Most Anticipated New Shows

1. IT: Welcome to Derry (HBO, October 26)
Set in the 1960s and decades before the events of “IT,” this prequel series explores the terrifying origins of Pennywise the Clown and the dark legacy haunting the cursed town of Derry, Maine. Developed for television by filmmakers Andy and Barbara Muschietti and Jason Fuchs, the series promises to deepen Stephen King’s chilling universe with new horrors and familiar dread.

2. 9-1-1: Nashville (ABC, October 9)
From franchise creators Ryan Murphy, Tim Minear, and Rashad Raisani, this second spin-off in the “9-1-1” universe shifts the action to Music City. Featuring high-stakes rescues and emotional personal stories, the series introduces a fresh team of first responders navigating emergencies and heartbreak in the heart of Tennessee.

3. Sheriff Country (CBS, October 17)
This “Fire Country” spin-off stars Morena Baccarin as a small-town sheriff balancing justice, family, and politics in Northern California. With executive producers Jerry Bruckheimer and Tana Jamieson behind the scenes, “Sheriff Country” mixes personal drama with rural crime procedural appeal.

4. Boston Blue (CBS, October 17)
An intense character-driven police drama set in Boston, this series focuses on a diverse squad of officers tackling crime, corruption, and community tensions. From the team behind “Blue Bloods,” it delivers emotionally grounded storytelling in one of America’s most complex cities.

5. DMV (CBS, October 13)
This workplace mockumentary created by Dana Klein offers a comedic look inside a dysfunctional but lovable Department of Motor Vehicles branch. With a mix of dry humor and heart, “DMV” explores bureaucracy, burnout, and bizarre customer encounters with sharp observational wit.

Most Anticipated Returning Shows

1. Nobody Wants This (Netflix, October 23)
The Emmy-nominated romantic comedy returns for a second season with its signature blend of cringe, chaos, and cultural commentary. The series – inspired by the real-life relationship of creator Erin Foster – continues to explore the unlikely pairing of non-religious dating podcaster Joanne and ‘hot rabbi’ Noah as they navigate blending their friends, families, and world views. 

2. One-Punch Man (TV Tokyo, October 5)
The global anime hit is back for Season 3. Saitama’s overpowered punches remain undefeated, but new monsters and heroes emerge to challenge his boredom and humanity. Expect slick animation, absurd humor, and intense action sequences that fans have waited years for.

3. The Witcher (Netflix, October 30)
Geralt’s saga continues as the continent plunges deeper into chaos. Season 4 introduces Liam Hemsworth taking over the role of Geralt. Along with new characters and political intrigue, the return of this fantasy juggernaut promises sorcery, monsters, and heartbreak in equal measure.

4. Monster (2022) (Netflix, October 3)
Ryan Murphy’s true crime anthology returns with a new season spotlighting infamous real-life figures. Following previous season arcs focused on Jeffrey Dahmer and the Menendez brothers, the latest installment dives into Ed Gein, another headline-grabbing case with psychological complexity and controversial themes.

5. Hazbin Hotel (Prime Video, October 29)
This vibrant animated musical comedy continues its demonic charm offensive. With dark humor, catchy songs, and unapologetic weirdness, “Hazbin Hotel” follows Charlie and friends as they try to rehabilitate sinners in Hell one chaotic guest at a time.

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All of that motion serves the Jude Law and Jason Bateman-led series well, as it tops the Samba TV Wrap report for the second straight week, helping Netflix continue a run of five straight weeks in the top spot.

It comes at a good time, too, as strong competition has emerged. “Tulsa King,” another huge hit from the Paramount+ and Taylor Sheridan team-up, returned on Sept. 21 for its third season, and a full week’s worth of viewership helps the series land in second place this week. The Sylvester Stallone-led series about an exiled mob boss setting up shop in flyover country put up a strong fight, but it wasn’t enough to oust “Black Rabbit.”

The chart has already made stops in New York and Tulsa, Okla., and for third, we’re on to Tall Pines, Vt., the setting of the new Netflix mystery miniseries “Wayward.” Then it’s on to Earth-bound science fiction, as “Alien: Earth” moves up two spots this week. The Hulu series is the only non-Netflix title to top the chart in four months, but it also dropped completely off the chart before returning last week. It finished its first season strong in fourth place.

We’re building up frequent flyer miles as we now head to Ireland for “House of Guinness.” The new Netflix historical drama tells the story of the Guinness family and how they kept their brewing business alive following the death of their beloved patriarch. Keep your passport out because we’re off to South Korea next. Against all odds, the “KPop Demon Hunters” phenomenon rolls on. A ninth-place ranking last week had us wondering if this was the end for the sensational singing supernatural slayers, but the film moves up three spots as it celebrates its lucky 13th-straight week on the chart.

“The Terminal List: Dark Wolf” pops up one spot this week to seventh as it closed out its series with its seventh and final episode on Sept. 24. Back to Tulsa (and back to Hulu) for this week’s eighth entry, the debut of the Hulu/FX series “The Lowdown.” Ethan Hawke stars as an undercover investigator looking to root out corruption in Oklahoma City. Don’t tell him about Stallone.

Let’s stay in the southern part of the country for a minute with “Ruth & Boaz,” another debut for Netflix this week. The film is a modern telling of the Biblical story, set in Atlanta, Ga., and small-town Tennessee. Tyler Perry, no stranger to the streaming chart, is the producer behind the film. For our final entry of the week, we head to Nepal, where Liam Neeson is not to be trifled with in “Ice Road: Vengeance.” The action film falls from second to eighth this week.

If you want a clear sign of fall, you could look at the slowly changing color of the leaves. Or you could cast your eyes on the linear chart, which is in transition.

This week, we say hello again to “The Voice” while bidding farewell to “America’s Got Talent” (NBC clearly plans its programming transitions well). First, “The Voice” debuts in the top spot, along with a second airing in fifth. We expect the singing competition to be near the top of the chart for the duration of its 28th season.

Then we have “America’s Got Talent,” which accounts for three spots (three, four and eight) on our chart this week as the competition wrapped up its 20th season. Singer Jessica Sanchez was the big winner unveiled on Sept. 24.

In the middle of that NBC sandwich is ABC’s “Dancing With the Stars,” which returned for its 34th season last week.

“Wheel of Fortune” grabs two spots this week at sixth and seventh. “Big Brother” capped off its 27th season with a finale on Sept. 28, helping the long-running reality show crack the chart in number nine. Finally, “The Golden Bachelor” lands in tenth place this week.

The Wrap Report provides an exclusive first look at the most-watched movies and TV series from the past week across both streaming and linear television, sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

The post ‘Black Rabbit’ Holds Off ‘Tulsa King’ at No. 1 on Streaming Top 10 | Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

NFL Football maintains the top spot for another week. “Stranger Things” climbed one spot to No. 2, pushing the previous No. 2, “Wednesday,” down to No. 3. “Superman” made a strong surge, gaining two spots to land at No. 4, now that it is available to stream on HBO Max. Meanwhile, “The Conjuring: Last Rites” slipped one spot to No. 5.

“Wicked: For Good” also showed upward movement, gaining a spot at No. 6 around two months before it arrives in theaters. The reality TV staple “Survivor” hits the list at No. 7, fueled by its 49th season premiere last week, followed closely by the Paramount+ drama “Tulsa King” at No. 8, following its Season 3 premiere last week. The previous week’s theatrical debut, “Him,” experienced a sharp decline, dropping four spots to land at No. 9. The sci-fi action film “Tron: Ares” debuts at No. 10 ahead of its Oct. 10 release in theaters.

Weekly Top 10 (Sept. 20-26)

The post ‘Tulsa King’ Muscles Into the Top 10 Titles Audiences Are Most Excited About After Season 3 Premiere | Chart appeared first on TheWrap.

 This exclusive WrapPRO/Pollstar Research Report on the state of live entertainment reveals that a heady post-pandemic surge is poised for a correction. See what the data is showing.

Executive Summary

Just three days after launching her world tour prophetically titled “Where Do We Go?,” Billie Eilish abruptly concluded the tour on March 12, 2020, to a sold-out crowd at PNC Arena in Raleigh, North Carolina, considered the last large arena show before COVID restrictions shut down live entertainment in the U.S.

Arenas like PNC, stadiums, clubs and theaters all stood empty as the live entertainment sector entered one of its darkest periods. But those moribund days were rewarded just two years later with a record-setting, whiplash rebound fueled by pent-up demand from fans itching to get off the couch and out of the house. The business surged in 2022, exceeding pre-pandemic levels. Average ticket prices for Pollstar’s worldwide top 100 touring artists rose by 10% ($96.17 to $106.07) from 2019 to 2022. Total grosses rose by 13% from $5.6 billion to $6.3 billion.

And the top 100 tours sold 20% more tickets per show. The first full year back, 2023, saw total revenues at $9.2 billion, far surpassing 2019’s pre-pandemic record-setting gross by 65%. That same year, Pollstar declared the time as the “Golden Age of Live.”

Fast forward to 2025, with its uneven economic conditions marred by trade wars, a volatile stock market, shaky consumer confidence, inflation and mixed employment reports, and live entertainment is similarly showing mixed results for the first three quarters of the year. Determining whether it’s a hiccup, or a correction for the industry after such a tremendous growth streak, may very well come down to the final months of the year, historically some of the most robust for live entertainment.

For now, the positive news is that some data for the top of the business showed growth, including an increase year-over-year for average ticket price. Additionally, the touring market has held its massive post-pandemic increases in value and remains strong. For smaller tours and venues, however, the business is contracting, albeit by single digits but it is cause for concern, especially as clubs serve as incubators for developing talent.

Top Takeaways

• The fourth quarter, historically one of the most robust periods of the year for live entertainment, will go a long way to revealing how much of a correction the live entertainment sector might be facing from its post-pandemic highs.
• As an entertainment choice for consumers, live events are still highly attractive compared to other forms of entertainment, our WrapPRO survey reveals, but fans are showing they are price conscious and demand is not inelastic as it seemed post-pandemic.
• Across the entire economy, inflation and employment worries still loom. Whether action by the Federal Reserve can control price increases and stimulate consumption is still a big question. Live entertainment spending, of course, is discretionary so if inflation spikes, be prepared to see some pullback on ticket sales and pricing changes.
• At the top of the live market, which includes stadiums and arenas, now in more international territories than ever before, we will continue to see small, but record-setting, growth.
• Demand for lower part of the live market, which includes clubs and theaters will likely remain flat or have lower grosses and ticket sales compared to previous years as consumers continue to choose larger tours over local and regional acts.
• Based on Pollstar’s mid-year and third quarter data, which was relatively flat with small increases and decreases, the year’s final tally may not deviate greatly from last year’s revenues and ticket sales. Retaining the value of the market’s post-pandemic surge over the last five years, however, is still considered a win.

Introduction

Live entertainment has become an important piston of what is called the “experience economy,” which has grown substantially in recent years based on people’s desire to spend their money on meaningful experiences over material objects.

As author and marketing expert Seth Godin once said: “In a world of abundance, people value the things that are scarce — and the scarcest thing of all is the feeling of being there.”

Travel and live entertainment have been the biggest beneficiaries of this trend. It’s why, by example, more than 200,000 intrepid fans head to Coachella every year, or why 35,000 people buy tickets for the Irish Repertory off-Broadway theater in New York each year, or why thousands of visitors paid as much as $200 a ticket to see a re-imagined “Wizard of Oz” in August at the Sphere in Las Vegas.

In a world of abundance, people value the things that are scarce — and the scarcest thing of all is the feeling of being there.” – Seth Godin, author

This report seeks to capture the state of live entertainment in 2025 through data and trendlines, while framing the industry in the context of other forms of entertainment.

What You’ll Learn From This Report

1. Insights, through six unique data sets, of what aspects of live entertainment are growing, flat or declining since the pandemic, and how that compares with movie box office in the same period.
2. Consumer insights. A WrapPRO survey conducted in early September of Wrap readers will show how they value, prioritize and spend their money on live entertainment.
3. The artists, tours and venues seeing the biggest gains in 2025.

How We Are Defining Live Entertainment

The custom analysis for this report (from Nov. 14, 2024 to Aug. 13, 2025) matching Pollstar’s chart year) includes both the music and comedy concerts that are ranked in Pollstar’s quarterly reports, as well as family shows, entertainment sports events such as WWE and touring musicals. The Pollstar data, based on Pollstar Box Office Reports, does not include sports games (like the NFL and NBA, et. al.) or movie theater attendance. A separate chart was added using Comscore data to show film box office performance.

A Snapshot of Live Entertainment from 2019 to Now

Average Gross per Show

Average gross per show on the top 100 worldwide tours is derived from the survey’s total gross divided by the number of shows. That this figure has more than doubled since 2019 is attributable to a powerful post-pandemic surge in demand resulting in higher attendances and ticket prices. In the last year, though, the gross has slightly contracted. (1.1% decrease).

Average Ticket Price per Show

Average ticket price is derived from dividing total gross by the total number of tickets sold. The 37.2% growth on the top 100 worldwide tours since 2019 indicates the industry is pricing to accurately meet demand. Though this year’s flat 1% growth could indicate a contraction ahead.

Average Number of Tickets Sold per Show

The healthy 50.5% increase in average tickets sold between 2019 and 2025 indicates how many artists are playing in larger venues and that demand is strong. Though this year’s slight 2.1% drop could augur a contracting market.

How Live Entertainment Compares to Movie Box Office

People did not flock back to movie theaters with the same enthusiasm that music and theater fans did once COVID restrictions were lifted. In fact, what you see from this Comscore data is that global box office has not exceeded pre-pandemic levels as other alternatives, such as streaming services available at home, have grown considerably as viable alternatives. The “global” category is a combination of U.S., Canada and international markets.

WrapPRO Survey:

What Consumers Told Us About Their Live Entertainment Choices

Our survey of Wrap readers conducted in September shows most of the more than 500 respondents told us they have seen a few shows so far in 2025, mostly close to home, paying no more than $150 per ticket, and that concerts are still their preference when spending entertainment dollars, as opposed to theater or even streaming subscriptions. But streaming was the first alternative to a go-to live event, followed by dining out.

Question 1: How many concerts have you attended so far in 2025

Question 2: Have you traveled more than 50 miles to see a concert this year?

Question 3: What venue size do you frequent the most?

Question 4: What is your general cut-off ticket price for deciding not to attend a concert?

Question 5: When it comes to spending money on entertainment, where do you place your highest priority?

Question 6: Of your overall budget for entertainment, what percentage would you say you spend on “live” entertainment?

Question 7: When you choose entertainment, which factor is most important?

Question 8: When you skip a live event, what is your go-to alternative?

Top 10 Touring Artists so Far in 2025

Pollstar’s Top Ten Worldwide Touring Artists ranked by ticket sales through Q3 2025 hit an array of genres and in total grossed $2.02 billion, up 12.7% from the $1.80 billion earned by last year’s top 10. Coldplay’s “Music of the Spheres” continues to put the bar higher as it approaches 2 million in ticket sales this year. Followed closely by Imagine Dragons, Shakira and Beyonce, who interestingly toured primarily in different markets: Europe (Imagine Dragons), Latin America and and North America (Shakira) and North America and Europe (Beyoncé).

 Top 5 Venues so Far in 2025

Stadiums

The stadium business, as evinced by Pollstar’s 3Q charts, is decidedly an international one with three of the top five stadiums with the highest attendances outside the U.S.

Arenas

The top five arenas by ticket sales include Yokohama, Madrid, Las Vegas, Manchester and Santiago are even more international than stadiums. With Japan’s K-Arena Yokohama topping Q3 with 1.42 million tickets sold. Madrid Spain’s Movistar Arena (formerly the Wizink Center until this year) follows closely with 1.39 million tickets and Las Vegas’ Sphere with 1.31 million.

Amphitheaters

The stunning Red Rocks Amphitheatre in Morrison, Colorado, a national treasure is also a perpetual chart topper, again crowning the amphitheater survey with more than 1 million tickets sold and a gross of $78.2 million, far more than any other shed.

Theaters

Another MSG property, New York City’s Radio City Music Hall tops the Q3 theater chart with 1.36 million tickets sold. Offering both seasonal family fare and major concerts, the iconic 1932 building continually tops our theater survey along with Mexico City’s Auditorio Nacional (1.24 million tickets), London’s legendary Royal Albert Hall (583.500), Zapopan, Mexico’s (532,000) and Atlanta’s Fox Theater (476.400).

Clubs

Hard Rock Live Hollywood in Hollywood, Florida, topped Q3’s club chart with 513.6K tickets sold Boston’s MGM Music Hall at Fenway follows with 245.900 tickets sold and then Montreal’s MTELUS with 209,000. Washington, D.C.’s 9:30 Club, part of Seth Horowitz’s regional I.M.P. empire in the nation’s capital follows with 166.400 and then Atlantic City’s Hard Rock Live at Etess Arena with 165.400. In terms of gross Hard Rock Live Hollywood far outpaces any other club venue with $51.6 million haul.

What the Venues’ Performance Tells Us

A look at venue results for Q3 based on Pollstar box office reports for the last three years shows that stadiums and large venues with capacities over 30,000 are the one venue category that saw substantial increases in grosses, ticket sales and ticket prices compared to the previous two years, which is keeping with Q3’s Top 100 Worldwide Touring Artists chart.

In the smaller venue categories, however, the market contracted, though mostly by single digits. That contraction is in line with what Pollstar has heard repeatedly from club promoters and talent buyers along with such industry organizations as the National Independent Venue Association, National Independent Talent Organization and the International Entertainment Buyers Association who say many in the club sector continue to face increased economic hardship. This includes greater difficulty selling tickets along with lower bar sales, rising expenses, shaky consumer confidence and a volatile economy, all of which can leave margins razor thin at best.

Venues with capacities of 750 or lower sold an average of 278 tickets per show in Q3, 3.5% less than last year’s 288 and 7% lower than 299 in 2023. The average ticket price was $34.74, up 11.1% over last year. Grosses increased 7.2% over 2024 to $10,075. Still, lower ticket sales means lower per caps for clubs who depend on ancillary sales.

For larger clubs with a capacity of 751-1,500, the ticket average dropped to 769 in 2025, a 3.9% drop from 2024’s 800 average and a more substantial 9.4% from 2023’s 849 average tickets sold. Average grosses YoY dropped 3.8% from $35,049 per show last year to $33,714 this year and saw a 6.1% drop from 2023’s $35,900 per show.

For 1,501-2,500 capacities, 2025’s average ticket count of 1,457 is less than one percent lower than last year’s 1,460, but it is 7.23% less than 2023’s 1,571 average. Likewise, the gross average of $81,800 is only 0.6% lower than 2024’s $82,300 but a 2.7% drop from 2023’s from $84,100.

For venues in the 2,501-5,000 category, the change in average tickets sold between 2025 (2,629) and 2024 (2,661) is negligible, a 1.2% drop; the decrease since 2023 (2,894) represents a more substantial 9.2% difference. The same holds true for the average gross which remained on par between 2025 and 2024, but this year’s $169,980 average dropped 8.1% from 2023’s $184,947.

Outside Of The Data: What Lies Ahead

• Coachella’s mid-September release of its line-up, four months earlier than usual, and subsequent sell-out of both weekends, for the first time in three years, bodes well for next year’s festival market. With major pop headliners Sabrina Carpenter, Justin Bieber and Karol G and critically acclaimed acts from other genres, Golden Voice/AEG did a masterful job setting up the market-leading festival.
• Immersive experiences continue to do well in the marketplace. Sphere, which extended its Backstreet Boys shows to 35 performances and saw great success with its “Wizard Of Oz” show and Kenny Chesney, also announced Zac Brown Band and its first Latin artist in Carin León, most recently reported Q2 revenues of $175.6 million, a 16% increase over last year. With venues like COSM, immersive stages at festivals like Bonnaroo and Coachella, a litany of slated hologram shows — all enhanced by AI technology — immersive formats will continue to evolve and proliferate.

• We are amidst a ‘90s nostalgia resurgence with millennials reaching the apex of their spending power which coincides the notable success of ’90s touring acts like Oasis, Radiohead, Backstreet Boys, Linkin Park, Pearl Jam, Green Day, Chemical Brothers, Air, System of a Down, NIN, Nas, 50 Cent, Shakira, Prodigy, Creed, Brandy & Monica, Alanis Morissette and others. Expect that to continue into and beyond 2026.
• Premium spaces and tiers are now a part and parcel of nearly every new stadium and arena build and most any renovation plan with seating now closer to the stage and/or field of play. The introduction of VIP spaces in theaters and clubs is a continuing trend with balconies and side areas reserved for top-paying customers.

Report Partners

Report authors: Tom Lowry, TheWrap; Pollstar staff
Report Designer: Ian Robinson, TheWrap

The post Exclusive Research — Taking a Beat on Live Entertainment: 2025 appeared first on TheWrap.

Looking deeper at the data from Parrot Analytics, here are three takeaways — including demand levels for “The Pitt” stars, “Adolescence” and Apple TV+.

“Adolescence” highlights Netflix’s ability to turn an original concept into a breakout hit

“Adolescence” was arguably the sleeper hit that broke through with audiences. In the first two days, the global demand for “Adolescence” lagged all the other nominees in the Limited Series/Anthology category, but while other nominees like “Dying for Sex” and “Monsters” quickly peaked and faded, demand for “Adolescence” kept building until it peaked 12 days in at 77.7x the average series demand globally. 

It did not quite reach the highs that “Black Mirror ” or “The Penguin” saw, but those shows arguably had structural advantages. “Black Mirror” is a long-running show in its seventh season. “The Penguin” is part of the well-established DC Universe and benefitted from that built-in fanbase.  

“Adolescence” is another example of Netflix’s ability to take a truly original concept (the other nominees are either in later seasons, part of a franchise, or based on a podcast in the case of “Dying for Sex”) and turn it into a breakout hit similarly to what it did for “Squid Game.”

Apple TV+ solidified its reputation for prestige content not just with its awards haul at this year’s ceremony but also with audiences

“The Studio” set a record as the debut comedy series to receive the most nominations and walked away at the end of the night with the most wins. Other originals from the platform like “Severance” and “Shrinking” also racked up multiple nominations. Looking at the performance of Apple TV+ shows over the past year we can see that they weren’t just winning over Academy voters, they were popular with audiences.

The average demand for Apple TV+ series leveled up over the course of this year’s eligibility period. In June-July 2024 the average global demand for Apple TV+ shows was around 5x, but this moved to around 6x for the rest of the eligibility period. This was higher than the average demand for shows from other “prestige” brands like FX and HBO that also had multiple contenders at this year’s awards.

A win can be a major spotlight for talent

Two actors from “The Pitt” won in their respective categories — Noah Wyle for Outstanding Lead Actor in a Drama Series and Katherine LaNasa for Outstanding Supporting Actress. Both saw a higher demand following their win than at any point during the actual release of “The Pitt” at the beginning of the year.  Following the ceremony, the U.S. demand for both actors jumped to over 100x.  While this spike in attention may be short lived, having the spotlight for even a night can be a springboard to future opportunities for talent.

The post Apple TV+ Emmy Contenders Had Higher Demand Than FX, HBO Max During Awards Season appeared first on TheWrap.

Break things down a bit further, and we’re really looking at a battle between release strategies. HBO Max had a tight grip, maintaining a majority of weeks in the top spot from June 2024 until June of this year, thanks to just four series: “House of the Dragon,” “The Penguin,” “The White Lotus,” and “The Last of Us.”

That run had this very column wondering if Netflix’s binge model was losing popularity with viewers, but time has proven that you can’t count the binge model out yet. HBO Max’s last number one was 16 weeks ago. Netflix has held the top spot for 15 of those 16 weeks with nine different titles, including this week’s new chart topper, “Black Rabbit.” Hulu’s “Alien: Earth” was the only title to put a temporary halt to the streamer’s 16-week run.

HBO Max series have made the Top 10, including the streamer’s current Sunday-night title, “Task.” Yet none of those have caught on enough with viewers to dominate the way the previous big four titles had. Nor are they enough to stem an avalanche of Netflix content: the streamer has placed a whopping 39 different titles on the Top 10 since early June, including seven on this week’s chart.

So, what are the titles on this week’s Top 10? Sitting in the top spot is Netflix’s new “Black Rabbit.” The combined star power of Jude Law and Jason Bateman drew 2 million U.S. households to watch the thriller miniseries in its debut weekend.

In second is “Ice Road: Vengeance,” serving as yet another example of the strength of the platform. The movie is not a Netflix original, but Liam Neeson’s pivot to action star has proven to be a popular choice, as the film racked up eyeballs when it was made available on streaming.

“The Summer I Turned Pretty,” a true hit for Prime Video, rises all the way to third this week as it added its series finale. The show broke out in its third season, spending 10 straight weeks on the Top 10.

Two more Netflix titles are next, as the rom-com movie “The Wrong Paris” climbs to fourth from tenth in its second week on the charts. Meanwhile, the documentary series “aka Charlie Sheen” heads in the other direction, sliding down two spots to fifth.

“Alien: Earth,” the only non-Netflix title to top the chart in nearly four months, returns this week after a several-week absence. The series wrapped on Sept. 23, so check back next week for the finale viewership.

Netflix’s most-popular series, “Wednesday,” falls from number one down to seventh this week, but please don’t shed any tears for the Addams Family scion. The show’s second season spent four of the past six weeks at the top, aided by Netflix’s two-part release strategy.

“The Terminal List: Dark Wolf,” another Prime Video hit, falls three spots this week, down to eight. The action series will add its seventh and final episode to streaming on Sept. 24.

Could this be the last we see of “KPop Demon Hunters?” The animated film is ninth this week, its lowest placement since July. Still, the global phenomenon has spent 13 weeks in the Top 10 – now 12 straight – a true outlier for both Netflix and streaming in general.

Finally, in tenth, we have “Beauty in Black,” the latest from writer, director and producer Tyler Perry. Remarkably, of those 39 Netflix titles that have charted since June, Perry has had a hand in three of them.

Changing the channel to linear TV, we find much more variety than we’ve seen in recent weeks. “Dancing With the Stars” kicks things off, as viewers were clearly delighted to have the show return for its 34th season on ABC.

“High Potential,” the ABC crime drama starring Kaitlin Olson, debuts at number two this week. It’s the lone scripted show on the linear chart this week, having clearly built some buzz ahead of its second season.

Season 20 of “America’s Got Talent” grabs two spots this week, third and sixth, as the popular competition reached its semifinal round. The three-part finale kicks off on Sept. 23 on NBC.

There’s even more musical performances on the chart this week, with two tributes to legendary institutions. “Opry 100: A Live Celebration” is fourth as NBC re-aired the March 19 tribute to the iconic country music program. There’s also “A Grammy Salute to Earth, Wind & Fire,” where stars like Janelle Monae and Stevie Wonder paid tribute to the pioneering band.

Meanwhile, “Remembering Charlie Kirk” came in fifth as the memorial was televised across networks to the tune of 3.2 million U.S. households when it aired.

The game show “99 to Beat” on Fox gets that lovely post-NFL viewership bump this week, putting it in ninth. Last but not least, we couldn’t have a linear Top 10 without “Wheel of Fortune.”

The Wrap Report provides an exclusive first look at the most-watched movies and TV series from the past week across both streaming and linear television, sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

The post ‘Black Rabbit’ Continues Netflix’s No. 1 Run on Streaming Top 10 | Chart appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

NFL Football continues its reign at No. 1, holding strong as the season progresses. Riding a post-finale surge, “Wednesday” moves to No. 2, while “Stranger Things” makes a notable leap to No. 3, building buzz two months ahead of its season five premiere. “The Conjuring: Last Rites” moves down to No. 4, while the new horror film, “Him,” debuts at a strong No. 5. 

“Superman,” now streaming on HBO Max, and “Wicked: For Good” both remain in the Top 10, landing at No. 6 and No. 7, respectively. “Demon Slayer: Kimetsu no Yaiba The Movie: Infinity Castle” gained a spot at No. 8 as it became the highest-grossing anime film of all time. The Hulu series “Only Murders in the Building” entered the top ten for the first time since the start of Season 5 earlier this month, landing at No. 9, while “The Summer I Turned Pretty” rounds out the list at No. 10 following its series finale this past week. 

Weekly Top 10 (Sept. 13-19)

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There is no doubt that the procedural format has successfully made the transition from its linear origins to the streaming era.  Shows like “NCIS” and “Criminal Minds” have paid dividends for the platforms they are on. Parrot Analytics’ Streaming Economics model calculates that since 2020, the original “NCIS” series itself has brought in nearly $200M in streaming revenue globally for Netflix alone.

Procedurals are known for long tail value because of huge episode libraries.  With more than two decades of back catalog, the financial calculation of “NCIS” is different from a “9-1-1.” A newer franchise with fewer spinoffs like “9-1-1” may be more in growth mode, and looking to bring new audiences to the franchise.  For “NCIS,” the most impactful move may be to draw in proven fans of the franchise to a platform where they will find essentially a bottomless supply of old “NCIS” episodes to stream, an effective asset for retaining them once they are signed on.

We can see how “9-1-1: Lone Star” made inroads with new audiences that were not engaged with the original series.  Of the total audience of the original “9-1-1,” 8% was under age 32. But “Lone Star” was more successful in breaking through with younger audiences, with nearly 55% of the spinoff’s audience younger than 32. “Lone Star” also did a better job bringing in male audiences compared to the original series, where 74% of the audience was female.

Contrast this with the NCIS franchise which has had, consistently across six series, over 70% of its audience over the age of 30. Has doubling down on its core audience hit a ceiling for “NCIS?” Last year’s premiere of “NCIS: Origins” saw some of the highest demand for a new series premiere in the franchise, averaging over 20 times the average series demand globally over the course of its first season. So far, “Tony & Ziva” is significantly lagging that with less than 5x demand globally to date.

But don’t count the latest NCIS entry out yet. Even if it is only engaging a smaller audience of the most devoted NCIS fans, if it can get them to sign up to Paramount+, they will encounter a powerful retention engine there in the extended NCIS franchise, which has the potential to turn them into high lifetime value customers for the platform.  To put a number on it, we calculate that in the first quarter, the NCIS franchise as a whole was responsible for retaining over 1.6M subscribers on Paramount+ globally.  These fans are likely to stick around — the trick is getting them signed up in the first place.

The post The Economics of Network Procedurals: How ‘9-1-1’ and ‘NCIS’ Balance Growth With Feeding the Fanbase | Charts appeared first on TheWrap.

“Wednesday’s” two-week run means a Netflix title has held the top spot for 14 of the past 15 weeks, with “Wednesday” itself responsible for four weeks at number one. The streamer owns five spots on this week’s chart, with three debut entries, again asserting its dominance over the streaming landscape. The shining star that refuses to be knocked out, however, is “KPop Demon Hunters” as it continues to make history for the streamer.

In second place this week is “Task,” a crime drama series with Mark Ruffalo as an FBI agent on the hunt. Whether it will hold off Netflix’s lock on the top three for another week remains to be seen.

That’s followed by the two-part documentary “aka Charlie Sheen,” a no-punches-pulled look at the actors’ turbulent life.

There are two Prime Video titles to follow Sheen, and both follow different release schedules. In fourth is “The Summer I Turned Pretty,” one of Prime Video’s biggest hits ever. The third season of the coming-of-age drama has been a chart mainstay now for nine straight weeks, thanks to a traditional weekly-release schedule. Check back here for viewership on its Sept. 17 season finale next week.

Meanwhile, “The Terminal List: Dark Wolf,” in fifth this week, follows a more unconventional release path. Prime Video offered three episodes on August 27, then switched to weekly episodes. This has helped the title remain on the chart for three weeks now, with two more episodes before it wraps its season.

Netflix owns the next three titles on the chart. The docuseries, “Unknown Number: The High School Catfish,” debuted at nine two weeks ago, shot up to second, and slid down to sixth this week.

Behind it is “Beauty in Black,” a drama series that returned for its second season on Sept. 11. This is the latest Netflix title from polyglot writer, director and producer Tyler Perry, who added two chart toppers of his own during this current Netflix run of dominance (“Straw” and “Madea’s Destination Wedding”).

In eighth is the unshakable “KPop Demon Hunters” which, despite never topping the chart, has become the most-watched Netflix movie in history and shared the chart with more than 25 other Netflix titles in the 11 weeks it has appeared in the Samba TV Wrap report.

The lone non-Netflix or Amazon title on this week’s chart is “Only Murders in the Building.” The enduring Hulu series returned for its fifth season with three episodes arriving on Sept. 9.

Coming in tenth this week is yet another new Netflix title, “The Wrong Paris,” a rom-com led by Miranda Cosgrove as she mistakenly joins a reality dating show set in Paris, Texas not Paris, France.

Over on linear, it’s another week, another award show topping the chart. Television’s celebration of itself, “The 77th Emmy Awards,” holds the top spot this week, while red carpet coverage of the ceremony is fifth.

The Emmy’s own two spots this week, but “America’s Got Talent” has three. The competition’s regular airings come in second and sixth this week as it moves through its quarterfinal round. A separate “20th Birthday Party” special also aired this past week, coming in tenth.

Season two of the medical drama “Doc” kicked off on Fox on Sunday September 14 making it the latest show to benefit from an NFL lead-in.

A rerun of “Saturday Night Live” cracks the chart in fourth this week, ahead of the show’s 51st season premiere on Oct. 4. “Wheel of Fortune” rounds out the chart, taking spots seven through nine.

The post ‘Wednesday’ Tops Streaming Chart Again, While ‘KPop Demon Hunters’ Makes Netflix History with 11 Weeks in the Top 10 appeared first on TheWrap.

ScreenShare, a data partnership between Screen Engine/ASI and TheWrap, tracks the Top 10 most-mentioned entertainment options every week and whether each has gained or lost momentum compared to the prior week. The chart lives on the Data & Analysis page of the WrapPRO Members Hub.

NFL football holds strong at No. 1, riding the momentum of the season’s opening games. “The Conjuring: Last Rites” moves up to No. 2, capitalizing on its theatrical debut Sept. 5, while “Wednesday” slides down one spot to No. 3 following the release of the second half of its second season on Netflix. “Superman” drops out of the top three to No. 4, and “Wicked: For Good” also falls one position to No. 5, despite continued anticipation for its upcoming release.

“Stranger Things” holds steady at No. 6, while “The Summer I Turned Pretty” moves up one position to No. 7 as its final season nears its conclusion on Sept. 17. “Alien: Earth” slides one spot to No. 8. A new entry, “Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle,” debuts at No. 9, leading up to its opening weekend in theaters. “Dexter: Resurrection” rounds out the top 10.

Weekly Top 10 (Sept. 6-12)

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