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TV Demand Last Week (Aug 2, 2018): Castle Rock, 70th Primetime Emmy Awards

This week we take a look at the launch of Hulu’s latest series, Castle Rock, and we investigate the Emmy announcements: We reveal who the winners would be in each category if the awards were based on demand data, instead of member votes. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in at #6 on the US Digital Original’s list is Hulu’s Castle Rock. Based on the characters and settings of Stephen King’s best-loved works, the psychological horror series premiered July 25th. Demand for the series originally peaked post the trailer release July 10th, illustrating the high fan anticipation for the series. From newly emerging popular series to recognizing the past year’s successes---Coming out of the recent 70th Primetime Emmy’s nomination announcements, Parrot Analytics uncovered who the winners would be in each category if the awards were determined by demand instead of academy members’ votes. For Outstanding Drama Series, HBO’s Game of Thrones dominates the category, beating out favorites such as Stranger Things and Westworld by over double their demand. For Outstanding Comedy Series, FX’s Atlanta takes a narrow lead over Silicon Valley and Barry, both HBO series. And, if it were based on demand, TNT’s The Alienist would take home the Emmy for Outstanding Limited Series, beating out Showtime’s Patrick Melrose by about half of its demand. And finally, making Netflix history, the animated comedy Bojack Horseman will air on Comedy Central beginning in September, marking the first time a Netflix original series enters syndication on cable TV. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (June 21, 2018): Netflix’s Sense8, global growth of Digital Originals

This week we take a look at the growth of demand for Sense8 in multiple markets following the release of the final episode. We also explore the explosion of new digital originals being released globally, causing North America's share of global production to decrease, and Europe's share to double over two years. Finally, cancelled Lucifer has been secured by Netflix. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in at #2 on the US Digital Original’s list is Netflix’s Sense8. The Sci-Fi drama follows 8 people, from all over the world who are each very different yet are mentally and emotionally linked. The two and a half hour finale episode was released June 8th, to mostly positive reviews. While demand has been increasing leading up to the finale, on average, demand nearly doubled the week post its release in the US as well as several other markets. Moving on to the growth of digital original series—globally, content players have been increasingly commissioning exclusive first-run digital original series. The increases have been evident year over year. While only a couple years ago, North America was the overwhelmingly dominant source of digital originals, its share of productions has been decreasing more recently due to the combined effect of more local players in the space and more local productions overall. The region with the largest growth has been Europe, which has close to doubled their share in the last two years. When taking a look at Netflix’s share of newly premiering digital originals, we can see the SVOD has maintained around half the North American share. In Europe the Netflix share has recently decreased, while in APAC 2018 has shown a marked increase for 2018. And speaking of Netflix, to fans’ delight, the SVOD has resurrected the cancelled Fox series Lucifer for a 4th season. You might remember, Lucifer had the highest demand among the cancelled series analyzed in a recent Parrot Analytics report. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (June 15, 2018): The Handmaid’s Tale, Canadian content, Netflix world domination

In this episode of "TV Demand Last Week", we take a look at the how well the second season of The Handmaid's Tale is tracking in the U.S. and we discuss what Canadians like most about their local productions including recognizability, talent and Canadian values. Finally, we feature B&C's latest article on Netflix's plans for world domination. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in at #2 on the US Digital Original’s list is Hulu’s The Handmaid’s Tale. The American dystopian drama based on the 1985 Margaret Atwood novel of the same name, is now in its second season. The season premiered April 25th and has been sustaining high demand in the U.S. with each new episode release. The most recent episode June 6th, tracked at similar demand levels to the season’s premiere episode. Moving on to Canada, a recent Parrot Analytics survey sought to find out what Canadians like most about their local content. Topping the list was “Recognizability” or the concept that Canadian content is more relatable and authentic than international content. This was closely followed by “Canadian values,” Diving a bit deeper into what those values are—Gentleness, Honesty, Community and Quirkiness were the qualities Canadians associated most with what they see reflected in their local content. In other news, a recent Broadcasting & Cable article focused on how TV industry players need to increasingly think globally. The article highlighted the different ways Netflix has been accomplishing that, including acquiring Digital Original series with high travelability—such as Dark, which we see here has high travelability outside of its home market of Germany, in Greece, Russia, the United States and Spain. Another example highlighted was Narcos. Per capita demand for the series is highest in Italy, France, Israel and Poland. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (June 8, 2018): Netflix’s Trollhunters, TV cancellations, Zendaya

This week in TV Demand Last Week we take a look at Netflix’s Trollhunters, which increased by 87% compared to the prior week. We also offer some thoughts on the 2017-2018 TV season coming to a close, taking with it several prominent TV series. Finally, Zendaya has been cast for the lead role in HBO's Euphoria. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in at #6 on the US Digital Original’s list is Netflix’s Trollhunters. The computer-animated series, created by Guillermo del Toro, follows the story of James Lake Jr., a teenage boy who stumbles across a secret realm inhabited by trolls and other magical creatures. Season 3 of the children’s series premiered May 25th, causing demand to spike by 87% compared to the prior week. The 2017-2018 TV season came to a close, taking with it several TV series and several of them were quite popular. Parrot Analytics recently analyzed the demand for these cancelled series in the US, uncovering the most in-demand. Within the top 5 ranking, two of the series—Brooklyn Nine-Nine and The Expanse, both found new homes post the announcement of their cancellations by networks recognizing and hoping to capitalize off the popularity of these series. When aggregating the cancelled series into platform type, broadcast drives around double the demand of series cancelled on cable or streaming—suggesting broadcast series generally need to have significantly high demand to prevent cancellation. And in HBO news, Zendaya was cast for the lead role in drama pilot “Euphoria” . The project is an adaptation of the Israeli series, described as a story of drugs, sex, identity, trauma, social media, love and friendship. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (Jun 1, 2018): Global Television Demand report Q1

This week in TV Demand Last Week we take a look at Arrested Development's Season 5 pre-release demand, including the popularity spike caused by the trailer. We also review the Q1 Global Television Demand Report, which includes our study on consumer SVOD subscription preferences. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in at #4 on the Digital Originals list is Arrested Development. Following the formerly wealthy and often dysfunctional Bluth family, the sitcom’s 5th season was released May 29th on Netflix. While we see a spike in the show’s popularity following its release, its demand really has been ramped up for most of May—reaching its highest peak earlier in the month when the trailer was released. Parrot Analytics recently released the Q1 Global Television Demand report which uncovers the most popular digital original series across top global markets. It also includes additional insight into the SVOD industry from a consumer’s perspective, allowing you to uncover for example, the # of SVODs consumers are willing to subscribe to in Brazil. In this case, we see that among consumers willing to subscribe to any SVOD in the country—25% would subscribe to 1. Over 30% would subscribe to 2 or more SVOD services. You can also dive in a bit deeper in the report to see the ages among those willing to subscribe to the different numbers of SVODS. Here we’re comparing the UK and the US and we can see for the most part, the ages of those willing to pay for the varying amounts of SVOD subscriptions are pretty similarly distributed in both countries—although driving 4+ subscriptions in the US are those aged 18-24 and 25-34. The Global Television Demand Report also dives into the top digital originals across markets. Here we see that in Greece, Black Mirror’s demand spiked for the first half of January and then was sustained strongly throughout the quarter making it the top performer among these series for Q1 2018. These demand summaries as well as a list of the top 20 digital originals for the quarter are available across 10 global markets. Download it now to peruse through these findings yourself for each of the markets featured. Go to insights dot parrotanalytics dot com forward slash tv. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (May 25, 2018): 13 Reasons Why, Sci-Fi vs Fantasy, South Africa

This week we take a look at the season 2 launch of Netflix's 13 Reason Why and we investigate the global demand for the sci-fi drama and fantasy drama. We also take a look at the South African market and the Obama's producing shows for Netflix. Transscript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in as the #1 Digital Original this week is Netflix’s 13 Reasons Why. The 2nd season premiered May 18th, where the plot extends beyond the story of teenage Hannah Baker’s suicide—focusing on its impact on her friends, family, and school community. While demand for the series has been on the incline already—post premiere, the show’s popularity has increased over 70%. It seems like there have been an influx of popular Sci-Fi series lately, but has demand for these types of series really increased? That’s what Parrot Analytics sought to answer in a recent analysis. When uncovering the demand in the last rolling year for Sci-Fi series, on average the category’s popularity has been increasing in the United States. Compare that to the Fantasy drama subgenre, which is led by mega-hit Game of Thrones—and overall on average has seen a slight decrease in demand. When taking a global view over the past quarter, Sci-Fi series on average drive a higher demand in comparison to Fantasy series across several markets outside of the US, including Germany, Australia, the UK and by a marginal lead in Japan. In these markets evaluated, Brazil remains the exception—preferring Fantasy over the Sci-Fi trend. In an exploration of the South African market, Parrot Analytics uncovered the average demand for a catalog series on platforms Netflix, Amazon, and Showmax in April. On average, each title in the Showmax catalog (the SVOD which launched in South Africa) has around twice as much demand as the average Amazon and Netflix title—showing they are successfully generating demand among the local audience. And in recent Netflix news--Netflix announced multi-year production deal with the Obamas—the first of its kind for a former president. Barack and Michelle will both work in front of and behind the camera including the potential for scripted series, unscripted series, docu-series, documentaries and features with the first content expected in 2019 at the earliest. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (Apr 21, 2018): Children's TV shows & franchises, Lost in Space

This week we take a look at the top children's shows and franchises in the United States, Canada and Mexico and compared the launch demand of Netflix's Lost in Space against that of Altered Carbon. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Appearing at #2 on the Digital Originals chart is Netflix’s Lost in Space. The re-imaginging of the 1965 Sci-Fi series of the same name, follows the adventures of a family of pioneering space colonists whos ship veers off-course. Premiering April 13th, Lost in Space is generating impressive demand. When aligned with the premiere of another popular Netflix Sci-Fi series premiere, Altered Carbon, the levels of demand post-premiere are comparable, showing both series sustained high interest two-weeks out from their respective premieres. In other news, Parrot Analytics recently dived into kids series and franchises across platforms for the 1st quarter of 2018 to uncover the most popular content. In terms of single titles, in the United States, Spongebob Squarepants, was the most popular series driving over half the demand of runner-up, Star Wars Rebels. For franchises, where there are two or more linked series, the Star Wars franchise generated the highest demand, followed by Thomas & Friends, for the US. The same analysis was replicated for Canada & Mexico, revealing interesting results including-- the Candian produced franchise Degrassi appearing in the top 10 list for Canada and the Ben 10 franchise making the list at #5 in Mexico. And finally, in Facebook Watch News, Red Table Talk premieres May 7th on the platform, featuring actress Jada Pinkett Smith alongside her mother and daughter, as they candidly discuss their opinions on a variety of issues that have touched their family. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (Apr 13, 2018): Money Heist, Queer Eye, $300 million, OOH campaigns

This week we take a quick look at Netflix’s La Casa de Papel Appearing at #3 in the Digital Originals ranking. Our demand data shows the travelability for the series extends beyond the home market of Spain. Broadcast scripted titles are 2nd only to premium pay content and more in-demand than the average SVOD or pay TV title. Netflix’s Queer Eye reboot and baking competition Nailed It have been leading the reality genre. Netflix, the SVOD giant, is offering more than $300 million to buy Regency Outdoor, a company that owns billboards across L.A. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Appearing at #3 in the Digital Originals ranking is Netflix’s La Casa de Papel, also referred to as “Money Heist” in English. The Spanish crime drama follows a mysterious man who goes by the name ‘el profesor’ (or the professor) who recruits a gang of eight to execute the biggest heist ever. The series premiered originally in Spain in May 2017 on Antena 3. In December, Netflix released part 1 of the series internationally, Part 2 followed April 6th. Our Demand portal shows the travelability for the series extends beyond the home market of Spain. Brazil and Turkey have been particularly high in demand—over double that of Spain last month. With an ever emerging SVOD space, Parrot Analytics explored how Broadcast Scripted TV fares in popularity. As reported in Cablefax, it turns out pretty well. Broadcast scripted titles are 2nd only to premium pay content and more in-demand than the average SVOD or pay TV title. The popularity of titles like This Is Us illustrates how broadcast can still spark nationwide attention in a sea of content. As seen in the Hollywood Reporter, Reality TV is emerging globally on SVOD. While Digital Originals have predominantly been scripted series, the success of The Grand Tour proved theres an opportunity for unscripted shows in the space. Outside of Amazon’s motoring sports hit, Netflix’s Queer Eye reboot and baking competition Nailed It have been leading the reality genre. Speaking of Netflix, the SVOD giant is offering more than $300 million to buy Regency Outdoor, a company that owns billboards across L.A. In Q4 of last year, Netflix announced its plans to ramp up marketing spend from $1.3 billion to $2 billion this year. Previous correlations by Parrot Analytics have shown OOH campaigns can serve as a cost efficient means of increasing demand—suggesting the deal could bode very. Netflix sparked a lot of buzz when it used Regency Outdoor billboards to promote their “Netflix is a Joke” campaign last year. That wraps it up for this TV Demand Last Week! See you next week!

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TV Demand Last Week (Apr 5, 2018): Amazon Internal Numbers, Hulu's Catch-22

This week we take a quick look at Reuters' internal Amazon document to discover subscription drivers, churn reducers, niche attractors and potential low ROI shows. In Hulu news, Huge Laurie has been cast alongside George Clooney in Catch-22. Transcript: I’m Karina Dixon, Senior Industry Analyst at Parrot Analytics and this is “TV Demand Last Week” where we bring you the top TV news across platforms. Let’s start with last week’s ranking of shows by popularity for overall tv, and digital originals. Coming in at #5 on the Digital Original’s list is Netflix’s On My Block. The coming-of-age series has been lauded for featuring young people of color wrangling through societal issues during a pivotal time in their lives. Premiering March 16th, On My Block has been generating demand at similar levels to other popular digital originals including Marvel’s Daredevil and Santa Clarita Diet. In Amazon news, Reuters recently released an internal Amazon document detailing aspects on the Prime Video business—home of popular digital originals including The Grand Tour, The Man in the High Castle, and Sneaky Pete. The doc included info on Amazon’s “Cost Per First Stream” metric—or the cost to convert a new customer to Prime. It divides production and marketing expenses by the number of people who stream that program after first signing up.Parrot Analytics then contextualized the Cost Per First Stream metric against Demand data revealing four clusters of Amazon original titles: Subscription Drivers: High audience demand, low Cost Per First Stream: (Which includes seasons 1 of both The Grand Tour and The Man in the High Castle). The other categories are: Churn Reducers: Which have High audience demand, high Cost Per First Stream. Niche Attractors: Low audience demand, low Cost Per First Stream And Finally Low ROI Shows: Low audience demand, high Cost Per First Stream. And in Hulu news, Huge Laurie has been cast alongside George Clooney in Hulu’s upcoming series “Catch-22.” The six-episode adaptation of the 1961 Joseph Heller novel of the same name is set in Italy during World War II. That wraps it up for this TV Demand Last Week! See you next week!

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