‘Stranger Things’ Tops Parrot Digital Originals Chart For Week Ended July 18

Netflix’s “Stranger Things” took the top spot on Parrot Analytics’ digital originals rankings the week ended July 18, its fifth consecutive week at No. 1. The popular series had 64.4 times the demand of the average series, while demand for the show dropped 4.1% from the previous week.

The Disney+ animated series “Star Wars: The Clone Wars” rose three spots to No. 2, up 27% in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity. It had 49 times the demand of the average show. The series undoubtedly received a boost from the July 13 announcement that a spinoff series called “The Bad Batch” would debut on Disney+ in 2021.

The Disney+ live-action “Star Wars” series “The Mandalorian” slipped a spot to No. 3 for the week, earning 47.7 times average demand with expressions up 3.9%.

DC Universe’s “Doom Patrol,” which is now also available on Warner’s HBO Max streaming service, held onto the No. 4 spot with 42 times average demand and expressions up 1.6%.

The digital original series with the biggest jump into the top 10 was Netflix’s “Lucifer,” which grabbed the No. 5 spot after spending the previous week at No. 13. A trailer for the supernatural drama’s upcoming fifth season bowed July 13, prompting a 39% increase in demand and giving the show 39.3 times the demand over the average series. The first half of the new season will debut Aug. 21.

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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+.

The top overall TV series was again Nickelodeon’s “SpongeBob SquarePants,” with 104.8 times average demand. “Stranger Things” was No. 4 on the overall TV list.

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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.

Animated ‘Star Wars’ Spinoff ‘The Bad Batch’ to Debut on Disney+ in 2021

Disney+ July 13 announced development of a new animated series from Lucasfilm called “Star Wars: The Bad Batch” to debut on the subscription streaming service in 2021.

A spinoff of “Star Wars: The Clone Wars,” “Bad Batch” focuses on an elite squadron of clone trooper commandos. The team was introduced during the first story arc of the final season of “The Clone Wars” released on Disney+ earlier this year, as they were fighting for the Galactic Republic against Separatist forces in the Clone Wars taking place between Attack of the Clones and Revenge of the Sith.

The Bad Batch on “Star Wars: The Clone Wars”

Members of Bad Batch each possess a singular skill that differentiates them from typical clone troopers and makes them extraordinarily effective soldiers and a formidable crew. The show will take place in the aftermath of the Clone Wars, as the team takes on daring mercenary missions as they struggle to stay afloat and find new purpose.

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“Star Wars: The Bad Batch” is executive produced by Dave Filoni, Athena Portillo, Brad Rau and Jennifer Corbett, with Carrie Beck as co-executive producer and Josh Rimes as producer Rau is also serving as supervising director with Corbett as head writer.

“Giving new and existing fans the final chapter of ‘Star Wars: The Clone Wars’ has been our honor at Disney+, and we are overjoyed by the global response to this landmark series,” said Agnes Chu, SVP of content at Disney+. “While the Clone Wars may have come to its conclusion, our partnership with the groundbreaking storytellers and artists at Lucasfilm Animation is only beginning. We are thrilled to bring Dave Filoni’s vision to life through the next adventures of the Bad Batch.”

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‘Stranger Things’ Tops Parrot’s Digital Originals Demand Chart for Week Ended May 30

Netflix’s “Stranger Things” remained No. 1 on Parrot Analytics’ digital originals rankings the week ended May 30.

“Stranger Things” had 59.4 times more demand in the United States than the average TV show in the market based on average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure demand for TV content. Demand for the show was down 4.4% from the previous week.

The Disney+ animated series “Star Wars: The Clone Wars” stayed at No. 2 for a second week. It was 51 times more in-demand over the average, with demand for the show down 17.6%.

Another Disney+ “Star Wars” spinoff series, the live-action “The Mandalorian,” remained No. 3 with 47.4 times average demand. The show dropped 10.5% in demand.

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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The superhero series “Titans,” a chart mainstay from the DC Universe streaming service, rose to No. 4, drawing 40.3 times the average demand, while demand for the show was up 0.8%.

The DC Universe animated series “Harley Quinn” dropped a spot to No. 5 with 38.3 times the demand, down 6.2% in demand from the previous week.

The AppleTV+ series “Defending Jacob,” the streaming upstart’s most successful original series in terms of demand according to Parrot, rose three spots to No. 6, with 33 times demand for the average show. Demand was up 9.9% after the season finale debuted May 29.

The top overall TV series was Adult Swim’s “Rick and Morty” with 86.6 times average demand. “Stranger Things” was No. 6 on the overall TV list.

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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.

‘Star Wars’ Digital Originals Remain Most In Demand on Parrot Analytics Chart

The Disney+ animated series “Star Wars: The Clone Wars” remained No. 1 on Parrot Analytics’ digital originals rankings the week ended May 16, its fourth-consecutive week in the top spot.

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+.

“The Clone Wars,” which concluded its seventh and final season on Disney+ May 4, registered 84.9 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content, down 39.3% from the previous week.

Another Disney+ “Star Wars” spinoff series, the live-action “The Mandalorian,” held onto the No. 2 spot on the digital originals list with 64 million expressions, a 2.8% increase from the previous week when news broke that Temuera Morrison would be returning to play Boba Fett. The latest reports have Katee Sackhoff playing the live-action version of her Bo-Katan character, a Mandalorian leader she previously voiced on “The Clone Wars” and “Star Wars: Rebels.”

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Netflix’s “Stranger Things” stayed at No. 3 on the digital originals chart, up 6.2% from the previous week to 61.5 million expressions.

The superhero series “Titans,” a chart mainstay from the DC Universe streaming service, ticked up a spot to take No. 4 for the week with 43 million expressions, up 4.9% from the previous week.

Netflix’s “Outer Banks” climbed to No. 5, with demand up 6.2% from the previous week to 41.5 million expressions. Demand for the teen drama has been steadily rising since the show’s April 15 premiere, though Parrot Analytics announced that quality control issues involving the show’s demand data prevented it from being reported on the charts previously.

Netflix’s “Lucifer” had the biggest jump into the top 10, placing 10th from No. 18 the previous week as the fourth season arrived on DVD and Blu-ray May 12. Expressions were up 18.9% to 30.6 million.

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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.

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.

‘Star Wars’ Dominates Parrot’s Demand Expressions Chart

The annual “May the 4th Be With You” marketing event also known as Star Wars Day helped two of the franchise’s spinoffs dominate Parrot Analytics’ weekly list of the most in-demand digital original television shows the week ended May 9.

The Disney+ animated series “Star Wars: The Clone Wars” not only remained No. 1 on Parrot Analytics’ digital originals rankings for a third-consecutive week, it stayed atop the data firm’s overall list of TV series from any platform for a second week.

And the live-action series “The Mandalorian” climbed a spot to No. 2 on the digital originals list following a number of developments surrounding the upcoming second season of the series.

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+.

The seventh and final season of “The Clone Wars,” available exclusively on Disney+, finished its run with a couple of the most-talked about episodes in the series’ history as the show chronicled how popular character Ahsoka Tano dealt with Order 66, the command to wipe out the Jedi seen in Revenge of the Sith. With the finale debuting on May 4 to coincide with Star Wars Day, “Clone Wars” registered a massive 139.9 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content, up 43.7% from the previous week.

“The Mandalorian” was up 25.2% in expressions to 62.3 million after receiving its own May the 4th boost from a couple of sources. First, Disney+ premiered a new documentary series called “Disney Gallery: Star Wars — The Mandalorian” to chronicle the making of the first season, with the first two of eight episodes available May 4 and 8, respectively. Also May 4, director Robert Rodriguez tweeted a picture of himself with the famous “Baby Yoda” puppet (officially known as The Child) to confirm he was directing a season two episode. Then on May 8 reports began swirling that actor Temuera Morrison, who played bounty hunter Jango Fett and the clone troopers in the prequel movies, would be playing fan-favorite bounty hunter Boba Fett on “The Mandalorian.”

The prequels established Boba was cloned from Jango to be raised as his son as payment for Jango serving as the template for the clone army, and Morrison previously voiced Boba while re-recording dialogue for the DVD special edition of The Empire Strikes Back. Boba Fett supposedly died in Return of the Jedi, but the notion that he survived has been a part of expanded “Star Wars” fiction in comic books and novels since shortly after that movie came out in 1983. There is some speculation that Morrison could also be playing Rex, a former clone trooper who abandoned the rising Empire during Order 66 (as depicted on “Clone Wars”) and is a close associate of Ahsoka (who was previously reported to be appearing on “The Mandalorian” to be played by Rosario Dawson).

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Netflix’s “Stranger Things” dropped to No. 3 on the digital originals chart, down 1.5% from the previous week to 57.9 million expressions.

Holding steady at No. 4 was the Netflix crime drama “Money Heist,” known internationally as “La Casa de Papel,” with expressions down 9.1% to 44.3 million.

The superhero series “Titans,” a chart mainstay from the DC Universe streaming service, ticked up a spot to take No. 5 for the week with 41 million expressions, up 1.2% from the previous week.

Another DC Universe series, the animated “Harley Quinn,” rose six spots to No. 6, with expressions up 15.6% to 37.7 million. The show is in the midst of its second season and its first season was recently announced for a June 2 DVD release.

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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.

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.

The Future of ‘Star Wars’ Storytelling Is Clear

The week of “May the 4th Be With You” has been a banner one for Dave Filoni, the longtime animation veteran who is now one of the leading creatives of “Star Wars” content over at Lucasfilm.

Monday, May 4, marked the triumphant finale of “Star Wars: The Clone Wars,” the CG-animated series executive produced by Filoni that was given a chance by Disney+ to finish storylines that were abandoned after Disney bought Lucasfilm in 2012 and canceled the series.

Filoni later went on to earn praise from “Star Wars” fans for producing the likes of “Star Wars Rebels” and “The Mandalorian,” the latter alongside noted fanboy filmmaker Jon Favreau.

Having worked with George Lucas since before “Clone Wars” debuted in 2008, Filoni is something of a creative bridge between the Lucas and Disney eras of “Star Wars.”

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In the first episode of the new Disney+ behind-the-scenes series “Disney Gallery: Star Wars — The Mandalorian,” which premiered May 4, Filoni talked about learning about live-action filmmaking from Lucas and applying those ideas to animation. All he expected from his initial meeting about doing a “Clone Wars” show was a story he could tell in line at Revenge of the Sith about being in a room as George Lucas ruminated to him about the zen philosophies of the Jedi. Filoni ended up getting the job, implying it had something to do with Lucas enjoying his work on “Avatar: The Last Airbender.”

Yet when it came time to craft the sequels to Lucas’ films, the new regime turned to J.J. Abrams, not Favreau or Filoni. The new films have mostly divided fan loyalties over the creative direction of a franchise that seems to be in serious need of a producer along the lines of Marvel Studios’ Kevin Feige who can oversee the coherence of the shared universe, an element that was noticeably absent from the recent sequel trilogy.

In the second episode of “Disney Gallery” that premiered today (May 8), Filoni delivers a soliloquy that should cement his status as the person who should fill that role. In it, he analyzes a key plot point from 1999’s Star Wars: Episode I — The Phantom Menace from an angle many fans may not have approached it from before.

The “Disney Gallery” series features Favreu, Filoni and other filmmakers involved with the show and “Star Wars” engaged in a series of roundtable discussions about their approach to the material. At one point, the discussion turned to the nature of storytelling in the “Star Wars” universe.

“The prequels I thought were almost an impossible task,” Filoni says. “How do you tell the story that we’ve all grown up with, imagining who Anakin Skywalker was? You saw so many things in The Phantom Menace that you had just imagined, like the Jedi Council, and none of it really was what I had expected, but I know now that’s just like how creative George is, he just sees it differently.”

Filoni focuses on the climactic battle between Jedi Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi, with Darth Maul, an agent of chaos working for the Sith Lord who would eventually become Emperor Palpatine.

“I love the lightsaber fight with Darth Maul, not because it’s a lightsaber fight, but because George is so good at crafting why that fight’s important,” Filoni says. “In Phantom Menace, you’re watching these two Jedi in their prime fight this evil villain. Maul couldn’t be more obviously the villain, he’s designed to look evil.”

Filoni compares the emotional stakes of the battle with that of the fight between the older Obi-Wan and Darth Vader in the 1977 original movie before continuing.

“What’s at stake is really how Anakin’s going to turn out,” Filoni says. “Because Qui-Gon is different from the rest of the Jedi. You get that in the movie, and Qui-Gon is fighting because he knows he’s the father that Anakin needs, because Qui-Gon hasn’t given up on the fact that the Jedi are supposed to actually care and love, and that’s not a bad thing. The rest of the Jedi are so detached, and have become so political that they’ve really lost their way, and Yoda starts to see that in the second film. But Qui-Gon is ahead of them all. That’s why he’s not part of the Council.”

Filoni then references “Duel of the Fates,” composer John Williams’ signature track written for Episode I.

“So he’s fighting for Anakin, and that’s why it’s the ‘Duel of the Fates,’ it’s the fate of this child. And depending on how this fight goes, Anakin is going to, his life is going to be dramatically different. So, Qui-Gon loses, of course. … He knew what it meant to take this kid away from his mother, when he had an attachment, and he’s left with Obi-Wan.

“Obi-Wan trains Anakin at first out of a promise he makes to Qui-Gon, not because he cares about him.”

Filoni points out that when Obi-Wan first hears about Anakin, he considers him a distraction in the same vein as Jar-Jar Binks, and thinks trying to save the boy from slavery is a waste of time. In that sense, Obi-Wan shares the detachment from empathy that Qui-Gon worries has engulfed the Jedi Order.

“So he’s a brother to Anakin, eventually, but he’s not a father figure,” Filoni says. “That’s a failing for Anakin. He doesn’t have the family that he needs. He loses his mother in the next film. He fails on this promise that he made, ‘mother I will come back and save you.’ So he’s left completely vulnerable. And ‘Star Wars’ ultimately is about family.

“It’s everything the entire three films of the prequels hangs on, is that one particular fight.”

At that point, Maul’s role in the story has been fulfilled as disposable tool of the Emperor, who then turns his attentions to Anakin, eventually manipulating Anakin’s sense of loss to turn him into the evil Darth Vader by filling the fatherly void in Anakin’s life.

Filoni then turns to 1983’s Episode VI: Return of the Jedi, and the scene where Luke is tempted to join the dark side by killing the Emperor out of anger.

“The only thing that’s going to save Luke is not his connection to the Force, it’s not the powers he’s learned. It’s not all these things that are an advantage to him,” Filoni says. “That’s gotten him to the table. But what saves Luke is his ability to look at all that, and look at his father and say no, I’m going to throw away this weapon, I’m not going to do that, I’m going to let that go and be selfless. And he says ‘I’m a Jedi like my father before me,’ but what he’s really saying and why we connect, why I connect so powerfully to it is he’s saying ‘I love my father, and there’s nothing you can do that’s going to change that.’ And the Emperor can’t understand that connection. Why wouldn’t you take from the power of the galaxy? Why won’t you take this?

“And Anakin, in that moment, has to decide to be the father that he’s never had. He has to give up all the power in the galaxy and save his son. And that’s the selfless act that he does in return for his son. And that’s what saves him in turn. So the son saves the father, the father saves the son and it works out perfectly, and I draw that line all the way from The Phantom Menace to Jedi. That’s the story of ‘Star Wars.’”

The example, Filoni says, is emblematic of the core values that all “Star Wars” stories should strive for.

“It’s all part of the fated arc. It’s all part of why it works and why we care,” Filoni says. “It’s not about X-Wings. It’s not about all these things we decorate ‘Star Wars’ in. It’s important, it’s part of the genius of it, but we soulfully react to it. We don’t just want an action movie, we want to feel uplifted. And ‘Star Wars’ is an adventure that makes you feel good, you know?

“That’s what I always go back to with ‘Star Wars’ is this selfless act, this family dynamic, which is so important to George, so important to the foundation of ‘Star Wars.’”

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The ultimate lesson, Filoni says, is one he learned directly from Lucas.

“Remember to make these stories hopeful,” Filoni says, channeling his mentor’s words. “Remember to give that to kids because they really need it.”

After that kind of insightful analysis, is there any doubt that Filoni isn’t the true heir to the creative legacy of “Star Wars”?

‘Clone Wars’ Remains No. 1 on Parrot’s TV Demand Chart

The Disney+ animated series “Star Wars: The Clone Wars” not only remained No. 1 on Parrot Analytics’ digital originals rankings for a second-consecutive week, it also grabbed the top spot on the data firm’s overall list of TV series from any platform the week ended May 2.

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+.

The seventh season of “The Clone Wars” is available exclusively on Disney+, and the penultimate episode that debuted May 1 was particularly well received by fans as it tied into the “Order 66” sequences from Revenge of the Sith, leading into the May 4 finale. “Clone Wars” registered 97.4 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content, up 43.3% from the previous week.

Netflix’s “Stranger Things” remained No. 2 on the digital originals chart, down 4.3% from the previous week to 58.7 million expressions.

The other notable Disney+ “Star Wars” spinoff, “The Mandalorian” rose a spot to No. 3, down 10.2% to 49.8 million expressions.

Netflix’s crime drama “Money Heist,” known internationally as “La Casa de Papel,” rose to No. 4, with expressions down 8.8% to 48.74 million.

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The new Apple TV+ crime drama “Defending Jacob” made a big jump to No. 5, from No. 23 a week earlier, with expressions up 115% to 40.7 million. The series, starring Chris Evans and Michelle Dockery, premiered April 24.

Also making a big move was Netflix’s surrealist animated series “The Midnight Gospel,”  which climbed from No. 33 to No. 10 with a 101.3% jump in expressions to 33.1 million. The show debuted April 20.

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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.

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.

‘Clone Wars’ Takes Over Top Spot on Parrot’s Digital Originals Chart

The Disney+ animated series “Star Wars: The Clone Wars” took over the No. 1 spot on Parrot Analytics’ digital originals rankings the week ended April 25, its first time in the top spot.

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+.

The 12-episode seventh season of “The Clone Wars” debuted exclusively on Disney+ Feb. 21. The show, which chronicles the galactic war taking place between the “Star Wars” movies Attack of the Clones and Revenge of the Sith, previously aired five seasons on Cartoon Network from 2008 to 2012, with a sixth season appearing on Netflix in 2014 after production was halted following Disney’s purchase of Lucasfilm.

All the episodes, plus the 2008 movie that began the series, are available from streaming on Disney+, with the new episodes meant to serve as a fitting conclusion for the series. The final four-part “Siege of Mandalore” story arc began April 17 and ties the end of the series into events of Revenge of the Sith, making them the most highly anticipated episodes of the new batch and explaining the show’s rise to the top spot. The final two episodes will be available May 1 and May 4, respectively.

“Clone Wars” registered 68 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 20.2% from the previous week, when it was No. 4.

Netflix’s “Stranger Things” remained No. 2 on the digital originals chart, down 9.6% from the previous week to 61.4 million expressions.

Netflix’s documentary series “Tiger King: Murder, Mayhem and Madness” dropped to No. 3, down 33.6% in expressions to 59.3 million. It had been most in-demand digital original the previous two weeks.

The other notable Disney+ “Star Wars” spinoff, “The Mandalorian” remained at No. 4, up 5.2% to 55.4 million expressions. For Disney, which has been hit particularly hard by the coronavirus lockdowns, the success of both “The Clone Wars” and “The Mandalorian” demonstrate the continued value of the “Star Wars” brand for the studio despite recent fan angst over the direction of the franchise.

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Netflix’s crime drama “Money Heist,” known internationally as “La Casa de Papel,” dropped to No. 5, with expressions down 9.3% to 53.4 million. The Spanish series was named by Parrot as the most in-demand series in the world after its fourth season debuted April 3.

Hulu’s “Little Fires Everywhere” gained 13.6% in demand after releasing its shocking finale April 22, pushing expressions to 37.7 million and moving up three spots to No. 7.

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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.

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.

‘Tiger King’ Remains No. 1 on Parrot’s Digital Originals Chart

Netflix’s documentary series “Tiger King: Murder, Mayhem and Madness” remained No. 1 on Parrot Analytics’ digital originals rankings the week ended April 18, its second consecutive week in the top spot.

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+.

“Tiger King,” which chronicles the feuds between several private exotic-animal owners in the United States, registered 89.3 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 0.4% from the previous week. The show also took over the top spot on the data firm’s overall list of TV series from any platform, including broadcast and cable.

With the limited series having become an Internet sensation since its March 20 debut, Netflix April 12 released an eighth episode, an “Aftershow” hosted by Joel McHale interviewing some of the people who appeared in the documentary.

Netflix’s “Stranger Things” remained No. 2 on the digital originals chart, down 2.4% from the previous week to 67.8 million expressions.

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Netflix’s crime drama “Money Heist,” known internationally as “La Casa de Papel,” stayed No. 3, with expressions down 14.7% to 58.8 million.

With Netflix in the top three spots, Disney+ took the next two with its two “Star Wars” shows. The animated “Star Wars: The Clone Wars” rose to No. 4, up 16.4% in expressions to 56.6 million. The final four-episode story arc of “The Clone Wars,” the highly anticipated “Siege of Mandalore” episodes that tie the show into the events of Revenge of the Sith, began April 17.

The “Star Wars” spinoff “The Mandalorian” slipped to No. 5 on the originals chart, but demand rose 4% to 52.7 million after Disney+ announced an eight-part documentary series about the making of the show to debut May 4.

Hulu’s “Little Fires Everywhere” entered the digital originals top 10 chart at No. 10, up two spots from the previous week. The minieries starring Reese Witherspoon and Kerry Washington rose 3% to 33.2 million demand expressions. The season finale will be available April 22.

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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.

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.

Disney+ Prepping ‘Star Wars Day’ May 4 With Original Content

Disney’s branded subscription streaming video service is readying the upcoming “Star Wars Day” (“May the Fourth”) with new original content, in addition to the service’s complete collection of “Star Wars” movies and shows.

Originally conceived as a fan-generated grassroots holiday, “Star Wars Day” has evolved into a celebration of the Star Wars franchise and saga. Disney will be streaming the conclusion of “Star Wars: The Clone Wars,” in addition to the global premiere of the new eight-episode documentary series “Disney Gallery: The Mandalorian,” from executive producer Jon Favreau.

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The doc takes a look at the making of the series, which became a pop culture phenomenon after premiering in November. Each chapter explores a different facet of the first live-action “Star Wars” television show through interviews, never-before-seen footage and roundtable conversations hosted by Favreau.

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“‘Disney Gallery: The Mandalorian’ is an opportunity for fans of the show to take a look inside and get to see a different perspective, and perhaps a greater understanding, of how ‘The Mandalorian’ came together and some of the incredibly talented contributors throughout season one,” Favreau said in a statement.

Topics this season include the filmmaking process, the legacy of George Lucas’ “Star Wars,” how the cast brought the characters to life, the series’ groundbreaking technology, the artistry behind the show’s practical models, effects, and creatures, plus the creative influences, the iconic score, and connections to Star Wars characters and props from across the galaxy.

“Disney Gallery: The Mandalorian” will premiere three days after “The Mandalorian” will wrap its first season in the United Kingdom, France, Italy, France, Germany, Spain, Italy, Austria and Switzerland. New episodes of “Disney Gallery: The Mandalorian” will stream every Friday on Disney+.

After seven seasons, the CG-animated “Star Wars: The Clone Wars” will come to a close on May 4, giving fans around the world the chance to watch the finale together for Star Wars Day.

The Emmy award-winning “Star Wars: The Clone Wars” was created by George Lucas and Lucasfilm Animation with Dave Filoni (“The Mandalorian”) serving as Executive Producer/Supervising Director.

The highly anticipated conclusion to the acclaimed series explores the events leading up to Star Wars: Revenge of the Sith.