Netflix’s ‘The Crown’ Remains Atop Nielsen Weekly SVOD Chart

Netflix’s award-winning original series “The Crown” finished at No. 1 on Nielsen’s weekly chart of the most-viewed SVOD programs on TV in the United States for the period of Nov. 16 to 22. The fourth season of the series showcasing Queen Elizabeth II, portrayed by Olivia Colman, generated 3.35 billion minutes viewed across the show’s 40 episodes.

The previous Nielsen record for minutes streamed in a week belonged to Netflix’s “The Umbrella Academy” with 3 billion.

“The Crown” knocked from the top spot Netflix’s chess-themed original, “The Queen’s Gambit,” which had 1.09 billion minutes across seven episodes. Former NBC sitcom “The Office” remained on the podium at No. 3 with 1.06 billion minutes streamed across 192 episodes. The series leaves Netflix at the end of the year for WarnerMedia’s HBO Max.

Notably, the Disney+”Star Wars” spinoff “The Mandalorian” dropped to No. 4 despite increasing streamed minutes to 939 million across 12 episodes, from 873 million minutes across 11 episodes the week before.

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Source: Nielsen SVOD Content Ratings (Amazon Prime, Disney+, Hulu, and Netflix), Nielsen National TV Panel, U.S. Viewing through Television.

‘Mandalorian’ Maintains Dominance on Parrot’s TV Charts

The Disney+ live-action “Star Wars” series “The Mandalorian” topped Parrot Analytics’ digital originals rankings for a seventh-straight week the week ended Dec. 5, and also held onto the top spot on Parrot’s list of all TV shows for a fifth week. It had 126.4 times the demand of an average TV series for the week and saw a 27.1% surge in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity.

The boost is likely due to hype surrounding the return of a few fan-favorite characters in highly regarded, action-packed episodes. The Nov. 27 episode of “The Mandalorian” featured the live-action debut of Ahsoka Tano, a character heavily featured in the animated “Star Wars: The Clone Wars” series. And the Dec. 4 episode featured the return of Boba Fett, the bounty hunter from The Empire Strikes Back and Return of the Jedi, whose presence was teased earlier in the season.

In fact, the “Clone Wars” rose two spots on the digital originals chart to No. 4 after a 44.6% increase in demand gave it 57.1 times average demand, a boost no doubt directly attributable to synergy with the “Mandalorian” crossovers.

Hulu’s revival of the animated series “Animaniacs” moved up a spot to No. 2 on the digital originals chart. It had a 25.1% jump in demand expressions to give it 62.3 times average demand.

Netflix’s “The Crown” dropped a spot to No. 3 on the digital originals chart. While the Internet continues to speculate as to how the portrayal of the British royal family on the series is affecting audience perception of them now, the show had a 12.8% drop in demand expressions to give it 62 times average demand.

Netflix’s perennially popular “Stranger Things” slid a spot to No. 5 on the digital originals chart, with 44.3 times average demand and expressions down 10.3%. While fans await season four, there is new content available from the show in the form of a couple of comic book series and tie-in novels.

Another Netflix original, “The Umbrella Academy” moved up two spots to re-enter the top 10 at No. 9 with 34 times average demand. It saw a 22.3% boost in demand expressions, likely tied to star Elliot Page’s Dec. 1 transgender status announcement.

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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+.

After “Mandalorian,” The No. 2 overall TV series was “SpongeBob SquarePants,” with 95.8 times average demand. Four digital originals cracked the overall top 10, with “Animaniacs” at No. 4, “The Crown” at No. 5 and “Clone Wars” at No. 6.

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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.

‘Mandalorian’ Tops Parrot’s Digital Originals Chart for Sixth Week

The Disney+ live-action “Star Wars” series “The Mandalorian” topped Parrot Analytics’ digital originals rankings for a sixth-straight week the week ended Nov. 28, and also held onto the top spot on Parrot’s list of all TV shows for a fourth week with 99.7 times the demand of an average TV series, though it saw a 0.9% drop in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity.

The show’s success continues to impact other “Star Wars” content. The Disney+ animated series “Star Wars: The Clone Wars” remained on the chart at No. 6 after a 0.3% increase in demand gave it 39.6 times average demand. The fifth episode of the second season of “Mandalorian” featured the live-action debut of Ahsoka Tano, a character heavily featured in “Clone Wars.”

Netflix’s “The Crown” remained No. 2 on the digital originals chart as the Internet is being bombarded with articles fact-checking the fourth season and the relationship between Prince Charles and Princess Di. Demand was down 1.8% from the previous week. It had 71.2 times average demand and was No. 3 on the overall TV series list.

The No. 3 digital original, and No. 9 among all TV shows, was Hulu’s revival of the animated series “Animaniacs.” It had a 60.1% jump in demand expressions to give it 49.9 times average demand, climbing four spots on the digital originals chart.

That pushed Netflix’s perennially popular “Stranger Things” down a spot to No. 4 on the digital originals chart, with 49.5 times average demand and expressions up 5.8%.

Rounding out the top five was HBO Max’s “Titans” with 42.7 times average demand and expressions up 16% after new character costume designs were revealed for the in-production third season.

Netflix’s “The Witcher” jumped back into the top 10, climbing four spots to No. 8, after season two production photos bumped demand expressions up 12.8% to give it 30.4 times average demand.

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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 No. 2 overall TV series was “SpongeBob SquarePants,” with 94.3 times average demand.

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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.

‘The Crown’ Joins ‘Mandalorian’ Among Parrot’s Most-Demanded Digital Originals

The Disney+ live-action “Star Wars” series “The Mandalorian” topped Parrot Analytics’ digital originals rankings for a fifth-straight week the week ended Nov. 21, and also held onto the top spot on Parrot’s list of all TV shows for a third week. with 99.5 times the demand of an average TV series after a 1.2% increase in demand expressions, the proprietary metric Parrot uses to gauge a show’s popularity.

The show’s success continues to buoy other “Star Wars” content, with the Disney+ animated series “Star Wars: The Clone Wars” climbing a spot to No. 4 after an 11.3% increase in demand gave it 39.1 times average demand.

Netflix’s “The Crown” moved up to No. 2 on the digital originals chart after all 10 episodes of its fourth season became available Nov. 15. The latest season chronicles Queen Elizabeth’s life in the 1980s dealing with Prime Minister Margaret Thatcher and her son Prince Charles’ marriage to Princess Diana. Demand was up 141.3% from the previous week, when it was No. 10. It had 71.8 times average demand. It was No. 4 on the overall TV series list.

That pushed Netflix’s perennially popular “Stranger Things” down a spot to No. 3 on the digital originals chart, with 46.3 times average demand and expressions down 11.1%.

HBO Max’s “Titans” dropped to No. 5 on the digital originals chart with 36.4 times average demand, with expressions up 2.1%.

CBS All Access’ “Star Trek: Discovery” dropped three spots to No. 6 after a 0.7% drop in demand expressions to give it 36 times average demand.

Joining the top 10 was Hulu’s revival of the animated series “Animaniacs,” which had 30.8 times average demand to enter the chart at No. 7. The new season of 13 episodes debuted Nov. 20.

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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 No. 2 overall TV series was “SpongeBob SquarePants,” with 97.7 times average demand.

Subscribe HERE to the FREE Media Play News Daily Newsletter!

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.

The Crown: Season Four

STREAMING REVIEW:

Netflix;
Drama;
Not rated.
Stars Olivia Colman, Tobias Menzies, Helena Bonham Carter, Gillian Anderson, Josh O’Connor, Emma Corrin, Marion Bailey, Erin Doherty, Stephen Boxer, Emerald Fennell.

The acclaimed series about the British monarchy takes a turn in its fourth season to focus on the women who defined the United Kingdom in the 1980s.

With Elizabeth II (Olivia Colman) having served as Queen for several decades, the series shifts further away from dealing with her adjusting to the position, and puts more emphasis on examining the appropriateness of a monarchy in modern society, and the impact that open question has on Elizabeth’s growing family.

In particular, the season introduces Princess Diana (Emma Corrin) and takes a hard look behind the scenes of her marriage to Prince Charles (Josh O’Connor), which famously ended in divorce before her tragic death in a car accident in 1997.

Diana is depicted as a bright-eyed teenager looking for a fairy tale life and getting a lot more than she expected, with Charles marrying her only out of convenience to satisfy the pressures of his hereditary duties. Much to the chagrin of his family, he remains in a discreet relationship with Camilla Parker Bowles (Emerald Fennell), who the previous season had been deemed unsuitable as a match for the future king.

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Meanwhile, the other major thread of the season concerns the rise of Margaret Thatcher (Gillian Anderson) as prime minister, who vows to reshape the country from the bottom up. This leads to a bit of a clash of personalities with the Queen, who doesn’t always see eye-to-eye with her policies — a disagreement that eventually spills out into the press in a breach of protocol that proves scandalous. Thatcher, in turn, finds the royal family to be a bit boorish and out of touch with her perception of the common British citizen. As they are roughly the same age, the season takes the obvious, but effective, move of exploring their parallel tracks toward leadership — working class republicanism versus aristocratic duty.

The season also hits upon some of the other historical milestones of the 1980s, such as the Falklands War, and even finds time for a welcome cameo from some familiar faces from earlier seasons. One fascinating detour involves focusing an episode on the story of Michael Fagan, an unemployed commoner who managed to break into Buckingham Palace in 1982 and managed to have a conversation with the Queen in her private bedroom.

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With this latest batch of 10 episodes, the series maintains its usually high marks for writing and acting, and while the veracity of certain off-the-record events might be open to scrutiny, the season will likely be up for several awards when the time comes.

‘Antebellum’ Arrives on Disc; Complete ‘Game of Thrones’ Series Now Out on 4K Ultra HD Blu-ray

Lionsgate’s  Antebellum, Paramount’s SpongeBob SquarePants: The SpongeBob Musical — Live on Stage! and the third season of “The Crown,” the Netflix historical series about the reign of Queen Elizabeth II, top the slate of new releases available for home viewers beginning Nov. 3.

Also newly available for purchase are 4K Ultra HD Blu-ray editions of V for Vendetta and the complete HBO series “Game of Thrones,” both from Warner Bros., and Lionsgate’s Kick-Ass.

The time-shifting horror drama Antebellum is now available on Blu-ray Disc and DVD. It was initially released by Lionsgate on premium VOD at $20 on Sept. 18. The film stars Janelle Monáe as a successful modern-day writer trapped during America’s slavery era.

Read an EXCLUSIVE INTERVIEW with Janelle Monáe here!

SpongeBob SquarePants: The SpongeBob Musical — Live on Stage!, from Nickelodeon, is making its DVD debut on Nov. 3 at $9.99. The disc edition includes an exclusive, extended sing-along version.

The Crown: The Complete Third Season is now out as a four-disc Blu-ray and DVD set from Sony Pictures.  The series is produced by Left Bank Pictures and Sony Pictures Television for Netflix. Season 3 takes place between 1964 and 1977 and introduces Camilla Parker Bowles, who would later marry Prince Charles, heir to the British throne.

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V for Vendetta and Kick-Ass are the latest high-profile films to be released on the 4K Ultra HD Blu-ray format, which is getting a renewed push by the big Hollywood movie studios as they continue to grapple with a lack of fresh theatrical product.

Also newly available on 4K Ultra HD Blu-ray on Nov. 3 is Game of Thrones: The Complete Collection. The set, listed at $254.99, includes all 73 episodes, plus more than 15 hours of bonus content, and a digital copy of the episodes.

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Extras include material previously released in the “Game of Thrones” complete season sets and the 2019 complete series on standard Blu-ray, including a two-part reunion special hosted by Conan O’Brien; the documentary Game of Thrones: The Last Watch chronicling the making of the final season; Conquest & Rebellion: An Animated History of Seven Kingdoms; and audio commentaries, deleted and extended scenes, behind-the-scenes featurettes, and more.

A 4K “Game of Thrones” complete-series set also is available in an exclusive limited-edition version at Best Buy at $285.43, with all eight seasons featured in individual Steelbooks and housed in individually numbered metal cases.

A complete list of new disc and digital releases, compiled each week by the Media Play News market research team, can be found here.

Netflix Leaves Globes With a Whimper

Fueled by 34 nominations, including 17 for movies, Netflix entered the Jan. 5 Golden Globes Awards in Los Angeles a heavy favorite to take home the hardware.

In the end, the SVOD behemoth walked off with just two Globes: Laura Dern’s win for Marriage Story and Olivia Colman starring in the third season of “The Crown.”

Hulu picked up awards for “Ramy” and “The Act,” while Amazon Prime Video won for “Fleabag.” Apple TV+’s high-profile “The Morning Show” failed to win despite several nominations.

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Netflix has high hopes for next month’s Academy Awards, notably with Martin Scorsese’s $150 million mobster movie The Irishman, starring Robert De Niro, Al Pacino and Joe Pesci.

Yet the movie lost out at the Globes to Sam Mendes’ World War I trench warfare film, 1917, from Universal Pictures.

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‘Mandalorian’ Climbs Past ‘Stranger Things’ to Top of TV Demand Charts

The Disney+ series “The Mandalorian” took over the No. 1 spot on not only Parrot Analytics’ digital originals rankings the week ended Nov. 23, but also the data firm’s overall list of TV series from any platform, including broadcast and cable.

A “digital original” is a multi-episode series in which the most recent season was first made available on a streaming platform such as Netflix, Amazon Prime Video, Hulu or Disney+.

Set in the “Star Wars” universe, “The Mandalorian” tells the story of a bounty hunter who takes a personal interest in his latest job. It is the flagship series of the new Disney+ streaming service, which launched Nov. 12. “The Mandalorian” had climbed to No. 3 on the digital originals charts after the service made available its first two episodes, which introduced a character that quickly became the subject of a popular Internet meme that no doubt influenced the series’ rapid rise to No. 1 after the Nov. 22 release of the third episode.

For the week, “The Mandalorian” registered 100.3 million average daily Demand Expressions, the proprietary metric used by Parrot Analytics to measure global demand for TV content. That was up 151% in expressions compared with the previous week, when it had 39.9 million expressions.

Netflix’s “Stranger Things,” which had been comfortably nestled in the top spot for 21 straight weeks, slid to No. 2, registering 81.2 million expressions, down 20% from the previous week.

DC Universe’s “Titans” dropped to No. 3 on the digital originals chart, with expressions up 24.8% to 71.2 million. The finale of the second season will be available starting Nov. 29.

Netflix’s “The Crown” returned after a two-year hiatus and a new main cast, with all 10 episodes of the third season being available Nov. 17. As a result, the series jumped to No. 4 on the originals chart, from No. 22 a week earlier, as expressions rose 134% to 41.7 million.

Slipping a spot to No. 4 was Hulu’s “Castle Rock,” down 1.6% in expressions to 30.8 million.

Amazon Prime Video’s “The Man in the High Castle” rose to No. 7, from No. 30 the previous week,  with expressions up 73.8% to 28.8 million. The fourth and final season was released Nov. 15.

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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.

Netflix Inks ‘The Crown’ Creator Peter Morgan to Exclusive Production Deal

With Netflix set to begin streaming the third season of original series “The Crown” Nov. 17, the subscription streaming video behemoth has reportedly signed series showrunner Peter Morgan to an exclusive big-money production deal.

Media reports suggest the pact includes seasons four, five and six of “The Crown,” among other projects, including movies.

Morgan’s screenwriting efforts include Oscar-winning The Queen,

Peter Morgan

Frost/Nixon, The Last King of Scotland and The Damned United.

The signing comes after Netflix renewed hit series “Stranger Things” for a fourth season and signed series creators and showrunners the Duffer brothers to a multiyear film and series overall deal.

Media companies continue scramble to secure/acquire content creators ahead of the November launch of Apple TV+ and Disney+ subscription streaming services.

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WarnerMedia and Comcast’s NBC Universal are launching proprietary streaming services early next year.

WarnerMedia last month inked “Star Wars,” “Star Trek” and “Mission: Impossible” director J.J. Abrams to an exclusive production deal reportedly worth upwards of $500 million for its pending HBO Max service.

“Fleabag” creator and star Phoebe Waller-Bridge signed a production deal with Amazon Studios.

Waller-Bridge’s breakout hit won Outstanding Comedy Series, with the actress also picking up Outstanding Lead Actress in a Comedy Series, and Outstanding Writing in a Comedy Series.

Hastings: Netflix Girding for ‘Whole New World in November’

With a slew of new subscription streaming video services launching soon, including Apple TV+ and Disney+ in November, and NBC Universal’s Peacock and WarnerMedia’s HBO Max early next year, market behemoth Netflix is preparing for battle.

Speaking Sept. 20 at the Royal Television Society confab in Cambridge, in the United Kingdom, Netflix CEO Reed Hastings told attendees the SVOD pioneer has spent $500 million (£400 million) on original content production in the region this year with plans to increase the amount next year.

Over the summer, Netflix leased Pinewood Studios’ Shepperton facility — a move later emulated by Disney for Pinewood’s Buckinghamshire facility near London.

Reed Hastings

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Netflix’s forthcoming comic book-based action movie, The Old Guard, starring Oscar winners Charlize Theron, Chiwetel Ejiofor and KiKi Layne, among others, was filmed at Shepperton.

“While we’ve been competing with many people in the last decade, it’s a whole new world starting in November,” Hastings said, as first reported by Variety. “It’ll be tough competition. Direct-to-consumer will have a lot of choice.”

Hastings said Netflix was not interested in acquiring production facilities globally, preferring to rent as market conditions dictate.

He said the increased SVOD competition worldwide (Disney+, Hulu, Apple TV+ all have global aspirations), including Amazon Prime Video have upped production costs exponentially.

“Someday ‘The Crown’ will look like a [fiscal] bargain,” he said.

Hastings added that as SVOD and ad-supported streaming proliferate worldwide, traditional pay-TV still dominates consumer viewing habits.

“We win only about 5% of television viewing hours, so we’re nowhere near a concentration risk [to pay-TV],” he said.