![]() We define views for a title as the total hours viewed divided by the total runtime. These lists rank titles based on ‘views’ for each title from Monday to Sunday of the previous week. Those countries are still in an earlier stage of SVOD when compared to the developed Western world, so it makes sense to us that Netflix doesn’t want its top competitors to learn what is resonating best with viewers in those geographies – at least not before Netflix can become dominant in those places as well.Every Tuesday, we publish four global Top 10 lists for films and TV: Film (English), TV (English), Film (Non-English), and TV (Non-English). “We believe this has more to do with the company avoiding ‘industrial espionage’ by global and local competitors than anything else. “After a couple of months we couldn’t find a Top 10 list in the websites of Netflix for Asian countries,” Juenger wrote. ![]() One other element factors in when assessing Netflix activity in Asia. The ratio “is probably a function of both a relative lack of Netflix originals produced locally in those countries, in language, as well as a strong, particularly local TV culture,” he concluded. Juenger said Japan and Korea had markedly lower percentages of originals, with Japan at 50% and Korea at 25%. (but not inside the U.S., where they were on CBS All Access and ESPN, respectively.) Other examples include shows like Star Trek: Discovery and The Last Dance, which were Netflix originals outside the U.S. One example is Bodyguard, which was a Netflix Original globally – except in the UK, where it aired on the BBC. “Our criteria for selecting if a show was an original was to see if there was the Netflix logo on the cover of the show ,” Junger wrote, conceding that making that call is “trickier than it may seem at first.” Some shows are designated as “Netflix Originals” but appear on other platforms via co-production partnerships. Non-English content (generally a mix of Spanish-language and local fare) was an important part of most Top 10 lists, but more as a complement to English-language programming.ĭetermining what qualifies as a Netflix original is not a straightforward process, Juenger conceded. Most of Bernstein’s global top 20 consists of scripted shows originally produced in English. Netflix will report its third-quarter results next month, and is likely to include a new batch of viewership insights. The company also favors global numbers, rather than focusing on 10 key markets. Netflix has released select viewership stats for a handful of film and series titles in recent quarters, but usually over a more limited period than the 6-month span tracked by Bernstein. In the first half of 2020, the company added 26 million global subscribers. The investment has resulted in subscriber gains, especially during COVID-19. Netflix is continuing to aggressively boost spending on originals, injecting hundreds of them a year into its offering at a cost of $15 billion in 2019. ![]() While viewing of licensed fare remains significant in terms of total viewing time across the board, it is not a driver of customer acquisitions. With longtime staples like Friends and Disney’s Marvel, Star Wars and Pixar movies leaving the platform to be re-deployed by rival streaming services in recent months, some skeptics expected Netflix to suffer. Juenger, a longtime Netflix bull, has favored the view from Netflix management that too much is made of the importance to the streaming giant of licensed shows like The Office and Grey’s Anatomy. In the U.S., originals comprised 15 of the top 20 most popular shows, with Outer Banks coming out on top. ![]() The master list across all 10 counties was topped by reality series Too Hot to Handle, followed in order by Money Heist, The Last Dance, The Umbrella Academy and Dynasty, with 19 of the top 20 being originals. Hip-Hop At 50: Cheo Hodari Coker On Icons, Evolution & The Spirit That Remains - Guest Column ![]()
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