2020 has been branded with an assortment of labels and titles, but from a media perspective, it was a truly transitional year for streaming video. With dramatic impacts to traditional staples like live sports, and an anxiety-inducing hyper news cycle alternating between COVID updates and political divisiveness, streaming video provided a much needed escape. While the massive spikes in media usage that sparked streaming enablement into near ubiquity weren’t unexpected given countrywide lockdowns, the aftermath reflects a permanently altered media landscape, with video streaming accounting for a larger share of overall media consumption than in previous years.
Unsurprisingly, streaming platforms have become video wellsprings for content-hungry consumers, with well-advertised originals like Ozark, The Boys e The Mandalorian grabbing much of the spotlight. And while consumers binged nearly 30.5 billion minutes of Ozark during 2020, they did so across a total of 28 episodes. Similarly, consumers watched more than 57 billion minutes of The Office, which ended its run on Netflix in December, but that viewing covered 192 episodes.
Ao analisar os tipos de conteúdo que foram bem-sucedidos em 2020, foi o conteúdo original que provocou fenômenos culturais e atraiu novos assinantes para plataformas estabelecidas e emergentes. No entanto, os conteúdos mais assistidos nas plataformas de streaming em geral não foram apenas os originais: Foram os programas mais antigos que obtiveram sucesso em canais mais tradicionais. Embora o conteúdo original possa gerar buzz e atrair o público, o conteúdo de biblioteca é aquele em que os espectadores se sentem confortáveis, assistem casualmente e retornam com frequência. Simplificando, eles são quantidades conhecidas. São os programas aos quais os espectadores recorrem, pois já estabeleceram conexões com o público e proporcionam uma visualização fácil, especialmente quando a busca por novos conteúdos para assistir pode ser assustadora.
Outside of episodic programming, the trends are much different, as eight of the top 10 movies (in terms of minutes watched) available on subscription video-on-demand (SVOD) platforms in 2020 were kids’ titles. Unlike adults, children will watch and re-watch their favorite content time and time again (perhaps despite the sake of their parents’ possible sanity). This helped land titles like Frozen II, Moana, Secret Life of Pets 2 e Onward into this year’s top 10 list, with each attracting viewership of between 8.3 billion and nearly 15 billion minutes each. In addition to providing a stop-gap to the traditional theater experience during a year where many spent their time close to home, kids movies on streaming platforms likely helped many households cope with having children at home when they would traditionally be away at school.
Deixando de lado os hábitos das crianças, as plataformas de streaming ofereceram uma salvação para filmes que não podiam mais ser lançados por meios tradicionais e, por sua vez, tornaram os filmes mais facilmente acessíveis a um público maior. Depois de inicialmente perturbar o espaço da televisão, os serviços de streaming estão possibilitando novas opções também para o setor cinematográfico.
Brian Fuhrer, vice-presidente sênior de estratégia de produtos da Nielsen, faz uma retrospectiva dos principais programas de SVOD de 2020.
For additional top ranked SVOD programs, as well as TV, advertisements and video games, visit Nielsen’s Top 10, where we share what Americans are watching and playing each week. For help uncovering what on-demand programs audiences are searching for, learn more about our Classificação de conteúdo SVOD.
