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.

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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.

To understand the expectations for “The Paper,” it’s worth revisiting the track record of its predecessor. During its NBC run, “The Office” never dominated traditional Nielsen ratings the way many might assume with the 20/20 hindsight of the show’s success today. Its peak came in Season 5, averaging just over 9 million viewers, and it never cracked the top 10 shows overall. Even in the coveted 18–49 demo, “The Office” peaked at #11, behind more conventional sitcoms like “The Big Bang Theory” and “Two and a Half Men.”

In popular memory, “The Office” has managed to punch far above those numbers. Its mockumentary format became a template for countless imitators, and the show’s enduring relevance only grew after it ended, thriving in the streaming era in a way that few of its contemporaries have matched.

Parrot Analytics’ Streaming Economics data highlights just how valuable “The Office” has been in the digital age. Since 2020, the series has generated around $540 million in global streaming revenue across major platforms. That is actually lower than “The Big Bang Theory,” which has pulled in nearly $700 million thanks in part to an active and still popular franchise (“Young Sheldon”, “Georgie & Mandy’s First Marriage”).

A fairer comparison is looking at how “The Office” has performed for Peacock compared to its old linear rival, “Two and a Half Men.” For Peacock, “The Office” has been the clear winner. Since its arrival on the platform in 2021, we calculate that “The Office” has acquired nearly 900,000 subscribers for Peacock, which is more than double the amount brought in by “Two and a Half Men.”

Even today, “The Office” remains in Peacock’s top 10 most in-demand shows, years after it aired its final episode. The only Peacock original in the top 10 on the platform was “Love Island USA.”  We estimate that this has earned just over $40M in streaming revenue for the platform compared to “The Office” which has brought in over $100M in subscriber revenue for Peacock.

What does this mean for “The Paper?” The bar set by “The Office” is likely unattainable as lightning rarely strikes twice at that scale. But success doesn’t require replication. If “The Paper” can capture even a fraction of the still-active fanbase of “The Office,” it could become one of Peacock’s most impactful acquisition drivers.

In an era where audiences crave the comfort of established IP, “The Paper” doesn’t need to be revolutionary. It needs to be familiar enough to draw lapsed fans back in, while distinct enough to sustain interest. Streaming economics suggests that even a modest share of the enduring appeal of “The Office” could translate into tens of millions in revenue. For Peacock, that makes “The Paper” a smart bet.

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The “Power” universe of crime dramas co-created by Curtis “50 Cent” Jackson has generated $130 million in streaming revenue through subscriber additions and retention between the second quarter of 2022 through the first quarter of this year, according to Parrot Analytics’ Streaming Economics data. 

That exceeds “Outlander,” but thanks to an expansive licensing deal, Parrot estimates that the time-traveling romance show has generated $450 million in revenue for Netflix, despite only generating $75 million in direct streaming revenue for Starz. 

The two franchises — each significant money makers for Starz — highlights the dilemma smaller services face when figuring out how to best utilize its original content. While keeping “Power” and its spinoffs on the service as an exclusive gives audiences justification for keeping their subscription, having “Outlander” explode on a bigger platform like Netflix gives it a sizable revenue and visibility boost. 

It’s a decision that every streamer has had to make, but the stakes are higher at Starz, which is fresh off its separation from Lionsgate Studio and making its mark as an independent company. Its second report as a public company earlier this month was a mixed bag, with a loss of $42.2 million and its subscriber base shrinking by 520,000 to 19.1 million. 

The company, for its part, is leaning towards the side of owning more of its intellectual property.

“I don’t view this as a tough decision for Starz,” CEO Jeffrey Hirsch said in a statement sent to TheWrap on Tuesday. “Our strategy is, and will remain, focused on a content scarcity approach. We have not seen any incremental benefits that accrue back to the network from our shows being licensed out to other platforms, so our strategy will continue to keep content exclusive.”

In a May interview with TheWrap, Hirsch confirmed “Blood of my Blood” will be an exclusive and not end up at Netflix.

The executive added he expects the IP ownership strategy will help the company get to his target of 20% margins by the end of 2028 through greater cost control and increased revenue streams.

Powerful franchises

“Power” and its three spinoffs are Starz’s heavyweight offerings. “Power” began as a drama about a drug dealer named James St. Patrick a.k.a. Ghost (Omari Hardwick) who wants to leave the crime world and go legit as a nightclub owner, but ends up having to juggle those two contradictory worlds. 

The sprawling franchise, which now includes “Power Book II: Ghost,” prequel “Power Book III: Raising Kanan” and “Power Book IV: Force,” has earned more cumulative streaming revenue for the Starz service than “Outlander.” 

While that universe is clicking along, there’s more at play with the “Outlander” franchise. Based on the Diana Gabaldon book series of the same name, the show premiered in 2014 and follows the time-traveling romance between Claire Randall (Caitriona Balfe), a former WWII nurse in 1945, and Jamie Fraser (Sam Heughan), a Highland warrior from 1743. The show will end its run with a 10-episode eighth and final season that is expected to premiere in early 2026.

Starz aims to keep the franchise going with a prequel spinoff, “Blood of My Blood,” focused on the love stories of Jamie and Claire’s parents, which premiered Aug. 8 and has already been renewed for a second season.

“Our content strategy continues to resonate with our audience as the subscriber additions from last weekend’s ‘Outlander: Blood of My Blood’ premiere were the third highest for a series premiere in Starz’s history,” Hirsch said in the earnings announcement. 

But demand for the spinoff’s global premiere has trailed the last two parts of “Outlander,” which Parrot noted is a “natural dynamic for a new title still building awareness.” This also comes as demand for “Outlander” Season 7 Part 2 fell short of Part 1, which Parrot attributed to the year-long gap between releases. 

Starz, so far, considers “Outlander: Blood of my Blood” a success. “It has generated the third highest number of subscriber additions for a series premiere in STARZ’s history and viewership has exceeded the last episode of “Outlander” Season 7 by 40%,” Hirsch said earlier this month.

While Parrot said the trailing results could open the door to repeating its “Outlander” deal with Netflix, Hirsch’s comments seem to dismiss this notion. 

More franchises to come

Starz isn’t standing still. The streamer has another “Power” spinoff in the works, with “Power: Origins,” the second prequel after “Raising Kanan,” set to debut in 2027. A subsequent series, “Power: Legacy,” will follow after “Origin.”

The company also announced the revival of another franchise, “Spartacus,” with a spinoff titled “Spartacus: House of Ashur,” executive produced by Steven S. DeKnight and starring Nick E. Tarabay, who will once again take on the title character. 

“Spartacus” is another franchise that spawned spinoffs and a loyal fanbase. It also found success on Netflix when it got licensed out.

It appears “House of Ashur” may follow the “Blood of my Blood” route and stay on as an exclusive, with Starz looking to ramp up the creation of new franchises.  

“With no incremental overhead cost to the business, we will commence rebuilding our library and reclaim ownership economics, enhance cost efficiency and create new revenue streams,” Hirsch said. “We have officially opened writers’ rooms for several series that STARZ will own the IP.”

Jose Bastidas contributed to this story.

Editor’s note: An earlier version of this story said the company reported its first quarterly results in August. The story has been corrected. TheWrap regrets the error.

The post The Starz Streaming Breakdown: Stay Exclusive or License Your Biggest Franchises? appeared first on TheWrap.

That figure puts it in on par with “American Dad!,” a still-airing animated sitcom with a steady pipeline of new episodes.  Another point of comparison is creator Mike Judge’s earlier animated comedy, “Beavis and Butt-Head,” which along with its reboot has delivered just over $50M in streaming revenue for Paramount+ since 2020.

For Hulu, the numbers help explain why the streamer invested in a “King of the Hill” revival, which brings Arlen, Texas, into the modern world. With streaming platforms increasingly focused on proven IP to drive engagement and retention, reviving a series with a decade-plus track record of generating consistent value is a low-risk, high-reward strategy.

This isn’t Hulu’s first rodeo when it comes to reviving a beloved animated series. In 2023, the streamer brought “Futurama” back after a 10-year hiatus. Since returning, the series has transformed from a moderate performer to one of Hulu’s top animated revenue drivers.

The show’s total revenue contribution to Hulu is now approaching $120 million, with much of that growth coming post-revival. The upcoming third season since its return is set to premiere next month, giving Hulu another opportunity to market around a familiar brand and deepen engagement with both nostalgic viewers and new audiences.

However, there are also cautionary lessons to be learned from “Futurama”s revival.  The show witnessed a huge spike in global demand for its first revived season, peaking at over 60 times the demand for the average show. This initial spike in demand for the show tapered off consistently throughout the course of the first rebooted season. Demand for the second season on Hulu in 2024 has been significantly more subdued.

This pattern reflects a “pent-up demand” effect. Fans who have been waiting years for new episodes rush to watch the initial return, generating a large spike in interest. Sustaining that level of demand into subsequent seasons can be challenging, as the novelty factor fades and the show must compete with a crowded release calendar.

For Hulu’s “King of the Hill” revival, this dynamic has strategic implications. The streamer’s marketing push should be heavily front-loaded, aiming to convert that initial wave of nostalgic viewers into sustained engagement. Hulu appears to be embracing this strategy with its all-at-once episode drop on Aug. 4 instead of rationing episodes weekly.

Animated comedies like “King of the Hill” and “Futurama” have unique staying power in streaming because they’re endlessly rewatchable and easy to dip into mid-series. Hulu, in particular, has built a reputation as a home for fans of adult animated comedies. The lesson for rebooting this IP is clear –  nostalgia sells, but keeping fans engaged after the initial comeback is the real art of the reboot.

The post Why Did Hulu Make a ‘King of the Hill’ Revival? It Generated $100 Million in Streaming Revenue | Charts appeared first on TheWrap.

According to demand data from Parrot Analytics, the leader in global media and entertainment analytics, Korean titles were the second-largest driver of global revenue among all non-English-language originals across streaming platforms in the fourth quarter of 2024, trailing only Japanese content. This signals more than just audience appeal, Korean titles are delivering measurable financial returns. As platforms race to capture international markets and Gen Z audiences, Korean IP has proven itself both scalable and lucrative.

Netflix’s $2.5 billion commitment to Korean content over four years is a clear indication that this is a long-term strategic play. But the influence of Korean entertainment extends far beyond licensing and production budgets. It’s now shaping creative decisions across borders. Take “KPop Demon Hunters,” an animated film released by Netflix in June. Though produced in the U.S., the film is steeped in Korean aesthetics and narrative sensibilities. 

It follows a fictional girl group that doubles as a secret team of demon slayers, a clear homage to both K-pop fandom and Korean fantasy storytelling. According to Parrot Analytics, “Demon Hunters” reached the second-highest global demand peak of any streaming original film in 2025 so far. On top of that, its soundtrack surged to No. 2 on the Billboard 200, illustrating the synergistic power of combining music, genre storytelling and youth culture.

This is no coincidence. Parrot’s data reveals that three of the five most in-demand global music artists in the first half of 2025 are Korean, with their fan bases heavily skewed toward Gen Z. Approximately 60% of audience engagement with these artists comes from Gen Z, making Korean IP a natural fit for cross-platform strategies. During its debut week, “Demon Hunters” reached an exceptional level of demand in 20 countries, outperforming the average title more than 32 times. U.S. led in demand while four Asian markets reached the Top 10, with France and Brazil standing out among Non-Asian and Non-English-language countries. 

The industry is witnessing a paradigm shift, Korean entertainment is no longer just exported, it’s emulated, adapted and localized. Whether through co-productions, creative collaborations, or aesthetic inspiration, Korean media has embedded itself in the global creative economy. As Korean content continues to break down linguistic and cultural barriers, it also strengthens South Korea’s soft power, boosts tourism, and increases the country’s cultural awareness. For streamers, studios, and creators, betting on Korean IP is no longer a niche strategy, it could be a blueprint for global relevance.

The post As ‘KPop Demon Hunters’ Explodes on Netflix, Demand for Korean Content Is Surging | Charts appeared first on TheWrap.

We calculate that “The Late Show with Stephen Colbert” generated just under $60 million in streaming subscriber revenue for Paramount+ in the US and Canada from Q1 2021 (when Paramount+ launched) to Q1 2025. That number is significantly lower than what other major late-night franchises delivered for their respective platforms during the same period: “Last Week Tonight with John Oliver” brought in $184 million for HBO Max, and “The Tonight Show Starring Jimmy Fallon” drove $122 million across Hulu and Peacock during the same time.

This gap highlights a key challenge for Paramount+. While “The Late Show” drew a loyal and sizable linear audience, the platform struggled to translate that attention into meaningful streaming revenue. Streaming is just one part of a late-night show’s value equation (advertising, licensing and brand partnerships still matter), but in today’s media landscape, the ability to drive subscription revenue has become a top priority for platforms.

This is not to fault Colbert’s show, which is still hugely popular and not just with linear audiences. In the first half of this year, “The Late Show” was the third most in-demand late-night series in the US, with nearly 36 times the average series demand. This is pretty much on equal footing with demand for other top late-night shows.

This disconnect between audience demand and streaming revenue points to platform-specific monetization limitations. Paramount+ may not have had the scale, marketing efficiency, or content bundling strategies necessary to fully capture the value of “The Late Show’s” fandom. That raises a broader question for the industry: How should legacy media companies evolve their content strategies when even high-demand IP struggles to perform on their own platforms?

Figuring out how to make a traditional format like late night work is a problem mainly facing legacy entertainment companies. Newer players, such as Netflix and Prime Video, haven’t really explored the genre extensively. Still, it is an interesting thought experiment to think about whether a platform with the reach of Netflix or Prime Video could have realized more value from Colbert than Paramount+ was able to.

In an era where every content decision is increasingly judged through a streaming ROI lens, “The Late Show with Stephen Colbert” could be a casualty of misaligned monetization, not declining relevance. The show still has cultural weight and consistent viewer interest, but in the streaming-first future, that’s not always enough.

While many have questioned the relevance of the late-night talk show format today, this data does offer a glimmer of hope. “The Late Show” lagged its peers in terms of its streaming revenue performance on Paramount+. Other titles, such as “Last Week Tonight,” have generated multiple times more revenue than “The Late Show.” Adapting the late-night format to the new streaming-first reality can help the genre survive.

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The final round of the Men’s Singles tournament saw Carlos Alcaraz facing off against Jannik Sinner in a rematch of the French Open earlier this year, which Alcaraz won. Alcaraz was the defending Wimbledon champ, having bested Djokovic the past two years, so it was something of an upset when Sinner emerged victorious. The budding rivalry between these two players can serve as a compelling narrative that will draw attention to events like Wimbledon and the sport of tennis in general.

While established tennis champs have historically captured the lion’s share of attention from global tennis fans, the global demand for Alcaraz and Sinner has surged since their recent high-profile matchups. As of July 14, Sinner was the most in-demand athlete in the world, with Alcaraz a close second.

This isn’t to say Djokovic, Nadal or Federer have faded into irrelevance. All three continue to spark meaningful demand spikes around key moments. For example, Djokovic during the Australian Open and Federer during anniversary tributes and sponsorship appearances. However, the overall trend points toward a generational handoff. Today’s fans are turning their attention to the athletes shaping the next era.

This changing of the guard also appears to be shifting national interest in the sport. Parrot Analytics’ Sports Demand shows that in Serbia, Djokovic’s home country, tennis accounts for a sizable 21% of all demand for sports competitions.  A national sports hero like Djokovic has the ability to drive interest in a sport like tennis in his home country. The share of demand for tennis in Italy so far this year (19.7%) is not far behind Serbia. As national pride fuels fan engagement, it is likely we’re seeing the Sinner effect in real time, illustrating how the success of a local star can drive broader interest and growth for a sport in their home market.

In Spain, France and Australia, traditional tennis strongholds, tennis still commands a healthy share of overall sports interest. In the U.S., tennis captures 8.6% of the country’s sports demand, which is just above the global average of 8.1%. It serves as a reminder that even in a crowded sports ecosystem, elite talent and iconic tournaments like Wimbledon still break through.

For marketers, rights holders and broadcasters, these audience signals matter. They suggest that while nostalgia for tennis legends remains potent, the business of tennis must increasingly be forward-looking. Rising stars like Alcaraz and Sinner aren’t just winning matches, they are winning over fans, sponsors and entire countries.

To fully capitalize on this momentum, platforms and advertisers may want to double down on storytelling around this generational shift. If demand is any indicator, the future of tennis is already here and audiences are tuning in.

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As of July 11, one day after its premiere, “Too Much” had 22.3 times the average series demand in the U.S., tracking ahead of demand for both “Hacks” and “The White Lotus” at the same point in their first season. To be fair, both HBO series took advantage of a weekly release schedule, which helped to build anticipation going into the finale, while all episodes of the first season of “Too Much” were dropped on Netflix at once. We still need time to get a full picture of how the show is performing, but it is certainly in a similar category with both “Hacks” and “The White Lotus” in terms of the amount of attention it has garnered in its first few days.

While Megan Stalter may be the lead of “Too Much” and riding the high following the recent season of “Hacks,” Lena Dunham appears to be the biggest talent draw for the new series. As of July 11, Dunham ranked as the 57th most in-demand talent in the U.S. Stalter’s role in “Too Much,” meanwhile, has catapulted her to new levels of fame and a higher level of demand than she has seen, even over four seasons on Hacks, but she has yet to break into the Top 500.

Parrot Analytics’ Streaming Economics model shows that “Hacks,” “The White Lotus,” and “Girls” have all generated serious financial returns on HBO Max. The fact that “Too Much” features talent from these series and has had comparable levels of demand early in its premiere are two indicators that it has the potential to match these financial results for Netflix.

Lena Dunham’s best-known show, “Girls,” which ran from 2012 to 2017, continues to pay dividends on streaming platforms today and has generated over $110 million in global streaming revenue on HBO Max since 2020. Although it has had four seasons since 2021, “Hacks” has had a more modest return for the platform ($77 million). “The White Lotus” has been the biggest success of these three shows, raking in nearly $170 million in streaming revenue since premiering in 2021.

Netflix bringing in proven talent, both on screen and behind the camera, was a savvy way to help ensure the success of a new original concept. So far, the show looks capable of matching the results of the other major series its talent have been involved with, but keeping audiences engaged over multiple seasons will be key.

The post Netflix’s ‘Too Much’ Debuts With Demand Rivaling HBO Hits | Charts appeared first on TheWrap.

In the days since premiering, “F1” outperformed recent Apple Original titles like “Napoleon,” “Killers of the Flower Moon” and “Argylle.” The U.S. was the market with the highest demand for this movie, which may be a surprise given the lack of traction the sport has with Americans. As an example, we can see this when looking at the hugely successful “Drive to Survive” on Netflix. So far this year, the U.S. doesn’t even rank in the Top 10 markets with the highest demand for this show. Something particular about this movie helped it to break through with Americans (Brad Pitt’s star power may have something to do with that).

The opportunity here goes beyond box office bragging rights. Formula 1 remains a niche sport in the US, accounting for just 4.9% of total sports demand so far this year – far behind countries like the Netherlands (21.2%), Italy (12.9%), and Germany (12.0%), according to Parrot Analytics’ Sports Demand. Globally, F1 commands 8.1% of all demand for sports competitions, underscoring the growth potential in the U.S. market.

There’s a clear precedent for sports-adjacent content becoming a major growth engine. “Drive to Survive” helped introduce Formula 1 to US audiences and has been a hit with Netflix, generating over $300 million in global streaming revenue to date, with over $140 million coming from the US and Canada alone.

Apple appears to be taking a similar long-view approach. Its recent content investments include a multi-year deal with Major League Soccer and “Onside,” a docuseries about MLS. In 2024, Apple TV+ had the highest share of its catalog dedicated to sports docuseries among major streamers, signaling a strategic commitment to this genre.

The embrace of sports-adjacent content isn’t new to Apple. “Ted Lasso,” its breakout hit and sly commentary on Americans’ unfamiliarity with soccer (football to everyone outside of the US), has become a cornerstone of its streaming business. Since 2020, our Streaming Economics model calculates that the show has generated over $500 million in global streaming revenue for the platform.

With “F1,” Apple isn’t just releasing another star-driven film; it is making a calculated bet on the power of sports storytelling to grow fandom in key markets. The early success of the movie, coupled with Apple’s broader investment in sports-themed content, signals a deliberate strategy: use prestige entertainment to pull niche sports further into the mainstream. If the trajectory of “Drive to Survive” is any indication, “F1” could mark the starting line for a much larger cultural and commercial play.

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