Our unique dataset allows us to analyse 610 million audience actions on the largest SVOD platform in the world between January 2016 and June 2019.
This data has some powerful qualities and unusual limitations so be sure to check out the details here.
This is wholly independent research. We’re not affiliated with Netflix or any other streaming platform or studio.
Our dataset allows us to track the viewing behaviours of a large number of Netflix viewers. Using this, we are able to measure attributes of content which are normally not available to people outside of SVOD platforms. One such attribute is the extent to which a movie...
The film business has long been one dominated by outliers and power laws. Put simply, a small number of titles account for a large share of the money, attention and success. Just 10% of movies account for half of the domestic box office gross and...
The recent decline in interest in rom-coms on the big screen (more on that below) has meant that filmmakers and audiences alike are looking to streaming platforms to fill the gap. But is the pairing of streaming and romance a match made in heaven?...
Disney’s mastery of the Home Entertainment window has long been a cornerstone of its movie revenues. The supply was carefully controlled by Disney (films “returned to the Disney vault”), prices were well managed to avoid bargain-bin pricing and the marketing stood above even their closest rivals (you never bought a Disney movie, you “took home the magic”). It is perhaps surprising that it took so long to take full advantage of the burgeoning SVOD market.
Beyond the huge offering of US shows, American audiences of Netflix have access to British comedies, Brazilian dramas, and Scandinavian crime thrillers, amongst other things.
But did they choose shows from beyond their borders, or stick closer to home? The clickstream data reveals which countries piqued the interest of the US viewing public.
The sci-fi genre is a broad church. It includes big-budget action spectaculars, mid-budget family fare and inexpensive twisty thrillers. For this analysis, we have largely used IMDb’s classification, which applies multiple genres per title and in which sci-fi accounts for 3.9% of titles. This includes films many would regard as primarily sci-fi (such as Star Wars) and titles with sci-fi tropes or plot elements (i.e. Despicable Me 3).
Kevin’s famous chilli. The fire that was only a simulation. Dwight’s stapler in Jello. If you know The Office, you know these classic scenes. NBC’s The Office, a mockumentary starring Steve Carell and based on the UK show of the same name, first hit screens in 2005.The final episode aired back in 2013, but the age of on-demand video has allowed audiences to keep enjoying it over and over, or to discover it for the first time a little later on. But just how did it fare with Netflix audiences, and how did they consume the show?
There are two ways we can assess the ‘number one comedian on Netflix’:
Views – Share of global views across all solo stand-up specials on the platform.
Top spots – Number of countries in which they are the most-watched comedian.
Audiences have a choice like never before. With subscription video on demand (SVOD) at people’s fingertips, long gone are the days of scheduling life around your favourite show, or waiting for the watershed in the UK. People can now have a serving of American Horror Story with their breakfast, a side of Brooklyn Nine-Nine with their lunch, and get stuck into You over coffee.
When Netflix launched its video streaming service in 2007, its US catalogue comprised of around 5,000 movies and TV episodes – fewer than 6% of the 85,000 titles available via their DVD rental service at the time. The headline titles designed to draw consumers were not new releases, but instead were slightly older classics, such as The Matrix and Super Size Me. Just twelve years later, Netflix and the landscape have both changed considerably. Audiences have come to expect a steady stream of new movies on the platform, as well as a trove of exclusive releases.
Stand-up comedy fans in the UK no longer have to wait for the Edinburgh Fringe to get their giggles. Now they can simply flick on the box for their comedy fix. Brits pride themselves on their sense of humour, but just who was tickling the funny bones of the nation? Were they watching favourites from popular TV shows like Mock the Week, 8 Out Of 10 Cats, and Never Mind The Buzzcocks, or having a chuckle at international comics?
A well-worn battle line in the film business is that of the Home Entertainment release window. Exhibitors are seeking to maintain a long period of exclusive access to new titles, while the Studios are constantly pushing for a free hand in the choosing of Home Entertainment release dates. But what of the window between theatrical and SVOD release?