

  1. Mulan
  2. Ava
  3. Happy Halloween, Scooby-Doo!
  4. Trump Card
  5. 2067
  6. Hocus Pocus
  7. Antebellum
  8. Alone
  9. The King of Staten Island
  10. Beetlejuice

 

FandangoNow’s top 10 titles for the week ended Oct. 11, in terms of revenue, were:

  1. Mulan
  2. Trump Card
  3. Ava
  4. Antebellum
  5. Cut Throat City
  6. An Imperfect Murder
  7. The Doorman
  8. The Wolf of Snow Hollow
  9. Save Yourselves!
  10. Bill and Ted Face the Music

‘Ava,’ ‘Antebellum’ Top Vudu, FandangoNow Charts

The actioner Ava topped the Vudu chart while the premium VOD release Antebellum again topped the FandangoNow chart for the week ended Oct. 4.

Both are transactional video-on-demand services owned by Fandango.

Vertical Entertainment’s action film Ava, starring Jessica Chastain, became available for TVOD Sept. 25. It follows a deadly assassin who works for a black ops organization, traveling the globe specializing in high-profile hits. When a job goes wrong, she is forced to fight for her own survival. It came in at No. 2 on the FandangoNow chart.

From Lionsgate and QC Entertainment — the producer of Get Out and Us Antebellum stars Janelle Monáe in a thriller about a successful author who finds herself trapped in a horrifying reality. It fell from No. 1 to No. 2 on the Vudu chart for the week.

Lionsgate’s The Secret: Dare to Dream, which became available for digital sale Sept. 15 after a PVOD run, took the No. 3 spot on the Vudu chart and landed at No. 6 on the FandangoNow chart. The dramatic romance stars Katie Holmes and Josh Lucas and is based on the best-selling book The Secret.

Taking the bronze on the FandangoNow chart and coming in at No. 5 on the Vudu chart was the Magnolia Pictures thriller Alone, about a killer who hunts a widow in the wilderness after she escapes from his remote cabin.

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Vudu’s top 10 titles for the week ended Oct. 4, in terms of revenue, were:

  1. Ava
  2. Antebellum
  3. The Secret: Dare to Dream
  4. Bill & Ted Face the Music
  5. Alone
  6. Hocus Pocus
  7. 2067
  8. Beetlejuice
  9. The Tax Collector
  10. Mama

 

FandangoNow’s top 10 titles for the week ended Oct. 4, in terms of revenue, were:

  1. Antebellum
  2. Ava
  3. Alone
  4. Bill & Ted Face the Music
  5. Then Came You
  6. The Secret: Dare to Dream
  7. Welcome to Sudden Death
  8. Death of Me
  9. The Tax Collector
  10. The King of Staten Island

Study: Demand for Diverse Scripted TV Content Surpasses Non-Diverse

Since 2017, diverse debuts — scripted TV titles in which at least 40% of the cast is categorized as diverse — have grown to surpass non-diverse titles, according to a new joint study from Creative Artists Agency and Parrot Analytics.

Meanwhile, between 2017 and 2019, the demand for diverse debuts among Parrot Analytics Top 100 most in-demand scripted debuts in the United States doubled, surpassing non-diverse titles for the first time, according to the study.

“This study solidifies what we’ve known for some time — diversity wins onscreen,” Kevin Huvane, co-chairman of CAA, said in a statement. “CAA will continue leading the industry in prioritizing diversity in our client work, while also encouraging storytellers and business partners to tell stories onscreen that authentically represent the audiences who are watching.”

“We are proud to partner with CAA to help move the industry toward a more equitable future for all talent,” Wared Seger, CEO and co-founder of Parrot Analytics, said in a statement. “We remain committed to our long-term objective to showcase the value of diversity and inclusion as we continue to unlock the magic of content for our partners around the globe.”

The study further demonstrated that diverse tentpoles, defined as the top 25 most in-demand U.S. scripted debuts in any given year, have taken the lead in demand over non-diverse tentpoles.

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Still, not all racial and ethnic groups are equally well represented in scripted debuts, according to the study. Despite being one of the fastest growing demographics in the United States, Hispanics and Latinos were significantly underrepresented. While 18% of the U.S. population is Hispanic or Latino (U.S. Census 2019), the demo represented only 5% of actors in scripted debuts for the 2017-2019 period. Conversely, the study found that whites were overrepresented with 60% of the population per the census and 65% of talent.

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“Successful shows today are at least as diverse as the U.S. population,” said Parrot Analytics insights analyst Dr. Nicole Zamanzadeh.

Additional findings include:

  • U.S. demand for “Euphoria” was 27 times greater than the average U.S. title as of October 2020, according to the study.
  • Audience demand for shows with diverse casts (+112.5%) has grown faster than the industry’s supply of shows with diverse casts (+42%).
  • Since 2017, the demand for highly diverse debuts (above 60% cast diversity) has more than tripled (+211%), outperforming both non-diverse debuts (below 40% cast diversity) and moderately diverse debuts (greater than 40% but less than 60% cast diversity).
  • In the study, only diverse broadcast debuts consistently outperformed and were more in-demand than non-diverse debuts between 2017 and 2019.
  • The portion of broadcast debuts’ diverse series regular talent has steadily remained above 40%, the highest of any platform.
  • Since 2017, cable’s diverse debuts have more than doubled in demand.
  • While demand for diverse debuts has doubled, cable’s talent diversity in its debut’s series regular casts has slightly declined.
  • In 2019, for the first time, streamers’ diverse debuts were more in-demand than their non-diverse debuts.
  • Streamers have steadily increased their percentage of talent diversity in debut series regular casts.
  • Streamers’ increasing number of highly diverse debuts (more than 60% diverse cast) corresponds with a greater share of streaming titles in the top 100 debuts. Streamers released 2.5 times more highly diverse debuts in 2019 than 2017.

Netflix’s ‘Emily in Paris’ Tops TV Time Charts

Netflix’s “Emily in Paris” topped the TV Time charts for the week ended Oct. 4.

Created, written and executive produced by Darren Star (“Sex and the City”), the MTV Studios series follows Emily (Lily Collins), an ambitious 20-something marketing executive from Chicago, who unexpectedly lands her dream job in Paris when her company acquires a French luxury marketing company. The series debuted Oct. 2.

Coming in at No. 2 on the binge chart was perennial sitcom favorite “Modern Family,” while taking the bronze on the binge chart was “Lucifer,” season five of which hit Netflix Aug. 21. The fantasy series follows Lucifer’s exploits on Earth.

No. 2 on the rising show chart was the kids’ animated series “Carmen Sandiego,” season three of which hit Netflix Oct. 1. Coming in third was “The Worst Witch,” a children’s series based on the books, season four of which hit Netflix Oct. 1.

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 network displayed is the network where the show first aired (e.g. “Friends” on NBC).

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Top Binge Shows Week Ended Oct. 4 by Share of Binges:

  1. “Emily in Paris” (Netflix) — 4.92%
  2. “Modern Family” (ABC) — 2.12%
  3. “Lucifer” (Netflix) — 2.05%
  4. “How to Get Away With Murder” (ABC) — 1.82%
  5. “Grey’s Anatomy” (ABC) — 1.74%
  6. “The Office” (NBC) — 1.61%
  7. “Ratched” (Netflix) — 1.58%
  8. “Friends” (NBC) — 1.43%
  9. “The 100” (The CW) — 1.42%
  10. “The Boys” (Amazon) — 1.31%

 

Top “Shows on the Rise” Week Ended Oct. 4 by Rise Ratio:

  1. “Emily in Paris” (Netflix) — 100%
  2. “Carmen Sandiego” (Netflix) — 94.3%
  3. “The Worst Witch” (CBBC) — 88.4%
  4. “Jujutsu Kaisen” (MBS) — 83.9%
  5. “Last Week Tonight With John Oliver” (HBO) — 82.3%
  6. “Fargo” (FX) — 78.3%
  7. “The Ladies’ Paradise” (Rai 1) — 73.5%
  8. “L’allieva” (Rai 1) — 67.2%
  9. “Bob Burgers” (Fox) — 60.8%
  10. “Tell Me a Story” (CBS All Access) — 58%

Netflix’s ‘Ratched’ Top Binge on TV Time Charts

Netflix’s “Ratched” was the top binge on the TV Time charts for the week ended Sept. 27.

Inspired by the iconic nurse in One Flew Over the Cuckoo’s Nest, “Ratched” is a suspenseful drama series from Ryan Murphy and Ian Brennan that tells the origin story of asylum nurse Mildred Ratched (Sarah Paulson). The series debuted on Netflix Sept. 18. It also came in at No. 6 on the rising show chart.

Taking the silver on the binge chart was “Lucifer,” season five of which hit Netflix Aug. 21. The fantasy series follows Lucifer’s exploits on Earth.

The Italian crime dramedy, returning for a third season, come in at No. 1 on the rising show chart, just ahead of “The Masked Singer,” returning for season four. Taking the bronze on the rising show chart was “Schitt’s Creek,” which just scored several Emmy wins.

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 network displayed is the network where the show first aired (e.g. “Friends” on NBC).

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

  1. “Ratched” (Netflix) — 2.69%
  2. “Lucifer” (Netflix) — 2.61%
  3. “Grey’s Anatomy” (ABC) — 2.16%
  4. “Modern Family” (ABC) — 2.08%
  5. “The Office” (NBC) — 1.72%
  6. “Baby” (Netflix) — 1.70%
  7. “Friends” (NBC) — 1.47%
  8. “The Boys” (Amazon) — 1.37%
  9. “One Piece” (Fuji TV) — 1.29%
  10. “How I Met Your Mother” (CBS) — 1.06%

 

Top “Shows on the Rise” Week Ended Sept. 27 by Rise Ratio:

  1. “L’allieva” (Rai 1) — 88.9%
  2. “The Masked Singer” (Fox) — 87.7%
  3. “Schitt’s Creek” (CBC) — 67.5%
  4. “Mr. Heart” (Viki) — 59.5%
  5. “American Horror Story” (FX) — 54%
  6. “Ratched” (Netflix) — 50.3%
  7. “Succession” (HBO) — 45.2%
  8. “Watchmen” (HBO) — 42.9%
  9. “Miraculous: Tales of Ladybug & Cat Noir” (TF1) — 39.3%
  10. “Supergirl” (The CW) — 31.9%

‘Antebellum’ Again Tops Vudu, FandangoNow Charts

The premium VOD release Antebellum again topped both the Vudu and FandangoNow charts for the week ended Sept. 27.

Both are transactional video-on-demand services owned by Fandango.

From Lionsgate and QC Entertainment — the producer of Get Out and Us — Antebellum stars Janelle Monáe in a thriller about a successful author who finds herself trapped in a horrifying reality.

Taking the silver on both charts was Vertical Entertainment’s action film Ava, starring Jessica Chastain, which became available for TVOD Sept. 25. It follows Ava, a deadly assassin who works for a black ops organization, traveling the globe specializing in high profile hits. When a job goes wrong, she is forced to fight for her own survival.

Lionsgate’s The Secret: Dare to Dream, which became available for digital sale Sept. 15 after a PVOD run, took the No. 3 spot on the Vudu chart and landed at No. 5 on the FandangoNow chart. The dramatic romance stars Katie Holmes and Josh Lucas and is based on the best-selling book The Secret.

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Meanwhile, Bill & Ted Face the Music, the third installment in the iconic comedy series starring Keanu Reeves and Alex Winter, took the bronze on the FandangoNow chart and came in at No. 4 on the Vudu chart.

Vudu’s top 10 titles for the week ended Sept. 27, in terms of revenue, were:

  1. Antebellum
  2. Ava
  3. The Secret: Dare to Dream
  4. Bill & Ted Face the Music
  5. Alone
  6. The Secret Garden
  7. The Tax Collector
  8. The King of Staten Island
  9. Superman: Man of Tomorrow
  10. The Owners

 

FandangoNow’s top 10 titles for the week ended Sept. 27, in terms of revenue, were:

  1. Antebellum
  2. Ava
  3. Bill & Ted Face the Music
  4. Alone
  5. The Secret: Dare to Dream
  6. The Tax Collector
  7. The King of Staten Island
  8. Blackbird
  9. Beckman
  10. No Escape

Study: Movie Viewers Want to See Themselves Reflected Onscreen

Movie viewers want to see themselves reflected on the screen, according to a new study from the Geena Davis Institute on Gender in Media and data analytics firm Movio.

Moviegoers being able to identify with the characters in a movie drives their attendance behavior, the study found. When there are characters of a certain cohort (group), this is likely to drive more moviegoers of the same cohort. The analysis shows across all films that the leading characters and audience are generally 50-50 female/male. In 2007, only 23% of leads were female, and in 2017 30% were female. The more female characters, the more female the audience, and the more male characters, the more male the audience. The effect of genre on the percentage of leading characters male versus female was clear, according to the study authors, as well as the corresponding gender split in the attending audience. Action movies, most notably, regularly have well over 50% male characters and well over 50% (and frequently over 60%) male audience.

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The opportunity for Black, Asian and Latinx moviegoers to see themselves represented on screen is significantly lower than for white moviegoers. Several movies tally 100% of their characters as White with the majority having over 50% white characters. For the remaining four race/ethnicity groups, the majority of films are clustered at below 25% (if not 0%) representation on screen. This is significant considering people of color (Black, Asian and Latinx) comprise 37.8% of the U.S. population, the study noted. Across the board in terms of ethnicity, gender, and age, the negative portrayal of characters from a certain group has little bearing on whether or not that group attends a movie. However, particularly with regard to race and ethnicity, the analysis again shows how minority audiences are given substantially fewer opportunities to even see characters from their racial or ethnic group on the screen, no less characters from their racial or ethnic group who are also not depicted negatively.

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The research was also able to determine what demographic cohorts are being represented in films geared primarily towards children. Both male and female leads are roughly evenly split in terms of on-screen representation for films with more child visits, suggesting that young moviegoers are getting a fairly balanced representation of genders in their on-screen media consumption. However, when looking at race/ethnicity there is less of a balanced representation. White characters are very well represented in children’s films, with the majority of films having 50% or more White characters represented on screen. There is not the same level of representation for Asian or Latinx characters in children’s media as the vast majority of films moviegoers are bringing their children to see have no representation of these cohorts. For example, of all the titles analyzed, only six titles had over 18% Latinx characters, despite Latinx comprising 18.4% of the U.S. population.

Data scientists at both organizations examined the following questions for the “I Want to See Me: Why Diverse On-Screen Representation Drives Cinema Audiences” white paper:

  • Does the presence of certain groups (Race/Ethnicity, Gender, Age) on-screen draw larger numbers of the corresponding audience?
  • What negative or positive portrayals of certain groups are different viewers seeing in the most popular films?
  • What portrayals of certain groups are child viewers seeing in the most popular films?

 

On-screen data (the Institute) and audience demographic data (Movio) for the top 100 films (by box office) in the United States were examined for 2018 and 2019.

“As we’ve said before, our goal is very simple: that the characters on screen reflect the population, which is half Female and incredibly diverse,” Geena Davis, founder and chair of the institute, said in a statement. “We know that increasing the presence of underrepresented groups in media can have a very powerful impact on shifting cultural perceptions. Our industry has a tremendous opportunity to foster inclusion in society by taking action to diversify who shows up on screen. As this new research shows, we have made progress, but we need to do better.”

“As the movie industry begins to recover from the effects of the pandemic, this research carries even more weight,” William Palmer, chief executive and co-founder of Movio, said in a statement. “Diverse audiences can go elsewhere to find entertainment options that speak to them and their lives, so if cinema is to remain relevant and continue having a cultural impact, it must attract these audiences by delivering more representative content.”

“When we consider the impact that the media children are exposed to can have, including in the cinema, it is vital for them to see from the beginning that fictitious worlds reflect the real world, and that they see themselves reflected on screen,” Davis added. “When you see someone like yourself reflected, you take in the message: ‘There’s someone like me, I must belong.’ It’s encouraging to see the progress we’ve made with gender representation, but we must show more diversity on screen, if we don’t show more diversity, we are contributing to the serious problem of racial inequity in our society today.”

‘Antebellum’ Tops Vudu, FandangoNow Charts

The premium VOD release Antebellum led both the Vudu and FandangoNow charts for the week ended Sept. 20.

Both are transactional video-on-demand services owned by Fandango.

From Lionsgate and QC Entertainment — the producer of Get Out and Us Antebellum stars Janelle Monáe in a thriller about a successful author who finds herself trapped on a 19th century slave plantation.

Another Lionsgate title, The Secret: Dare to Dream, which became available for digital sale Sept. 15 after a PVOD run, took the No. 2 spot on the Vudu chart and landed at No. 3 on the FandangoNow chart. The dramatic romance stars Katie Holmes and Josh Lucas and is based on the best-selling book The Secret.

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Meanwhile, Bill & Ted Face the Music, the third installment in the iconic comedy series starring Keanu Reeves and Alex Winter, took the bronze on the Vudu chart and the silver on the FandangoNow chart after remaining at No. 1 on both for three consecutive weeks.

Vudu’s top 10 titles for the week ended Sept. 20, in terms of revenue, were:

  1. Antebellum
  2. The Secret: Dare to Dream
  3. Bill & Ted Face the Music
  4. Cats and Dogs 3: Paws Unite
  5. Alone
  6. The Tax Collector
  7. Trolls World Tour
  8. Beetlejuice
  9. The Owners
  10. The Silencing

FandangoNow’s top 10 titles for the week ended Sept. 20, in terms of revenue, were:

  1. Antebellum
  2. Bill & Ted Face the Music
  3. The Secret: Dare to Dream
  4. Alone
  5. The Tax Collector
  6. The King of Staten Island
  7. Fatima
  8. Blackbird
  9. Trolls World Tour
  10. The Grizzlies