In the three years spanning June 2015 to June 2018, over 700 Movies and TV Seasons available on SVOD in the UK switched between the two largest services in the market, Amazon Prime Video and Netflix. In absolute terms, the number of titles that have switched between the services is broadly similar—340 have moved from Netflix to Amazon, while 317 have moved from Amazon to Netflix. Two very different pictures underlie this data, however: titles that have moved to Netflix are mainly TV Seasons from the mid-to-late 2000s, such as Mad Men, Peep Show, or the IT Crowd; whereas titles that have crossed from Netflix to Amazon are predominantly movies, and on average slightly older, such as Fight Club, Babel or the Twilight Saga. In general titles tend not to transition directly between the two services (of the 317 titles that moved to Netflix, just 26% moved the month after leaving Amazon). These movements seem to indicate that Netflix has been generally successful at agreeing first-window SVoD rights to older movie catalogue titles while Amazon has been successful at signing up first-window SVoD rights for older TV series.
Comcast, which added Netflix to its X1 set top boxes in 2016, recently also added Amazon Prime to its service, making it the first TV operator in the US to do so. This suggests that the company is increasingly willing to embrace Subscription-Video-on-Demand (SVoD) services as complementary to its TV offering. Comcast subscribers are already heavy SVoD users, with the average Comcast household taking three SVoD services (slightly higher than the US average). As of Q1 2018, 42% of Comcast TV subscribers take Amazon video and they are even heavier SVoD stackers, with the average taking almost three SVoD services on top of their Amazon and Comcast subscriptions (average 3.7 SVoD services). Comcast customers that already take Amazon Prime, have a higher churn propensity than the average Comcast home. Bringing Amazon on-platform and thus increasing convenience for these customers by enabling them to access even more of their content within a single interface could not only see the customers using their X1 boxes more, but ultimately reduce churn for Comcast’s pay TV subscriber base.
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Comedy is the most geographically diverse content type of all Netflix original production and looks set to get more diverse as Netflix ramps up stand-up commissioning across the globe.
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Ampere investigates consumer genre preferences of SVoD and pay TV consumers, and how SVoD services such as Netflix and Amazon are changing their content catalogues to reflect this.
Using a combination of Ampere Analytics data and Ampere’s analysis of Box Office Mojo, Ampere investigates the movie catalogues of the six major SVoD services in the USA based on Box Office performance.
DAZN bids for glory with the acquisition of the Italian Serie A rights. Ampere investigates if the break-even point to cover the rights cost is achievable.