Disney+’s ‘Marvel Studios: Legends’ Top Rising Show, Netflix’s ‘Ginny & Georgia’ Again Top Binge on TV Time Charts

Disney+’s “Marvel Studios: Legends” was the top rising show and Netflix’s “Ginny & Georgia” was again the top binge program on the TV Time charts for the week ended March 7.

“Marvel Studios: Legends” is a docuseries that in each episode showcases individual characters in the Marvel Universe with footage from past films. It has spotlighted characters in Disney+’s popular series “WandaVision” and the upcoming “The Falcon and the Winter Soldier,” which premieres March 19.

“Ginny & Georgia,” which also came in at No. 8 on the rising show chart, hit screens Feb. 24. It follows angsty and awkward 15-year-old Ginny Miller, who often feels more mature than her 30-year-old mother, the dynamic Georgia Miller. After years on the run, Georgia desperately wants to put down roots in picturesque New England and give her family something they’ve never had — a normal life. But Georgia’s past threatens her and her family’s new way of life.

Taking the silver on the rising show chart was Peacock’s streaming series “Brave New World,” which debuted on the service back in July and is based on the science-fiction novel by Aldous Huxley. It was canceled in October after one season.

The bronze on the rising show chart went to Freeform’s “The Bold Type,” a series about the goings on at a magazine inspired by the life and career of former editor-in-chief of Cosmopolitan magazine Joanna Coles.

“Attack on Titan” took the second spot on TV Time’s binge chart for the week, dropping from No. 1. The anime series is based on the manga and is set in a world where humanity lives within cities surrounded by enormous walls that protect them from gigantic man-eating humanoids referred to as Titans.

Sandwiched on the binge chart between perennial binge favorites “Modern Family” (No. 3) and “Grey’s Anatomy” (No. 5) was the Disney+ superhero series “WandaVision” at No. 4. The first Disney+ series set in the Marvel Cinematic Universe features Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany).

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TV Time, a Whip Media company, is a free TV viewership tracking app that tracks consumers’ viewing habits worldwide and is visited by almost 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 March 7 by Share of Binges:

  1. “Ginny & Georgia” (Netflix) — 4.54%
  2. “Attack on Titan” (NHK) — 2.44%
  3. “Modern Family” (ABC U.S.) — 2.26%
  4. “WandaVision” (Disney+) — 1.95%
  5. “Grey’s Anatomy” (ABC U.S.) — 1.72%
  6. “One Piece” (Fuji TV) — 1.56%
  7. “The Office” (U.S.) (NBC) — 1.29%
  8. “New Amsterdam” (NBC) — 1.24%
  9. “Brooklyn Nine-Nine” (NBC) — 1.21%
  10. “Naruto Shippuden” (TV Tokyo) — 1.09%

 

Top “Shows on the Rise” Week Ended March 7 by Rise Ratio:

  1. “Marvel Studios: Legends” (Disney+) — 93.9%
  2. “Brave New World” (Peacock) — 88.9%
  3. “The Bold Type” (Freeform) — 76.6%
  4. “FBI: Most Wanted” (CBS) — 72%
  5. “The Flash” (The CW) — 69.1%
  6. “Wynonna Earp” (Syfy) — 64.6%
  7. “FBI” (CBS) — 55.8%
  8. “Ginny & Georgia” (Netflix) — 50.5%
  9. “The Resident” (Fox) — 48.4%
  10. “Prodigal Son” (Fox) — 45.7%

Movie, TV Marriages Cost A Lot in Real Life — Unless You’re Homer Simpson

Pomp and ceremony are common marriage themes in movies and TV shows from over-the-top opulence in Crazy Rich Asians to “The Simpsons'” low-budget cartoon nuptials.

New data from Raisin U.K., a British online financial services firm, delved into how much fictional weddings in television series such as “Friends,” “Downton Abbey,” “Schitt’s Creek,” “The Simpsons,” and movies Cinderella, Sex and the City, Shrek and The Twilight Saga, among others, would cost in today’s economic reality.

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Of the 20 weddings analyzed, the wedding of Colin and Araminta from Crazy Rich Asians topped all budgets, with their Singaporean nuptials costing a sweet $8.86 million, based upon estimated costs of the venue, dress, entertainment, flowers and transport.

As the heir to a property and hotel chain, it seems that this may just be a dip in the ocean for the couple – and as the name of the movie suggests, they are Crazy Rich.

Carrie and Big’s aborted ceremony from the Sex and the City movie also wouldn’t be cheap – costing an estimated $157,426.

Despite this being a hefty price tag, many factors kept the cost down for this celebrity couple. Carrie’s Vivienne Westwood dress was gifted to her following a Vogue cover shoot, and due to Big’s cold feet – their wedding reception wasn’t really necessary.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Nielsen: Netflix’s ‘Cobra Kai,’ ‘Criminal Minds’ Top Weekly Streamed TV Content

The Netflix original series “Cobra Kai” and “Bridgerton” reversed positions on Nielsen’s weekly Top 10 chart digital originals chart with 2.1 billion and 1.67 billion minutes, respectively, streamed on televisions Jan. 4-10.

The Shonda Rhymes’ period drama topped “Kai” the previous week with 2.64 billion minutes.

“It’s not really a fair fight because ‘Cobra Kai’ has 30 episodes and “Bridgerton” only has eight, but still neck and neck, ‘Bridgerton’ getting a lot of airplay out of those eight episodes,” Brian Fuhrer, SVP of product strategy at Nielsen, said in a video statement.

Netflix’s acquisition of Telemundo original series “Mariposa de Bario” ranked No. 5 on the acquired content chart, the highest-ever Spanish-language series on the Nielsen chart, tracking 548 million minutes across 91 episodes.

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Fuhrer attributed the ranking to Netflix debuting “Selena: The Series” in early December and attracting Spanish-language viewers.

“If you watched “Selena: The Series,” you may have “Mariposa” in your recommendation list [by Netflix],” Fuhrer said. “Speculation, but I think it’s pretty reasonable to [suggest].”

He said the sheer volume of “Mariposa” episodes coupled with the series’ ranking in Netflix’s Top 10, drove viewership. Fuhrer said 34% of viewers of the “Selena” series watched “Mariposa.”

“About 93% of the audience was Hispanic,” he said.

Noticeably missing from the chart: NBCUniversal Peacock’s “The Office,” a perennial Top 10 when it streamed exclusively on Netflix in 2020. NBCUniversal acquired exclusive streaming rights to the old NBC sitcom for a reported $500 million.

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

 

 

CW’s ‘Superman & Lois’ Top Anticipated New Show on February TV Time Chart

The CW’s “Superman & Lois” was the top anticipated new show, and the CBC’s “Workin’ Moms” the top anticipated returning show, on the TV Time Charts for February.

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.

“Superman & Lois,” debuting on the CW Feb. 23, follows the famous superhero and journalist, who after years of facing supervillains, monsters, and aliens, try to deal with the stress and complexities that come with raising two boys as working parents.

Season five of the comedy “Workin’ Moms” debuts Feb. 16 on Canada’s CBC.

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Netflix took two of the top five spots on the new show chart. At No. 4 was “Firefly Lane,” debuting Feb. 3. It follows Tully and Kate, who meet as young girls on Firefly Lane and become inseparable friends throughout 30 years of ups and downs. At No. 5 was “Tribes of Europa,” hitting screens Feb. 19. Set in 2070, it follows three siblings trying to change the fate of Europe after a global catastrophe fractures it into countless micro-states fighting for dominance.

Among other streamers, Apple TV+’s “For All Mankind” came in at No. 3 and Amazon’s “The Family Man” at No. 4 on the returning shows chart. Both debut their sophomore seasons in February. The alt-history series “For All Mankind” moves to 1983 in the midst of the Cold War, where tensions between the U.S. and the USSR are at their peak. “The Family Man” is an Indian spy series.

 

Most Anticipated New Shows for February:

  1. “Superman & Lois” (CW) — Feb. 23
  2. “Clarice” (CBS) — Feb. 11
  3. “The Equalizer” (CBS) — Feb. 7
  4. “Firefly Lane” (Netflix) — Feb. 3
  5. “Tribes of Europa” (Netflix) — Feb. 19

 

Most Anticipated Returning Shows for February:

  1. “Workin’ Moms” (CBC) — Feb. 16
  2. “Black Lightning” (CW) — Feb. 8
  3. “For All Mankind” (Apple TV+) — Feb. 19
  4. “The Family Man” (Amazon Prime Video) — Feb. 12
  5. “Harrow” (ABC) — Feb. 7

IMDb: ‘The Boys,’ ‘The Queen’s Gambit,’ ‘Tiger King,’ ‘The Last Dance’ Among Top TV Shows in 2020

Amazon-owned movie and TV data base IMDb.com Dec. 8 unveiled the Top 10 TV Shows of 2020 and, for the first time ever, the Top 10 Docuseries and Top 10 Reality and Competition TV Series. Rather than base its annual rankings on small statistical samplings or reviews from professional critics, IMDb determines its list of most popular shows from its proprietary rankings of shows based on the actual page views of the more than 200 million monthly visitors to IMDb.

“Though reality TV was in its infancy when IMDb was founded 30 years ago, it’s grown enormously in terms of the diversity, scale and, in many cases, prestige of its offerings,” Brian Carver, head of content and licensing for IMDb, said in a statement.

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Carver said 2020 proved to be a standout year for TV and streaming series, with an assortment of true breakout shows, turning many of these programs — including Amazon’s “The Boys,” Netflix’s “The Queen’s Gambit,” “Tiger King,” and ESPN’s “The Last Dance” and Netflix’s “Too Hot to Handle” — into cultural moments.

Keith Simanton, managing editor for IMDbPro, said it’s notable that many of the top reality programs have had exceptionally long runs, including an incredible 40 seasons of “Survivor” and 12 seasons of “RuPaul’s Drag Race.”

“We celebrate these shows for their ongoing creativity and longevity, keeping fans coming back for more, year after year,” Simanton said.

IMDb Top 10 TV Shows of 2020

  1. The Boys
  2. Money Heist (La Casa de Papel)
  3. Dark
  4. Ozark
  5. The Mandalorian
  6. The Queen’s Gambit
  7. The Umbrella Academy
  8. Westworld
  9. The Witcher
  10. The Crown

 

IMDb Top 10 Docuseries of 2020

  1. Tiger King: Murder, Mayhem and Madness
  2. The Last Dance
  3. Don’t F**k with Cats: Hunting an Internet Killer
  4. The Vow
  5. Jeffrey Epstein: Filthy Rich
  6. I’ll Be Gone in the Dark
  7. Down to Earth with Zac Efron
  8. McMillions
  9. Pandemic: How to Prevent an Outbreak
  10. The Trials of Gabriel Fernandez

 

IMDb Top 10 Reality and Competition Series of 2020

  1. Too Hot to Handle
  2. Selling Sunset
  3. Love Is Blind
  4. The Great British Bake Off (The Great British Baking Show)
  5. Keeping Up with the Kardashians
  6. The Masked Singer
  7. Top Gear
  8. Survivor
  9. RuPaul’s Drag Race
  10. The Real Housewives of Beverly Hills

Report: ‘Friends’ Most-Watched TV Show Over Thanksgiving Weekend

In addition to football, TV show re-runs dominate viewer interest around the Thanksgiving holiday, according to new data from USDish, a reseller of Dish Network. While movies dominate around Christmas, TV show episodes rank high among viewers over Thanksgiving, with “Friends” the most popular TV show. Of the 15 TV show episodes that ranked most-popular, 10 were “Friends” episodes.

In compiling its data, USDish analyzed the top 15 holiday episodes for each holiday using IMDb data. To qualify, each episode had to meet the following criteria: Contain the keywords “Thanksgiving,” “Christmas,” or “New Year’s Eve,” respectively; be produced between 1990 and 2020; have more than 1,500 IMDb votes; and achieve a rating of 7.5 and above.

“Once we narrowed down our search, we found each episode’s viewership count using the viewership archive on TV Listings,” wrote Travis Peterson, author of the study. “Then we ranked each episode from most popular to least-popular based on viewership.”

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To find the most-searched TV show in each state for November, December and January, respectively, USDish analyzed Google Trends data.

The study found that comedy and romance are hits around Thanksgiving, with more than 93% of the top episodes categorized as comedy. Thirteen out of the 15 TV episodes (87%) are also categorized as romance.

Apparently Thanksgiving is a perfect time for a little throwback TV. Seven out of the top 15 episodes aired in the ’90s, while six aired in the 2000s. The average running time of all episodes on the list is 24 minutes.

 

‘Fresh Prince’ Reunion to Debut on HBO Max Nov. 19

Will Smith via social media released the trailer for The Fresh Prince of Bel-Air Reunion and revealed that the special will debut on HBO Max Nov.19.

In the unscripted special, Smith is joined by series regulars Tatyana Ali, Karyn Parsons, Joseph Marcell, Daphne Maxwell Reid and Alfonso Ribeiro as well as recurring co-star DJ Jazzy Jeff for a family reunion on set in the Banks’ home for a look back at the show. Taped on the 30th anniversary of the original series premiere date, Smith also sat down with Janet Hubert, who originated the role of Aunt Viv, for the first time in 27 years for a reunion and a candid conversation.

As previously announced, the special will be night full of music and dancing and a look at the cultural impact the series has had since its debut. HBO Max is the exclusive SVOD home of the full original series library in the United States, debuting on the platform when it launched in May.

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CBS Unveils New Brand Identity Across All Divisions and Platforms

With ViacomCBS readying the reboot of SVOD platform CBS All Access to Paramount+ in 2021, CBS Oct. 8 unveiled a new brand identity aimed at simplifying the look and feel of all its divisions across platforms.

In an announcement by chief marketing officer Mike Benson, the updated brand identity for entertainment programming debuted on the CBS Network this week in advance of the upcoming fall TV show season. Viewers can expect to see it rolled out across CBS News leading up to the 2020 election and for CBS Sports for Super Bowl LV on Feb. 7, 2021.

Similar iterations are being developed for CBS Television Stations and CBS Television Distribution. For example, CBS Television Studios has been renamed CBS Studios.

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The branding is designed to create stronger “continuity and clarity” from the core CBS brand to subsidiaries, while driving attribution for CBS’s content, whether on the brand’s traditional platforms or others such as live, on-demand or streaming video.

“CBS has long been one of the most unifying brands in media,” Benson said. “We needed to make that clearer and more consistent at every consumer touchpoint.”

Benson, who worked with ad agency Gretel on the rebranding, said the improvements draw upon CBS’s 91-year history, with key visual and audio elements from the past integrated into the new aesthetic. The ubiquitous CBS Eye logo remains central to the new identity in a unique animated way. The voiceover “This is CBS,” which was used for decades on the company’s radio and television broadcasts beginning nearly a century ago, is another example of legacy elements playing a strong role moving forward.

New elements of the CBS brand strategy include:

  • The iconic CBS Eye will be used across the brand identity in a flexible style that elevates it as a standalone logo and leans into the shapes and elements that make it up.
  • Brand attribution will be applied to programming and promotion that drives better connection between the CBS core brand, its sub-brands and our premium content available across CBS-owned and third-party platforms.
  • Content on CBS and CBS-owned platforms will be tagged with “CBS Original,” “CBS News,” “CBS Sports” or “CBS Presents” to reinforce its role as a leading creator and content provider for its platforms and many others. For example: “CBS Presents The 56th Academy of Country Music Awards.”
  • Content produced by CBS Studios will also include “A CBS Studios Production” and CBS Studios branded marks.
  • An audio expression of the updated brand identity comes to life in a five-note mnemonic written by assigning musical notes to the historic “This is CBS” voiceover slogan, creating a new melody and animation that will appear at the top of the hour during primetime programming on CBS.
  • Unified logos and graphics that simplify and closely identify CBS as the core brand across divisions.
  • Updated avatars and watermarks to be used across all CBS social media handles.

Hub Study: Online TV Sources ‘Home Base’ for Half of U.S. Consumers

Online TV sources — including subscription video-on-demand services such as Netflix, free services such as Pluto TV, and Virtual MVPDs such as YouTube TV — are now the TV “home base” for half of all U.S. TV consumers, according to Hub’s annual “Decoding the Default” study.

The study since 2015 has tracked the TV source that consumers consider their TV “home base” — the source they turn on first when they’re ready to watch.

“We’ve seen a significant boost in streaming TV service subscriptions since the start of the pandemic in March of this year,” Peter Fondulas, principal at Hub and co-author of the study, said in a statement. “But perhaps more significant than the simple increase in online subscriptions is the profound shift in consumers’ viewing behaviors generally. Instead of reaching first for the cable remote when it comes time to watch TV, more and more consumers are defining TV viewing, first and foremost, as viewing on streaming services. Whether that shift persists once the pandemic crisis has passed is, of course, the billion-dollar question.”

According to the study, 50% of respondents say an online service is the first source they turn on, up from 47% last year. Meanwhile, 42% say their first choice is viewing from the traditional TV set-top box (live viewing, DVR or VOD), down from 47%. (The remaining percentages each year default to viewing over-the-air, from an antenna.)

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For those who default to an online source, nearly half (23% of the 50%) say that online source is Netflix. In fact, Netflix, by itself, is now nearly as likely to be consumers’ TV home base as all live TV channels accessed through pay TV combined. In 2016, live TV from a pay TV service was three times as likely as Netflix to be viewers’ TV default. Netflix trails live viewing by only 7 percentage points.

Fewer than one in five young consumers default to live TV, down 7 percentage points from last year. But more ominously, even among live TV’s strongest adherents — those age 55 or older — the proportion defaulting to live has dropped significantly since just last year. Only 14% of 18-34 year olds turn to live TV before any other source, vs. 21% in 2019. The study found an equal 7-point drop among 55-plus year olds; fewer than half now say live TV is their viewing home base.

The choice of default is driven primarily by two factors — content and ease of show discovery — according to the study. The top reason for making a source one’s default is because it offers access to one’s favorite shows. But a more general content consideration is a top driver as well: wide variety of shows and movies to choose from. Interface simplicity is also a top driver of default, in particular because the service makes it easy to find something to watch.

When consumers decide it’s time to cut back on TV services, they’re much more likely to remain loyal to their TV service default, Hub reports. Hub asked consumers which one TV service they’d keep if they had to drop all others. Among users of each, pay TV service and Netflix were the two most likely to make the cut.

Among users of each service who also treat it as their default, the proportions saying they’d hang on to the service to the bitter end are much higher. For subscribers to the big four SVODs (Netflix, Amazon, Hulu and Disney+), loyalty to the service is two to four times higher among those who default to the service vs. users of each service overall.

Hub’s “Decoding the Default” study was conducted among 1,600 U.S. consumers with broadband, age 16-74, who watch at least one hour of TV per week. The data was collected in August 2020.

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Vizio Appoints Former AMC Networks, Dish Exec VP of Network Partnerships

Consumer electronics company Vizio has appointed former AMC Networks and Dish executive Adam Gaynor VP of network partnerships.

In this role, Gaynor will help build direct relationships with networks across Vizio’s SmartCast platform and its advertiser-direct business unit Vizio Ads.

“Adam’s addition to the team represents Vizio’s continued focus and investment in driving the future of TV,” Mike O’Donnell, chief revenue officer at Vizio, said in a statement. “Not only does Adam have extensive experience working with networks, but he has been at the forefront of championing addressable advertising, going back to his previous efforts driving live linear addressable advertising at AMC Networks and Dish.”

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In addition to spearheading network relationships, Gaynor will be heavily involved in advancing Project Open Addressable Ready (Project OAR), a technology consortium led by Vizio and created to advance the development and deployment of a new, open standard for addressable advertising on connected TVs. The consortium recently announced live market trials with network partners such as Fox, ViacomCBS, NBCUniversal, E.W. Scripps and AMC Networks.

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“Vizio is building the next generation of home entertainment, powered by data and personalized consumer experiences,” Gaynor said in a statement. “I’m excited to join the team to advance VIZIO’s initiatives on the network and addressable front, enabling advertisers to deliver more precise messages to their intended audiences at the right time.”

Before joining Vizio, Gaynor was most recently VP of AMCN Agility, the data solutions sales team for AMC Networks. There, he created and oversaw the development and monetization of all advanced and data-driven TV advertising opportunities across the AMC Networks portfolio. He also served as VP, media sales and analytics for Dish Network, where he led the company’s media sales division, inclusive of all addressable, interactive, programmatic and OTT initiatives. Gaynor also held posts at Game Show Network, Comcast and CBS.